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[ "A spell by Willow goes awry, blinding Giles, making Xander a literal demon-magnet, and causing Buffy and Spike to fall in love and get engaged. Once Willow realizes her mistake, she goes about reversing it." ]

[ "(Oz's room. All his stuff still remains. Willow is walking around, then sits on his bed, bringing one of his shirts to her face and smelling it. Cut to UC Sunnydale student lounge. Buffy is walking through and sees Riley, who is hanging a banner that reads, \"UC Sunnydale Lesbian Alliance\")", "Girl: Hey, thanks Riley.", "(Riley climbs down off the ladder, taking a look. Buffy walks up behind him)", "Riley: Looks good. (Notices Buffy) Oh, hey Buffy.", "Buffy: (Jokingly) Is there something you want to tell me?", "Riley: What?", "(Buffy looks towards the banner. Riley does the same, catching on)", "Riley: Oh, yes - I am a lesbian.", "Buffy: Well, it's good that you're so open about it.", "(He smiles and they head off through the lounge)", "Riley: Oh, hey, you know how we were talking about having a picnic? I was thinkin' - do you ever hang out at Rhode's field? It's beautiful there. Usually not that crowded, either. I thought maybe we could have a little spread - sandwiches, maybe some ants? It'll be fun.", "Buffy: We were talking about having a picnic?", "Riley: So, was that a conversation I actually had, or one I was just practicing?", "Buffy: Practicing?", "Riley: Okay, yes - I have been known to do a little prep work before our conversations. It's not easy, you know, talking to you sometimes. It's like an oral exam.", "Buffy: Boy.. that's just what every girl longs to hear.", "Riley: Well, you're tricky!", "Buffy: Like an exam?", "Riley: I never know how you're going to react to something. That's why I like you so much. You're a mystery. Probably every beautiful girl in the world has some jerk telling her she's a mystery, but.. I swear. You really are. There's a lot about you that needs puzzling out.", "(Buffy's just staring at him with this whistful look in her eyes)", "Riley: I loose you somewhere?", "Buffy: Right around.. beautiful.", "(He smiles shyly)", "Riley: Hey - don't you just love a picnic?", "(Cut to the graveyard. Willow and Buffy are patrolling)", "Buffy: It's just, different, you know? A picnic. First of all, daylight - kind of a new venue, Buffywise. And the best part - he said he would bring all the food, so all I have to do was to show up and eat. Those are two things I'm really good at.", "Willow: So he's nice?", "Buffy: Very, very.", "Willow: And there's sparkage?", "Buffy: Yeah. He's- have you seen his arms? Those are good arms to have. I really like him. I do.", "Willow: But..?", "Buffy: I don't know. I really like being around him, you know? And I think he cares about me.. but.. I just.. feel like something's missing.", "Willow: He's not making you miserable?", "Buffy: Exactly. Riley seems so solid. Like he wouldn't cause me heartache.", "Willow: (Fake worry) Get out. Get out while there's still time.", "Buffy: I know.. I have to get away from that bad boy thing. There's no good there. Seeing Angel in LA.. even for five minutes.. hello to the pain.", "Willow: The pain is not a friend.", "Buffy: But I can't help thinking - isn't that where the fire comes from? Can a nice, safe relationship be that intense? I know it's nuts, but.. part of me believes that real love and passion have to go hand in hand with pain and fighting.", "(Suddenly a vampire jumps out from behind a bush. Buffy stakes him without so much as looking the other way. He crumbles to dust and she and Willow continue on their way)", "Buffy: I wonder where I get that from.", "OPENING CREDITS", "(Cut to Giles' bathroom. Buffy is sitting on the end of the bathtub in which Spike is chained up)", "Buffy: (Exasperated) So..you saw their faces but you can't describe them.", "Spike: (Playing coy) Well, they were human. Two eyes each, kind of in the middle.", "Buffy: Uh huh. And the lab?", "Spike: Underground. I came out through an air vent. I don't know exactly where. I'm done. Put the telly on.", "(Giles enters, carrying a mug that reads \"Kiss the Librarian\" with a straw protruding from it. It contains blood)", "Spike: It's about time. Hope you got it warm enough.", "(Giles hands it to Buffy without saying a word. She takes it, sighs, and makes a face as she puts it close enough to Spike that he can suck through the straw. He makes a big to do out of it, so as to disgust her more.)", "Spike: I don't know why you're so dainty all of a sudden. You've done this for Angel - you must have.", "(Buffy pulls the mug away, leaving Spike with the straw dangling from between his lips)", "Spike: Hey! Give it!", "Buffy: Okay, that's it. The invalid amnesiac routine is over. The kitchen is closed until you can tell me something useful about the commandos.", "Spike: I'm tryin' to remember. It was very traumatic.", "Buffy: How long are you going to pull this crap?", "Spike: How long am I going to live once I tell you?", "Giles: Look, look, Spike - we have no intention of killing a harmless.. uh, creature.. but we have to know what's been done to you. We can't let you go until we're sure that you're .. impotent -", "Spike: Hey!", "Giles: Sorry, poor choice of words. Until we're sure you're, you're..", "Buffy: Flaccid?", "Spike: You are one step away, missy.", "Buffy: (Sarcastically) Giles, help! He's going to scold me.", "(Spike growls, trying to grab Buffy, but the chains hold him and only make his struggles comical)", "Buffy: You know what? I don't think you want us to let you go. Maybe we made it a little too comfy in here for ya.", "Spike: Comfy? I'm chained in a bathtub drinkin' pig's blood from a novelty mug. Doesn't rank huge in the Zagut's Guide.", "Buffy: You want something nicer? (She leans her head to the side, exposing her throat to him) A look at my.. poor neck? All bare and tender and exposed.. all that blood just .. pumping away..", "(Spike, by this time, is all but licking his lips)", "Giles: Oh, please.", "Spike: Giles, make her stop.", "(Giles walks out of the bathroom and into the living room, speaking to Willow who's reading through some books)", "Giles: If those two don't kill eachother, I might lend a hand.", "Willow: What about a truth spell? I'm not positive it would work on a vampire, but we could try. Make him fess up?", "Giles: A truth spell, of course. Why didn't I think of that?", "Willow: 'Cause you had your hands full with the undead English Patient?", "(She hands Giles the book she was reading)", "Giles: Yes.. We'll have a go.", "Willow: Looks pretty simple. I'll stop by the magick shop tomorrow.", "Giles: Excellent.", "Willow: Alright. I'll be back in the morning with donuts and motherwort. Bye, Buffy! I'll see you at home.", "Buffy: Bye!", "Giles: Great. Thank you, Willow.", "(Willow heads out and Giles heads back to the bathroom, where Buffy is once again feeding Spike through the straw)", "Giles: Um, Willow may have had a very helpful idea. She seems to be coping better with Oz's departure, don't you think?", "Buffy: She still has a way to go, but yeah - I think she's dealing.", "Spike: What, are you people blind? She's hangin' on by a thread. Any ninny can see that.", "(Cut to Oz's room. It's completely bare. Willow enters and stops, looking around, surprised. Cut to Buffy and Willow's dorm room. Buffy is sitting on her bed and Willow is in her pajamas under the covers of her's, crying)", "Willow: Devon said that he sent for his stuff. I guess that means he's planning on settling down somewhere.. else. Not here.", "Buffy: I guess so..", "Willow: I feel like I've been split down the center and half of me is lost.", "Buffy: I know. It feels like that now..", "Willow: Oz is gone.", "(Cut to an aerial view of Sunnydale. Cut to Giles' bathroom where Spike is reaching desperately for the TV, with no success)", "Spike: (Yells) Come on, now! It's telly time!", "(Giles is on the phone. The answering machine for Buffy and Willow picks up)", "Machine: \"This is Buffy and Willow. We're not in right now, so please leave a message.\"", "Giles: Oh, uh, Willow.. It's Giles. Um.. I thought you were bringing the ingredients for that spell? I really have to-", "Spike: (v.o.) \"Passions\" is on! Timmy's down the bloody well, and if you make me miss it, I'll-", "Giles: (Yells to Spike) You'll do what? Lick me to death?", "(Cut to Spike, pissed off. He tries to break the chain, but to no avail. Cut back to Giles)", "Giles: Look, uh.. Willow.. I think we ought to try the spell. Among other things, I'd like to shower sometime today. Alone.", "(He hangs up. Cut to Spike, sighing exasperated in the tub. Cut to Buffy and Riley at their picnic)", "Buffy: Driving.", "Riley: Yeah.", "Buffy: You seriously drive for fun.", "Riley: Well, not four-wheeling or anything, but yeah. Don't you?", "Buffy: Actually, no-wheeling is more my specialty. I'm an avid pedestrian.", "Riley: You're kidding, right? I mean, you know how to drive..", "Buffy: Well, I took the class.. Cars and Buffy are, like .. un-mixy things.", "Riley: It's just because you haven't had a good experience yet. You can have the best time in a car. It's not about getting somewhere. You have to take your time. Forget about everything. Just.. relax. Let it wash over you. The air.. motion.. Just, let it roll.", "(The air between them has shifted, the situation has become more intense)", "Buffy: We are talking about driving, right?", "Riley: Thought I was.", "(They share a moment, which Riley snaps out of)", "Riley: I'm taking you. Some night when it's warm. Up past the vineyards - it's going to change everything for you.", "Buffy: I'm in.", "(Willow comes wandering up, all downcast.)", "Riley: Hey, Willow.", "(Willow mearly smiles in response)", "Buffy: Hey.", "Willow: I interrupted. You've got apples. My mist.", "(She turns to go)", "Riley: Wait. Sit. There's plenty to go around.", "(She smiles softly and joins them)", "Buffy: Did something happen? Is something wrong?", "Willow: No.. Everything's fine. Same.", "Buffy: Oh.", "Willow: Your apples are turning brown, the way they do.", "Riley: Yeah, I guess they do that.", "Buffy: Yeah.", "Willow: Yeah.", "(Cut to The Bronze. Swinging, as usual. Anya, Xander, and Buffy share a table)", "Xander: Geez, you mean Oz just sent for his stuff and didn't even call her? That's pretty harsh.", "Anya: I only wish I had my powers back. I'd liquify his entrails for her.", "Xander: That's sweet. God, poor Will. No wonder she's-", "(Cut to Willow, dancing up a storm on the dance floor)", "Xander: -having a wonderful time.", "Buffy: Wow. Way to re-bound.", "Xander: I believe that's the dance of a brave little toaster.", "(Willow sees them and walks over to the table, just as happy as can be)", "Willow: Hey, guys! C'mon! This music's great!", "Xander: It's nice to see you brought your boogie shoes tonight, Will.", "Willow: Yeah.. I-I know I've been sort of a party-poop lately, so I said to myself, \"Self!\" I said, \"It's time to shake and shimmy it off.\"", "Buffy: Sounds like a good policy.", "Willow: Yeah! And it works, too. You know, I figure, in the grand scheme of things, we're all just-", "(Willow grabs her jacket and from underneath it falls a bottle of beer, it's contents foaming out)", "Buffy: Drunk..?", "(Willow laughs and picks up the bottle)", "Willow: Drunk.. I mean, that's such a-a strong word. Kind of a guttural Anglo-Saxon word. Drunk.", "Xander: Will, not loving the drowning of the sorrows.", "Willow: Not drowning - wading. A-a-and.. See? (She points to the beer bottle) Light. No big.", "Buffy: No big? Anyone remember when Buffy had the fun beer-fest and went one-million years B.C.?", "Xander: Sadly without the fuzzy bikini..", "Anya: Off topic, Xander.", "Xander: Right. Topic now. (He gets up and walks to Willow) Will, how about you give me that beer?", "Willow: No! Why should I? I've got pain, here - big-time legitimate pain.", "Xander: We all have pain, Will.", "Willow: Oh, like what? \"Oh, poor me.. I live in a basement.\" Yeah, that's dire.", "(Xander, offended, just shakes his head and walks back to the table. Buffy stands and takes Willow's arm)", "Buffy: Okay, you know what? That's it - I'm taking you home.", "Willow: (Pulls her arm away) No, I don't want to.", "Buffy: Well, you'll thank me when you still have a friend in the morning.", "Willow: I just can't stand feeling this way. I want it to be over.", "Buffy: It will. I promise. But it's gonna take time.", "Willow: Well, that's not good enough.", "Buffy: I know. It's just how it is. You have to go through the pain.", "Willow: Well, isn't there someway I can just make it go away? Just 'cause I say so? Can't I just make it go 'poof'?", "(Buffy just looks at her. Cut to Buffy and Willow's dorm. Amy the rat is still with us. Buffy is asleep. Willow creeps out of bed and opens the trunk containing all her spell components. Cut to the bathroom. Willow has a circle of red candles surrounding her, an incense censer, a bowl/pentacle in front of her, a goblet of sorts, and three trays containing herbs and such. She is sitting in the middle)", "Willow: Harken all ye elements, I summon thee now. (She drops something into the bowl/pentacle in front of her.) Control the outside, control within. Land and sea, fire and wind. Out of my passions, a web be spun. From this eve forth, my will be done. So mote it be.", "(She pours from the goblet into the bowl/pentacle. A flicker of electricity connect her to the candles and all of the flames rise high, signifying the spell's success. Cut to the dorm room the next morning. Buffy is gone. Willow is looking at herself in a mirror.)", "Willow: It is my will that my heart be healed. Now. (She sighs and puts the mirror down when nothing happens. Picks up the spellbook) I will that this book speak it's words to me. (She sighs again, putting the book down when nothing happens. She picks up a bent Q-Tip) I will that this Q-Tip gets.. unbendy..?", "(There's a knock at the door)", "Willow: Come in.", "(Giles enters, looking slightly worried)", "Willow: Giles, what are you doing here?", "Giles: I'm.. a bit concerned about you, actually.", "Willow: Did Buffy tell you about the beer, 'cause..", "Giles: Uh, Buffy didn't tell me anything..", "Willow: Oh, well.. forget the beer part, then.", "Giles: Happily. I came because we had an appointment the other day..", "Willow: Oh.. Right, right.. The truth spell.", "Giles: Yes, um.. Willow.. I know that you're going through a very difficult time.. But, sherking your responsibilities-", "Willow: But.. I didn't - sherk. I.. Did the research, and I picked up the motherwort, I just forgot the doing the spell part.", "Giles: Well, that isn't like you at all.", "Willow: I know. I-I've been off. I-I even tried to do a spell last night. To have my will done? I was hoping it would make me feel better. But it just went ka-blooey.", "Giles: A spell? I don't think it's wise for you to be doing that alone right now. Your energy's too unfocused.", "Willow: Well, that's not true. I said I was off, not incompetent.", "Giles: I only meant that you're grieving, and it might be wise if you took a break from doing spells without supervision.", "Willow: So I get punished 'cause I'm in pain?", "Giles: It's not punishment. I'm only saying this because I-", "Willow: Oh, you care. Yeah. Everybody cares. Nobody wants to be inconvenienced. You all want me to take the time and go through the pain, as long as you don't have to hear about it anymore.", "Giles: No, that's not fair.", "Willow: Isn't it? 'Cause I'm doing the best I can and it doesn't seem to be enough for you guys.", "Giles: And I see how you could feel that way, I do-", "Willow: No, you don't. You say that you do, but you don't see anything.", "(Her eyes take on a strange blue gleam as she speaks the words. Giles removes his glasses, suddenly finding his vision a bit blurred)", "Giles: Um.. Oh, sorry.. Um, sorry. P-perhaps I'd better be going. Let's um, let's talk about this later.", "(He leaves, walking down the hall in a bit of a daze. He runs into a student)", "Giles: Oh! I'm sorry.. So sorry.", "(He puts his glasses back on, quite confused with what is happening. Cut to Spike and Giles in Giles' living room. Spike is still chained up, but sitting on the floor. Giles is walking around him, holding a bundle of burning herbs and reading from a book)", "Giles: Elobe, enemy, be now, quiet.", "Spike: You know.. not too keen about this spell stuff. Tends to be a bit unpredictable.", "Giles: Yes, well, you might have thought about that sooner. Um.. (Continues reading) Let your decietful tongue be.. (Has trouble with he words) Be.. Uh.. Let no.. Untruths.. Be spoken..", "(He's having a very hard time making out the words now. He gets frustrated and sets the book down, taking out a handkerchief and cleaning his glasses. Spike, who has been watching this cautiously, glances down and sees the key to the chains by Giles' feet. He slowly reaches for it with his boot)", "Spike: Hey, what's that all about?", "Giles: Hm? Oh, nothing. I just got ash in my eye.", "Spike: Well, I won't have you doin' mojo on me if you can't read properly. You might turn me into a stink beetle or what all.", "Giles: T'would be a generous ending for you, Spike.", "(Spike grabs the key and unlocks himself. He jumps up, pushes Giles out of the way, and runs out the door. Cut to Willow and Buffy's dorm. Willow is playing with Amy the rat on her bed)", "Willow: I mean, I'm going through something. I just don't see why he was getting down on me.", "Buffy: Giles just worries. Spells can be dangerous. It doesn't mean he thinks you're a bad witch.", "Willow: I am a bad witch.", "Buffy: No, you're a good witch.", "Willow: I'm not kidding anyone. If I had any real power, I could have made Oz stay with me.", "Buffy: Will, you wouldn't have wanted him to have stayed-", "Willow: And I didn't have the guts to do the spell on Veruca, and my \"I Will it So\" spell went nowhere. The only real witch here is fuzzy little Amy.", "Buffy: I think you're being a too hard on yourself.", "Willow: She's got access to powers I can't even invoke. I mean, first - she's a perfectly normal girl..", "(Rat morphs to naked Amy on Willow's bed. Amy smiles excitedly.)", "Willow: Then poof - she's a rat.", "(Amy morphs back into a rat)", "Willow: I could never do something like that.", "(The phone rings. Buffy answers it)", "Buffy: Hello? Uhh.. I'll be right there. (Hangs up) Spike escaped.", "Willow: A-and you're going? Now?", "Buffy: Sorry - duty thing.", "Willow: Well, I mean, what's the rush? Spike can't hurt anyone, right? And I figured since I'm kinda grievey, would could, uh..you know, have a girl's night. We could eat sundaes and watch Steel Magnolias and you can tell me how, at least I don't have diabetes.", "Buffy: Will, I can't hang out with you until I get Spike back to Giles, you know that. Okay, I'll be back as soon as I can. I promise.", "Willow: I don't see the big. He's probably just standing out there. You could find him in two seconds..", "(Her eyes do the blue glow thing again. Cut to Spike standing outside, looking around confused. Buffy sees him and looks confused herself.)", "Buffy: Thought that was gonna take longer.", "Spike: Me too. Musta got.. turned around..", "(He searches about for something, searching the ground with his eyes)", "Spike: Hang.. hang on, this- this is it. Wait.. no.. yes.", "Buffy: What are you talking about?", "Spike: The lab. Commando lab. The door was right here where I escaped.", "(He gestures to the ground which is covered with grass, no sign of a door of any kind. Just a lawn.)", "Buffy: (Incredulous) I don't think so.", "(Spike falls to his hands and knees, tearing at the ground)", "Spike: Open up! I'm gonna kill you!", "Buffy: Spike, there's nothing there.", "Spike: Let me in! (Dejected) Fix me..", "Buffy: Okay, drop the act..", "(She grabs him by the arm, but he pushes her away)", "Spike: Get off!", "Buffy: Okay, that's it- I'm gonna gag you.", "(He punches her in the nose, then yells in pain. She punches him back in the nose; he yells in pain again. Cut to Giles in his bathroom. He's putting drops in his eyes. Buffy and Spike come barging in through the front door, Spike once again tied up)", "Spike: Hey! Watch it!", "Buffy: One more word out of you, and I swear..", "Spike: Swear, what? You're not gonna do anything to me. You don't got the stones.", "Buffy: Oh, I got the stones. I got a whole bunch of .. stones.", "Spike: Yeah? You're all talk.", "Buffy: GILES! I accidentally killed Spike. That's okay, right?", "(Cut to bathroom. Giles is distracted)", "Giles: Uh..uh..um.. Just a minute..", "(Cut to Xander's basement. Willow's pacing back and forth, complaining about Buffy. Xander sits idly by and listens)", "Willow: I mean, I'm going through something. You'd think every once in awhile Buffy would make best friends a priority.", "Xander: You know, Will, it's not like she could just let Spike go.", "(Cut to Giles' living room. Buffy slams Spike down into a chair)", "Spike: (Sneering) I get this spell reversed, they'll be finding your body for weeks.", "Buffy: Oh, make a move - please. I'm dying for a good slay.", "(They glare at eachother. Cut back to Xander's basement)", "Willow: Spike's more important than me. I get it.", "Xander: Buffy's gotta find out what's up with those commandos. Right now she needs Spike.", "Willow: Well, fine. Why doesn't so just go marry him?", "(Willow's eyes go blue-glowy. Cut to Giles' apartment. Giles comes out of the bathroom)", "Giles: If the two of you could remain civil long enough to-", "(Cut to Buffy sitting in the chair Spike was once occupying, Spike on his knees in front of her, holding her hand)", "Buffy: It's just so sudden. I don't know what to say.", "Spike: Just say yes, and make me the happiest man on earth.", "Buffy: Oh, Spike! Of course it's yes!", "(They embrace and kiss and it's overall mushy. Giles walks forward and takes off his glasses, quite baffled by the whole thing. Buffy sees Giles)", "Buffy: Giles! You'll never believe what's happened!", "(Buffy holds up her now ringed ring-finger. Giles just stares like he's gone crazy. Cut to Xander's basement.)", "Willow: It's just not fair.", "Xander: Willow, I know it's hard to see it right now, but everything you're feeling is because of you and Oz. Not because of Buffy and me or anybody. But eventually you'll meet somebody else, and it'll be better.", "Willow: Yeah, 'cause most relationships are great and trouble-free. I don't think so. I think we're all doomed to badness.", "Xander: We're not doomed.", "Willow: Oh, yeah? Let's-let's look at your bio. Insect Lady, Mummy Girl, Anya.. You're a demon magnet.", "Xander: I was just trying to help.", "(Cut to Gile's apartment. Giles is on the phone, talking to Willow's machine)", "Giles: Willow, it's-it's me. Something's happened. I need your help. I can't see very well. Everything's blurred. (He grabs the scotch) I'm certain it's a spell of some kind, because.. well..it seems something else is going wrong..", "(Cut to Buffy bring Spike a mug of blood. She sits on his lap)", "Buffy: Here you go .. 98.6. (They kiss)", "Giles: .. horribly wrong.", "Buffy: There's so much to decide. Ceremony, guests, reception..", "Spike: Well, first thing I'd say, we're not having a church wedding.", "Buffy: How 'bout a daytime ceremony. In the park.", "Spike: Fabulous. Enjoy your honeymoon with the big pile of dust.", "Buffy: Under the trees. Indirect sunlight, only.", "(Giles makes his way carefully into the living room, glass of scotch in hand. He takes a seat on the couch)", "Spike: Warm breeze tosses the leaves aside, and again - you're registering as Mr and Mrs Big-Pile-of-Dust.", "Buffy: Stop it! This is our wedding and you're treating it like a big joke!", "Spike: Oh, pouty! Look at that lip.. gonna get it.. gonna get it..", "(She giggles and they kiss and such)", "Buffy: (Playfully) Oh.. stop..", "Giles: Yes, please stop.", "(Giles takes a good swig of his drink. Buffy holds her hand out in Giles' direction)", "Buffy: Giles, did you see my ring?", "Giles: Thankfully, not very well.", "(Giles leans back and rubs his eyes. Buffy gets up from Spike's lap and goes to sit beside Giles)", "Buffy: I'm not crazy, and I know that you probably don't approve, and my father's not that far away, I mean, he could- but this day is about family - my real family - and I would like you to be the one to give me away.", "Giles: (Touched) Oh, Buffy! That's.. that's so.. (Comes to his senses) Oh! For God's sake! This is nonsense. Something is making you act this way. Don't you realize what you're doing?", "(She smiles and looks back at Spike)", "Buffy: Living a dream.", "Giles: He's gonna have to take a bit of time to get used to it, pet.", "Buffy: they all will. (She turns back to Giles) But you guys wern't crazy about Angel at first, either.", "(Spike gets upset)", "Spike: You wern't gonna say that name.", "Buffy: Sorry. Why don't we talk about where we're going to register.", "Spike: Well, where would Angel like to register? And can we have the photographer Angel would've wanted? And, flowers Angel would have liked?", "Buffy: (Stands) Hey! You think I don't live with the shadow of Drusilla over my head? That I'm not wondering if you're going to be thinking of her on our honeymoon when you're making.. sweet love to me..?", "(She walks to Spike and sits in his lap. They, you guessed it, kiss. Giles reaches for his glass of scotch, knocking it to the floor.)", "Buffy: Giles are you okay?", "Giles: I rather think not. I seem to be rather.. rather.. blind. Completely, in fact.", "(Buffy walks over to him, concerned)", "Buffy: What? How could this happen?", "(She waves her hand in front of his face. Spike stands and walks to the bookshelf)", "Giles: A spell, I believe.", "Buffy: Well, we'll fix it. Don't worry.", "Spike: What you want is a general reversal spell. Gonna need supplies.", "Giles: Are you.. helping me?", "Spike: Well, it's almost like you're my father-in-law, in'nt?", "Buffy: See? This is how it's gonna be. Spike'll even take care of you while I'm at the magick shop.", "(Buffy stands and walks to Spike who takes her in his arms)", "Buffy: From now on, we're a family.", "(They- you know the drill. Giles gets all panicky. He stands and wobbles his way to the kitchen)", "Giles: That's alright. I have more scotch.", "(Cut to Buffy exiting the magick shop. She stops in the middle of the street, staring at a window display of a beautiful wedding gown. She walks over to it, memorized. In the background, we see Riley walking by. He sees her and walks up)", "Riley: Hey, Buffy. What's up?", "(Buffy turns back, staring at the dress)", "Buffy: Riley, look - aren't they beautiful?", "Riley: Um, yeah.. they're nice. A little dressy, maybe.. for school, but..", "(Buffy walks towards him)", "Buffy: Riley..", "Riley: Buffy?", "Buffy: I really like you. I hope you know that you mean a lot to me, and if things were different-", "Riley: Different than what?", "(She takes his hand. He looks rightly confused)", "Buffy: I want you to promise me that we can always be friends, and I'd really like you to be there on \"The Day\".", "Riley: The day when..", "Buffy: The wedding!", "Riley: The wedding. What wedding?", "Buffy: My wedding! I'm getting married - can you believe it?", "Riley: I don't think \"no\" is a strong enough word.", "Buffy: I know! It's crazy! I mean, we fought for all these years, and then.. Sometimes you just look at someone, and you know.. You know?", "Riley: No..", "Buffy: I think maybe we fought because we couldn't admit how we really felt about eachother.", "Riley: (Confused) Can we start again?", "Buffy: You'll really like him. Well, nobody really likes him..", "Riley: I just need to clear a few things up..", "Buffy: I don't even really like him..", "Riley: Buffy..", "Buffy: But.. I love him. I do.", "Riley: Who?", "Buffy: What?", "Riley: What's his name?", "Buffy: Who?", "Riley: The groom.", "Buffy: Spike!", "Riley: That's a name?", "Buffy: Don't be mad.", "Riley: I'm not mad!", "Buffy: No, you are mad!", "Riley: No, I am! Er.. I really.. Wow. Who is this guy? Does he go here?", "Buffy: Spike? (Laughs) Oh, no.. He's totally old.", "Riley: Old.", "Buffy: Well, not as old as my last boyfriend was.", "Riley: (Befuddled) Okay.. It's late.. and I'm, I'm very tired now. So, I'm just gonna go far away and be.. away.", "Buff: But-", "Riley: No, stay.", "(Riley walks off, looking extremely confused. Buffy just stands there, watching him go, a forlorn look on her face)", "Buffy: You're ruining my happy day.", "[SCENE_BREAK]", "(Cut to Xander's basement)", "Xander: That's okay, mom - we don't need anymore snacks.", "Anya: I liked those fruit roll-ups.", "Xander: Shush, I thought she'd never clear out. Besides, just think of my lips as, the fruit roll-ups of love. (Pause) Okay, that was gross. I'm a little distracted. Willow was really upset. I shouldn't have let her go away mad.", "(Anya grabs him and kisses him hard)", "Xander: Regaining focus.", "Anya: We just got rid of your mom. Let's not bring Willow into this. It's time for just the two of us.", "(They kiss and fall down on the bed. Suddenly, a demon busts through the side door. They jump up. Xander runs at the demon and it tosses him aside. Anya goes after it with a bat, but it grabs the bat from her. Xander jumps back up, grabs his clothesline and tries to strangle the thing.)", "Anya: No, no, it's a Pargo demon! Drowning it's the only way to kill it!", "(They drag the thing over to the sink, shoving it's head under water. As soon as the demon drowns, another busts through the window above the sink)", "Xander: What the hell is going on?!", "(Xander grabs Anya and they run off. Cut to Giles' apartment. Buffy is holding the cake topper- a man and a woman, both blonde- and walking them up Spike's arm, humming the wedding march.)", "Buffy: Duh dum, da-da.. Duh dum, da-da, duh dum da da dum da da dum da da..", "(Giles is laying on the couch, a towel over his eyes)", "Giles: So the plan is to cure my total, incapacitating blindness .. tomorrow.", "Buffy: (Unconcerned) They were all out of Tagas Root at the magick shop. They'll have more tomorrow. I'm completely on top of it.", "(Looks to Spike, holding the figurines up)", "Buffy: Aren't they a perfect little us?", "Spike: I don't like him. He's insipid. Clearly human.", "Buffy: Oo, red paint. We could smear a little on his mouth - blood of the innocent..", "Spike: That's my girl..", "(He grabs the back of her head and pulls her into a kiss)", "Giles: Stop that right now! I can hear the smacking.", "(Buffy and Spike stop. Buffy sets the figurines down and picks up a notebook from the table)", "Buffy: Honey, we need to talk about the invitations. Now, do you wanna be William the Bloody, or just Spike? 'Cause, either way, it's gonna look majorly weird.", "Spike: Where as the name Buffy gives it that touch of classic elegance.", "Buffy: What's wrong with Buffy?", "Giles: Huh.. such a good question.", "Spike: (Ignoring Giles) Well, it's a terrible name.", "Buffy: My mother gave me that name.", "Spike: Your mother, yeah, she's a genius.", "Buffy: Don't you start in on my mother.", "(Anya and Xander suddenly burst through the front door. Everyone stands as Xander pulls a bookshelf in front of the door.)", "Xander: Board up the windows, and barricade the doors.", "Giles: What's going on?", "Anya: Demons. They keep coming and coming.", "Xander: I think we lost them, but I couldn't see. (Sees Spike) Spike! He's all untied! (Pause) Which you probably noticed..", "Buffy: Xander, calm down, okay? If you lost them, that'll give us some time to figure this out. (To Spike) Maybe the demons have something to do with Giles being blind.", "Anya: Giles is blind?", "(Xander walks over to Giles and starts waving his fingers in front of Giles' face)", "Giles: Please stop whatever you're doing. You smell like fruit roll-ups.", "Spike: This is the crack team that foils my every plan? I am deeply shamed.", "Buffy: (Hanging on Spike's arm) Spike's right. We really should get organized.", "(Xander and Anya are staring at Spike and Buffy)", "Anya: Why are you holding hands?", "(Buffy and Spike look at eachother lovingly)", "Spike: They have to hear it sooner or later..", "Buffy: (Excitedly) Spike and I are getting married!", "Xander: (Baffled) How? What? How?", "Giles: Three excellent questions.", "Spike: (To Buffy) What are you lookin' at?", "Buffy: The man I love.", "(They kiss. A lot. Anya and Xander look a bit disgusted)", "Xander: Can I be blind, too?", "(Anya nods in agreement)", "Xander: Wait.. married.. I know something.. what is it..? Everything's so familiar.. Work, brain - work! Oh! Oh oh! Willow!", "Buffy: (Talking around the kissing) Mm..what about Will.. Mmm, honey, get off. (Pulls away from Spike)", "Xander: Something about Willow and her griefy-poor-me mood swings - so, so tired of it.", "Anya: You mean I don't have to be nice about her anymore?", "Buffy: Well, we're all tired of it, but what does it have to do with what's going on?", "Xander: She told me I was a demon magnet, a-and you two should get married. (Gestures to Spike and Buffy)", "Giles: (Coming to realization) And.. that I didn't see anything.", "Buffy: She did a spell.", "Giles: Yes.. to have her will done. Whatever she says is coming true.", "Buffy: And you both were effected. I probably only escaped because I'm the Slayer. Some kind of natural immunity.", "Xander: Yeah. Right. You're marrying Spike because you're so right for eachother.", "Buffy: Xander.", "Spike: That's it - you're off the usher list.", "Giles: People, Willow is out there and she probably doesn't know what she's doing.", "Xander: We gotta find her.", "Buffy: Before somebody gets really hurt.", "(Giles nods in agreement and starts forward, falling over his couch and landing on the other side. Cut to Willow walking down the hallway in Stevenson Hall. She walks into her room and is snatched up by a demon, placing one hand on each side of her head, causing electricity-like bolts to wind around her head. Cut to Buffy, Spike, Xander, and Anya walking down the hallways of Stevenson Hall)", "Xander: Why does he have to come? (Indicating Spike)", "Buffy: Xander, Spike is going to be my husband. I want him included.", "Spike: I agree with Xander here. Seems like a lot of work for people who hunt us.", "Buffy: Spike, these are my friends. Besides, it's kinda my job.", "Spike: (Pats her hand) For now.", "Buffy: What? You want me to stop working?", "(The open the door to Buffy and Willow's room. All enter save Spike who remains outside talking)", "Spike: Let's see - do I want you to give up killing all my friends? Yeah, I've given it some thought.", "(Cut inside Buffy and Willow's dorm room. There's a large circle burnt into the carpet)", "Buffy: This is burned.", "Anya: Ta'hoffren. b*st*rd, he's opened a portal here.", "Buffy: Who?", "Spike: Oh, fluffy.", "(Cut to Spike, holding up one of Buffy's skirts - an orange one with orange fuzzy stuff around the bottom)", "Spike: Wear this to the rehearsal dinner and the whole thing's off.", "Buffy: Shut-up, honey.", "Anya: Ta'hoffren. He made me a demon 1120 years ago.", "Buffy: Why would he attack Willow?", "Anya: I don't believe he did.", "(Cut to a pitch black room. Ta'hoffren is speaking to Willow. They are both surrounded by numerous demons of different kinds)", "Ta'hoffren: You have much anger and pain. Your magic is strong, but your pain - it's like a scream that pierces dimensional walls. We heard your call.", "Willow: I-I'm sorry. I'll try for a quiet rage. Bye.", "(She turns to leave, but is faced with demons. Ta'hoffren calls her back)", "Ta'hoffren: Our intention is not to quash your potential - quite the contrary.", "(Willow turns back to him, looking scared and confused. Cut to Anya, Xander, Buffy, and Spike walking in the cemetery)", "Anya: I'd been dumped, I was miserable, doing a few vengeance spells - boils on the pen1s, nothing fancy.", "Xander: Please skip ahead.", "Anya: Ta'hoffren got wind of me, he offered to elevate me.", "Buffy: Meaning?", "Anya: He made me a demon.", "Buffy: Oh God, Willow. But, you can summon this guy from this crypt, right? You can make him stop .. oh my God! Wouldn't this be a perfect place for pictures?", "(She runs up to a crypt with ivy growing all along side it)", "Spike: I'm not posing for chattal.", "(A demon wanders their way. Xander sees it and points)", "Xander: Hey.. demon.", "(Buffy walks up to the demon)", "Buffy: Okay, listen - now we're gonna do this without ruining the foliage.", "(Buffy and the demon go at it. She tosses him aside just as another appears. She realizes that they're just going to keep coming)", "Buffy: Let's go!", "(All four of them run inside the crypt, barricading it as best they can. Anya runs to the far side, kneeling down and drawing a circle surrounding herself in the dirt. )", "Anya: Blesséd be, the name of Ta'hoffren. Let this space be now a gateway to the world of Arash Ma'har, where demons are spawned.", "(Cut to Arash Ma'har. Ta'hoffren is still speaking with Willow)", "Ta'hoffren: The pain and suffering you brought upon those you love is inspiring. You are ready to join us here in Arash Ma'har.", "Willow: Pain.. What pain?", "(Cut to Buffy being choked by a demon who's reached through a window.)", "Spike: Buffy!", "Xander: Not doin' well here.", "Anya: (Still chanting) We come in supplication. We bend as the reed.. in the flow of the, uh.. No, wait.. we-we come in the flow of the, uh.. Ugh! (Takes a deep breath) Blesséd be, the name of Ta'hoffren..", "(Cut to Buffy, still being choked. She jerks away, running to Spike's side, who, with Xander, has propped a stone sepulcher against the doorway to keep the demons out.)", "Spike: They're strong, and I can't fight. If they get in, I don't know if I can protect you.", "Buffy: You think you have to protect me?", "Spike: Oh, not with the Girl-Power bit!", "(The demons finally bust their way in. Spike and Xander get their asses kicked and Buffy tries to kick ass. Anya attacks the one attacking Xander and is promptly tossed aside. Cut to Arash Ma'har. Ta'hoffren opens a dimensional rift and allows Willow to see her friends getting their asses kicked.)", "Willow: Oh, God. But I didn't mean to!", "Ta'hoffren: But you did. This is the result of your power. You will make a fine vengeance demon.", "Willow: No, please! You have to help them!", "Ta'hoffren: It is not my concern. You are my interest in this matter.", "Willow: Really.. no offense intended.. I mean, you've been super-nice and everything, but.. I don't want to be a demon. I just wanna go back and help my friends.", "Ta'hoffren: That is your answer?", "Willow: It-it is.", "Ta'hoffren. (Menacingly) I'm sorry to hear that. (Lighter tone) Oh well. Here is my talisman. (Holds it up and Willow takes it) You change your mind, give us a chant.", "(He waves his hand and she disappears. Cut to Buffy struggling with a demon as yet another bursts onto the scene. It knocks Spike on his back. Buffy gets pissed and kicks both the demon's asses and runs over to Spike.)", "Buffy: Oh, Spike.. are you okay?", "Spike: Slayer..", "(They kiss. Anya and Xander are still beating up on that same demon. Willow suddenly appears in the crypt.)", "Willow: Let the healing power begin. Let my will be safe again. As these words of peace are spoken, let this harmful spell be broken.", "(Thunder crashes and lightening flashes. Suddenly, the demons disappear. Buffy and Spike pull away from eachother, a look of horror and disgust passing over their faces)", "Buffy: Oh, ugh..", "Spike: Oh, bloody hell!", "(They both jump up, each wiping their mouth and gagging and carrying on so)", "Buffy: Spike lips! Lips of Spike!", "(All four of them suddenly realize Willow. They all turn slowly to look at her. She smiles sheepishly and waves.)", "Willow: Hi, guys.", "(Cut to Giles' kitchen. Willow is making chocolate-chip cookies. She's putting them on a plate Anya's holding.)", "Anya: How long are you going to keep making these?", "Willow: Oh, until I don't feel so horribly guilty. I figure about a million chips from now. Also, I have to detail Giles' car.", "(She takes the plate from Anya and walks over to where Xander and Giles are sitting. Xander is holding up a clock)", "Xander: Time.", "Giles: A-ha.. Five past two. Thursday.", "Willow: (To Giles) Look, cookies. A very not-evil thing I did. Oatmeal?", "(Giles removes his glasses, takes a cookie and scowls)", "Giles: Yes, very funny, they're chocolate chip. I can see them. I still need my glasses, though. You could be more specific and give me 20/20.", "(Willow smiles and walks over to Buffy and Spike. Spike is tied up once more)", "Willow: Eat a cookie; ease my pain?", "Buffy: (Takes one, taking a bite) Mm. Better?", "Willow: Well, baking lifts about 30% of my guilt, but only 7% of my inner turmoil. Guess that'll just take awhile.", "Buffy: It'll happen.", "Spike: Don't I get a cookie?", "Buffy: No.", "Spike: Well, I gotta have something. I still have Buffy taste in my mouth.", "Buffy: You're a pig, Spike.", "Spike: Yeah.. well I'm not the one who wanted, \"Wind Beneath My Wings\" for the first dance.", "(He says it loud enough for Giles, Anya, and Xander to hear. They all turn to stare at Buffy from the living room. She looks at all of them)", "Buffy: That was the spell.", "(Buffy gets all embarrassed and walks into the kitchen. Willow scowls at Spike and shoves a cookie in his mouth. She follows Buffy into the kitchen)", "Willow: Did I mention about the sorry part?", "Buffy: We may be into a forgetting spell later. (Astonished) I loved him. He were betrothed. (She makes a face)", "Willow: Well, at-at least you were getting along.", "Buffy: But we wern't. I mean, I wasn't even nice. And the bad-boy thing - over it. Okay, I totally get it. I'd be really happy to be in a nice relationship with a decent, reliable.. Oh my God! Riley thinks I'm engaged.", "Willow: What?", "Buffy: Riley. He-he-he saw me. What the hell am I going to say?!", "(Cut to UC Sunnydale campus. Buffy and Riley are walking together. Buffy is laughing)", "Buffy: You thought I was serious?", "Riley: Well, no.. um.. you wern't serious?", "Buffy: Oh, God.. please. I marry a guy named Spike?", "Riley: Maybe. We haven't known eachother that long.", "Buffy: No, it's just.. I saw that fear in your eyes when you caught me looking at wedding dresses, and I had to give you a hard time.", "Riley: I did not have fear in my eyes.", "Buffy: Yes you did. You were looking at me like I was a cartoon ball and chain.", "Riley: So you decided to tell me you're getting married.", "Buffy: Uh-huh.", "Riley: So, you're insane.", "Buffy: Uh-huh!", "Riley: But you're still single.", "Buffy: Yes.", "Riley: Okay, then. Just another little piece of the Buffy puzzle.", "Buffy: You really have a lot to learn about women, Riley.", "(He reaches up, taking hold of the back of her head like he's going to kiss her)", "Riley: You're gonna teach me.", "(He smiles and turns, walking away, leaving Buffy staring after him)", "BLACK OUT" ]

[ "The Gentlemen steal the voices of the population of Sunnydale , rendering everyone in the town (including the Scooby Gang) unable to speak. Giles reveals that the only thing that can defeat The Gentleman is a real human scream. This episode is mostly silent (aside from music and ambient sound) from the point The Gentlemen steal Sunnydale's voices." ]

[ "{{}} means inaudible, so uncertain. {} unknown word", "Narrator: \"Hush, a special Buffy\" A lecture hall. Professor Walsh is lecturing to Buffy and the class. Riley is leaning against a wall.", "Walsh: \"So this is what it is.. talking about communication talking about language... not the same thing. It's about inspiration... Not the idea, but the moment before the idea when its {{total}} When it blossoms in your mind and connects to everything It's about the thoughts and experiences that we don't have a word for. A demonstration. Buffy, Summers, come on down {{to}} the front here.\" Buffy walks down.", "Walsh: \"A typical college girl, one assumes.\"", "Walsh (to buffy): \"Lie down on my desk\"", "Buffy: \"what?\"", "Walsh: \"Go ahead, you're perfectly safe.\"", "Buffy: \"oh\" Buffy sits, then lies on the desk but doesn't completely lie down. She is resting on her elbows.", "Walsh: \"Riley, if you could oblige.\"", "Riley: \"A demonstration, {{right/alright}}.\"", "Walsh: \"Be a good boy.\" Riley leans over Buffy. He puts a hand on her waist.", "Buffy: \"This feels very strange.\"", "Riley: \"Don't worry. {{If}} I kiss you ((it'll}} make the sun go down.\" They kiss and the class watches. He brings a hand around her holding her up and she brings her arm around him and then to his neck. They continue to kiss and it gets darker. The classroom is empty when the camera zooms out from them.", "Riley: \"See.\" She sits up", "Buffy: \"Fortune favors the brave.\" Faintly a little girl is humming or chanting.", "Buffy: \"do you hear that?\" Buffy walks towards the sound Buffy eventually sees a little girl holding an ornate box in the hall. The little girl is still chanting: \"Can't even shout Can't even cry The gentlemen are coming by looking in windows knocking on doors They need to take seven and they might take yours Can't call to mom can't say a word You're gonna die screaming but you won't be heard\" Riley touches her from behind and she turns to see a horrific face wearing a dark suit. Buffy wakes up sitting next to Willow in a full classroom.", "Walsh: \"So I'll see you all monday for a final review session\"", "Willow: \"Man that was an exciting class, hunh?\"", "Buffy: \"oh yeah well\"", "Willow: \"And the last twenty minutes was a revelation just laid out everything we need to know for the final I'd hate to have missed that.\" They both are getting up and leaving class.", "Buffy: \"Just tell me I didn't snore.\"", "Willow: \"Very discreet, minimal drool\"", "Buffy: \"Oh yea.\"", "Willow: \"So were you dreaming?\"", "Buffy: \"yeah, it was kind of intense\" Riley steps up from behind a column.", "Riley: \"Intense, really? cause you seemed so peaceful.\" Riley walks with them.", "Buffy: \"Of course it was only for a moment.\"", "Riley: \"Right. Hey you guys headed over towards {Jud}\"", "Riley: \"Ah, student center\"", "Riley: \"Oh great. So this dream.\"", "Willow: \"You know, you guys go I'm gonna do the thing.\"", "Willow: \"So I'll see you after Wicca group\"", "Willow: \"Bye.\"", "Buffy: \"Bye.\"", "Riley: \"Bye.\"", "Riley: \"So tell me about your dream.\" Willow sneaks over to eavesdrop through an opening.", "Riley: \"As a psyche major I'm qualified to go 'hmmm'\"", "Buffy: \"I don't really remember it\"", "Riley: \"Well, did I appear at all in this dream?\" Willow hides her face by reading a notebook when they get close.", "Buffy: \"there might have been a cameo\"", "Riley: \"is that right?\"", "Buffy: \"maybe more like a featured role\"", "Riley: \"romantically?\" Willow lowers the notebooks, smiles and heads away.", "Buffy: \"I'm not saying a word.\" Buffy and Riley exit a building into a sunny day.", "Riley: \"So what have you got going on {{for tonight}}?\"", "Buffy: \"Oh Patrolling\"", "Riley: \"Patrolling?\"", "Buffy: \"Eh, Petroleum\"", "Riley: \"Petroleum?\"", "Buffy: \"uh huh\"", "Riley: \"Tonight you have crude oil\"", "Buffy: \"{{and}} homework. What about you?\"", "Riley: \"Oh you know grading papers.\"", "Buffy: \"Ah, that'll be fun.\"", "Riley: \"Not petroleum fun but it passes the time.\"", "Buffy: \"So I uh...\"", "Riley: \"Yeah... (exhales)\"", "Riley: \"I guess I won't see you until...\"", "Buffy: \"Yeah...\" Riley leans down and is about to kiss her.", "Buffy: \"What papers?\"", "Riley (confused): \"Papers?\" Buffy realizes the moment is gone.", "Buffy: \"Um, grading, what papers? We only have the final.\"", "Riley: \"Oh, yeah. Um, no, I... Late, Late papers {{I gotta look at}}\"", "Buffy: \"Oh. Ok. Neat.\"", "Riley: \"So...\"", "Buffy: \"Class.\"", "Riley: \"I'll see you then.\"", "Buffy: \"Yeah.\" Riley leaves.", "Buffy (petulantly): \"Fortune favors the brave.\"", "[SCENE_BREAK]", "roll credit", "[SCENE_BREAK]", "Giles apartment. He is on the phone.", "Giles: \" Can't even shout Can't even cry The gentlemen are coming by. Um, it sounds vaguely familiar. You're sure it's - nothing you heard when you were a child?\" \"Oh alright. Nothing else?\" \"Well i-it could definitely be one of your prophetic dreams or it could just be the eternal mystery that is your brain. But I-I'll check it out and um, I'll let you know if I find something.\" \"Alright. Bye bye.\"", "Giles: \"Have you heard of a group called the gentlemen?\" Spike is walking in the kitchen, chewing and searching.", "Spike: \"Group of what?\"", "Giles: \"The gentlemen.\"", "Spike: \"Dunno.\"", "Giles: \"You certain?\"", "Spike: \"No. We're out of wheat-a-bits.\"", "Giles: \"We are out of wheat-a-bits because you ate it all - again.\"", "Spike: \"Get some more.\"", "Giles: \"I thought vampires were supposed to eat blood.\"", "Spike: \"Yep. Well sometimes I like to crumble up the wheat-a-bits in the blood - give it a little texture.\" Spike has lain on the couch with a wheat? cracker, a cracker? bag and a jar of peanut butter.", "Giles: \" Since the picture you just painted means I will never touch food of any kind again you'll just have to pick it up yourself.\"", "Spike: \"Sissy.\"", "[SCENE_BREAK]", "Exterior of Giles' building. Xander and Anya are walking.", "Xander: \"I don't get what this is coming from.\"", "Anya: \"well, what am I supposed to think?\"", "Xander: \"Well, How could you say I'm using you?\"", "Anya: \"You don't care about what I think you don't ask about my day\"", "Xander: \"You really did turn into a real girl didn't you?\" Anya stops.", "Anya: \"See! You make jokes during my pain. You don't care about me at all\" Xander stops and looks back.", "Xander: \"I care about you.\"", "Anya: \"How much?\"", "(silence)", "Anya: \"What do I mean to you?\"", "Xander: \"I... we, you know we spend...", "we'll talk about it later\" Xander turns away and walks and they enter Giles apartment", "[SCENE_BREAK]", "Giles apt. As Anya walks through the door.", "Anya: \"Well I think we should talk about it now.\"", "Giles: \"Thank you for knocking.\"", "Xander: \"if you don't know how I feel about\"", "Anya: \"I don't. This isn't a relationship you don't need me, all you care about is lots of orgasms.\" Spike sits up to look back with a wheat-a-bit in his mouth. Giles takes off his glasses.", "Xander: \"ok... remember how we talked about private conversations and how they're less private when they're in front of my friends\"", "Spike: \"Oh, we're not your friends. Go on.\"", "Giles: \"please don't\"", "Anya: \"this is important\"", "Giles: \"but why is it here?\"", "Xander: \"mom said you wanted me to swing by\"", "Giles: \"Oh, oh yes, well I meant uh after sunset\" Giles stands and leans against his desk.", "Giles: \"um I need you to take Spike for a few days\"", "Xander: \" What?\"", "Spike: \"What?\"", "Anya: \"What?\" Spike stands", "Spike: \"I'm not staying with him!\"", "Giles: \"I have a friend who's coming to town and I'd like us to be alone.\"", "Anya: \"oh you mean an orgasm friend?\"", "Giles: \"Yes that's exactly the most appalling thing you could have said\" Anya displays a ? I just spoke the truth? expression.", "Xander: \" he's not roaming around - he stays with me he's gonna get tied up again.\"", "Anya: \" What about us, our romantic evening?\"", "Spike: \"I'm not having these two shag while I'm tied to a chair three feet away\" Giles sits and puts his hand against his head in exasperation during this.", "Xander: \"That's not exactly one of my fantasies either.\"", "Anya: \"so you're blowing off our evening because {unintelligible}\"", "Spike: \"{unintelligible}\"", "Xander: \"I don't want him to come {{either}} {unintelligible}\"", "[SCENE_BREAK]", "A school? room with a group of 14 girls sitting on couches and chairs and (2 on sitting on the floor) including Willow. Students wander by and others sit studying.", "Wicca1: \"We come together, daughters of Gaia, sisters to the moon we walk with the darkness the wolf at our side through the waterfall of power to the blackest heart of eternity. I think we should have a bake sale.\"", "Wicca2: \"I don't know\"", "Wicca1: \"you guys like a bake sale right? I mean we need money for the dance recital and You know I do an empowering lemon bundt\"", "Wicca2: \"The most important thing is the Gaian newsletter we need to get the message of blessing out to the sisters. Also who left their scented candles dripping all over my women power shrine?\"", "Willow: \"\"Well, this is good. I mean, this is all fun ya know, but there's also other stuff that we might show an interest in, as a wicca group.\"", "Wicca1(hesistantly): \"like what?\"", "Willow: \"Well, There's the wacky notion of spells, you know conjuring, transmutation\" wicca2: \"Oh yeah, then we could all get on our broomsticks and fly around on our broomsticks\" giggling wicca1: \"You know certain stereotypes are not very empowering.\" wicca 3 (sitting on floor): \"I think that wicca2: \"one person's energy can suck the power from an entire circle. no offense\" wicca 3: \" Well, maybe we could uh.\" wicca2: \"Yeah, Tara. Guys.. quiet.\" holds hand up for quiet wicca2: \"do you have a suggestion?\" Tara (Wicca 3) just shakes her head and looks down, but then she looks at Willow.", "wicca2: \"Ok, let's talk about the theme for the bacchanal.\"", "[SCENE_BREAK]", "Buffy and Willow walking in a hall.", "Buffy: \"So not stellar, hunh?\"", "Willow: \" talk all talk Blah blah Gaia Blah blah moon {{menstrual}} lifeforce power thingy you know after a couple of sessions I was hoping we would get into something real but \"", "Buffy: \"No actual witches in your witch group\"", "Willow: \"No, bunch of wanna blessed bees. you know nowadays every girl with a {{Henna}} tattoo and a spice rack thinks she's a sister to the dark ones\" They enter their dorm room.", "Buffy: \"{{Will}} I'm sorry it was a bust. I know you were looking to go farther in that department\"", "Willow: \"I'd just like to float something bigger than a pencil someday hey how's with you and riley You two seemed pretty snugly after class\"", "Buffy: \"see above re: talk all talk\"", "Willow: \"Do I have to tie you two together?\"", "Buffy: \"We almost, but...\"", "Willow: \"Well, get with it - I need my vicarious smoochies.\"", "Buffy (whiny): \"I don't know...\"", "Buffy: \"I get nervous and I start babbling and he starts babbling and it's a babblefest. Plus, everytime we talk I have to lie. The slayer thing comes up one way or another. I wish could just come clean.\"", "[SCENE_BREAK]", "The initiative. Forrest and Riley are climbing out of from a ladder descending to a platform overlooking a very tall demon in a blue robe with very long horns. At least one initiative member is still on the platform. They walk towards the elevator.", "Forrest: \"Well you can't\"", "Riley: \"Yeah, I know I can't, but it bugs me this time.\"", "Forrest: \"This is the burden we bear, brother. We have a gig that would inevitably cause any girl living to think we are cool upon cool. Yet we must Clark Kent our way through the dating scene never to use our unfair advantage.\" They stop to let a cart carrying others drive by.", "Forrest: \"Thank God we're pretty.\"", "Riley: \"But its just... Buffy's special\"", "Forrest: \"You think she's special. Wow. The first 486 times you told me it didn't register but now I 'see' that you think she's special.\"", "Riley: \"See, you're naturally inclined to talk too much I don't have that\"", "Forrest: \"{{Then get with the kissing}}\" They enter the elevator", "Riley: \"Riley Finn\"", "Elevator: \"initiative vocal code match complete\" Xander's basement. Spike is tied to a chair and Xander is dressed for bed in a T-shirt and boxers. As they speak Xander gets in bed and turns out the light.", "Spike: \"{dunna} see why I have to be tied up\"", "Xander: \"It's just while I'm sleeping\"", "Spike: \" Like I'd bite you anyway\"", "Xander: \"oh you would\"", "Spike: \" not bloody likely\"", "Xander: \"I happen to be very biteable pal. I'm moist and delicious.\"", "Spike: \" alright, yeah fine you're a {nummy} treat.\"", "Xander: \"and don't you forget it\" Spike adopts a high pitched almost falsetto voice - like Anya.", "Spike: \"Xander don't you care about me.\"", "Xander: \"Shut up!\"", "Spike: \"We never talk.\" Xander holds up a warning finger.", "Xander: \"Shut up!\"", "Spike: \" Xaaannnder.\"", "Xander: \"Shut up!\"", "[SCENE_BREAK]", "Giles' apartment.", "Giles (musing): \"They need to take seven... take seven what?\" knock at door. Giles get up and opens it.", "Giles: \"Olivia!\"", "Olivia: \"Sorry I'm so late {{the}} flight was a horror.\"", "Giles: \" {{oh no}} bad weather?\"", "Olivia: \"{{Baseball}} movie.\"", "Giles (amused): \"Oh.. so sorry\"", "Olivia: \"Yeah. That's enough small talk, don't you think?\" They kiss and Giles puts his glasses on the notes", "[SCENE_BREAK]", "A clocktower. 1:00 am. Interior of the clocktower. Pale grayish hands opens an ornate box and whispering is heard. Exterior of clocktower. Overview of town. Outside of a house. Bedroom. A sleeping boy's mouth loses a mist which goes out a window. People everywhere open their mouths and a mist comes out. Another bedroom with an elderly man. A bedroom with Giles and Olivia. The dorm room of Willow and Buffy. The mist travels over the town to the clocktower and goes into the box which the hand closes. The camera follows the arm to the Gentleman's face. It is gray white with silver teeth in a horrid perpetual grin and white eyes and drawn back skin over a bald skull with an almost hooked nose. It is the face from Buffy's dream.", "[SCENE_BREAK]", "Morning. The dorm. Buffy gets out of bed and goes to the bathroom. Sound of toilet flushing. She yawns and brushes her teeth. She comes out into the hall. A girl who is crying silently sniffles and passes her by. Buffy wonders what's up. Willow yawns and gets up", "Buffy: --good morning-- She stops", "Willow: --hey-- Buffy feels her throat", "Buffy: --good morn--", "Buffy: --good--", "Buffy: --Will can you hear me--", "Willow: --no I've gone gone deaf--", "Buffy: --no I don't think so. we can't speak.--", "Willow: --{{yells}}-- Buffy goes out into the hall. Students are out there and silently mouthing. Not a voice is heard.", "Xander: --what's going on-- --why can't I talk-- --{{unreadable}}--", "Spike: --{{unreadable}}-- Xander turns to face Spike who is still tied down.", "Xander: --You you did this to me.-- Spike holds his hands wide apart (how?)", "Xander: --I can't talk--", "Xander: --{{unreadable}}-- Spike holds up two fingers with back of his hand facing Xander and then looks away. Xander calls Buffy. The phone rings and Buffy picks it up. Buffy realizes she can't say hello. There's no voice on the other end and Xander realizes he can't talk either. Spike looks at him. Riley gets up and walks with Forrest down the stairs to the elevator in their frat house.", "Elevator: \"Retinal scan accepted\" They enter the elevator and the doors close. The elevator starts descending.", "Forrest writes on a pad: \"It's all over town\" The elevator stops.", "Elevator: \"vocal code not accepted\"", "Elevator: \"please state your name for vocal identification\" Riley gasps twice into the box.", "Elevator: \"vocal code not accepted\"", "Elevator: \"Unauthorized beings will be considered hostile\" Riley opens a panel in the elevator.", "Elevator: \"please commence vocal identification in the next 20 seconds to avoid countermeasures\" Riley slides a card in a slot. An led flashes flashes \"Enter Override Code\" and beeps. Riley punches in a code on a keypad.", "Elevator: \"Override code incorrect\" Forrest has written \"Come on Come On\" on his pad.", "Elevator: \"\"Lethal countermeasures engaged.\" Gas begins coming in an opening near the bottom of the elevator.", "[SCENE_BREAK]", "The elevator opens to Walsh, standing with an annoyed expression and two scientists standing behind her. Riley and Forrest rush off the elevator, relieved to be alive. Walsh points behind them to her left and their right. A sign reads \"In case of emergency use stairway.\"", "[SCENE_BREAK]", "A dorm entrance. Tara is walking and everyone is depressed. A girl in crying in a guys arms. A guy drops a tray and a glass and it is like a gunshot. Tara jumps back. He is embarassed and bends to clean it up.", "[SCENE_BREAK]", "Town. Honking. The bank is closed. Dogs bark. The liquor store is open. And doing brisk business. Willow and Buffy are walking though town. A siren is heard. A man sits in the middle on the street, his head on his briefcase. A prayer meeting has a chalkboard saying Revelations 15:1 Everyone reads. A guy is selling \"Mess age boards $10.00\" and the guy has one around his neck that says \"Message boards $10.00\". They are white boards with a black marker and can be erased. Will and Buffy look at each other.", "[SCENE_BREAK]", "Giles Apt. Will and Buffy arrive with boards around their necks Xander sees them and gets up. Anya turns back to see who Xander got up for and sees it is Buffy and looks at Xander and back at Buffy. Giles gets up. Buffy waves hi. Xander waves hi. He is depressed. Giles clasps Buffy's arm reasuringly and Buffy puts her hand on his. Buffy sees all the books open", "Buffy: --anything-- Giles looks down and shakes his head slightly. Buffy sets down her board. Willow takes her board and writes \"hi Giles\" Giles puts his arm across Willow's shoulder and squeezes. Buffy picks up the notebook where Giles wrote part of her rhyme. \"Can't even shout\" \"Can't even cry\" \"the gentlemen are coming...\" She shows its to Giles and points and he shakes his head. Xander snaps his fingers repeatedly and turns up the sound on the tv. \"Big news item from Sunnydale California Apparently the entire town has been quarantined due to an epidemic of, as strange at this may sound, Laryngitis. it seems the town has been rendered unable to speak there's no word yet what might have caused this or what other effects might be seen from this epidemic local authorities has issued a statement, a written statement, I should say, blaming recent flu vacinations. A few skeptics call it a city wide hoax In the meanwhile Sunnydale has effectively shut down all schools and businesses will be closed for the time being and residents are advised to stay home and rest up centers for disease control have ordered the entire town quarantined. no one can go in or out until the syndrome is identified or the symptoms disappear. We'll bring you more on that as it develops. During this Olivia is drinking a hard liquor. (whiskey or bourbon or scotch?) And Buffy has borrowed Willow's board. Xander --that's it--", "Buffy has written: \"Keep researching. I should be in town tonight.\" Giles --why--", "[SCENE_BREAK]", "The Initiative A blue screen says and an electric voice speaks. \"Because there will chaos.\" We see and hear Walsh typing on a keyboard and as she continues to type the electric voice continues: \"You will help keep order. Dress as civilians. A military presence would only increase panic.\"", "Riley writes: \"What is happening\" Walsh types and the electric voice says: \"We are looking into it. Go. Help maintain order. We will find an answer.", "[SCENE_BREAK]", "Town streets. evening. A car crashed into a fire hydrant which is spraying water. Silent people wander. Buffy walks. Riley breaks up an impending fight between a black man in a business suit and a white man. He has to push the white man back authoritatively. He turns to straighten the black man's coat almost like a tailor. The white man picks up a pipe to attack Riley from behind but Buffy has been approaching from behind and casually turns his wrist hard and the pipe drops. The bones crackled. The guy collapses in pain. Riley and Buffy hug Riley --{{are you ok?//how are you doing?}}-- Buffy nods. Buffy --you-- Riley rolls his head back and forth Crashing is heard. Riley indicates he has to go --unintelligible-- Buffy points in the other direction. They start to go, but then Riley holds on to her. They kiss. They each go on. A siren sounds.", "[SCENE_BREAK]", "1:50 am according to the clock tower. A doorway. Two gentlemen float/glide out. Their feet are about 6 inches?/15cm off the ground. They are dressed in long black formal wear? They are accompanied by two lackeys who shuffle. The lackeys have pinkish bandaged heads and wear straitjackets but the arms are not tied. The gentlemen float about six inches off the ground and don't move their legs at all. The lackeys have a caveman or Igor-like or chimpish gait and swing their arms about and do not stand up straight. Further up are four more gentlemen and some more lackeys. The four split into two pairs and wave bye with very small hand movements.", "[SCENE_BREAK]", "Giles' bedroom Olivia is awake, lying on a sleeping Giles chest. She puts on a robe and gets up and goes downstairs to the living room. She is drawn to the window and sees one of the Gentlemen floating across the street. Another floats right by her window with its face inches away from the window looking right at her and she jumps back in fright, gasping as she tries to scream.", "[SCENE_BREAK]", "The gentlemen seem to operate in pairs and there are six of them. Two of them go towards a house. One nods.", "[SCENE_BREAK]", "Campus. Two float down the lawns.", "[SCENE_BREAK]", "In the dorms a pair and their bandaged heads, straitjacketed lackeys float past rooms. They pass 217. They pass 213. One waggles his finger no. (Their hands move almost minimally, just enough to communicate the action.) They pass 214. Willow is shown sleeping. So is Buffy. They pass 217. They enter another hallway. The taller waves his hand no. 118. The taller goes here we are. (Presents the door room.) A knock on a door. A sleeping male awakens and opens the door. He is grabbed by the two lackeys and held down on his bed as he struggles and tries to scream for help again and again. The gentlemen look down at him and then at each other. One nods slightly. A gentlemen removes a scapel and hands it to the other. The gentlemen lowers the scapel.", "[SCENE_BREAK]", "The clocktower. There are three red hearts? in canning jars. The gentlemen florishes his hands as presenting a painting or a dish of food. He receives a round of faint applause from four others and holds up his hand to stop the applause/ say no, you're too kind.", "[SCENE_BREAK]", "Dorm hallway. A man in a green jacket is blocking students from getting into the victim's room. Buffy in coming from the other direction and darts in to see the victim.", "[SCENE_BREAK]", "Giles apt. Giles gets his morning newspaper and closes his front door. Olivia is drawing. Giles sees two newspaper articles about a \"brutal slaying\" and another about a \"fifteen year old stabbed, heart missing.\" Olivia has sketched a picture. The pictures strikes a memory and Giles goes to grab a book titled \"Fairy tales.\"", "[SCENE_BREAK]", "Giles performs a overhead projector presentation for Buffy, Willow, Xander and Anya in a lecture hall. Complete with creepy violin music on a boom box. Giles cracks his knuckles. The first transparency is upside down and backwards. Willow and Buffy, sitting next to each other in the front row point. Xander is sitting on the stairs several chairs away. Anya sitting, in the second row and eating popcorn, holds up her index finger and rotates it clearly meaning turn around the transparency. Giles sees the overhead and corrects it. 1) \"Who are the gentlemen?\" 2) \"They are fairy tale monsters\" (picture of one) Giles nods. 3) \"what do they want\" Giles holds up finger. Will holds up her hand and points to her chest Xander cups himself and says --boobies?-- Giles gives Xander a look. Willow looks at Xander and points as Giles changes the transparency. 4) \"hearts\" (picture of three hearts) Giles waves back at the hearts Xander gets it. Anya raises her eyebrows for a moment and eats more popcorn. 5) \"They come to a town\"", "(picture of two gentlemen on a hill overlooking buildings)", "6) \"They steal all the voices no one can scream\"", "(picture of two gentlemen on hill and four people loosing voices)", "Giles mimes speaking by moving his hand out from his mouth. 7) \"then\" (picture of one Gentleman) Giles holds up index finger 8) (picture gentlemen over person in bed. gentlemen has red knife, person's chest is red and red is dripping onto floor) 9)(picture of gentlemen holding red heart over person in bed. Enormous amount of red on chest and bed and floor.) Willow and Buffy exchanges disturbed looks. Anya shrugs and eats more popcorn. Xander starts to write. 10) \"They need seven, they have at least two.\" (Picture of seven hearts) Xander snaps his fingers and holds up his board \"How do we kill them?!\" Buffy takes her fist and pumps it toward herself. Disturbed looks from Xander and Willow, even Giles has to maintain a poker face. Buffy grabs a stake from her bag and pumps it towards herself. Xander gets she means stake them, Giles looks relieved and Willow pretends nothing was amiss. 11) \"In the tales No sword can kill them\" (Picture of a gentleman with three swords in him) 12) \"But the princess screamed once... and they all died.\"", "(Picture of a princess screaming and two gentlemen lying dead)", "Willow holds up a cd and ,then holds her hands over her ears and pantomines dying. She smiles. Giles holds a finger up and changes the transparency. 13) \"Only a real human voice\" (picture of a gentleman dancing to old style record player) Giles points to his throat. Willow throws her hand up and pouts.", "Buffy writes: \"How do I get my voice back?\" Giles throws his hands out to his sides. 14) \"Buffy will patrol tonight\" (picture of girl with bow and arrow). Buffy holds her hands at her sides (the picture is too fat). Giles makes some gestures. Giles points to rest and holds up a book. Everyone gets up. Buffy looks at a tranparency 2 with the picture of the Gentleman.", "[SCENE_BREAK]", "The Initiative. This night Forrest and Riley and others don military garb. And carry weapons.", "[SCENE_BREAK]", "Buffy patrols a street with houses and yards.", "[SCENE_BREAK]", "Riley on a grassy street, spots shadows moving in the clocktower. 2:35 am. He heads toward it.", "[SCENE_BREAK]", "A dorm room. Tara has Willow's address \"214 Stevenson\" on a post-it from the phonebook with Willow's name highlighted. A book is open to a chapter titled \"spells of speech and silence.\" She closes her door and leaves carrying some books and notepads.", "[SCENE_BREAK]", "Campus lawns. Tara is walking alone at night with her books. She looks back and trips over shrubs. As she is picking up her books we see two of the gentlemen and two lackeys coming up behind her. She hears the rattle of the straitjackets? and looks and runs. And she is chased.", "[SCENE_BREAK]", "Buffy sees a Gentleman gliding on the other side of the street but is tackled by a lackey springing from behind a bush before she acts. Tara is runnning down the hall and she bangs on a door. A dark haired girl sits up. Tara bangs on another door. The dark haired girl clutches her sheets in fear but doesn't move. Tara sees two Gentlemen floating towards her. Tara tries to yell. Tara --help-- Tara --help-- The lackeys appear behind the approaching Gentlemen. She bangs on another? door. She runs from the Gentlemen who started to get close, followed by their two lackeys. She gets to a stairway.", "[SCENE_BREAK]", "Street. Buffy flips a lackey to the ground. Another grabs her from behind and she elbows and backhands it. She kicks the first ducks a roundhouse from the second, kicks it in the leg to bring it down and snaps its neck. It goes down. The first lackey runs. Buffy looks around, then chases it.", "[SCENE_BREAK]", "Clocktower, lower level. Riley enters a door. He is tackled from and rolls loose and kicks it away in the head. He pulls an extendable club/rod from his boot. Three blows knock it to the ground but another grabs him.", "[SCENE_BREAK]", "Dorm hall. Tara runs up the stairs and bangs on doors. She is banging on 21? Willow hears the banging and wakes up. She was dressed and asleep at her computer. Willow is afraid. She goes toward her door. The door Tara is banging on opens and a Gentleman holding a heart looks at her. Two more float near the stairs she just came up. Tara runs around the corner. Willow opens her door and is looking the other way when Tara runs into her and they both fall. Willow grabs at her leg and yelps silently. She sees two of the Gentlemen followed by two lackeys. They both get up and run to another stairway mere steps away. Willow is limping.", "[SCENE_BREAK]", "Riley pushes the one holding him back into barrels, backhands him with his fist holding the rod and flips it over his shoulder. The first gets up and grabs Riley and slams him into a platform with one arm and they both fall to the floor. Riley has lost his rod and reaches out to his other weapon as the lackey holds him. A third lackey enters at a run. Boards sealing an opening break and Buffy crashes through and knocks it down from the side with a shoulder block and a shove. Riley reaches his weapon and rolls. Buffy kicks a lackey back. Another she simply throws into a shelf/wall. Riley reaches his feet and uses his weapon as a club to knock down the one still trying to hold on to him. Buffy and Riley aim weapons at each other and are surprised to see each other. One of the lackeys gets up and Riley ducks and Buffy ducks, spins and Buffy kicks it in the head. Riley blasts another with an electrical blast. It drops. Buffy shoots at one with an arrow. A third knocks her bow down and Riley grabs it from behind. The one she shot? grabs Buffy and throws her towards the wall. She stumbles and falls but is on her feet to meet it. She pushes it's side into the wall. She kicks it in side and in the head and gives it a left. Riley flips his to the ground. Buffy gives hers a left, a right and then grabs it and flips it down. Riley is holding his with an armbar hold. He looks up. The one who was blasted in getting up and Buffy runs and grabs a rope. Buffy swings on the rope and kicks it. Hard. It flies across the room breaking right through a post and into a shelf. Riley is shocked. Giles apt Giles is reading a book as he gets a cup of something. He and Spike bump shoulders. Spike opens the refrigerator and gets the \"kiss the librarian\" cup of blood out and drinks. He becomes vamp faced as he drains the cup. He heads back into the living room. Anya is sleeping on the couch with a book at her side. She tosses and turns and her neck is facing towards Spike. Spike kneels down. Xander enters and sees a somewhat pale Anya (a light is on her face) and then Spike's head comes up vamp faced with blood on his lips.", "Xander: -- -- Xander charges Spike. Spike stands and looks down at Anya. Just as Xander tackles him, Spike gets it and shakes his head", "Spike: --no-- The tackle wakes up Anya. She gets up. Xander is sitting on Spike holding him with his left hand and hitting him with his right. Giles and Olivia enter. Anya taps Xander on the shoulder twice and Spike is pointing to her with his right hand. Spike got hit seven times. Anya --{{I'm ok/alright}}-- Xander sees Anya and jumps up and kisses her and hugs her. Anya is puzzled then pleased. Spike gets up. Xander is still hugging Anya. He stops, looks at Spike with a distressed expression, shrugs, and kisses Anya again. Spike looks annoyed. Spike --{{unreadable}}-- Olivia looks at Giles and back at the couple and she is smiling. Giles looks annoyed. Anya -- you wanna go {{someplace}} and -- Anya does a gesture with her hands putting her finger into the fist in the other hand. She also nods slightly. Xander and Anya start to leave. Spike looks even more annoyed. Giles looks revolted. Olivia looks blank or shocked.", "[SCENE_BREAK]", "Tara and Willow run down the stairs. Willow is limping and Tara is holding her up trying to help her. The lackeys are close behind. They enter a laundry room and lock the door. Banging is heard on the door. At first they try to brace the door, then Willow limps to a soda machine. Tara follows and they both try to push it, but it barely budges (maybe only the top moved) and then it stops. Willow sits down clutching her leg. Tara kneels beside her and looks at her. Willow stares intently at the sode machine. Tara is continually looking back and forth between Willow and the soda machine. Tara sees the soda machine shudder but it doesn't move. Willow looks defeated. The banging continues. Tara looks at the machine once more and then at Willow. Tara slowly touches and then clasps Willow's hand with their fingers interlocking. Willow clasps it back and looks at Tara. Tara nods slowly. They clasp harder and look into each others eyes and as one turn quickly towards the soda machine. It literally spins to barracade the door in under a second. The banging on the door stops. They both look relieved. They look at each other and at their hands. Tara looks a little surprised and Willow, after a moment, also looks impressed with what they did. Both of them seem to get a rush from the power they just wielded.", "[SCENE_BREAK]", "Clocktower, lower level. A lackey jumps over the fallen lacky and grabs a barrel. Riley kicks the one he is holding and it falls. The one with the barrel knocks Buffy down from behind. She falls in front of another who is lying down. (Are there four now?) The one who hit Buffy? runs up the stairs. Riley is tackled by one knocking him off the one he was holding who is down again. Buffy looks back and leaves Riley with one standing. She goes up the stairs.", "[SCENE_BREAK]", "Clocktower, upper level ropes hanging, clockworks, a large bell. Buffy sees there are only two empty jars. She is kicked from behind and falls. Three lackeys grab and hold her and a Gentleman (three are seen) floats toward her with a scalpel. The scalpel gets near and a blast of electricity throws the Gentleman back. Riley shoots a lackey next. Buffy, held by only two lackeys now, flips over and kicks a fourth approaching lackey. She breaks free and hits one away. Riley's weapon seems to have run out of juice and he jumps forward. A lackey tackles Buffy. Two are going after Buffy. Riley uses his rod to hit one and another grabs him and throws him back. He wraps a rope around its arm and neck. Buffy ducks a roundhouse and kicks one in the back. She ducks away from another roundhouse kicks a stool forward into the lackey and delivers a terrific uppercut. Riley gives the one in the ropes an elbow to the head and the other recovers and grabs at him. Buffy takes one and pushes it and its head hits some hanging metal cylinders. A Gentleman moves forward with a scalpel. Riley turns the one grabbing him and bangs its head into the huge tower bell. Hard. The bell actually gongs. Buffy punches the one she pushed twice and kicks it away. A Gentleman stabs her from behind with a scalpel. Riley turns, alarmed. The gentleman backs away. A lackey grabs Buffy and throws her into a giant spool of rope. Then it holds her around the shoulders and neck from behind. Weakened, she can't break loose. Riley grabs something and hits the lackey from the ropes in the head with it as it gets loose. It goes down. Buffy see the box from her dreams next to the jars of hearts. She flashes back to the little girl holding the box. She waves and then bangs her hands on the giant spool to get Riley's attention as she is being held. Riley smashes a blue vial/jar next to the box and looks at her for approval. She rolls her eyes and pantomines opening. Riley gets it, mouths \"oh\", and smashes the box. Mist comes out of it. The lackey holding Buffy throws her down. Two of the streamers of mist go into Riley's and Buffy's throats. Buffy screams and screams and screams and the gentlemen's heads explode. Gooey splat sounds as the exploded head parts fall to the ground. Buffy and Riley look at each other.", "[SCENE_BREAK]", "Campus Exterior. Interior, Willow and Tara are sitting down in a public area.", "Willow: \"You were there looking for me?\"", "Tara: \"I thought maybe we could do a spell - make people talk again. I'I'd seen you in the group, the wicca group you were... you were different than them. I mean they didn't seem to know...\"", "Willow: \"What they were talking about.\"", "Tara: \"I think if they saw a witch they would run the other way.\" She smiles and laughs.", "Willow: \"How long have you been practicing?\"", "Tara: \"Always, I mean, since I um, was little... my, my mom used to, She um, she had a lot of power, like you.\"", "Willow: \"Oh I'm not {{li}}.. I don't have much in the way of power.\" She smiles.", "Willow: \"Really, I mean most of my potions come out soup Besides... spells going awry, friends in danger... I'm definitely nothing special.\"", "Tara: \"No, you are.\" Willow smiles at the compliment. Tara smiles hesitantly, then smiles.", "[SCENE_BREAK]", "Giles and Olivia are laying on his couch", "Giles: \"So would you say this was, uh, your best visit ever.\"", "Olivia: \"All the time you used to talk to me about witchcraft and darkness and the like - I just thought you were being pretentious.\"", "Giles: \"Oh I was. I was also right.\"", "Olivia: \"So everything you told me was true.\"", "Giles: \"Well no, um, I wasn't actually one of the original members of Pink Floyd. But the monster stuff, yes.\"", "Olivia: \"Scary.\"", "Giles: \"Too scary?\"", "Olivia: \"I don't know.\" Giles wonders.", "[SCENE_BREAK]", "scene: Buffy's room", "A knock. Riley enters.", "Riley: \"Hi.\"", "Buffy: \"Hi.\" Riley sits on Willow's bed.", "Riley: \"Well, I guess we have to talk.\" Buffy sits on her bed.", "Buffy: \"I guess we do.\" They sit silently, facing each other, hands folded in their laps.", "BLACK OUT" ]

[ "An earthquake occurs in Sunnydale, which signifies the Hellmouth is opening. The gang must return to the remains of Sunnydale High to stop it; Buffy and Riley struggle with each other's secrets." ]

[ "[PREVIOUSLY_ON]", "Spike sitting on the end of Willow's bed: \"Lets try again.\" He tries to bite her and is stopped by an excruciating pain in his head.", "Spike (voice over): \"I can't bite anything. I can't even hit people.\"", "Willow: \"How's with you and Riley?\"", "Buffy: \"Every time we talk I have to lie. I wish I could just come clean!\" Forrest climbs up a ladder in the Initiative compound: \"Well, you can't.\"", "Riley: \"I know I can't. But Buffy is special.\" Buffy bursting through the boarded up window into the house of the Gentlemen. Buffy and Riley spinning around aiming their weapons at each other.", "Riley sitting on Willow's bed: \"I guess we have to talk.\"", "Buffy sitting on her bed: \"I guess we do.\" They sit silently looking mainly at the floor only throwing occasional glances at each other.", "Buffy: \"Somebody should speak before one of us graduates.\" Riley gets up with a sigh, after a little more time: \"What are you?\"", "Buffy: \"Capricorn on the cusp of Aquarius. You?\"", "Riley: \"Sorry. That came out a little blunter than I intended. - It's just... you are amazing! Your speed, your strength.\"", "Buffy: \"Also passionate, artistic and inquisitive. - Who are you?\"", "Riley: \"You know who I am. The rest... what I do... (Shakes his head) I can't tell you.\"", "Buffy gets up: \"Well, then let me. You're part of some military monster squad that captures - demons, vampires, probably have some official sounding euphemisms for them, - like unfriendlies or - non sapiens.\"", "Riley nods: \"Hostile Sub Terrestrials.\"", "Buffy: \"So you deliver these - HST's to a bunch of lab coats, who perform experiments on them, which among other things turn some into harmless little bunnies. How am I doing so far?\"", "Riley: \"A little too well.\"", "Buffy: \"Meanwhile by day you pretend to be Riley Finn, corn-fed Iowa boy. (Riley looks down) Ever been to Iowa, Riley? God, if that's even your name.\"", "Riley: \"It is, born and raised. And hey! Bulletin: I'm not the only one who's been a little less than honest here.\"", "Buffy sits back down: \"I thought a professional demon chaser like yourself would have figured it out by now. - I'm the Slayer. (Riley just looks at her) Slay-er? - Chosen One. (Riley is still lost) She who hangs out a lot in cemeteries? - You're kidding. (Gets back up) Ask around. Look it up: Slayer comma the.\"", "Riley: \"And you fight demons. I mean, you waled on those guys.\"", "Buffy: \"You did pretty well yourself.\"", "Riley: \"But I'm a walking bruise today. You see me with my clothes off I look like... (Buffy raises her eyebrows at him) I mean... I have - bruises... I don't see a scratch on you.\"", "Buffy: \"You're not looking hard enough.\"", "Riley: \"I'm looking pretty hard.\" Buffy takes a deep breath both of them look away.", "Riley: \"So then... What do we do?\"", "Buffy: \"I don't know. - I just...(Sighs) I really thought that you were a nice, normal guy.\"", "Riley: \"I am a nice, normal guy.\"", "Buffy: \"Maybe by this town's standards but I'm not grading on a curve. (Riley shifts and swallows) I think we both need a little time to - process everything. (Takes a deep breath) Maybe then...\"", "Riley: \"Yeah. Yeah, I think that's a good idea.\" They look at each other for a while then Riley starts to leave.", "Riley turns back: \"Oh, - I don't think I need to tell you...\" Buffy sitting on her bed with her arms crossed: \"I won't say a word.\"", "Riley: \"Good. It'll be safer for all...\" He trails off and looks over at Amy-Rat, who's squeaking like crazy in her cage. Shortly thereafter the whole room begins to shake. Riley points at the open closet door: \"Over here.\" They hurry and stand in the doorframe until the earth stops shaking.", "Riley: \"Wow. That was some ride. (Buffy walks out into the room looking spooked) Sorry I'm so excited. This is my first earthquake.\"", "Buffy: \"It's not mine.\" Intro.", "Cut to Spike pulling the big red leather chair in Xander's basement to one side of the water leaking from a pipe in the ceiling.", "Spike: \"Sodden sleeping chair is bloody - sodden.\" Xander set a pan underneath to catch the water: \"The quake just knocked a couple of pipes lose. There is a wrench hanging up over there by the workbench. Try tightening the coupling.\"", "Spike: \"Do I look like a plumber to you?\"", "Xander: \"No, you look like a big mooch that doesn't lift a finger around here. But I have to get to work.\"", "Spike: \"Yeah, delivering melted cheese on bread, doing your part to keep America constipated.\"", "Xander: \"Mock not. Remember who pays for the plasma around here, pal. (Picks up the wrench and hands it to Spike) You earn your keep or you don't get kept. (Spike takes the wrench. Xander turns away) When you're done fixing that leak (Spike hauls back the wrench, but is stopped from hitting Xander by the intense pain in his head) try cleaning up *this* mess. And doing a *little* laundry for once wouldn't kill you (Turns back to see Spike holding his head, groaning with the pain) unfortunately.\"", "Cut to Buffy getting ready to leave her dorm room just as Willow comes in.", "Willow: \"Hey! I was in the library during the quake, almost got buried under some 19th century literature. And I don't have to tell you how hard it is to dig through some of that stuff. You okay?\"", "Buffy: \"Yeah. A couple of broken knick-knacks, but no biggies.\"", "Willow: \"Well, Porter dorm is completely blacked out. So naturally they are dealing with the crisis the only way they know how: 'Aftershock Party'.\"", "Buffy: \"Ah, this from the dorm that brought us the 'Somebody Sneezed' party and the 'Day That Ends in Y' party.\"", "Willow: \"They do seem to be pretty generous with the milestones. Hey, you should ask Riley to come! Much carousing by flattering candle light.\"", "Buffy: \"Ah, Riley is - ahm, busy. I'm pretty sure. But you know, you go on ahead, and I'll catch up with you there. I'm on my way for a little Giles one-on-one.\"", "Willow: \"Anything wrong?\"", "Buffy: \"Wrong? No, mm-mm, not at all.\"", "Cut to Giles sitting at the table in his courtyard.", "Buffy pacing: \"Something horrible is going to happen, Giles.\"", "Giles: \"It was an earthquake, Buffy. A not uncommon occurrence in southern California. No reason to think it was anything more.\"", "Buffy: \"Oh, I so have a reason. A darn good reason. The last time we had an earthquake, I died.\"", "Giles: \"Yes, I know that - and - therefore I completely understand your anxiety.\"", "Buffy: \"Oh, good. Because I'd hate for my little untimely horrible death concern to be ambiguous.\"", "Giles: \"But unless evidence suggests otherwise, I think that we can assume that it's shifting landmasses and not a portent of some imminent doom. (Lifts up a map of Sunnydale on a board with red pins stuck on it in clusters) Now in the meantime, I've got a few theories about our mysterious commando friends.\"", "Buffy sits down: \"Oh. - Really?\"", "Giles: \"Now based on the locations of our various sightings, and - Spike's *reluctant* description of their underground installation...\"", "Buffy jumps up: \"What if the quake was a sign? Ah, a bad omen and we just ignore it? There is going to be a lot of red faces when the world comes to an end.\"", "Giles gets up: \"Buffy, - *if* the quake heralds some such catastrophe, I'm sure there will be other signs to follow, which will afford us *plenty* of time to avert it. Now, - I believe that the commando installation is either very close to, or directly underneath your school, now if that is the case I'm convinced that one or more of them may be in your very midst.\"", "Buffy: \"Plague!\"", "Giles: \"What?\"", "Buffy: \"What if the end of the world is coming in the form of a plague? Then too many people may be infected by the time we actually...\"", "Giles: \"Buffy! Will you stop worrying about what may be and concentrate on what is! (Buffy gets ready to say something he stops her with a gesture) Vigilance is all very good, but as we are getting close the is a much more pressing question.\"", "Cut to Riley and Forrest walking down a white walled corridor in fatigues.", "Riley: \"What's a Slayer?\"", "Forrest: \"Slayer? Thrash Band. Anvil handed guitar band with delusions of Black Sabbath.\"", "Riley: \"No. A girl, with powers.\"", "Forrest: \"Oh. *The* Slayer. Oh, yeah, I've heard of the Slayer.\"", "Riley: \"Fill me in.\"", "Forrest: \"Well, the way I got it figured the Slayer is like some kind of boogey man for the Subterrestrials, something they tell their little spawn to make them eat their vegetables and clean up their slime pits.\"", "Riley: \"You're telling me she doesn't exist.\"", "Forrest: \"Oh, wait a sec. Am I bursting somebody's bubble here? Maybe this is a bad time to tell you about - the Easter-bunny? (Laughs) Sorry, sorry, it's a myth, Rye. All part of that medieval folklore garbage kooks dream up to explain things we deal with every day.\" A lab-coat and another guy are leading down a horned demon.", "Riley: \"How do *you* explain the things we deal with, Forrest?\"", "Forrest: \"They're just animals, man, plain and simple. Granted they're a little rarer than the one's you grew up with on that little farm in Smallville...\" There is a commotion behind them. The horned demon has broken loose. They run to help subdue it. Forrest with the demons arm around his neck: \"Where is that hypo?\" The lab-coat is fumbling to get his syringe filled. Drops the container. Riley grabs the nightstick the other guy dropped and hits the demon over the head, knocking it out.", "Riley: \"Never mind.\" Forrest holding his throat and gasping for air: \"Like I said - animals. (Hears a lot of banging) What's that racket?\"", "Riley: \"Animals rattling their cages. Doing it all day. Wonder what's got them all worked up.\"", "Forrest: \"Earthquakes man, make everybody crazy.\"", "Cut to the party at Porter dorm. Willow is standing in the middle of it looking lost. She spots Percy talking to a girl sitting on a sofa and walks over.", "Willow: \"Percy! Hi!\"", "Percy: \"Hey, Willow! What's going on?\"", "Willow: \"Stuff. I-I thought you got that football scholarship to USC.\"", "Percy: \"I did. (Motions to the girl next to him) Laurie goes here.\"", "Laurie: \"Hey.\"", "Willow: \"Hi. - Some party, huh?\" Laurie gives her a fake smile: \"It's okay.\"", "Percy after a pause: \"How's Oz?\"", "Willow: \"Oh, actually, Oz is...\" Laurie gets up and links her arm with Percy's and leans in to whisper in his ear.", "Percy to Willow: \"Uhm, listen - we're going to get some drinks. Cool to see you.\"", "Laurie: \"Bye.\"", "Willow: \"Yeah, catch you later.\" A topless guy trailing two girls makes his way across the room and walks through a door. As the door swings shut behind them we see the green, clawed fingers of a demon gripping the edge.", "Cut to the same guy alone in a room fixing four drinks, humming. Guy yells over towards the next room: \"Hey, you guys serious about naked limbo? I'm in.\" He picks up the four drinks and turns around. An ugly green demon roars, and slices him across the throat with its claws. We see the drinks drop to the floor, blood drips on them.", "Cut to Willow at the party looking bored.", "Willow: \"Buffy, where are you?\"", "Laurie (voice over): \"Why? So I can watch you flirt with that red head?\"", "Percy (v/o): \"What, Rosenberg? Yea, right. She's just some egghead who tutored me a little in high school (Willow looks behind her to see the two of them sitting on a couch, their backs to her) I mean, she's nice, but, come on, Captain of the nerd squad.\"", "Laurie: \"Well, I don't know. Maybe you have a thing for geeks.\"", "Percy: \"No, I like my women hot. (Shrugs) Call me old-fashioned.\" Willow walks away looking unhappy as they kiss.", "Cut to Willow opening the door to a dark room.", "Willow: \"Hello? - Anyone in here?\" She closes the door behind her and walks further into the room. She stumbles against something and reaches down to feel what it was, then lays down on the bed. Suddenly the lights come back on and we see that the guy with the sliced throat is laying on the other side of her. Willow slowly turns and jumps off the bed panting with fear. She stares at the symbol of a pyramid with an eye in it that has been carved into his chest.", "Cut to Xander walking down into his basement, carrying a pizza box.", "Xander: \"Oh, no! Spike the place is worse then when I left! You didn't even fix the drip!\"", "Spike: \"Don't turn around.\"", "Xander: \"Spike, what is it, what happened?\"", "Spike: \"Don't look at me.\" Xander turns around and his eyes almost pop out of his head as he stares at - Spike wearing one of Xander's knee-length shorts and a Hawaiian shirt. Xander starts to laugh.", "Spike holds up some clothes: \"I shrunk them. Bleeding shirt, trousers. I hate this place.\"", "Xander: \"You know I'm not any happier about you wearing my stuff than you are.'", "Spike: \"Go out, get me some decent stuff, and I want more blood.\"", "Xander: \"No! You're not a guest.\"", "Spike: \"You want me to tear this place apart, you bloody poof?\"", "Xander: \"That's it! I am way past due with you. I hate to break it to you, oh impotent one, but you're not the big bad anymore, you're not even the kind of naughty. You're nothing but a waste of space - my space! And as much as I always got a big laugh watching Buffy kick your shiny white bum, as much as I know I can give you a little bum-kicking myself right now, I'm here to tell you something (He steps forward, right under the drip of water from the leaky pipe) You're not even worth it. - I'm out of here.\" Spike looks after Xander at a loss for words.", "Cut to the dead guy being wheeled away in a body bag as Buffy walks in.", "Willow sitting on some stairs: \"Buffy! Over here.\" Buffy goes to sit next to her with a sigh: \"Wow. I wasn't sure where the party was, and then I saw the flashing lights and the ambulance, and I was like 'right, of course! Death, carnage - it's a Buffy party!\"", "Willow: \"I'm so glad you're here.\"", "Buffy: \"What happened?\"", "Willow: \"I found him - this guy on the bed with me. Dead. Not me dead, he dead.\"", "Buffy: \"God. Are you okay? (Willow nods. Buffy whispers) Vampire?\"", "Willow shakes her head: \"There was so much blood, and there - there was a symbol, and Percy said I was a nerd!\"", "Buffy: \"Percy called you a nerd?\"", "Willow nods: \"I guess we should report to Giles, get with the demon tracking.\"", "Buffy as the walk out: \"Does he even go here?\"", "Cut to Riley and Forrest in their dorm room. Riley shoot a foam ball at the hoop fastened to the door and misses.", "Forrest: \"Okay, that makes 0 for a billion. You don't got game, son. What's going on in that head of yours?\"", "Riley: \"I'm just trying to - make up my mind about something. - Buffy, - she's pretty cool, isn't she?\"", "Forrest sighs: \"*Yes* already, she's cool, she's hot, she is tepid, she's all temperature Buffy. Now can we concentrate on the game here?\" Forrest shoots just as the door opens and the third member of their team comes in. The ball hits him on the head.", "Forrest: \"Good block. You should use your face more often.\"", "Graham: \"We have an alpha code blue situation.\" Riley and Forrest get up.", "Riley: \"One of ours?\"", "Graham: \"Negative. Civilian at the Porter hall party.\"", "Forrest: \"HST attack?\"", "Graham: \"Can not confirm that. I couldn't get close without drawing attention to myself.\"", "Forrest: \"Should we mobilize?\"", "Riley: \"No, I'll go. Do a little recon. See if it falls in our domain. You alert Prof. Walsh. Tell her we have a casualty of an indeterminate nature. Lets not make a move until we get the whole story.\"", "Cut to the gang at Giles: \"It just made me feel like I was right back in high school.\"", "Xander: \"Dumb jock! If it wasn't for you he still would be.\"", "Willow: \"I mean, I know the - Percy thing isn't really important, it's the - dead guy on the bed.\"", "Xander: \"Yeah, that's bad, too.\"", "Willow: \"Ooh, and something else. He, the dead guy, was-was propped up, like whatever killed him wanted to drain the blood out of him. So I'm thinking the whatever took a bunch of the guy's blood with it. And I haven't been a nerd for a very long time! Hello dating a guitarist, - or I - was.\"", "Buffy: \"Tell me about this symbol.\" Willow takes out a yellow napkin and unfolds it: \"Right, it was carved into his chest, like a big creepy eye.\"", "Xander looks at her drawing: \"It's kind of the CBS logo. Hey, could this be the handiwork of one Mr. Morley Safer?\"", "Buffy: \"I'm telling you I've seen this somewhere before, I just can't remember where! I mean, it's like...\"", "Giles: \"It's the end of the world.\"", "All three kids: \"Again?\"", "Giles: \"It's ah, the earthquake, - that symbol, -yes.\"", "Buffy: \"I told you. I-I said end of the world and you're like 'poo-poo southern California, poo-poo!\"", "Giles: \"I'm so very sorry. My contrition completely dwarfs the impending apocalypse.\"", "Willow: \"No, I-it can't be. We've done this already.\"", "Giles: \"It's the end of the world, everyone dies. It's rather important really.\"", "Willow: \"So what do we do?\" Buffy goes and picks up a crossbow: \"I stop it.\" Everyone looks down on the symbol on the napkin, which blends into the same symbol on the side of a crypt.", "Buffy: \"I wonder where I've seen this before? Where else? The place I spend most of my waking hours memorizing stuff of the sides of mausoleums, big freaky cereal boxes of death.\" There is a noise of stone scraping.", "Cut to the green demon picking up the bones of a child's skeleton and putting them into a burlap sack.", "Buffy: \"Door was open.\" Demon turns and roars at her. She shoots it in the shoulder with the crossbow, then throws the crossbow at it. It bats the crossbow aside and comes at her. The two of them start fighting, after a while the fight moves outside. At the end the demon picks Buffy up and slams her down on top of a grave marker. Buffy lies on the ground groaning for a moment, but when a shadow falls over her, she flips back to her feet, turns and hauls back with a hard right at - Riley who just manages to block it.", "Riley: \"Wow, that flippy-thing you did...\"", "Buffy looks around: \"Where did it go?\"", "Riley: \"I saw it take off towards the woods.\"", "Buffy: \"And you didn't follow it?\"", "Riley: \"No weapons, no backup, you don't go after a demon that size by yourself.\"", "Buffy: \"I do.\" Riley pulls out a handheld radio: \"Yeah, well, I'm no Slayer. (To Radio) Base one, this is lilac one.\"", "Buffy: \"Lilac?\" Riley holds up a hand to quiet her: \"Confirmed sighting of an unidentified Sub-T. Mobilize patrol team for debriefing at o800 hours.\"", "Radio: \"Copy that.\"", "Buffy: \"Very commandory - lilac not withstanding. (Riley laughs, putting his radio away) What are you doing here?\"", "Riley: \"Looking for you, she who hangs out in cemeteries.\"", "Buffy frowns and turns away: \"I have to - get the demon.\"", "Riley: \"Don't sweat it. We'll bag it.\"", "Buffy turns back: \"It's not that simple.\"", "Riley: \"Yeah, but - I really think...\"", "Buffy: \"Riley, I just... can't.\"", "Riley: \"Can't talk?\"", "Buffy: \"Can't any of it. - I can't be with you. - It's just a huge, black pit of a mistake and I can't go there again.\"", "Riley: \"Again? You've dated me before?\"", "Buffy: \"No! Look I was involved... (Sighs) You don't know what my life is like.\"", "Riley: \"But I'm dying to find out.\"", "Buffy: \"Dying being the operative word here. Okay, there is too much risk. There is too much... (Sighs) It's just doomed! And I can't do doomed *again* right now. Sorry.\"", "Riley: \"I-I don't understand where this is coming from. I know you like me. And it's not like we don't have anything in common.\"", "Buffy: \"But that's not enough.\"", "Riley: \"Buffy, I'm thrown by this, I'm confused... - But I can feel my skin humming, my hands, my every inch of me. I've never been this excited about anybody before. I'm not trying to scare you, and I'm not going to force myself on you. But I'm, by God, not going to walk away because I think it *might* not work. I don't know what's happened in your past...\"", "Buffy backs up a step: \"Pain, - death, - apocalypse. - None of it fun. - Do you know what a Hellmouth is? Do you have a fancy term for it? Because I went to high school on it, for three years. (Shakes her head) We do not have that much in common. This is a job to you.\"", "Riley: \"It's not just a job.\"", "Buffy: \"It's an adventure, great. But for me, it's destiny. It is something that I can't change, something that I can't escape. I'm stuck!\"", "Riley: \"You don't *have* to be. You're not in high school anymore. You *can* change things.\"", "Buffy: \"Riley, no.\"", "Riley: \"I know it may seem...\"", "Buffy: \"Riley! - My answer is no.\" She turns and walks away and he watches her go before turning and leaving himself.", "Cut to the gang researching at Giles.", "Giles: \"A Vahrall demon.\" Willow looking over at his book: \"Eew!\"", "Xander: \"I second that revulsion.\"", "Giles: \"Yes. 'Slick like gold and gird in moonlight, father of portents and brother to blight'.\"", "Buffy reading over his shoulder: \"Limbs with talons, eyes like knives, bane to the blameless, thief of lives.\"", "Cut to Riley debriefing his patrol team: \"Three meters tall, approximately 100 -120 kilograms, based on my visual analysis.\"", "Graham: \"Special hazards?\"", "Riley: \"Unknown. Probably nothing we haven't handled before. There is no pattern we can discern yet, so we got to assume that it is on a basic kill-crush-destroy.\"", "Cut to Buffy: \"This thing isn't digging up the bones of a child for fun.\"", "Xander: \"Well, a demon's got some pretty hilarious ideas about fun.\"", "Willow: \"Bones of a child though. I saw that! (Pulls a book over to her and flips pages) An ancient ritual - uses the blood of a man, the bones of a child and - something called the word of Valios? I-It's all part of the sacrifice - the sacrifice of three.\"", "Buffy: \"Let me guess - ends the world.\"", "Willow: \"Well, yeah, - I-it's not big with the details, though. It doesn't say how the world ends or what the ritual entails exactly.\"", "Xander: \"The sacrifice of three... - Three people are going to die?\"", "Buffy: \"No, they won't. Because claw boy is not getting all of his ingredients. We have to find that third one, the Word of Valios, keep him from getting it.\"", "Willow: \"If he doesn't already have it. I mean, who knows where he's been?\"", "Cut to Riley: \"Here is one for the good guys: this thing has a pheromone signature a mile wide. Agent Gates has been working with the detection system the lab's developing.\"", "Forrest gets up: \"Can't tell where it's going, but I've got a bead on where it's been. (Stands next to Riley) Residual traces showing up in populated areas. The thing's not shy.\"", "Riley: \"We're going out in civies, day clothes only guys. Weapons stowed in packs, keep 'em out of sight til nightfall. Remember this isn't a capture, it's a kill.\" Forrest as the meeting breaks up: \"Get your quadrant assignment from me. We'll blanket the town.\"", "Cut to Buffy: \"I'll check the magic shop. See if they've heard of a book called the word of Valios. (Puts on her coat) Willow, Xander, how about the book archives at the museum?\"", "Xander: \"We'll stop at my place on the way, get some weapons, and I'll change into something that isn't quite as anchovy scented.\"", "Buffy: \"You guys this thing takes wicked very seriously. Be careful. I couldn't stand anybody getting hurt.\"", "Cut to a stake clamped to the edge of a table. Camera pans up to reveal Spike standing on a chair before it his arms spread wide.", "Spike: \"Good bye, Dru. See you in hell.\" He lets himself fall forward just as Willow and Xander walk in. He turns in the air to look at them and misses the stake, smashing the table.", "Willow: \"What are you doing?\"", "Spike picks himself up: \"Bloody rot. Can't a person knock?\"", "Willow: \"What were you doing?\"", "Xander: \"You were trying to stake yourself!\"", "Spike: \"Fag off! - It's no concern of yours.\"", "Xander: \"Is, too. For one thing that's my shirt you're about to dust. For another, we've shared a lot here. You should have trusted me enough to do it for you.\"", "Willow: \"Xander!\"", "Xander: \"What? He wants to die, I want to help.\"", "Willow: \"It's ooky. We know him, we can't just let him poof himself!\"", "Spike: \"Oh, but you can. You know I'd drain you drier than the Sahara if I had half a chance. And besides, I'm beyond pathetic. Stuck in this basement washing skivvies for a blighter I wouldn't have bothered to bite a few months ago.\" Xander in the process of changing: \"Hey!\"", "Spike: \"I mean, am I even remotely scary anymore? Tell me the truth.\" Willow just looks at him and he jumps at her, curling his hands into claws.", "Willow: \"Well, the shirt is kinda - not very threatening - and the short pants, but you know it could also be because I know you can't bite, which I guess isn't really what you need to hear right now, is it?\"", "Spike: \"Stop, please, just clear out.\"", "Xander: \"Fine. But you break anything else while we're gone and you'll be sleeping in the garage, buster.\"", "Willow: \"We can't leave him here like this! We'll have to take him with us to the museum.\"", "Spike: \"Oh, you go on. I won't do anything. I feel better now. Promise.\" Xander puts an arm around Spike's shoulder as they walk towards the steps: \"Think of the happy. If we don't find what we're looking for, we face an apocalypse.\"", "Spike: \"Really? You're not just saying that?\"", "[SCENE_BREAK]", "Cut to Buffy walking down the street. She sees Riley slowly walking down the street looking at a little handheld device, and waits for him to get to her.", "Riley: \"Buffy.\"", "Buffy: \"Is this really the time for Donkey Kong?\"", "Riley frowns confused: \"What? (Buffy looks at the thing in his hand) Oh. It, ah, takes trace readings of creatures pheromones.\"", "Buffy: \"And?\"", "Riley: \"And it's either mating season for this thing or it's moving all over town. - You know, Buffy...\"", "Buffy: \"Actually I need to go. Big bad, needs to be squished.\"", "Riley falls in beside her: \"Right. I'm on it, too. (Steps in front of her) It's just - this thing, this you and me thing, it's Stupid!\"", "Buffy: \"I know. Which is why we can't do it, the you and me thing.\"", "Riley: \"No, I mean you're stupid. (Buffy looks at him) I mean... - I don't mean that. - No, I think maybe I do.\"", "Buffy: \"Wow, with sweet talk like that, you'll definitely melt my reservations.\"", "Riley: \"I'm serious. You have this twisted way of looking at things, this doom and gloom mentality. You keep thinking like that and things will probably turn out just the way you expect.\" Buffy starts to walk past him: \"You know there is nothing more dangerous than a psych-grad-student.\" Riley follows and steps back in front of her: \"Buffy, where is the bad here? (Buffy sighs and rubs her neck) It just turns out - we are even more well matched than we thought we were. I mean, you're a (sees some people walking by) - fry cook - and so am I!\"", "Buffy: \"Yeah, but you're an amateur - fry cook and I come form a long line of fry cooks that don't live past 25.\"", "Riley: \"Which is exactly the attitude I'm talking about. Look, I know the risks of what we do. I also know it's more rewarding than any other job on the planet - and fun.\"", "Buffy: \"Fun? The last person I know that believed that is in a coma right now because she had so much fun on the job.\"", "Riley: \"I'm not saying that you shouldn't take your work seriously.\"", "Buffy: \"That I should just turn my frown upside down? Is that it? I wish I could. But this isn't the kind of gig where you can just hang it up at the end of the night and snuggle with your honey.\"", "Riley: \"But why? Why can't it be?\"", "Buffy: \"Because I've tried it, okay? And every time it just fell apart. And then I get sucked right back in to the Uber-evil.\"", "Riley: \"Welcome to the story of the world. Things fall apart Buffy. And evil - it comes and goes. But the way people manage is, they don't do it alone. They pull each other through. If you weren't so self involved you'd see that.\"", "Buffy after a beat: \"You have no idea what you're talking about. You barely know me.\" She walks past him and he stays beside her.", "Riley: \"I know that it's not just a job thing. I'm sure that there is some good looking guy that done you wrong in there, too. But mostly I think you want to stay down in that dark place (Buffy stops to look at him and he steps in front of her) because maybe it's safer down there.\"", "Buffy: \"You are so out of line.\"", "Riley: \"No. See I don't think so. (Puts his hands on her arms) Look, we have an opportunity here, you and me, and the fact that you're to scared to even give it a try..\"", "Buffy: \"Is my business. So why don't you just leave me alone?\" Riley straightens up slowly and looks at her: \"Fair enough.\" After another moment he walks past her. Buffy closes her eyes for a moment then walks on herself.", "Cut to Willow, Xander and Spike in front of the historical museum of Sunnydale.", "Willow: \"Great. No word of Valios.\"", "Xander: \"Not even a syllable of Valios.\"", "Spike: \"Which means I'm one step closer to melting in a sea of molten hellfire, yeah?\"", "Willow: \"You shouldn't talk like that. Yeah, okay, so you can't kill anymore, but there are other fun things you can do. You'll adjust.\"", "Spike stops and turns around: \"Adjust? And what? End up like the two of you? No thank you.\"", "Xander: \"Here it goes. 'We can't jus leave him here to stake himself! It's not right.'\"", "Spike: \"I should think you would be glad to greet the end of days. I mean, neither one of you is making much of a go at it. (Gestures at Xander) You. Kids your age are going off to University, you've made it as far as the basement. And Red here, - you couldn't even keep dog-boy happy. You can take the loser out of high school, but...\"", "Willow: \"I see what you're doing. You're trying to get us to dust you.\"", "Spike: \"Am not! I just don't want pity from geeks more useless than I am.\"", "Willow: \"We're not useless! We - we help people. We fight the forces of evil!\"", "Spike: \"*Buffy* fights the forces of evil. You're her groupies. She'd do just as well without you - better I'd wager, since she wouldn't have to go about saving your hides all the time.\"", "Xander: \"That is no not true! We're part of the team. She needs us.\"", "Spike: \"Or you're just the same tenth grade losers you've always been, and she's too much of a softy to cut you lose.\" Willow and Xander stand there speechless and after a moment Spike turns and walks on a satisfied grin spreading over his face.", "Cut to Giles looking through a book. He finds a picture of the Word of Valios which turns out to be a 15th century talisman.", "Giles: \"Oh - as usual - dear.\" Goes to dig through his chest, pulls out a box filled with necklaces and talismans and pulls out the Word of Valios. Three Vahral demons attack him.", "Cut to Buffy walking into Giles house.", "Buffy: \"What happened?\" Giles looking beat up, is sitting on the couch next to Xander: \"It's my fault. I should have known.\"", "Buffy: \"Giles...\"", "Giles: \"The Word of Valios - is the name of a talisman - not a book. I blame myself entirely. I had it here.\"", "Xander: \"You had it here? Okay, first I thought you were being to hard on yourself, but...\" Willow brings some ice wrapped into a dishtowel and Giles presses it against his head.", "Giles: \"Oh, thank you. I bought it at a sorcerer's estate sale. I really only glanced at it once. I thought it was a knock off.\"", "Buffy: \"Well, they have it. And they probably have their sacrifices by now, too.\"", "Giles: \"They're on their way to perform the sacrifice now.\"", "Buffy: \"On their way where? You found out what the ritual is for?\"", "Giles: \"The Hellmouth. They are going to open the Hellmouth. - The one in the library.\" The guys look at each other then Buffy gets up.", "Buffy: \"Looks like we're going back to high school.\"", "Cut to the gang walking up to the ruins of Sunnydale High with the moon almost full in the sky above it.", "Buffy as they enter: \"Be careful you guys, the place doesn't look to stable.\"", "Spike: \"Fine by me. Hope we all go under.\"", "Buffy: \"Why is he even here. It's not like he can fight!\"", "Willow: \"If we leave him alone, he'll stake himself.\"", "Buffy: \"And that's bad because...? - Fine. Whatever. Just keep him out of the way. I do *not* have time for this. (Sighs) Okay, when we get to the library keep a look out for victims they're keeping alive for the sacrifice. Getting them out is the first priority.\"", "Willow: \"Will do.\"", "Buffy takes a deep breath: \"Okay - you guys ready?\"", "Xander: \"Lets rock and roll.\"", "Spike mocking Xander: \"Lets rock and roll.\"", "Cut to them waking down a burnt up and tattered hallway.", "Xander: \"Sunnydale High. These walls - if they were still walls, what stories they could tell. (Steps on something squishy) Eew! (Everyone turns to look at him) Mayor meat. Extra crispy.\" They walk on.", "Willow: \"I think we're near the library.\"", "Cut to them entering what used to be the library. There is a big hole where the floor used to be. We hear a growling chanting going on.", "Willow: \"Whoa. Check out the new floor plan.\" Three Vahral demons are standing around a fissure in the floor.", "Buffy: \"Three of them.\"", "Willow: \"I don't see any sacrifice people.\"", "Buffy: \"They must be around here somewhere. The ritual is not finished. And it's not gonna be.\" Buffy jumps down into the hole and attacks the three demons. One of them drops the bottle with the blood and Xander hurries over to pick it up before any of the demons can get it.", "Xander: \"The blood! - Get the talisman. They can't do the ritual.\" Buffy keeps waling on the three demons. Willow darts in and pulls the sack with the bones out of one of the demon's hands.", "Willow: \"I've got the bones! (She tosses them to Xander) Here!\" Xander tosses them right back to her as he is attacked by one of the Vahrall. Xander as the demon keeps beating him in the stomach: \"You've got the wrong man, dude. I've had a lot of practice with my lunch money.\" Willow tosses the bag of bones to Spike, who is sitting by the edge of the hole watching the fight.", "Willow: \"Spike!\" Spike catches the bones and sees one of the Vahral coming for him: \"Right, perfect.\" Buffy is fighting one demon, Xander another and the last is beating up on Spike. The one fighting Xander gets a hold of the bottle of blood, turns and jumps into the Hellmouth.", "Xander: \"Okay, I guess I won. (The earth begins to shake) The demons! They *are* the sacrifice!\" Spike finally has enough of getting beaten on. He hauls back, screams and hits the demon with all his might, then puts his hand to his head, but there is no pain.", "Spike: \"No pain! (He hits the demon again) I can hurt a demon!\" He vamps out and starts to make up for all the violence he's missed out on, having a great old time. Spike as the demon finally drops: \"That's right. I'm back. And I'm a BLOODY ANIMAL! Yeah!\" Spike picks up the Vahrall, not noticing that it has just gathered up the sack of bones and lifts it high above his head.", "Xander: \"No!\"", "Willow: \"Spike, not in the hole!\" Spike throws the Vahrall into the Hellmouth and another bigger tremor shakes the earth.", "Spike: \"What? I was helping!\"", "Buffy: \"Get out of here! The building is going to come down!\" Starting with a beam that hits Spike on the back of his head, dropping him to the ground. Xander runs over and helps him up. He and Willow help Spike out of the hole as Buffy continues to beat up on the last Vahrall demon. She even picks up a piece of wood and stakes it at one point, but to little effect. As the Vahrall hauls back to hit Buffy, its arm is grabbed from behind by Riley, who pulls it around and starts to beat up on it.", "Buffy still on the floor: \"Don't let it jump into the Hellmouth!\" The Vahrall grabs Riley and throws him across the room. Riley gets right back up only to get dropped by a hard kick to his stomach. Buffy is back up and waling on the demon. Riley gets back up and the beat up on it in tandem for a moment before Buffy kicks it across the room. A beam drops on Riley and while Buffy is distracted the Vahrall picks up the talisman and slides headfirst into the Hellmouth.", "Buffy: \"I'm going in.\" Riley hooks a cable to her belt: \"You're coming back out.\" Buffy runs and dives into the Hellmouth. We get a shot of the demon falling. A shot of Riley and the cable being pulled from a round box on his belt. A shot of Buffy falling. A shot of Riley wrapping the cable around a piece of rebar sticking out of some broken concrete. The cable stops being pulled out and Riley starts to pull Buffy back up while the earth is shaking again. Buffy's arm hooks over the edge of the hole and Riley hurries forward and helps her climb out of the hole. Buffy is holding on to the demon with her left hand and Riley helps her to pull it out of the Hellmouth.", "Riley: \"Buffy.\" The Vahrall demon slumps down dead and the earth stops shaking.", "Cut to Riley and Buffy walking up to where Willow, Xander and Spike are waiting for them in the hallway.", "Riley: \"Well, hey! Willow - and Xander, right? Jeez, what are the chances, huh? (Looks at Buffy for help, but she just folds her arms and looks down) Yeah, I was just passing by when I thought I heard people inside.\"", "Willow: \"Passing by in your GI Joe outfit?\" Riley looks down at himself.", "Buffy suppressing a smile: \"No offence, but you do look wicked conspicuous.\"", "Riley: \"I do? But it's... - Paintball! Yeah, I was playing paintball. And then the aftershocks...\"", "Xander: \"So you're one of the commando guys, huh?\"", "Riley laughs: Oh, no, no, no, no. Commando? No, I mean... (Notices Spike) Don't I know you?\"", "Spike: \"Me? (Affecting a bad Texan accent) No. No, sir. I'm just an old pal of Xander's here.\"", "Riley: \"Oh. That's nice.\" Buffy walks out and Riley and the others follow.", "Xander to Willow: \"It's kinda weird being back, isn't it?\" Willow looking at the burnt out hallway: \"Yeah. Everything seems so small - and more charred and ruiny.\"", "Cut to Riley's dorm room the next day. He is again trying to shoot hoops with mixed success. There is a knock on the door.", "Riley: \"Come in.\" Buffy sticks her head in then slowly walks in.", "Buffy: \"You never called. So I didn't know...\"", "Riley: \"Oh, hey - I'm sorry. I'm just - I'm a dead man. - Secret. Highly. - Or it's supposed to be. And - and then you find out. I can deal. You're special. But last night with your friends was a disaster. I mean, could I've been *less* convincing? I was *trained* to be sneaky and stuff, and I'm like - Hi! Paintball - just passing by! I should have just given them my security code and rank!\"", "Buffy: \"You have a security code and rank?\"", "Riley: \"No. Did I just say..? (Sinks down on the end of his bed) This is so not good. (Sighs) Everybody knows about me. I'm finished. It's the end of the world.\" Buffy walks up to him with a smile: \"No, it's not.\" She leans down and kisses him.", "Cut to Willow and Xander watching TV in his basement. Spike walks up to stand right in front of the screen and the two of them sway to one side in an effort to see around him.", "Spike: \"What's this? Sitting around watching the telly while there's evil still a foot. (Turns the TV off) That's not very industrious of you. I say we go out there (Rubs his hands together) and kick a little demon ass! (Xander and Willow stare at him) What, can't go without your Buffy, is that it? To chicken? Let's find her! She is the Chosen One after all. - Come on! Vampires! Grrr! Nasty! Let's annihilate them. For justice - and for - the safety of puppies - and Christmas, right? Let's *fight* that evil! - Let's *kill* something! (Fade to black) Oh, come *on*!\"" ]

[ "Giles, feeling left out, goes out for drinks with Ethan Rayne ( Robin Sachs ). He wakes up in the morning as a Fyarl demon, and hires Spike to help him. Mistaking him for a Fyarl demon, The Initiative and Buffy try to hunt him down." ]

[ "~~~~~~~~~~ Prologue ~~~~~~~~~~~~ Fade in to room 214 in Stevenson Hall. It is night. Soft music is playing. Interior is dark except for Buffy's bedside lamp, and Riley and Buffy can be seen lying on her bed, above the covers (fully dressed), but to say they were only \"making out\" would be like saying the sun is only kinda bright. You hardly need to hop to reach the conclusion they're headed for.", "Riley: (between kisses) We're not expecting anyone, are we?", "Buffy: Willow said she was going to be at the science library all night.", "Riley: Is that right? They resume. On the brink of Steven Bochco territory, Riley slips his hand up the back of Buffy's shirt and begins to lift it but Willow pisses off most of the male viewers, as well as some of the female viewers, by barging into the room, breaking the mood.", "Buffy: Uh, apparently not. Buffy stands up and straightens her shirt.", "Willow: (worried) We got trouble.", "Buffy: (serious) What is it?", "Willow: I was in the rec room. It came through the window.", "Riley: Vampire?", "Willow: Vampires don't breathe fire.", "Cut to hallway, first floor. Buffy, Willow, and Riley round the corner. Buffy is carrying a rifle-size crossbow.", "Riley: I should call for backup.", "Buffy: No time. She hands him the crossbow and motions him down the adjacent hall and he splits from them towards the other door into the rec room. Buffy arms herself with a stake from her bag. She does not look happy as she and Willow head for the door.", "Buffy: We have to make this fast. I have better things to do tonight than kill. Opens the door and steps inside the rec room which is in total darkness. A second later the lights come up and we and Buffy see that it is a surprise party for her 19th birthday (says the large banner hanging across the ceiling) and a crowd of people yelling:", "Everybody: SURPRISE! Which Buffy is and quickly hides her stake. Riley rushes in through the door on the other side of the room, but attention is on Buffy so he hides the crossbow without anybody noticing it. In the crowd we see Xander Harris, Anya, Rupert Giles, and several other faces (we might recognize as extras from previous seasons).", "Willow: (smiling) Guess you won't be killing anything tonight, after all.", "Buffy: (sly grin) Don't be so sure. Wolf's howl. Opening credits and theme playing. ~~~~~~~~~~ Part One ~~~~~~~~~~ Fade in to the party, well on its way. The table is lined with cake, snacks, punch, etc. Pan to Giles, Xander, and Anya gathered around the soccer table. Giles has a paper plate with cake and a cup of punch. He's talking around a mouthful of cake as Xander and Anya listen to him.", "Giles: Yeah, this is a lively space. It's like the activity room we had at public school. Two male students move in on the soccer table and Giles picks up his cup and steps away.", "Giles: Sorry (chuckles) I, uh, one time I, uh, I was up to a little bit of a prank with the dart board--", "Anya: (to Xander) I'm bored. Let's eat.", "Xander: (sternly) Anya, we've talked about this.", "Anya: (to Giles) I'm sorry, that was rude. Please continue your story. (seems proud of herself as she looks to Xander) (then quietly) Hopefully it involves treacle and a headmaster.", "Giles: (not amused) Go and eat. Anya hurries off and Xander gives Giles an apologetic look before following. Dissolve to later. Giles is sitting in a chair against the wall, alone, looking a bit uncomfortable as the party continues around him. Willow walks up to him with another paper plate of cake.", "Willow: (handing him the plate) Giles! Hi. Are you having a good time?", "Giles: (standing) Yes. Yes. There's, uh, a lot of new faces here, aren't there?", "Willow: Yeah. Mostly kids from the dorm. A couple of Riley's friends. Buffy walks up with Riley.", "Buffy: (happy) Hi, Giles.", "Giles: Buffy. Happy Birthday. He balances his plate and cup to let her hug him.", "Buffy: Thank you.", "Giles: (smiling) Nineteen. It's hard to believe, isn't it?", "Buffy: There's somebody here I want you to meet. Uh, this is Riley Finn (he steps forward and Giles needs to put down his plate to shake his hand) . . .. my boyfriend.", "Riley: (as Giles gives Buffy a surprised look) It's very nice to meet you, Mr. Giles. Did you help plan this? It was quite a surprise.", "Giles: (to Riley) The first of many. Uh, been . . . dating long?", "Buffy: Giles was the librarian at my high school.", "Riley: Ah, I've seen the library. It's gone down hill since you left.", "Giles: (chuckling) Yes. I-I-I'm embarrassed to say that I actually miss it at times.", "Riley: So, you're retired?", "Giles: (frowns) I'm sorry?", "Riley: Or . . . you're working somewhere else now?", "Giles: (slightly embarrassed) Well, not, uh . . . sort of between projects, uh, right now, uh, it's a personal--", "Buffy: Oh! Oh, look. Giles has no cake.", "Riley: Oh, here. Here, I'll get you a piece. He hurries off to make the cake run. Willow must have already moved on because Buffy and Giles are alone. Giles still seems to be recovering.", "Buffy: Oh, he's just nervous. But this is so nice. Having everyone together for my birthday. Of course, you could smash in all my toes with a hammer and it will still be the bestest Buffy Birthday Bash in a big long while.", "Giles: Right. A-a-actually, Willow a-a-and Xander did all the planning. I'm not sure I would have gone with the surprise party. (smiles) You know, you have enough things jumping out at you in the dark.", "Buffy: Professor Walsh says that adrenaline is like exercise but without the exorbitant gym fees.", "Giles: (a beat) Very whitty.", "Buffy: You should meet her. She's absolutely the smartest person I've ever met.", "Giles: (feeling a bit slighted) Perhaps we should have invited Professor Walsh to the party? (takes of sip of punch)", "Buffy: Oh, no. I mean, she's like forty. She's got better things to do than hang out with a bunch of kids. Giles feels even more out of place, but Buffy doesn't pick up on his discomfort. Riley returns with another piece of cake and hands it to him.", "Riley: Here you go, sir. On Giles' expression cut to-- --exterior of Harris home, next day. A plain looking one-story house. Cut to interior of the basement: abode de Xander. Spike is seen walking back and forth as if looking for something to pack in his bag, cigarette in his mouth. Xander is standing on the other side of the room and Anya is lounging on the recliner, browsing a comic book.", "Xander: (impatiently) You own nothing. This shouldn't be taking so long.", "Spike: Hang on. Let a fella get organized. Spike sees a radio and picks it up.", "Xander: That's my radio!", "Spike: And you're what? Shocked and disappointed? I'm evil!", "Anya: (putting comic aside) So, what kind of place are you looking for?", "Spike: I don't know. Maybe a crypt. Some place, you know, dark and dank. But not as dark and dank as this.", "Anya: Heh. It's pretty depressing, isn't it?", "Spike: I've known corpses with a fresher smell. In fact, I've been one. (flicks is cigarette away)", "Xander: That's it! Let's go. Xander marches to him about ready to drag his ass out.", "Anya: Wait. (gets up and unplugs the tall three-head lamp and brings it over to him) I want to give you something for your new place.", "Xander: That's my lamp. Xander takes it back from her and returns it to its original spot.", "Anya: A gift is traditional. I've read about it.", "Xander: That's among friends. With bitter enemies we don't give them my lamp.", "Spike: It's not gonna have electricity anyway. It's a crypt, remember?", "Anya: What about running water? A fridge to keep your blood fresh?", "Spike: (a beat) No.", "Anya: Well, that's gotta suck. You should just get a hotel room or something.", "Spike: (considers) Demon girl's got a point. I need fresh blood. If I had a few bob for a room with an honor bar--", "Xander: Out! Before I get the Slayer over here to kick your ass out!", "Spike: (sighs, picks up his long coat) Don't know why she didn't come. Say good-bye, shed a few tears.", "Xander: Well, she has an appointment with somebody who's actually still *scary*!", "Cut to Professor Walsh's office. Walsh is sitting behind her desk and has a serious expression on her face.", "Walsh: So, the Slayer.", "Buffy: Yeah. That's me. Buffy is sitting in front of Walsh's desk, looking a tad nervous, with Riley standing slightly behind her left shoulder.", "Walsh: We thought you were a myth.", "Buffy: Well, you were myth-taken. (smiles but sees that neither are gonna laugh and stops)", "Walsh: And to think all that time you were sitting in my class. Well, most of those times. I always knew you could do better than a B minus. Now I understand your energies were directed in the same places as ours, in fact. It's only our methods that differ. We use the latest in scientific technology and state-of-the-art weaponry and you, if I understand correctly, poke them with a sharp stick.", "Buffy: Well, it's more effective than it sounds.", "Walsh: Oh, , I'm, heh, quite sure of that. As I'm just as sure that we can learn much from each other. I'm working on getting you clearance to come into the Initiative. I think you'll find the results of our operation most impressive. Agent Finn here, alone, has killed or captured-- how many is it?", "Riley: (note of pride) Seventeen. Eleven vampires, six demons.", "Buffy: Oh . . . Wow. (trying to sound impressed) I mean, that's . . . seventeen.", "Walsh: What about you?", "Buffy: Me?", "Walsh: How many hostiles would you say you've slain? Glancing back and forth between them, Buffy is considering, and from her expression we--", "Cut to Giles's apartment. He's dusting inside one of his book cases. He stops as he suddenly remembers something. He holds the feather duster between his teeth and takes an old tome from the shelf. He opens it and sits down on a cushion footrest. He reads then does a calculation with his fingers. He removes the featherduster.", "Giles: \"Third new moon after the . . . nine-hundredth feast of Delthrox.\" Oh, (stands up) crap.", "Cut to moments later. Giles is at his work desk gathering supplies and putting them in his bag as he talks on the phone.", "Giles: No, we can't wait for her, Willow. The demon Prince Barvain is going to rise tonight. Well-- Where is she, exactly?", "Cut to UC Sunnydale campus. Still daylight. Buffy and Riley are walking outside approaching a large flowing fountain. Riley has a stunned expression on his face.", "Riley: Wow.", "Buffy: Those are my best stories. And I didn't tell you the \"Buffy breaks her butt\" stories.", "Riley: But you've killed a-- You did the thing with that-- Uh, you drowned. And the snake! Not to mention the . . daily . . slayage of (pause) Wow.", "Buffy: It's no big, really. (cheerfully) Hey, who wants ice cream!", "Riley: Buffy. When I saw you stop the world from, you know, ending . . . I just assumed that was a big week for you. Turns out I suddenly find myself . . . needing to know the plural of \"apocalypse.\" They've rounded the fountain and continue walking.", "Buffy: Look. If you've been fighting since you were fifteen you'd have a hefty resume' too.", "Riley: (shocked) Fifteen!?", "Buffy: (winces) I know, \"wow.\" The point is, that, that we have different amounts of experience. You know. And plus, I do have that whole preternatural Slayer strength deal.", "Riley: (nodding) I've seen. Don't get me wrong. The girls I grew up with could hold their own. But . . . I'm not even sure I could take you. Buffy stops and looks up at him.", "Buffy: That all depends on your meaning. Riley smiles down at her.", "Cut to Professor Walsh's office. She is standing behind her desk busy looking over some papers. There is a knock on the door.", "Walsh: Yeah? The door opens and Giles steps inside.", "Giles: Professor Walsh, I presume. You're hard to find. These--these halls are quite the labyrinth. I felt like Theseus and the Minotaur in the . . . labyrinth.", "Walsh: (a beat) Can I help you with something, Mr. . . . ?", "Giles: Giles. Rupert. (walks over and offers his hand, Walsh shakes it) I'm looking for Buffy Summers. I'm, uh, a friend of hers. And I was her high school librarian.", "Walsh: I'm sorry, Buffy's not here. But if I see her . . . Giles is looking at Walsh's framed credentials hanging on the wall.", "Giles: Buffy's been very influenced by your cause. She quotes you quite often. (smiles) Sometimes she sounds like an introductory textbook herself. Walsh walks past him to put something in the file cabinet next to him.", "Walsh: (returning to her desk) I don't lecture from the text book. But I'm glad she's inspired by the material. She's bright. All she's really been lacking is encouragement in the academic sect.", "Giles: Oh, uh, I think it's best if-if. . . if we let a young person find their own strengths. If you lead a child by the hand then they'll never find their own footing.", "Walsh: And if it's true about hiking, ergo, it must be true about life.", "Giles: (removing his glasses to polish them with a handkerchief) That's not, uh . . . I'm just saying Buffy is, uh, well she's not the typical student. Once you get to know her, she's a very unique girl. I hope you're not going to push her.", "Walsh: I think I do know her. And I have found her to be a unique woman. Walsh rounds to the front of her desk to sit in a chair facing him.", "Giles: \"Woman.\" Of course. How wrong of me to choose my own words.", "Walsh: She's very self-reliant, very independent--", "Giles: Exactly!", "Walsh: --which is not always a good thing. (this causes Giles to pause) I think it can be unhealthy to take on adult roles too early. What I suspect I'm seeing is a reaction to the absence of a male role model.", "Giles: (squinting) Absence?", "Walsh: (standing) Buffy clearly lacks a strong father figure. Giles is speechless. Walsh decides to end the conversation.", "Walsh: I'm sorry, I have things to do. I'll tell Buffy her *friend* was looking for her. Walsh moves back behind her desk to continue working and off Giles' slighted expression we--", "Cut to a cemetery at night. Xander and Willow are at Giles' sides. They are walking in a quick pace to keep up with him.", "Willow: This prince/demon guy was supposed to rise at sunset so aren't we, like, late?", "Giles: Of course if I hadn't had to search the globe for our Miss Summers and do battle with that harridan. . . .", "Xander: And if you hadn't gotten lost on campus afterwards . . .", "Giles: Never mind. I'll just have to take care of it myself. I've vanquished a few demons in my day without her. Of course, it wouldn't surprise me if we're entirely too late. Demon on the loose, carnage everywhere. They've reached a large mausoleum and step inside through the wrought iron gate. Cut to interior shot of them opening the inner door walking down the foyer steps. They see the place is in order, except for a lot of cobwebs decorating the walls.", "Xander: Your better demons will clean up after themselves.", "Giles: (confused) I don't understand. (moves to the center of the chamber, scanning with his flashlight) Umm, there should be ruptured earth and-and broken stone. Oh, well, apparently it hasn't happened yet. A bit of luck. Giles sets his bag down on the floor and opens it to begin pulling out his supplies.", "Willow: Or, you know what I bet? I-I bet the Initiative took care of it.", "Giles: Who?", "Xander: Oh, Riley and his guys. Probably all over it.", "Willow: Yeah. It has that \"too neat\" look. They must have cleaned up the place. Giles is looking at them, at a lost.", "Giles: What?", "Willow: Oh, they read hot spots. Areas of otherworldy energy. (looking around) They must've picked this place up days ago. Giles stands up and faces them.", "Giles: Stop, both of you. Uh, what, uh . . . What are you talking about? W-what's the Initiative? What. . . what on earth does it have to do with Buffy's new boyfriend? Giles raises the flashlight almost to their faces as Willow and Xander exchange a nervous glance.", "Willow: You know. I'm sure you know. Riley's one of the commandos.", "Giles: (exasperated) What?! Well that's marvelous, isn't it? (turns away in a fit) Here I am, spent weeks trying, uh, t-to get a single scrap of information about our mysterious demon collectors and no one bothers to tell me that Buffy's dating one of them?! (faces them) Who else knows?!", "Xander: No one. No one else knows this. (pauses) Anya, and that's it!", "Willow: (sheepishly) And Spike.", "Giles: Ssspike?! Spike knew?", "Xander: Only the basic stuff. You know, that Riley is a commando and Professor Walsh is in charge.", "Giles: (furious) Professor Walsh!? That fishwife!?", "Willow: You know, she's actually not that bad once you get to-- (sees Giles' look) So, th-the demon is probably a little late. W-we'll just, you know--", "Giles: Oh, forget it. Go on. You two clear off. I'll just stay a little longer just in case.", "Willow: You sure? 'Cause we can stay.", "Giles: No. Go. Eager to escape his wrath, Willow and Xander beat feet out. Giles sits down on a stone bench in silence for a few seconds.", "Giles: Who am I kidding? He stuffs his supplies back in his bag and hurries to the door.", "Giles: (muttering) Nothing is gonna happen. He leaves closing it behind him and all is quiet for a moment. Then we see the back of a man wearing a gray trench coat step into the frame looking at the closed door.", "Ethan: I wouldn't say that. (cut to front closing shot of Ethan Rayne) I wouldn't say that at all. In fact, Ripper, old mate, I'd say something rather interesting was about to hap-- Shot of the door opening again and Giles shining the flashlight inside.", "Giles: Did someone--?", "Ethan: (caught) Oh, bugger! I thought you'd gone! ~~~~~~~~~~~ Part Two ~~~~~~~~~~~ Just as we left things. Giles is stepping down to Ethan's level. He doesn't look happy to see the other English man.", "Giles: Ethan Rayne. You have no idea how much thrashing you is gonna improve my day. Ethan tries to bolt past Giles, but Giles clubs him in the gut with the flashlight and Ethan falls forward. Giles jerks him back up and is ready pummel him, raising a fist. Ethan has his hands up to ward off attack.", "Ethan: (scared) No, no, no! Wait! Hang on! You-you can beat the crap out of me. Go ahead, I can't stop you! (Giles cocks back his fist) Or-or you can listen to what I have to say. Find out what's going on.", "Giles: What are you talking about?", "Ethan: Something bad is happening. Bad for both of us.", "Giles: Bad for you. (cocks fist again)", "Ethan: No, no, no! Listen! You have to listen! You're going to need time to prepare! >From Giles' \"ready to kick Ethan's ass\" expression we--", "Cut to a bar. Dimly lit, slight honky tonk feel to it. Juke box playing music in the background. Ethan and Giles are sitting at a booth as a waitress is serving them their draft beers. Ethan is removing his coat.", "Ethan: Brilliant! Now isn't this more fun than kicking my ass?", "Giles: No.", "Ethan: Oh. It's more fun for me. Waitress moves away.", "Giles: (raising his glass) Just tell me what you want to tell me.", "Ethan: (mock hurt) Oh, so crass. We used to be friends, Ripper. When did all that fall apart?", "Giles: The same time you started to worship chaos.", "Ethan: Oh, religious intolerance. Sad, there. I mean, just look at the Irish troubles. (annoyed, Giles starts to rise to leave) Oh, hang on, I'll tell ya. (Giles settles down again) Something happening in the darkworlds. It's always been rumors out there but . . . only one thing's coming through clear.. That something's harming demons and it's not the Slayer. Know anything about it?", "Giles: (takes a drink) What are they saying?", "Ethan: Heh, you know demons. It's all exaggeration and blank verse. \"Pain as bright as steel\" things like that. They're scared. There's something called \"314\" that's got them scared most of all. The kind of scared that turns to angry. I know we're not particularly fond of each other, (Giles chuckles scoffingly) Rupert. But we are a couple of old mystics. This knew outfit, it's blundering into new places it doesn't belong. It's throwing the worlds out of balance. And that's way beyond chaos, mate. We're headed quite literally for one hell of a fight.", "Cut to close up of Buffy throwing jabs at the camera. High shot: we see she is sparring with Riley on workout mats, circling each other. He's dressed in sweats and a T-shirt. Buffy's in a white long sleeve shirt and blue jeans, with a scarf wrapped over her long flowing hair. She throws a few more jabs and he blocks them and counters with a one-two combo Buffy easily ducks under. They continue to circle. Buffy launches three roundkicks in quick succession. He blocks the first two then sidesteps the third gets up behind her and wrapping his arms around her.", "Riley: (smiling) Are you pulling back?", "Buffy: (grinning) Are you?", "Riley: (shrugs) Maybe a little. Buffy suddenly spins out of the hold and Riley is thrown off his feet, spinning before hitting the mat on his back. He looks up. Buffy is smiling down at him.", "Buffy: Maybe a little, too. Riley smiles and kicks himself to his feet. They begin to circle again.", "Riley: I'll go all out if you will.", "Buffy: Are you sure?", "Riley: (serious) Here we go. Riley steps in with a combination of hard swinging hooks that Buffy is quick to block. She ducks under his last punch and captures his legs in a scissor hold and takes him down with her. Riley quickly rolls out of her legs and scrambles to his feet. Buffy is quicker and is waiting for him. She hits him in the chest with a side kick that launches him into the air. He flies across the room over a gymnastic pommel horse and lands on a thick fall cushion. The impact upsets another large cushion leaning against the wall and it falls on top of him.", "Cut to Buffy. Shocked expression at what she did.", "Buffy: Riley! She runs over to him and tosses the cushion off of him.", "Buffy: Are you hurt? Riley sits up, hand on his chest. He looks winded. Definitely humbled.", "Riley: I, uh, (groans) I don't think so.", "Buffy: I'm so sorry. I-I didn't mean to, uh--", "Riley: (sounds unsure) It's fine. I'm good. Riley offers a slight grin and Buffy seems to feel better. Cut back to Giles and Ethan. Everything is almost the same except that their table is cluttered with glasses and shot glasses, mostly empty, and they are both stinky drunk. They seem on the verge of passing out.", "Giles: (faltering voice) You know what gets me? This is what gets me. Twenty years I've been fighting demons. Maggie Walsh and her Nancy-ninja boys come in and six months later, demons are pissing themselves with fear. They never even noticed me.", "Ethan: (drunkenly) Who's Maggie Walsh?", "Giles: Oh, she's awful. She said I was an absent male role model. Absent my ass. I'm twice the man she is.", "Ethan: (OS) You know you're really very attractive.", "Giles: Hm? He sees that Ethan is talking to the waitress, who is serving them another round. He starts writing something on a piece of paper.", "Ethan: Here's my name and number. (hands it to her) You give me a call, I'll show you a good time.", "Waitress: (unimpressed) Yeah, thanks. She departs.", "Giles: We gotta face it, we've changed. We'll not you . . . you're still sadistic and self-centered.", "Ethan: (toasting himself) Here's to me.", "Giles: The world has past us by. Someone snuck in and left us a couple of has-beens in our place. This Initiative, I mean, their methods may be causing problems, but they're getting the job done. Where am I? I'm an unemployed librarian with a tendency to get knocked on the head.", "Ethan: Well, we won't have to worry about that anymore now, mate. (serious tone) When you went to the loo I slipped a small pellet of poison in your drink. You'll be dead in an hour. Dramatic pause as the words sink in for Giles and he seems to sober.", "Ethan: Just kidding! They both burst out laughing, blood alcohol returning to their high intoxicated levels.", "Giles: (calming down) I'm gonna feel like hell in the morning.", "Ethan: Relax. Enjoy the night. We're just a couple of sorcerers. The night is still our time. Time of magic. They raise their glasses in a toast.", "Giles: To magic.", "Cut to Tara's dorm room: dorm unknown, room number unknown. It is very dim. The walls are black and strewn with a string of white Christmas lights that give the place a mystical look. Tara is kneeling on the floor pouring white powder, sand, or salt in the design of a four-point star in a circle. Willow is holding a red rose.", "Willow: (sitting across from her) I'm glad you wanted to get together. I know it's late.", "Tara: Thanks. (a beat) I was happy you called. Willow places the rose on top of the circled star.", "Willow: We'll start out slow. Tara sits and Willow reaches her hands out to her and the blonde girl links hands with her.", "Tara: Okay. Willow closes her eyes and Tara follows suit. They sit there for a few seconds in silence.", "Tara: Willow?", "Willow: Yeah?", "Tara: (eyes opening) Start out slow doing what? Willow opens her eyes.", "Willow: (in a soft voice) Oh. We're gonna float the rose. Then use the majiks to pluck the petals off, one at a time. It's a test of synchronicity. Our minds have to be perfectly attuned to work as a single delicate implement.", "Tara: (a moment, then smiles) Cool.", "Willow: And it should be very pretty. They hold hands again and close their eyes. They are in deep concentration and a bright light comes to life on the circled star. At the same time a soft breeze sweeps through the room and the rose starts to shudder. Slowing it begins to rise. When it is shoulder level with the girls they open their eyes and look at it. They release each other's hands.", "Tara: (softly) It worked.", "Willow: (softly) Now for the hard part. The petals. They begin to concentrate again looking at the rose when the rose suddenly shoots off across the room. Surprised, they stand and watch as the rose ricochets off the walls a few times and have to duck to avoid it. It finally comes straight down on the four point star and we see that it is petalless but smoking.", "Willow: (shocked) What the heck was that?", "Tara: I don't know, but, uh, the petals are off. (chuckling)", "Cut to exterior shot of Giles' apartment building, morning. Giles' Citroen is parked by the curb. Cut to interior shot, Giles' loft. An alarm buzzer goes off and we see a body moving under a sheet on the bed and the alarm is shut off. Dissolve to shot of panted legs walking down the stairs.", "Giles: (yawning) I feel like hell in the morning. We see Giles reach the landing and stop in front of a small mirror hanging on the wall while he releases a big yawn, stretching his arms. We see that Giles is a demon! Light brownish tan skin, with long horns sprouting from the sides of his forehead, curving back and around his really long, hairy, ears, ending in sharp points next to his cheeks. As he yawns he shows us a set a fangs much like a vampire's. He smacks his lips when the yawn is done and finally opens his sleepy eyes and sees his new form for the first time.", "Giles: (eyes popping wide open) Uh! Wha-- Wha--(touching his horns) No! Leaning closer to the mirror he puts a hand on the wall and his now clawed hand goes through it. Giles is in a state of disbelief as he pulls his hand back out and absently rests it on the stairs' banister. It's instantly rip from the railing. He looks at what he did.", "Giles: Damn! He takes the final steps down to the first floor and throws the banister down, where it hits a chair and shatters it. He's looking around, confused, then is struck by a thought.", "Giles: Ethan. Giles' voice has taken on a low gravelly sound. He goes to pick up the phone and it shatters in his hand before he can lift it to his ear. He drops it and moves to pick up his shirt from the floor. He struggles to get into the sleeves and when he tries to shrug into it his now jutting, ridged, spine rips it down the middle.", "Giles: (grimacing) Oh, and I liked that shirt! He trades the shredded shirt for a thick flannel blanket and wraps it around his shoulders as he heads for the door. He grabs the handle and the door comes off its hinges, but Giles is beyond caring at this point and steps outside.", "Cut to Buffy. She and Willow are having breakfast in the Rocket Cafe on campus. We haven't seen Buffy in this good a mood in such a long time it's almost scary. She is happily stacking her pancakes on her plate.", "Buffy: I like pancakes 'cause they're stackable. (looks at Willow's plate) Ooo, and waffles 'cause you can put things in the little holes if you wanted to.", "Willow: (laughing) You should always have a new boyfriend. You're so much fun right now.", "Buffy: Hey. I didn't hear you come in last night. Where were you?", "Willow: (quickly) The chem lab, by myself. (a beat) I-I was trying this new spell; floating a rose, when all of a sudden (motions with fork) zing, zing, zing! Like all over the room. It was like a rose-based missile.", "Buffy: Yikes.", "Willow: I know. I think there's something out there. I-I felt this presence.. This dark majiks energy blocking the spell. It's new.", "Buffy: Someone else doing majiks?", "Willow: Maybe. If so, it's someone pretty powerful.", "Buffy: Hmm. I'll tell Giles about it. Or maybe I'll tell Maggie. She seemed kind of interested in learning the mystical side of the whole demon hunting biz.", "Willow: Tell Giles. He's feeling a little hurt right now. (Buffy frowns in question) How come you never told him about Riley being a commando?", "Buffy: I did. (Willow shakes her head) I didn't?", "Willow: He says no. He's feeling neglected and out-of-the-loopy.", "Buffy: Well, I didn't at first because Riley said not to. And . . and then \"meow\" cat out of the bag and I-I guess I just forgot that he didn't know. (cheerfully) I'll make it up to him when I see him. Tomorrow. I'm spending today with Riley.", "Willow: Oh, yeah. I forgot that's what you always do on the days when the earth rotates.", "Buffy: (smiling) It's just going so well, right now. I think. (stops smiling) I hope. (grins sheepishly) I sort of kicked him across the room last night.", "Willow: Uh, that's not good.", "Buffy: Well, we were sparring and he said not to hold back. And he's a little dented. But he said he was okay with it and I think he's okay with it --do-do you think he's okay with it?", "Willow: I'm sure he is. I mean, if he's not . . . you know, you had to do it. He's right. You can't walk around pretending you're less than you are. It wouldn't be right for you to hold back.", "Buffy: Right. (frowns)", "Willow: What?", "Buffy: (a beat) I held back a little.", "Cut to Xander's basement. Giles quietly opens the door and steps inside. He walks under the clothesline of drying underwear and sees Xander sleeping in bed.", "Giles: (surprised) Still asleep? (sees the clock) It's ten thirty in the morning. He moves forward and leans down to gently shake the bed.", "Giles: (whispering) Xander. Xander, wake up. Groggily, Xander turns on his side and looks over his shoulder at him, eyes still closed.", "Xander: (sleepily) Mom?", "Giles: No, it's not mum. Now, when you look at me . . . you may be a little alarmed but there's no need, it-it's me. Giles. Now, Ethan has turned me into a demon and I need your help. Xander slowly opens his eyes.", "Giles: Hello. Yes, it's me.", "Giles: (Xander's POV: speaking a demon language)", "Xander: AHHH! Xander jumps out of bed and backs away.", "Giles: Xander, listen! Don't you understand me?", "Giles: (Xander's POV: speaking demon language)", "Xander: (shouting) Demon! Demon!", "Giles: (Xander's POV: speaking demon language)", "Giles: Please, don't you understand? (Xander starts grabbing pots and pans from his shelves and throws them at him) No, no! Don't! Xander! Xander, calm down! Ow! You're just a little overwrought. Oww!", "Giles: (Xander's POV: growls in frustration and runs out the door)", "Xander: That's right! Run for your life!", "Cut to Giles outside in broad daylight, running across a lawn. Children are playing and Giles is stepping on their toys scattered on the grass. Kids are frightened and a mother is reaching for her child.", "Giles: (panicked) Oh, God. I'm sorry!", "Mother: (grabbing her child) Call 911!", "Giles: (running away) Bloody humans!", "[SCENE_BREAK]", "~~~~~~~~~~ Part Three ~~~~~~~~~~ Fade in to panning evening shot of Sunnydale. Cut to courtyard of Giles' apartment building. Buffy is leading the way down the steps with Xander, Willow, and Anya.", "Buffy: So it had pointy things. What kind of pointy things?", "Xander: The pointy kind. And tufty ears. Oh, and it might have a sauce pan shape bruise. (trails off as they stop)", "Willow: Giles will know what it . . . was. They see Giles' door is off its hinges leaning against the inside wall. They hurry in.", "Buffy: Giles? Xander goes halfway up the stairs to check the loft.", "Buffy: Looks like Xander wasn't the only one to get a visitor today.", "Xander: (coming back down) He's not upstairs.", "Willow: Oh, God, Giles.", "Buffy: Okay. There's a demon and Giles is gone. But it doesn't mean that he's hurt. I mean, there's no blood anywhere so maybe the demon just took him somewhere? Anya is picking up Giles' ripped shirt and holds it up for inspection.", "Anya: (mildly) I think it ate him up. Buffy, Willow, and Xander become more worried.", "Cut to a cemetery. Giles is lumbering through, still wrapped in his blanket, in a miserable mood. He walks past a stone mausoleum and does not notice Spike holding up a measuring tape to one of its walls. The vampire sees him and moves out behind him in a casual BMF strut.", "Spike: Well. What do I spy with my little eye? (Giles stops) A demon. That would be . . . oh, right . . . the things I can kill.", "Giles: (\"why me?\" tone) Spike. Wonderful. A perfect end to a perfect day.", "Spike: (frowning) Giles?", "Giles: (turning around, fists up) Go on, then. Let's get on with the fighting-- You understand me?", "Spike: Of course I understand you.", "Giles: I'm speaking English?", "Spike: No, you're speaking Fyarl. I happen to speak Fyarl. And . . . by the way, why the hell are you suddenly a Fyarl demon? You just come over all demony this morning? Spike steps back to the mausoleum, pulling out his smokes. Giles follows him..", "Giles: As a matter of fact, I did. Thanks to Ethan Rayne. You have to help me find him. He must undo this and then he needs a . . . good being killed.", "Spike: And I'm just supposed to help you out of the evilness of my heart?", "Giles: Y-you help me and I-I don't kill you.", "Spike: Oh, tremendously convincing. Try it again without the stutter. (takes a drag)", "Giles: Money. I could pay you money.", "Spike: (steps closer and flicks cig away) Oh, I like money. How much?", "Giles: A h-hundred dollars.", "Spike: A hundred dollars? You'll have to do a lot better than that. Two-hundred.", "Giles: Fine.", "Spike: (surprised for a second) Right, then.", "Giles: Right, then.", "Spike: So what's first? (grinning) I run and tell the Slayer what you've gotten yourself into?", "Giles: No. When I find Ethan I can clear all this up without Buffy ever having to find out that anything happened to me at all. Giles starts out of the cemetery and Spike follows.", "Cut to Giles' apartment. Xander is sitting at Giles' desk looking through several open books. Everyone is looking through books. Willow is holding a book for him.", "Xander: Okay, that's a giant vulture. I'd have mentioned it if it was a giant vulture. Willow steps away to keep searching.", "Willow: Buffy, even if we figure out what kind of demon got Giles --I mean, how are we gonna find it?", "Buffy: We'll figure it out. (shows a book to Xander) Oh, this one has tufty ears. He looks at the page and dismisses it with a wave. They all look towards the door when they hear a noise outside.", "Willow: (whispering) What was that? Buffy moves quietly to the door pulling out a stake. The door moves and Buffy cocks back the stake and -- It's just Riley.", "Riley: Buffy?", "Buffy: Riley. What are you doing here?", "Riley: There were 911 calls from a couple of different places. Including here.", "Xander: You get 911 calls?", "Riley: We have a tap into the system. It flags things with possible nonhuman causes. (Xander shakes his head in dismay and continues researching) We check them out. (to Buffy) What are you doing here?", "Buffy: This is Giles' apartment. He's missing. The calls, did anyone see what did it?", "Riley: Negative. No. Neighbors just heard, you know, growling, things breaking. Sounded like a struggle.", "Willow: Poor Giles.", "Buffy: We'll get him back.", "Riley: What are you working on?", "Buffy: Uh, we have stuff. Pictures . . .", "Anya: (helpfully) We have nothing. Riley sees Buffy's crestfallen expression as she leans against the wall and puts his hands on her shoulders.", "Riley: I'll help. The whole Initiative. We'll do whatever you need.", "Buffy: Thanks. I just wish I knew what I needed. I keep thinking, \"let's ask Giles\" and then I remember.", "Xander: He'd be great right now. He'd find himself in a second. Nobody is cooler in a crisis.", "Cut to Giles' Citroen. Giles is in the passenger seat and Spike is behind the wheel, wrestling with the gearshift. The car sounds like it's being murdered.", "Giles: If you can't find third gear, don't try for third gear!", "Spike: I'm doing my best. I don't know if I'm driving this thing or wearing it.", "Giles: It's perfectly serviceable.", "Spike: (laughs) Funny hearing a Fyarl demon say \"serviceable.\" Had a couple of them working for me once. They're more like \"Like to crush. Crush now?\" Strong though. You won't meet a jar you can't open for the rest of your life. Giles's growls.", "Spike: (looks at him) What was that? Did you growl?", "Giles: No. Listen, about this Fyarl demon. Do-do I have special powers? Like setting things on fire with my sizzling eye beams?", "Spike: Well, you got the mucous thing.", "Giles: What? Mucous?", "Spike: Paralyzing mucous. Shoots out through the nose. Sets on fast. Hard as a rock. Pretty good in a fight.", "Giles: Are you making this up?", "Spike: (sly grin) Maybe. But hey, you feel a sneeze coming on, you warn me.", "Giles: (growls) Turn here. He slams his arm against the door for emphasis and Spike makes a left turn. The Citroen makes it's disapproval of this known with the grinding of gears..", "Giles: Down shift! Down shift!", "Spike: Calm down, will you?", "Giles: I'm not sure I can. I feel like I'm changing.", "Spike: (sighs) Fine with me. So long as you pay me.", "Giles: (growling quality) I really like this feeling. Sort of mindless need to destroy. This anger and rage.", "Spike: Good times. Go with it.", "Giles: (almost normal voice again) No.", "Spike: Oh, it's fun. I can't do it, do it for me. Now let yourself go.", "Giles: I refuse to become a monster because I look like a monster. I have a soul. I have a conscience. I am a human being. Oh, stop the car! The Citroen pulls to a stop at the corner of Main Street and we see that Professor Walsh has just crossed the street. Giles hops out of the car, without his blanket, and creeps up behind her. When he's close enough he roars and waves his claws in the air. Walsh looks over her shoulder and (surprising for the evil Bitch Monster of Death) screams like a woman and runs for her life as Giles chases her down the street, pass the Espresso Pump. He stops halfway down the street but Walsh continues to flee. Giles hurries back to the car ignoring the gaping stares of a few pedestrians.", "Giles: (closing the door) Right. Let's go, then. While we're still laughing our asses off, we go back to Giles's apartment. Our gang is gathered around the sofa. Xander, Willow, and Anya are sitting on the cushions and Buffy is sitting on the arm of the sofa (really long couch). And Riley is standing behind it. Xander points into the book he's holding and passes it to Willow.", "Xander: That's the thing that attacked me.", "Willow: A Fyarl demon. Sort of a foot soldier type, works for other demons lots of the times. Very strong . . . ugh! And hey, mucous.", "Buffy: Mucous?", "Riley: (cell phone beeps and he pulls it out) Agent Finn, go ahead.", "Buffy: How do I kill it?", "Willow: Silver. A weapon made of silver.", "Riley: Yes. I understand. (hangs up) The demon attacked Professor Walsh. Got out of a small, gray car. A Citroen.", "Willow: It stole Giles' car.", "Xander: Why would a demon steal a car?", "Anya: Why would a demon steal *that* car?", "Buffy: A demon that steals a car has a reason. A purpose. But it doesn't sound like these Fyarl demons are really big independent thinkers. So, Will, the spells that are going wrong . . . could they be caused by someone using majiks to control a demon? Making this Fyarl demon attack Giles?", "Willow: Yes. Yeah, that would draw in a lot of dark energy.", "Buffy: Okay. (standing) Willow, Xander: stay here. Who's ever controlling this demon may call and ask for a ransom. Give them anything they want.", "Xander: You got it. Rounding the couch and stepping towards Giles' desk.", "Buffy: Riley, you and I are going to the magic shop. Maybe they needed supplies. Uh, something silver . . . She looks on the desk and picks up a letter opener.", "Riley: A letter opener? It's not very sharp.", "Buffy: Then I'll have to put some muscle behind it. As they leave the apartment--", "Cut to the seedy place Giles and Ethan got smashed. Spike is on a stool, his back to the bar, the same waitress standing in front of him. He throws back a shot and places the glass on the bar.", "Spike: (suave) Two of them. English like me. But older, less attractive. One of them gave you his number. Quick shot of Giles sitting at the end of the bar, looking on, hidden under his blanket.", "Waitress: I threw it out. I mean, I took one look and saw that he was staying at that rat trap. No thanks.", "Spike: Which rat trap?", "Waitress: The one by the highway. The Sunnydale Motor Inn.", "Spike: (smiles) Thank you.", "Cut to the magic shop where Buffy is kicking in its door (again). She hurries inside with Riley following, and they go behind the register counter.", "Buffy: Okay. Credit card slips, sales receipt. Help me look.", "Riley: (disapprovingly) You shouldn't have done that to the door.", "Buffy: I do not have time to play by the rules tonight.", "Riley: I have a master key. It opens every shop on Main Street.", "Buffy: Oh. Well . . . next time, absolutely. Buffy opens a drawer and is flipping through credit card slips.", "Riley: I don't know what I'm looking for.", "Buffy: I do. (rips free a slip) (pissed, dumps the slips back in drawer and slams it) \"Ethan Rayne.\"", "Riley: Who's that?", "Buffy: (handing it to him) Professional bad guy. He's gotta be the guy that made the demon attack Giles. (Riley's pulling out cell phone) At least we know who we're looking for.", "Riley: (into phone) Command, are you there?", "Buffy: What are you doing?", "Riley: (into phone) It's agent Finn. I need a search. Local hotel registrations matching the name Ethan Rayne. R-A-Y-N-E. Call me back. (flips it close)", "Buffy: (maybe impressed) You can do that?", "Riley: It'll take a couple of minutes.", "Buffy: Get in the car. Be ready to go. He starts to follow her out of the shop.", "Riley: Buffy. (she stops to face him) Earlier, when I talked to Professor Walsh, she gave me very specific orders.", "Buffy: Yeah?", "Riley: She said when we located the demon I . . . I'm not supposed to bring you along.", "Buffy: (not missing a beat) Oh. (turns to leave)", "Riley: Uh, what are you doing?", "Buffy: (faces him) I'm *going* to the car.", "Riley: Buffy, I can't take you with me.", "Buffy: You're not taking me with you. I am going and I am letting you come along.", "Riley: Buffy, it's not really your call. This is a military operation now.", "Buffy: (steely) Then call out the troops. Because nothing less than that is gonna stop me. This demon did something to Giles and I'm gonna kill it. She leaves and Riley has no choice but to follow. ~~~~~~~~~~~ Part Four ~~~~~~~~~~~~ Fade in on our English demons in the Citroen. Giles is growling softly.", "Spike: How ya feeling, mate?", "Giles: (growling quality) Like snapping necks until everyone is dead.", "Spike: Now that sounds like a Fyarl demon. Good for you. Shot through front of the windshield. We see a set of bright headlights pull in behind the Citroen. Spike sees this through the rearview mirror.", "Spike: Hey, picked up a tail.", "Giles: (almost normal voice) Yes. Just a little one. It hurts when I sit.", "Spike: I mean someone is following us. Humvee. Military.", "Giles: Well speed up. Lose them.", "Spike: I got it floored. Why'd you buy this car?", "Giles: Well do something. If they catch us, we'll both end up in a lab!", "Spike: It's getting closer.", "Cut to exterior shot. A second humvee suddenly swerves in front of the first, closer to the Citroen.", "Spike: And it's got a friend!", "Giles: Damn! Giles slams his arm against the door but his fist finds the window and shatters it.", "Spike: Oh, sure! Dismantle the getaway car. That'll scare them.", "Giles: Then slow down and I'll jump out. They'll follow you.", "Spike: Hold on. These commandos. They're the same guys that are after me too.. Maybe I want you around to split their attention a bit?", "Giles: I'll pay you another hundred dollars. Exterior shot. Citroen screaming ass (as well as it can) around a corner and the side passenger door opens to let Giles tumble out onto the street. He rolls towards the sidewalk as the car continues and is on his feet and heading for the shadows by the time the humvees come tearing after Spike.", "Cut to exterior shot of Sunnydale Motor Inn (which looks like the same motel Faith stayed at). Cut to interior of Ethan's room. He is busy packing his suitcase to haul ass out of town when Giles smashes through the door. Almost sh1tting a brick, Ethan turns and is frightened by the site of the pissed off demon growling at him. Then recognition hits.", "Ethan: Giles? Ethan sees that Giles is deep in \"like to crush\" mode and backs away at his approach.", "Ethan: Now-- it-it-- calm down! (gets on the bed trying to escape) It's okay. Good Giles. Giles reaches for him and Ethan dodges him, jumping off the bed. It seems like he might make it past him when Giles grabs him.", "Ethan: No! No! Don't kill me! Practically a mindless Fyarl demon now, Giles gets him by the throat and lifts him in the air.", "Ethan: (choking) I can't undo you if you kill me! But Giles doesn't seem to care and flings him across the room where he crashes head-first into a night stand, shattering it to pieces. That's when Buffy and Riley rush in and see the situation.", "Ethan: (to Buffy) You've got to stop it! It killed Ripper and now it's trying to get me!", "Buffy: (glaring at Giles, but to Riley) Don't let him go. Giles takes a step forward and Buffy knocks him back against the wall with a spinning back kick.", "Buffy: (very pissed) What did you do to him? What did you do?! What about Spike? Oh, yeah. The humvee chase is still in progress. Spike is definitely enjoying himself as he pulls the wheel sharply to the side, making the decrepit Citroen fishtail around a corner. The humvees are still on its ass. Spike takes another sharp turn and this time the lead humvee looses control and spins out forcing the second humvee to screech to a halt before it hits it.", "Spike: (looking in rearview mirror) You just try and stop me, you stupid jar-- (CRASH!) The Citroen crashes into the side of a building.", "**NOT AIRED IN FINAL CUT OF EPISODE", "The driver's door opens and Spike staggers out.", "Spike: I can kill demons. I can crash cars. . . . Things are looking up!\"** Back to Ethan's room. Giles charges Buffy and shoves her against the wall. She retaliates with a hard right cross. Ethan, trying to escape, hits Riley with a right cross. Riley --showing considerable restraint-- just grabs him and throws him against the dresser twisting his arm behind his back. Buffy is executing a jumping front kick, knocking Giles back.", "Ethan: (watching) You're only going to make him angry. Which seems true as Giles just keeps getting back up no matter how many times Buffy knocks him down. Ethan tries to escape again, elbowing Riley in the face, but Riley grabs him again, slamming him into the wall before he could reach the door. Giles takes a swing at Buffy who ducks and slams several punches to his face. When Ethan takes another swing at him, Riley takes a few seconds to beat the crap out of him. He smashes an elbow into Ethan's face and punches him in the stomach. Buffy is hitting Giles in the face with a roundkick and Riley shoulder-flips Ethan to the floor, getting him in an arm lock and pressing a knee against his face.", "Back to Buffy and Giles: she is picking up a foldable stand as Giles charges her with his large horns and traps his head in the leather straps. Swinging him around she throws him to the other side of the room. She tries to press her attack when Giles frees himself lifting his head, smashing the curve of his horn into her face, and she falls to the floor. Giles growls at her. Buffy gets Giles' legs in a scissor lock and takes him down. Before he can get up, Buffy straddles his waist with the letter opener in her hand. She leans down close to him.", "Buffy: *This* is for Giles!", "Giles: For me? With both hands, Buffy raises the weapon high above her head and slams it down into Giles' chest. Giles' eyes open wide. Buffy is looking into his eyes.", "Buffy: (shocked) Oh, God! Giles! Buffy pulls out the letter opener.", "Giles: (from Buffy's POV: trying to say something in Fyarl)", "Buffy: (pleading) Oh, God! Giles! Giles! I'm so--I'm so sorry! Please don't die!", "Giles: Actually, I feel quite well. Except for the rage. Buffy sees that Giles doesn't seem to be dying and is relieved.", "Buffy: (to Riley) I think he's okay. I--(frowning at letter opener) is this thing real silver?", "Cut to some time later. Riley is guarding the door speaking into his cell phone. Ethan is sitting cross-legged on the floor, remnants of a spell just completed in front of him. Buffy is standing behind him holding him by the back of his collar. He's looking glum as he rests his chin on his fist.", "Ethan: (pouting) I really got to learn to just do the damage and get out of town. It's the \"stay and gloat\" that gets me every time. Buffy nudges him with her knee and walks across the room as Riley finishes his call. We see Giles, normal again except for a very ugly silk shirt he's wearing, standing in front of the dresser mirror looking at himself. Buffy stands beside him.", "Buffy: You okay?", "Giles: (sheepishly) Oh, um, uh, embarrassed, mostly. Ethan's wardrobe's not helping any. (faces her) Uh, how did you know it was me?", "Buffy: Your eyes. (off his look) You're the only person in the world that can looked *that* annoyed with me. They share a touching moment. Ethan gets to his feet.", "Ethan: Is this gonna go on much longer? I'd rather like to be going.", "Buffy: (crossing her arms) And why would I let you go?", "Ethan: (pompously) Well, maybe because you have no choice. I'm human, you can't kill me. What's a Slayer going to do to me? Riley steps up behind him as a couple of tough looking MP's enter the room.", "Riley: (as Ethan is cuffed) By the authority of the US military, you're being taken into custody pending a determination of your status. (to MP) Take it from here. Ethan doesn't look happy as they take him out of the room. Buffy and Giles exchange a very happy look.", "Riley: They'll, uh, take Mr. Rayne to a secret detention facility in the Nevada desert. I'm *sure* he'll be rehabilitated in no time.", "Giles: (grinning) Uh, if you don't mind, I'm just gonna --go and watch them manhandle him into a vehicle. He steps outside leaving Buffy and Riley alone. He steps close to her.", "Buffy: Thanks.", "Riley: I told you I'd help.", "Buffy: You did. If I'd had gotten here any later and if Giles had killed Ethan, I . . . never would have gotten him back.", "Riley: You'd find some other way. (pause) You're really strong. Like Spider-Man strong.", "Buffy: Yeah. But I don't stick to stuff. But . . yeah.", "Riley: And you're in charge. You're like, make the plan, execute the plan. No one giving you orders.", "Buffy: (a beat) I'm the Slayer.", "Riley: I like it.", "Buffy: (smiles) Yeah?", "Riley: But give me another . . oh . . week to get ready. And I'll take you down. Buffy gives him a slight \"oh, yeah?\" look and as they smile at each other we--", "Cut to Giles' apartment the next day. Buffy is sitting on the sofa, legs curled, barefoot, with a throw pillow in her lap. She is watching Giles hook up his new cordless phone.", "Buffy: Nice phone.", "Giles: Yes. Fabulous technology. See, if anyone has information I need to know, they can, uh, simply tell me about it. (lifts the handpiece) Through this ingenious speaking tube. I'm very excited. Buffy takes all this with \"I deserve that\" acceptance.", "Buffy: I am sorry, Giles. I really thought I told you about Riley and the Initiative. And I know that it doesn't help. Look, I promise it won't happen again. I will tell you everything.", "Giles: (walking towards the couch, removing his glasses) Buffy, I don't want to ask you to betray any confidences, and I certainly don't want to interfere--", "Buffy: Uh-oh, you have \"but-face.\" (Giles narrows his eyebrows at her) You look like you're gonna say \"but.\"", "Giles: (a beat) But . . . this, um, Initiative, I'm-I'm a little concerned. Ethan's not exactly a reliable source but, um . . . I'm not sure that he's wrong about them. Rounds the sofa to sit down next to her.", "Buffy: I'm not dating the Initiative. I'm dating Riley. He's a good guy.", "Giles: And I-I believe that. But he's part of something we-we don't really understand.", "Buffy: (knowingly) You sure you're not just saying this because you don't like Riley's boss?", "Giles: (as if offended) No! No. I'm not saying that at all. (considers) Though I do . . . hate her quite a lot. But I want you to have your personal life, but . . . keep your eyes open. Make sure you know what you're getting into. Off Buffy's expression--", "Cut to the underground headquarters of the Initiative. Riley is walking with Walsh across the large complex. In the background we can see several lab techs and military personnel moving about as well as the two parked humvees --that were unable to catch an old grampa car.", "Walsh: So she walks in and the rules just suddenly break?", "Riley: Umm . . . pretty much.", "Walsh: Be careful with her. She reacts on instinct. There's no discipline there. Her loyalties are uncertain. They reach a metal security door.", "Riley: You won't be disappointed in her. She's good at what she does. She is the truest soul I've ever known.", "Walsh: Oh, no (chuckling) oh, no! Spontaneous poetic exclamations. Lord, spare me college boys in love.", "Riley: I'm just saying she'll work out. You'll be proud of her.", "Walsh: You want to know what I think? (pause) I think you're probably right. Riley smiles then moves off leaving Walsh who swipes an ID card through a keypad and steps inside the security door. Cut to interior we see Walsh walk a short distance down a white corridor and punch a code into another keypad and slide the ID card through again. The door she is standing in front of unlocks and she opens it and disappears inside. It closes again and we see a number stenciled into the door: 314." ]

[ "When Professor Walsh ( Lindsay Crouse ) decides Buffy is a threat to The Initiative, she decides to kill her by sending her on a dangerous mission. Riley discovers that Professor Walsh has tried to kill Buffy and begins to think seriously of leaving the organization." ]

[ "~~~~~~~~~~~~ Prologue ~~~~~~~~~~~~ Fade in on a close up of Willow. She has her eyes closed and is chanting calmly.", "Willow: I implore you, Neisa, blessed goddess of chance and fortune, heed my call. Send to me the heart I desire. The camera is pulling back slowly and we see she is holding five cards.", "Xander: You know, magic at the poker table qualifies as cheating. We're in Xander's basement. Willow is sitting on Xander's folded-up sofa bed and Anya and Xander are sitting on large bean bags around the coffee table. They have sodas and bowls of potato chips and pretzels to snack on.", "Willow: That wasn't magic. I was praying. Two please. He deals her two cards.", "Anya: Five", "Xander: Ahn, I keep telling you: four's the max and only if you have an ace.", "Anya: Okay, four.", "Xander: Let's see the ace.", "Anya: (sighs) Three. (gives up the cards) What a stupid game. All these rules just to win little plastic disks.", "Xander: Chips. They're called chips. They represent money. Since none of us has any money it represents money. But that's gonna change once my merchandise hits the street. He looks at them invitingly. Willow takes the cue.", "Willow: (munching on a pretzel) Hmm! Wha'cha got in the boxes, drugs? (then sternly) It's not drugs, is it, Xander?", "Xander: Not drugs. He gets up and goes to the work bench and grabs one of the boxes.", "Xander: You are looking at the new local distributor for Boost Bars. 'The natural food bar that provides a nutritional energy boost for active, health-conscience people.' (sits) Want one?", "Willow: No. Thanks. Those things usually taste . . kind of tasteless. And then leave a bad after-tastelessness.", "Xander: (taking out a bar) Well, don't let the healthy scare you. Check out these ingredients. (pointing at label) See? Loaded with fatty goodness.", "Anya: Come on, somebody bet already. I got three 'K' cards. Willow and Xander look at her then exchange a glance. They fold their cards. Anya smiles happily and begins sliding the pot of chips to her already large pile. Xander starts to gather the cards up to shuffle.", "Xander: Wish the Buff could've made it. This three-hand poker is not quite the game.", "Willow: Guess she's out with Riley. You know how it is with a spanking new boyfriend.", "Anya: (offhandedly while stacking her chips) Yes, we've enjoyed spanking. Reacting in shock, the cards explode from Xander's hands. Gaping, he's about to say something to Anya, but doesn't seem able to talk.", "Xander: Well. . .(coughs) The thing is . . . I think Riley is . . . okay, in an oafish kind of way. But . . . am I the only one with a big floating question mark over his head about this Initiative thing?", "Willow: Well, they do seem to fall into the 'good guy' camp. I mean they are anti-demon. (sees Anya's evil eye expression) Probably pro ex-demon.", "Anya: Maybe. I choose to feel threatened.", "Xander: (gathering cards again) And why not? There's still heaps we don't know about these commandos. What exactly are they up to? Let's go see! Cut to somewhere in the woods. Night time. We see a few of the Initiative commandos prowling through the trees and bushes in low crouches. They're all wearing their dark ski masks and armed with taser rifles. The lead commando silently motions them forward and three of them disappear into a tall stretch of bushes.", "Cut to long shot and we start to hear fighting and a second later one of the commandos comes flying out of the bushes landing at least ten yards away. Closer shot: Buffy jumps out of the bushes and there's already two more commandos down and out on the ground around her. A fourth and fifth commando charge her from either side. Buffy greets the fourth commando with quick alternating front kicks that the commando blocks but the impact sends him off balance. Buffy spins into a roundhouse kick into the face of the fifth commando as he comes up behind her. He recovers quickly and swings a punch that she ducks and sends him down with a right hook. Then she turns to the fourth commando who's up again. She fakes him with a high backhand that he blocks, then brings that fist down to hammerpunch him in the groin, making him hunch around his pain. But her attention is already on the fifth commando and she blocks a mid-level uppercut, catching it and has him in an armlock. She sends a back kick into the fourth commando's chest sending him to the ground. Buffy swings her captured commando around just as the lead commando pops out of some bushes with his taser rifle and fires. The blast hits the helpless commando and he spasms as rings of electricity course through his body. Buffy lets him drop to the ground and readies herself as the lead commando charges her. They are about to fight when--", "Walsh: (OS) Lights! The brights of a humvee parked up on a gradual hill illuminates the area and Buffy and the lead commando turn to see Professor Maggie Walsh, in a dark wool coat, hurrying down to them. She walks past the lead commando, who his pulling off his mask and we see it's Riley Finn. Walsh stands in front of Buffy and regards her with a stoic expression.", "Walsh: It took the patrol team 42 minutes to track you and you neutralized them in 28 seconds.", "Buffy: (glances at Riley behind Walsh) I was just lucky.", "Walsh: I see. (Riley starts to smile) Well . . . still. Very impressive. Walsh turns and Riley quickly wipes the smile off his face. She heads back to the humvee. Buffy watches her leave as Riley steps up to her.", "Buffy: I was just being modest with the whole 'lucky' thing. You got that, right? Again, Riley has a 'shine a flashlight on his teeth and blind yourself' smile on his face as he looks down at her.", "Riley: I got it. The rest of the commandos are getting to their feet and taking their masks off. Graham Miller passes Buffy on her right.", "Graham: Awesome, Buffy. Forrest Gates walks past her on her left, without saying a word, looking a little pissed. He has a hand on his back and stops for a moment to look over his shoulder.", "Forrest: Pfft! (he continues on)", "Riley: (still smiling) See? You're a hit. Everybody loves you. He puts an arm around her shoulders and they follow the others. Cut to Walsh standing beside the humvee, looking on. She doesn't look happy. Wolf's howl. Buffy theme and opening credits roll. ~~~~~~~~~~ Part One ~~~~~~~~~~~ Fade in on exterior of UC Sunnydale. Daytime. Cut to Rocket Cafe. Panning shot to Willow and Buffy sitting at a table across from each other drinking coffee (probably mochachinos). Buffy sounds excited as she tells Willow about last night. For her part, Willow has a happy 'listen even though she really doesn't want to hear this' look on her face.", "Buffy: So then Professor Walsh said that I was just as amazing as Riley had said. And later, he told me that she couldn't stop talking about this move I made where I used one of the commandos as a shield to block a taser blast. It was like twelve-thousand volts. It took the guy almost two hours to recover. (takes a sip of her coffee)", "Willow: (politely) Huh.", "Buffy: Hmm. How was your night?", "Willow: Like a normal person's. Light on the action-pack. Hope tonight's not too much of a let-down for you. Excitementwise. (a pause) You do remember about tonight, right?", "Buffy: Bronze. The gang. Are you kidding? I wouldn't be anywhere else. I miss you guys. We haven't been able to spend that much time together lately.", "Willow: You've been busy. Fighting armies and stuff. Not to mention other distractions from a romantic-- (sees that Buffy's no longer paying attention)", "Buffy: Riley just walked in. Willow looks over her shoulder and we see Riley at the lunch counter perusing the fruit bowl.", "Willow: Do ya want to let him know you're here?", "Buffy: No. Just enjoying a good stare. (eyes still on Riley) Tell me about your night.", "Willow: Well, spent most of it at Xander's teaching Anya to play poker.", "Buffy: (still Riley-eyed) That sounds like fun.", "Willow: Yeah. Except the Anya part and the poker part.", "Buffy: Will, I think you better get used to-- a Twinkie!? (quick shot of Riley going to pay for his junk food) That's his lunch? Oh, he is *so* gonna be punished.", "Willow: (pouty) Everyone's getting spanked but me.", "Buffy: What?", "Willow: Uh, nothing. Willow smiles but it doesn't reach her eyes.", "Cut to a cemetery. Daytime. All is quiet. Cut to interior of spacious mausoleum. The door opens and Rupert Giles steps inside. Laying on top of a stone sarcophagus, Spike raises his head at the sound. He throws off the ratty blanket that was covering him.", "Spike: Hey! Wipe your feet when you enter a person's home.", "Giles: (closing the door) Oh, yes. Careless of me. Tracking mud all over your, uh . . . mud. Spike is walking towards him.", "Spike: (looking around) I admit, it's a bit of a fixer-upper. Needs a woman's touch. (looks at Giles) Care to have a crack at it?", "Giles: While I'd loved to go on trading jabs with you, Spike, perhaps I'll come to the point. As much as it pains me to say it, um, I owe you a debt of gratitude for the help you provided me in my recent . . . metamorphosis.", "Spike: (rubbing a crick out of his neck) Stuff the gratitude. You owe me more than that, mate. Giles pulls out a small bundle of dollar bills and offers it to him.", "Giles: Three-hundred. Count it if you'd (Spike snatches it out of his hand). . . like.", "Spike: I'll do that. While Spike starts counting the money, Giles looks the place over.", "Giles: Um, thinking about your affliction and, uh, your newfound discovery that you can fight only demons; it occurs to me that (chuckling) I realize this is completely against your nature but I-I-I-- Has it occurred to you that there may be a higher purpose--", "Spike: Ugh! You made me lose count. (faces him) What are you still doing here?", "Giles: Talking to myself, apparently.", "Spike: Well piss off, then. (indicates the money in his hands) This bit of business wraps up any I got with you and your Slayerettes. From here on I want nothing to do with the lot of you.", "Giles: Your choosing to remain in Sunnydale might make that a little difficult.", "Spike: Well you and yours will just have to show a little restraint is all. Get out. Giles doesn't say anything and heads for the door.", "Spike: (following) And I don't want you crawling back here knocking on my door pleading for help the second Teen Witch's magic goes all wonky or little Xander cuts a new tooth. We're through. You got it? Giles opens the door and Spike flinches away from the brightness. He looks over his shoulder at the vampire and his eye twitches. His feelings might be a little hurt.", "Spike: (callously) Honeymoon is over. Giles leaves without a word.", "Cut to close up shot of Buffy. She looking up into Riley's eyes. They are in very intimate proximity to each other.", "Riley: (softly) You don't have to do this.", "Buffy: I know.", "Riley: I mean, if you'd rather wait . . .", "Buffy: (meaningfully) I'm ready. I want to. Riley smiles down at her. The camera pulls back as they turn and step in front of a floor-to-ceiling mirror in the wall. We see they are in the center hallway in Lowell House. Riley opens a tiny hidden panel beside the mirror and pushes a button. Buffy just stands there as a horizontal green line comes from the mirror and slides down over her body.", "Female computer voice: New retinal scan recorded. Summers. Buffy. The mirror slides to one side to reveal the very white interior of an elevator. Riley steps inside first.", "Cut to close-up shot of a black and white surveillance monitor displaying a picture from inside the elevator as we see Buffy follow Riley in. Cut back to Buffy and Riley. Buffy turns and watches the elevator door close again. Cut to Initiative headquarters. The elevator door opens and Riley is holding Buffy's hand as he leads her out onto a catwalk overlooking the main chamber.", "Buffy: (eyes wide) My God. Slow panning shot of the jumbo hangar size complex. In the middle of the floor is a lower section where men and women in surgical scrubs and white lab coats or performing tests and operations on several types of demons, strapped to strange looking tables and chairs.", "Buffy: You said it was big. You told me, but you never said it was *huuuge*!", "Riley: (offhanded) I don't like to brag. Buffy looks at him and a grin breaks his face.", "Buffy: (looking down again) I had no idea. This is incredible. But not that I thought it was some fly-by-night operation. (turns to him, excited) Unless it is! I mean, can you guys fly? At night. With those jet-pack things, do you have those?", "Riley: (playing coy) I can't really talk about it.", "Buffy: This is unreal. They look into each other's eyes and Riley leans down, about to kiss her . . .", "Walsh: So, you like our little operation? They turn to see Walsh standing behind them on the catwalk.", "Buffy: Yeah. Yes. It's very . . . clean. Walsh approaches and hands her a small plastic clip-on badge.", "Walsh: Your visitor's pass. (takes a few papers from her clipboard) And I've assembled some reading material to bring you up to speed. Buffy clips the pass to her leather jacket and takes the papers Walsh offers her.", "Buffy: (frowns) Oh. And I thought I was never gonna get homework from you again.", "Walsh: You can't take that home. That's classified material. Highly sensitive. When you're through reading those pages you'll have to eat them. Buffy just stares at her, speechless. She looks up at Riley.", "Riley: (grinning) She's joking.", "Walsh: Don't worry, it doesn't happen very often. Shall we? Buffy exchanges another glance with Riley and they follow. Moments later, they've made their way down the metal staircase and Walsh is leading them towards the open center of the complex. They stop at the metal railing and look down.", "Walsh: Much of our hands-on research with the SHT's is performed here. We call this 'The Pit.' Buffy sees a pair of green squid-faced demons laying on two tables, while scrub-clad techs work on them.", "Buffy: And what do you call those?", "Riley: Tough. It took eight of us to bring those two down.", "Walsh: They'll be under our control soon enough. (calling down) Doctor Angleman!", "Cut to a man in a white lab coat talking with another person. He looks up to acknowledge Walsh then returns to his conversation.", "Walsh: (to Buffy) Head of our science team. He's a leader in the field of xenomorphic behavior modification.", "Buffy: Behavior modification?", "Walsh: We've made significant advances in reconditioning the sub-terrestrials. Bringing them to a point where they no longer pose a threat.", "Buffy: (to herself) So I've seen. Then she sees Walsh and Riley's expressions as they look at her.", "Buffy: . . . on the Discovery Channel. With gorillas and sharks. They-they made them all nice. You haven't seen it? They don't say anything but Walsh doesn't look convinced. Buffy turns her attention away and points across the complex.", "Buffy: What's over there? She starts to walk casually in that direction and Riley and Walsh follow. Seconds later, Walsh is in the lead again as they approach an area closed off by a chain-link fence. Inside are large caches of guns and equipment of all types. There is one commando on duty inside.", "Walsh: The armory. You'll have to be cleared for use on each of these weapons. But by this point Buffy must have felt like she was back in class for her attention has already wandered and she steps up to a table behind Walsh and Riley. She sees a small looking device laying in an open case. As she lifts it up, the image on the monitor behind her also moves and we see a close-up of Buffy's eye as she holds the device close to her face.", "Walsh: (while this is happening) The more advance arsenal can be complicated, but I'm certain, in time, you'll pick that up. (looks over her shoulder and sees what Buffy's doing) Don't pick that up. Walsh walks to her and quickly takes it from her.", "Buffy: What is it?", "Walsh: About twenty-thousand dollars.", "Riley: It's a prototype for a com-cam. (points to the monitor behind her) Communications camera. Soon to be standard issue. Gives us a direct comlink to Control when we're out in the field.", "Walsh: Also monitors the heart rate of the wearer. A valuable tool for research in stress in combat condition. If you'll follow me, I'll show you the SHT containment area. Walsh walks off and Buffy looks to Riley mouthing 'sorry.' Riley shakes his head with a smile, telling her not to worry as they follow. Some time later, the tour is coming to an end. Walsh stops to face Buffy.", "Walsh: We have a few more things to give you.", "Buffy: (pointing) What's in there? Quick shot of the metal security door we saw in the last episode. A lab coat scientist uses a ID card to open the door and disappears inside.", "Walsh: Research area. Very restricted for security reasons. Here is your security card and your pager. She accepts the items from Walsh and studies the pager.", "Buffy: Been thinking about getting one of these.", "Walsh: We're the only ones with the number and it stays that way.", "Buffy: Right.", "Walsh: Lose either one of them and there's hell to pay and down here we mean that literally. (offers her hand and she actually smiles as she shakes Buffy's hand) Again, welcome to the team.", "Cut to student lounge. Willow and Tara are sitting on sofa chairs leaning on the arm rests. Tara is holding a clear purple-pink crystal in the palms of her hands.", "Willow: This is so cool. Wow. I've been trying to find the dolls-eye crystal my entire life. Well, since June, anyway. Where'd you get it?", "Tara: It-it was my grandma's, I think. I found it a long time ago in my attic. (hesitantly) I-I want you to have it.", "Willow: Oh, no, Tara. Th-that's really sweet. I can't. It's like a family heirloom. I-I just wouldn't feel comfortable. Tara looks a little hurt and she puts the crystal away. Willow see this.", "Willow: But i-if you wanted to try out some spells with it some time, I wouldn't say no.", "Tara: (eager) Maybe tonight. I mean, if you're not doing something you could . . come over and we could do something. (smiles)", "Willow: (uncomfortable) Tonight . . . That sounds really nice. But tonight I, uh, already have plans with people. Other.", "Tara: (hurt again) Oh. Um, that's okay. Another . . time.", "Willow: Absolutely. It's just tonight, it-it's kind of a specific crowd. You might feel out of place. Tara is silent for a moment.", "Tara: I better get to class. She grabs her books and stands up. Willow stands up with her.", "Willow: Well, um, I'll see ya later. Okay? Tara just nods and walks off.", "Cut to Initiative headquarters. Walsh walks up to the metal security door and zips her security card through the keypad. The door unlocks and she steps inside. She continues down the corridor to another door and punches in a code and slides the cards again. She enters and as the door closes we see the number 314 on it.", "Cut to interior of the lab room. Walsh closes the door behind her. Dr. Angleman, who just got through washing his hands at a sink, turns to face her as he dries them.", "Angleman: How did the tour go?", "Walsh: I'm not sure. She's unpredictable. She walks across the room. Her attention is on something we cannot see.", "Angleman: She's an unnecessary risk.", "Walsh: Possibly. How's our baby doing today?", "Angleman: Adjusting nicely. Reflexes, motor-functions. All off the charts.", "Walsh: That's what I like to hear. (to whatever she's looking at) Almost time to wake up, Adam.", "Cut to the lab table. We see a young man laying under a blanket, only his chest and head visible. But he doesn't look like a normal man. His brown hair is neatly trimmed, the most normal feature, while more than half of his face is covered in dark green skin, the rest of his face a human pale. There is also metal plating on the green left side of his face, from jaw to temple. Most of his chest is also green as well as is his right shoulder, but we can also see patches of other different types of skin. Wherever skins meet there is a line of sutured or welded-on scars like a grotesque demonic jigsaw. There seems to be numerous IV lines and monitoring connections disappearing under the blanket.", "Walsh: (soft voice) And take your first look at the world. I know you're gonna make me proud. ~~~~~~~~~~ Part Two ~~~~~~~~~~", "Cut to the Bronze that night. Music is playing ('Trashed' by Lavish) and people, mostly young, are socializing. Camera pans over to where Willow and Anya are sitting at a table. Willow is lifting her sleeve to check her watch, probably not for the first time. Xander is walking to them while unwrapping a Boost Bar and taking a bite.", "Anya: (indignantly) Xander. You haven't been paying any attention to me, tonight. Just peddling those process food breaks. I don't know why.", "Xander: (around mouthful) Well, let me put it in a way you'll understand. Sell bars. Make money. Take Anya nice places. Buy pretty things.", "Anya: (considers) That does make sense. All right, I support you. Go sell more.", "Xander: Oh, well this was the only one I had on me. Besides, it's getting late. Maybe we should go.", "Willow: Go? You can't go. Buffy hasn't gotten here yet.", "Xander: Let's face it, Will. She's over an hour late. She's probably out living the life of Riley. I don't think she's coming.", "Willow: She is! (unconvincingly) She said she was looking forward to spending quality time with just us. (brightens) See? Here she comes. Shot of Buffy walking into the Bronze followed by Riley, Graham, Forrest, and two other guys. ('Keep Myself Awake' by Black Lab starts to play)", "Willow: (crestfallen) . . .with Riley . . . and some other guys. Buffy and the young men reach their table.", "Buffy: Hi, all. Sorry about the late-itude.", "Xander: Late? Really? Huh. Hadn't noticed.", "Riley: Hope you don't mind us tagging along.", "Willow: (forced smile) No. No, of course not. The more the . . . more.", "Riley: This is Graham. This is Forrest. That's Kevin. And that's Jay in the back.", "Graham: How you doing.", "Riley: We're gonna go grab some drinks. Anybody want anything?", "Buffy: Coke, please.", "Willow: I'm good.", "Xander: No. They look to Anya with the offer.", "Anya: (frowns) We're going away. To dance. Over there. She stands up and takes Xander's arm.", "Xander: (being dragged away) We are? Riley and the guys head over to the bar and Buffy sits on Anya's stool across from Willow.", "Buffy: Anya seems a bit on edge.", "Willow: She's a little angsty around commando-types. Ex-demon issues.", "Buffy: Oh. (points to the guys) You know, I didn't think that you would mind. Riley and the guys were throwing a little impromptu celebration in my honor and made it, like, impossible to not invite them.", "Willow: Oh. That's neat about the celebrating. I just thought this was supposed to be, you know, just us. Just the scooby corps., you know. I mean, I could have invited somebody else if I knew it was an open free-for-all.", "Buffy: I'm sorry. I had no idea. My *total* bad. (grins) So, who did you want to invite?", "Willow: What?", "Buffy: You said you wanted to invite someone.", "Willow: (nervously) No. Not-- no one. I meant a hypothetical someone which is to say no one. What are we celebrating?", "Buffy: (lowers voice, but excited) I'm in. The Initiative. Professor Walsh gave me the grand tour and we're talking Grand as in Canyon! You'd never believe the size of it.", "Willow: That's really . . . again I say 'neat.' So, what do you mean exactly? You've joined them?", "Buffy: No. N-not exactly. It just means that when I patrol I'll have a heavily armed team backing me up. (smiles) Plus, boyfriend going to work with me: big extra perk.", "Willow: Buffy, do you really think this is a good idea? I mean, don't you think you're rushing things a little?", "Buffy: (frowns) I thought you liked Riley?", "Willow: Not with Riley. With the Initiative. I mean, there's a bunch of stuff about them we still don't know.", "Buffy: I know that. (then) Like what?", "Willow: Well, what's their ultimate agenda? I mean, okay, yeah, they-they neuter vampires and demons. But then what? Are they gonna reintegrate them into society? Get them jobs as bagboys at Wal-Mart?", "Buffy: (in serious thought) Does Wal-Mart have bagboys?", "Willow: Plus, don't forget that '314' thing that Ethan told Giles about.", "Buffy: Well, a man that worships chaos and tries to kill you, is a man you can trust.", "Willow: Well, bad info or not, I just think there's certain questions you should ask before you go off and enlist. A pager goes off and Buffy reaches into her bag to pull it out. Two seconds later five more beepers go off at the bar and Riley checks his pager.", "Riley: That's us. Let's go.", "Willow: When did you get a pager? What's going--? Riley steps up to the table and Buffy stands up.", "Riley: That's our cue. Mother wants us.", "Buffy: (turns to Willow) Will . . .", "Willow: I know. Talk later. She doesn't look happy as she watches Buffy leave with Riley and the others.", "Buffy: So what's the big emergency?", "Cut to Briefing area at Initiative HQ. There is an overhead projector displaying the image of an ugly demon on a large white screen. Riley is standing to one side of the screen as Professor Walsh walks in front of the group of commandos seated in rows before her. Among them near the back, Buffy sticks out like a . . . well, like a girl in a sea of broad-shouldered military green. That, and she's also the only one seated with a plunging neckline.", "Walsh: This is your objective. Sub-T: 67119. Demon class: Polgara species. Though visual confirmation has not yet been made, we're confident of the target's approximate position as it leaves behind a distinct protein marker. Dr. Angleman will brief you on its defenses. She takes a seat to the side as Dr. Angleman steps up next to the projector and overlays a second transparent page over the first. This adds long sharp looking protrusions from the demon's arms.", "Angleman: When threatened . . . bone skewers jut from the creature's forearms during battle. It's imperative when ensnaring it not to damage its arms. That's all you really need to know. Amidst the commandos Buffy raises her hand.", "Buffy: Question. Dr. Angleman doesn't seem sure how to respond, unaccustomed by this. He glances at Walsh who stands up again.", "Walsh: Buffy?", "Buffy: Why exactly can't we damage this polka thing's arms? I, uh, not that I want to, it's just in my experience when fighting for your life body parts get damaged and-- better its bits than mine. (glances at the guys around her) Or . . . ours.", "Angleman: We wish to study the physiology of every subterrestrial's natural defenses. It's part of the research we do here. (before he can continue--) Uh-- Yes? We see that Buffy had her hand raised again.", "Buffy: What do they want?", "Angleman: Want?", "Buffy: Why are they here? Sacrifices, treasure, or they just get rampagy? (she is starting to get looks from the commandos) I find it's easier to predict their responses if I know--", "Angleman: They're not sentient. Just destructive, I believe.", "Walsh: They do have keen eyesight, however. You might want to be suited up for this.", "Buffy: Oh. (glancing at the military green around her) You mean the cammo and stuff? I thought about it but, I mean, it's gonna look all 'Private Benjamin.' This gets chuckles from some of the commandos.", "Buffy: Don't worry I've patrolled in this halter many times. This gets even more chuckles and Riley has to bow his head and clench his jaw to keep from laughing his ass off.", "Walsh: Why don't we give our attention to Dr. Angleman (Buffy raises hand) and save all questions until the end.", "Angleman: Actually, I'm finished.", "Walsh: Oh. Uh, well, Agent Finn, deploy the teams. All business, Riley walks out in front of the group.", "Riley: Okay, listen up. We'll be going in a four squad set-up. Team", "Leaders: Gates, Taggart, and Stavros. Alpha Team, you're with me.", "Walsh: Report for TLs for assignment and weapons requisitions.", "Reminder: this is a zap-n-trap, people. Capture not a kill. Any questions? (sees a raised hand) (sighing) Buffy.", "Cut to the front of a closed door. It opens and it's Tara's room. She is surprised to see the person who is standing in the hallway.", "Tara: Willow?", "Willow: (sheepishly) A funny thing happened with my prior social engagement. Pretty much ended when a friend of mine went off to do something with another crowd she hangs out with. Irony is kind of ironic that way. (hopefully) Anyway, I know it's late, but I-I thought maybe-- I mean, if you still wanted to . . . do something? Tara just smiles and opens the door wider to let her inside. She closes the door.", "Cut to a wooded area. Alpha team is on patrol. Buffy is with them. She is walking beside Riley, three other commandos behind them. She's wearing a jacket over her halter top and looks a little glum with her hands shoved in the pockets.", "Buffy: So I guess she hates me now.", "Riley: (distracted) What?", "Buffy: Professor Walsh. Questions. An Initiative faux pas, yes?", "Riley: It's . . . a little unusual. She's just not used to it. Maybe because you barely ever opened your mouth in her classroom. But I know she likes you. In fact, she liked you before I did.", "Buffy: (hopeful) Really?", "Riley: Told me so herself.", "Buffy: Maybe I should get her a present or something--", "Riley: (stops) Buffy. Can we talk about this later? There's a dangerous hostile out here and . . . since I don't have your reflexes, I kinda need to focus.", "Buffy: Right. Right. They start walking again. After a moment she looks at him.", "Buffy: What do you mean she liked me before you did?", "Riley: (oops) Uh. . . .", "Buffy: You didn't like me? As Riley tries to take his boot out of his mouth we-- See what Beta Team is up to. They're stationed within a cluster of bushes. Graham is scanning the area with night vision goggles and Forrest is standing beside him. Forrest seems to be in a mood of his own.", "Forrest: (grumbling) It just isn't right.", "Graham: He made you team leader, didn't he?", "Forrest: That's not the point. I've always been Riley's second in command. Instead he picks a girl.", "Graham: His girl.", "Forrest: Whatever! Three guesses on what that boy is thinking with.", "Graham: Maybe he just wanted to give you a chance to get out from under his shadow?", "Forrest: Hey! I'm not under anybody's shadow.", "Graham: It was a joke, man. Don't get your panties in a bunch. I'm just saying-- (sees something through the goggles) Hang on. Got something.", "Forrest: Target?", "Graham: Negative. Graham passes the goggles to Forrest. Night vision POV: shot of Spike strolling along carrying a sack of groceries.", "Forrest: Hel-lo, Hostile 17.", "Graham: (to commandos behind him) You two: standard flanking. Go. The two appointed commandos hurry off to their mission. Cut to front shot of Spike walking. Behind him one of the commandos rush out of the trees carrying a heavy net. He's about to throw the net on Spike when the vampire suddenly spins around and catches it in his fist. He swings the commando around and slams him into a nearby tree. The second commando charges and aims his taser rifle at him. Spike throws his grocery bag in the guy's face and he falls to the ground. Spike flinches back at the pain the Initiative implant causes him. He turns and flees into the woods.", "Cut to Graham. He has a scoped rifle shouldered and is calmly tracking Spike in his sights. He pulls the trigger and Spike stumbles as he's hit in the shoulder. Growling, he continues to run.", "Forrest: (to Graham) Alert Control and Alpha Team. We've tagged Hostile 17 with a tracer and we're in pursuit. We return to Buffy and Alpha team who are now stationed in a clearing. Panning shot of the three commandos as a cell phone beeps. Buffy is standing beside Riley who is scanning the area with night vision goggles. One of the commandos steps up to him with the cell phone.", "Commando: Sir. Graham's on the talkie for you. Reception's not too good.", "Riley: (into phone) This is Alpha Team, go ahead. We hear Graham's garbled voice but can't make out any of the words. Riley moves further out into the clearing trying to get a better reception.", "Riley: Say again, Beta Team. You're breaking up. He doesn't see the Polgara demon burst out of the trees behind him, but Buffy does.", "Buffy: Riley! Riley only has time to see the demon before it shoves him hard to the ground. Buffy rushes forward, as the Polgara steps over Riley to finish him off, and snaps a round kick to its face making it stagger. She steps over Riley spinning into a roundhouse kick across the creature's face and the scene goes into slow-mo. Cue funky tech-noir erotic music (it's actually \"Window to Your Soul\" by Delirium) as Riley stands up beside Buffy. He pulls out an asp and there is an echoing snap as he extends it with a flick of his wrist and the audio (except for the music) fades completely. Both ready to kick ass, they charge the demon together. **Cut to some time later that night: in Riley's room at Lowell House. He and Buffy rush into frame from either side and start kissing passionately. Riley is wearing normal civvie clothes again and Buffy no longer has her jacket on. Skip a few frames and Riley has his head buried in her shoulder, kissing her neck as they rub their hands up and down each other's backs. Cut back to now. Riley is hitting the demon in the arm with the asp, making it stumble, then hits it again in the back of the head. **In Riley's room. Close up of his hands undoing the knot on the spaghetti straps of Buffy's halter crisscrossing her back. When it's loose he caresses his hand over her bare skin. Now. Riley's just succeeded in pissing the Polgara off and it knocks him aside with the swing of its powerful arm. Buffy steps in again with another roundkick to its face and follows through with a hard right-left combination. **Close up of Riley kneeling in front of Buffy, pulling off her knee-high leather boot. The Polgara is backhanding a commando, flipping him to the ground. Riley, behind it, jabs the asp into the demon's spine. **Buffy is pulling Riley's white T-shirt over his head. Her halter is hanging loosely. Riley swings the asp again but the Polgara blocks it and punches him hard across the face. Buffy delivers a back-kick into the creature's chest as Riley falls to the ground. **Buffy is trailing a line of kisses down the front of Riley's body, starting at his chest. Buffy slams another right-left punching combo into the Polgara's face. It raises its arm and its bone skewer extends from under its forearm. She ducks as it takes a swing at her head. Riley is getting to his knees. Buffy blocks another strike and knees the demon in the midsection. **Riley is behind Buffy slowly sliding the halter off her shoulders. Buffy side steps the Polgara as it tries to stab her and gets behind it. The demon turns to face her again. **Buffy is kissing Riley over her shoulder as he caresses her cheek with his hand. More missing frames and Buffy is suddenly sucking one of his fingers as he kisses her shoulder. Buffy ducks under another of the Polgara's swings. Riley picks up a fallen taser gun and takes aim, but Buffy is too close to the creature for a clear shot. **We see Buffy lay back on Riley's bed and he slowly lowers himself down on top of her. A couple of missing frames and they're kissing. She's caressing his chest. Buffy slams a two-legged drop kick into the Polgara's chest and drops to the ground as it staggers back. Riley shouts 'now' and he and another commando unleash their tasers. The demon is blasted by the bursts of electricity and the other two commandos are readying a heavy net behind it. **Buffy is now on top and lowers herself down on Riley. More deep kissing, his arms around her. They have the Polgara in the net and it's struggling while Buffy gets to her feet. The audio returns and slow-mo ends as she snaps a front kick into its face, knocking the creature out. The commandos wrap things up and Buffy takes a few steps back, breathing heavy. Riley stands beside her. They face each other.", "Buffy: So . . . what do you want to do now? Before he says anything-- We go back to Riley's room which becomes *now* and Riley is on top again as they continue to make love. The music is replaced by a more sinister theme as we cut to a black and white ceiling-shot of Riley's room. The camera pulls back and we see we're looking into a surveillance monitor. There is a label on top of the monitor that has 'FINN' written on it. As the shot continues to pull back we see two more monitors to either side of it with similar shots of, currently, empty rooms. One is labeled 'GATES' the other 'MILLER.' A control panel becomes visible under the row of monitors. There are two reels of tape spinning, obviously in 'record' mode, and there is someone sitting in front of the control panel.", "Cut to closing shot of Professor Walsh. Her face is free of any telling expression but her right eye twitches once as she watches.", "[SCENE_BREAK]", "~~~~~~~~~ Part Three ~~~~~~~~~~~ Fade in on Giles' apartment. Next morning. We can see Giles in the kitchen, through the opening above his bar, pouring some tea.", "Giles: (over his shoulder) I don't know how many more ways I can say 'I'm not interested.' We see Xander and Anya are sitting on the couch in the living room area. There are several Boost Bar boxes on the coffee table.", "Xander: W-- try one! Check these flavors. Cherry-berry. Maple walnut. Ooo, almond licorice.", "Anya: Ew. Giles leaves the kitchen and stands next to the coffee table.", "Xander: Anya, we don't say 'ew' in front of potential customers.", "Anya: Just skip this part and tell him you want money to buy me pretty things. He'll understand.", "Giles: (sighing) Very well. Hmm, maple walnut.", "Xander: An excellent choice. He takes one out of a box and hands it to Giles. Giles tears the aluminum off the end and takes a bite. He quickly stops chewing and there is a disgusted look on his face.", "Giles: (menacingly) Please leave my home now. He drops the Boost Bar on the coffee table like it's a handkerchief with a nasty booger on it and searches for something to spit in. Trying to save the sale, Xander grabs another bar from a different box.", "Xander: It's the, uh, the gritty texture, isn't it? Maybe you're more a cherry-berry fellow. There is a pounding on the door. Desperate sounding. Giles, still suffering from Boost crap in his mouth, heads for the door. Before he reaches it, it bursts open and Spike runs inside. He is holding a tarp over his head, protection from the sunlight.", "Spike: Close the door!", "Xander: Spike? You may want to give up these morning jogs.", "Spike: Soldiers boys are out in force. I've been trying to keep them off my scent. Run them in circles. But they keep coming. Giles takes a quick inspection of his door but he is still able to close it. Spike drops the tarp in relief.", "Giles: And . . . how is this our concern? Seeing as how you've expressed the desire to have nothing more to do with us.", "Xander: Spike said that?", "Giles: Mm-hmm.", "Xander: (to Spike with feeling) . . . That hurts.", "Spike: (exasperated) All right. What do you want me to say? I need help. (points at Giles) And no cheek from you. Giles makes a show of zipping his lips shut.", "Spike: (shrugs his coat off his shoulder) Look! The buggers shot me. In the back. Giles in unmoved and leans against his desk.", "Giles: Remind me. Why should I help you?", "Spike: (scoff) Because you do that. You're the goody-good guys. You're the bloody freaking cavalry.", "Giles: No, you can come up with a better answer than that. Why should *I* help *you*?", "Spike: (thinks) Ooh! Because I helped you! When you turned into that Fyarl demon, I helped you, didn't I? (smug)", "Giles: And that was out of the, um, evilness of your heart?", "Spike: (grinning) Oh, hell no. I made you pay me-- (stops grinning and looks at Giles' stoic, but hard, expression) You right b*st*rd. (he digs out the money from his coat pocket and slams it into Giles' palm) That's all that's left. I spent the rest on blood and smokes, which I'll never see again. (sees Xander and Anya still sitting) Ah, come on! Circle the wagons. Tend to the wounded here. No time for layabouts.", "Cut to Riley's room. Buffy is in his bed looking comfortable (her sleep-mussed hair just working for me!). She wakes up and her eyes take in her surroundings. Worried, she suddenly rolls over and finds Riley lying next to her, already awake, looking at her.", "Riley: (smiling) Hey. What's the matter? Weren't expecting to see me?", "Buffy: (relaxing again) I never know what to expect. They're secure enough with their morning breaths and start kissing in a lazy manner. An electronic chirping sound fills the room.", "Buffy: (laughing) Your robot bird sounds hungry.", "Riley: It's just a reminder to take my vitamins. He rolls over and grabs a medicine bottle on his nightstand as the chirping ends.", "Buffy: (teasing) You're kidding. He downs the pills with a glass of water and returns to his original position. Tucking the sheet around her chest, Buffy sit up against the headboard.", "Riley: Sorry.", "Buffy: (starts to play with his short bangs with her fingers) Quite the regimental soldier.", "Riley: I am how they trained me.", "Buffy: They? Who they?", "Riley: You know, the government. Plucked me out of special op training for this.", "Buffy: What did they tell you it was for?", "Riley: They didn't. In the military you learn to follow orders. Not ask questions.", "Buffy: I don't understand. Aren't you curious about all the science and research stuff they're doing?", "Riley: Hm. I know all I need to know. We're doing good here. Protecting the public. Removing the subterrestrial threat. It's work worth doing. They're silent for a moment. Buffy becomes serious.", "Buffy: What's 314? Riley seems surprised by the question but before he can say anything, his phone rings.", "Riley: (answers it) Riley.", "Walsh: (VO) We have a situation. You're needed.", "Riley: On my way. He hangs up.", "Buffy: What is it?", "Riley: Don't know. (gets up)", "Buffy: You're really not one for asking questions, are you?", "Riley: (smiles) I'll leave that to you.", "Cut to Initiative headquarters. Riley, in commando attire, is walking across the floor when he glances at the metal security door and stops. He walks over and peers through the small wired-glass window. Down the corridor he can see the door marked 314.", "Walsh: Lose your way, agent? Turns to face Walsh, standing behind him.", "Riley: No ma'am.", "Walsh: I've instructed Beta Team to suspend pursuit of Hostile 17 until your arrival. I didn't want any slip-ups, that's why I'm putting you in charge. (hands him a piece of paper) You'll rendezvous with them at these coordinates. He acknowledges with a nod and starts to walk off.", "Walsh: Riley. (he faces her) Make me proud.", "Riley: Yes, ma'am. He continues on and Walsh watches him leave.", "Cut to lab behind door 314. Dr. Angleman is in surgical scrubs and has just finished using an electric bone-saw on something we can't see.", "Walsh: (OS) I think we've got a situation. Angleman looks up from his work and as he pulls his mask down we see his latexed fingers are bloodied.", "Angleman: The Slayer?", "Walsh: (begins to pace) She's becoming a liability.", "Angleman: We knew that was a danger. Does she know about the project?", "Walsh: She knows it exists. She already holds too much influence over Riley --over Agent Finn.", "Angleman: We move to the contingency scenario?", "Walsh: Right away. Angleman is now using scissor clamps on the something we still can't see.", "Angleman: That's too bad. She could have been a powerful ally.", "Walsh: I know.", "Angleman: And Finn will take it hard.", "Walsh: That's why sooner is better. We finally see what Angleman was working on as he lifts the left arm, severed at the shoulder, of the Polgara demon lying on the table. He moves away from the table with it and we can see Adam on a another table several feet away.", "Walsh: (to herself) It's better.", "Cut to Giles' apartment. Spike is sitting backwards in a chair, his bare chest against the backrest. Giles is standing behind him, wearing latex gloves, exploring the wound with a pair of long tweezers. Xander and Anya are on either side of him shining flashlights on the wound.", "Spike: Oww! Watch it. That hurts.", "Giles: It doesn't appear to be a bullet. It's too deeply embedded to be a tranquilizer dart.", "Spike: (grumble) Also not tranquil.", "Giles: Some sort of . . . illumination emanating from it. It's blinking.", "Spike: I don't care if it's playing 'Rockin' the Casbah' on the bloody Jew's harp, (human growling) just get it out of me!", "Giles: Anya, there's a bottle of Cognac in the cabinet next to the sink. Can you get it for me?", "Spike: (as she leaves) What? You're gonna get snockered now?", "Giles: It's not for me, you prat. If I'm gonna operate on you then I need you in anesthetized. It's going to take some time. (picks up a scalpel)", "Xander: We don't have any. That blinking thing. My pseudo-soldier memory bank tells me that's a tracer.", "Giles: A what?", "Spike: A what?", "Xander: It's like a homing beacon. And if commando guys are reading the signal, they're coming home. Anya returns with the bottle and offers it to Spike. He grabs it and takes a healthy swig.", "Giles: Well, we need to buy some time. It's in deep and I'm no surgeon.", "Cut to Buffy and Willow's dorm room, in Stevenson Hall. Buffy walks inside and closes the door behind her. The room is empty and she sees that Willow's bed is just as undisturbed as her own. She goes to her desk to put down her bag and takes off her jacket. She's no longer wearing the infamous halter top (no, you gutterfaces, she's not topless) she's wearing a dark long-sleeve blouse. The door opens behind her and Willow walks in.", "Willow: Oh, hi.", "Buffy: Hey. (indicating the bed) Out all night, huh?", "Willow: You, too.", "Buffy: Yeah. They're silent for a moment and Willow is fidgeting with something in her hand. It's the dolls-eye crystal she had refused from Tara yesterday. (Hmm . . .) She walks to her side of the room and sets it on top of her dresser.", "Buffy: Sorry about bailing on you guys at the Bronze.", "Willow: That's okay. I . . . (glances at the crystal, then to Buffy) Don't worry about it.", "Buffy: (smiles) Okay. Buffy's pager goes off and she retrieves it from her bag.", "Willow: Wow, they really keep you hopping, don't they?", "Buffy: (clipping it to the waistband of her blue jeans) Yeah. I gotta go. I'll see ya? Willow watches her leave. Then the phone rings and she crosses the room to answer it.", "Willow: Hello?", "Cut to Giles. He's using his new cordless phone (*A New Man).", "Giles: Willow. You're there at last. We have a problem. Where's Buffy?", "Willow: (cut to) Just left. (sarcastic) Beeped away by her new buds. You want me to go after her?", "Giles: (cut to) Uh, no, no. It's your help I need, actually.", "Willow: (cut to) Really? What do you want me to do?", "Cut to Initiative headquarters. Buffy is walking with Walsh.", "Walsh: It's a small job. Reconnaissance. Probably a waste of a Slayer's abilities, but my boys are on assignment so I--", "Buffy: No. It's okay. I'm up for some action.", "Walsh: I doubt you'll get any on this one. They reach a table and Walsh points to a map.", "Walsh: We have a reading of a class three subterrestrial moving through the sewer tunnels just on the edge of town.", "Buffy: Class three?", "Walsh: It's a low-level threat. Minimal aggression. Meager defenses.", "Commando: Professor Walsh. (walks up and hands her a taser rifle)", "Walsh: They barely show up on the scanner and occasionally turn out to be raccoons. (hands the weapon to Buffy)", "Buffy: (examining it) Wow. You're not crazy about raccoons, huh?", "Walsh: We always take precautions. (picks up the com-cam from the table) All we need you to do is get a visual on this thing. This will feed me back an image and I can advise you from there. I don't want to put you in any unnecessary danger. (hands it to Buffy)", "Buffy: Oh. That's okay. Danger's my birthright. Not used to such a weapon, Buffy carelessly lets the barrel point towards Walsh, who casually diverts the weapon away with her hand.", "Buffy: Sorry. Um, Professor Walsh. There's, uh-- There's still some stuff about all this that I'm not clear on.", "Walsh: (a beat) Well, when you get back we can have a talk.", "Buffy: Good. Okay. When I get back. (turns to leave then stops) Am I supposed to salute you?", "Walsh: No.", "Buffy: Okay. Buffy walks off and Walsh glances down at the table. Then she looks over her shoulder to watch Buffy leave. Back at Giles' apartment. Panning shot from the Cognac bottle, hanging loosely in Spike's hand, we see he has a barely conscious expression on his face. He's now laying across the cleared surface of Giles' desk. Xander, and Anya are still in normal positions as Giles continues to work on the wound and Willow is now there standing to one side. She is reading from her 'Witchcraft' spellbook in one arm and is holding the dolls-eye crystal in her other palm.", "Willow: (chanting spell) Tropo, strato, meso, aero, iono, exo . . .", "Xander: (to Giles) So how is this supposed to work again?", "Giles: If she succeeds her spell will ionize the atmosphere around us thereby disrupting the tracer's signal. (from Xander's 'duuuh?' expression) Buys us time.", "Willow: (chanting) Elements are brought to bear. Wind, earth, and water churn amidst the fire. Let the air be burned. They all jump as the spell takes effect and there is a shot of every lightbulb in the apartment exploding.", "Willow: (OS) Did it work? Is the atmosphere ionized? Shot of our gang. How to describe their hair? Okay, their hair is doing the Don King, Yahoo Serious, finger-in-an-open-light-socket, electrocuted (pick the metaphor that works for you) thing. Or another way: they decided to raid Angel's supply of mousse and used it all at once. But we can't see Spike's hair in this shot. They glance at one another and static electricity can be heard doing the 'snap, crackle, pop' in their hair.", "Giles: (deadpan) I'd venture yes.", "Cut to wooded area. Riley has joined up with Beta Team and Forrest is on point with the tracer receiver beeping in his hand.", "Riley: What do you mean, the signal's whacked?", "Forrest: I mean the blips a blob. Some kind of interference messing with the tracer.", "Riley: Try to lock it down. We headed in the right general direction? They stop as Forrest tries to get a bearing.", "Forrest: (sighs) I think so. It's gonna put us in populated areas.", "Riley: Okay, then. We change into civvies and then move out. Maybe something will turn up. They continue on. We cut to Buffy in the sewers. We see her emerging from a tunnel and she steps inside a larger chamber. She's armed with the taser rifle and is wearing the com-cam hooked over her left ear. She hears a snarling sound coming from deep in the chamber.", "Buffy: (into mic) Professor Walsh, are you getting this? Possible SHT? Make it a definite. She sees a green squid-faced demon step out, wearing ragged robes and carrying a long battle ax. A second demon steps out with it, also armed with a battle ax.", "Buffy: And he's brought along a friend. They seem-- Buffy suddenly flashbacks to her tour at the Initiative and remembers seeing these two demons being worked on in 'the Pit.' Buffy aims the taser rifle at them and pulls the trigger. The weapon short-circuits with a burst of sparks and Buffy drops it from the shock. She turns to flee the way she came but a barred gate is dropping in place, blocking her escape into the tunnel. Buffy looks at the approaching demons and has a 'Oh, f*** me!' expression on her face. ~~~~~~~~~~ Part Four ~~~~~~~~~~~ Back where we left Buffy. She is standing on a three-foot raised section as she watches the demons approach. On the ground level, the taser rifle is still short-circuiting, shooting sparks. The demons charge and she hops down, hitting them with alternating front kicks. The second demon is quicker to recover and swings the ax down at her head. She side steps and kicks it in the back of the knee, throwing it off balance, and sends a back kick into the first demon. The second demon gets up again smashing the ax handle into her chin, turning her around. The first demon is swinging its ax at her and she catches the handle with her hands. As they struggling with it, the second demon slams the handle of its ax into the small of her back. The first demon uses this to wrest free its weapon from Buffy's hold and she falls to the ground in a shoulder roll. As she stands back up to face the demons, we cut to a black and white shot of the com-cam's POV. On the monitor we see the rhythm of her heart beat and that her BPM is 145. We can see her hands are raised in a fighting stance and the picture starts to jerk wildly as she dodges the demons' attacks. We can hear her sounds of exertion and the growls of the creatures.", "Cut to Walsh, standing in front of Control's operations panel, watching the monitors. She calmly takes a sip from her coffee mug as the fight continues. Com-cam POV. Buffy's hands grab the handle of one of the demon's ax and wrestles with it. The other demon attacks and swings its ax down towards the screen. The picture suddenly drops to the ground showing a close up of the sewer floor. The BPM drops from 145 . . . 109 . . . 73 . . . 37 . . . 1 . . . -?- in less than a second and the heart rhythm flatlines with the a steady monotonous EEEEEEEE. . . . . Walsh glances around but she is the only person who knows what's happened. She calmly takes another sip from her mug. Cut back to Beta Team. They are in civvies and walking down the sidewalk of a residential street.", "Riley: Talk to me, Forrest.", "Forrest: Signal's somewhere in this neighborhood. Estimate within a two-block radius. In Giles' apartment. Giles is digging into Spike's wound with the tweezers while Anya holds the flashlight for him. She, Xander, and Willow or nervously munching on Boost Bars. Oh, and their hair is more or less back to normal.", "Willow: It feels, and looks, like the ionizing spell is wearing off.", "Xander: Giles?", "Giles: I've got it. I've got it! He holds up the tweezers and we see a two-inch dart with a blinking red light on the blunt end. Back to Beta Team. They're getting closer.", "Riley: Okay, we want to keep the hostile contained, so no one is to make a move without my--", "Forrest: (stops) Wait. Signal's cleared up. (points across the street) There.", "Riley: Let's go! They take off across the street. Giles' apartment. He hands Xander the tweezers", "Giles: Um, go! With the tracer in one hand, Boost Bar in the other, Xander dashes down the hallway and skids around the corner. Forrest suddenly stops.", "Riley: What?", "Forrest: It's on the move.", "Riley: Heading?", "Forrest: Straight at us. Forty meters and closing. Moving fast.", "Graham: In broad daylight?", "Riley: Look alive people. Weapons at the ready. They unsling their backpacks and slip a hand inside.", "Forrest: Twenty-five meters . . . twenty . . . fifteen.", "Riley: Where?", "Forrest: To the left. Ten meters . . . five!", "Riley: Anyone?", "Graham: I got nothing.", "Forrest: This doesn't make sense. It went right past us. They're all looking around. Riley notices a drain gutter.", "Riley: (disgusted) Flushed. The tracers been flushed.", "Cut to the sewers. Close up shot of the com-cam lying on the dirty sewer floor, without Buffy's head. We can hear Buffy and the demons still fighting. Returning to the handicap match already in progress . . . They have Buffy surrounded and the first demon charges but she deflects the ax and shoves the creature into the second the demon, pinning it against the wall. She steps forward with an inward crescent kick to knock the ax aside and slams a right fist into its gut. Not missing a beat, she's already following through with a hard left hook, as the first demon bends forward giving her a clear shot at the second demon's face. She raises a knee into the first demon's face, making him stand straight again, and then spins into a jumping back kick, slamming them both against the wall again. Stunned, the first demon falls on its face, but the second demon charges Buffy. She's able to grab the handle of its ax as it drives her back into the opposite wall. She wrestles with it as the first demon gets back to its feet and starts to swing its ax directly at Buffy. In the last instant, she twists the second demon around in front of her, who takes the blade in the stomach. As it falls to the ground dead, the first demon takes another swing at Buffy who ducks away. The demon quickly follows through into another swing and she catches the handle again. She diverts the blade away from her and takes a quick punch at the creature's face. It's stunned and she rips the ax from its grip and the weapon flies away from them. But Buffy is off balance as she backs away. The demon takes advantage by punching her hard in the face, sending her to floor. The demon goes after its weapon, stepping into a drainage canal where the ax is laying. Buffy raises her head a notices the still-sparking taser rifle just a couple of feet from her. As the demon bends down to pick up its weapon, she sees it's standing in water. Getting to her knees, she snatches up the taser and tosses it at the demon's feet. It hits the water and electricity dances over the creature as it spasms wildly, growling in pain. The chamber is lit up and Buffy just watches until it finally falls in the water dead. As Buffy catches her breath we-- Return to Initiative headquarters. Riley walks up behind Walsh who is still standing in front of the Control operations panel. At the sound of his voice she turns to face him. She looks shakened.", "Riley: Regret to report Hostile 17 is still at large. I left Beta Team to comb the area but the tracer's--", "Walsh: (interrupting) Riley, something's happened. I-I don't know what to say. It-it-it's about Buffy.", "Riley: Buffy? She takes a few steps away from the monitors, com-cam POV still on the sewer floor, and Riley stands in front of her.", "Walsh: Two of our hostiles broke free and escaped into the tunnels. She . . .went after them on her own. (meets his eyes) She's dead, Riley.", "Riley: (shocked) . . . . What?! (this transcript does not do justice to the amount of pain he puts into that one word)", "Walsh: I did everything I could to stop her. I told her to wait for a back-up team, she kept insisting she didn't need any team. She could handle it by herself. I-I'm so, so sorry. Riley's obviously struggling not to break down as he hears this.", "Riley: I don't understand. Behind Walsh, the com-cam image on the monitors suddenly start to move.", "Walsh: I know what she meant to you.", "Riley: How could this happen?", "Walsh: She was a very, very special girl. The com-cam image is still and Buffy steps into the picture and kneels in front of it. Her expression is pissed to the tenth power.", "Walsh: I didn't understand at first. But she had something. I don't know . . . maybe I could have stopped her. Riley sees Buffy's face in the monitors.", "Walsh: It's hard not to blame myself.", "Buffy: (steely voice) Professor Walsh. That simple little recon you sent me on . . . wasn't a raccoon. (Walsh slowly faces the monitors) Turns out it was me trapped in the sewers with a faulty weapon and two of your pet demons. If you think that's enough to kill me, you really don't know what a Slayer is. Walsh is speechless.", "Buffy: Trust me when I say you're gonna find out. Buffy stands up and walks off camera. The image suddenly pitches to the floor and there is a crunch as all the screens turn snowy with static. Walsh slowly turns to face Riley again. He's looking down at her doing a pretty good tenth power pissed expression himself.", "Walsh: Riley . . . Without a word he starts walking away.", "Walsh: Agent Finn. I order you to stop! He doesn't.", "Walsh: Agent Finn! He's gone.", "Walsh: RILEY!", "Cut to Giles' apartment. He's removing the latex gloves. Spike is sitting on the edge of the desk, putting his black T-shirt back on, careful of his wounded shoulder.", "Giles: It will be dark soon. I think it will be wise for you to leave Sunnydale.", "Spike: I'm not going anywhere. Not until those bastards undo whatever they did to me. Put me back the way I was.", "Xander: (sarcastic) Sure. Just explain to the nice scientist guys that you really miss killing and torturing innocent people.", "Spike: Do you think that would work?", "Giles: (removing his glasses) Spike-- lord knows why I'm telling you this-- it's for your own good. As long as the Initiative is in operation it's not safe for you here.", "Cut to Buffy who has just walked in.", "Buffy: No. Everyone turns to face her. They see the grave expression on her face.", "Buffy: It's not safe for any of us. And on that cheery note we--", "Cut to what's behind door number 314. The lab is dimly lit. Walsh is approaching the table where Adam is still sleeping. He --it-- no longer has a sheet covering him and we can see more of his mismatched demon body. He's wearing commando pants and boots. There is a strange metal/electronic plate on his chest where the heart would be. Walsh is speaking in a soft, menacingly halting, but strangely affectionate (did I mention creepy?) tone.", "Walsh: (looking down at him) So. All right. Fine. If she wants a fight, we'll give her one. Won't we, Adam? I've worked too long. Too long . . . to let some little bitch threaten this project. Threaten me. (she paces to the end of the table and puts a hand on Adam's boot) She has no idea who she's dealing with. Once she's gone, Riley will come around. He'll understand. She turns toward the second table which is empty. The surgical bone-saw is lying on it. She slowly picks it up to put it away.", "Walsh: It's for the greater good. He'll see that. And if he doesn't . . . Well, first things first. Remove the complication and when she least expects it--AHH! A long sharp spear suddenly bursts from her chest. Shocked, she looks down at it, then looks over her shoulder. She sees Adam is awake and standing behind her.", "Walsh: (fading) Adam? Walsh falls and she slides off the spear. Adam raises his new Polgara left arm and we see the blood on the bone skewer. He's looking down at Walsh's body.", "ADAM: Mommy." ]

[ "Faith ( Eliza Dushku ) wakes up from her eight-month coma and seeks revenge against Buffy. After failing to attack her, she switches bodies with Buffy using a gift left to her by Richard Wilkins III ( Harry Groener ), the now-dead mayor." ]

[ "Faith beating up a vampire.", "Faith: I'm Faith.", "Giles (VO): Previously on Buffy The Vampire Slayer... Mayor's Office.", "Mayor: Open your present.", "Faith: (Opens it, takes out knife) This is a thing of beauty, boss.", "Mayor: That look on your face is my reward.", "Giles: (VO)We have a rogue Slayer on our hands. I can't think of anything more dangerous. Buffy fighting Faith on a rooftop. Buffy punches her then plunges a knife into her gut. Shot of truck below. Faith falls onto it.", "Cut to: Hospital. Faith in a bed looking ill. Mayor next to her bed.", "Doctor: It's a wonder she's alive at all with the blood loss. There's virtually no chance that she'll ever regain consciousness. Buffy fighting in a room.", "Riley: You're really strong. I like it. Walsh standing next to Adam on a bed.", "Walsh: I've worked too long... too long to let some little bitch threaten this project. Giles' apartment. Giles talking to Buffy.", "Giles: Maggie Walsh...set you up?", "Cut to Buffy in a dark room.", "Buffy (VO): Maggie wanted me dead didn't she? Buffy tries blaster. Doesn't work. Door slams behind her.", "Cut to Adam's room. Walsh being skewered from behind by Adam.", "Walsh: Adam... Walsh slumps to ground.", "Adam: Mommy. Initiative. Riley to Forrest.", "Riley: Why does it bug you so much that I'm hanging with her?", "Forrest: It bugs me that she's using you to infiltrate our operation.", "Riley: You saying she's a spy?", "Cut to Riley, shaking and looking ill.", "Riley: I don't know what's going on...who the bad guys are...", "Cut to Riley and Buffy fighting Adam. Riley is injured by it. Forrest picks him up.", "Forrest: Escort them out. Carries Riley off.", "Riley: Buffy... Buffy watches him being taken away. Screen fades to white. Faith and Buffy making a bed. Folding clean sheet.", "Buffy: They smell good don't they?", "Faith: What?", "Buffy: Clean sheets. Like summer.", "Faith: I wouldn't know.", "Buffy: Right. I forgot.", "Faith: I noticed.", "Buffy: I wish I could stay, but...", "Faith: Oh, you have to go.", "Buffy: That's just what...", "Faith: Little sis coming. I know.", "Buffy: So much to do before she gets here. They walk around to end of bed.", "Buffy: Now I really have to...", "Faith: So go. Don't let me keep. Blood drips from Faith onto bed.", "Fait: Damn. Just when we'd made it so nice. (They look at knife in Faith's gut) Are you ever gonna take this thing out? Lingering shot of knife. Buffy rips it out. Faith flinches.", "Cut to hospital monitors showing heart beat etc. Across to Faith lying in a bed. Still asleep. Lighting strikes. Credits begins. Xander's basement. Xander looking at blaster.", "Xander: So, here it is. The latest in state-of-the-art combat technology. I gotta say, it doesn't look that complicated.", "Buffy: So can you repair it?", "Xander: Sure. As soon as I get my master's degree in advanced starship technology. (Slams down blaster.)", "Willow: Well, why don't we experiment? Press some buttons, see what happens.", "Giles: I'd like to veto that.", "Xander: Second. It's called a blaster, Will, a word that tends to discourage experimentation. Now, if it were called the Orgazmater, I'd be the first to try your basic button press approach.", "Buffy: Just tell me. Can you repair it or not?", "Xander: I'm working on it, I'm working on it. (Continues to work on it) I blow a whole in my mom's exterior patch then the neighbours will not be pleased. Buffy sits down with face in her hand.", "Giles: Are you alright? (Goes to sit next to her) You've been patrolling round the clock for three days straight now. I thought you could use some...", "Buffy: What? Some rest? There's a demonoid killing machine out there Giles, it doesn't only work the night shift.", "Giles: I was going to say perhaps you could use some backup, but um...now you mention it, building up your strength may not be a bad idea.", "Buffy: Just get the blaster working. That's all the strength I need.", "Willow: Are you sure?", "Buffy: Why? Because ray guns aren't in the Slayer handbook? Well, you haven't seen this Adam thing. He's the Terminator without the bashful charm. He's deadly, and the last time we met, he kicked my ass.", "Willow: Oh no, blast away, by all means. I only meant...no word about Riley? Comes and sits with Buffy.", "Buffy: They keep telling me that he's fine. That's all they'll say.", "Willow: Maybe they're telling the truth.", "Buffy: Maybe. I don't even know what the Initiative's version of \"fine\" is. I mean, they could be forcing him back onto medication or torturing him for all I know.", "Giles: From what we've seen, I doubt they'll be trying to hurt him.", "Buffy: The only thing I know for certain is that my boyfriend is locked away and I'm not helping. Lots of sparks come out of blaster. Xander recoils.", "Willow: Maybe Giles has a point. I mean, Riley is their top gun guy. Doesn't make sense that they'd hurt him.", "Buffy: All I know is that the Initiative has all those brain-washy, behaviour modification guys.", "Willow: So?", "Buffy: So what happens when they start not liking his behaviour?", "Cut to Initiative infirmary. Riley's hand reaches for piece of Buffy's bandana. Gets out of bed, grunts in pain. Pulls a shirt on. Starts to walk out of the room. Guard comes towards him.", "Riley: Stand down, soldier. (No response) Stand down before I put you down. Forrest comes over.", "Forrest: (To guard) You heard the man. At ease. Looks at Riley. Riley returns the look, then starts to walk away.", "Forrest: The shish kebab that walks like a man. Looks like you're feeling better. Walking around, threatening people and all that.", "Riley: He was in my way. I got places to be.", "Forrest: Really. And where were you thinking of going?", "Riley: You know where I'm going.", "Forrest: (Sighs) Don't even tell me you're headed to that girlfriend of yours. (Gets in Riley's way) Look at you. One good injury and you're back in intensive care to stay.", "Riley: You wouldn't understand.", "Forrest: How about you explain it to me then? Guard comes up behind them.", "Guard: We all friends here fellows?", "Forrest: Absolutely. Riley here was about to explain why he's leaving us so very quickly.", "Riley: I don't explain. Because I don't have to. I'm the one in charge.", "Forrest: Things change.", "Riley: Do they?", "Forrest: Hey! In case you failed to notice, we're in a world of hurt around here. Now's the time for us to band together, not go flying off our separate ways.", "Guard: Forrest has a point, Riley.", "Forrest: We have a problem, we deal with that problem. You know, the most important part of the equation now is that we keep said problem within the family.", "Riley: Family? Is that what we are? Step aside. Forrest stares him down.", "Cut to Faith's hospital bed. Slowly moving towards her from high above. Quick flash of sun above trees. Back to bed. Continue to move towards her. Then longer shot of trees, moving camera down the ground. Cut back to bed, now quite close to her. Further shot of trees, then goes black. Close up of her face in the bed.", "Faith (VO): Think it's gonna rain?", "Cut to Faith and Mayor having a picnic in the park.", "Mayor: Nonsense. It's a beautiful day. Now eat your sandwich.", "Faith: I dunno. It just always seems like it starts raining about now.", "Mayor: You're too young and too pretty a girl to start wearing worry lines on your face. (Picks worm off blanket) Hey there, little fella. I dunno where you belong, butit's not here with us. (Chuckles) There you go. (Puts the worm back in the soil. Talks to Faith again) Y'see, there's nothing gonna spoil our time together. Who wants cheese cake? (Chuckles) Faith looks down and smiles, then suddenly looks up behind the Mayor.", "Faith: NO! Buffy comes up behind the Mayor. Runs him through with Faith's knife.", "Buffy: (To Faith) I told you I had things to do. Faith looks terrified and crawls away.", "Cut to her lying in bed again. Zoom in further.", "Cut to Scooby Gang looking for Adam at night.", "Willow: Spread out.", "Buffy: Not too far.", "Xander: So not a problem. Buffy walks around a tree. Shines torch upwards and sees horribly mutilated body in the tree. Rest of group see it. Cut to basement.", "Buffy: I've never seen anything like that.", "Xander: And I can go a long healthy stretch without seeing anything like that again.", "Willow: It had to be Adam who killed it, but why?", "Buffy: He's studying biology. Human, demon, whoever he can get his hands on and take apart.", "Willow: He's finding out what makes things work.", "Xander: I really don't want to be around for the final exam.", "Buffy: It's not coming to that. The Initiative created this thing and they can't stop it. But we will.", "Xander: Question: Will hiding in a cavern with stockpiled chocolate goods be any part of this plan?", "Buffy: No. Xander sits next to Willow.", "Xander: (To Willow) Told you.", "Willow: What's first?", "Buffy: Riley. I'm not leaving him down there with the people that created this thing. I don't care how many guns they have, I'm going in. Okay. Will, I need you to hack into their security mainframe and buy me a ten minute shut down of operation systems.", "Willow: That could be...", "Buffy: Tricky. Not impossible. If you can't do it online, then use magic. Xander, any gear you've been saving for a rainy day, I want you to give to me.", "Xander: You want stealth stuff?", "Buffy: No, we tried sneaking in. This time, we're gonna use force. I figure I'll go in through the elevator shaft, use the cable as towlines. Then blast open the facility doors and find the infirmary.", "Riley: Am I really worth all that?", "Buffy: (Spins around) Riley! (Hugs him. He flinches) Oh God, I'm sorry! Did I hurt you?", "Riley: No, a giant skewer through the rib cage hurt me. That was just a reminder.", "Buffy: How did you get out?", "Riley: I walked.", "Willow: They didn't try to stop you?", "Riley: Oh, they did. Repeatedly. But then I told them they couldn't keep me without a major ass-kicking, one way or another. So here I am.", "Xander: That's...great...Riley, and y'know...there's no polite way to ask you this, but...uh...did they put a chip in your brain? (Looks at his head)", "Riley: Beg your pardon?", "Buffy: Forget it. We're just happy to have you back.", "Willow: Yeah, we were pretty worried about you for a while, mister.", "Riley: Me too. Hey, I know my behaviouir was pretty out there...", "Willow: Forget it. Tell you what, you two crazy kids take down a killer cyber demon hybrid thingy and we'll call it all even.", "Riley: Taking down Adam's gonna be tough. There's no way to predict what he'll throw at us.", "Buffy: You're here. Whatever comes, we can handle.", "Cut to dark street. Fait running down it looking very afraid. Buffy walking after her. Faith runs through a graveyard. Cut back to Faith asleep in hospital. Cutto graveyard. Noises all around Faith. Buffy getting closer wielding Faith's knife.", "Cut to Faith asleep, zoom closer to her face.", "Cut to Buffy still walking after Faith, then to her asleep, then to Faith running through the graveyard and falling into an open grave. Buffy comes up to it and looks down at her. Buffy falls away and the screen fades the black. Shot of the ground near the grave, then Faith claws her way out of the hole and looks up into the stormy sky. Cut back to hospital bed. Faith's eyes snap open.", "Fade to Commercial Break. Faith lying awake listening to hospital noises. Looks at monitors, then at tube in her hand. Lifts hand up and clenches it into a fight fist. Far shot of bed. Faith throws the covers aside, rips out the monitor cable and leaves. She is pulled back by tube in her hand.", "Faith: (Yanks it out) Owch. Faith walks down the corridor. Woman comes up to her.", "Woman: Excuse me. You know how to get to third floor west?", "Faith: What?", "Woman: I see...you need some help or something?", "Faith: Graduation.", "Woman: What?", "Faith: Graduation. I gotta get to Sunnydale High School graduation", "NOW.", "Woman: Well, you can't. I mean, Sunnydale High School isn't even there anymore.", "Faith: What day is it?", "Woman: Friday.", "Faith: What date? The date.", "Woman: February 25th.", "Faith: What year?", "Woman: Maybe I should get you a nurse...", "Faith: What happened to the school?", "Woman: Don't you just wanna...", "Faith: Just tell me.", "Woman: Well, it was a tragedy really. Lots of students died. The", "Principal, the Mayor. I really think maybe I should get you some help. Closeup of Faith's face.", "Cut to Faith walking outside the hospital wearing the woman's clothes.", "Buffy (VO): Y'know, I never stopped thinking about you.", "Cut to Buffy and Riley.", "Riley: Me neither. All I had in there was this one little part of you. (Gives her bandana piece)", "Buffy: It's just the scarf part of me really.", "Riley: Sure it is. Just knowing you were out there...that you cared...I think we're being watched.", "Buffy: I dunno. Does the Initiative do that?", "Riley: Maybe.", "Buffy: You seem a little...somewhere else. Is there anything I can do?", "Riley: Give me an order. That's what I do isn't it? Follow orders.", "Buffy: You don't have to.", "Riley: Don't I? All my life that's what I've been groomed to do. They say jump, I ask \"How high?\", I get the job done. Just don't know if it's the right job anymore.", "Buffy: I know how you feel. Giles used to be part of this Council. And for years all they ever did was give me orders.", "Riley: Ever obey them?", "Buffy: Sure. The ones I was going to do anyway. The point is, I quit the Council. And I was scared. But it's okay now.", "Riley: Now, see, that's where you and I are different. I just suck at the whole gray area thing.", "Buffy: It's a choice. Go back in there and make some changes from the inside. Or you can quit the team, fight demons in your own way.", "Riley: You make it sound so simple. I don't even know what my way is.", "Buffy: Well, it's time to find out.", "Riley: I'm a soldier. I got a way, which one of them?", "Buffy: Good man. (They kiss. She sits in his lap, kisses him again.)", "Riley: What're you doing?", "Buffy: I am looking for brain washy chips in your head.", "Riley: Heh...finding any?", "Buffy: Not sure. But I should probably keep looking just in case. You've been strong long enough, Riley Finn. I'm here for you. And we're gonna find this demon, and we're gonna kill it together. And in the mean time, you are gonna stop torturing yourself.", "Riley: Sure about that?", "Buffy: It's an order. (They kiss again)", "Cut to hospital. Doctor talking to nurse. Police officer watching.", "Doctor: What do you mean she just wasn't there?", "Nurse: I don't know. I came to check the monitors like I always do at eight o'clock. Eight o'clock is my shift, I got here on time.", "Officer: You found the bed in this condition?", "Nurse: Haven't touched a thing.", "Doctor: Get the duty rosters and check the log. I wanna know exactly what happened. Coma patients do not just get up and walk away.", "Nurse: We are checking every room on every floor.", "Officer: Walk me through this one more time. You knew this woman was wanted for questioning on a series of murders and there's no security on this wing?", "Doctor: You don't understand. There's no way that girl was gonna wake up.", "Officer: Doctor...", "Doctor: This can't be happening... Nurse2 comes in.", "Nurse: Did you find her?", "Nurse: Another woman, unconscious and badly beaten. And she's been stripped. Officer, Doctor and Nurse2 leave in a hurry. Nurse goes to phone, dials a number.", "Nurse: (Into phone) It's happened. Send the team.", "Cut to Faith walking through streets, gets to window of Giles' apartment.", "Giles: (From inside) The problem for me seems to be why Adam ahs stayed dormant as long as he has.", "Willow: When he's not making performance art out of other demons, that is.", "Riley: He's probably working off an autonomic power source. And because he's straight out of the box, he needs to charge up a while. Shot of Faith at window.", "Buffy: Okay, what's he charging up for?", "Xander: Based on the clues, I'll go with killing spree.", "Riley: And that's a best case scenario. I suppose a little fire power would be a good idea right now. (Activates blaster Xander had been messing with, much to Xander's amazement)", "Xander: Hey! How'd you do that? Is there like an On/Off button somewhere here?", "Riley: Blasters are easy. Adam won't be.", "Willow: Since Professor Walsh designed it, any chance she left instructions lying around somewhere? (As she says this, Buffy kisses Riley and Faith reacts)", "Buffy: Well, if she did, they're gonna be in the Initiative. (Faith continues to stare at Buffy and Riley)", "Giles: Which we can't get into without mounting a major offensive.", "Riley: Speak for yourself. (All look at him.) I'm just saying.", "Giles: I must admit, a man on the inside would be...", "Buffy: A really good idea. Are you sure you wanna be double agent guy.", "Riley: I'm not exactly sure what you'd call me, but I will share information. (Faith is still looking at Riley.) It's the least I can do.", "Xander: Riley's right. It is the least we can do. Phone rings. Giles answers it.", "Giles: Hello. What? Yes, she is. (Motions to Buffy) Um...it's for you.", "Buffy: (Looking surprised)Hello? (Faith watches her expectantly) What sort of emergency? (Looks unhappy) No, I haven't. (Faith leaves) Thank you, I'll let you know. (Puts phone down)", "Giles: What is it?", "Buffy: It's Faith. She's awake. (All look surprised) She beat someone up, took her clothing and disappeared out of the hospital. No-one knows where she is.", "Xander: I'd say this qualifies for a \"Worst Timing Ever\" award.", "Willow: What do we do?", "Giles: Well, we have to find her.", "Willow: What about Adam?", "Xander: I'd hate to see the pursuit of a homicidal lunatic get in the way of persuing a homicidal lunatic.", "Buffy: Well, Faith's not exactly low-profile girl. I'll patrol and wait for her to make a move.", "Giles: But then what?", "Willow: Oooh! I have an idea! Beat the crap out of her!", "Xander: Good plan.", "Buffy: Good on paper. But we still have a decision to make. Do we hand her over to the cops? They wouldn't know what to do with a Slayer even if they knew we existed.", "Willow: What about the Council?", "Xander: Been there. Tried that. Not unlike smothering a forest fire with napalm as I recall.", "Giles: Well, the Initiative, they do have containment facilities.", "Xander: One word: Evil.", "Buffy: There's no way around it. Faith is back, and whether I like it or not, she's my responsibility.", "Willow: Yeah, too bad. That was out first coma ever.", "Buffy: We have no idea where she is. We don't know what she's thinking, what she's feeling...", "Xander: Who she's doing.", "Buffy: She could be terrified. Maybe she doesn't even remember. Or maybe she does and she's sorry and she's alone hiding somewhere.", "Giles: Well, perhaps there's some form of rehabiliatation we just haven't thought about.", "Willow: And if not, ass-kicking makes a solid plan B.", "Buffy: I'm not going to rule it out. First thing, we need to find her. Then we can take it from there.", "Riley: Who's Faith?", "Cut to University campus the next day. Buffy and Willow walking along.", "Willow: What did you tell him?", "Buffy: The truth? That she's my wacky identical cousin from England, and whenever she visits hi-jinks ensue?", "Willow: It's good you guys have such an honest relationship.", "Buffy: No, I told him the story. I vagued up a few bits, but no flat-out lies.", "Willow: That's fair. How'd you handle the Angel-y parts?", "Buffy: I did some editing. It's not that I'm trying to hide anything from Riley, it's just that's a longer conversation, and I had a Faith-hunt to do.", "Willow: Any luck?", "Buffy: Couldn't find her. Don't know exactly where to place that little up-continuum.", "Willow: At least you're not alone on this. I bet every cop in Sunnydale is out there looking for her right now.", "Buffy: Pressure's definitely on. I'm telling you, if I were her, I'd get outta Dodge post hasty. Faith turns from looking at the noticeboard.", "Faith: But you're not me.", "Fade to Break.", "Faith: So, check you out B. Nice, the big girl on campus thing's really working for you.", "Buffy: I've been looking for you.", "Faith: I've been standing still for eight months, B. How hard did you look?", "Buffy: Are you alright?", "Faith: Five-by-five. It's that thing about a coma. Wake up all rested and rejuvinated. And ready for payback.", "Buffy: So much for pleasantries, huh?", "Faith: What did you think, I'd wake up and we'd go for tea? You tried to gut me, bonny. Buffy; You'd have done the same to me if you'd had the chance.", "Faith: Lets have another go at it. See who ends on top.", "Buffy: It doesn't have to be like this, y'know.", "Faith: Actually, I think it has to be exactly like this.", "Buffy: Faith, these are innocent people.", "Faith: No such animal.", "Buffy: I guess it was too much to hope that you'd use your downtime to reflect and grow.", "Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Shot of Willow taking her backpack off her shoulders.", "Buffy: You had it coming.", "Faith: That's one interpretation, but in my dream, she does it for a guy. Willow comes towards Faith from behind her, wielding the bag.", "Faith: (To Willow) Try it red, and you'll lose an arm. (Back to Buffy) I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly killed for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean?", "Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here. Faith punches Buffy around the face. They fight as the Police approach. Willow attacks Faith from behind, she turns and is grabbed by Buffy. She breaks free.", "Faith: You took my life, B. Payback's a bitch.", "Willow: Look who's talking.", "Faith: See you around. Faith runs off, throws a police officer aside, runs over their car and runs over a field pushing people aside with Buffy in pursuit. Faith leaps over a wall. Buffy looks over it to find Faith has disappeared.", "Cut to a staircase at University. Willow and Tara going down them.", "Willow: Thanks for ocming with. Hunting for a psychopathic superbitch is definitely in the above and beyond category.", "Tara: It's okay, really. So, what do we do if we find her?", "Willow: Run, flee, maybe skedadlle. We're not here to engage. This is strictly recon. Tara smiles.", "Willow: What?", "Tara: You said \"recon\". You're like \"Cool Monster Fighter\"!", "Willow: Well, technically, Faith isn't a monster. And as far as fighting, I'd be lucky to bruise her fist with my face.", "Tara: Oh.", "Willow: What?", "Tara: Face-punching, I'm not so good with the whole..(Imitates throwing punches rather badly)", "Willow: Swimming?", "Tara: Violence.", "Willow: Don't worry, we're sure to spot Faith first. She's liek this cleavagy slut-bomb walking around \"Ooh, check me out, I'm wicked-cool, I'm five-by-five.\"", "Tara: Five-by-five? Five what by five what?", "Willow: See, that's the thing. No-one knows. Buffy can handle Faith and you're plenty safe with me.", "Tara: So, um...we recon till nightfall?", "Willow: Then the ritual hiding begins.", "Cut to Xander and Giles in the streets looking for Faith.", "Xander: The point being I could be the target here. Faith finds Mr. Xander Harri still in town, she goes tighter than cat gut. Got a lotta pent up feelings there. I'm only saying.", "Giles: (Wearily) Yes, I'm sure.", "Xander: See, I can't be held responsible for the effect I have on women.", "Giles: No...", "Xander: See, Faith and I have this little thing between us called history... Rattling. They look around. Xander charges the blaster. They go towards the sound. Spike comes out of the darkness.", "Xander: Spike?", "Giles: What are you doing here?", "Spike: Me? Hey, I'm not the one out of place here.", "Xander: For your information, smarty, we've got a rogue Slayer on our hands. Real psycho-killer too.", "Spike: Sounds serious.", "Giles: It is. What do you know?", "Spike: What do you need?", "Xander: Her. Dark hair. Yay (Indicates) tall, name of Faith, criminally insane.", "Giles: Have you seen her?", "Spike: Is this bird after you?", "Xander: In a bad way, yeah.", "Spike: Tell you what I'll do then. I'll head out, find this girl, tell her exactly where you are and then watch as she kills you. (Sees their looks of surprise and irriatation.) Can't any one of your damn little Scooby club at least try to remember that I hate you all? Just because I can't do the damage myself doesn't stop me from aiming a loose cannon your way. And here I thought the evening be dull.", "Xander: Go ahead. You wouldn't even recognise her.", "Spike: Dark hair, this tall (Indicates), anme of Faith, criminally insane. Like this girl already. Xander and Giles watch him leave.", "Xander: We're dumb.", "Cut to another new woman watching Police helicopters flying around. Pan around. Faith is walking around the streets. About to go into a shop selling blades. See a police car coming around the corner. She ducks into a corner. Some kind of monster comes up to her.", "Monster: Faith! Your friend sent me. I got a little rememberance from him. She beats the monster up and takes the case from him. Then another police car comes around the corner. She goes quickly up a ladder, dodging his searchlight. Once up the ladder she opens the case.", "Mayor: Hello Faith. If you're watching this tape, it can only mean one thing. I'm dead. And our noble campaign to bring order to the town of Sunnydale has failed. Utterly and completely. But on the other hand, heck, maybe we won. And right now, I'm on some jumbo monder in the Richard Wilkins surrounded by a bunch of kids sitting Indian style and looking up at my face filled with fear and wonder. (Laughs) \"Hi kids!\" (Faith smiles) But the realist in me tends to doubt it. Now, Faith, as I record this message you're sleeping. And the doctors tell me you might never wake up. I don't believe that. Sooner or later you will wake up, and when you do, you'll find the world has gone and changed on you. I wish I could make the world a better place for you to wake up in. But, tough as it is to accept, we both have to understand that even my power to protect and watch over you has it's limits. See, the hard pill to swallow is that once I'm gone, your days are just plain numbered. Now, I know, you're a smart and capable young woman in charge of her own life, but the problem, Faith, is that there won't be a place in the world for you anymore. By now I bet you're feeling very much alone. But you're never alone. You'll always have me. (Picks up box) And you'll always have this. Go ahead. Open the box. (Faith takes box from the case and looks at it.) Don't worry. It's not gonna bite. That's my job. (Laughs) Go ahead. Open it. (She does so) Surprise! You won't find these in any gumball machine! See, when you've been around as long as I have, you amke friends. And some of them forge neat little gizmos. Just like the one you're holding right now. (She looks at it) And here's the good news. Just because it's over for my Faith, doesn't mean she can't go out with a bang. (He looks down and laughs sadly. Faith looks sadly at the device.)", "Buffy (VO): She's a very dangerous woman.", "Cut to Buffy's dorm. Buffy and Riley talking.", "Riley: Okay, I get it. Faith bad. Do I look like I'm arguing?", "Buffy: Not yet. But you always make that innocent face right before you start.", "Riley: Figured it out, huh? Damn. It took my mom twelve years to catch that one. All I'm saying is, if you're in trouble, I wanna help.", "Buffy: You can't.", "Riley: Give me one reason why. She throws him a ball. He barely catches it and flinches in pain.", "Buffy: That's one.", "Riley: Alright, I'm not exactly action guy, but there's gotta be something I can do other than sit around waiting for you to pummel this gal.", "Buffy: Riley, the fact that you just called Faith a \"gal\" only proves that you don't know her.", "Riley: Never seen anyone get under your skin this way before. What exactly did she do to you?", "Buffy: It's a long story.", "Riley: I'm from Iowa. We drive four hours for our High School football game. Try me.", "Buffy: I told you, okay? She hurt me and people I care about. And did I mention the psycho killer part?", "Riley: There's something you're not telling me.", "Buffy: Riley, I have to go. She's out there.", "Riley: Alright. I'm just saying. I think you're holding out on me.", "Buffy: Riley, this isn't a joke. There's a criminally insane woman out there with super-powers who thinks I'm responsible for ruining her life. I know Faith. She'll come after me and she'll come after the people I love.", "Cut to Joyce Summers' house. Knock on the door. Joyce goes to answer it. It's Faith.", "Faith: Hi Joyce. She pushes Joyce down, comes in and shuts the door.", "Faith: Mind if I come in.", "Fade to Commercial Break.", "[SCENE_BREAK]", "Faith going through Joyce's makeup drawer.", "Faith: Ruby sunset...burgendy skyline...harlot. Mmmmmmm, way to go Joyce. Now, normally I wouldn't be going for something this dark. But I read in some magazine that eight months in a coma will damage a girl's natural skin tone. (Puts on lipstick) Good thing pale is in this year.n Or was it last year? (Finishes, kisses mirror.) Anyway, for real now. I wanna ask you something, and I want you to promise to be honest, and to not spare my feelings just because I could kill you. You promise?", "Joyce: I promise.", "Faith: OK. (Finishes with hair) How do I look? (Poses)", "Joyce: Psychotic.", "Faith: Mmmmmmm. I was shooting for sultry, but hey. Bet I know what you're thinking.", "Joyce: Really.", "Faith: You're thinking \"You'll never get away with this!\" Moi?", "Joyce: Actually I was thinking \"My daughter is going to kill you soon.\"", "Faith: That a fact?", "Joyce: More like a bet.", "Faith: Whoa. You got a pair on you, Joyce, I like seeing that in a woman your age. Guess you can afford to talk that way. I mean, in the world according to Joyce, Buffy is gonna come crashing through that door any minute. But, look what I found. (Goes over and picks up some letters, comes over to Joyce. Reads adresses.) Buffy Summers, Buffy Summers, Buffy Summers, Buffy, Buffy, Buffy. Lotta letters. She hasn't been by in a while, huh? And you'd think, with a crazy chick like me on the loose, crazy chick with a wicked grudge against her no less, she'd call, give you a heads up. But Buffy's too into her own deal to remember dear old mom.", "Joyce: You don't know the first thing about Buffy. Or me.", "Faith: Don't I? I know what it's like. You think you matter, you think you're a part of something and you get dumped. It's like the whole world is moving and you're stuck. It's like those animals in the tar pits. It's like you just keep sinking a little deeper everyday and no-one even sees.", "Joyce: Were you planning to slit my throat any time soon?", "Faith: Don't tell me you don't see it Joyce. You've served you purpose, squirted out the kids, raised her up, and now you might as well be dead. Nobody cares, nobody remembers, especially not Buffy fabulous superhero. Sooner or later you're going to have to face it. She was over us a long time ago Joyce. Too busy climbing onto her new boytoy to give a single though to the people that matter. I mean, you're her mother, and she just leaves you hear to die. (Grabs knife) Buffy crashes in through the window and punches Faith.", "Buffy: Hi mom.", "Joyce: Hi honey. The fight continues. As the Slayers fall downstairs, Joyce calls 911. They roll down the stairs and clmaber to their feet.", "Faith: Thought I'd go after the queen marine didn't ya? He's a cutie. Looks like he could use a good roll in the sack. Buffy attacks Faith and knocks her down.", "Buffy: You're not his type. He's not big on sleaze. They fight and Faith gets Buffy against a wall by the neck.", "Faith: He's probably just never tried it.", "Buffy: Going for the boyfriend again? That's tired.", "Faith: Just something to remember me by once I've moved on. They fight and Faiht is thrown across the table.", "Buffy: Ever occur to you, Faith, that the reason we forgot you is because we wanted to? Faith smashes stuff and throws it at her.", "Cut to Giles entering his apartment. Finds some guy waiting for him.", "Guy: Hello Rupert. Giles looks shocked. Guy looks calm. Cut back to fight. Faith attacks Buffy, then hears the Police and tries to run. Buffy blocks her and punches her around. Faith opens the Mayor's device and blocks one of her punches with it. Small energy discharge. When it stops, both Buffy and Faith look shocked. Then Buffy punches Faith out. Joyce comes to her.", "Joyce: You okay?", "Buffy: All things considered.", "Joyce: (Sees Mayor's device) What is that?", "Buffy: Weapon of some kind. (Crushes it underfoot) Didn't work, whatever it was. Police come.", "Joyce: Oh, the Police. Buffy looks at Faith.", "Buffy: She's their problem now.", "Joyce: You sure you're okay?", "Buffy: Five-by-five. Lingering shot of Buffy's face.", "TO BE CONTINUED", "Originally aired: February 22, 2000", "BTVS for whatever reason, to enjoy, as well as those who think transcripts are just cool, and as reference material for fanfic writers. Buffy and all copyrighted characters are the product of Joss Whedon and I have nothing but respect for him and those whose hard work is put into bringing us a great show. I did this of my own free time and will never make a dime from it. Now let me add. If you are looking at this transcript, save it, copy it, send it to your friends. Unlike other transcribers, who I have nothing but respect for, if you see any mistakes that might be in this transcript, feel free to correct them, or if you just want to personalize it to suit yourself, by all means. Hell I do it. Prologue:", "Fade to white. A white sheet descends and we see Buffy draping it over a bed. She is in her bedroom at home making her bed. Through the windows it looks like its late afternoon as sunlight shines into the room.", "Buffy: (smoothing the edges) They smell good, don't they? The camera pulls back and we see Faith on the other side of the bed, matching Buffy's movements.", "Faith: What?", "Buffy: (smiling) Clean sheets. Like summer.", "Faith: I wouldn't know.", "Buffy: (stops smiling) Right. I forgot.", "Faith: I noticed.", "Buffy: (hesitantly) I-I wish I could stay, but . . .", "Faith: Oh, you have to go.", "Buffy: It's just with . . .", "Faith: (knowingly) Little sis coming. I know. So much to do before she gets here. They've worked their way to the foot of the bed now and are beside each other.", "Buffy: (regretfully) Now I really have to--", "Faith: So go. Don't let me keep-- She stops as she hears something. She looks down and sees that two drops of blood have hit the sheet, a dark red on the clean white. Two more drops quickly follow.", "Faith: (looks at Buffy) Damn. Just when we made it so nice. She straightens and looks down at her body as she faces Buffy. She lifts her eyes to meet Buffy's, whose expression has suddenly become stoic.", "Faith: (concerned) Are you ever gonna take this thing out? She indicates to her abdomen. Close up of Buffy's hand wrapped around the handle of Faith's large knife; the one Buffy had stabbed her with (*Graduation Day). We cannot see the blade because most of it is in Faith's stomach and blood is seeping from the wound. Buffy's face is emotionless as she gazes into Faith's eyes. A second later, she suddenly jerks the knife upwards. Horrified, Faith opens her mouth in a silent scream.", "Cut to a close up: the screen of a heart monitor. It is beeping steadily with the heartbeat it's monitoring. The camera pans to show us a drab, blue wall with the paint peeling showing plaster. The room is dimly lit. There is an IV stand next to the bed, the tube leading to the comatose patient lying there. Faith is in a room that obviously doesn't see much human presence. From a window we cannot see, lightning flashes outside and splashes across her face. Faith continues to sleep. Wolf's howl. Buffy theme and credits roll. ~~~~~~~~~~ Part One ~~~~~~~~~~ Fade in. Close up of an Initiative taser rifle. The top panel of the weapon is off and hanging to the side, trailing wires, as Xander examines the inside with a pair of pliers in his hand.", "Xander: So. Here it is. The latest in state-of-the-art combat technology. I gotta say it doesn't look that complicated. The camera pulls back and we're in Xander's basement. He has the weapon on the counter. Willow is standing next to him with tools in her hands should he need them. Buffy is standing behind them. Behind her, Giles is seated on the couch folding a basket of laundry on the coffee table.", "Buffy: So can you repair it?", "Xander: Sure. Just as soon as I get my masters degree in advance starship technology. Frustrated, he drops the pliers on the counter and lets the rifle fall on its side.", "Willow: Well, why don't we experiment? (eagerly) Press some buttons, see what happens.", "Giles: (folding a pair of boxers) Uh, I-I'd like to veto that.", "Xander: Second. It's called a blaster, Will. A word that tends to discourage experimentation. Now if it were called “the orgasminator” I'd be the first to try you basic button-press approach.", "Buffy: Just tell me, can you repair it or not.", "Xander: I'm working on it. I'm working on it. Buffy turns and walks towards the couch. Xander rights the rifle again and picks up a screwdriver.", "Xander: But if I blow a hole in my mom's azalea patch the neighbors will not be pleased. Buffy sits down on the couch and rests her head on the palm of her hand, tiredly.", "Giles: You all right? (he moves to sit closer to her) You've been patrolling around the clock for three days straight. Perhaps you can use some--", "Buffy: (lifts her head) What? Some rest? There's a demonoid killing machine out there, Giles, that doesn't really work the night shift.", "Giles: I was going to say, perhaps you could use some back-up, but, um . . . now you mention it. Gathering your strength might not be a bad idea.", "Buffy: (to Xander) Just get the blaster working. That's all the strength I need.", "Willow: Are you sure?", "Buffy: Why, because rayguns aren't in the Slayer Handbook? Will, you haven't seen this Adam thing. H-he's the Terminator without the bashful charm. And he's deadly. And the last time we met he kicked my ass.", "Willow: Oh-- no! Blast away, by all means. I only meant . . . No word about Riley? (sits down in a chair next to the sofa)", "Buffy: (sits back, crossing her arms) They keep telling me that he's fine. That's all they'll say.", "Willow: Maybe they're telling the truth?", "Buffy: (worried) Maybe. I don't even know what the Initiative's version of fine is. They could be forcing him back onto medication and torturing him, for all I know.", "Giles: From what we've seen I doubt they'll be trying to hurt him.", "Buffy: The only thing I know for certain is that my boyfriend is locked away, and I'm not helping.", "Cut to Xander. His back is to us. He's leaning over the blaster when it suddenly lets out a big spark. He does a short electrocuted dance as he holds it in his hands and a puff a smoke is rising from the gun.", "Willow: (unaware of this) Maybe Giles has a point? I mean, Riley is their Top Gun guy. Doesn't make sense that they'd hurt him. Xander has let go of the blaster and turns to face the others with a wide-eyed “I just hurt myself” expression on his face. He's wavering on his feet, still feeling the effects of the shock, and sees nobody noticed what happened. Without a word he turns around and picks up the weapon again to continue working on it.", "Buffy: The Initiative has all those brainwashy behavior modification guys.", "Willow: So?", "Buffy: So what happens when they start not liking his behavior?", "Cut to Initiative: medical ward. Close up of Buffy's red scarf lying on a counter. Riley's reaches out to take it and closes his fist around it. His right hand is bandaged up. The camera pans and we see him lying on a bed. His abdomen is also heavily bandaged. He pushes himself to a sitting position, groaning and putting a hand against the wound in his side. After taking a couple of breaths he stands up, grabbing a shirt, and puts it on as he heads out.", "Cut to the door leading into the infirmary. There is a soldier standing guard. At Riley's approach he turns around a stands in front of the doorway.", "Riley: Stand down, soldier. Riley starts buttoning up his shirt and a second later realizes that the guard hasn't moved.", "Riley: (conversationally) Stand down before I put you down. The soldier still doesn't move and before we can find out what Riley would've done about that, Forrest walks up.", "Forrest: (to soldier) You heard the man. At ease. The soldier returns to his original position. With a glance at Forrest, Riley steps out of the doorway and starts walking down the corridor with a noticeable limp. He continues to button his shirt. Forrest falls into step with him.", "Forrest: The shish kebab that walks like a man. Looks like you're feeling better, walking around, threatening people, and all that.", "Riley: Man was in my way. I got places to be.", "Forrest: Really? And where were you thinking of going?", "Riley: You know where I'm going.", "Forrest: (exasperated sigh) Don't even tell me you're heading toward that girlfriend of yours. (steps out in front of him) Look at you. One good conjugal visit and you're back in intensive care to stay.", "Riley: You wouldn't understand.", "Forrest: (crossing his arms) How ‘bout you explain it to me, then? Graham walks up from behind Riley.", "Graham: We all friends here, fellas?", "Forrest: (looking at Riley) Absolutely. Riley here is about to explain why he's leaving us so very quickly.", "Riley: I don't explain. Because I don't have to. I'm the one in charge.", "Forrest: Things change.", "Riley: Do they?", "Forrest: Hey! In case you failed to notice, we're in a world of hurt around here. Now's the time for us to band together. Not go flying off our separate ways.", "Graham: Forrest has a point, Riley.", "Forrest: We have a problem, we deal with that problem. You know the most important part of the equation now is that we keep said problem within the family.", "Riley: Family? Is that what we are? (a beat) Step aside. Forrest doesn't look like he's about to do that, but unfortunately we have to--", "Cut to Faith's room. An overhead closing shot of her lying in the bed. It alternates with another shot of a cloudy sky, as thunder cracks, threatening rain. The sun can be seen trying to shine through. Camera pans down to a tree line of a spacious park. Close up of Faith. Her pupils are moving under her closed eyelids.", "Faith: (VO) Do you think it's gonna rain?", "Cut to Faith, in the park, laying on a picnic blanket, barefoot. She is wearing a light blue shirt and a bright pink skirt. Mayor Richard Wilkins is laying on the other side of the blanket, eating a sandwich. Faith is just picking at the grapes on her own plate.", "Wilkins: Nonsense. It's a beautiful day. Now eat your sandwich. (wipes his mouth with a napkin)", "Faith: I don't know. It's just . . . it always seems like it starts raining right about now. (eats a grape)", "Wilkins: You're too young and too pretty a girl to start wearing worry lines on your face. He sits up as he sees something.", "Wilkins: Well, hey, hey hey. Picks up a small grass snake that was slithering across the blanket. Faith frowns as she sees it.", "Wilkins: Hey there, little fella. Heh. I don't know where you belong, but it's not here with us. (chuckles as he sets it down pointing towards the grass) There you go. (to Faith) You see? There's nothing that's gonna spoil our time together. Who wants cheesecake?", "(light laugh)", "Faith smiles as he turns to open the picnic basket. Horror suddenly fills her expression.", "Faith: NO! Buffy is suddenly standing in front of Wilkins. She's in black clothes and a long dark coat. She has Faith's knife in her hand and swings the blade down across his throat, and he gags. Before he can fall she thrusts the knife into his chest. She pulls it out and lets him fall and her emotionless gaze fixes on Faith.", "Buffy: I told you I had things to do. Faith is terrified and starts backing away. In a panic, she turns and flees on her hands and knees. Buffy is holding the blood-covered knife raised at the elbow and calmly stalks after her.", "Cut to the woods. Night time. Buffy, Willow, and Xander are on patrol, each carrying a flashlight.", "Willow: Spread out?", "Buffy: Not too far.", "Xander: So not a problem. Willow and Xander split from Buffy as they reach a clump of bushes. The camera pulls back as we track Buffy's progress. Behind her we see two trees and a pair of red legs, with clawed feet, tied to them. Willow and Xander's flashlights are visible on the other side of the trees. Buffy hears a crackling sound a turns. Her eyes widen as she looks up. Willow and Xander are already gaping at the sight of the crucified demon (looked like a Fyarl) suspended high between the two trees. Buffy shines her light on the body and sees the demon was eviscerated. It was sliced down the middle from its neck to lower abdomen, its flesh pulled open wide and also tied to the trees. We see that all the internal organs have been removed and the ribcage and spine are clearly visible." ]

[ "Jonathan ( Danny Strong ) casts a spell to cause all of Sunnydale to believe that he is the titular \"superstar\". However, the spell comes with a price - it conjures up a monster which endangers the town." ]

[ "PROLOGUE", "Night. A park like graveyard. Buffy rolls backward. She is on her feet to meet a snarling bald vampire that leaps and spins and kicks at Buffy's head. Then it kicks her in the stomach, driving her back. It snarls and rushes her and she punches it rapidly perhaps five times. The vampire spins and backhands Buffy knocking her down. It rushes her and she kicks with both legs knocking it back.", "Buffy: \"Xander, Anya!\" The bald vampire rolls over backwards. Willow from the bushes, cries a warning.", "Willow: \"Buffy another one!\" A second vampire, a dark-haired one, snarls and grabs at the still prone Buffy and she flips it over. As the bald vampire comes to its feet Xander grabs it from behind by the jacket and Anya tries to hold (?) it from the front. Buffy kicks the dark-haired vampire in the face and he gets up and runs away.", "Willow: \"Buffy!\" Willow flips Buffy, who has gotten up, a stake. Buffy catches it. It is unclear whether Xander and Anya release the vampire they are struggling with or if it breaks free. Regardless, it moves toward Buffy and she stakes it but flinches as she does so. The staking seemed almost awkward.", "Buffy: \"Where's the other one?\"", "Xander (pointing): \"Scampered like a big <bumpy> bunny.\"", "Anya (also pointing): \"In there.\" The four of them run in the same direction as the vampire did. Interior of a large crypt. Five vampires are feeding off of a single victim. Sucking sounds are heard. Buffy, holding a stake looks back worriedly at Xander, Willow and Anya. They have stopped descending a staircase and are looking at the vampires.", "Cut to exterior. The scoobies exit from the crypt looking depressed.", "Willow: \"I don't care if it is an orgy of death, there's still such a thing as a napkin.\"", "Buffy: \"A nest. No biggie. I bet I could do it. I know could take at least two.\"", "Anya: \"Yes and we could run for help while the other three suck your heart out through your neck.\"", "Buffy: \"You're right. It's too many for just us. You know who we need.\"", "Cut to exterior view of mansion.", "Cut to overhead view in a large room. Buffy and the scoobies walk slowly, as supplicants, towards a desk.", "Buffy: \"Uh, hi. We have a problem.\" The chair behind the desk spins around to reveal the short, stocky Jonathan, dressed very sharply in a black turtle neck. [A guitar makes a Bondlike twang.] Jonathan is smiling and exuding confidence.", "Jonathan: \"Sounds like you could use my help.\"", "[A trumpet blares playfully.]", "[*The opening credits are interspersed with about 10 scenes of Jonathan. The final segment contains cuts of Jonathan approaching the camera with a duster or long coat bilowing behind him.*] [*Guest stars Danny Strong, Amber Benson, Bailey Chase, Robert Patrick Benedict John Saint Ryan ,George Hertzberg, Emma Caulfield as Anya*]", "[*Written by Jane Espenson. Directed by David Grossman.*]", "[ACT 1]", "The interior of Giles' apartment", "Buffy: \"Huff.\" She is practicing her forms. She does a sequence of punches. Giles is reading a book. Anya is working on a milk carton. Jonathan is holding a pistol crossbow and checking it out. Willow is working on a laptop computer. Xander is walking toward Anya. He stops. He practices drawing at stake and making a stabbing motion with it. As he does it he makes whooshing sounds.", "Xander: \"Sshh! Sssh! Quick draws about more than speed. It's also about pointing a stake the right way.\" [He quickdraws again.] \"Sshh! Sssh! And there can be splinter issues. It is a true test of dexterity.\" Anya extends the quart sized milk carton.", "Anya [to Xander]: \"Can you open this?\"", "Xander: \"No, I tear it and it gets all sloshy.\" [He quickdraws again.] \"Sshh! Sssh!\"", "Buffy: \"Thanks for doing this Jonathan, I-I wouldn't ask but...\"", "Jonathan: \"Hey don't worry about it. Nest full of vampires, you come get me, ok. Box full of puppies, that's more of a judgement call.\" Buffy laughs with him.", "Jonathan: \"Hit me.\" Buffy attacks and Jonathan blocks one or two of her punches and stops short of landing a counterpunch.", "Buffy: \"You got me. It was very... punchy.\"", "Jonathan: \"Watch out for southpaws Buff. Don't let 'em surprise you.\" Giles looks up from his book.", "Giles: \"Haven't found a reference to any, uh, rituals seems more like a-a family meal if you will.\"", "Buffy: \"And they say no one eats <with the tv> on anymore.\"", "Jonathan: \"Thanks Rupert.\" [Puts his hand on Giles' shoulder.] \"Well it's good to know we're not walking into the unholy feast of something or other.\" [Removes hand.]", "Willow: \"Oh Jonathan I'm in.\" [Jonathan walks over to Willow.] \"Schematics for the crypt, part of the original plan for the cemetery sometime there's a ... Oh no back way in, just the one entrance.\"", "Buffy (rapidly): \"Well maybe we could make it work for us we could stake out the entrance you know, uh, maybe use a decoy, [faster still] lure them out.\"", "Jonathan: \"Or I bet...\" [He reaches to the computer.] \"There! We can get in that way.\" Buffy is upset. Willow is impressed.", "Willow: \"Oh of course why didn't I think of that.\"", "Jonathan: \"I'm sure you would have.\"", "Willow (smiles and coos): \"Ooh.\"", "Jonathan: \"I think we have a plan\" [hands Xander a crossbow and flips Anya a stake] \"Buffy,\" [flips her a stake] \"you go in first, let em get a look at the slayer. Xander,\" [looks at chessboard] \"The <?Nimsilitz?> defense. Let's see if I remember\" [moves piece] \"hmmm mmm, mate in four. You almost got me that time Rupert.\" Giles is disbelieving.", "Jonathan: \"Xander, Willow and Anya you back up Buffy. I'll be the surprise guest. Everyone lets show these fiends that they came to the wrong town.\"", "Cut to Interior of crypt. A vampire rises from feeding and looks. An twanging and whoosh is heard and an arrow thunks into it's chest and it turns to dust. Three more vampires rise together and see Buffy, Anya, Xander and Willow. A figure crashes through the skylight. Jonathan lands and fires his mini-crossbow hitting a another vampire in the chest.", "Vampire: \"Arrggh.\" The last three vampires charge. One is grabbed by the scoobies. Jonathan fires again. A thunk is heard. Buffy stakes a vampire vampire. The remaining vampire breaks free from the scoobies and slaps the stake out of Buffy's hand and rushes past her.", "Willow: \"Buffy, he's getting away!\" Jonathan does a flip, then aims and fires. Buffy turns to see the last vampire get hit and turn to dust.", "Buffy: \"I should have gotten that one.\"", "Jonathan: \"You got two of them. And that second one was ready for you.\" [Smiles.] \"You should feel pretty good.\"", "Buffy [distressed]: \"But I let one get by me.\"", "Jonathan: \"Don't worry. You know it only matters that you do your best.\" Jonathan walks past her.", "Buffy: \"But that's just it.\" [Cut to the outside.] \"I don't think it was my best.\" Cacaphony of five or more photographers: \"Hey, Jonathan, over here, <take a shot>, quick photo, please another one, right here.\"", "Jonathan: \"Ok guys that's enough.\"", "Xander: \"I think did great. We knocked em dead. Which they already were.\"", "Willow: \"We knocked 'em deader!\"", "Anya: \"They weren't very well organized. If they had all rushed at Buffy they could have killed her right away.\"", "Buffy: \"Thanks Anya. That won't keep me awake all night.\"", "Jonathan: \"Vampires only form nests to make hunting easier. They're not big on the cooperation. They mostly like to hang out all creepy and alone in the shadows. Don't you agree... \" [turning head] \"Spike?\" [Sinister guitar music.] Spike steps out from behind a bush.", "Spike: \"Well, well the man himself.\"", "Jonathan: \"What are you doing here?\" Jonathan and Spike circle each other slowly.", "[The sinister guitar music resumes and continues]", "Spike: \"I live here. I wasn't exactly pining for a noisy visit from 'wonder Jonathan and his fluffy battle kittens'.\"", "Buffy: \"Yeah? You think that one up with all the time you spend not being able to bite people?\"", "Jonathan: \"Careful, he's still pretty dangerous.\"", "Spike: \"Yeah, back off 'Betty.'\"", "Buffy: \"It's Buffy, you big bleached...\" [music ends] \"stupid guy.\"", "Jonathan: \"Spike you're the worst type of scum. The second you're back to your old tricks well, let's just say before you even sniff out your first victim you'll be pretty indistinguishable from, oh what should we say... instant soup mix.\"", "[One last chord of sinister guitar music.]", "Cut to Tara's room.", "Willow and Tara are sitting.", "Willow: \"Next thing I know this crazed vamp is like running right at me and I know if it gets past me there's no telling who's in danger next.\"", "Tara: \"Come on you have fun. Admit it - living the scooby life.\"", "Willow: \"I was going for a kind of stoic bravery but yeah. And it was exciting with the ceiling coming in and everything...\" Willow puts tape on a small piece of paper. Willow sticks the paper on something.", "Tara: \"Oh, that's a cute one! A-and Buffy she was ok?\"", "Willow: \"Oh she was great! Twang! Poof!\" [Tara looks confused.] That was the sound - the crossbow, vampire dusting. I mean she was a little cranky that she missed that one vamp.\"", "Tara: \"W-Well, I-I kind of meant personally.\" [Tara sticks something on the wall.] \"That whole thing with Faith it pretty much freaked me out and I was just sensing it from a distance.\"", "Willow: \"Oh yeah I know she's not over the whole Riley sleeping with Faith thing. Oh.. you know I mean - Faith's insides and Buffy's outsides when her insides were out.\" The camera angle changes to reveal they are working on a large montage of Jonathan photos on the wall.", "Tara: \"I hope they'll be ok.\"", "Willow: \"I sure it'll blow over. They're probably all with the smoochies right now.\"", "Cut to Riley's room. Riley is picking up a toy basketball. He has one in in each hand.", "Buffy (sitting on bed): \"You must be feeling better.\" Riley tosses the toy ball through a hoop. Underneath the hoop is a poster of Jonathan in a basketball outfit. Riley catches the ball as it bounces back to him.", "Riley: \"Yeah yeah. I'm a lot stronger. I'm no Jonathan but I'm doing ok.\"", "Buffy: \"Are you? I mean you're not?\"", "Riley: \"What?\"", "Buffy: \"Eating the Initiatives' technicolor food of strongness.\"", "Riley: \"No, un unnh. They, uh, they swear they've stopping treating the food but I'm not taking the chance. You know I uh, I don't know if that means I'll get weaker or dumber.. or smarter\"", "Buffy: \"They're not big with the disclosure, hunh?\"", "Riley: \"They still haven't released a full profile on Adam. And we're having zero luck tracking him. I just... If they'd just put a little trust in me <and/then> I know I could get the job done.\"", "Buffy: \"I've felt that way my entire life.\" Riley sits beside Buffy. Uneasy, Buffy stands. She misses a basket.", "Buffy: \"<You'd> think I could do that. Guess it takes different muscles than demon beheading.\"", "Riley: \"You just need a few pointers.\" Riley stands and moves behind Buffy. She becomes uneasy again.", "Buffy: \"Now if slaying was a competitive sport, then I'd have a chance. You know we could have figure staking and speed staking. I.. \" [She becomes more uneasy and turns bumping the still injured Riley.] \"AShhh, sorry I, this just isn't my game, I gotta...\" She leaves.", "Cut to a coffee shop. Buffy is pouring cream in a huge cup of coffee.", "Buffy: \"It's all Faith's fault. She's like poison. No worse, she's like acid that eats through everything. [Buffy switches to pouring sugar.] Maybe she's a bomb. [Buffy stirs.] The point is everything was going along great with Riley and then she comes along and messes everything up. [Buffy hands the cup of coffee to Jonathan.] Jonathan is dressed in a very dapper suit with a lime green shirt and a hankerchief in his breast pocket that matches his tie.", "Jonathan: \"Buffy you know what I think: I don't think this about you being angry with Faith, I think you're angry with Riley.\"", "Girl: \"Hi, could you please?\" Jonathan accepts a pen and a notepad from a blonde girl who can't stop grinning.", "Jonathan: \"Sure.\"", "[Jonathan signs an autograph.]", "Jonathan: \"I mean you have this amazing connection with him \"", "[He hands the autograph back to the girl.]", "Girl: Thank you.", "Jonathan: \"and then at the one moment when it matters the most he looks into your eyes and he doesn't even see that it's not you looking back at him.\"", "Buffy: \"There's no way he could know. I mean you don't just look at someone and say 'Hey that's not your body, get out of that body with your hands up!'\" [She gestures with her hands up.]", "Jonathan: \"I know you know that. But you have to believe it!", "Buffy if there's any part of you that's blaming Riley for what happened, it seems like there's a part of you that needs to forgive him.\"", "Karen: \"You're Jonathan Levinson! Oh my god! Oh my god! My name is Karen and I think you're.. You're wonderful! Oh my god!\" Karen is holding a book which has a picture of Jonathan on the back cover.", "Jonathan: \"Hi Karen, thank you. Oh, is that my book? Well I could, uh\" [He reaches for a pen.]", "Karen: \"Yeah please I-I didn't want to bother you! It's Karen with a K!\" Joanthan takes the book and signs it. He hands it back to Karen who examines it for a moment.", "Karen: \"Thank you!... So much! Thanks!\" She runs off.", "Jonathan: \"So what do think Buffy? I mean if I'm wrong smack me. Karen with a k will lend you a book and it's pretty heavy. Heh.\" He sips the coffee.", "Buffy: \"Maybe I have been blaming him. But how do I get past it? Hmmph. What if it's too late? what if after all this he doesn't want me anymore?\"", "Jonathan: \"He does. It's not going to be easy Buffy, but you guys are very special together. That's worth a little hard work.\" He stands and walks away. Buffy stands, reaches into her pocket and leaves some money on the table.", "Buffy: \"But I'm not even sure if I know how to talk to him anymore. How do I make it ok again?\"", "Jonathan: \"If you really want it\" [The camera angle on Jonathan changes so a billboard of Jonathan hawking tennis shoes is visible. \"Light as a feather\" is the slogan.] \"you can make anything happen.\"", "Cut to the Initiative A man in a full dress uniform is addressing slightly more than a dozen military members of the Iniatiative before a table. Not all of the military can be next to the table.", "Colonel: \"For those of you who don't already know my name is Colonel George <Halliwell>. I'm commanding officer here until such time as the facility review is completed. This review does not mean our primary mission is changed in any way. Recovery of the hostile known as Adam is our first and most important job. To this end I've asked our tactical consultant here to address us today. Mr. Levinson.\" Jonathan steps up, previously hidden by much taller members of the Initiative.", "Jonathan: \"Thank you, colonel.\"", "Graham [aside to Riley]: \"It's about time we brought out the big guns.\" Jonathan unfolds a schematic of a skeltetal structure and spreads it on the table.", "Jonathan: \"Men, before we can locate Adam we need to understand him better. And there's something that's bothered me almost from the start. He doesn't eat. We've known him to kill but never to eat the kill. So I've pulled some of Professor Walsh's original design schematics and I've found something - his power source is not biological at all. It's here\" [points to center of chest in the skeletal schematic.] \"The design attempts to hide it, but I believe that there's a small reservoir of uranium 235.\"", "Riley: \"Sir, how long will it last?\"", "Jonathan: \"Essentially forever. It also means that cutting off his head is useless. Killing Adam means annihilating him completely. But first we have to find him.\" Karen with binoculars is spying on Jonathan's mansion, looking in his windows.", "Karen: \"Where are you Jonathan? Are you like, never home?\" Her view goes dark and she lowers the binoculars to see a growling monster coming toward her with an arm raised to strike. She screams. The monster is whiteish tan with very long arms and clawlike hands. It is bald and has fangs and a mark on its foreheard.", "[ACT 2]", "The monster also has a brown mane? down its back. Karen screams. The monster knock her down with a swipe. It holds her with one paw or hand and swings at her with the other. She swings at the monster and hits it with her binoculars, knocking it down. She runs off . The monster jumps up chittering and snarling. She drops her binoculars as she runs, splashing through the wet grass.", "Cut to the Initiative. Jonathan and Riley.", "Jonathan: \"She's ready to forget it. You better be ready too.\"", "[He ties a black cloth around his neck.]", "Riley: \"I don't know Jonathan. I mean I don't know if she'll really ever forget it. Every time I try to touch her...\"", "Jonathan: \"She's scared.\"", "Riley: \"Scared of me?\"", "Jonathan: \"Scared of what you're thinking about.\"", "Riley: \"What do you mean?\"", "Jonathan: \"She knows that Faith is ... experienced.\"", "[He pushes a clip into the pistol and cocks it.]", "Riley: \"What are you saying... experienced? God! Does she think that - what - that I'd be comparing? She knows she's the one I... care about.\"", "Jonathan: \"Have you let her know that?\"", "Riley: \"I think I - Haven't I? - She has to know\"", "Jonathan: \"People can't always see what's right in front of them.\"", "Jonathan has blindfolded himself and he aims the pistol toward three members of the Initiative who have apples on their heads.", "(As humorous/ironic? trumpet music plays. The music continues as the scene changes.)", "Cut to the Bronze:", "Band: \"Witch doctor. <?stirred it up for me?> I took sips from your sweet lips and now I can't get free. Trapped in a web of love. Trapped in a web of love.\"", "Anya, Xander, Riley and Buffy are sitting at a table. Willow and Anya are standing and listening to the band.", "Anya: \"Did not.\"", "Xander: \"Last night with me you said Jonathan.\"", "Anya: \"It was a moan!\"", "Xander: \"Fine! You moaned Jonathan!\"", "Anya: \"Not unh! It was like unnh-unnh-atha.\"", "Xander: \"Maybe it was ahh-onathan. Still not fluffing up the old ego.\"", "Riley: \"Quite the couple, aren't they?\"", "Buffy: \"They get into a fistfight, I've got a fifty on Anya.\"", "Riley: \"Wonder if they'll make it?\" Buffy looks at Riley. The song ends. The audience applauds. Jonathan, dressed in a white jacketed tuxedo, comes to the microphone.", "Jonathan: \"Good evening everyone. I'd to dedicate this to some friends of mine - a very special couple who've been going through a tough time.\"", "Some of the audience coos: \"Ohhh.\"", "Jonathan [sings]: \"When I hear that serenade in blue I'm somewhere in another world alone with you.\"", "[Riley stands and extends his hand to Buffy.]", "\"Sharing all the joys we used to know Many moons ago\"", "[Buffy takes his hand and they move to the dance floor.]", "\"Once again your face comes back to me\" [They start to dance. Buffy puts her head on Riley's shoulder and puts her hand on his back, holding him a little tighter.] \"Just like the theme of some forgotten melody In the album of my memory \"", "[Tara and Willow smile, enjoying the song.]", "\"Serenade in blue\"", "[The melody becomes more up tempo.]", "\"Seems like only yesterday A small café, a crowded floor\"", "[Again Buffy hugs Riley.]", "\"And as we danced the night away I hear you say forever more And then the song became a sigh\"", "[Anya cuddles or caresses Xander while looking at the stage.]", "\"Forever more became goodbye But you remain in my heart\"", "[The melody resumes it's original tempo.]", "\"Tell me darling is there still a spot.\"", "[Singing continues in the background.]", "Riley: \"Buffy I want you to know.\"", "Buffy: \"Do we have to have the talk? No talk, more dance.\"", "Riley: \"I just want to say I'm sorry. That's it's only you that I want.\"", "Buffy: \"I know. I know all of that.\"", "Riley: \"You do?\" [Buffy nods.] \"Since when?\"", "Buffy: \"Since you put your arms around me.\"", "The song ends. Applause is heard. Jonathan blows a trumpet", "Tara: \"Oh my god!. He's going to do something off the new album.\"", "Anya: \"Xander.\" She is staring raptly at Jonathan.", "Xander: \"Yeah.\"", "Anya: \"Let's go have s*x now.\"", "Cut to Xander who is also staring raptly at Jonathan.", "Xander: \"Yeah, ok.\" They walk off, holding hands, neither taking their eyes from Jonathan until the last possible moment. Karen rushes in and Buffy takes her arm.", "Buffy: \"Oh! What is it? Are you ok?\" Jonathan stops playing, waves cut to the band and jumps down off the stage.", "Jonathan: \"Karen, that's your name isn't it? I-I signed my book for you.\" [He holds her arms.] \"Tell me what hurt you Karen. I can help.\"", "Cut to the interior of Jonathan's mansion.", "Jonathan [leading Karen to fireplace]: \"Let's get you warmed up.\"", "Buffy [to a policeman]: \"What's going on, why are you here?\" Riley is beside Buffy. In a different room, another policeman is visible through glass.", "Policeman: \"Mr. Levinson, someone on your staff reported a disturbance.\" [A third policeman is visible in the room.] \"When I realized it was on your property I thought I'd better come down in person.\"", "Jonathan: \"That's all right sergeant. I have it under control.\"", "Sergeant: \"Of course sir. Glad to see you're alright.\"", "Jonathan: \"Karen I know you're scared, but I need to hear your description again.\"", "Karen: \"It was ugly - big ugly - all bent over sort of with these... huge arms and like... scabs and stuff.\"", "Jonathan: \"That must have been very frightening. I'm so sorry.\"", "Karen: \"Oh! Oh! I forgot. It had a mark!\"", "Jonathan: \"A mark?\"", "Karen: \"On it's forehead, like a symbol.\" Riley hands her pen and a notepad and she draws the symbol. A triangle with a six pointed star or asterisk in it. Jonathan takes the notepad and rises. His confidence and warmth have evaporated.", "Jonathan: \"Well. This is a clue.\"", "Buffy (sensing something): \"Jonathan?\"", "Jonathan [in the calm voice]: \"I've heard of this. It's not a demon, just a monster not much more than an animal. It sticks to the woods, doesn't come near populated areas.\"", "Buffy: \"But it did this time, it might again.\" [Eager.] \"Maybe we should patrol.\"", "Riley [eager to please]: \"If you want me to mobilize the squad.\"", "Jonathan: \"Actually I think Karen simply startled it. Probably more afraid of you then were of it. I'll patrol but you don't need to worry about it. I can handle it on my own. Now let's see about getting Karen a ride home.\" Buffy looks suspicious.", "Cut to a library? Pan past a disemboweled body to Adam and a vampire. Adam is sitting in front of five screens showing television scenes. Two of the screens have visible computers attached.", "Vampire: \"I wish you'd get rid of that body. The smell's making me hungry.\"", "Adam: \"You wouldn't want it. It had a blood disease. It didn't know it but it would have been dead within the year. Humans sense so little of what they carry inside.\"", "Vampire: \"Oh alright. Well, you're the evil messiah guy, so henh. Oh hey there's something new in town, yeah, attacked a girl, caused a little fuss. Oh, he was there. Pfft!\" He has gestured to television images of Jonathan.", "Vampire: \"Jonathan.\"", "Adam: \"Jonathan. Tell me who is he?\"", "Vampire: \"Henh, you're joking right? Jonathan is Jonathan. Look.\" All five screens or televisions seem to have scenes of Jonathan.", "Adam: \"These are lies.\" [He turns off the tvs.] \"None of this is real. The world has been changed. It's intriguing but it's wrong.\" The vampire looks back and forth.", "Vampire: \"Feels ok to me.\"", "Adam: \"You're under his spell just like the others. I seem to be the only one who is not.\"", "Vampire: \"Really? And what makes you so special?\"", "Adam: \"I'm aware. I know every molecule of myself and everything around me. No one - no human, no demon - has ever been as awake and alive as I am. You are all just shadows.\"", "Vampire: \"Oh. So what do - what do you do now?\" [enthused] \"Hey you could kill Jonathan!\" [Shakes head.] \"Well, or you could try. The guy's like a dynamo of action.\"", "Adam: \"I don't need to do anything. These magicks are unstable, corrosive. They will inevitably lead to chaos. And I am interested in chaos.\"", "Cut to Jonathan staring in the fire in his mansion. The music is perhaps pensive. The camera revolves around him slowly. A blonde girl in some printed lingerie comes to a landing and looks down at him.", "Girl (in a Nordic? accent): \"Jonathan aren't you coming to bed?\" Her twin comes up beside her.", "Twin (in a Nordic? accent): \"Yeah it's getting late.\"", "Jonathan: \"Be right there.\" He removes his robe revealing the same triangle with the six pointed asterisk in it that the monster has on it's forehead. The symbol has been scarred on the back of his left shoulderblade.", "Cut to campus lawns. Night. Buffy, Willow and Tara are walking.", "Willow: \"I'm glad you're ok. Everyone in the Bronze was pretty freaked out after you left.'", "Tara: \"So I guess you have go fight this thing, hunh?\"", "Willow: \"All the weapons are at Giles'. It shouldn't take too long.\"", "Buffy: \"No go.\"", "Willow: \"Did you just go 'no go'?\"", "Buffy: \"Jonathan did. He said it was some brainless beasty and that he would take care of it himself.\"", "Willow: \"Oh cool.\"", "Buffy: \"I guess. I don't know he just... he seemed a little scared.\"", "Willow: \"Henh! Buffy this is Jonathan. You know he doesn't get scared. You talked about it when you gave him the class protector award at the prom.\"", "Buffy: \"You're right.\"", "Tara: \"Ummm, my exit. Willow, I-I'll see you tomorrow.\" Willow takes Tara by the forearm briefly.", "Willow: \"Ok.\" Tara walks off.", "Willow: \"So. Saw you and Riley, with the dancing.\"", "Buffy: \"It was a great dance.", "Willow?: \"<Yeah.>\"", "Buffy: \"For the first time it felt like Faith wasn't there. Like no one was there but us.\"", "Cut to interior halls. Tara, walking alone in the halls, hears something and she walks more quickly. Double doors in front of her crash open and the monster is there. The monster backhands her and she falls. It swipes at her as she is on her back and she holds her hands up defensively.", "[SCENE_BREAK]", "[ACT 3]", "Tara slides on the floor as she was pushed from behind or ran forward and fell. She turns back toward the monster and chants desperately as she scuttles backwards on her hands, bottom and heels.", "Tara: \"<Sensus> <confundomtor> <era> <ah> <pleator> <obscurator>\" She holds her arms out and dust or smoke springs from her arms blinding the monster. The monster chitters as it waves at the dust. Tara gets up and runs into a Janitor's closet. The lock clicks. The monster bangs on the door.", "Cut to Tara's room. Knocking. Willow lets Buffy in.", "Buffy: \"What's going on?\" [She sees Tara laying on the bed. Tara has scratches and abrasions.] \"Oh my god.\" Tara lies on the bed in a semi-fetal position, shivering.", "Willow: \"She's gonna be ok, but she's terrified.\"", "Buffy: \"What happened? What did this?\"", "Willow: \"Someone found her in the janitor's closet about an hour ago. I-I think she was there all night - she was all alone.\"", "Buffy: \"Tara, what did this?\"", "Tara: \"Big, lumpy. had something on its - on its head. Like a Greek letter only not.\" Buffy takes some paper and draws the symbol that Karen did.", "Buffy: \"This, was it this?\" Tara nods.", "Willow: \"Buffy Jonathan said we were all safe. ***Jonathan said it.***\"", "Cut to a street. Buffy walks and thinks. In the background is poster after poster of \"JONATHAN.COM\".", "Cut to Xander's basement. Anya is standing in the doorway.", "Anya: \"Xander's not here.\"", "Buffy: \"Oh.\"", "Anya: \"You're not going away. Why aren't you going away?\"", "Buffy: \"Oh I was kind of hoping to look at some of Xander's stuff.\"", "Anya: \"Oh.\" [Smiles] \"Sure. Come on in.\" [Waves Buffy in.] \"Make yourself at home. And so on.\" Anya sits on the couch and starts reading Jonathan's book. Buffy sees a poster of Jonathan, a Jonathan comic and lots of trading cards of Jonathan. Many pictures of Jonathan adorn the walls. After looking around Buffy sits on a table or couch arm near Anya.", "Anya: \"Oh you're still here.\" [smiles faintly] \"That's nice.\"", "Buffy: \"May I ask you something? Does it every seem just a little strange that Jonathan is so good at everything?\"", "Anya (shrugs): \"He's Jonathan\" She resumes reading the book. Buffy takes the book.", "Anya: \"Hey! I was just at the part where he invented the internet.\"", "Buffy: \"Anya he fights better than I do. And I'm the slayer.\" [Points to self] \"The Slayer! That's supposed to mean something right?\"", "Anya: \"Oh! buck up you.\" [She punches Buffy in the arm very softly.] \"You kill the best.\" [She makes rah rah gestures.] \"Go you. Kill, kill.\"", "Buffy: \"Actually not needing validation right now, but thank you.\"", "Buffy: \"He just seems too perfect.\" [She looks at the book which is titled 'Oh Jonathan' an autobiography.] \"I don't know.\"", "Anya: \"So I can have my book back?\"", "Buffy: \"Anya when you were a demon, you granted wishes right?\"", "Anya: \"Vengeance wishes on ex boyfriends. I'd wish he was a dog or ugly or in love with president McKinley or something.\"", "Buffy: \"But someone could wish the whole world to be different right? That's possible?\"", "Anya: \"Sure, alternate realities. You could uh, could have like a world without shrimp. Or with, you know, nothing but shrimp. You could even make like a freaky world where Jonathan's some kind of not perfect mouth breather if that's what's blowing up your skirt these days. Just don't ask me to live there! Now if I, uh, could just have book back you could be on your way someplace else?\"", "Buffy (handing back book): \"Here.\"", "Cut to Giles' apartment. Buffy is addressing Riley, Giles, Xander, Anya and Willow.", "Buffy: \"I'm just saying it doesn't make any sense. H-he starred in the Matrix but he never left town. And how'd he graduate from med school? He's only eighteen years old.\"", "Xander: \"Effective time management?\"", "Giles: \"I-I'm sorry Buffy, <but> I just don't understand what you're trying to say.\"", "Anya: \"Yeah and when is Jonathan going to get here and start the meeting?\"", "Buffy: \"This is the meeting.\"", "Willow: \"This is the meeting?\"", "Buffy: \"Well, I was just kind of wondering if maybe anyone thought that Jonathan was kind of too perfect?\"", "Xander: \"No he's not! He's just perfect enough! He crushed the bones of the master, he blew up a big snake made out of mayor and he coached the U.S. women's soccer team to stunning World Cup victory! We saw him doing those things!\"", "Buffy: \"But that's just it. I'm not entirely sure that we can trust our memories. Anya tell them about the alternate universes.\"", "Anya: \"Oh ok. Umm. Say you really like shrimp a lot. Or we could say you don't like shrimp at all.\"", "[Giles nods but keeps eating.]", "Anya: \"Blah I wish there weren't any shrimp you would say to yourself.\"", "Buffy: \"Stop you're saying it wrong! I think that Jonathan may be doing something so that he's manipulating the world and we're all like his pawns.\"", "Anya: \"Or prawns.\"", "Buffy stares at Anya.", "Buffy: \"Stop with the shrimp I am trying to do something here!\"", "Giles (still eating): \"Of course, but it may be a little out of your depth.\"", "Buffy: \"I'm not.\"", "Riley: \"Sounds like nonsense.\" [Buffy looks discouraged.] \"But I'm starting to know this girl pretty well [he stands, walks and stops beside Buffy] and I think she sees things that the rest of us don't. I think, for once, we should follow her lead.\"", "Buffy: \"Ok. I think Jonathan might be ignoring evidence. I think he might have let Tara get hurt.\"", "Willow: \"On purpose?\"", "Buffy: \"No! No.\"", "Giles: \"How did he ignore evidence?\"", "Buffy: \"The monster had a mark on it. Jonathan saw it a-and he kind of... blinked.\"", "Xander: \"He blinked? The man moistened his eyeballs and we're having a meeting about it.\"", "Buffy: \"Wuh. He knows something about the monster. He was reacting to the mark. Oh! [jumps up] Wait, I remember something. Giles, do you have a Jonathan swimsuit calendar?\"", "Giles: \"No.\" Buffy frowns in confusion and stares at Giles.", "Giles: \"Yes. It was a gift.\" All move to look at calender. Buffy (flipping the month of the calendar): \"No. No. Whoah! No. There.\"", "Willow (dismayed): \"Oh.\"", "Anya: \"Yeah. Pretty darn lickable.\"", "Willow: \"The other kind of oh. That's it that's what Tara saw.\"", "Riley: \"Why would Jonathan have the same mark as the monster?\"", "Buffy: \"I don't know. But he's definitely keeping..\"", "Jonathan (standing in doorway): \"Is this a private conversation... or can Mr. July sit in?\" Again he is dressed in a very sharp suit/shirt tie combination.", "Buffy: \"Jonathan!\"", "Anya (rapidly): \"Hi. Buffy was just saying how you had a monster cut up Willow's friend and..\" Buffy turns suddenly to Anya. Anya silently mouths \"What?\"", "Jonathan: \"Buffy?\"", "Buffy: \"No!\" [Closes door] \"It's just ... the mark. You said it was safe.. and it wasn't. I'm sorry.. I just don't understand.\"", "Jonathan: \"Then I'll explain.\"", "[All sit or take positions to listen.]", "Jonathan: \"Buffy is right.\"", "Xander [distressed]: \"No!\"", "Willow looks upset.", "Jonathan: \"I do have a history with the creature. The monster. The problem is every time I face it my mind becomes sort of confused. There's some kind of power it possesses.\"", "Xander: \"Oh! oh! He's like your kryptonite.\"", "Jonathan: \"Maybe. I just knows it takes all my energy to try and fight the confusion. That's why I had his mark tattooed on me so that I wouldn't underestimate it next time.\" Buffy is suspicious.", "Riley [satisified]: \"This does explain everything.\"", "Xander: \"I knew you wouldn't do anything on purpose.", "Willow [relieved and smiling]: \"Me too! And that whole alternate universe thing was too freaky!\"", "Buffy: \"Jonathan let's go after the monster. Right now, you and me.\"", "Jonathan: \"I'm sure it's left town by now. That's been its pattern.\"", "Buffy : \"We can try.\"", "Jonathan [not confident]: \"Sure. Lets do that.\"", "Anya?: \"Bye Jonathan.\"", "Jonathan: \"Goodbye.\" They leave.", "Cut to graveyard.", "Spike: \"Oh look Jonathan. Taking the little sidekick out for a walk, are we?\"", "Buffy: \"Shut up Spike.\"", "Spike laughs: \"Ooh ooh ooh! Semi harsh language from Betty! You're feisty when the big guy standing beside you. [sighs] Someday sweet slayer.\" [He puts a hand on Buffy's hair.] \"I would love to take you on.\" [He moves his hand to her neck and just below her throat.] \"See you face the evil alone for once.\" As he starts to move his hand lower Jonathan grabs Spike's wrist and shoves him back against a nearby crypt.", "Jonathan: \"That's enough of the creepy small talk! We're looking for a monster.\"", "Spike: \"Why would I know about that?\"", "Jonathan: \"Every demon in this town's gunning for you right now so I figure you're probably keeping pretty good track of them. Big arms, mark on its head... have you seen it?\"", "Spike: \"No. But then again I'm probably lying.\" Jonathan releases Spike and turns to Buffy.", "Jonathan: \"We're not getting anything out of him.\" He walks away and Spike holds the back of his head. Buffy lunges forward and shoves Spike back against the crypt again.", "Spike (surprised): \"Hey what are you doing?\"", "[Jonathan turns around, surprised as well.]", "Spike: \"You're not supposed to do that!\"", "Buffy: \"You're pretty much relying on butcher's blood these days right, Spike?\"", "Spike: \"What are you saying?\"", "Buffy: \"Just that the butchers in this town respect Jonathan.", "They do him a favor and you might find yourself getting kind of thirsty.\" She lets Spike go and throws her hands up. Jonathan tilts his head and looks at Spike.", "Spike: \"[sighs] Look I don't know much, ok. Some vampires got kicked out of a cave in the hills behind <Brutside> park.\" Jonathan tilts his head and he and Buffy walk off.", "Spike: \"I don't know what did the kicking out but it's probably pretty big.\" Jonathan holds his hand up dismissively as he and Buffy stroll off. Spike sighs and grabs the back of his head again.", "Jonathan: \"That was very good.\" [Buffy smiles. He rebuttons his jacket.] \"Very good.\"", "Cut to Giles' apartment. Riley is walking back and forth with a book. Anya and Willow are reading on the couch and Xander is sitting and reading opposite them.", "Riley: \"These spells... these really work? I mean, can you really 'turn your enemies inside out'? Or... learn to 'excrete gold coins'?\"", "Anya: \"That one's not so much fun.\"", "Willow: \"They work Riley but they take concentration. Being attuned with the forces of the universe.\"", "Xander: \"Right you can't just go 'librum incendere' and expect..\" The page of Xander's book bursts into flame. Xander is shocked and Riley looks up. Xander slams the book closed, extinguishing the fire.", "Giles: \"Xander don't speak Latin in front of the books.\"", "Willow: \"Hey I-I found the mark. It's part of an augmentation spell.\" [Distressed.] \"Jonathan did an augmentation spell.\"", "Riley: \"What, uh, did he have, uh, you know?\"", "Willow: \"Him! And how we see him. This spell turns the sorcerer into a sort of paragon, the best of everything, everyone's ideal. But-but there's a drawback.\"", "Riley: \"A drawback?\"", "Xander: \"That happens a lot.\" Giles (reading the book over Willow's shoulder): \"Yes. In order to balance the new force of good the spell has to create the opposing force of evil, the worst of everything, everyone's nightmare.\"", "Anya: \"He created the monster.\"", "Xander: \"So we're saying he did a spell just to make us think he was cool?\"", "Giles: \"Yes.\"", "Xander: \"That is so cool!\"", "Riley: \"Giles, Buffy and Jonathan are going after this nightmare thing. Are they going to be ok?\"", "Giles: \"It seems that the well being of this creature is linked to Jonathan. If it dies the spell is broken and Jonathan reverts to... whatever he was before.\"", "Anya: \"Jonathan isn't gonna want Buffy to get very far.\"", "Cut to interior of a cave. Jonathan and Buffy stop at the precipice of a seemingly bottomless pit.", "Buffy: \"Wow! Fall down there and be dead for a while.\"", "Jonathan: \"Yeah,\" [thinking and looking at Buffy] \"don't want that to happen.\" Jonathan slowly reaches and grabs Buffy's wrist as she is looking around the cave. Buffy looks at him. Jonathan [leading her away from the pit]: \"Come on. We've got a monster to...\" The monster growls as he strikes Jonathan with an uppercut and sends him flying back over the pit. He falls unconscious. The monster roars.", "[ACT 4]", "Willow (confused): \"Buffy was right.\" [trying again] \"Buffy was right.\"", "Anya: \"It doesn't sound very likely, does it?\"", "Riley: \"So if this is the world he created, what's the real world like?\"", "Willow: \"I'm scared. Everything's going to change.\"", "Giles: \"Well, actually it'll remain pretty much the same except", "Jonathan won't be Jonathan - not our Jonathan, anyway.\"", "Xander: \"No! No! No! World without sunshine! World without joy!\"", "Riley: \"But wait, it only changes back if Buffy kills this thing! I mean if she loses then we could be stuck in this wrong world forever!\"", "Xander: \"Things looking up! I mean - we're all happy here right? You know if she doesn't get killed?\"", "Willow: \"Giles, can Buffy do it?\"", "Giles: \"I-I honestly don't know she's never stood alone against something like this before.\"", "Cut to interior of cave. Jonathan is slowly waking up to the sounds of the monster growling and blows being exchanged. The monster grabs Buffy and throws her. She tumbles and falls. Trumpet music blares. Jonathan flips to his feet, breaks off a stalactite and hits the monster in the head with it twice, driving it to its knees. Buffy comes to. Jonathan ducks a swipe and grabs the monster from behind.", "Buffy: \"Jonathan what do I do?\"", "Jonathan: \"I think you're going to have to handle this one solo.\"", "Buffy: \"What? But I..\"", "Jonathan: \"You'll know, you used to. And the more you hurt it the more I'll lose my..\" He kicks the monster in the head while holding it.", "Buffy: \"What? Lose your...\" Jonathan spins the monster towards Buffy. Buffy trips the stumbling monster and it falls. Jonathan shudders as if his strength is gone and hides behind a rock. Buffy delivers a sequence of kicks to the monster. When the monster tries to strike her she catches its arm and kicks it twice more and it falls.", "Buffy (smiling): \"I remember this. This good.\" Buffy tries to punch the monster but it catches her and throws her down. Jonathan jumps out from behind the rock as the trumpets blare. The monster charges Buffy but she kicks it again. Again Jonathan runs back behind the rock. Buffy delivers some more kicks to the monster, knocking it down. The monster jumps to its feet and Buffy charges it. It sidesteps and throws her down. One of her arms is in the pit and her head is over it. Before the monster can finish off Buffy, Jonathan charges and tackles it from behind, knocking it into the pit. He falls in too. But Buffy reaches and grabs him by the ankle/heel. He whimpers a little hanging upside down.", "Cut to: A shimmering wave of light passes over the town. The billboard of Jonathan selling shoes changes to a newspaper with a dalmation saying they aren't just in black & white. A movie marquee saying \"Being Jonathan Levinson\" changes to \"closed for repairs\". A \"jonathan.com\" poster changes to a \"The Dingoes Ate My Baby\" poster.", "Cut to campus lawns. Daylight. The gang is sitting beside a tree. Buffy, Riley, Xander, Willow, Anya and Tara.", "Willow: \"I can't believe we believed it\"", "Riley: \"It seemed so real.\"", "Buffy: \"Well, in that world, it was real.\"", "Anya: \"Alternate realities are neat.\"", "Xander: \"You know what I'll always remember?\"", "Riley: \"The swimsuit calendar's sticking in my mind.\" [Buffy looks at him and raises her eyebrows.] \"Not in a good way.\"", "Xander: \"I'll always remember the way he made me feel about me. Valued, respected, sort of tingly... Now I'm just empty.\" Anya is also depressed.", "Buffy: \"Poor Xander. I guess Jonathan hurt you most of all.\"", "Tara [raises her hand]: \"Ummm.\"", "Buffy: \"Except of course, after Tara.\" Willow smiles at Tara.", "Riley: \"Did anyone else feel way too tall? I felt way too tall.\" Buffy sees Jonathan looking over at her and walks to meet him.", "Xander: \"I liked his clothes. He had really cool clothes.\"", "Willow: \"Still not understanding how he got the house and everything.\"", "Anya: \"And who really did star in the Matrix?\" Riley (fading as Buffy gets farther away): \"Wait. That wasn't real either?\"", "Jonathan: \"Hi. I wasn't sure you'd come over. Everyone's mostly forgetting. But, I think some people are kind of angry.\"", "Buffy: \"Yeah!\"", "Jonathan: \"Nobody's even talking to me. And.. the twins moved out.\"", "Buffy: \"Why did you do it anyway? No. I get why. How?\"", "Jonathan: \"After the thing with the bell tower and the gun, I went to counseling. You know other kids with problems a-and one of them had this spell. He glossed right over the monster. Well, anyway I just - I-I just wanted to apologize. Nobody was supposed to get hurt.\"", "Buffy: \"Jonathan you get why everyone is angry though, right? It's not just the monster. People didn't like being the little actors in your sock puppet theater.\"", "Jonathan: \"You weren't! You weren't socks! We were friends.\"", "Buffy: \"Jonathan you can't keep trying to make everything work out with some big gesture all at once. Things are complicated. They take time and work.\"", "Jonathan: \"Yeah, right.\" He turns to leave but stops and turns back.", "Jonathan: \"Hey. Hey Buffy. You remember I gave you some advice?\"", "Buffy [less than amused]: \"Watch out for southpaws?\"", "Jonathan: \"Uh, no about you and Riley. I mean things are starting to blur but this cool thing I said, um, that I don't really remember... I think it's right. I think it's kind of the same thing you just said to me. (Pause.) About things taking work.\"", "Buffy [thoughtful]: \"Yeah, I remember.\"", "Jonathan: \"Good because it's true. What you have is really complicated but it's worth it. I think that's what I said.\" He walks away.", "Cut to Riley's bedroom. Buffy and Riley are sitting and smooching.", "Buffy: \"I'm glad we talked this all out.\"", "Riley: \"We haven't talked at all.\"", "Buffy: \"Oh. Well whatever we're doing, we're doing it great.\" Smooching resumes.", "Buffy: \"Mmmmm... Jonathan.\" Riley pulls back. Buffy is almost smiling.", "[ironic music]" ]

[ "When Buffy and Riley rouse a supernatural force at the fraternity party house, they are held hostage by ghost children who were abused by a Christian fundamentalist ( Kathryn Joosten ) and now seek revenge. Willow, Tara, and Giles perform a spell to stop the spirits." ]

[ "Shot of Anya dropping her dress. Xander looking surprised.", "Giles: Previously on Buffy the Vampire Slayer...", "Anya: Please remove your clothing now. Shot of Anya and Xander kissing.", "Anya: Relationship. What kind do we have, and what is it progressing toward?", "Tara: They don't even know I exist, right?", "Willow: I just like having something that's just, you know, mine. Shot of Tara putting something on Willow's forehead and lips.", "Tara Voiceover: I am, you know.", "Willow Voiceover: What?", "Tara: Yours. Shot of Buffy and Riley kissing, embracing. Shot of Buffy in bed looking up at Riley as he bends down to kiss her.", "(Buffy fighting a vampire. She kicks him, they exchange a few punches, she throws him across the graveyard. Riley joins in and kicks the vampire. They exchange punches as Buffy loads her crossbow. She brings it to her face and aims. Riley throws the vampire over his shoulder. Buffy lowers the crossbow to smile proudly. Riley lifts the vampire and holds him in position. Buffy fires, but a demon appears and shoves Riley out of the way, then helps the vampire up. Buffy drops her crossbow and joins the fight. She kicks the vampire and then the demon, then moves aside to regroup.)", "BUFFY: Okay, you get Fang, I'll get Horny. (Riley looks at her.) I mean...", "(The vampire attacks. He throws Riley over his shoulder. Riley rolls and comes up holding a stake.)", "(Buffy kicks the demon in the chest, then a circular kick to knock him over. She kicks his knee and punches him several times in the back. Riley knees the vampire in the back. Buffy has the demon by the neck and stabs him in the back. Riley stakes the vampire and he's dust.)", "(Buffy throws down her weapon and sighs. Riley puts his stake back in a thigh holster.)", "BUFFY: Whoo! Vampire-demon tag team. (Brushing hair out of her face) Who says we can't all get along?", "RILEY: Don't recall ever seeing that before. (Steps close to her.)", "BUFFY: It never happened. (Touching his face) Vamps ... hate demons ... (Riley strokes her hair) Like stripes and polka dots. (Running her hands down his arms) Major ... clashing. (She and Riley caressing each other) So, uh ... I guess we should tell Giles about this.", "RILEY: Right.", "BUFFY: I mean, it's the kind of thing he'd ... wanna know about.", "RILEY: Uh-huh.", "BUFFY: Like, as soon as possible.", "RILEY: As soon as possible.", "(Cut to Riley's bedroom door opening. Riley comes in holding Buffy, kissing enthusiastically. She's pulling his shirt off.)", "BUFFY: I mean it now. First thing... (smooch) In the morning... (smooch) We go tell Giles. (Riley's carrying her across the room.)", "RILEY: First thing. Good plan. (They fall onto the bed.)", "Opening credits. Guest starring Amber Benson, Leonard Roberts, Bailey Chase, Kathryn Joosten, and Emma Caulfield as Anya.", "(Camera pans slowly across the lobby of Lowell House, darkened. We see chairs, couches, fireplace. Pan up the stairs and across the landing to the door of Riley's room. Cut to inside the room. Riley and Buffy asleep, snuggling. Riley wakes up, looks at Buffy, kisses her shoulder, gets out of bed. Creepy music, sounds like the same music in \"Hush.\" Riley puts on pants and leaves, closing the door quietly. He hears a rattling noise and looks around, looks downstairs, walks slowly through the dark halls toward a door. Shot of the doorknob and his hand grasping it. He opens the door and walks into a bathroom. Turns on the light. The noise continues. Camera pans through the bathroom: sinks, toilet stalls, bathtub with the shower curtain pulled shut. Riley looks around the bathroom, approaches the tub slowly. He yanks back the shower curtain. There's nothing there except a drippy faucet. Riley makes a face and turns it off. He stands there looking at it as cheerful music starts.)", "(Cut to an ice-cream truck driving down the street, daylight, making cheery music. Cut to Xander driving the truck, wearing a red-and-white striped shirt and matching hat. Anya sitting next to him.)", "XANDER: Aw, come on. Big party at Riley's house. It's gonna be fun. Why don't you wanna go? (He stops the truck)", "ANYA: You know why not. Those initiative men make me... not comfortable. And you don't care.", "XANDER: They don't even know that you're an ex-demon. And we don't know that they'd care even if they did know. Which, by the way, they're not gonna find out. (Gets up and goes into back of truck to set up) Anyways, they'll probably be too busy flirting with every other girl at the party to even notice you.", "ANYA: So ... you don't think I'm desirable enough to be flirted with? (X looks surprised) Is that it?", "XANDER: I'm just not gonna win here, am I?", "ANYA: (sighs. Accusingly) You don't find me attractive any more.", "XANDER: What are you talking about? I think you're gorgeous.", "ANYA: Oh, really? Well then, why didn't we have s*x last night?", "XANDER: (looks up) Is that what this is about? We've gone other nights without s*x.", "ANYA: (angry) I know. Twice! I can't believe we're breaking up.", "XANDER: Breaking- We're not! Are we?", "ANYA: Of course we are. You, you've obviously grown tired of me. I mean, I've seen it happen to thousands of women over the centuries, I just never thought it would happen to me.", "XANDER: Anya, there's a lot more to you and me than the s*x. (Anya rolls her eyes) Well, there should be! I mean, a relationship is something that you work at. Work through. Together.", "ANYA: I don't understand. I'm pretty, I'm young... I mean... (stands up, walks closer) Why didn't you take advantage of me? Is something wrong with your body?", "XANDER: (getting mad) There's nothing wrong with my body.", "ANYA: Well, there must be. I saw that wrinkled man on TV talking about erectile dysfunction-", "XANDER: Whoa! Hey. (Chuckles nervously) All systems go here. (Gesturing at his crotch) No function problem, okay?", "(Anya looks skeptical)", "XANDER: (claps his hands, starts unbuttoning his shirt) You want s*x? Let's have s*x. Right here. Hot, sweaty, big s*x.", "(Camera angle changes so we see into the truck from the perspective of the customer window in the side of the truck. Xander's hands stop moving. His and Anya's heads turn together.)", "(Shot of a group of kids and parents staring up at them.)", "(Shot of Xander and Anya giving false smiles.)", "GILES VOICEOVER: There's always been great discord between them.", "(Cut to Giles holding a rolled-up piece of paper.)", "GILES: And yet you say that the, the vampire went to the demon's aid. The two of them were working as a team?", "BUFFY: (sitting on Riley's lap, nods) Everything except giving each other little pats on the behind.", "(We see the interior of a college lounge room. Buffy and Riley in one chair, Giles on their right, Willow and Tara on the sofa across from them.)", "GILES: Extraordinarily odd. (Sits back, crosses his legs, gestures with the paper) As a rule, demons ... have no empathy for any of the species other than their own.", "(Shot of Buffy and Riley giving each other affectionate looks)", "GILES: In fact, most think of (sees someone walking by, lowers his voice) vampires as ... abominations. Mixing with human blood and all.", "WILLOW: So ... what brought these two together?", "RILEY: Not what. Who.", "GILES: (realizing) Adam. (Pulls off his glasses)", "BUFFY: Think about it. Who better to bring together a bunch of ... demon types than someone who's made out of a ... bunch of demon types?", "TARA: So he's, um, bridging the gap between the races.", "WILLOW: Huh, like Martin Luther King.", "(Shot of Giles raising his eyebrows skeptically)", "GILES: Um, (clears throat) I suggest that, uh, over the next several nights, you two (Shot of Buffy's and Riley's hands stroking each other) concentrate your patrol in that same area. If there's any other peculiar pairings or groupings, you let me know.", "RILEY: I'll let the squad know as well. They're patrolling. (To Buffy) We'll have a, uh, reserve unit out during the party.", "GILES: (frown) Party?", "RILEY: Tomorrow night. We're having a thing.", "GILES: At a time like this? Who, well, whose idea was that?", "RILEY: Mine. Boys are pretty ragged, need to let off steam.", "(Giles nods.)", "GILES: Point taken.", "RILEY: You're welcome to come.", "GILES: Well, much as I, uh, long for a good kegger, I have other plans. The Espresso Pump. (Sits back, looks embarrassed)", "(Buffy and Riley exchange another amorous look, more hand stroking)", "WILLOW: What are you doing there?", "GILES: I'm, um, uh, it's a, a meeting of, uh, grownups. It couldn't possibly be of any interest to you lot.", "RILEY: Buffy, hey, look at the time. Don't you, uh, have a class?", "BUFFY: Yeah, in about 20 minutes.", "RILEY: Yeah, but ... I have that ... thing... (Buffy gets it)", "BUFFY: Right, that ... thing, we could ... squeeze in ... before.", "RILEY: Yeah.", "(They get up)", "BUFFY: Bye!", "RILEY: Gotta run.", "(Giles waves his paper)", "WILLOW: (stretching, grinning) They, they're probably going to- (Tara grins)", "GILES: Yes, thank you Willow, I did attend university in the Mesozoic era, I do remember what it's like.", "(Cut to exterior shot of Lowell House, night. Cut to inside. It's dark. Forrest and Graham come down the stairs from the second floor, shivering.)", "FORREST: Didn't we just get the furnace fixed? It's freezing!", "GRAHAM: I'll call in the AM, get somebody to come-", "(They hear a noise, turn. Walk over to Riley's door and listen. Rhythmic moaning from behind the door.)", "FORREST: Oh, you gotta be kidding me. When do these two come up for air?", "(Graham grins.)", "GRAHAM: Slaves to the rhythm.", "(They walk off. Focus on the door.)", "(Cut to inside the room. Buffy and Riley in bed, smooching and rolling around. Panting, moaning. A hand opens the drawer on the bedside table. There are lots of condoms inside. The hand grabs one and retreats.)", "(Cut to downstairs. Another Initiative guy (Mason) is putting wood on the fire in the fireplace. Forrest and Graham come down the stairs.)", "FORREST: Room shoulda warmed up by now.", "MASON: I been building this thing for an hour. It's still an icebox in here.", "GRAHAM: Don't bother, Mason, we got a couple of heat generators pumpin' away upstairs.", "(Mason looks up and grins.)", "(Forrest and Graham grin too, rubbing their arms to keep warm.)", "(Cut to the bedroom. Pan up a naked leg. Buffy and Riley smooching. Shot of hands on a naked back. Shot from above with Buffy on top. Closeup on kissing mouths. Long shot of them rolling over so Riley's on top.)", "(Cut to downstairs. Mason finishes with the fire and stands up, blowing on his hands and rubbing them together. He sits in a chair in front of the fire.)", "(Shot of Graham watching the fire, Forrest walking away.)", "(Lingering shot of the fire crackling, flames building.)", "(Lingering shot of Riley's bedroom door.)", "(Cut to the bedroom. More smooching, moaning. Buffy's back on top. They get more and more passionate.)", "(Cut to downstairs. Flames explode out of the fireplace. Mason flinches as the flames engulf him.)", "GRAHAM: Jeez!", "(Mason screams. His sleeves and the front of his shirt are on fire.)", "(Forrest looks around, grabs a banner and uses it to extinguish the flames on Mason. Graham moves forward.)", "FORREST: Call a medic. Get help!", "(Graham runs off.)", "(Shot of the fireplace. The flames look very contained now.)", "Commercial.", "(Anya walking down an alley, looking annoyed. She turns a corner onto the street. We see the entrance to the Bronze in the distance.)", "SPIKE: Grr!", "(Spike leaps out, wearing his vampire face, growling. Anya jumps back with a yell. Spike looks annoyed.)", "SPIKE: Oh, it's you. (Morphs back to human face)", "ANYA: Spike! (petulantly) What are you doing? You made me yell really high.", "SPIKE: Hey! Yeah, I did. I scared you. (Grins. Walks right up to her until his face is inches from hers) Gimme money.", "ANYA: I'm not paying you for scaring me. (Pushes him away.)", "SPIKE: You're not paying me. I'm robbing you.", "ANYA: Oh, well now that's just ludicrous. You can't hurt me because you've got that chip in your brain. Also, I like my money the way it is... when it's mine. (Starts to walk past him.)", "(Spike growls and spins her around.)", "ANYA: Oh, now come on. You're not even bumpy any more.", "SPIKE: (feels his forehead with fingers) Oh. I was just a minute ago. Hang on. (Steps back, preparing) Get me mad again.", "ANYA: (sighs) Does this really work? Scaring people into giving you their money?", "SPIKE: Yeah, it works. Keeps me in blood and beers. (Grins) Plus, you know, funny. Watching those little humans quail.", "ANYA: I'm beginning to understand why you're so friendless.", "SPIKE: Look who's talking! (Looks her up and down) I don't see droopy boy on your arm. (Softly) Did he have better things to do?", "(Anya crosses her arms and raises one eyebrow dangerously.)", "(Cut to exterior of Lowell House. Loud party music, people walking in and out, holding beers. Cut to inside, more of the same. Xander, Buffy, Willow and Tara standing together.)", "(Shot of Buffy looking across the room and smiling.)", "FORREST VOICEOVER: You're kidding.", "(Shot of Graham, Forrest and Riley by the stairs holding beers. Riley's looking across the room (at Buffy), not paying attention.)", "FORREST: Mason requested to go on patrol?", "GRAHAM: He just didn't want the girls to see him with his eyebrows all burnt off.", "(Shot of Riley smiling across the room at Buffy.)", "(Shot of Buffy smiling back.)", "FORREST: He's lucky that's all he lost.", "GRAHAM: You shoulda seen it, Rye. Weird as hell.", "RILEY: (not listening) Mm-hmm.", "(Forrest and Graham frown, look where Riley's looking. Cut to Buffy and the gang.)", "WILLOW: How many kids?", "XANDER: I dunno, a whole herd of them. And some parents to boot. (Buffy glances at him, then looks past him and smiles) It was kind of embarrassing, which, welcome to life with Anya.", "TARA: So you don't even know if she's coming tonight.", "XANDER: I'm thinking no. She was... pretty upset. Which, makes me wonder, is it me? Am I the crazy one? (Willow and Tara shrug at each other)", "BUFFY: (still looking at Riley, not listening) Uh-huh. Absolutely.", "(The others look where Buffy's looking.)", "WILLOW: Hey, Buffy, this might be a good time to mention that someone, so not me, spilled something purply on your new peasant top which I would never borrow without asking. Still love me?", "BUFFY: Uh-huh.", "(Willow and Tara look at each other and laugh.)", "(Buffy ponders for a moment, then looks at Willow.)", "BUFFY: Huh? What about my peasant top?", "WILLOW: Nothin'.", "TARA: (quickly) Xander was just talking about Anya.", "(Buffy nods.)", "XANDER: Oh, it's nothing much. Just feeling pretty glad right now that a certain ex-demon doesn't have any powers.", "(Buffy's attention is gone again, staring over at Riley.)", "ANYA VOICEOVER: Boy, I miss those powers.", "(Cut to Anya and Spike sitting on a couch at the Bronze, holding beers and looking morose. Spike has his arm along the top of the couch, almost touching her.)", "SPIKE: Yeah, tell me about it.", "ANYA: A year and a half ago, I could have eviscerated him with my thoughts. Now I can barely hurt his feelings. (Sighs) Things used to be so much simpler.", "SPIKE: (wistfully) You know ... you take the killing for granted. (Anya nods nostalgically.) And then it's gone, and you're like, \"I wish I'd appreciated it more.\" Stopped and smelled the corpses, you know?", "ANYA: Yeah. Now everything's complicated.", "SPIKE: It's a terrible thing, love is. I been there myself. (Pause) It ended badly.", "ANYA: Of course it did. It always does. Seen a thousand relationships. First there's the love, and s*x, and then there's nothing left but the vengeance. That's how it works.", "(Spike smiles, leans in really close.)", "SPIKE: You and I ... should just go do the vengeance. Both of us! You eviscerate Xander, and I'll stake Dru. Like a project.", "(Anya looks tempted.)", "ANYA: I don't know. I just can't. (Sighs)", "(Spike looks resigned. He takes his arm down.)", "ANYA: (encouraging) You can go do Dru though.", "SPIKE: (nods) Yeah. I will. (Sits still for a moment) Maybe later.", "(Anya smiles. They sit together quietly.)", "(Cut back to the party. People dancing, having fun.)", "(The Snobby Guy from \"Beer Bad\" is talking to a girl.)", "SNOB: See, the thing that they're afraid to teach us about is the inherent sensuality of language. I mean, you, you learn French and they make it all about conjugations and, uh, fronted vowels ... but nobody really talks about ... you know, the way language tastes, you know, the, the way it feels, rolling over your tongue. I mean, just think about \"car\" versus \"voiture.\" (He leans his hand on the wall, makes a startled face) Oh!", "(The girl looks puzzled. He stares at the wall. Shot of his hand on the wall.)", "SNOB: Wow. (Nervous chuckle)", "GIRL: Are you all right?", "SNOB: Fine! I - oh! (Gasps. The girl looks concerned.) Oh my god. Wow, wow. (Chuckle)", "GIRL: So you really like French, huh?", "SNOB: Yeah, well... (satisfied smile and sigh)", "(Cut to Xander walking through the crowds. He walks up to a girl (Julie) who's looking at a cabinet of trophies.)", "XANDER: (reading trophy inscription) \"Lowell house. 1962.\"", "(Julie smiles.)", "JULIE: Yes.", "XANDER: Um, just, you know, impressing you with my knowledge of local history. Or my knowledge of reading.", "JULIE: (friendly teasing) You didn't even have to sound anything out.", "XANDER: You should see me add short columns of small numbers.", "(Julie laughs.)", "JULIE: You're funny.", "XANDER: Thanks. I mean ... funny \"how amusing,\" or funny \"back away and avoid eye contact\"?", "JULIE: Hmm ... kinda both.", "(Xander nods.)", "JULIE: Who are you here with?", "XANDER: (shrugs) Right now I seem to be here with you.", "(She smiles. He smiles back.)", "(Cut to Buffy approaching Riley.)", "BUFFY: Hey, uh, can we- (points upstairs) I, um, need you to take a look at an ... essay, for ... class.", "RILEY: That ... essay, right. Here. (Hands his drink to Forrest. Forrest looks annoyed. Graham looks amused)", "RILEY: I'll catch you guys in a minute, uh, essay ... gotta look at ... (Buffy pulling him upstairs)", "(Forrest and Graham watch them go.)", "GRAHAM: And *I'm* the one who got a D in covert ops.", "(Forrest shakes his head. They drink their beers.)", "(Cut to Snob Guy still talking to the girl. Another guy walks by.)", "SNOB: Hey, Evan, Evan, come here. You gotta see this.", "(Evan looks confused.)", "EVAN: I'm getting a beer.", "SNOB: No, no, no, first ... just ... put your hand right ... here. (Points at the wall)", "EVAN: (comes over) Okay. Somehow this is a trick, I know it.", "SNOB: Here. (Grabs Evan's hand and puts it on the wall. The girl watches with a grin) Now stay. Don't move. (We see some other people in the background watching and grinning)", "EVAN: Whoa. (Breathing heavily) What is that? (The others laugh) I kinda feel ... (heavy breathing, gesturing with his other hand near his crotch) Oh my god. Oh god. (Girl laughs)", "(Cut to Willow and Tara sitting on the stairs.)", "WILLOW: Horses, like big ... tall ... teeth that can take your arm off horses?", "TARA: Well, sure. I learned to ride when I was a kid. It's fun. (Smiling) And, by the way, most horses don't like arm very much.", "(Willow looks uncertain.)", "WILLOW: I had a bad birthday party pony thing when I was four. I, I look at horses and I see really big ponies.", "TARA: You should ride with me sometime. I guarantee safety and fun.", "(Willow smiles.)", "WILLOW: Well... if you promise you'll look after me.", "(Puts her hand on Tara's knee. Tara suddenly jumps back.)", "TARA: Don't touch me!", "(Willow frowns in confusion.)", "TARA: That's ... just disgusting. (Standing up)", "WILLOW: (standing) Tara ... what's the matter?", "TARA: (panting) I don't, I don't know.", "WILLOW: I'm sorry, I-I didn't mean to ... are-are you feeling okay?", "TARA: I'm f-fine, I just wanna ... (pointing upstairs) go to the bathroom ... (runs up the stairs)", "(Willow watches her go, concerned.)", "(Cut to Spike and Anya entering the party together. Spike stares at a guy exiting.)", "SPIKE: Hey ... I know these guys from somewhere.", "ANYA: Initiative soldiers, they live here. Experiments happen in the lab under the house. (Spike beginning to look nervous and angry) It's where they kept you, put in your chip. Let's have fun!", "SPIKE: (angry) What are you doing? You brought me *here*?", "XANDER: (offscreen) Anya? What are you doing? (Anya turns)", "XANDER: (pointing at Spike) You brought *him* here?", "SPIKE: That's what *I* said! Only I hit the \"here\" part.", "XANDER: Anya, this is crazy. (Anya crosses her arms, glares at him) We had a little fight. It just means that we have to work our way through some stuff. It doesn't mean that we rebound with the evil undead. (Spike looks offended) And what have we been doing with him anyway?", "SPIKE: (grinning) Oh, who's the puffed-up manly man? All splotchy and possessive. (Walks over to Xander)", "ANYA: It's not very convincing, is it?", "SPIKE: Yeah. I see now what you said about him earlier. (Looks Xander up and down) No follow-through.", "XANDER: (loudly) Hey! What a surprise! Hostile 17! (Spike trying to shut him up) Can I get you a drink, Hostile 17?", "(Spike looks around anxiously to see if anyone heard.)", "ANYA: Xander, stop.", "(Spike jumps back from some people who walk by. A bunch of guys walk past, ignoring them. Spike looks around.)", "SPIKE: Pfft! (Regaining his confidence) Well, may be some fun to be had in the lion's den after all. You two keep scraping. I'll find the liquor. (Walks away)", "XANDER: Anya. What are you doing with him?", "ANYA: (angry) We didn't have s*x, if that's what you mean. That's all I do now, not have s*x.", "XANDER: You're overreacting. We had a fight. But see, it's okay. It's normal.", "ANYA: Yes. The normal part of the ending a relationship right before the vengeance begins.", "XANDER: Right. No! Vengeance?", "ANYA: Relax, I'm not gonna do it. I'm just trying to tell you that we have nothing in common besides both of us liking your pen1s. And now I don't even have that! So I get to say when it's done. And it's done.", "XANDER: Okay, you know what? You don't deserve to be the one to walk away from this. I've put up with a hell of a lot from you ... much of that in the last minute ... and if anyone gets to be the one to leave, it's me. (Starts to walk away)", "ANYA: (incredulously) You're leaving *me*?", "XANDER: Yes. I am.", "ANYA: Where are you going?", "XANDER: To enjoy the party. (Walks away)", "ANYA: (yells as she pushes through the crowd, moving away from him) Well then, then I'm staying too, to, to show you how much I'm not bothered by you having fun! Because I'll be having more fun!", "XANDER: (yells across the room) I'm having fun already!", "ANYA: (yells) Me too! (Unhappy face) Woo hoo! (Turns and stalks off)", "(Xander looks frustrated, walks off in the other direction.)", "(Cut to a bunch of people cheering and laughing. Xander turns a corner and discovers some people sitting on the floor playing Spin The Bottle.)", "XANDER: Huh. Sometimes I just don't get the sophisticated college lifestyle.", "(He starts to leave, then notices one of the players is Julie, the girl he was talking to earlier. She notices him too. She looks surprised, then smiles. She motions with her head indicating that he should join them. Xander grins and comes to sit down.)", "XANDER: Gee, it's a good thing Mom's out. We'd be in trouble.", "(Cut to Spike sitting by the beer kegs watching other people drink (and he's drinking too). The drunk Initiative guy across from him frowns.)", "DRUNK GUY: Hey, buddy. You look familiar.", "SPIKE: Yeah. I get that a lot.", "(The guy keeps frowning and looking at him. Spike just sits.)", "(Cut back to Spin The Bottle. Xander spins, and it lands pointing at Julie.)", "JULIE: Hey, Xander.", "XANDER: Julie! (Looks around nervously) Okay. This, then, would be the kissing. (Nods nervously.)", "(Julie gets on all fours and leans toward him. He moves forward, looking around for Anya, and quickly kisses her cheek.)", "XANDER: Very smooth cheek you have there. Do you exfoliate?", "(Suddenly Julie grabs him and plants a passionate kiss on him. The others laugh and cheer. She climbs on top of him, still kissing.)", "XANDER: Whoa! (More kissing. He grabs her arms and pulls her away.)", "XANDER: Julie! What?", "(She suddenly looks horrified.)", "JULIE: I'm sorry. I didn't... I'm sorry! (She jumps up and runs off. Xander looks confused, then runs after her.)", "(Xander walks through the crowds, looking around. We hear a girl yelling \"Oh my god!\" happily. X finds a group of people around the spot on the wall. Snob's girl is touching it and going \"Oh, oh, oh! Touch it!\" She falls back against Snob Guy. He puts his hand on the wall. The others chatter loudly.)", "(Xander hears crying noises from behind a closed door.)", "XANDER: Hi, uh, you okay? (More crying) Julie? (He tries the doorknob but it's locked.)", "(Cut to inside the closet. Julie is crying and cutting her hair off with a straight razor or knife.)", "JULIE: I'm bad. I'm bad.", "(She keeps crying and repeating \"I'm bad\" while chopping off pieces of hair and dropping them on the floor.)", "(Cut to Willow knocking on bathroom door.)", "WILLOW: Tara? It's me. (Nothing. She knocks again) Tara? (Opens door) Tara? (Walks into bathroom, looks around. The camera pans through the bathroom exactly as it did with Riley at the beginning of the episode.)", "(Willow goes to the sink, turns on the water, splashes it on her face. She straightens up, drying her face with a towel. She hears a gurgling noise and turns around. Frowns, walks over to the bathtub. Dripping noises. Willow pulls back the shower curtain and finds a young boy in the bathtub, under water, arms crossed over his chest, struggling. She reaches down to grab him but he disappears and there's just a tub full of water.)", "(Willow straightens up, turns around. The boy is standing behind her, dripping wet, arms still crossed over his chest. She screams.)", "(Cut to Buffy and Riley in bed, kissing. Buffy's on top. They hear the scream and stop kissing, look toward the door.)", "RILEY: (panting) Was that Willow?", "BUFFY: (panting) I don't know. (Looks at him.) Doesn't matter. (They resume smooching)", "(Cut to Spin The Bottle game. Two people kiss while the others cheer. Xander enters.)", "XANDER: Hey guys, that girl Julie, she's freakin' out. (They ignore him, still playing the game.) Is anyone friends with Julie? (Laughter, ignoring him.)", "(Cut to Willow coming down the stairs.)", "WILLOW: Xander? Tara? (Runs through the house. Finds Xander staring at the Spin The Bottle people.)", "WILLOW: Xander. Ghost boy. Drowning in a tub. I, I tried to save him, but, being a ghost already, well, I was way too late.", "XANDER: A ghost? (Willow nods) What's the deal? Is every frat on this campus haunted? And if so, why do people keep coming to these parties, cause it's not the snacks.", "(Tara walks up, touches Willow's arm.)", "WILLOW: Tara, how are you?", "TARA: I'm okay, but ... I, I don't like it here. This house ... I, I think we should go.", "(Willow nods.)", "(Xander looks over as there's more laughter from the bottle game.)", "(Closeup on the bottle spinning. Instead of slowing down it gets faster and faster. The players look puzzled. Suddenly the bottle explodes. People yell as broken glass sprays at them.)", "WILLOW: We need Buffy. (She and Xander run off. Tara follows.)", "(They run upstairs.)", "XANDER: (yells) Buffy?", "WILLOW: (yells) Buffy? Riley?", "(They pound on the door. No answer.)", "(Suddenly, sharp-looking spiny thorns, with green leaves, sprout from the cracks around the edges of the door. Willow and Xander jump back.)", "XANDER: Buffy!", "(Long shot of Buffy and Riley in bed, smooching and writhing. We hear panting and moaning, which echoes, and faintly we can hear Xander still pounding and yelling Buffy's name. The bed recedes until it's just a small square in the middle of the screen, with blackness all around.)", "Commercial.", "[SCENE_BREAK]", "(Long shot of the bed as a tiny square in the middle of a black screen.)", "RILEY: Do you wanna go back?", "BUFFY: Never.", "(Cut to Xander still pounding on the door.)", "WILLOW: Buffy! Riley!", "XANDER: Buffy!", "(Tara turns and looks behind them)", "XANDER: We gotta get them outta there.", "(Tara starts to walk away while Willow and Xander stare at the writhing thorns still growing from under the door.)", "(Tara walks to the balcony and looks down on the main floor. The people are looking around as the building starts to shake. People scream and run around. Glass rattling, everything shaking. The people scream and run toward the door. Suddenly there's a strong tremor and everyone falls onto the floor including Tara, Willow and Xander. People get up and run around.)", "(Shot of Spike sitting calmly in his chair as people run around panicking. Spike smiles.)", "SPIKE: Well, this party's starting to liven up after all.", "(Suddenly straps shoot out of the chair he's sitting in, wrapping around his chest, wrists, legs, and one over his mouth. He drops his plastic cup of beer.)", "SPIKE: Mmph!", "(Shot of Graham standing still, looking grim, as people run screaming past him. Forrest runs toward him, against the flow of people.)", "FORREST: Graham, quit standing around! Help get these people to safety!", "GRAHAM: Touch not the impure thing...", "FORREST: What?!", "GRAHAM: Or ye shall perish. Find salvation in the cross of our lord and savior.", "FORREST: Right. (He goes to the wall and flips a switch. Grabs Graham and turns him to face the wall as the green scanner light travels across their faces.)", "COMPUTER VOICE: Retinal scan accepted.", "(Elevator opens. Forrest gets in, looks back at Graham, who just stands there. Forrest grabs him and pulls him into the elevator. The door closes.)", "(The building is still shaking. People running and screaming. Shot of Anya in the midst of them. The shaking stops. Anya looks around, panting. Suddenly she sees a girl screaming and waving her arms, running toward her. The girl runs right to Anya and through her. Anya gasps and puts her hands on her stomach. Looks behind her but the girl has disappeared. Anya looks around. The shaking begins again.)", "(Cut to the bottom of the stairs. Willow, Xander and Tara coming down. Anya runs over to them.)", "XANDER: Anya. We gotta get out of here. Come on!", "(Books start flying off the shelves and attacking them. They all duck and run away.)", "(Shot of Spike struggling, managing to pull the restraints off himself. Jumps out of the chair and runs off.)", "(The gang and a few others running toward the door and out. Xander looks back and sees Julie, bald, staggering toward him.)", "JULIE: Please help me.", "(Xander runs over and grabs her, helps her toward the door. There are patchy clumps of hair still on her head but she's mostly bald.)", "(Cut to the Initiative labs: people working on computers. Forrest and Graham enter. They go over to a scientist who's on the phone.)", "FORREST: We got trouble upstairs.", "(Scientist motions them to wait.)", "SCIENTIST: (into phone) Now. (Hangs up, starts to walk away. Forrest and Graham follow.)", "FORREST: Some sort of disembodied presence in the house.", "SCIENTIST: We've been paging you.", "FORREST: Whatever this thing's outputting, it must be scrambling all the frequencies.", "SCIENTIST: Guard section 2, level 5 precautions. If the cell door locking mechanisms malfunction ... you know what to do.", "FORREST: Got it.", "(Scientist walks off. Forrest looks at Graham.)", "FORREST: You with me?", "GRAHAM: I'm good.", "FORREST: Let's lock it down.", "(They walk off.)", "(Cut to exterior of Lowell House. Xander helps Julie out. Tara, Willow, Spike, and Anya are there. Julie immediately runs off. Spike takes out a cigarette and lights it.)", "WILLOW: We have to go back in there.", "ANYA: Why?", "XANDER: Because Buffy and Riley are trapped.", "ANYA: So? (Willow and Tara look surprised) She's the Slayer, he's a big soldier boy, what do they need you for?", "XANDER: Anya, look around! There's ghosts and shaking, and people are going all Felicity with their hair... We're fresh out of superpeople, and somebody's gotta go back in there. (Deep breath) Now who's with me?", "(Willow and Tara hesitate.)", "SPIKE: I am.", "(Everyone looks at Spike in surprise.)", "SPIKE: I know I'm not the first choice for heroics ... (drops his cigarette and grinds it out with his foot) and Buffy's tried to kill me more than once. And, I don't fancy a single one of you at all. But... (pauses) Actually, all that sounds pretty convincing. (Frowns, shakes his head and walks away.) I wonder if Danger Mouse is on.", "ANYA: Xander, let's get out of here.", "XANDER: You wanna bail, fine. (Points into house) I'm going back in there, and I'm not coming out till I bring my friend with me.", "(He walks to the door, opens it, peeks inside. Takes a few steps in, then something invisible pushes him out. He flies backward and lands several yards down the path. Groans and makes a pained face. Shot of Anya looking upset.)", "XANDER: Or ... it ... could be Watcher time.", "WILLOW: We'll, we'll go to Giles'.", "TARA: No, no, wait, he, he isn't there. He was going to the Espresso Pump.", "WILLOW: Right, he-he told us not to come. He, he needed some grownup time.", "(They hurry off.)", "(Cut to Giles in the coffee bar, playing a guitar. He's wearing casual clothes and has an earring in his left ear. Lots of people are sitting and watching/listening.)", "GILES: (sings) No one knows what it's like", "To be the bad man To be the sad man Behind blue eyes No one knows what it's like To be hated...", "(Shot of Anya, Willow, Xander and Tara watching, amazed. Willow's and Anya's mouths hanging open.)", "ANYA: Oh.", "WILLOW: Wow.", "GILES: (sings) To be fated...", "XANDER: Um, could we go back to the haunted house? Cause, this is creeping me out.", "TARA: Does he do this a lot?", "XANDER: Sure. Every day the earth rotates backward and the skies turn orange.", "GILES: (sings) But my dreams, they are as empty, as my conscience... (Notices the kids watching, looks embarrassed but keeps singing) seems to be...", "(Willow smiles.)", "GILES: (sings) I have hours, only lonely...", "WILLOW: Now I remember why I used to have such a crush on him.", "GILES: (sings) ...my love is vengeance[?]...", "TARA: Well, he *is* pretty good.", "GILES: (sings) ...that's never free-ee...", "ANYA: (agreeing) His voice ... is pleasant. (All three girls are riveted.)", "XANDER: What?!", "GILES: (sings) No one knows what it's like... [unintelligible]", "WILLOW: Oh, come on, he is kinda sexy.", "GILES (sings) Like I do...", "XANDER: I'm fighting total mental breakdown here, Will. No more fueling the fire please.", "GILES: (sings) And I blame you...", "(The song trails off as we cut back to Lowell House, now deserted, wreckage everywhere. The camera pans across the room and up the stairs to Riley's door, just like before, only now the vines cover the entire door and much of the ceiling and floor nearby. Muffled howling and screeching noises.)", "(Cut to Buffy and Riley in bed. They let go of each other and lie side by side, panting.)", "BUFFY: You're, you're too far away from me.", "RILEY: I'm right here.", "BUFFY: (panting) You ... have to ... keep touching me... (Rolls over and starts kissing him again. Moaning, panting)", "(Cut to the college library. Giles pacing while the others sit at a table.)", "GILES: When you called to Buffy and Riley, they didn't cry out or, or respond in any way?", "ANYA: (bored) No. They're probably dead.", "XANDER: Unless they're too busy doin' it to answer.", "GILES: Doing what? (Sits at the table across from Xander)", "XANDER: You know, for a god of acoustic rock, you're ... kind of naive.", "GILES: (rolls his eyes) I didn't think you meant ... In the midst of all that, do you really think they were keeping it up?", "(Everyone looks at him.)", "GILES: Oh, for a different phrasing.", "WILLOW: Well, see, that's the thing. People all over the party were starting to act ... weird. (Quietly) Sexually.", "GILES: In what way?", "WILLOW: You know. (Embarrassed) Ways. (Looking through an old book)", "GILES: Well, it could be some form of, uh, succubi, or a satyr's prank. It could even be energy coming from the, the lab underneath the Lowell fraternity.", "WILLOW: It wasn't always a fraternity, look!", "(They all come to look at her book.)", "WILLOW: (reading) \"Between 1949 and 1960, the Lowell Home for Children housed upwards of 40 adolescents: runaways, juvenile delinquents, and emotionally disturbed teenagers from the Sunnydale area.\"", "TARA: Children? Did any of them, um, die in there?", "GILES: If there were deaths, then, uh, perhaps we're dealing with a fairly ... standard haunting.", "WILLOW: It doesn't say. It's mostly about the old house director, Genevieve Holt. \"Sunnydale Children's Aid. 30 years of community service. Giving disadvantaged kids the love and care they deserve.\"", "GILES: When did she die?", "WILLOW: (looks at book, looks up at Giles) She didn't.", "(Cut to old lady's house. She opens a pair of French doors and ushers in Giles, Xander, and Anya.)", "MRS. HOLT: No, no, I don't mind at all. I was up. Early morning prayer.", "GILES: Of course.", "MRS. HOLT: And I like talking about my kids. (Sits in chair)", "(Xander and Anya looking around the room)", "MRS. HOLT: I still call them that. My kids.", "GILES: I, I suppose you were like a mother to them. (Sits on sofa) You did everything for them?", "MRS. HOLT: Oh yes. I fed them clothed them, educated them in the way of the lord. I was given a medal.", "(Xander and Anya sit on sofa beside Giles)", "GILES: Yes, wonderful. Uh, congratulations. Um, this'll sound a little strange, but, ah, did you notice any odd... disturbances in the house?", "MRS. HOLT: (frowns) I don't understand.", "GILES: We-well, um, like uh, furniture moving of its own accord, or, uh, objects appearing out of nowhere, or, or perhaps you saw someone appear one moment, and then they were gone the next, i-inexplicably.", "MRS. HOLT: Why, that sounds like crazy talk.", "GILES: Yes, it does, doesn't it? Yes. Um... (Looks at Xander and Anya) Well, forgive me for, for asking this, but um, the children in your care, were any of them ever ill, or did anything ever happen to any of them?", "MRS. HOLT: Well, some had the flu and such. No one died, if that's what you mean. The engraving on the medal says how good I was with the children. (Smiles)", "GILES: (smiles) Oh, yes.", "MRS. HOLT: I treated them as I would my own flesh and blood. Gave them hugs and praise when they were good, and ... punished them when they were dirty.", "GILES: Well, ah, children will be children. They, you know, they do like to play in the, uh, the muck. (Smiling)", "(Mrs. Holt looks disapproving.)", "ANYA: You didn't mean mud dirty.", "MRS. HOLT: My kids didn't think I knew, but I did.", "GILES: (starting to understand) Very, uh, perceptive of you.", "MRS. HOLT: Without me they would have been shut out of the kingdom. Lost to lust.", "GILES: But you ... helped them.", "MRS. HOLT: The girls felt the vanity more than the boys. I'd see them preening like Jezebel. Doting over their pretty hair.", "XANDER: So you'd hack it off.", "MRS. HOLT: I'd remove the temptation to admire themselves. (Giles removes his glasses) They were better for it.", "ANYA: What about the bathtub? Something happened there.", "MRS. HOLT: I performed baptisms on the most unclean. Those who were tainted with impure thought and deed.", "GILES: You held them under?", "MRS. HOLT: They needed to be reborn. (Rises) You choose to pass judgment on me?", "GILES: (Rises) Well, someone ought to! You traumatized and, (she waves her hand dismissively) and abused these children, children who, who have no doubt become extremely disturbed adults! (She starts to walk away; he pursues her) You have ruined lives, Mrs. Holt. Furthermore, what you did has now manifested itself as a, a malevolent presence which threatens still more lives! You have a great deal to answer for.", "MRS. HOLT: I refuse to listen to this when I can smell the sin on each and every one of you. (Points to them all)", "XANDER: Yeah? You smell sin? Well let me tell you something, lady, she who smelt it dealt it!", "(Giles looks at him.)", "XANDER: It's like what you said, but faster.", "(Cut to the three of them leaving her apartment.)", "XANDER: Well, that totally adds to my \"old people are crazy\" theorem.", "ANYA: I don't get it. I mean, those kids were tortured, but they weren't killed, so where are those ghosts coming from?", "GILES: I don't believe there are any ghosts.", "ANYA: One ran right through me.", "GILES: Not a ghost. An apparition. I believe we're dealing with a kind of poltergeist. A whole cluster of them, in fact, born out of intense adolescent emotion and sexual energy.", "ANYA: Both of which were totally pent up during Mrs. Holt's reign of repression.", "XANDER: So with Buffy and Riley having ... you know, acts of nakedness around the clock lately, maybe they set something free. Like a ... big burstin' poltergasm.", "GILES: Yes. And now the poltergeists are drawing more and more energy out of them. Feeding on them in fact. Buffy and Riley are, are powering this whole thing.", "XANDER: Okay, they're the battery in the boo factory, so what happens when the battery's drained?", "(Cut to Buffy and Riley in bed. Blurry slow-motion kissing.)", "GILES VOICEOVER: They die.", "Commercial.", "(Buffy and Riley in bed. Blurry slow-motion kissing. Panting, moaning. Riley pulls away, lies back.)", "BUFFY: Don't stop. Never stop touching me.", "(She turns his face toward her and they kiss again.)", "(Cut to Tara spreading a red cloth on a table, then sitting in a chair . Willow brings candles and sets them on the table, sits down. We see Giles sitting on the floor. They're in Willow and Buffy's dorm room.)", "ANYA: What good are weapons against disembodied spirits, Xander? They have no ass to kick.", "(We see Xander rummaging in Buffy's weapon chest.)", "GILES: She's right. (Gets up, holding a book) You should just stay outside.", "WILLOW: We'll bind the spirits long enough for you to get Riley and Buffy out.", "XANDER: How much time will you buy us?", "TARA: Could be tricky, we're calling upon the communal spirit of a certain time and place. (Willow lighting candles. Xander takes out weapons, hands one to Anya, holds a machete.)", "XANDER: Let's go.", "(Anya looks at the sword he gave her, and follows him.)", "(Cut to Xander outside the Lowell House. He sighs.)", "XANDER: What do you feel?", "ANYA: (pressed against the window) Sad, afraid of being without you, and a little hungry.", "XANDER: I meant about the house.", "ANYA: Oh. Still haunted.", "(Cut to the dorm room.)", "TARA: Give me your hands. Form a circle.", "(She and Willow and Giles hold hands, eyes closed.)", "TARA: Children of the past, spirits of Lowell, be guided by our light. Come forth and be known to us.", "GILES: Ho-how will we know when it works? (A noise. They all open their eyes and see a bunch of ghostly children standing around them.)", "TARA: We'll know.", "(They look around nervously.)", "(Cut to exterior of house. The door swings open. Xander and Anya look in nervously. Xander steps forward, looks in.)", "XANDER: House is clean.", "ANYA: Let's go. You first.", "(Xander takes a breath, walks in. Anya follows. They look up. The entire staircase is covered in the leafy, spiny vines.)", "XANDER: We need to work fast. Never know how long before the munchkins get homesick.", "ANYA: Or the human battery conks out.", "(They start walking up the stairs, through the vines.)", "XANDER: Watch your fingers.", "(He starts hacking at the vines with his machete.)", "TARA: We implore you ... be still. (Ghost children watching silently)", "GILES: Find it in your hearts to leave our friends passage.", "WILLOW: Transform your pain. Release your past. And ... uh ... get over it.", "(Giles looks at her, nervous. Willow shrugs.)", "(Cut back to Lowell House. Xander is ahead of Anya, hacking at vines.)", "XANDER: You okay?", "(Anya looks angry, hacking at a vine.)", "(Xander makes it to Riley's door, tries to reach for the knob. A sudden wind comes up.)", "(Cut to dorm room. The wind blows Willow's hair around. The children look up. Their hair is blowing too. The wind howls loudly. Screeching noises.)", "TARA: (yelling) Find here the serenity you seek, the peace you -", "(The red-covered table flies out from under their hands and crashes against the door. The wind stops. They look around.)", "GILES: What's happened?", "TARA: We lost them.", "WILLOW: Xander.", "(Cut to Lowell House. The howling and wind continue. Xander is suddenly thrown back from the door, landing on his back.)", "ANYA: Xander!", "(The vines grab Xander, throw him into the bathroom and shut the door.)", "ANYA: Xander! (Runs to the door and grabs the knob. She is thrown back, through the balcony railing and down to the floor below. Lands half on the floor, half on a sofa.)", "(Cut to Xander in the bathtub, being held underwater by unseen hands, struggling. Through the water he can see the children standing over him, watching. He can't breathe.)", "(Cut to Anya getting painfully to her feet, looking determined. Starts up the stairs. Howling and screeching noises continue.)", "ANYA: Shut up, repressed crybabies!", "(A huge thorn suddenly sprouts from the vine her hand is resting on. The thorn goes right through the middle of her hand. She screams.)", "ANYA: Ow!", "(Pulls the thorn out, looking even madder. Continues up the stairs.)", "(Cut to Xander still struggling. Through the water he sees Anya reaching for him. She pulls him out of the water and helps him up.)", "(They burst out of the bathroom into the hall. There are more vines everywhere.)", "XANDER: Come on, we just gotta-", "(A vine knocks him down.)", "ANYA: Xander!", "(Anya helps him up and they continue fighting their way through the vines.)", "ANYA: We can make it through this.", "(The push on cautiously. A bunch of vines wrap around Anya.)", "ANYA: Xander, get it off!", "(He unwraps her. They clutch each other, make their way to the door. Twist the knob and push the door open.)", "(Shot of the bed seen from far away, as before, suddenly rushing closer and closer.)", "(The howling noises stop.)", "(Shot of Xander and Anya framed in the doorway.)", "(Buffy and Riley in bed, naked. The light from the doorway illuminates them. They sit up, clutching the sheets against themselves.)", "BUFFY: Xander! Don't you knock?", "(Shot of Xander and Anya looking disheveled. They look at each other, turn and walk away.)", "RILEY VOICEOVER: I can't believe it really happened.", "(Cut to cafeteria the next day.)", "BUFFY: I just had no idea. It's so creepy! (Looks up at the others) He was really singing?", "(Willow nods.)", "XANDER: I'd say it was more like crooning. (To Anya) If we grow old together, remind me to skip the midlife crisis. (Puts his hand on her knee.)", "ANYA: (smiling, softly) Okay. (They look affectionately at each other.)", "WILLOW: Come on, you have to admit, it was kinda sexy.", "XANDER: Please stop saying that. I'm willing to offer cash incentives.", "RILEY: We're just lucky no one got injured. (Looking at Buffy) No thanks to us.", "WILLOW: Don't be too hard on yourself.", "BUFFY: He's right, Will. If Riley and I hadn't ... gotten so wrapped up in each other, none of this would've happened.", "ANYA: True. Feel shame.", "(Riley looks like he is doing just that.)", "XANDER: My girlfriend. Mistress of the learning plateau.", "WILLOW: Really, it wasn't your fault. You were under the influence of powerful magicks.", "BUFFY: We were like zombies. I had no control over myself at all.", "WILLOW: Must have been horrible.", "(Buffy looks sidelong at Riley.)", "(Riley looks at her, looks down.)", "BUFFY: Yeah. Horrible.", "(They both nod firmly.)", "RILEY: Uh-huh.", "BUFFY: Mm-hmm.", "RILEY: It was bad." ]

[ "Riley spars with Angel ( David Boreanaz ) when Angel visits Sunnydale; Adam convinces Spike that he will take his chip out if he helps him get Buffy where he wants, Spike agrees and sets out to distance the Scoobies from each other." ]

[ "~~~~~~~~~~~ Prologue ~~~~~~~~~~~~~ Fade in. Close up of a wide-screen monitor. A white-haired man in a suit is sitting behind a desk. The office he's in is dark and the reflection of Colonel McNamara is seen on the glass of the monitor.", "Mr. Ward: And the men?", "McNamara: These are exceptional boys. Their capture ratio just keeps increasing. *They're* keeping it together. Morale's a problem. The death of Professor Walsh. The escape of the prototype. Controlling the HSTs is getting harder. We have serious overcrowding in the containment areas. As he spoke, the camera has slowly panned away from the monitor to the Colonel. We can see he is standing in some kind of communications center in the Initiative. There is a large world map on one wall. He is the only one there.", "Mr. Ward: Quite a mess.", "McNamara: It's not my mess, sir. I'm just holding the fort while you figure out what you want to do with the place.", "Mr. Ward: This incident with Finn was unfortunate.", "McNamara: Fell in with a bad crowd. Quite frankly, I don't think he was ever the soldier that you all hoped he was. Boy thinks too much.", "Mr. Ward: Nevertheless, we want him back. The government's invested a sub--", "McNamara: We'll catch up to him. My feeling is . . he won't stray too far from the girl.", "Mr. Ward: Yes, uh . . . (puts on reading glasses to look at something on his desk) Buffy Summers. (removes glasses) Our data banks don't have much on her.", "McNamara: She's just a girl.", "Cut to--", "Spike: (sighs) She's a lot more than that. He is in a chamber underground, in the sewers. Light reflecting off water is shimmering on the wall behind him as he walks across the room.", "Spike: The Slayer's dangerous is all I'm saying. Camera tracks Spike until we see Adam standing in front of a computer set-up. This is his hideout. Adam is sliding a disk into the drive slot in the metal plate covering his left pectoral.", "ADAM: Yes. She makes things interesting. Spike walks up to him.", "Spike: No. See? You're not getting it, Mr. Bits. You're gonna be interestingly dead. (paces again) Little Miss Tiny's got a habit of bollixing up the plans of every would-be, unstoppable bad-ass who sets foot in this town. He stops to face Adam.", "Spike: Just want you to know, when the big ugly goes down, the Slayer's gonna be right in the thick of it. You ready for that?", "ADAM: I'm counting on it. Wolf's howl. Buffy theme and opening credits roll. ~~~~~~~~~~ Part One ~~~~~~~~~~~~ Fade in. Close up of a zippo in Spike's hand. He flips the lid open with his thumb and strikes the flame. He brings the lighter up to the cigarette in his mouth.", "ADAM: Two Slayers.", "Spike: (closing the lighter) That's right.", "Cut to wider shot. Adam is now pacing the chamber. Spike is sitting back in an old beat-up couch, stuffing sticking out in large patches.", "ADAM: And you killed them both?", "Spike: (grinning) Yeah. I killed the hell out of them.", "ADAM: Yet you fear this one?", "Spike: (offended) Hey, watch it, mate. I don't fear anything. Just know my enemies.", "ADAM: Do you? Then why haven't you killed this Slayer yet?", "Spike: Because . . . (trails off) Stinking, rotten luck is why. On top of that, now I got this buggering chip up my head.", "ADAM: Yes. Your behavior modification circuitry. I know what you feel.", "Spike: (scoffs softly) Not likely. Adam stands in front of him.", "ADAM: You feel smothered. Trapped like an animal. Pure in its ferocity, unable to actualize the urges within. Clinging to one truth. Like a flame struggling to burn within an enclosed glass. That a beast this powerful cannot be contained. Inevitably it will break free and savage the land again. I will make you whole again. Make you savage. Moved, Spike has to blink back tears.", "Spike: (awed) Wow. (composes himself) I mean, *yeah*. I get why the demons all fall in line with you. (sits up) You're like Tony Robbins. If he was a big scary . . Frankenstein looking-- (reconsiders) You're exactly like Tony Robbins.", "ADAM: I will restore you to what you once were. When I have the Slayer . . . how and where I want her.", "Spike: (sighs) Easier said. She's crafty. Her and her little friends.", "ADAM: Friends?", "Spike: There's your --what do you call it-- variable. The Slayer's got pals. You want her evening the odds in a fight you don't want the Slayerettes mucking about.", "ADAM: Take them away from her. Spike perks up at that idea.", "Spike: Now there's a plan. She's working solo, she won't have a chance to come after us when the wild rumpus begins. (chuckles) Plus, it will make her miserable. And I never get tired of that. He sits back again. He smiles at that prospect.", "Spike: (to himself) Yeah. Leave `em to me.", "ADAM: You can't hurt them. What can you do to make sure they're out of the picture?", "Spike: Not a blessed thing. They're gonna do it for me. He brings his cigarette to his lips and as he takes a drag we--", "Cut to Stevenson Hall, room 214. The room is dark. The door opens and Buffy enters switching on the light. She is still wearing the clothes we saw her in when she was in L.A. to see Angel (\"Sanctuary\"). As she closes the door she sees Willow's bed which looks as if it hasn't been slept in for quite sometime. She tiredly rubs a hand over her face and crosses the room to lay on her own bed. She doesn't close her eyes and there is a forlorn look on her face.", "Cut to exterior shot of the ruins of Sunnydale High School. Cut to interior of one of the burnt out hallways. Amidst the debris, we see the small camp Riley had set up in the last episode. A lantern is the only source of light aside from streams of moonlight shining through holes in the ceiling. It looks like he's been there for a while. Xander is there with a backpack on his shoulder.", "Riley: Do you know if she's back yet?", "Xander: L.A. Woman? Haven't heard from her. She'll probably come here first thing, though. Hey, who's your buddy? Xander swings the backpack from his shoulder and tosses it to Riley.", "Xander: So you don't have to be G.I. Joe while your civvies are getting washed. Riley pulls out a pair of really baggy pants with a blue and white confetti pattern.", "Xander: Try those on. You'll feel like a new man.", "Riley: Would this man have a bright red nose and big, floppy feet? Perturbed, Xander purses his lips and raises his eyebrows.", "Riley: Hey, I'm sorry. That's the cabin fever talking. Xander looks the place over.", "Xander: But as post-apocalypse-splendor goes . . .", "Riley: I've done wonders with the place.", "Xander: Yeah.", "Riley: Still . . The sooner Buffy gets back, the better I'll feel. Riley sits down on his sleeping bag, his back against the blackened wall.", "Xander: You and me both, big guy.", "Riley: I take it you're not an Angel fan either?", "Xander: Well, it's not like I hate the guy. Just, you know . . the guts part of him.", "Riley: Can't blame you. But to be fair, it's not him you hate. It's the curse. Xander doesn't respond.", "Riley: Right?", "Xander: What did Buffy tell you? He sits down on the cooler.", "Riley: On Angel? Everything. More than I wanted to know sometimes. She loved him. He turned evil. He, uh, killed people. She cured him. He left. Interesting little curse.", "Xander: One moment's happiness.", "Riley: What do you mean?", "Xander: You know, it's his trigger. Angel's an okay guy if he's mopey and sad and brooding, but if you give him even one second of pure, real pleasure . . .", "Riley: And that sets him off.", "Xander: Only in the big ol \"kill your friends\" kind of way. And you know what makes Angel happiest? I'll give you a hint. It not creme brulee. Riley doesn't say anything for a couple of seconds.", "Riley: Buffy. Xander nods, opening his palms in a \"there you go\" gesture. Riley dwells on this for a moment and it dawns on him.", "Riley: s*x (scoffs softly) with Buffy. Xander's jaw drops as he realizes . . .", "Xander: She . . . kind of left that part out, huh?", "Riley: Yeah, she did. That explains a lot of things that . . I wish weren't explained.", "Xander: Hey, man. That's all ancient history.", "Riley: (scoffs) She went running to L.A. to bone up on her history.", "Xander: No! I'm sure it's boneless. She just needs to make sure everything's okay. She's probably back already.", "Riley: Maybe.", "Xander: You'll feel a lot better when you see her. But Riley doesn't look so sure.", "Riley: I guess we'll see.", "Cut to exterior of Giles' apartment building.", "Giles: (singing) If I leave here tomorrow/", "Cut to Giles' apartment. He is sitting on the side of his sofa, playing \"Freebird\" on his guitar.", "Giles: (singing) Would you still remember me?/ Camera pans slowly around him.", "Giles: (singing) Well I must be traveling on now/ There's too many places I've got to see/", "Giles: (singing) And if I stay here with you girl/ Things just couldn't be the same/", "Giles: (singing) 'Cause I'm as free as bird now--(high-pitched gasp) He jumps up from the couch as he's startled to see Spike standing in his home. The vampire starts heading for the kitchen.", "Spike: You know, for someone who's got \"Watcher\" on his resume', you might want to cast an eye to the front door every now and again. Giles has removed his glasses and looks peeved. He rounds the sofa and stands at the entrance of the hallway as Spike opens the refrigerator.", "Giles: What do you want?", "Spike: Ah. (he takes out a transfusion blood bag) Knew I left one. (closes fridge) Buffy around?", "Giles: Why? Giles moves in front of the bar as Spike pops the plastic bag into the microwave and turns it on.", "Spike: I need to speak to the lady of the house. Hey, be a pet and give her a message for me, would you? Tell her I just might have something she just might want.", "Giles: And what might that \"something\" be? Spike regards him with little importance.", "Spike: Information. Highly classified. Not cheap word-on-the-street prattle either. I'm talking about the good stuff now. Unimpressed, Giles sits on one of the stools and puts his glasses back on. He crosses his arms.", "Giles: Thrill me.", "Spike: (sighs) It's nothing I know. What, you think I'd come running over saying \"I've got a secret, beat me till I talk?\" There's files in the Initiative. I'm pretty sure I know where. Giles' interest is perked. The microwave beeps.", "Giles: Files?", "Spike: (taking out the bag) Yeah. Secrets. He bites open a corner of the bag, grabs a coffee mug, and starts to pour the blood.", "Spike: Mission statements. Design schematics. All of Maggie Walsh's dirty laundry, which I guess would include lots of tidbits about--", "Giles: (removing glasses) Adam.", "Spike: Well, yeah. Say someone were to risk his life and limb --well, limb anyway-- to obtain said files. It might be worth a little something. Spike lifts the mug to his mouth and drains it.", "Giles: A-at . . this point a cynical person might think that you're offering just what we need when we need it most.", "Spike: That person'd be right, Rupert. Supply and demand. And it won't be cheap this time.", "Giles: What do you want? Spike seems to think about it as he sets the mug down next to the sink.", "Spike: Hmm, year supply of blood, guaranteed protection, merry bushels of cash, and, most important . . . a guarantee that I'm not to be in anyway slain.", "Giles: (puts on glasses) Done.", "Spike: With a smile and a nod from you? Sorry. Not close to good enough. This deal's with the Slayer.", "Giles: I'll tell her.", "Spike: Oh, you'll tell her! Great comfort that. What makes you think she'll listen to you?", "Giles: Because . . . (trails off, unsure)", "Spike: Very convincing.", "Giles: I'm her Watcher.", "Spike: I think you're neglecting the past-tense there, Rupert. Besides, she barely listened to you when you were in charge. I've seen the way she treats you. Giles grows uncomfortable at those words. He grabs a bottle off the bar and starts to pour himself a drink.", "Giles: Oh, yes? And how's that?", "Spike: Very much like a retired librarian. Giles doesn't say anything and continues to pour.", "Spike: Look, I've got what she wants as long as she has what I want. He walks out of the kitchen and heads for the door. As he passes Giles--", "Spike: Spread the word. She knows where to find me.", "Giles: (softly, without authority) I'll think about it. We hear the front door close and Giles brings the glass to his lips.", "Cut to Tara's dorm room. Willow is sitting on the bed playing with a small black and white kitten in her lap. Tara is sitting on the large chest at the foot of the bed. She is looking though the course selection booklet.", "Willow: Oh. I keep thinking \"Okay, that's the cutest thing ever,\" and then she does something cuter and completely resets the whole scale.", "Tara: Did you see her yawn earlier?", "Willow: Yes! I thought I was going to die. She picks up the kitten to look into its eyes.", "Willow: (babying voice) Oh, I love you, Miss Kitty Fantastico!", "Tara: We got to get her a real name.", "Willow: It's so cool that she's ours. (pause) Uh, yours. That she's yours is-is cool.", "Tara: She can be ours if you want? Willow just smiles at that.", "Tara: You still need an elective. (glances down at booklet) How about . . Sophomore Level Psychology?", "Willow: Oh. Kinda psyched out since Professor Walsh. Maybe something fun like drama. I could be dramatic. Willow picks the kitten up again in front of her face.", "Willow: (dramatic voice) You cannot have more catnip! You have a catnip problem!", "Tara: (laughing) Definitely drama. The kitty starts pawing at Willow's hair and face. She lowers it to her lap again.", "Willow: I haven't even dealt with the housing situation yet. Have you done anything? I hear there some off-campus places that are way cool for groups to, you know, go in on.", "Tara: Oh, I just figured you'd be dorming it up with Buffy again.", "Willow: Well, we haven't really talked about it. I used to assume we'd be roomies through grad school well into little old lady hood. You know, cheating at bingo together and forgetting to take our pills.", "Tara: But?", "Willow: But . . . I don't know. It hardly feels like we're roomies now. I mean, she's busy with Riley and I'm gone a lot too. Willow considers this and doesn't look happy about it.", "Willow: I guess I should ask her.", "Cut to exterior of Stevenson Hall the next day. Cut to close up of the \"Chocolate\" poster on Buffy's door. There is a knock on the other side. Buffy opens it to reveal . . .", "Buffy: Riley.", "Riley: I got a little tired of sitting around waiting, so . . . Buffy is looking at the pants he has on and grins slightly.", "Buffy: You joined the circus?", "Riley: Xander took my clothes to clean `em and left me these. (stepping inside) Does he, uh, hate me in some way I don't know about yet? I think I would've attracted less attention in my uniform.", "Buffy: (uncertain) Is it okay for you to be here?", "Riley: You tell me.", "Buffy: I just meant with the government branch hunting you down and all.", "Riley: I'm good. He reaches into his back pocket and pulls out a small cell phone which looks as if it's been jury-rigged.", "Riley: And, uh, it took me a while, but I patched into their frequency. (clicks it on and we hear a garbled voice) Can't sneak up on a guy if he's listening in.", "Buffy: You're the sneakiest.", "Riley: Why they hired me. Feeling awkward, Buffy walks over to her desk to stack a text book on top of another book, giving herself something to do.", "Riley: You okay? She faces him, leaning on the desk.", "Buffy: Yeah. I just-- Angel kind of upset me.", "Riley: How?", "Buffy: It's not that interesting.", "Riley: Got my attention.", "Buffy: He just spun my head a little.", "Riley: You don't want to talk about it.", "Buffy: It's just deconstructing Angel can wait. Right now, I just want to get out there and patrol and-and find Adam. We can talk about it . . later. Riley seems a little hurt by this but tries to cover it.", "Riley: It's the pants, isn't it? It's okay. I couldn't take me seriously in these things either.", "Buffy: Riley, it's not that big a deal.", "Riley: Tell you what, why don't I get out of your face? You had a long trip.", "Buffy: Look, you don't have to go.", "Riley: It's okay. (forcing a grin) Besides . . heh. (indicating pants) I have to recharge them every two hours or they go dead on me.", "Buffy: (quietly) Okay.", "Cut to the hall. Close up on Riley as he closes the door. He is less than happy as he walks away.", "Cut to Spike's crypt. Xander and Anya are walking down the steps of the entrance towards Spike. He's carrying a bundle of clothing and Anya is drinking a soda through a straw.", "Xander: Here. You should've just saved the ensemble from the last time we snuck into the Initiative. (hands the clothes to Spike) I'm not a clothing delivery service.", "Anya: Well, he is, kinda. He did Riley yesterday. Xander gives her a look and she busies herself with sucking on the straw and sits down. Spike is looking through the clothes and finds a small pistol.", "Spike: Hello. This is just . . . swell. Dropping the rest of the clothes on a stone bench, he aims the gun at the wall.", "Spike: Gotta say . . liking this quite a lot. He starts swinging the barrel around towards Xander who watches unconcerned.", "Spike: Kinda changes the balances of pow--OWW! He clutches a hand to his forehead as pain hits him. Frustrated, he stalks across the crypt.", "Spike: Akk! Oh, come on! You got to be kidding?", "Anya: (playing with her straw) Wow. That chip in your head means you can't even point a gun. How humiliating.", "Xander: Doesn't work anyway. It's a fake. Spike turns around to glare at him.", "Anya: Can't even point a decorative gun?", "Xander: Give it up for a American chipmanship.", "Spike: It doesn't work? What about self-defense? I'm taking a risk here, you know?", "Xander: Can I tell you how much I really . . don't care?", "Spike: (warningly) Attitude. See how far that'll take you in boot camp. (Xander gives him a questioning look) Say, I hope you get one of those toughs-as-nails drill sergeants who's only hard on the men because he's trying to keep them alive when the bullets start flying. I love that stuff. Anya is now standing giving Xander a perplexed look. Spike sits down on the bench.", "Xander: Boot camp? Yeah. Like I'd go there.", "Spike: What, you changed your mind? Not gonna join? Anya hits Xander hard on the chest.", "Anya: (angry) You're joining the Army!?", "Xander: (to Anya) Okay, one-- Ow. (to Spike) Two-- Where'd you get that idea? (to Anya) Three-- OW! I'm not joining the army!", "Anya: Oh, good. Stopped that nonsense just in time.", "Xander: I was never-- He turns to Spike who's examining the fake gun.", "Xander: Who'd you hear this from?", "Spike: Oh, your girlie-mates were talking. Something about, uh, being all you can be. Or all *you* can be. And having laugh. Figured you were signing up. Say, have you got anything larger in the . . toy gun line? He holds out the gun to him but Xander isn't paying him any attention.", "Xander: \"All I can--\" (paces to the other side of the crypt) Can you believe this!? Like I'm some sort of useless lunk. It happens I'm good at a lot of things. I help out with all kinds of . . . stuff. I have skills . . . and . . . stratagems. I'm very . . . (looks to Anya) Help me out.", "Anya: (nonchalant) He's Viking in the sack.", "Spike: (not caring) Terrific. (indicates the clothes in his hands) You didn't have these cleaned after the last time, did you? Xander continues as if not hearing him.", "Xander: This is so like them, lately. It's all about them and the college life. Well, you know what college is? It's high school only without the actual going to class. Well . . high school was kinda like that too. But the point is, I'm out there working hard to make a living. It's nothing but a huge joke to them. Xander got fired from Starbucks. Xander got fired from that phone-sex line.", "Anya: They look down on you.", "Xander: And they hate you.", "Anya: But they don't look down on me.", "Spike: Hey, it was just a laugh. There's no need to go insane over it. Xander glares menacingly at him.", "Xander: Is anybody talking to you?", "Spike: (mock gasp) Sir, no sir.", "Cut to the woods. Buffy is patrolling, walking on a dirt path leading up to a cave entrance. She is carrying the blaster Professor Walsh had given her (\"The I In Team\"). She's heading towards the cave when Forrest Gates jumps out into the path behind her and she whirls around to face him. They are pointing their blasters at each other.", "Forrest: Don't shoot.", "Buffy: Give me a reason not to?", "Forrest: You're killing humans now?", "Buffy: Not yet. (lowers blaster) Beating you senseless should do just fine.", "Forrest: I can have a patrol here in under a minute. So here's the plan: you go you're way, I'll go mine. Buffy turns and continues to the cave. Forrest starts to follow but stops when she looks back at him.", "Buffy: I'm checking out that cave.", "Forrest: My orders exactly.", "Buffy: Alone?", "Forrest: We're spread a little thin, so yeah. Family's tearing apart.", "Buffy: (sarcastic) Family. What kind of family are you? Corleones. She turns and enters the cave. Cut to interior. Buffy steps inside followed by Forrest.", "Forrest: We weren't until you showed up.", "Buffy: What? No girls in the club?", "Forrest: You think you're the first girlfriend Riley's ever had? (she stops to glare at his back as he continues ahead) Such a big head on that skinny little body. (he stops to face her) No. You're just the first one to get him to commit treason. Riley had a career. And a future till he met you. And, yeah, I got a problem with that.", "Buffy: A future? A future doing what? (steps closer to him) Illegal experiments. Torture. Murder. I guess killing someone isn't really a problem for you.", "Forrest: Less and less. And why don't you get the hell out of here before I-- He takes a threatening step to her.", "Buffy: (angry) Touch me and you'll find out what Slayer strength is like.", "Forrest: (gamely) I think it's about time you showed me then.", "ADAM: (OS) Yes. They look back the way they came and see Adam suddenly standing there.", "ADAM: I think that would be interesting. Off Buffy and Forrest's \"Oh, sh1t\" expressions, fade out. ~~~~~~~~~~ Part Two ~~~~~~~~~~ Fade in. Buffy steps forward ready to fire her blaster but Adam swings his arm and knocks it out of her hands. She quickly strikes with a front kick that does little damage and blocks Adam's arm when he swings it at her again. Forrest rushes in to attack but Buffy is between him and Adam and shoves him back hard.", "Buffy: Get out of here! As Forrest falls to the ground, Buffy hits Adam in the face with a hard backhand. Adam hardly feels it and grabs her by the neck throwing her across the cave. She slams into the rock wall and drops to the ground. Adam turns his attention to Forrest and his Polgara skewer juts out of his left arm. Forrest is getting back to his feet.", "Forrest: Not moving. He raises his blaster and fires it at Adam. Reacting to the blast, Adam arches back, his arms wide as if accepting the charge. The rings of electricity course over his body then seem to be absorbed within him. He looks at Forrest.", "ADAM: Thank you. Buffy saw this and is rising to her knees.", "Buffy: Go! Get out! But Forrest charges Adam and the demonoid cyborg meets him with the skewer, shoving it through his chest.", "Buffy: NO! Forrest quickly goes limp and Buffy runs towards them. With his free arm, Adam tosses Forrest's body in the air and it slides off his skewer and crashes into Buffy, knocking her down. Adam immediately picks up Forrest's blaster.", "Buffy: Oh, God. Buffy rolls Forrest's body off of herself and is rising to her feet when Adam fires the blaster. The charge hits her full force and sends her flying back where she collides with a large boulder. She drops to her knees and, as soon as she's on her feet, bolts for the entrance. Adam tracks her with the gun and fires another blast. It just barely misses her, blowing apart a huge chunk of the cave wall.", "Cut to outside. We see Buffy stumbling out of the cave on legs that don't seem to work right, but she continues to pick up speed as she runs down the hill. She takes a quick glance over her shoulder. It doesn't look like Adam is after her but she doesn't stop, desperate to escape. She suddenly loses her footing on the edge of a steeper slope and tumbles down the incline. She doesn't roll very far before she's stopped by a large rock sticking out of the ground, hitting her head hard.", "Cut to overhead shot, looking down on her. Buffy is lying unconscious beside the rock. Her head turned to the side, we can see a gash on the left side of her forehead and a bruise already forming next to her eye.", "Cut to elevated shot of Sunnydale. Nighttime. Cut to Spike walking casually down the steps to the courtyard of Giles' apartment building. He is wearing the commando garb Xander provided him with. He stops before reaching Giles' front door, taking one last pull on his cigarette then grounds it out under his boot. He stands there for a moment, then takes a couple of deep breaths, prepping himself, and rushes into the apartment.", "Spike: (closing the door) I think I lost the buggers. Willow stands up from where she was sitting at Giles' desk.", "Willow: Any luck with the disks? He pulls out a few disks from the pockets of his flak jacket and commando pants.", "Spike: (handing them to her) Took what they had. Should be something useful on one of them.", "Willow: Hope so. Willow sits down again in front of her laptop. Tara is standing beside her.", "Tara: What are we looking for?", "Willow: (sliding one of the disks into her laptop) Anything about Adam. Giles is sitting at the bar, pouring himself a drink. He doesn't sound completely sober.", "Giles: (unconcerned) Were there any problems getting in and out?", "Spike: No. I mean, a couple of them made me on the way out, but I took care of `em.", "Giles: (sarcastic) Gave them a good running-away-from-them, did you? Spike shoots him a look.", "Spike: Well, yeah. When do I get paid?", "Giles: When Willow tells me you've brought us something useful. Spike turns his attention to Willow. Tara is looking at what she's doing with interest and he notices the subtle, but intimate way, she's stroking a lock of Willow's hair. He raises a thoughtful eyebrow, taking note of this. Then he steps up behind Giles.", "Spike: I could've gone straight to the Slayer, you know? I cut you in, let you pretend you're actually in charge, now you've got to wait for Red's permission to finish the deal? Giles is seething into his drink.", "Giles: As soon as we see what's on the disks. The laptop starts making electronic jittery noises.", "Tara: It looks like gibberish. Giles and Spike look over at them.", "Spike: Gibberish?", "Willow: They're encrypted.", "Giles: Oh, wonderful. Giles steps away from the bar and disappears down the hall. On the laptop there are small symbols crisscrossing the screen.", "Spike: Can you fix `em?", "Willow: Crack a government encryption code on my laptop? Easy as really difficult pie. Why?", "Spike: (sighs) You're not exactly the whiz these days either. God, I'm never gonna get paid. Effected by the offhanded remark, Willow shifts uncomfortably in her chair.", "Willow: I am a whiz.", "Tara: She is a whiz.", "Willow: If every a whiz there was. I-I just need some time.", "Spike: No. I just heard you weren't . . . (Willow hits a key and the jittering stops) Your mates said you weren't playing with computers so much. (indicates Tara) Into the new thing.", "Willow: (frowning) What new thing?", "Spike: (nonchalant) You know, you two. The whole wicca thing.", "Willow: They-they were talking about that?", "Spike: Can we get back to business here? I've got a deal at stake. But Willow is very concerned now.", "Willow: What did they say?", "Spike: (impatient sigh) Talking about, you know, it's a phase. You'll get over it.", "Willow: What? Who said that? Was it Buffy? (to Tara) 'Cause . . . you know what she means by that.", "Spike: No, she was defending you. 'Cause Xander said you were just being trendy.", "Willow: Trendy?", "Spike: I don't know what they were going on about. A person wants be a witch, that's their business. Willow shakes her head, thoughtfully.", "Willow: (softly) I knew Buffy was freaked.", "Tara: You should talk to her, 'cause I'm sure she--", "Spike: Pressing business, ladies. (pointing to the screen) Don't want to get sidetracked. (taps it with his finger) Still got your monsters to fight.", "Cut to the Initiative. The containment area. Close up of a butt-ugly demon who steps too close to the sliding glass wall of its cell and is zapped by a charge of electricity. The place is filled with demons, every cell occupied, some with more than one. It is also noisy with their growling. Colonel McNamara has just walked in with a lieutenant and they make their way down the long row of white cells.", "Lieutenant: Cell capacity maxed out three days ago, sir. We keep up this pace they'll be nowhere left to contain the hostiles.", "McNamara: (coldly) They're animals, lieutenant. We pack them in until we're out of room and then we pack them in some more.", "Lieutenant: (worried) They're going to start tearing each other apart, sir.", "McNamara: I have no problem with that scenario. As they reach the other side of the containment area, we see two demons in the last cell fighting, their claws at each other's throat.", "Cut to the communications room, which is filled with techs and alive with activity and radio chatter. McNamara and the lieutenant enter and their attention is immediately drawn to one of the officers who's receiving an urgent message for help from one of the squads out in the field.", "Commando: (on radio) Back-up team! Request immediate back-up! Over! They're tearing us apart over here! Two men down! From out of nowhere! Mayday! Repeat! Mayday!", "Cut to Riley at the ruins of Sunnydale High School, sitting on his sleeping bag. He puts down the soup can he was eating out of and lifts up his jury-rigged cell phone he was listening to.", "Commando: (on phone) --Team Epsilon requesting immediate back-up! We're in the alley behind the school building! Where the hell is-- Fall back! Fall back! It's coming-- The transmission is cut off. Riley gets up and grabs his commando gear.", "Cut to a shot of Riley running down an empty street. Cut to an alley and we see a commando go flying across the alley and hit the wall. Riley comes running around the corner just in time to see him fall to the pavement unconscious. He hears fighting further down the alley and raises his flashlight, shining it on the back of a figure in a long black coat. As soon as the light hits him, the person whirls around and glares at Riley. Off Angel's pissed off expression, fade out.", "[SCENE_BREAK]", "~~~~~~~~~~ Part Three ~~~~~~~~~~ Fade in. Angel and Riley are facing each other. Angel is standing amidst the bodies of three more unconscious commandos. Riley lowers the flashlight.", "Angel: Riley Finn. Riley slips the flashlight into his cargo pocket.", "Riley: I know you?", "Angel: We have a friend in common. Recognition fills Riley's expression.", "Riley: Angel. Angel takes a step forward glancing down at the commandos on the ground.", "Angel: Welcoming committee your idea?", "Riley: Way I heard it. You were all peaceable now. You didn't by any chance go and lose that pesky soul again, did you?", "Angel: (dangerously) Don't push me, boy. If Riley had tail feathers they would have been ruffled. If he had whiskers they would have bristled.", "Riley: (calm rage) Now what possibly could've happened with Buffy that would make you lose your soul? Angel is walking a slow path that would take him around Riley.", "Angel: (coolly) That'd be between me and her. Riley steps in Angel's path and hits the release on the asp in his hand extending it to a baton.", "Riley: Where do you think you're going?", "Angel: Going to see an old girlfriend. They are now standing right in front of each other.", "Riley: Oh, you really think I'm gonna let that happen?", "Angel: You think you're gonna stop me?", "Riley: I surely do. Angel throws a right cross at Riley's face but he deflects it with his free hand and whips the baton into Angel's face. Riley quickly spins into a backhand swing and Angel catches his arm, forcing him down on one knee, and slams a knee into Riley's face. Angel doesn't let him go and lifts him back to his feet to swing him around and throw him through the air. Riley flies back into a large heap of trash bags and card board boxes next to the loading dock of a building. He scrambles out of the trash onto the loading dock and picks up his baton where it had landed. Angel leaps high through the air landing on the dock before Riley can get to his feet. Riley uses the baton to block Angel's kick but the weapon is knocked out of his hand and the vampire punches him across the face. Still on his knees, Riley retaliates with a fist to Angel's groin and, as the vampire bends down around his pain, gets to his feet picking up an empty liquor bottle and smashes it over his head. He grabs Angel by the coat and rams a knee into his back sending him against the building. Angel swings a backhand but Riley blocks it and slams the same knee into his stomach. Angel recovers and grabs Riley's flak jacket slamming him back against a heavy door. He hits Angel in the face with a left cross, but Angel just slams him against the door again, getting his hands around his throat. As Riley is forced down, under Angel's strength, he pulls out a taser from his jacket and shoves into Angel's chest. The shock flings him back and he falls into the trash heap. Riley's on his feet and goes after him. Angel raises his head and growls at him, in full vamp face. Riley plants a hard kick into his chest and Angel tumbles out onto the pavement. Standing over him, Riley tries to hit him with the taser once more, but Angel catches his wrist, forcing him to drop it, and drives a fist into his stomach. He lifts Riley over his head and growls as he runs with him across the alley to send him crashing into a group of storage drums against the side of a warehouse. Riley tumbles to the ground but Angel picks him up again and sends him flying to the other side of the alley. He lands on a pile of large metal conduit tubes, which break his fall none to gently, and he flops to the pavement. Angel hears the loud engine of an approaching vehicle and quickly climbs up the side of the warehouse, disappearing over the top. Riley is on his knees when he sees the humvee rounding the corner. He manages to get to his feet and hurries on unsteady legs down a narrow passage between two of the buildings before the headlights sweep the alley.", "Cut to Buffy's dorm room. She walks inside, looking like hell, and removes her jacket as she steps up to the mirror on the wall. Ugly bruising has formed around the gash on her forehead and she winces as she touches it with her fingers.", "Cut to outside her door. Someone steps in front of it and knocks. A moment later, Buffy opens the door and is surprised to see--", "Buffy: Angel.", "Angel: Hi. Can I come in?", "Buffy: (softly) I guess. He hesitates.", "Angel: Uh, I need a little more than that.", "Buffy: Oh. Um . . . come in. He walks inside past her and she closes the door. He turns to face her and she takes notice of the blood on his temple and his split bottom lip.", "Buffy: (stoic) You're hurt.", "Angel: You too.", "Buffy: I'll live.", "Buffy: You want to tell me who ran your face into that doorknob?", "Angel: Not really. It's not world-in-peril stuff.", "Buffy: Let me guess. (a touch of venom) You thought of something else really hurtful to say and, well, you couldn't tell me on the phone because the funniest part is that look on my face--", "Angel: Buffy, please. I really don't have a lot of time. She hears the slight urgency in his voice.", "Buffy: (concerned) What's going on? The door bursts open a Riley steps in, steadying himself against the shelf of Willow's desk. He raises his arm and aims the Baretta in his hand at Angel, thumbing back the hammer.", "Riley: (pissed) I told you you weren't coming near her. Buffy takes in his battered appearance. She goes ballistic.", "Buffy: (pissed) You've got to be kidding me. This is why you came?", "Angel: No. This was accident.", "Buffy: (very pissed) Running a car into a tree is an accident! Running your fist into somebody's face is a plan! Please, explain this to me! Angel doesn't answer her but looks at Riley.", "Angel: (calmly) Put that gun down.", "Riley: It's pretty much all I got left, so I'm thinking not. He attacked four of my men, Buffy. I think he's up to his old tricks.", "Buffy: He won't hurt anybody. (to Angel) Tell him. Angel starts to move forward.", "Angel: (with contained violence) Might hurt you. Riley steps forward.", "Riley: Please try.", "Angel: Heh. Some threat. You can barely stand. Riley brandishes the gun in front of his face.", "Riley: Trigger finger feels okay.", "Angel: (sideglance to Buffy) You actually sleep with this guy? While his head's turned, Riley punches him in the face. Angel quickly hits him back.", "Buffy: Okay, stop it! Buffy steps in between them and shoves them apart. Riley slams back against Willow's desk and Angel goes flying onto Willow's bed.", "Buffy: Okay, that's enough! I see one more display of testosterone poisoning and I will personally put you both in the hospital! She glances back and forth between them. Riley looks like he still wants to shoot Angel.", "Buffy: (challengingly) Anybody think I'm exaggerating?", "Angel: He started-- Buffy points a warning finger at him and he wisely shuts up. She gives him a \"working my last nerve\" look and walks over to Riley.", "Buffy: (softly) Riley. (glances at his gun)", "Riley: I'm sorry. (he holsters it) Just wanted to know that you were safe.", "Buffy: (gently) I need to talk to Angel for a minute.", "Riley: (exasperated) What?", "Buffy: Riley, please. He looks over at Angel who's just sitting down on the bed, elbows resting on his knees. He looks down at Buffy again.", "Riley: (quietly firm) I'm not leaving this room. (crosses his arms) I mean it. Riley continues to glare at Angel. Buffy looks over her shoulder and gives Angel a slight tilt of her head, then walks past Riley to the door. Angel stands up to follow her and doesn't even bother to hide the smirk on his face as he passes Riley. He closes the door and Riley is left alone.", "Riley: Not moving a muscle. Out in the empty hall, Buffy turns on Angel.", "Buffy: (angry) Okay. I come to see you, to help you, and you treat me like I'm just . . . your ex.", "Angel: Well, technically--", "Buffy: Shut up! And then you order me out of *your* city and then you come here and start pounding on my boyfriend?! I would really like to know what the HELL are you trying to do?!.", "Angel: I was trying to make things better. She regards his sincere expression and can't keep herself from laughing. It becomes contagious because Angel can't help but to smile also.", "Angel: Heh. Well. (chuckles) It's a . . . going pretty good, don't you think? Buffy is leaning against the wall.", "Buffy: (smiling) Swell.", "Angel: You know-- heh. (seriously) I couldn't leave it like that. The way I spoke to you-- I came to apologize. I . . I had no right.", "Buffy: And Riley?", "Angel: I got jumped by some soldiers. He came in in the middle. And wasn't real forthcoming with the benefit of the doubt.", "Buffy: Put yourself in his place. Angel does consider this.", "Angel: I get it. Buffy is looking down at the floor.", "Buffy: Look . . . You weren't entirely wrong, what you said in L.A. (she meets his eyes) We don't live in each other's worlds anymore. I had no right to barge in on yours and make judgments.", "Angel: I'm still sorry.", "Buffy: Thank you.", "Angel: And, next time . . I'll apologize by phone. (Buffy laughs softly) Uh, things are pretty tense around here. Buffy rests her head back tiredly.", "Buffy: They really are.", "Angel: Can I do anything?", "Buffy: Honestly . . . I think the best thing you can do right now is--", "Angel: (understandingly) Okay.", "Buffy: It means a lot that you came. Angel just looks at her for a moment then starts walking down the hall. Buffy his heading to her door when Angel turns around again.", "Angel: Oh, and . . . Riley.", "Buffy: Yeah?", "Angel: I don't like him. Buffy smiles.", "Buffy: Thank you. Angel turns and continues down the hall. Buffy watches him for a couple of seconds then returns to her room. She opens the door and we see that Riley did in fact move several muscles for he is standing on the other side of the room. He has removed his flak jacket and turns to face her.", "Cut to Adam's lair. He is sitting in front of his computer set-up. The metal plate on the left side of his head is open and there is a cable plugged into a socket, wiring him directly to the system. We hear a heavy door being opened and he looks over to see Spike walking into the chamber. The vampire is back in his usual attire and is finishing off a can of beer.", "Spike: (happily) Now that . . . (crushes can and throws it down) was fun!", "ADAM: You were successful?", "Spike: (\"no problem\" scoff) Easier than I'd thought it'd be, too.", "ADAM: You're sure?", "Spike: (scoffs) Feel it in my bones. It's, uh . . called the Yoko Factor. Spike lights a cigarette and Adam just looks at him.", "Spike: Don't tell me you've never heard of the Beatles? Adam disconnects the cable and closes his face plate.", "ADAM: I have. (stands) I like \"Helter Skelter.\" He crosses to the other side of the chamber.", "Spike: What a surprise. The point is, they were once a real powerful group. It's not a stretch to say they ruled the world. And when they broke up everyone blamed Yoko, but the fact is the group split itself apart, she just happened to be there. And you know how it is with kids. They go off to college, they grow apart. Way of the world.", "ADAM: So you separated the Slayer from her friends. I'm pleased. Adam turns and gazes down at the ground, looking thoughtful.", "Spike: Well . . since we've got all our ducks in a row and not talking to each other . . guess it's time for the grand plan, huh? You know the one where I get the chipectomy. You got everything you need, right? Adam looks at him.", "ADAM: No. There's one more thing. Spike regards him with a frown. ~~~~~~~~~~ Part Four ~~~~~~~~~~ Fade in. From where we left Buffy and Riley. She's stepping up to him and they're standing between the beds.", "Buffy: (softly) How bad are you hurt?", "Riley: Dunno yet. Night's still young.", "Buffy: (mournful) Riley, I have to tell you something.", "Riley: Figured.", "Buffy: Maybe you want to sit down.", "Riley: I'm fine.", "Buffy: Riley, I--", "Riley: (insistent) Wait. Me first. Buffy blinks in surprise.", "Riley: Buffy . . . I feel like we've gotten really close. At least I thought we had. I don't know much about Angel (Buffy lowers her eyes) or your relationship with him . . but . . . all I ask is . . if you're gonna break heart, do it fast. Buffy looks up at him, frowning.", "Buffy: What? You think that Angel and I . . .", "Riley: Didn't you?", "Buffy: No. Of course not. How can you even ask me that?", "Riley: (sighs) I don't know. Xander said--", "Buffy: Xander?! Oh, he's the deadest man in Deadonia.", "Riley: No. It's not his fault. I prodded and he explained how Angel went bad. The, uh, trigger.", "Buffy: (quietly) Oh.", "Riley: And, uh (chuckles) after that, I went a little nuts! You know? I mean . . . On the one hand . . I should believe in us. But on the other . . Sometimes things happen between exes and when I saw that he was bad. . .", "Buffy: He's . . not bad. Riley just looks at her.", "Riley: Seriously? That's . . a good day? (Buffy rolls her eyes in confirmation) Well, there you go. Even when he's good he's all Mister . . Billowy Coat King of Pain and girls really--", "Buffy: Riley, stop. She takes his hand and they sit down on her bed.", "Riley: See? Nuts.", "Buffy: Have I ever given you any reason to feel that you can't trust me?", "Riley: No.", "Buffy: Then why with the crazy? He looks into her eyes.", "Riley: (meaningfully) Because I'm so in love with you I can't think straight. Her eyes start to glisten.", "Buffy: Tell me about it. He hugs her and she closes her eyes as she holds him tight.", "Buffy: Riley. (pulls away) I still have to tell you something. And there's no easy way--", "Riley: Just say it.", "Buffy: (a beat) Forrest is dead. Riley takes this news and leans his elbows on his knees, resting his face in his hands.", "Buffy: (gently) I'm so sorry. There was a fight. Adam killed him. I barely got away. I know that there's nothing I can say that's gonna make this better. But we will find this thing and destroy it.", "Riley: (somber) I have to go.", "Buffy: Are you sure? He doesn't look at her once as he raises his head and stands up.", "Riley: I have to go now. He walks to the door, grabbing his flak jacket off Willow's chair and leaves. Off Buffy's concerned expression, we--", "Cut to Giles' apartment. Willow is still working on the laptop. The encryption code is still crisscrossing the screen.", "Willow: (a tad frustrated) It's still encrypted. Buffy and Tara are standing to either side of her.", "Tara: (to Buffy) Well, Willow's working really hard on it.", "Buffy: Okay, well, how long before you . . un-crypt it?", "Willow: Hours. Days maybe. Anyone suggesting months would not be accused of crazy talk. Giles is in the kitchen pouring himself a drink and more inebriated than ever.", "Giles: What ever happened to Latin? At least when that made no sense, the church approved.", "Buffy: (slightly impatient) I can't just wait around, Will. The disk is no good to me unless you crack it soon. Buffy doesn't see Willow's withering look behind her back as she walks towards the living room area. Anya is sitting on the arm of the couch, her feet on the cushion. Xander is sitting next to her not looking entirely happy.", "Anya: Hey! We worked really hard getting that. Xander delivered clothing.", "Giles: Church approved. Giles happily closes the cork of the liquor bottle with his palm.", "Buffy: Sorry, you guys, but we're on a clock here. Okay, Adam was at that cave so maybe he was there for a reason? I-I can--I can go back, scope it out, track him if I have to.", "Willow: (sarcastic) Right. (stands moving to the living room) And then maybe you'll get lucky and he'll still be there and he can rip your arms off for you? (sternly) Buffy, you can't go back alone.", "Giles: You never train with me anymore. He's gonna kick your ass.", "Buffy: (shocked) Giles. He steps out of the kitchen, drink in hand, and leans against the entrance of the hallway.", "Giles: Sorry. Was it a bit honest? (drunken grin) Terribly sorry.", "Xander: (standing) So she doesn't go alone. (turns to him) Giles, weapons all around.", "Buffy: You're not going, Xander. He turns to face her, giving her a hard look.", "Buffy: Y-you'd get hurt.", "Xander: (as if expecting this) Oh. Okay. You and Willow go do the superpower thing, I'll stay behind and putt around the Batcave with crusty old Alfred here. (with a thumb to Giles)", "Giles: Ah-ah, no. I am no Alfred, sir. No, you forget. Alfred had a job.", "Buffy: Willow is not going either. I'm doing it alone. Willow steps closer so now she's standing at one end of the coffee table across from Buffy. Xander is between them. Tara slips past Giles and disappears down the hallway.", "Willow: (still sarcastic) Oh, great. And then when you have your new \"no arms\" we can all say \"Gee, it's a good thing we weren't there getting in the way of that!\" Anya gets up from the couch but they don't notice her following Tara.", "Xander: Right! Maybe we can help in other ways? (to Buffy) Want some fighting pants, Buff? I can get ya some new fighting pants!", "Buffy: You guys, this isn't helping.", "Willow: Oh, wow! We're already getting in the way. We're pretty good at this, Xander, huh?", "Xander: Right. I'm so good at it you might have to ship me off to the Army to get me out of the way!", "Buffy: The Army?", "Xander: You didn't think I knew about that, did you? You two talking about me behind my back. Willow frowns at him.", "Buffy: Us talking about *you*? How about you telling Riley every last detail of my life with Angel?", "Willow: And besides, when is there any \"us two?\" You two are the two who are the two. I'm the other one.", "Xander: Uh-huh. But maybe that all changes when I'm doing sit-ups over at Fort Dix? Giles almost chokes on his drink.", "Giles: Fort Dix? He bursts out in a wheezing laugh. The three of them stare at him", "Buffy: Are you drunk?", "Giles: (happily) Yes. Quite a bit, actually.", "Buffy: Well, stop it! (to Xander and Willow) This is stupid.", "Xander: Stupid? So you finally have the guts to say it to my face?", "Buffy: I didn't say you were stupid! So . . stop being an idiot and let me fix this! Xander rolls his head in an exasperated way and sits down on the couch.", "Buffy: Okay, I need you. I need both of you. All the time! Just . . not now. Adam is very dangerous.", "Willow: Wait. How do you need me, really?", "Buffy: You're . . good with the computer stuff. (Willow accepts that) Usually. (Willow glares at her) And-and there's the witch stuff.", "Willow: (accusingly) Witch stuff? What exactly do you mean by \"witch stuff?\"", "Buffy: You guys, what is happening? This is crazy!", "Giles: Oh, no, it's not. (moves to his desk) It's all finally making perfect sense and I'm not going to miss a moment of it. He sets his drink down and tries to sit. But his aim is off and his ass doesn't come close to hitting the chair and he drops to the floor.", "Cut to Giles' very clean, white bathroom. Anya is sitting on the closed lid of the toilet and Tara is leaning against the side of the tub. They can still hear the muffled argument on the other side of the closed door.", "Tara: You think this will go on for a while?", "Anya: (nonchalant) Hard to say. They fall silent as they look around the bathroom.", "Tara: Nice bathroom.", "Anya: (nodding) Like the tile. Cut back to the others. Xander is on his feet again, rounding to stand behind the couch. Behind him, Giles stumbles towards the stairs taking off his glasses.", "Xander: And if I did join the Army, I'd be great! You know why? 'Cause they might give me a job that couldn't be done by any well-trained border collie.", "Giles: That's it. I'm going to bed. He struggles to pull his sweater over his head as he stomps up the stairs. Willow stands beside Xander.", "Willow: No, you'd do wonderful in the Army. Hey, do you think the umbilical cord between you and Anya can stretch that far?", "Xander: I knew it! I knew you hated her! Giles' sweater drops down from the loft above and falls on him covering his face. Xander yanks it off his head.", "Willow: Look, I'm not the one being judgmental here. I'll leave that territory to you and Buffy.", "Buffy: Judgmental? If I was anymore open-minded about the choices you two make my whole brain would fall out!", "Xander: (to Willow) Oh! And superior. Don't forget that. (to Buffy) Just because you're better than us doesn't mean that you can be all superior! He walks past her and crosses his arms as he leans against a cabinet dresser behind her.", "Buffy: You guys, stop this! What happened to you today?", "Willow: It's not today! Buffy, things have been wrong for a while! Don't you see that?", "Buffy: What do you mean wrong?", "Willow: Well, they certainly haven't been right, since Tara. We have to face it. You can't handle Tara being my girlfriend.", "Xander: No! It was bad before that! (he steps out in between them again) Since you two went off to college and forgot about me! Just left me in the basement to-- (turns on Willow in shock) Tara's your girlfriend?", "Giles: (from upstairs) Bloody hellll!", "Buffy: Enough! All I know is you want to help, right? Be part of the team? Willow and Xander shake their heads, grumbling.", "Willow: (unison) I don't know anymore.", "Xander: (unison) Really not wanted.", "Buffy: (raising her voice) No! No, you said you wanted to go. So let's go! All of us. We'll walk into that cave with you two attacking me and the funny drunk drooling on my shoe! Hey! Hey, maybe that's the secret way of killing Adam?!", "Xander: Buffy . . .", "Buffy: (hurt and angry) Is that it? Is that how you can help? (a beat) You're not answering me! How can you possibly help? They don't reply and turn their eyes away from her. She regards them silently for a moment.", "Buffy: (somberly) So . . . I guess I'm starting to understand why there's no ancient prophecy about a Chosen One . . and her friends. She hurries to the door grabbing her jacket.", "Buffy: If I need help, I'll go to someone I can count on. They don't move as she slams the door, leaving them behind.", "Cut to Adam's lair. We hear the heavy door opening again. Adam is standing and turns when someone walks into the chamber.", "ADAM: I've been waiting for you.", "Cut to close up of Riley.", "Riley: And now I'm here. To be continued" ]

[ "The Scoobies reveal Adam's plan of releasing an army of hybrid cyborg monsters. A composite being created by a spell, combining the powers and personalities of Buffy, Willow, Xander, and Giles kill Adam after an intense fight." ]

[ "Guest starring Leonard Roberts (Forrest Gates) Amber Benson (Tara) Bailey Chase (Graham Miller) Jack Stehlin (Doctor Engleman) Conor O'Farrell (Colonel McNamara) George Hertzberg (Adam) and Lindsay Crouse as Maggie Walsh Fade into Walsh talking to Adam.", "Walsh: Almost time to wake up, Adam, and take your first look at the world. I know you're gonna make me proud.", "Cut to Walsh getting skewered by Adam.", "Walsh: Aah!", "Giles (v.o.): Previously on Buffy the Vampire Slayer:", "Walsh (v.o): Adam... She falls to the floor.", "Cut to Adam and Spike.", "Adam: Spike, I want you to come with me. You're going to help me with my problem.", "Spike: Slayer's got powers.", "Adam: Take them away from her.", "Spike: This all goes down, the chip comes out.", "Adam: Scout's Honor.", "Cut to the crypt where Buffy and Forrest fought Adam.", "Forrest: Riley had a career. He had a future 'till he met you and yeah, I got a problem with that. Forrest uses his blaster on Adam, shocking him. Adam just looks at Forrest.", "Adam: Thank you. Forrest runs up to Adam, only to get a skewer put in him.", "Cut to Giles' apartment.", "Buffy: Okay, Adam was at that cave, so maybe he was there for a reason. I'll go back, I'll scope it out--", "Giles: You don't train with me anymore. He's going to kick your ass.", "Buffy: Giles!", "Xander: Stupid. So you finally had the guts to say it to my face.", "Willow: What exactly do you mean by 'witch stuff'?", "Buffy: You guys, what is happening?!", "Willow: Buffy, things have been wrong for a while!", "Buffy: I'm starting to understand why there's no ancient prophecy about a Chosen One and her friends. As she storms out:", "Buffy: If I need help, I'll go to someone I can count on.", "Adam: I've been waiting for you.", "Riley: And now I'm here. Fade into an exterior shot of the College.", "Cut to the crypt. Buffy is walking around.", "Buffy: Riley? She turns around and walks over to somewhere else.", "Buffy: Riley?", "Cut to Riley and Adam.", "Adam: Your thoughts are troubled. In turmoil. I understand, brother. We have a lot to discuss. Speak.", "Riley: What have you done to me?", "Adam: Nothing. It was mother, Your...Professor Walsh. She implanted the behavior modifier.", "Riley: A chip in my head. She really did it.", "Adam: Actually, the chip is here. (points to his chest) Tied directly into your central nervous system through your thoracic nerve. This is Phase One of your preparation. It lay dormant until the time came. I simply activated it, brother.", "Riley: Stop calling me that. I'm not your brother. You're a botched science experiment. I'm a human being, who's gonna do everything in his power to--", "Adam: Sit. Riley sits down.", "Adam: You have no power. Not yet. Once you forget your old life and embrace your destiny as I have, you will know power you've never dreamed of. I think you're going to like it. Opening credits roll. \"Buffy\" theme plays. {Commercial Break} Fade into the crypt. Adam is walking around.", "Adam: Humans claim to old ways and ancient feuds. And they're hopeless with technology. Unworthy. (he turns around)", "Riley: Not really wanting a lecture right now. Adam continues walking.", "Adam: Disappointed by demon-kind, we turned to humans. Smart, adaptive, (he turns around) but emotional and weak. Blind. There's imperfection everywhere. Something must be done. Who will deliver us? Riley says nothing.", "Adam: Mother. She saw our future. Yours and mine. She saw that you were necessary. She saw the role you will play by my side. Stand up. Riley stands up.", "Adam: You see, we are brothers after all.", "Cut to Spike in the crypt.", "Spike: It warms the cockles of my non-beating heart seeing you lads together.", "Adam: I didn't send for you, Spike.", "Spike: Yeah, well...I'm not much the being-sent-for type. He starts walking forward.", "Spike: I'm much more the \"I did my part, now get this chip out of my head\" kind of guy. Spike looks at Riley.", "Spike: Slightly stiffer than usual. He snaps his fingers in Riley's face, who doesn't move a muscle.", "Spike: Subtle, but I like it. As he starts nudging Riley:", "Spike: What's with him?", "Adam: I activated his chip.", "Spike: Oh, so, it's chips all around, is it? Someone must've bought the party-pack.", "Adam: You get yours removed when the Slayer is where I want her.", "Spike: She's separated from her friends. As he walks over to a chair:", "Spike: They want nothing to do with her. As he sits down:", "Spike: She's all alone. As Adam walks over to Spike:", "Adam: That's how I want her. Where I want her is down in the Initiative. (stops walking) She will ensure that as many demons die as humans, she will achieve maximum carnage before she's too weak to go on.", "Riley: No. You can't--", "Adam: Stop talking. Riley stops. Adam looks at Spike.", "Spike: Right. The Initiative. But getting her there--that's what the bleeding disks are for, isn't it? Our little witch gives her the info and pop--Alice heads back down the rabbit hole.", "Adam: The witch.", "Spike: Uh, Willow. (uses his hands to demonstrate height) About so high, perky, good with math. Natural choice.", "Adam: A friend.", "Spike: Right.", "Adam: One of the friends from whom you so efficiently separated her.", "Spike: Damn right I did. You should've seen her. They won't be talking to each other for a long, long-- Adam looks down at Spike.", "Spike: Hang on. I think I might've detected a small flaw.", "Adam: So you failed.", "Spike: Well, hey, you're supposed to be so smart. (he stands up) You let me plan this thing. Okay, let's not quibble about who failed who. The important thing is make sure the Slayer is where we want--", "Adam: Go.", "Spike: Gone. He starts to leave. Halfway out, he stops and turns to him.", "Spike: So, uh, we'll do this chip thing when I get back. Adam just looks at him. Spike nods his head in agreement and leaves.", "Cut to an exterior view of Giles' apartment. There is a knock at the door.", "Cut to the interior.", "Giles: Oh... He walks over to the door and opens it. Tara and Willow are on the other side.", "Willow: Hey.", "Giles: Hello. (looks down at his clothes) Um, oh, uh, pardon the robe. It's a bit of a late start.", "Willow: Right.", "Tara: I hope you're feeling all right, Mr. Giles.", "Giles: Oh, yes, quite well, thank you. I'll--I'll probably have a brisk jog later on. Did you want something?", "Willow: I forgot my laptop and the disks.", "Giles: (takes off his glasses) Uh, yes, please, please come in. Willow walks inside.", "Giles: Will you be working here? Uh, typing...talking? Because, um, that will be fine.", "Willow: (smiling) No, that's okay. She takes her laptop and puts it in her bag. Giles looks at Tara, who smiles and nods. Willow comes back over to the two.", "Willow: Got 'em. So...see ya.", "Giles: Right. Yes, well, good luck with--with all that.", "Willow: Ok. Bye.", "Tara: Bye.", "Giles: Bye. He closes the door.", "Cut to Buffy and Willow's dorm room. Buffy gets up from the floor and walks over to look at a picture of her, Willow, and Xander. She puts the picture down and picks up the phone. After a beat, she puts the phone down. She walks over to a bag, and takes an axe.", "Cut to an exterior view of Xander's house.", "Cut to the interior view of Xander's basement. Xander is lying in bed. A door closes.", "Anya: (o.s.) Xander? She comes down the stairs.", "Anya: You said you wanted to check the board at the unemployment office this morning. She lifts the covers.", "Anya: You can't go like that. They won't even interview you if you're naked.", "Xander: I'm not going. There's never anything good.", "Anya: (sighs)", "Xander: Maybe I should join the Army.", "Anya: Don't they make you get up really early in the morning?", "Xander: Oh, yeah. As Xander pulls the covers over him:", "Xander: Never mind. She pulls the covers away from his face.", "Anya: Are you still upset about that fight you had with your friends? It was hours ago! Get over it.", "Xander: Anya, you--Forget it.", "Anya: So, they all think you're lost, directionless loser with no plans for his future? Pfft.", "Xander: Anya, you can't \"pfft\" that stuff away.", "Anya: Why not?", "Xander: I don't know. 'Cause I think maybe they're right. Anya sighs and kneels down to Xander's bed and lays on his chest.", "Anya: So what if they are? You're a good person, and a good boyfriend, and...and I'm in love with you. Whatever they think of you, it shouldn't matter.", "Xander: Yeah. Yeah, it doesn't matter.", "Cut to a crypt. Buffy is walking around inside with an axe. She walks through to another part of the crypt.", "Cut to the other part of the crypt. She looks around and sees many computers.", "Buffy: (o.s.) Adam...where are you?", "Cut to the inside of a lab. A ball moves away to reveal a laboratory.", "Adam: This is where it all happens. Where the new race begins.", "Riley: Where are we?", "Adam: In the Initiative. There are areas no one knew about beyond those that needed to. Mother kept her secrets well. Pan over to a zombie-type woman.", "Adam: Didn't you? Riley (o.s.) Professor Walsh?", "Adam: This is all how she planned it, except she thought she would be alive. Professor Walsh walks over to a table with another doctor, who turns around. It's Doctor Engleman.", "Riley: Are you-- Adam looks at Riley.", "Riley: Is that what you were gonna do to me?", "Adam: They're just workers. You know your destiny is much greater. A zombie-man sits up.", "Riley: Forrest? Oh, God.", "Forrest: God has nothing to do with it.", "Cut to Adam.", "Cut to Riley.", "Cut to black. {Commercial Break} Fade into Adam's lair. Buffy walks around and runs into Spike, who puts his hands up.", "Spike: Easy, Sheriff. Watch where you point that thing.", "Buffy: What are you doing here?", "Spike: Looking for a little weekend getaway place. Shove off. He starts walking past Buffy. Adam's been using these caves. Spike stops walking. What? I found his lair.", "Spike: (sigh) Oh, cripes. That's all I need. Runnin' into that goon.", "Buffy: Yeah, well, Adam's cleared out of here. Whatever he's planning is about to go down.", "Spike: Look at little Nancy Drew. What about those disks I nabbed? They ought to tell you something.", "Buffy: Willow has the disks.", "Spike: Well, then I'd get on that.", "Cut to Buffy.", "Spike (o.s.): Can't ignore valuable information", "Cut to Spike.", "Spike: just 'cause you two birds fell out, now can you?", "Buffy: Right.", "Spike: Well, you do what you want. As he starts to leave:", "Spike: No worry of mine, now is it?", "Cut to Willow's room. Willow and Tara are working on deciphering the disks.", "Tara: Maybe you should rest. Clear your head? She sits down.", "Willow: Can't. (cut to the screen) Not now. I--I think I'm on to something. I've been assuming the (cut to the two)--the ciphertext was encrypted with an asymmetric algorithm. Then it hit me. A hexogonic key pattern. It's--", "Tara: Hey, look, you did it.", "Cut to the screen. After a beat, cut back to the two.", "Willow: I didn't. I haven't even finished typing in the new code.", "Tara: Something's doing it.", "Willow: Must be programmed to (cut to the screen) self-decrypt to a certain point. (cut back to Willow) That is so annoying. It's like someone blurting out the answer to a riddle just when you've--I mean Yippee! We have the information.", "Tara: I'm not sure if \"Yippee\"'s the right response, either. Read that. The phone rings. Tara gets up to answer it.", "Tara: Hello? Yeah, she's right--I mean, let me check. She moves the phone to her shoulder.", "Tara: It's Buffy.", "Cut to a close up of Willow's face.", "Cut to the lower level of the Initiative.", "Riley: Professor Walsh. Professor Walsh, it's Riley Finn. Can you hear me?", "Forrest (o.s.): She's dead. Artificially (walks into view) reanimated with basic to moderate brain activity. Mommy can hear you, but she's still a walking corpse. Professor Walsh pulls out a syringe.", "Riley: So are you.", "Forrest: Mm-mmm (No). Got that wrong. I'm surging with life... and strength. Adam made me to be nearly as bad as he is. Really looking forward to trying out your girl again.", "Riley: I'm sorry, Forrest.", "Forrest: Don't be. This is the best thing that ever happened to me. I'm free of all my weaknesses...my doubts. He's gonna fix you up too, soon as we got some choice parts. Then you and me will be back on the same side again. Moving toward a new future.", "Riley: I'll never let that happen.", "Forrest: You don't get it brother, you don't have a choice. Your will belongs to us now.", "Riley: No. That's not true.", "Forrest: Then why don't you get out of that chair and walk out of here?", "Riley: You can't control my--", "Walsh: Riley, be a good boy. She comes toward him with a syringe and puts it into his skin.", "Cut to the campus. Many people are walking around. Buffy walks up, meeting with the Scooby Gang.", "Buffy (to Xander): Where's Anya?", "Xander: Oddly, Anya decided not to join us, despite all the fun we had at our last meeting.", "Willow: And I don't think Tara felt welcome.", "Buffy: Why? Because of the things that we said? Willow nods.", "Buffy: Will, who told you we were talking behind your back, specifically? Well, um...Spike, specifically, but-- And who told you that we thought you'd be better off joining the Army? That's not...exactly what he said.", "Giles: Well, uh...S--S--Spike can be very convincing when--when--when, uh...I'm very stupid.", "Buffy: He played us. He wanted us to fight to split us up. That's where it came from. The stuff we said the other night.", "Giles: Of course. Well, piffle, let's move on.", "Xander: I'm movin'.", "Willow: Me, too.", "Buffy: Good. Great.", "Cut to Willow.", "Cut to Xander.", "Cut to Giles.", "Cut to a shot of all four.", "Willow: So...why do you think Spike made with the head games?", "Xander: He's all dressed up with no one to bite. He's gotta get his ya-yas somehow. I think it was more than that. I think it was Adam.", "Xander: Spike's working for Adam?! After all we've done--nah, I can't even act surprised. Giles smiles.", "Buffy: I just went to Adam's lair and he was gone. But, Spike just happened to be there. He made this big noise about getting information off those encrypted disks.", "Willow: Oh, I decrypted them. Buffy looks at her, surprised.", "Willow: Well, they decrypted themselves, but I almost had it.", "Giles: What did they say?", "Willow: A bunch of stuff we already know about 314. But it also said there's some final phase where Adam manufactures a bunch of creepy cyber-demonoids like him. There's a special lab in The Initiative, but it didn't say where.", "Buffy: Adam fed Spike those disks. It has to be. He wanted me to know about his evil-guy assembly line. This lab, it's in the Initiative?", "Willow: Hidden somewhere.", "Buffy: We'll give the demon his due. He thought this one out.", "Willow: What do you mean?", "Buffy: You know how overcrowded the containment cells have been at the Initiative? Willow nods.", "Buffy: Those demons were just too easy to catch. It's like they wanted in that place.", "Giles: (putting on his glasses) The Trojan horse.", "Buffy: Adam's gonna make sure the demons attack the Initiative from the inside.", "Xander: Demons versus soldiers. Massacre, massacre.", "Willow: And Adam has a neat pile of body parts to start assembling his army. Diabolical, yet...(makes a face) Gross.", "Xander: Does anybody else miss the Mayor, I just wanna be a big snake?", "Buffy: I've got to shut him down, Giles. His final phase is about to start.", "Giles: We need to warn the Initiative.", "Buffy: They're not gonna listen to me.", "Willow: Riley?", "Buffy: He's a deserter. He got some bad news anyway, and kinda took off.", "Xander: Okay, I'm confused again. Adam has this evil plan. Why is he so anxious for you to know about it?", "Buffy: He wants me there. Probably figures I'll even the kill ratio.", "Xander: He's not worried you might kill, oh say, him?", "Buffy: No, he's really not.", "Cut to the lower lab.", "Adam: She's coming. I can feel it.", "Spike: Good on you. Got a chunk of prognosticating demon in there, right? He walks over to a chair.", "Spike: Now, (claps his hands) if you'll just get this chip out of my cranium...(he sits down) I'll be out of your way. And mind the hairline. I don't fancy fussing over a comb-over as I resume my killing ways. Come on, we had a deal.", "Adam: When she's here.", "Spike: (sighs)", "Cut to Riley.", "Cut to Giles' apartment.", "Giles: Certainly no lack of supplies. I only wish I knew which ones would kill Adam.", "Buffy: According to Riley, his power source is uranium core embedded somewhere inside his chest. Probably near the spine.", "Xander: Great, so we just ask him to lie down quietly while we do some exploratory surgery.", "Willow: What about magic? Some kind of, I don't know...uranium extracting spell? Everyone looks at her in disbelief.", "Willow: I know. I'm reaching. Giles stands up.", "Giles: Perhaps a paralyzing spell. He walks over to the bookshelf and pulls a book off.", "Giles: Only I can't perform the incantation for this.", "Willow: Right. Don't you have to speak it in Sumerian or something?", "Giles: I do speak Sumerian. It's not that. Only a...an experienced witch can incant it, and you'd have to be within striking distance of this object.", "Xander: See what you get for takin' French instead of Sumerian?", "Buffy: What was I thinking?", "Xander: So no problem, all we need is combo Buffy--her with Slayer strength, Giles' multi-lingual know how, and Willow's witchy power. Giles looks at him.", "Xander: Yeah, don't tell me. I'm just full of helpful suggestions.", "Giles: As a matter of fact, you are.", "Cut to an exterior shot of Lowell House.", "Cut to the inside. The gang walks through the door.", "Willow: Nervous?", "Xander: No way. I'm full of that good old kamikaze spirit.", "Giles: Xander, just because this is never gonna work, there's no need to be negative.", "Willow: The adjoining spell, is it powerful enough to defeat Adam?", "Giles: It's very powerful. It's also extrodinarily dangerous.", "Buffy: Game faces, guys. We're going in. She kicks in the window. Dissolve to another area of the Initiative. Fade in to Buffy and Willow climbing.", "Buffy: How you doing?", "Willow: Super. What was I thinkin', using stairs all this time?", "Buffy: Okay. Will--", "Willow: No, really, Buffy. It's not as scary as I thought.", "Buffy: No. It's not what I was gonna say. I just...I'm sorry. I hate that things have been so strained between all of us.", "Willow: It's not your fault. Spike stirred up trouble.", "Buffy: Yeah, but I think trouble was stir-uppable. I think we've all sort of drifted apart this year, don't you?", "Willow: Maybe a little. But, you know, first year of college, it's hard to keep the old high school gang together.", "Buffy: But I want it together. Will, I miss you. And Giles, and Xander. And it is my fault. I've been wrapped up in my own stuff, I've been a bad friend.", "Willow: You're the Slayer, Buffy. Your stuff is pretty crucial.", "Buffy: I mean Riley. And...Riley, mostly.", "Willow: Well, I haven't been Miss Available either. I--I kept secrets. I hid things from everyone.", "Buffy: That's not your fault. Will, you were going through something huge.", "Willow: I wanted to tell you, but I was so scared.", "Buffy: You can tell me anything. I love you. You're my best friend. They hug.", "Willow: Me, too. I love you too. They begin falling due to the weight.", "Willow: (o.s.) Oh, falling now! They land on the ground, but continue to hug.", "Buffy: Let's promise to never not talk again.", "Willow: I promise, I promise. Xander slides down. Buffy and Willow hug him.", "Buffy: Xander.", "Willow: Oh, wonderful Xander!", "Buffy: You know we love you, right?", "Willow: We totally do.", "Xander: Oh God, we're gonna die, aren't we?", "Willow: No, we just missed you. Xander looks up.", "Xander: Giles, hurry up! Giles looks down.", "Xander: You definitely wanna get down here for this!", "Cut to Buffy and the gang. Giles is inching the door with a crowbar.", "Buffy: Okay, we stick together, then everything should be fine. Everybody ready? Giles gets the door open.", "Buffy: Let's... They open the door to reveal 5 Commando guys with laser blasters.", "Buffy: ...do this.", "Cut to black. {Commercial Break}", "[SCENE_BREAK]", "Fade into an area in the Initiative. Adam and Spike are watching the cameras.", "Spike: Must-See-TV. Bait's been taken. Trap's all set. The Slayer has landed. So... He turns and looks at Adam.", "Spike: Hello? Paging Dr. Owe Me One.", "Adam: She's not alone. Spike looks closer at the TV.", "Adam: (o.s.) You've failed me again.", "Spike: Well, that's one way of looking at it.", "Adam: What's the other way. He bolts for the door, but Forrest grabs his neck.", "Spike: Oh, come on! It's not like I wasn't trying! That's worth something, isn't it?", "Adam: I suppose. Yes. I will honor our agreement to remove your chip.", "Cut to Forrest and Spike.", "Cut to Adam.", "Adam: Take his head off. Forrest grabs Spike and pins him down in a chair. Spike struggles, but he takes out a cigarette and puts it out on Forrest's eye.", "Forrest: (screams) Spike breaks loose and runs out.", "Adam: Let him go.", "Cut to the video screen.", "Cut to Adam.", "Adam: There's nowhere left to run.", "Cut to Forrest, breathing hard.", "Cut to Colonel McNamara's office.", "Buffy: Colonel--", "Colonel: Shut up. You've got some nerve, lady. (unzips the bag) You think you and your friends can just keep waltzing into a government installation brandishing weapons like-- He holds up the device.", "Colonel: Like--", "Willow: It's a gourd.", "Giles: Magic gourd.", "Colonel: What kind of freaks are you people? (puts the gourd down)", "Buffy: Adam is here, Colonel. In the Initiative.", "Colonel: Nice try.", "Buffy: Those overcrowded containment cells of yours: courtesy of Adam. He's pulling a Trojan Horse on you, he's just waiting--", "Colonel: Everything in this installation is under 24-hour surveillance.", "Willow: Including the secret lab?", "Colonel: Including everything! (a beat) What secret lab?", "Buffy: The one Adam's been using. The one built for the final stage of the 314 project. The colonel has a blank look on his face.", "Buffy: And you have no idea what I'm talking about.", "Colonel: I know everything that goes on around here. A tick on a mouse couldn't get in without my knowing it. And if Adam wants to try we're ready for him.", "Giles: Jolly good. How--How exactly do you plan to get close enough to Adam to remove his power source?", "Colonel: Hit him simultaneously with multiple taser blasters. Incapacitate him with as much voltage as we can muster.", "Xander: Great plan. That's right up there with \"duck and cover\".", "Buffy: I've seen Adam hit with taser blasts. He feeds on it. And now you're gonna provide him with an all-you-can-eat buffet?", "Colonel: You telling me my business?", "Buffy: This...is not your business. It's mine. You, the Initiative, the boys at the Pentagon--you're all in way over your heads. Messing with primeval forces you have absolutely no comprehension of.", "Colonel: And you do?", "Buffy: I'm the Slayer. You're playing on my turf.", "Colonel: Up there, maybe. But down here, I'm the one who's in control. The lights go out.", "Soldier: Sir, the power grid's down. Backup's not responding.", "Cut to the screen. Cut back to the soldier.", "Soldier: We're locked in.", "Cut to Willow.", "Cut to Buffy.", "Cut to Adam's area in the Initiative. He flips a switch labeled \"Main Power Grid\". The lights go out. He flips a switch labeled \"Containment Area\".", "Cut to a screen. A scientist and a soldier are walking.", "Adam: This will be interesting.", "Cut to the lower level of the Initiative. The cages all open.", "Scientist: (scared) What's going on?", "Soldier #2: I don't know! A cage opens.", "Scientist: Go! A demon runs out and starts clawing at the scientist.", "Scientist: (screaming) Another demon starts clawing at the soldier.", "Soldier #2: (screaming) Cut back to the Colonel and the gang.", "Soldier: Containment area's been breached. Hostiles are loose.", "Colonel: How many?", "Soldier: All of 'em, Sir.", "Buffy: (o.s.) It's Adam. The Colonel looks at Buffy.", "Buffy: Look, I'm the only one who can stop him now. Just let me handle this. Get your people out of here.", "Colonel: All right, you men follow me. We gotta take the Armory now.", "Soldier #3: Sir.", "Buffy: Colonel.", "Colonel: These people are under arrest, do you understand?", "Soldier #4: Yes, sir. The soldiers and the Colonel all leave. A soldier stands up. Buffy gives him a kick to the chest. Another soldier tries to attack her, and she bangs his head into the desk, then hits him in the face, knocking him out cold.", "Buffy: We've gotta find Adam.", "Willow: On it. She goes over to the computer, and sits down.", "Giles: The enjoining spell (cut to Buffy) is extremely touchy. It's, uh, (cut to Willow) volatile. We--We can't risk it (cut to Buffy) being interrupted. We need a place that's (cut to Giles and Xander) close to you and quiet.", "Cut to the screen.", "Xander: (o.s.) Uh...quiet? Cut down below. A soldier flies through the air. Another soldier flies through the air.", "Cut to the stairwell. A demon flips another soldier over, and punches one in the face. A demon throws a solider over the railing.", "Cut to another part of the Initiative. There is fire coming out from almost every area.", "Cut to yet another part of the Initiative. A soldier comes up, firing a machine gun. He hits a demon in the chest, and he falls to the ground.", "Cut to the solider. He is still firing the machine gun, but a vampire has jumped on him. The soldier fires the gun, and tries to shake him off at the same time.", "Cut to the stairwell. A woman has just died from a vampire bite.", "Cut to another area. Spike is attacking demons. He gives a back kick to one of them. He punches another in the stomach, and then hits him in the head.", "Cut to the railing. We see a man's hand slowly working its way up. He nearly gets up but is pulled down again by a demon. Cut back to the gang.", "Buffy: How we doing, Will?", "Willow: Done. Hold on. According to this, there's air ducts and electrical conduits (cut to the screen) all running into there.", "Buffy: So?", "Willow: So, there's no there there. Look.", "Cut to the screen.", "Cut to Buffy.", "Buffy: It's Adam.", "Giles: You sure?", "Buffy: Right behind 314.", "Buffy: Can you unlock it?", "Willow: I don't have to. All--All the locks in the Initiative have been disengaged...except for the exits.", "Xander: Demon open house.", "Buffy: Great. So we know we're going to 314. Now all we have to do is get there.", "Cut to the \"demon open house\" (the fight below). Graham runs up and begins shooting a gun at a demon. He kills him, and he does the same to two other demons.", "Cut to the door. The gang runs out. Buffy punches a demon in the face. Buffy kicks a demon in the leg. She gives a sidekick to another demon. Xander hits one demon with a laser blast. They all run past. A scientist's arm is on fire. A man flies over the railing. Another demon tries to hit Buffy, but she hits him first. She sees a soldier with a gun. As Buffy pushes Willow:", "Buffy: Willow, down!", "Buffy: Come on!", "Willow: Go! They all run past. We see another explosion.", "Cut to the inside of 314.", "Buffy: Okay, it should be over here. They move a cart in front of the door. She opens up two doors.", "Buffy: Once I'm in, barricade the door behind me. Is this place okay to be Magic Central?", "Giles: It, uh, should do.", "Willow: As long as we don't get blowed up or nothin'.", "Xander: What're the odds of that?", "Buffy: How long before the ritual kicks in?", "Giles: Five minutes, give or take.", "Xander: Buffy, I still don't like you going in alone.", "Buffy: I won't be. Willow closes the doors and moves a cart against the doors. Giles and Xander move a gurney against the other door.", "Cut to the lower level of the Initiative. Buffy sees Riley.", "Buffy: Riley. She climbs down the ladder.", "Buffy: Are you hurt? (no answer) Say something! Riley says nothing. Professor Walsh and Dr. Engleman appear.", "Buffy: What is this? She looks at Riley.", "Buffy: Why won't you talk to me?", "Adam: (o.s.) He can't. Pan over to Adam.", "Adam: He hasn't been programmed to. He's part of the final phase now...as you were supposed to be.", "Buffy: Sorry. I don't jump through hoops on command. I've never really been one to tow the line.", "Adam: Oh. (beat) Kill her. Forrest grabs her.", "Forrest: I thought you'd never ask.", "Cut to Walsh and Engleman. We hear Buffy struggling. Professor Walsh takes a device and slowly walks toward Buffy.", "Cut to black. {Commercial Break} Fade into the lower level of The Initiative. Buffy is still struggling. She kicks Professor Walsh in the face, and she goes flying. We hear glass breaking. Buffy throws Forrest into the wall, breaking glass. Riley looks at the broken glass.", "Cut to the inside of 314. Giles lights a candle.", "Willow: (chanting) \"The power of the Slayer and all who yield it. Last to ancient first, we invoke thee. Grant us thy domain and primal strength. Accept us in the power we possess. Make us mind and heart and spirit joy. Let the hand encompass us. Do thy will.\" Cut back to the lower level of The Initiative. Forrest punches Buffy in the face, and sends her flying to the floor. Buffy springs up, and kicks him in the face. She punches him in the face two more times, a left and a right hook. He punches her in the stomach twice. He tries to punch her, but he grabs her hand, twists it around, and leads her head to a metal table, knocking her out. She slowly gets up.", "Riley: Buffy. Forrest punches her in the face. He turns to Riley.", "Forrest: Shut up, and watch me kill your girlfriend, Finn. That's an order. He growls and turns around to face Buffy.", "Cut to Riley. We hear fighting noises coming from Forrest and Buffy. His hand begins moving to the glass. He picks up a piece of it. Buffy tries to side sweep him, but it doesn't work. She punches him in the face. Riley begins ripping at his skin with the glass.", "Cut to the inside of 314.", "Willow: Spiritus...Spirit. She hands a card to Xander.", "Xander: Animus...Heart. She hands a card to Giles.", "Giles: Sophus...Mind.", "Willow: And Manus...", "Cut to Buffy punching Forrest.", "Willow: (o.s.) The hand. Riley reaches into his chest and begins pulling. Forrest punches Buffy twice, knocking her down. He flips her over, grabs her, and pulls her down.", "Cut to Riley.", "Riley: (groans) Forrest picks her up and growls. Buffy takes her hands in a power cord and snaps it.", "Cut to the inside of 314. The camera view is fading.", "Willow: We enjoin that we may inhabit the vessel--the hand...daughter of Sineya...first of the ones...", "Cut to the lower level of The Initiative. Riley is still trying to get the chip out. Forrest grabs Buffy and throws her down on a table. Buffy is struggling. Professor Walsh and Doctor Engleman hold her down, trying to put her into restraints. Riley struggles with the chip, and finally pulls it out.", "Cut to Forrest holding Buffy.", "Forrest: Is that it? Is that all you got?", "Riley: No. Walsh, Engleman, and Forrest all look over.", "Riley: She's got me. He knocks out Professor Walsh and Dr. Engleman.", "Forrest: Look who's come off the bench. He starts to walk toward Riley, but Buffy kicks him in the face. Buffy gets up.", "Buffy: I need to get to Adam. Like, now. Are you able?", "Riley: Go. She leaves. Riley runs toward Forrest but he gets flipped over by him. Riley grabs his stomach but Forrest backhand elbows him to the face. Forrest flips him on the ground. As Riley gets up, Forrest kicks him in the stomach.", "Cut to the Initiative. Many men are running with guns, shooting at HST's.", "Colonel: Fall back! Fall back! Protect the flank! Walk down that pit!", "Cut to Adam's area in the Initiative.", "Buffy: Fun, isn't it?", "Adam: I do appreciate violence.", "Buffy: Good. Buffy tries to run toward him, but he punches her, sending her backwards. She rolls, gets up, and kicks him. She begins punching him in the face. Adam grabs her hand, and throws her into the wall. His skewer comes out. He tries to stab Buffy, but she snaps it with her knee and punches him in the face.", "Buffy: Broke your arm.", "Adam: Got another. His hand sprouts into a mini-gun.", "Adam: I've been upgrading. He begins firing at her. She dives over the computer console. He stops.", "Cut to the inside of 314.", "Willow: We implore thee, admit us, bring us to the vessel, take us now.", "Cut to Adam's room at the Initiative. Buffy gets out from her hiding place and sees Adam. He blows up the console. Adam looks for Buffy. She stands up, eyes glowing orange.", "Adam: You can't last much longer.", "Buffy: (speaking simultaneous) We can. We are forever.", "Cut to Adam.", "Cut to Buffy.", "Buffy: (Speaking Sumerian)", "Adam: Interesting. Adam fires at Buffy, but it generates some sort of force field.", "Buffy: (Continues speaking Sumerian)", "Adam: Very interesting.", "Cut to the inside of 314. The HST's begin breaking down the door.", "Cut to the lower level of the Initiative. Riley jumps on Forrest, and grabs him. Riley kicks Forrest in the stomach with his knee. Forrest grabs Riley's head, attempting to put him in a headlock. Forrest throws Riley across the room.", "Forrest: What're you makin' me do this for? He begins to walk over to Riley.", "Forrest: Not that I'm not enjoyin' myself. He kicks him in the face, sending him backwards.", "Forrest: But Adam's not gonna like it if I-- Riley hits Forrest in the face with a tank of oxygen. He hits him in the face with it again. And again. He hits him in the stomach with it, forcing him back. Riley hits the tank in Forrest's face. He tries to hit him with his elbow, but Forrest grabs the tank, causing Riley to fall on the ground. Forrest holds up the tank. Riley scrambles to his feet and runs.", "Forrest: (growls) He jumps over a gurney.", "Cut to a close up of the tank.", "\"FLAMMABLE\"", "There is a huge explosion.", "Cut to Adam's room at the Initiative. He is still firing his mini-gun at Buffy. He fires a rocket at her, but she holds her hand up.", "Buffy: (Sumerian) Kur. The rocket then bursts into 3 birds. She holds her hand up again, and Adam's rocket goes back inside him. Adam tries to attack her, but she blocks every punch. She kicks him in the stomach, and he falls. She grabs his head.", "Adam: How...can you-- Dissolve to the inside of 314.", "Xander: You could never hope to grasp the source Superimpose Adam's room at the Initiative.", "Buffy: of our power. She uppercuts him, sending him flying to the ground. She picks him up and kicks him against the wall. She reaches into him and pulls out the uranium.", "Buffy: But yours is right here.", "Adam: (groans) He falls to the ground. Riley walks up.", "Riley: Buffy. The uranium begins levitating. A woman begins speaking Sumarian, and the uranium disappears. Buffy's eyes go normal and she faints, but Riley catches her.", "Cut to the inside of 314. Everyone else drops.", "Willow: Wow. That was-- The door breaks down and a demon comes inside. Spike comes in and breaks the demon's neck. The demon falls to the floor.", "Spike: Nasty sort of fellow. Lucky for you blighters I was here, eh?", "Giles: Yes, thank you.", "Cut to Spike.", "Giles: Although your heroism has been slightly muted by the fact that you were helping Adam to start a war that would kill us all.", "Xander: You probably just saved us so we wouldn't stake you right here.", "Spike: Did it work? They all get up.", "Spike: Well, then everything's all right. And we all get to be not staked through the heart. Good work, team. Buffy and Riley open the door.", "Giles: Buffy. Willow comes over and hugs her.", "Willow: Wasn't it amazing?", "Xander: You were great.", "Buffy: We were great.", "Riley: We still got men out there.", "Spike: Well, let's go save 'em, by gum.", "Buffy: You guys get to the exits, get 'em open. She looks at Riley.", "Buffy: You, organize the soldiers, pull 'em back. I'll take point. She starts walking out.", "Willow: Are you up to this?", "Buffy: I am. She knocks out a demon.", "Cut to an office.", "Man: It was an experiment. The Initiative represented the Government's interests in not only controlling the otherworldly menace, but harnessing its power for our own military purposes. The considered opinion of this counsel is that this experiment has failed. Fades between different battle scenes: Buffy attacking many demons.", "Man (v.o): Once the prototype took control of the complex, our soldiers suffered a 40 percent casualty rate. Graham shooting demons", "Man (v.o): Only through the actions of the deserter and a group of civilian insurrectionists that Xander helping Willow down onto the ground.", "Man (v.o): Our losses were not total. I trust the irony of that is not lost on any of us. Maggie Walsh's vision A soldier with a gun.", "Man (v.o): Was brilliant, but ultimately unsupportable. Colonel McNamara getting attacked by a demon.", "Man (v.o): The demons cannot be harnessed. The end result.", "Man (v.o): Cannot be controlled. Fade into an office.", "Man: It is therefore our recommendation that this project be terminated and all records concerning it expunged. Our soldiers'll be debriefed. Standard confidentiality clause. We will monitor the civillians and usual measures prepared should they try to go public. I don't think they will.", "Cut to the screen.", "Man: (o.s.) The Initiative itself will be filled in with concrete. Burn it down, gentlemen. Burn it down, and salt the Earth. The TV screen goes to static.", "Cut to black." ]

[ "A primordial spirit haunts Buffy, Giles, Willow, and Xander in their individual, cryptic nightmares involving the First Slayer (Sharon Ferguson) as a result of the magic done in the previous episode." ]

[ "Note: This episode was unusual in that they showed \"Previously on Buffy...\" and then went directly into the opening credits, then began the episode without a commercial break. So the \"teaser\" came after the opening credits instead of before. Shot of Adam.", "Buffy: The Initiative created this thing and they can't stop it, but we will.", "Giles Voiceover: Previously on Buffy the Vampire Slayer... Overhead shot of Willow, Giles, and Xander doing the spell in \"Primeval.\"", "Willow Voiceover: Power of the slayer and all who wield it, last to ancient first, we invoke thee. Giles lighting a candle.", "Willow: Make us mind and heart and spirit join. Shot of Willow's hand laying down a Tarot-sized card.", "Willow: Spiritus, the spirit. Shot of Xander laying down another card.", "Xander: Animus, heart. Shot of Giles laying down another card.", "Giles: Sophus, mind. Shot of Willow holding the last card.", "Buffy: And Manus, the hand. Shot of Buffy with bullets dissolving in front of her.", "Buffy: You could never hope to grasp the source of our power. Buffy reaching into Adam's chest and pulling out his power supply. Adam falling over dead. Wolf howl. Opening credits.", "(No commercial)", "Guest starring Kristine Sutherland, Amber Benson, Mercedes McNab, David Wells, Michael Harney, George Hertzberg, Emma Caulfield as Anya, Seth Green as Oz, and Armin Shimerman as Principal Snyder. Written and directed by Joss Whedon.", "BUFFY: Are you sure you'll be all right? Cause I can be there in the morning.", "RILEY: (shakes head) It's just a debriefing.", "(We see they're at Joyce's house, standing by the door. Giles is in the dining room. Willow sitting on the stairs.)", "RILEY: They're not gonna make me disappear, and they're not pinning anything on me. I got Graham and a lot of the guys testifying I'm the reason they're alive. I might actually get out of this with an honorable discharge.", "GILES: (eating something) In return for your silence, no doubt.", "RILEY: Oh yeah. Having the inside scoop on the administration's own Bay of", "Mutated Pigs is definitely an advantage.", "WILLOW: (cheery) It's like you're blackmailing the government. (They look at her) In a ... patriotic way.", "(Riley smiles.)", "RILEY: I'll call you when it's over.", "(He and Buffy smooch.)", "XANDER: (offscreen) Dinner is served.", "(Xander enters with a bowl of popcorn. Joyce behind him.)", "XANDER: And my very own recipe.", "(Willow takes a handful.)", "WILLOW: Ooh, you pushed the button on the microwave that says \"popcorn\"?", "XANDER: (shakes head) Actually, I pushed \"defrost,\" but, um, Joyce was there in the clinch.", "RILEY: Well, you guys have fun tonight. (Extends his hand to Joyce) It was very nice meeting you.", "JOYCE: (shakes his hand) It was nice meeting you ... finally.", "RILEY: Bye.", "BUFFY: Bye.", "(Riley leaves. Buffy shuts the door behind him. We see Joyce is holding a bowl of peanuts.)", "JOYCE: (to Buffy) Did you notice how pointedly I said \"finally\"?", "BUFFY: (innocent face) No.", "(They all go into the living room.)", "XANDER: Let the vid-fest begin.", "GILES: (to Joyce) You sure you won't join us?", "JOYCE: No, you guys have your fun. (Buffy and Willow sit on the sofa,", "Xander on the floor) I'm tired. I can't believe you're not exhausted. Have you even slept since...", "GILES: Still feel a little bit too wired.", "WILLOW: Mm. Yeah, that spell, that was, that was powerful.", "BUFFY: Don't think I *could* sleep.", "(We see Buffy and Willow curling up on the sofa with blankets over them.)", "XANDER: Well, we got plenty of vids. And I'm putting in a preemptive bid for \"Apocalypse Now,\" huh? (Holds up the video)", "WILLOW: (scowls) Did you get anything less heart-of-darkness-y?", "(Joyce smiles, puts down bowl)", "XANDER: Apocalypse Now is a gay romp! It's the feel-good movie of whatever year it was.", "BUFFY: (not buying it) What else?", "(Joyce and Giles exchange a smile and she heads for the stairs.)", "XANDER: Don't worry. Got plenty of chick-and-British-guy flicks too. These puppies should last us all night.", "(Shot of Joyce smiling at them as she climbs the stairs.)", "(Shot of a hand putting a tape in the VCR and pressing Play.)", "(Pan up to the TV screen. The FBI warning comes up.)", "(Shot of Giles, Buffy, Willow, and Xander fast asleep in their seats.)", "Commercial. (The four still asleep. Giles in a chair, Buffy and Willow on the sofa, Xander on the floor. Zoom in slowly on Willow, clutching a red blanket against herself.)", "(Fade to Tara's face. She appears to be lying on her stomach, resting chin on crossed arms. We see a bare shoulder.)", "TARA: I think it's strange. I mean, I think I should worry that we haven't found her name.", "WILLOW: Who, Miss Kitty?", "(Shot of their kitten, playing with a ball of red yarn in slow-motion.)", "TARA: You'd think she'd let us know her name by now.", "WILLOW: She will. (Looking down at Tara) She's not all grown yet.", "TARA: You're not worried?", "WILLOW: I never worry here. (Smile) I'm safe here.", "TARA: You don't know everything about me.", "WILLOW: Have you told me your real name?", "(Tara smiles.)", "TARA: Oh, you know that.", "(Willow smiles, reaches for something.)", "(Shot of a paintbrush dipping into ink jars.)", "TARA: They will find out, you know.", "(Shot of Willow's face.)", "TARA: About you.", "WILLOW: Don't have time to think about that. (Frown) You know I have all this homework to finish.", "(The camera pulls back so we can see Tara is lying face-down on her bed, naked, and Willow is painting on her back.)", "TARA: Are you gonna finish in time for class?", "WILLOW: I can be late.", "TARA: But you've never taken drama before.", "(Shot of Willow dipping the paintbrush again, moving it across to Tara's back, which is covered with Greek symbols.)", "TARA: Might miss something important.", "(Pause)", "WILLOW: I don't wanna leave here.", "(Tara twists back to look at her.)", "TARA: Why not?", "(Willow stands up, looking down at Tara. She turns away toward a dark red curtain. Walks over to it.)", "WILLOW: It's so bright.", "(Pulls back the curtain to reveal a brightly sunlit desert. The light falls on Tara, who looks over.)", "WILLOW: (looking back at Tara, still holding the curtain open) And there's something out there.", "(Shot of the desert, straggly plants, rocks. We briefly see something", "(someone?) moving, then it's gone.)", "(Shot of the kitten stalking forward toward the camera, in slow-motion.)", "(Cut to Willow walking down the halls of Sunnydale High, looking anxious. She walks up to Xander and Oz.)", "XANDER: Hey.", "WILLOW: (casual) Hey, guys. (Keeps walking)", "OZ: Heard you're taking drama. (The guys walk after her)", "WILLOW: Uh-huh.", "OZ: It's a tough course.", "WILLOW: You took it? (Walks up to a locker, starts trying to open it)", "OZ: Oh, I've been here forever.", "XANDER: So whatcha been doin'? Doing spells? (To Oz) She does spells with Tara.", "OZ: Yeah, I heard about that.", "(Willow still trying to open the locker.)", "(Bell rings.)", "WILLOW: (anxious) I'm gonna be late. (Walks off)", "XANDER: Sometimes I think about two women doing a spell ... and then I do a spell by myself.", "(Oz looks at him. Xander looks at Oz, then quickly away.)", "(Cut to Willow entering the backstage area. Costumes hanging on a rack. People getting into costume. Makeup table with mirrors. Sound of an orchestra tuning up. People wearing all kinds of different costumes. Willow walks around looking lost.)", "(Harmony runs up to her. She's dressed as a Swedish Milkmaid with two braids.)", "HARMONY: Isn't this exciting? Our first production! I can't wait till our scene! I love you! Oh! (Hugs Willow. Suddenly drops the fake friendly act.)", "Don't step on my cues.", "WILLOW: Production? (We see Buffy peeking out through the curtain at the audience. She runs over to Willow and Harmony. She's dressed as the lead character in", "\"Chicago\": short straight black hair, short tight black dress.)", "BUFFY: Ohmigod. The place is packed. Everybody's here! Your whole family's in the front row, (cheerful) and they look really angry.", "WILLOW: There's a production?", "HARMONY: (rubbing Willow's shoulders) Oh, somebody's got stage fright.", "WILLOW: Isn't this the first class?", "(Riley approaches, dressed as a cowboy.)", "RILEY: Well, you showed up late, or you'd have a better part. (Smiling) I'm", "Cowboy Guy.", "BUFFY: (to Willow) Your costume is perfect. (Whispers) Nobody's gonna know the truth. You know, about you.", "WILLOW: (bemused) Costume?", "BUFFY: (pouting) You're already in character! Oh, I shoulda done that!", "(Stomps foot, turns away)", "WILLOW: But how come there's - I mean, I was given to understand that a drama class would have, you know ... drama class. I mean, we haven't even rehearsed!", "HARMONY: (snorts) Well, maybe some people haven't. (Smiles up at Riley)", "RILEY: I showed up on time, so I got to be Cowboy Guy. (Harmony nods)", "WILLOW: (to Buffy) I just think it's really early to be putting on a play.", "I, I don't even know what... (Eyes widen) This isn't Madame Butterfly, is it, because I have a whole problem with opera.", "GILES: (offscreen) All right, everyone! (Buffy looks excited. Sound of Giles clapping hands for attention) Pay attention! (Everyone gathers around Giles) In just a few moments that curtain is going to open on our very first production. Now, everyone that Willow's ever met ... is out in that audience, including all of us. That means we have to be perfect. (Shot of Willow looking upset) Stay in character, (Willow sees something hairy behind a prop. She stares) remember your lines, and energy energy energy, especially in the musical numbers!", "(Shot of Buffy looking really excited.)", "WILLOW: (whispering) Did anyone see that?", "GILES: Acting is not about behaving, it's about hiding. The audience wants to find you, (We see Harmony behind him, wearing vampire face, grabbing his shoulders and trying to bite him) strip you naked, and eat you alive, so hide. (to Harmony) Stop that. (She stops)", "GILES: Now, costumes, sets, um, the things that you, uh, you know, uh, you, um... (Shot from above. We see the cast gathered, Harmony still jumping up behind Giles trying to bite him) you hold them, you touch them, uh, use them, um...", "HARMONY: Props?", "GILES: No.", "RILEY: Props?", "GILES: Yes! (Points at Riley) It's all about subterfuge. (To Harmony)", "That's very annoying. (To everyone) Now go on out there, lie like dogs, and have a wonderful time. (Shot of Riley looking excited) Now, if we can stay in focus, keep our heads, and if Willow can stop stepping on everyone's cues, (shot of Willow looking anxious) I know this'll be the best production of \"Death of a Salesman\" we've ever done. (To Harmony) Stop it.", "(Loudly) Good luck everyone! Break a leg! (Pushes through them and leaves)", "(Excited chatter. Willow frowns.)", "(Sound fades out. We still see the costumed students chattering and moving around, but it's silent. Willow walks through the crowd looking confused. To the side, in the darkness, she sees a bald man wearing glasses.)", "BALD MAN: (whispers) I've made a little space for the cheese slices.", "(He shows her a table with slices of American cheese laid neatly in a row.)", "(Willow frowns. Eerie music starts up. Willow walks past a curtain. She's in a narrow tunnel made of red stage curtains on either side. She walks slowly through it. Creepy music. It's dark. Then Willow walks into a beam of light, and Tara is there.)", "TARA: Things aren't going very well.", "WILLOW: (agitated) No! This drama class is just ... I think they're really not doing things in the proper way, and now I'm in a play and my whole family's out there, and ... why is there a cowboy in \"Death of a Salesman\" anyway?", "TARA: (frowns) You don't understand yet, do you?", "(Willow frowns, looks around.)", "WILLOW: (whispers) Is there something following me?", "(Tara nods.)", "TARA: Yes.", "WILLOW: Well, what, uh, what should I do? The, the play's gonna start soon, and I don't even know my lines.", "TARA: The play's already started. That's not the point.", "(Willow looks alarmed)", "(Cut to the stage. Riley on the left with hands on his belt. In the middle, Harmony wearing a yoke with buckets on either end. On the right, Buffy reclining seductively on a sofa.)", "RILEY: (swaggers forward, pushes up cowboy hat) Why, hello, little lady. Can I hold those milk pails for you? (Laughter from audience)", "HARMONY: Why thank you, but they're not very heavy. (Overacting) Why have you come to our lonely small town, which has no post office and very few exports?", "RILEY: I've come looking for a man. (Looks directly into camera) A *sales*man.", "(Cut to Willow looking anxious.)", "TARA: (offscreen) Everyone's starting to wonder about you. The real you. If they find out, they'll punish you, I ... I can't help you with that.", "WILLOW: Well, what should I ... what's after me? Is it something I-I was supposed to do? W-was I supposed to-", "TARA: Shh. (Looking around)", "(Willow looks around. Hears a buzzing noise.)", "WILLOW: (whispers) What was that?", "(Tara looks worried.)", "(Cut to stage. Riley in the foreground facing the audience. Buffy in the middle ground facing Riley. Harmony in the background, sitting on the sofa, crying.)", "BUFFY: (with contempt) But what else could I expect from a bunch of low-rent, no-account hoodlums like you? Hoodlums, yes, I mean you and your friends, your whole s*x, throw 'em in the sea for all I care, throw 'em in and wait for the bubbles, men with your groping and spitting all groin no brain three billion of you passing around the same worn-out urge. Men! With your ... sales!", "(She says all this in one breath without pause or inflection. Harmony sobs throughout and Riley stands expressionless.)", "(Cut to Willow looking over her shoulder. She turns back and Tara is gone.)", "WILLOW: (looking scared, whispers) Tara? Tara, okay, this really isn't fu-", "(A stake or dagger slashes through the curtain right by her face. She gasps, turns away. A hand covered in rags reaches out of the other curtain, tries to grab her. She's knocked to the floor. She screams and covers her head with her hands. Another hand reaches for her.)", "BUFFY: Will!", "(Buffy leaning through the curtains to grab her.)", "WILLOW: Buffy! Oh god.", "BUFFY: Come on. (Helps her up and through the curtain. They're in a", "Sunnydale High classroom.)", "BUFFY: Stay low. (They crouch down and creep between the desks) What did it look like?", "WILLOW: I don't know. I-I don't know what's after me.", "BUFFY: Well, you must have *done* something. (Frowning in disapproval)", "WILLOW: No. I never do anything. I'm very seldom naughty. I, I just came to class, and, and the play was starting.", "BUFFY: (straightens up) Play is long over. (Stares at Willow) Why are you still in costume?", "WILLOW: Okay, still having to explain wherein this is just my outfit.", "(Gesturing to her clothes)", "BUFFY: Willow, everybody already knows. Take it off.", "WILLOW: No. No. (Looks around nervously) I need it.", "(Buffy rolls her eyes.)", "BUFFY: Oh, for god's sake, just take it off.", "(Spins Willow around and rips her clothes off.)", "BUFFY: That's better. It's much more realistic.", "(Suddenly all the desks have students in them. Buffy turns and goes to take her seat.)", "HARMONY: See? Isn't everybody very clear on this now?", "(We see Anya sitting next to Harmony, giggling. The whole class is giggling.)", "(Shot of Willow in her nerdy schoolgirl outfit and long straight hair from BTVS first season. Holding some paper.)", "ANYA: My god, it's like a tragedy.", "(Shot of Buffy looking at Willow.)", "OZ: (to Tara) I tried to warn you. (Gives Willow a disgusted look)", "ANYA: (still giggling) It's exactly like a Greek tragedy. There should only be Greeks.", "(Willow looks around the room nervously, looks down at her paper.)", "WILLOW: (licks lips) My book report. This summer I, I read \"The Lion, the", "Witch and the Wardrobe.\"", "XANDER: (loudly, to ceiling) Oh, who cares?", "(Willow looks hurt. Sound of giggling. Shot of Oz nuzzling Tara's cheek while she giggles.)", "WILLOW: This book ha-has many themes...", "(Something bursts onscreen and knocks Willow down. She screams.)", "(Shot of Buffy putting her head down on her arms on the desk, looking bored. Sound of Willow screaming and the attacker growling.)", "WILLOW: Help! Help me!", "(Shot of Xander looking bored.)", "(Shot of Oz and Tara giving each other conspiratorial smiles.)", "WILLOW: Help me!", "(Growling noise continues as Willow struggles. The creature/person attacking Willow has dark skin and long matted dark hair, and is wrapped in rags. It bends as if to bite her neck. Closeup of Willow's face with the dark hair half-obscuring it. Her eyes widen. The skin on her face wrinkles and her eyes cloud.)", "(Cut to the real Willow on the couch, asleep, still covered with the red blanket, twitching and making noises as if choking.)", "Commercial.", "(Willow still twitching and gasping for air. Pan down to Xander who suddenly sits up.)", "XANDER: I'm awake. I'm good. Did I miss anything? (Looks at Willow, who's still asleep and twitching)", "GILES: (eating popcorn) Not very much at all really.", "BUFFY: (eating popcorn) Bunch of massacring.", "(Xander looks at TV, raises eyebrows.)", "(On TV, a soldier carrying a gun walks through a forest.)", "TV SOLDIER: We gotta keep going, men. (Panting) We gotta take that hill.", "(Xander looks interested) Damn this war!", "GILES: I have to say, I really feel that \"Apocalypse Now\" is overrated.", "XANDER: No, no. (Points at screen) It gets better.", "TV SOLDIER: Men...", "XANDER: I remember that it gets better.", "TV SOLDIER: Oh my god. What's happened to my men? Ahhh!", "(Buffy looks bored.)", "BUFFY: Want some corn? (Holds out bowl to Xander)", "XANDER: (turns head) Butter flavor?", "BUFFY: New car smell.", "XANDER: Cool. (Leans across Willow to take a handful) What's her deal?", "(indicating Willow)", "BUFFY: Big faker.", "GILES: (still looking at TV) Oh, I'm beginning to understand this now. It's all about the journey, isn't it?", "(Xander rolls his eyes.)", "XANDER: Well, thanks for making me have to pee. (Gets up)", "BUFFY: You don't need any help with that, right?", "XANDER: (heading for stairs) Got a system.", "(Xander climbs the stairs. He emerges in the upper hallway. Joyce appears behind him, wearing a revealing red nightie.)", "JOYCE: Hey.", "(Xander turns.)", "XANDER: Hey Joyce. Mrs. Summers. (Takes a step closer) We're not making too much noise down there, are we?", "JOYCE: Oh, no. Anyway, they all left a while ago.", "XANDER: Oh, I should probably go catch up.", "JOYCE: (grins) I've heard that before.", "XANDER: I move pretty fast. You know, a man's always after-", "JOYCE: Conquest?", "XANDER: (shrugs) I'm a conquistador.", "(Pan across Joyce's breasts.)", "JOYCE: (we see her face and hear her voice, but her lips aren't moving) You sure it isn't comfort?", "XANDER: I'm a comfortador also.", "JOYCE: (leans seductively against the door frame) I do know the difference.", "I've learned about boys.", "XANDER: That's cool about you.", "(Shot of Joyce giving him a seductive look.)", "(Shot of Xander staring at her.)", "JOYCE: (offscreen) It's very late.", "(Shot of Joyce. Again we hear her voice although her lips don't move)", "JOYCE: Would you like to rest for a while?", "(Pan over to her bed with the covers turned down. Xander looks from it to her.)", "XANDER: Um, yeah. (Confidently) I'd like you. I'm just ... gonna go to the bathroom first.", "JOYCE: Don't get lost. (Slinks into her room.)", "(Xander enters the bathroom, closes the door, lifts the toilet lid, unzips his pants. Suddenly he looks over and sees a lab full of a whole bunch of", "Initiative people watching him: scientists in white coats in the foreground, writing on clipboards, soldiers in the background wearing fatigues. Xander raises his eyebrows, zips his pants back up.)", "XANDER: Okay, I'm gonna find another bathroom.", "(Opens the door and leaves, still watching them over his shoulder. Crosses the hall and goes through the opposite door. Now he's in his basement, dark. The door at the top of the stairs is closed, doorknob rattling ominously.)", "XANDER: (loudly) I didn't *order* any vampires.", "(Knob rattles louder and louder. Then we hear pounding on the door.)", "XANDER: (nervous) That's not the way out. (Backing away)", "(Cut to a playground, daylight. Giles and Spike are swinging on swings, both dressed in Giles-type tweeds. Buffy playing in the sandbox.)", "(Xander walks up.)", "XANDER: Hey, there you are.", "BUFFY: (putting sand in pail with plastic shovel) Are you sure it's us you were looking for?", "(Giles smiles at her.)", "SPIKE: Giles here is gonna teach me to be a Watcher. Says I got the stuff.", "GILES: Spike's like a son to me. (They both smile and continue swinging)", "XANDER: That's good. I was into that for a while, but... (nods toward the street) I got other stuff goin' on.", "(Long shot of the ice-cream truck surrounded by kids.)", "(Closer shot of Xander in the truck, wearing his striped shirt and hat, serving ice cream to kids.)", "XANDER: (in playground) You gotta have something. (Looks at Buffy) Gotta be with movin' forward.", "BUFFY: (like a proud little kid) Like a shark.", "XANDER: Like a shark with feet and ... much less fins.", "SPIKE: (like a proud little kid) And on land!", "GILES: Very good!", "(They keep swinging.)", "XANDER: Buffy, are you sure you wanna play there?", "(Buffy gives him a pouty look like a little kid told not to do something.)", "XANDER: It's a pretty big sandbox.", "BUFFY: I'm okay. (Suddenly we see her against the backdrop of the desert from Willow's dream. Rocks, sand, scraggly trees) It's not coming for me yet.", "XANDER: I just mean ... you can't protect yourself from ... some stuff.", "(Buffy looks directly at him. The playground backdrop is back.)", "BUFFY: I'm way ahead of you, big brother.", "XANDER: Brother?", "(Buffy looks at him expressionless. Soft music: a woman vocalizing without words.)", "(Spike and Giles swinging higher and higher.)", "GILES: Go on, put your back into it! A Watcher scoffs at gravity. (They continue swinging. Woman continues humming.)", "(Shot of Buffy still expressionless.)", "(Shot of Xander squinting at her.)", "(Shot of the other Xander in the truck, watching them.)", "(Shot of the four of them from the truck-Xander's perspective.)", "(Truck-Xander pulls back from the window, goes to the wheel, although the truck is already in motion: tree-lined streets going by. Anya is sitting in the passenger seat doing something with her hands.)", "(Xander sits in the driver's seat. Anya looks at him.)", "ANYA: Do you know where you're going?", "(Xander looks at her, surprised.)", "ANYA: I've been thinking about getting back into vengeance.", "(We see her playing with a lollipop in its wrapper.)", "(Xander takes his striped hat off, puts it on the dashboard.)", "XANDER: Is that right?", "ANYA: Well, you know how I miss it. I'm so at loose ends since I quit. I", "think this is going to be a very big year for vengeance.", "XANDER: But ... isn't vengeance kind of ... vengeful?", "ANYA: (petulant) You don't want me to have a hobby.", "XANDER: Not a vengeance hobby, no! It's dangerous. People can't do anything they want. Society has rules, and borders, and an end zone. It doesn't matter if-", "(He hears giggling, turns.)", "(We see Willow and Tara in the back of the truck, snuggling and nuzzling. Both wearing exaggerated eye makeup.)", "XANDER: Do you mind? I'm talking to my demon.", "(Shot of Willow in a very short black bustier, Tara in a short black skirt and very revealing white blouse. Tara has one leg bent and Willow's hand is on her thigh. Both have heavy black eye makeup and thick red lipstick.)", "WILLOW: Sorry.", "(Xander stares at them. Both girls smile seductively at him. We hear Tara's voice although her lips don't move.)", "TARA: We just think you're really interesting.", "XANDER: Oh, I-I'm going places.", "WILLOW: I'm way ahead of you. (Caressing Tara's leg.)", "(Closeup of Willow and Tara grinning at each other, nuzzling. Willow whispers in Tara's ear. They both giggle.)", "(Pan down to Willow's hand stroking Tara's thigh.)", "XANDER: (riveted) Is that right?", "(They look at him.)", "WILLOW: Watch this.", "(Willow puts her hand on Tara's waist. Tara puts her hand on Willow's shoulder. They lean toward each other.)", "(Shot of Xander's wide-eyed face. We hear kissing noises and soft moans. Extended shot of Xander staring.)", "TARA: Do you wanna come in the back with us?", "(Xander stares open-mouthed.)", "ANYA: Oh, go on.", "(Xander stares at her. Sexy music starts.)", "XANDER: I don't have to.", "ANYA: I'll be fine. I think I've figured out how to steer by gesturing emphatically.", "(Xander looks at the road, looks at Anya, looks back. Gets up.)", "(Shot of Anya gesturing emphatically at the road.)", "(Xander walks past the ice-cream-selling window in the side of the truck. Outside, we see more tree-lined streets rushing by. The girls are gone.)", "(Xander walks to the back of the truck, climbs up onto a loft-like thing, past a big pile of newspapers and other random debris. He shoves a cooler out of the way, falls down onto the floor in his basement. Looks around, exasperated.)", "XANDER: Girls?", "(The upstairs doorknob begins rattling again. Xander walks forward nervously. Suddenly there's pounding on the door too. He looks up, scared.)", "XANDER: (yells) I know what's up there!", "(Pounding continues. He backs away, turns, sees the bald man holding up a plate of cheese slices.)", "BALD MAN: These ... will not protect you.", "(More pounding, growling. Xander goes past the bald man and out the back door.)", "(Xander is in the Sunnydale High hallways, but the colors are all weird. Everything's purple and green. Weird noises like microphone feedback. Xander pushes his way past students talking in the halls. Looking over his shoulder, he can maybe see something through the other students' legs, chasing him.)", "XANDER: Giles.", "(Giles is leaning against a wall, dressed casually, holding an apple.)", "GILES: Xander, what are you doing here?", "XANDER: What's after me?", "GILES: It's because of what we did, I know that. (Takes a bite of the apple)", "XANDER: (shakes his head in confusion) What we did?", "GILES: Hm. Now, the others have gone on ahead. (Points down the hall.) Now, listen very carefully. Your life may depend on what I'm about to tell you.", "You need-", "(Giles' voice changes to a man speaking French. Sounds like the voice on a tape in a beginning language class. Giles continues talking and gesturing, but what we hear is the French.)", "GILES: (French)", "XANDER: What? Go where? I don't understand.", "GILES: (?) Ce n'est pas le temps pour des jeux. [This is not the time for games.]", "(Anya approaches.)", "ANYA: Xander. (Fake French woman's voice) Il faut que tu viens avec nous maintenant. On t'attends. [You have to come with us now. They're waiting for you.]", "GILES: C'est que j'ai vous dire. [That's what I said.]", "XANDER: Honey, I don't... I can't hear you.", "(Anya takes his hand.)", "ANYA: C'est pas importante. Je t'escorte. [It's not important. I'll take you.]", "GILES: Allons-y la. [Let's go.]", "(Giles also takes Xander's hand, trying to pull him down the hall. A random guy goes by on a skateboard, pushes Xander down the hall)", "XANDER: W-wait! Where we going? Where? (Looks over his shoulder as they pull/push him down the hall. Struggles.) Hey! (People in the crowd pick him up. In the crowd we can still see Giles with the apple in his mouth.) Let go! Hey! (The final \"Hey\" echoes.)", "(Fade to Xander in green army fatigues, hands cuffed behind his back, moving through a forest. Asian-type music. Another guy in fatigues, holding a gun, is guarding him. An image of Xander's face is overlaid over the left half of the screen.)", "(Fade to a dark room lit with red lights. Soldiers bring Xander in and he kneels. There's a cot at the right with a person on it.)", "MALE VOICE: Where are you from, Harris?", "XANDER: Well, the basement, mostly.", "MALE VOICE: Were you born there?", "(Camera moving toward the person on the cot.)", "(Shot of Xander looking toward the cot, a soldier guarding him in the background. Xander nods.)", "XANDER: Possibly.", "VOICE: I walked by your guidance counselor's office one time.", "(The person sits up partway and we see it's Principal Snyder, with a towel around his neck.)", "SNYDER: A bunch of you were sitting there ... waiting to be shepherded.", "(Xander looks confused, alarmed.)", "SNYDER: I remember it smelled like dead flowers. Like decay. Then it hit me. The hope of our nation's future is a bunch of mulch.", "XANDER: You know, I never got the chance to tell you how glad I was you were eaten by a snake. (Suddenly gets an \"I shouldn't have said that\" look on his face)", "(Snyder sits up slowly. His face is all sweaty.)", "SNYDER: Where are you heading?", "XANDER: (shrugs uncertainly) Well, I'm supposed to meet Tara and Willow.", "(Shot of hands lifting a wooden bowl.)", "XANDER: And possibly Buffy's mom.", "(Snyder's hands lifting water from the bowl and pouring it over his bald head.)", "SNYDER: Your time is running out.", "XANDER: No, I'm just trying to get away. There's ... something I can't fight.", "SNYDER: Are you a soldier?", "XANDER: (shakes head) I'm a comfortador.", "(Snyder leans forward so his face is illuminated.)", "SNYDER: (contemptuous) You're neither. You're a whipping boy. Raised by mongrels and set on a sacrificial stone.", "XANDER: (nods) I'm getting a cramp.", "(He stands, looks around. He's somewhere else. Around a corner we see the same dark-haired person/creature that previously attacked Willow. It's crawling or crouching behind a trellis. It growls. Xander backs away. We see he's in the courtyard outside Giles' apartment. He runs to Giles' door, opens it, enters.)", "XANDER: Giles, it's here!", "GILES: It's more serious than we thought.", "(We see Giles and Buffy and Anya looking at Willow, who's in a chair still gasping and choking. They all ignore Xander. We hear what sounds like helicopter noises.)", "XANDER: Giles!", "BUFFY: I can fight anything. Right?", "ANYA: Maybe we should slap her.", "(Xander runs past them, down the hall that should lead to Giles' kitchen, but instead he comes out in Buffy's dorm. Students walking around, chattering. Harsh, jangly rock music with the helicopter noise as the percussion. Xander goes through the hallways and into Buffy and Willow's room.)", "XANDER: Buffy?", "(Hears growling behind him. He yanks open the closet door and goes in. Fights his way past the clothes and is in a dark room, horizontal-striped light like it's coming through Venetian blinds. He runs through dark brick-lined hall, comes out in his basement again. Stops, looks around. The music slowly fades out. There's still pounding on the upstairs door and the knob rattling. He goes toward it, up a couple of stairs, shaking his head.)", "XANDER: (whispers) That's not the way out. (The door bursts open. Xander looks down at himself, then back up the stairs.)", "VOICE: What the hell is wrong with you?", "(Xander looks chastised.)", "(We see a man silhouetted in the doorway above. It's Xander's dad.)", "DAD: You won't come upstairs? What are you ... ashamed of us? Your mother's crying her guts out!", "XANDER: You don't understand.", "DAD: No. You don't understand. (Starts down the stairs, stomping angrily)", "The line ends here with us, and you're not gonna change that.", "(Xander looking down, unable to look at his dad.)", "DAD: You haven't got the heart.", "(Suddenly Dad shoves his hand into Xander's chest. Xander looks down. The hand is covered with rags. He looks up, scared. We get a brief glimpse of a pair of feral eyes surrounded by dark stringy hair. Grey skin. The person growls.)", "(The hand pulls Xander's heart out of his chest.)", "(Cut to the real Xander writhing and gasping in his sleep on the floor. Pan across to Giles sleeping in the chair. Zoom in on Giles' face.)", "Commercial.", "[SCENE_BREAK]", "(A pocket watch on a chain, swinging back and forth in front of a chest wearing Giles' tweedy conservative clothes.)", "GILES VOICEOVER: You have to stop thinking.", "(Fade to Buffy's face, looking pleased. The reflection of the watch moves across her face.)", "GILES VOICEOVER: Let it wash over you.", "BUFFY: Don't you think it's a little old-fashioned?", "GILES: This is the way women and men have behaved since the beginning...", "(We see Giles' apartment, with no furniture except one chair, which Buffy is sitting on. Giles stands in front of her with the pocket watch.)", "GILES: ...before time. Now look into the light.", "(Shot of the watch swinging.)", "(Shot of Buffy's face. Suddenly she bursts out laughing.)", "(Cut to a park at night. A hedge cut into the shape of an elephant, covered with Christmas-lights. People walking around. We hear a circus huckster calling out.)", "(Buffy wearing overalls and pigtails, pulling Giles by the hand.)", "BUFFY: Come on! Come on!", "(We see Olivia walking beside Giles, pushing a baby carriage. But there's no baby in it.)", "BUFFY: We're gonna miss all the good stuff.", "OLIVIA: Does she always want to train this badly?", "GILES: Well, it appears she's never heard the fable about patience.", "(Buffy pulls them through crowds of people. Carnival booths, colorful lights.", "OLIVIA: Which one is that?", "GILES: The, the one about the fox, and the, uh, less patient fox.", "BUFFY: (stops in front of a game booth) Here, I want to, I want to!", "(Jumping up and down)", "GILES: Yes, go ahead.", "BUFFY: (turns to the booth. There's a big coffin with a fake-looking vampire standing behind it.)", "VAMP: (bouncing) I am a vampire!", "(Buffy throws a yellow ball at it, misses by a mile.)", "GILES: (exasperated) Buffy, you have a sacred birthright to protect mankind. (Buffy turns to look at him, pouting) Don't stick out your elbow.", "(Olivia sighs)", "(Buffy looks chastised. She picks up another ball.)", "VAMP: (bouncing) I am a vampire!", "(Buffy throws, hits it right in the chest. It falls backward.)", "VAMP: Ahh, you staked me!", "(Buffy spins around, grinning with delight. Giles looks unimpressed.)", "GILES: I haven't got any treats.", "OLIVIA: For god's sake, Rupert, go easy on the girl. (Smiling)", "(Buffy turns to get some cotton candy)", "GILES: (to Olivia) This is my business. Blood of the lamb and all that.", "(Looks at Buffy) Oh, now you're gonna get that all over your face.", "(Buffy turns. Her face is covered in mud. The color changes as if a negative were inverted.)", "(The color goes back to normal. Giles frowns in confusion. His face goes blurry.)", "GILES: I know you. (echoing)", "SPIKE: (offscreen) Hey!", "(Giles turns, sees Spike standing near the entrance to his crypt.)", "SPIKE: Come on! (Gesturing) You're gonna miss everything! (Turns and goes into the crypt.)", "Cut to Giles entering the crypt. Crying noises. Candles are lit all around.)", "GILES: Don't push me around. You know I have a great deal to do.", "(We see Olivia sitting on a coffin next to the baby carriage, which is lying on its side. She's crying.)", "(Black & white shot of a bunch of people with cameras, and Spike looking past them at Giles.)", "SPIKE: I've hired myself out as an attraction. (Strikes a threatening pose.", "The people ooh and ahh, camera flashes going off.)", "(Color shot: Giles staring at Spike, Olivia still crying in the background.)", "GILES: Sideshow freak?", "(B&W shot: Spike flips up the collar of his coat.)", "SPIKE: Well, at least it's showbiz. (Poses again. More oohs and camera flashes from the crowd.)", "(Color: Giles moves forward, looks in confusion at Olivia, back in Spike's direction.)", "GILES: (very confused) What am I supposed to do with all of this?", "SPIKE: (offscreen) You gotta make up your mind, Rupes.", "(B&W shot of Spike.)", "SPIKE: What are you wasting your time for? (Pose, flashbulbs)", "(Color: Giles turning to look at Spike again.)", "(B&W shot of Spike.)", "SPIKE: Haven't you figured it all out yet, with your enormous squishy frontal lobes? (Another pose, more oohs, flashbulbs)", "(Color: Giles walking across the crypt.)", "GILES: I still think Buffy should have killed you.", "(B&W: Spike looks annoyed. He strikes a Jesus-on-the-cross pose. Very loud oohs, cameras flashing.)", "(Color: Giles walking through crypt. The bald man stops him.)", "BALD MAN: I wear the cheese. It does not wear me.", "(He has cheese slices on his head and shoulders. He slides past Giles.)", "GILES: Honestly, you meet the most appalling sorts of people.", "(He walks on. In the background we see Spike still in Jesus pose, more flashbulbs going off.)", "(Giles goes through a door and is in the Bronze. Young people talking, laughing, drinking. The stage is lit, but there's no band, and we hear no music. Giles walks over to a couch where Willow and Xander are sitting looking at old magic books. Giles is suddenly holding a book.)", "GILES: I'm so sorry I'm late. There's a great deal going on. And all at once! (Goes to sit on a chair opposite them.)", "(Willow nods.)", "WILLOW: Don't we know it. Only at death's door over here, look at Xander!", "(She pulls back Xander's jacket to show his ripped T-shirt and the bloody stain on his chest from having his heart pulled out.)", "XANDER: Got the sucking chest wound swingin'. (Points at it, then at the stage) I promised Anya I'd be there for her big night. (Giles looks at the stage) Now I'll probably be pushing up daisies, in the sense of being in the ground underneath them and fertilizing the soil with decomposition.", "(Shot of Giles' face in the foreground. In the background, we see Anya standing on stage in front of the mike, holding some papers.)", "ANYA: Okay. A man ... walks into the office of a doctor. (Willow and Xander go back to their books) He's wearing on his head, um...", "(Cut to Anya looking at her papers)", "ANYA: Wait, there's, there's a, there's a duck. Is that right?", "MAN IN CROWD: You suck!", "ANYA: Quiet! You'll miss the humorous conclusion.", "GILES: She's doing quite well.", "WILLOW: Do you know this is your fault?", "(While Giles talks, we still see Anya in the background telling her joke.)", "GILES: We have to think of the facts, Willow. I'm very busy. I have a gig myself, you know.", "WILLOW: (sighs) Something's after us. It's, uh, like some primal ... some animal force.", "(In the background we see Anya doing a funny walk.)", "GILES: That used to be us.", "XANDER: Don't get linear on me now, man.", "ANYA: And ... then the duck tells the doctor that there's a man, that's attached to my ass.", "(Crowd laughs)", "(Xander laughs)", "ANYA: See, it was the duck, and not the man that spoke. (Smiles proudly.", "Applause)", "(Xander applauds. Willow is still looking at her book. Anya turns and leaves the stage.)", "WILLOW: Rupert. (Giles turns to look at her) You've gotta focus. You must have some kind of explanation. If we don't know what we're fighting, I", "don't think we stand a chance.", "(Giles frowns, begins to sing.)", "GILES: (sings) It's strange, it's not like anything we've faced before.", "(He gets up. Suddenly there's a piano player and a guitarist onstage, accompanying Giles' song. People applaud as Giles walks toward the stage.)", "GILES: (sings) It seems familiar somehow. Of course!", "(Drums start up. Giles grabs the mike. We see there's both a guitar and a bass player. People cheer enthusiastically.)", "GILES: (sings) The spell we cast with Buffy", "Must have released Some primal evil that's come back seeking (removes glasses) I'm not sure what Willow, look through the chronicles (Willow nods, reaches for another book) For some reference To a warrior beast", "(He puts his glasses on, grabs the mike again. More excited cheering as the music swells.)", "GILES: (sings) I've got to warn Buffy", "There's every chance she might be next Xander, help Willow (someone sings harmony on this line)", "(Shot of Willow and Xander holding up cigarette lighters while reading the books.)", "GILES: (sings) And try not to bleed on my couch I've just had it steam-cleaned.", "(music slows)", "(Shot of people in the audience smiling, swaying, holding up lighters)", "GILES: (sings) No, wait...", "(Loud feedback. The mike goes dead and the band stops playing. Giles looks confused. He gets down on his knees and starts following the microphone cord backstage. He traces it to a big pile of tangled cord, digs in it and pulls out his pocket watch on its chain.)", "GILES: Well, that was ... obvious.", "(We see the dark-haired creature braced on the wall above him, holding a weapon.)", "GILES: I know who you are.", "(Another shot of the creature. Its weapon looks like a stake.)", "GILES: And I can defeat you ... with my intellect. (We see the creature approaching from behind) I ... can cripple you with my thoughts. (It grabs his hair, puts a weapon against his forehead) Of course, you underestimate me. You couldn't know.", "(Closeup of Giles' face with blood dripping down from his forehead. We hear his voice but his lips don't move.)", "GILES: You never had a Watcher.", "(Cut to the real Giles sleeping on the chair, twitching, dropping his glasses on the floor.)", "Commercial. (Fade in on Buffy sleeping on the sofa, covered with a green blanket. We see that she still has the cut on her forehead that she got in \"The Yoko Factor.\")", "ANYA: (whispers offscreen) Buffy! Wake up!)", "(Buffy opens her eyes. She's lying on her bed in the dorm room, on her side, facing Willow's bed. The cut on her forehead is gone. She frowns.)", "(Shot of Anya lying in Willow's bed, under the covers.)", "ANYA: (whispers) Buffy, you have to wake up right away!", "BUFFY: I'm not really in charge of these things. (Closes eyes)", "ANYA: (anxious) Please wake up. Oh please.", "BUFFY: (opens eyes) I need my beauty sleep. So stop it, okay? (Rolls over onto her back)", "(The creature is hanging from the ceiling above her. It snarls at her.)", "(Cut to Buffy in her bed in Joyce's house, sitting up startled. The covers are rumpled around her. She lies back.)", "(Cut to Buffy standing in the doorway of the bedroom, looking at the bed.)", "BUFFY: Faith and I just made that bed.", "(Shot of the bed, still rumpled but now without Buffy in it.)", "TARA: (offscreen) For who?", "(Buffy frowns, looks to her left.)", "BUFFY: I thought you were here to tell me.", "(Shot of Tara with her hair up, facing Buffy.)", "BUFFY: (looking back at bed) The guys aren't here, are they? We were gonna hang out (looks at Tara) and, watch movies t-", "TARA: You lost them.", "BUFFY: No. (Looks confused) No. I think they need me to find them.", "(Shot of the digital alarm clock next to the bed, showing 7:30 AM.)", "BUFFY: (upset) It's so late.", "TARA: Oh ... that clock's completely wrong. Here.", "(Shot of Tara's hands holding out the Tarot card \"Manus\" (the hands). It has a picture of two hands crossed, one open, the other balled into a fist.)", "BUFFY: I'm never gonna use those.", "(Buffy's face in profile. Tara's face out of focus in background.)", "TARA: You think you know ... what's to come ... what you are. You haven't even begun.", "(Shot of the bed, now neatly made.)", "(Buffy frowns.)", "BUFFY: I think I need to go find the others.", "(She leaves.)", "TARA (softly) Be back before dawn.", "(Fade to a school hallway. Can't tell if it's Sunnydale High or the college. It seems to have elements of both. Buffy walks through the halls wearing a flowered dress. She speaks to a random guy walking past.)", "BUFFY: Have you seen my friends? (He shakes his head and walks on) They wouldn't just disappear.", "(She looks around, walks down the halls. We see a row of lockers. Suddenly Buffy notices a hole in the wall. The plaster is torn back, revealing a layer of bricks with a face-sized hole. She walks over to it.)", "BUFFY: Mom?", "(Joyce's face appears in the hole.)", "JOYCE: Oh, hi, honey.", "BUFFY: Why are you living in the walls?", "JOYCE: Oh, sweetie, no, I'm fine here. Don't worry about me.", "(Buffy frowns, tries to see inside the hole.)", "BUFFY: It looks dirty.", "JOYCE: Well, it seems that way to you. (Smiling) I made some lemonade, and", "I'm learning how to play mah-jongg. You go find your friends.", "BUFFY: I, I think they might be in danger.", "(Joyce starts to laugh. Buffy looks confused.)", "JOYCE: I-I'm sorry, dear. (Giggling) Um, a mouse is playing with my knees.", "BUFFY: I, I really don't think you should live in there.", "(Suddenly she looks over and sees Xander climbing up some stairs. Looks like the stairs leading to the library in UC Sunnydale.)", "JOYCE: Well ... you could ... probably break through the wall. (Buffy walks toward stairs. Joyce watches her go)", "(Shot of Buffy's feet, wearing sandals, walking slowly down a hall.)", "(Shot of two men sitting at a conference table, facing each other, in a room with high ceilings and plain gray walls. On the left wall is a big map of the world. On the right, a row of cabinets. There are two empty chairs. In the foreground we still see Buffy's feet.)", "(Man on the left speaks. It's Riley.)", "RILEY: Hey there, killer.", "BUFFY: (offscreen) Riley? You're back.", "RILEY: I never left.", "(Buffy's feet walk closer, as does the camera angle.)", "BUFFY: (offscreen) But how did the debriefing go?", "RILEY: I told you not to worry about that. It went great. They made me surgeon general.", "(Shot of Buffy looking surprised.)", "BUFFY: Why didn't you come and tell me? We could have celebrated.", "(Shot of Riley sitting in the chair, wearing a suit.)", "RILEY: Oh. (Looks at the other man ) We're drawing up a plan for world domination. (Looks back at Buffy, pleased.) The key element? Coffeemakers that think.", "(Buffy frowns.)", "BUFFY: World domination? I-is that a good?", "RILEY: Baby, we're the government.", "(He swings around in his chair to strike a James Bond-like pose. The camera shoots him from below, through the glass tabletop. On the table we see a handgun.)", "RILEY: It's what we do.", "OTHER GUY: She's uncomfortable with certain concepts. (He's wearing a suit too, with no jacket.) It's understandable. Aggression is a natural human tendency. (Looks at Buffy) Though you and me come by it another way.", "(Shot of Buffy with the dark-haired creature behind her.)", "BUFFY: We're not demons.", "OTHER GUY: Is that a fact?", "(Shot of Buffy. The creature is gone.)", "RILEY: Buffy, we've got important work here. (Same camera angle on Riley, the gun prominent in the foreground.) A lot of filing, giving things names.", "BUFFY: (looks at other guy) What was yours?", "OTHER GUY: Before Adam? (Shakes his head. Suddenly the lighting turns blue)", "Not a man among us can remember.", "(Buffy looks around at the blue lighting. In the background we see shadows moving; we hear noises like emergency doors slamming shut.)", "COMPUTER VOICE: The demons have escaped. Please run for your lives.", "ADAM: This could be trouble. (He and Riley stand)", "RILEY: We better make a fort.", "ADAM: (nodding) I'll get some pillows. (Leaves)", "(Buffy looks very nervous. Shadowy figures behind her seem to be moving closer. She looks down and sees her weapons bag lying at her feet. Looks up.)", "BUFFY: (gasping anxiously) Wait! I have weapons!", "She sits on the floor and opens the bag. It's full of mud. Buffy frowns, putting her hands in the mud and moving them around. Lifts her hands, covered in mud. Brings them up and smears the mud on her face. Reaches in for more, rubs it all over her face as the colors invert again like a photo-negative.)", "(Suddenly the color returns to normal and Buffy looks up with her \"I'm gonna kick your ass\" expression.)", "RILEY: (offscreen) Thought you were looking for your friends. Okay, killer...", "(Shot of Riley wearing regular civilian clothes)", "RILEY: ...if that's the way you want it. I guess you're on your own. (Walks off.)", "(Buffy's still on the floor in the gray room surrounded by blue light. Suddenly a beam of sunshine lights her. She gets up and walks off.) (Fade to Buffy's feet walking along a hallway, which turns to rippled sand like on a beach. She walks past a palm tree and is in the desert from before: rocks, scraggly bushes, sand. Again we hear the woman humming. Buffy walks down a hill. The camera zooms out and we can see more of the same landscape with mountains in the distance. A breeze ruffles her hair and dress.)", "BUFFY: I'm never gonna find them here.", "(She looks up and sees Tara far off, walking toward her. Tara has her hair up, wears a long pink skirt and matching top that exposes a lot of her stomach.)", "TARA VOICEOVER: Of course not. That's the reason you came.", "(Tara fades out and reappears closer, then this repeats. She stops walking.)", "(Shot of Buffy and Tara standing about thirty feet apart, facing each other with miles of desert stretching out behind them.)", "BUFFY VOICEOVER: You're not in my dream.", "TARA VOICEOVER: I was borrowed.", "(Shot of Tara standing with big rocks behind her. She wears a gold necklace.)", "TARA: Someone has to speak for her.", "(Shot of Buffy standing with rocks, bushes and mountains behind.)", "BUFFY: Let her speak for herself. (We see the dark-haired creature walking up behind her.) That's what's done in polite circles.", "(The creature moves around to in front of Buffy and we finally get a good look at her. It's a dark-skinned woman with dreadlocks and long sharp fingernails. Her face is painted with white or grayish paint, lines of black paint across her eyes, and she wears rags. She crouches low and walks around Buffy like a wild animal. She looks like a cavewoman.)", "BUFFY: Why do you follow me?", "(The woman shakes her head.)", "TARA: (offscreen) I don't.", "BUFFY: Where are my friends?", "(Shot of the woman backing away from Buffy, still crouching down low.)", "TARA: (offscreen) You're asking the wrong questions.", "BUFFY: (firmly) Make her speak.", "(The woman shakes her head again.)", "TARA: (offscreen) I have no speech. No name. I live in the action of death, the blood cry, the penetrating wound. (The woman straightens up and looks", "Buffy in the eye.)", "TARA: I am destruction. Absolute ... alone.", "(Buffy frowns.)", "BUFFY: The Slayer.", "(The other woman looks at her.)", "Tara: (offscreen) The first.", "(Shot of Buffy's hand, holding a bunch of Tarot-shaped cards. In the one on top we see a scene of Giles, Buffy, Willow, and Xander in Joyce's living room watching TV.)", "(Shot of Buffy looking at the card in her hand, with the mountains behind her.)", "BUFFY: I am not alone.", "(Shot of Tara in the background, the First Slayer in the middle ground, and Buffy's back in the foreground.)", "TARA: The Slayer does not walk in this world.", "BUFFY: I walk.", "(Side shot of the three of them.)", "BUFFY: I talk. I shop, I sneeze. I'm gonna be a fireman when the floods roll back.", "(Shot of the First Slayer lifting her chin in anger.)", "BUFFY: (offscreen) There's trees in the desert since you moved out. (The", "First Slayer shakes her head) And I don't sleep on a bed of bones.", "(Shot of Buffy's face.)", "BUFFY: (firmly) Now give me back my friends.", "(The First Slayer speaks in a very low, hoarse voice.)", "FIRST SLAYER: No ... friends! Just the kill.", "(Shot of Buffy watching her.)", "FIRST SLAYER: We ... are ... alone!", "(The bald guy leans in between Buffy and the First Slayer, holding up two slices of cheese. He grins and shakes the cheese at Buffy, then retreats offscreen.)", "BUFFY: That's it. I'm waking up.", "(The First Slayer attacks her, pushes her to the ground and tries to bash her head on it. African drum music begins.)", "(Buffy rolls the First Slayer off her and kicks at her. They both get up. The First Slayer punches her.)", "(Long shot of Buffy falling backward from the punch, slow-motion. No music.)", "(Music resumes and the action returns to real-time. The First Slayer tries to punch down but Buffy rolls to her feet and kicks her in the back. She kicks again but the First Slayer ducks. Buffy punches.)", "(Long shot of the First Slayer falling backward from the punch, slow-motion. No music. The first Slayer starts to get up.)", "(One last drum-beat as the action returns to real-time. The First Slayer gets up. Faceoff.)", "(Shot of Buffy shaking her head.)", "BUFFY: It's over. (Woman humming begins again. First Slayer shakes her head) We don't do this any more.", "(Drums begin again. The First Slayer grabs her again and they roll down a sandy hill, clutching each other and rolling over and over as the drums continue.)", "BUFFY VOICEOVER: Enough!", "(Cut to Buffy waking up on Joyce's floor. She lifts her head and looks around. Pan across Giles, Willow and Xander sleeping in their spots. Buffy groans and starts to get up.)", "(Growl.)", "(The First Slayer lands atop Buffy and starts stabbing repeatedly at the floor with her stake. Shot of Buffy lying underneath the First Slayer, rolling her eyes.)", "BUFFY: Are you quite finished?", "(First Slayer pulls her stake out of the floor.)", "BUFFY: It's over, okay? I'm going to ignore you, and you're going to go away.", "(The First Slayer pulls back and Buffy sits up, then stands.)", "BUFFY: You're really gonna have to get over the whole ... primal power thing. (walks toward the sofa)", "(Shot of the First Slayer staring at her.)", "BUFFY: (over her shoulder) You're *not* the source of me.", "(She picks up her blanket and sits back down on the sofa next to Willow. Another shot of the First Slayer staring at her.)", "BUFFY: Also, in terms of hair care, you really wanna say, what kind of impression am I making in the workplace? 'Cause-", "(Cut to the real Buffy waking up on the sofa. The cut on her forehead is back. She looks around.)", "(Shot of all four of them. Giles, Willow and Xander awake at the same instant. They all sit up and look at each other.)", "(Fade to the four of them sitting around the kitchen table.)", "WILLOW: The First Slayer. Wow.", "XANDER: Not big with the socialization.", "WILLOW: Or the floss.", "GILES: Somehow our joining with ... Buffy and ... invoking the essence of the, the Slayer's power was an affront to the source of that power.", "BUFFY: You know, you could have brought that up to us *before* we did it.", "GILES: I did. I said there could be dire consequences.", "BUFFY: Yes, but you say that about chewing too fast.", "(Joyce enters, wearing a bathrobe.)", "JOYCE: I'm, uh, guessing I missed some fun?", "WILLOW: The spirit of the first Slayer tried to kill us in our dreams.", "JOYCE: Oh, you want some hot chocolate?", "(Everyone says \"yeah\" or \"yes please.\")", "JOYCE: Xander?", "XANDER: Yes, what, Joyce? (Nervously) Uh ... Buffy's mom.", "JOYCE: Be my kitchen buddy again, help me carry? (Nods toward the kitchen)", "XANDER: Yes. Sure. (Nervously) Buffy's mom.", "Giles (to Buffy) You all right?", "BUFFY: Yeah. I think I might jump in the shower.", "GILES: You seem a bit, uh...", "BUFFY: A little. (Pensive) The First Slayer. I never really thought about it. (Sighs) It was intense. I-I guess you guys got a taste of that, huh.", "(Willow nods.)", "XANDER: Yeah, from now on, you keep your Slayer friends out of my dreams.", "Is that clear?", "(Buffy smiles.)", "WILLOW: It's not good for the sleepin'.", "(Giles shakes his head in agreement.)", "BUFFY: Ah... (Gets up) Well, at least you all didn't dream about that guy with the cheese. (Walks off.)", "(The others look up in surprise.)", "BUFFY: (offscreen) I don't know *where* the hell that came from.", "(The other three look at each other.)", "(Cut to Buffy emerging from the stairs into the upper hallway. Walks down the hall toward the bathroom. Frowns, turns, looks into her bedroom. Walks into the doorway, looking at her bed.)", "TARA VOICEOVER: You think you know ... what's to come ... what you are. You haven't even begun.", "(Long shot of the darkened bedroom, with Buffy framed in the doorway. She slowly backs away, turns and walks out of sight.)" ]

[ "Buffy faces Count Dracula who has come to Sunnydale to make her one of his concubines. Dracula turns Xander into a Renfield of sorts, before being defeated but not killed." ]

[ "Act I Fade in on a beach, daytime. Buffy runs into the camera's view and catches a football.", "BUFFY: Ha! Touchdown! Oh yeah. Go team me. (She does a victory dance) Shot of Riley grinning. Buffy throws him the ball; he catches it with a frown.", "RILEY: Anybody ever tell team you the quarterback throws like a girl? (Throws the ball back)", "BUFFY: (catches the ball, frowning) I do? Riley gives a \"well, yeah\" shrug. Buffy frowns, takes a grip on the ball and throws it. It hits Riley in the face and he falls down.", "BUFFY: (concerned) Ooh, sorry! Switch to long view. In the foreground we see Willow, Tara, and Anya lounging on beach blankets while Xander is sitting by a fire pit, trying to light it. In the background we can see Buffy and Riley and, beyond them, the ocean. Riley is getting up and running at Buffy.", "BUFFY: No, don't, no - (shrieks as Riley tackles her)", "XANDER: I'm exhausted just looking at those two. All the splashing and jumping and running... Shouldn't relaxing involve less exertion?", "ANYA: Absolutely. Exertion can lead to sweatiness.", "TARA: Which can cause the pain and heartbreak of stinkiness. Better to just stay put.", "WILLOW: I think we've just put our finger on why we're the sidekicks. Buffy and Riley approach.", "WILLOW: Game over?", "RILEY: Uh, Buffy slayed the football. (Holds up the deflated ball, then tosses it aside)", "BUFFY: Where's my burger? (Xander is still trying to light the fire)", "RILEY: Yeah, man, I'm starving. Cow me. (He and Buffy sit)", "XANDER: The, uh, fire's not cooperating. It's comforting to know that I lack the culinary finesse of a caveman.", "WILLOW: (gestures at fire) Ignis incende. The logs burst into flame. Xander falls backward onto his butt in the sand.", "BUFFY: Willow, check you out! Witch-fu. Tara smiles at Willow.", "WILLOW: It's no big. You just have to balance the elements so when you affect one, you don't wind up causing... A huge clap of thunder interrupts as dark clouds appear out of nowhere and it starts to rain. Everyone jumps up shrieking and starts frantically gathering up their stuff.", "WILLOW: I didn't do it! I didn't do it! They all grab their stuff and run off. Cut to: Exterior shot of a castle, evening, with the storm still raging. A truck drives up. Two guys get out and go to the back of the truck, where they remove a tarp from something and begin to pull out a large box.", "GUY1: Come on, hurry it up, I'm getting soaked.", "GUY2: I'm trying. Geez, this thing weighs- They give a pull and the box falls to the ground, cracking open slightly, leaning at an angle with one end on the ground and the other leaning on the truck. A little dirt leaks out of the cracked corner.", "GUY1: (annoyed) Nice. Good job.", "GUY2: (kneels to check out the broken corner) Look at this. Guy's carting dirt around.", "GUY1: Leave it. We'll, we'll turn it on its side. They begin trying to right the box.", "GUY2: Dirt. Man, rich people are- A hand bursts out of the box and slashes his throat. He screams and staggers backward. The other guy watches in horror as a body begins to burst out of the box. Cut to: Exterior shot of Giles' building.", "Cut to inside Giles' apartment. Willow is typing on a computer as Giles looks on.", "WILLOW: There you go. All set.", "GILES: Thank you, Willow. Obstinate bloody machine simply refused to work for me. (Walks off)", "WILLOW: Just call me the computer whisperer. (Stands up, putting something in the scanner) Let's get scannin'. I want to see this puppy go. Giles puts a pile of old books on her outstretched arms.", "GILES: Start with those.", "WILLOW: (scowls) Start? Where is finish?", "GILES: Willow, it's essential that we begin archiving the library. I mean, most of these texts have no duplicates.", "WILLOW: But ... now? Doesn't winter seem more like archiving season?", "GILES: (looks surprised) Well, you don't have to, Willow, I mean, you're, you're welcome to leave if, uh...", "WILLOW: No. It's fine. (Sits back down) It's just, you've been Mr. Project all summer. You know? Labeling the amulets and indexing your diaries. (Giles gives a little smile) I draw the line at making giant rubber band balls. That's when you'll just have to get a life. (Opens the scanner and takes out whatever is in it)", "GILES: (clears throat) That's what I'm trying to do, actually, is, um, get a life. (Sits down)", "WILLOW: (not looking at him, doesn't realize he's turned serious) It might go better if you left the house.", "GILES: Willow, um... you mustn't repeat what I'm about to say. Especially not to Buffy. (Willow looks confused and concerned)", "WILLOW: Uh-oh.", "GILES: You promise?", "WILLOW: Oh, god. Well, I guess. Now that I know there's something to know, I can't *not* know, just because I'm afraid somebody'll know I know, you know?", "GILES: Did that mean yes?", "WILLOW: Yeah.", "GILES: We're doing all this because I, I want you and the others to have everything you need at your fingertips. You see, I'm, I'm going back to England. Willow looks shocked.", "WILLOW: You're ... what? But you can't! You're ... Buffy's Watcher! Giles sighs.", "WILLOW: I mean, in a fired way, but...", "GILES: Well, it's become quite obvious that Buffy doesn't need me. I-I don't say that in a self-pitying way, I'm, I'm quite proud, actually. (Smiles gently)", "WILLOW: But what about the rest of us? We still need to be watched! Personally, I can't get through a day without a little hairy eyeball.", "GILES: (laughs softly) I appreciate the sentiment, but it's, it's just not so. You'll be fine. You all will. (Gets up) And you know, we'll, we'll stay in touch. You can always call me whenever you like.", "WILLOW: When are you gonna tell Buffy?", "GILES: Soon. It won't be easy, but, um... I know she'll understand.", "Cut to Buffy eating dinner with Joyce.", "BUFFY: Thanks, Mom. Everything was yummy. (Put her napkin on the table)", "JOYCE: Hey, you up for dessert? We could, uh, take a drive, get some ice cream.", "BUFFY: (stands) You know, I, I would, but I kinda have to get out on patrol. (Begins gathering up dishes)", "JOYCE: Now? It's 8:30.", "BUFFY: Well, vamps don't really care what time it is. You know, dark equals dinner bell. (Begins carrying dishes to kitchen. Joyce stays seated)", "JOYCE: Right, of course. (Look around empty table) You know, I'm gonna have to get used to this place without you again. It gets so quiet. Buffy comes back in.", "BUFFY: You know, maybe we should make a regular date of this, when school starts.", "JOYCE: (nods) Mm.", "BUFFY: I'm sorry. (Kisses Joyce on cheek) Duty calls. It's a total drag. (Leaves)", "Cut to Buffy punching a vampire in the cemetery, looking like she's having plenty of fun. She punches him several times and then grabs his shoulders and knees him. He gets up and she's on his back. Shot of a bunch of smoke or fog, coalescing into a face. We see just a pair of eyes and a nose. Back to Buffy on top of the vampire. He throws her down. She gets up and charges, ducks a punch, punches and then kicks him. She tries to kick again but he grabs her and lifts her over his head, then throws her down. She gets up again, Jumps on him with her legs around his neck. He throws her down, she flips him over and then stakes him. Buffy stands up looking satisfied, begins to stride away purposefully. She walks between the gravestones and suddenly stops, whirls around.", "MAN: Very impressive hunt. We see a man walking forward out of the darkness. He's very thin and pale, has long hair, and speaks with an accent.", "MAN: Such power.", "BUFFY: That was no hunt. That was just another day on the job. We see that the man is wearing a long flowing cloak and has long flowing hair. He walks toward Buffy.", "BUFFY: Care to step up for some overtime?", "MAN: We're not going to fight.", "BUFFY: Do you *know* what a slayer is?", "MAN: Do you? (Smirking) Buffy looks intrigued.", "BUFFY: Who are you?", "MAN: I apologize. I assumed you knew. I am Dracula. Buffy's eyes widen and she looks delighted.", "BUFFY: Get out!", "[SCENE_BREAK]", "Commercial.", "[SCENE_BREAK]", "Act II Fade in on Willow and Xander walking through the darkened graveyard, holding plastic cups of iced coffee.", "WILLOW: Xand ... what if somebody had a secret, and that somebody promised somebody else that they wouldn't tell anyone.", "XANDER: (nodding) News flash, Will. Everybody knows.", "WILLOW: No, thi-this isn't about me and Tara.", "XANDER: Oh. Well, not that I wouldn't be all ears if you wanted to tell me a secret about you two. Even if it was very, very naughty.", "WILLOW: (grins) Sorry, this is of the non-naughty variety. And I'm not telling you. (Nods firmly)", "XANDER: Okay. Want to see if Buffy's hanging around the headstones?", "WILLOW: Sure. So if I was gonna tell you, which I'm not going to...", "Cut to Buffy still looking amazed.", "BUFFY: So lemme get this straight. You're ... (in Dracula's accent) \"Dracula.\" The guy, the count.", "DRACULA: I am. (We can see his fangs now.)", "BUFFY: And you're sure this isn't just some fanboy thing? Cause ... I've fought more than a couple of pimply overweight vamps that called themselves Lestat.", "DRACULA: (looks a little annoyed) You know who I am. As I would now without question that you are Buffy Summers. (Walks toward her, looming over her.)", "BUFFY: You're heard of me?", "DRACULA: Naturally. You're known throughout the world.", "BUFFY: (smiles bashfully) Naw. Really?", "DRACULA: Why else would I come here? For the sun? I came to meet the renowned ... killer.", "BUFFY: Yeah, I prefer the term slayer. You know, killer just sounds so...", "DRACULA: Naked?", "BUFFY: Like I ... paint clowns or something. I'm the good guy, remember?", "DRACULA: Perhaps, but your power is rooted in darkness. You must feel it. Buffy frowns and ponders this for a moment.", "BUFFY: No. You know what I feel? Bored. She lunges at him with her stake. He dissolves into smoke. As she straightens up looking confused, he reappears behind her. She turns, lunges again. He dissolves into smoke again. Buffy looks around.", "BUFFY: Okay, that's cheating. Xander and Willow walk up.", "XANDER: Hey Buff, what's up?", "WILLOW: You look like you just-", "BUFFY: Get out of here. Now.", "XANDER: Fine, but I was gonna give you a sip of my double-mint mocha, but.. (We see Dracula reappearing behind him)", "BUFFY: Behind you. Willow and Xander turn and see Dracula.", "WILLOW: Hi.", "XANDER: Nice. Look who's got a bad case of dark prince envy. (Behind him we see Buffy holding her stake, looking concerned)", "DRACULA: I have no interest in you. Leave us.", "XANDER: No, we're not going to (in Dracula's accent) \"leave you.\" And where'd you get that accent, Sesame Street? (As the Count on Sesame Street) Vun, two, three -- three victims. Mwa ha ha! Dracula looks annoyed.", "BUFFY: (whispering) Xander, I'm pretty sure that's Dracula.", "XANDER: Wow, really? (Hurries to stand behind Buffy) Hey, sorry, man, I was ... just jokin' around.", "DRACULA: This is not the time. (Locks eyes with Buffy) I will see you soon. He spreads his cape out and moves toward them, turning into a bat and flying over their heads as they all duck and yell. The bat flies away, squeaking. They straighten up and look around. The bat comes back and flies around Buffy's head. She covers her head with her hands.", "BUFFY: Bat! Ooh, bat! The bat squeaks and flies away again. Cut to: Exterior shot of Giles' building.", "XANDER VO: And then Buffy's all, \"Look out!\"", "Cut to inside Giles' apartment.", "XANDER: And then frigging Dracula's standing right behind us. (Sits on sofa where Anya and Willow are already sitting. We see Buffy and Riley standing around.)", "WILLOW: And then, he lunges at us, like whoosh! (With hand gestures)", "XANDER: He totally looked shorter in person.", "BUFFY: I told you he'd heard of me, right? I mean, can you believe that? (Shot of Giles nodding patiently) Count Famous heard of me.", "RILEY: I couldn't believe it the first twenty times you told us, but it's starting to sink in now.", "BUFFY: I'm sorry. Am I repeat-o-girl? I was just ... blown away.", "RILEY: It's not that surprising that he's heard of you, Buffy. You are the slayer.", "BUFFY: I guess. Just - the way he said it, you know, I mean, he made it sound so...", "WILLOW: Sexy? I bet he made it sound sexy. (Grinning. We see Tara coming up behind her.)", "BUFFY: Kinda. He of the dark penetrating eyes and lilty accent. (Sits)", "XANDER VO: I wonder if he knows Frankenstein.", "TARA: (sits on arm of couch and gives Willow a glass of soda) You thought Dracula was sexy?", "WILLOW: Oh! No. He, he was ... yuck.", "ANYA: Right, except for the whole tall, dark, and handsome thing? Yucko.", "XANDER: How would you know?", "ANYA: Well, we hung out a few times. (Xander looks jealous) Back in my demon days, you know, once or twice. He's pretty cool. (sighs wistfully, then remembers herself) You know, from, from a whole ... evil thing perspective.", "XANDER: (scoffs) Please. He was no big whoop.", "WILLOW: No big whoop? What about that thing where he turned himself into a bat? That was awesome!", "GILES: It must have been, yes. (Everyone looks at him) I must admit, I'm sorry I missed that.", "WILLOW: (suddenly realizing) Me too! The whole time I was thinking, 'Gosh, I wish Giles were here, he'd know what to do!' Giles smiles tolerantly; he knows what she's trying to do.", "WILLOW: (to the others) Didn't you guys ... think that?", "BUFFY: Actually, I was more thinking, 'Bat!' (Wiggles hands near her head)", "XANDER: (to Giles) How come he can do that?", "GILES: I, I have no idea. There's a great deal of myth about Dracula. I imagine the trick to defeating him lies in separating the fact from the fiction.", "WILLOW: Great point! That is so Giles, to think of something like that, you know? (To the others) That, that we ... would have never... (trails off)", "BUFFY: So we should take things slow with Dracula. I mean, he said that we would meet again, but I would like to avoid that until we do some serious homework.", "RILEY: I don't know. I mean, he may have a bunch of swell party tricks, but he's still just a vampire. I say we load up with stakes and crossbows and go after him now.", "XANDER: Second.", "ANYA: No, Buffy's right. Dracula's too slick to fall for the usual stuff.", "BUFFY: So we hold off. No killing until we know exactly what we're dealing with.", "RILEY: You're not just saying that because of those dark penetrating eyes of his, are you?", "BUFFY: Noooo, his eyes were -- (Gets up and goes over to Riley) There were - there was no penetration. (Embarrassed) Cross my heart.", "GILES: All right. Willow, you and Tara find out everything you can about the actual legend of Vlad the Impaler on the Internet, (Willow and Tara nod) and, uh, I'll check the library. (Everyone starts to get up)", "RILEY: If the Initiative was still around, we'd be able to find everything on this guy in a few hours.", "BUFFY: We might not be as fast, but we'll find him. You guys, we'll reconvene here in the morning. Everyone says \"uh-huh\" and goes off. Riley pulls Buffy aside.", "RILEY: What's your plan?", "BUFFY: Big sleep. My count encounter wiped me out.", "RILEY: (nods) I'm kinda wired. Maybe I should just let you get your rest.", "BUFFY: You sure? I mean, maybe if you just lie down with me... (suggestive look)", "RILEY: (grinning) Nothing you are about to say will lead to rest.", "BUFFY: I guess you're right. I'll see you in the morning?", "RILEY: Mm-hmm. With donuts.", "BUFFY: Mm. Heaven. (Smooch) See? A little sugar and I'm all yours. Dracula schmacula.", "Cut to Anya and Xander walking down the street.", "ANYA: I doubt he'd remember me. I was just a silly young thing. I mean, like seven hundred or so. But he did say that this guy I cursed was doomed forever, which was really sweet, don't you think?", "XANDER: Adorable.", "ANYA: It was a great spell. I made this jerk incredibly fat, like a human minivan. The camera pans up to the rooftop of the Espresso Pump, where we see a wolf growling as it walks along the roof following Anya and Xander.", "ANYA VO: You should just mention my name if you see him again.", "XANDER: Or better yet, why don't you just go sit on top of a crypt and flaunt your neck cleavage until Dracula shows up? Then you two can talk private.", "ANYA: Oh please, don't tell me you're jealous.", "XANDER: Oh no, just because you're panting over the guy. (Stops walking)", "ANYA: I am not panting. Now stop being silly. I'll see you tomorrow. (Smooch)", "XANDER: You don't wanna come back to my place?", "ANYA: It's whites day, remember? The bleach smell makes me nauseous. (Walks off)", "XANDER: Fine. I suppose Dracula doesn't use bleach, huh? He's a darks-only man. (Walks off. We see the wolf still watching him.)", "Cut to Xander rounding a corner on the dark street. He jumps in shock when he sees Dracula waiting for him.", "XANDER: (sighing) Great. Perfect. (suddenly deciding he's not scared) You know what? You're not so big. (Looks Dracula up and down) One round of old-fashioned fisticuffs, you'd fold like a bitty baby. Dracula scowls.", "XANDER: (rolls up sleeves) Okay, let's do it. And no poofing. Come on, puffy shirt. Pucker on up, cause you can kiss your pale ass-", "DRACULA: Silence.", "XANDER: Yes master. (Shakes head) No, that's not-", "DRACULA: (lifts a hand) You will be my emissary, my eyes and ears in daylight.", "XANDER: Your emissary?", "DRACULA: Serve me well. You will be rewarded. I will make you an immortal. A child of darkness that feeds on life itself... on blood.", "XANDER: (in Dracula's accent) \"Blood\"? (speaking very quickly) Yes! Yes! I will serve you, your excellent spookiness. Dracula frowns.", "XANDER: (still speaking too quickly) Or master. I'll just stick with master.", "DRACULA: You are strange and off-putting. Go now. Xander nods, turns to go, turns back.", "XANDER: But master, how can I find- (Sees Dracula is gone) Brilliant. What an exit! Guy's a genius! (Giggles crazily and walks off)", "Cut to Riley opening a crypt door and walking in. Candles are lit everywhere. He walks in, looking around.", "SPIKE: Well, well. Spike emerges from the shadows holding a crossbow.", "SPIKE: You can take the boy out of the Initiative, but you can't take the Initiative out of the boy.", "RILEY: I'd put that down, unless you're bucking for one hell of a headache. Spike hesitates, puts the bow down.", "SPIKE: I can't be too careful. I got quite a few demons after me these days.", "RILEY: I'm looking for some information. Might pay a little.", "SPIKE: (shrugs) I'll play. (Goes over to a couple of chairs)", "RILEY: What can you tell me about Dracula?", "SPIKE: Dracula? (scoffs) Poncy bugger owes me eleven pounds, for one thing. (Puts a cigarette in his mouth)", "RILEY: You know him?", "SPIKE: Know him? We're old rivals. (Lights cigarette) But then he got famous, forgot all about his foes. (Points at Riley) I'll tell you what. That glory hound's done more harm to vampires than any slayer. His story gets out, and suddenly everybody knows how to kill us. (Sits down) You know, the mirror bit?", "RILEY: But he's not just a regular vampire. I mean, he has special powers, right?", "SPIKE: Nothing but showy gypsy stuff. What's it to you, anyway?", "RILEY: He's in town. Making his presence known.", "SPIKE: (smiling) Drac's in Sunnydale-way? (Puts feet up on a cassock) I guess the old boy needed closure after all.", "RILEY: Actually, he's gunning for Buffy. But I'm out to find him before he gets another shot at her. (Sits)", "SPIKE: Tough talk, cowboy. But you're not gonna catch him napping in a crypt. No, the count has to have his luxury estate and his bug-eaters and his special dirt, don't he?", "RILEY: So you're saying I should check out mansions, that sort of thing?", "SPIKE: No. (stands) I'm saying ... you should go home to your superhoney. Have a nice, safe snog. You're out of your depth on this one, boy. (Turns his back on Riley)", "RILEY: You've helped Buffy before, so she has a problem with killing you now that you're helpless. (Spike still turned away)", "RILEY: I don't. Spike turns to face him, walks up to him.", "SPIKE: I'd like to see you try. Riley stands, gets in Spike's face.", "RILEY: Would you? They stare each other down. Finally Spike looks away.", "SPIKE: Pfft. Riley walks to the door.", "SPIKE: (calls out as Riley is at the door) You're never gonna find him. Riley leaves.", "SPIKE: (to himself) Not before he gets to her.", "Cut to: Exterior shot of Joyce's house, night.", "Cut to Buffy in bed, asleep. Pan over to the window. Fog pours in from outside, flows across the floor toward the bed. A breeze comes up, ruffling the sheets. Buffy wakes and sits up with a gasp. Dracula stands at the foot of the bed.", "DRACULA: You are magnificent.", "BUFFY: I bet you say that before you bite all the girls.", "DRACULA: No, you are different. Kindred.", "BUFFY: Kindred? Hardly, I-", "DRACULA: Pull your hair back. Buffy looks surprised but pulls her hair back from her neck. Shot of Dracula admiring her.", "BUFFY VO: This isn't how I ... usually fight. Buffy looks a little self-conscious. Glances at the window.", "BUFFY: You think you can just waft in here with your music video wind and your hypno-eyes... (trails off)", "DRACULA: I have searched the world over for you. I have yearned for you. (Sits on the bed next to her) For a creature whose darkness rivals my own. He puts his hand on her chin and moves her head aside. He sees the scar where Angel bit her (episode \"Graduation Day\") and touches it with his fingertips.", "DRACULA: You have been tasted. (smiles slightly as he trails his fingers over her cheek)", "BUFFY: He was-", "DRACULA: Unworthy. (Buffy stares at him, looks scared) He let you go. (Looks her in the eyes) But the embrace ... his bite ... you remember.", "BUFFY: (uncertain) No. Dracula caresses her face some more.", "DRACULA: Do not fight. (Puts his hand behind her neck) I can feel your hunger. He leans down to bite her neck. Buffy gasps but doesn't pull away.", "[SCENE_BREAK]", "Commercial.", "[SCENE_BREAK]", "Act III Fade in on exterior of Joyce's house, morning. Cut to Buffy asleep in bed. She wakes up. Sits up looking a little confused.", "Cut to Buffy dressed, looking in the mirror. She fiddles with her hair, notices something, pulls her hair back to expose two bite marks on her neck. She looks at it for a moment, then grabs a scarf and ties it around her neck.", "Cut to Riley leaning over with a donut.", "RILEY: Here's a jelly one, you want it? Closeup of Riley's hand holding the donut out. Shot of Buffy on Giles' couch with the donut being held in her face.", "BUFFY: No.", "XANDER: Got it! Got it. Mine, mine. (Note: throughout this scene Xander speaks each line very quickly and moves around a lot.) Xander rushes out of the kitchen and grabs the donut. We see Giles in the kitchen. Xander walks in little circles, nibbling quickly at the donut. Riley looks in the box for another donut. We see Willow on a chair in the background.", "WILLOW: Well, I think we have Dracula factoids.", "XANDER: (sitting on a stool eating the donut) Like any of that's enough to fight the dark master. Everyone gives him a strange look.", "XANDER: ...bator.", "WILLOW: A lot of it we already knew. (Riley walks to another chair opposite the couch) Turnoffs: wood, fire, crosses, garlic. Turnons: nice duds, minions, (wistful) long slow bites that last for days...", "RILEY: Yeah, I did a little research too. (Shot of Buffy looking distracted) Dracula likes to live in style. Which means we can rule out the usual dumps vampires haunt.", "XANDER: Ah! But he's smart enough to figure that we probably already know that. I'm guessing he's lying low. (Licks his donut. Giles comes out from the kitchen)", "WILLOW: Actually, my research backs Riley up. Drac isn't the lay-low type.", "GILES: (gives Riley a glass of milk) So we can, uh, check out the nicer places. Don't you think, Buffy? Buffy isn't paying attention. We see Xander moving from chair to chair and tapping fingers nervously.", "GILES: Buffy? Buffy blinks, tunes back in.", "BUFFY: Yeah. We'll check all the swanky places first. What else did you guys get?", "GILES: Well, Willow has most of it, actually.", "WILLOW: (sits up) Only because you gave me super pointers! I never would have...", "GILES: (puts up hand to stop her) Just go ahead, Willow.", "WILLOW: OK. Dracula's modus operandi is different from other vampires. He will kill just to feed, but he'd rather have a connection with his victims. And he has all of these mental powers to draw them in. Buffy looks thoughtful.", "WILLOW: He, he can read and control minds... appear in dreams...", "BUFFY: (distracted) Uh huh.", "WILLOW: Makes sense. That stare ... he just kinda ... looked right through you. Didn't you feel it, Buffy? Riley looks at Buffy.", "BUFFY: (pause) No. (gets up) No, I didn't.", "XANDER: See! Buffy didn't feel it. I think you're drawing a low of crazy conclusions about the unholy prince. Everyone gives him a strange look.", "XANDER: ...bator.", "GILES: The point is, though he goes through the motions of an intimate seduction, the end result is the same. He turns them into a vampire. Buffy looks as if she hadn't considered that.", "XANDER: Well. That *is* intimate. Dracula's gifting these ladies with his own blood. And blood -- (He notices a spider on the desk next to him, glances around to see if anyone's looking) Blood is life. Everyone looks confused.", "XANDER: According to them. (Slams his hand down on the spider)", "GILES: Um ... Just be aware that he, he tends to form a relationship with his prey. (When no one's looking, Xander scoops the spider into his mouth and chews) It's not enough for him to take her. She must want to be taken. She must ... burn for him. (Buffy looks uncomfortable, fiddling with her scarf.)", "BUFFY: That's ... interesting. I'm gonna go find him. She starts to leave. Everyone gets up.", "RILEY: You shouldn't go by yourself, Buffy. I mean, this guy's seriously dangerous.", "BUFFY: It's cool, I got it. (Opens door, leaves.) Buffy walking through the courtyard outside Giles' apartment. Riley comes out after her.", "RILEY: Hey. (grabs her arm and stops her) Take off that scarf.", "BUFFY: What? No. (puts hand over scarf)", "RILEY: (gives an \"I knew it\" nod) You're under the thrall of the dark prince!", "BUFFY: (scoffs) I am not under the thrall of the dark prince.", "RILEY: Then take off the scarf.", "BUFFY: Oh, let go of me! This is ridiculous. (tries to break arm out of Riley's grasp but he holds on) Riley rips off the scarf as the others come out too. Everyone looks at Buffy's neck. She sits on the edge of the stone fountain and puts her head in her hands.", "GILES: Why didn't you say anything?", "XANDER: Cause she didn't want to worry us, right Buffster? It's nothin'. Just a scratch.", "WILLOW: Two deep, puncture-y scratches. Buffy looks apologetically at Riley.", "BUFFY: I'm not sure why I tried to hide it. Uh, there was just this voice, and it was, it was telling me to cover it.", "RILEY: And what did I tell you? (to the others) That's thrall.", "XANDER: You're saying Dracula has some sort of freaky mind control over her? You're watching too many creature features, man.", "BUFFY: But it does seem like he has this ... control over me, I ... even though a big part of me is resisting. During this speech we see Xander grab a fly off a nearby leaf and eat it.", "RILEY: No, that's okay. I shouldn't take this personally. I mean, what with Angel, I mean, it's understandable that there would be transference. I mean, they're both broody immortals. Buffy looks dismayed and gets up to walk close to Riley.", "BUFFY: (firmly) I am not transfer-y. (quieter) I swear to you. I'm your girl, and I'm gonna stay that way.", "RILEY: Okay. But you are not going anywhere near him again.", "GILES: Uh, Riley's right, you should - you should stay out of sight. Let the rest of us look for Dracula.", "BUFFY: I can't go home. He already got inside once.", "XANDER: You can come over to my place. I'll make sure you stay put.", "GILES: Good. Um, Riley and I can, uh, can... search for Dracula, and Willow, you and Tara could uh, could do a protection spell on Buffy's mother's house, and prevent him from returning.", "WILLOW: (nodding) Got it. How'd he get inside anyway?", "Cut to Joyce walking through her house.", "JOYCE: He seemed so nice and normal. A little pale. We see Willow and Tara working magic on the front door.", "WILLOW: A good Sunnydale rule of thumb? Avoid white-skinned men in capes.", "JOYCE: I'm not like this. I don't invite strange men over for coffee, it's just ... Oh, when you girls are older you'll understand. (Sits on stairs) It's hard to date. Sometimes you just ... feel like giving up on men altogether. Willow and Tara sneak little looks at each other and try not to grin. Cut to: Shot of the sun setting on the horizon.", "Cut to Giles and Riley walking through the grounds of a mansion. Riley has a notepad. Giles carries a bag.", "RILEY: Another bust. (crosses something off on notepad)", "GILES: And it's getting dark. I should have turned up a better lead. There must be an easier way to find him.", "RILEY: Too late to worry about that now. If we hurry, we can hit these last places. They leave the estate.", "Cut to Xander's basement.", "ANYA: How come I have to be here slayer-sitting while the other guys get to look for Dracula? We see Buffy and Anya sitting on the couch while Xander paces.", "ANYA: I mean, just because I'm-", "XANDER: What time is it?", "ANYA: (checks watch) Uh, almost six. (stands up so she's standing in front of the open closet door) Look, I mean, I'm the one who knows him, I-I'm the one who had a really good look at him, and so, I mean, what- Xander pushes her into the closet and shuts the door.", "ANYA: Hey! What? Xander puts a chair under the doorknob to hold it shut. We hear Anya banging on the door and yelling. Buffy sits oblivious through all of this. Xander turns to Buffy.", "XANDER: (still talking too fast) I'm supposed to deliver you to the master now. Buffy looks up at him.", "XANDER: There's this whole deal where I get to be immortal. You cool with that?", "BUFFY: Take me to him. She stands. We still hear Anya pounding and yelling. Cut to: Exterior shot of the castle, night. Xander and Buffy walking up to the castle, walking up the steps.", "Cut to interior of the castle. The typical wooden furnishings. Torches and candles everywhere. Xander leads Buffy in.", "XANDER: Master? I deliver the slayer. She who you most desire. (Buffy walks in behind him, still looking kind of catatonic. Xander gives a little bow.)", "XANDER: Sorry, whom. Pan across a long table. Shot of Dracula standing by the fireplace, wearing black pants, red shirt, black vest. He turns slowly.", "XANDER: So now comes the immortality, right? You do the thing, and-", "DRACULA: Leave us. Xander stops.", "DRACULA: We must not be interrupted.", "XANDER: You bet. (leaves) Buffy and Dracula stare at each other across the long table.", "DRACULA: I knew you'd come.", "BUFFY: Why? Because I'm under your thrall? (Whips out Mister Pointy and drops the dazed expression) Well, guess again, pal.", "DRACULA: Put the stake down.", "BUFFY: Okay. (Puts it down, then looks at her hand in surprise) Right. That ... was not ... you. (Sounding unconvinced) I did that. I did that because ... I wanted to. Dracula watches her.", "BUFFY: Maybe I should rethink that thrall thing. (looks around nervously and gives a little whimper)", "[SCENE_BREAK]", "Commercial.", "[SCENE_BREAK]", "Act IV Exterior of castle. Riles and Giles walk up.", "RILEY: I've lived in Sunnydale a couple of years now. Know what I've never noticed before?", "GILES: Uh, a castle?", "RILEY: A big honking castle. They walk toward it.", "Cut to Riley and Giles opening the castle door and entering, looking around. Riles points down one hallway. Giles nods and goes down it. Riley goes the other way. Shot of a woman with yellow eyes and vampire teeth peeking out from the shadows, smiling.", "Cut to Buffy and Dracula in the dining room.", "BUFFY: Stay away from me.", "DRACULA: Are you afraid I will bite you? (walking slowly toward her) Slayer, that's why you came.", "BUFFY: No. Last night ... it's not gonna happen again.", "DRACULA: (still walking toward her) Stop me. Stake me.", "BUFFY: (backing up a little) I... (glancing at stake on the table) Any minute now.", "DRACULA: Do you know why you cannot resist?", "BUFFY: Cause you're famous?", "DRACULA: Because you do not want to.", "BUFFY: (shakes head nervously) My friends-", "DRACULA: They're here. (she looks at him) They will not find us. We are alone. Buffy looks anxious.", "DRACULA: Always alone. Buffy continues to look anxious.", "DRACULA: (begins to circle around her) There is so much I have to teach you. Your history, your power ... what your body is capable of...", "BUFFY: (shaking head) I don't need to know.", "DRACULA: You long to. And you will have eternity to discover yourself. (Comes back around in front to face her) But first ... a little taste.", "BUFFY: I won't let you.", "DRACULA: I didn't mean for me. Shot of Buffy looking determined.", "Cut to Riley moving through the dark hallways. He tries a door but it's locked. He turns away, but then the door opens and Xander comes out.", "XANDER: Nobody harms my master.", "RILEY: Your master?", "XANDER: You want him? You come through me. Riley punches him in the face. He falls down.", "RILEY: Okey-dokey. Steps over Xander and through the door.", "Cut to Giles in another part of the castle. He tries a door and it opens. He steps into the darkness beyond and falls off a ledge to the floor about eight feet below.", "GILES: Oh, good show, Giles. Uhh... at least you didn't get knocked out for a change. (Turns over on his back with a groan)", "GILES: Oh ... oh, ladies. Three vampire women appear and begin crawling over him,", "GILES: You would ... be the three sisters, yes? They begin kissing his cheek and rubbing his chest.", "GILES: E-excellent, right. Uh, I'd heard that you were myth ... obviously erroneous. One of them rips his shirt open and begins caressing him.", "GILES: Aah! Ooh, that's, uh, that, uh... (giggling) tickles! Ooh, uh... oh, dear god. (Panting) Cut back to Dracula. He holds up his arm and rolls up the sleeve.", "BUFFY: What are you-", "DRACULA: All those years fighting us. Your power so near to our own... (Cuts his arm with a fingernail till blood wells up) ...and you've never once wanted to know what it is that we fight for? (Holds his arm out to Buffy) Never even a taste?", "BUFFY: (looks conflicted) If I drink that-", "DRACULA: I have not drunk enough for you to change. You must be near death to become one of us. And that comes only when you plead for it.", "BUFFY: (staring at his wrist) I'm not hungry.", "DRACULA: No. Your craving goes deeper than that. Buffy stares at him.", "DRACULA: (whispering) You think you know ... what you are ... what's to come. You haven't even begun. Buffy looks at his arm, at his face. Takes his hand in both of hers and puts her mouth on the bloody wrist.", "DRACULA: Find it. The darkness. Find your true nature. Buffy's eyes are wide. A very quick series of shots flashing by. Most are shots of Buffy fighting, but a few are shots of the First Slayer from episode \"Restless.\" There's also a shot of a vein with blood corpuscles rushing through it. Buffy lifts her head.", "BUFFY: (softly) Wow. She suddenly shoves out her hand and pushes Dracula away. He lands on the table and slides across it on his back.", "BUFFY: (normal voice) That was gross. She walks forward as Dracula gets to his feet.", "DRACULA: You are resisting.", "BUFFY: Looks like.", "DRACULA: Come here. Come to me. (holds out hand)", "BUFFY: You know, I really think the thrall has gone out of our relationship. But I want to thank you for opening up my eyes a little.", "DRACULA: What is this?", "BUFFY: My true nature. You want a taste? Dracula growls and lunges at her. She jumps over his head, whirls, kicks him, punches him twice, kicks him into a wall. He spins back, grabs her arm, punches her and flings her across the room. She lands on the table on her back.", "Cut to Riley walking up to an open door.", "RILEY: Buffy? Are you in- (stops himself before falling into the pit) Giles! Giles! Riley pulls out a cross and holds it up. The three female vampires hiss and slink away. Riley tosses the cross to Giles, who catches it.", "RILEY: Come on, come on. Grab my hand.", "GILES: Thank god you came.", "RILEY: Come on!", "GILES: There was no possible escape. Still staring back toward the sisters, Giles takes Riley's hand and Riley pulls him up. Giles notices his foot has only a sock on it.", "GILES: Oh, my shoe. (Pointing back into the pit) Silly me, I'll just pop-", "RILEY: No no no, sir! (Pulls him away) No more chick pit for you. Come on. (They get up and move off down the hall.) Cut back to Buffy running across the room. She barrels into Dracula and they fall to the floor, rolling. He's on top. He punches her, she punches him, then she grabs his shirt and flips him over. Now she's on top. She punches him a few times. Then he catches her fist and flings her off him. He's grinning. They both get up, grab each other and fall down again. Buffy's on top. She brings both her hands down but he blocks and flings her away again. She flies backward and hits the wall. She grabs him, he flips her across the table and then jumps onto it. She hits him with a chair and then sweeps his feet out from under him. He punches her. She grabs a torch and he rolls away just as she hits the table with it. They face each other across the table.", "BUFFY: A guy like you should think about going electric. Seriously. Dracula growls and turns to smoke. Buffy looks around, sees where the smoke is converging, drops the torch and runs toward the smoke. She grabs Mister Pointy off the table as she runs, leaps to the top of the stairs, and is there to stake Dracula just as he appears from the smoke. He looks shocked.", "BUFFY: How do you like my darkness now? Dracula growls, falls down the stairs and explodes into dust. Buffy saunters down the stairs. Riley and Giles rush in.", "RILEY: Buffy! You okay?", "BUFFY: Yeah. Chock full of free will.", "GILES: And Dracula?", "BUFFY: Eurotrashed. Xander rushes in holding a torch.", "XANDER: (back to talking normally) Where is he? Where's the creep that turned me into his spider-eating man-bitch?", "BUFFY: He's gone.", "XANDER: Dammit! You know what? I'm sick of this crap. I'm sick of being the guy who eats insects and gets the funny syphilis. As of this moment, it's over. I'm finished being everybody's butt-monkey! Giles, Riley, and Buffy nod and try to look solemn.", "BUFFY: Check. No more butt-monkey.", "RILEY: It coulda been worse. At least you weren't making time with the dracu-babes like Giles here.", "GILES: I was not making time! I, I was, uh, just about to kill those, uh, loathsome creatures when Riley interrupted me. (Wrapping his torn shirt around himself) Riley (grinning) You were gonna nuzzle 'em to death? Riley and Buffy grin and start to walk away.", "GILES: Of course not! I was in complete... (the others have walked off) control. He walks out. Shot of the candles burning in the chandelier. Shot of the stairs. Shot of the bottom of the stairs. The fog appears and begins to converge. As soon as Dracula has fully appeared, a hand appears and stakes him again. He gasps.", "BUFFY: You think I don't watch your movies? (rolling her eyes) You always come back. Dracula explodes into dust again. Buffy folds her arms and watches. The fog begins to collect again.", "BUFFY VO: I'm standing right here! The fog dissipates. Exterior shot of Giles' building.", "BUFFY VO: You wanted to see me?", "Cut to inside Giles' apartment. Giles gets up as Buffy walks in.", "GILES: Yes. Thanks for coming. Can I offer you some tea?", "BUFFY: Oh ... no, thanks. (notices a plate on the table by the sofa) Ooh, cookies. How come I rate the little cookie treatment?", "GILES: Well, actually, I have something to tell you. (comes over with a teapot. They both sit on the sofa.)", "BUFFY: Actually, I have something that I'd like to talk to you about, too.", "GILES: Oh, well, you go first, by all means.", "BUFFY: No, go ahead.", "GILES: No, I insist. (pouring tea)", "BUFFY: (after a moment, softly) You haven't been my Watcher for a while. (Giles stops pouring) I haven't been training ... and I haven't really needed to come to you for help.", "GILES: (sadly) I agree. (sets down the teapot)", "BUFFY: (gestures helplessly, gets up to pace) And then this whole thing with Dracula ... it made me face up to some stuff. (Giles looks concerned) Ever since we did that spell where we called on the first slayer ... I've been going out a lot. (Giles looks surprised) Every night.", "GILES: Patrolling?", "BUFFY: Hunting. That's ... what Dracula called it. (pacing) And he was right. He understood my power better than I do. He saw darkness in it. Shot of Giles looking very concerned.", "BUFFY: (sits down again) I need to know more. About where I come from, about the other slayers. I mean, maybe ... maybe if I could learn to control this thing, I could be stronger, I could be better. But ... I'm scared. I know it's gonna be hard. And I can't do it ... without you. I need your help. (pause) I need you to be my Watcher again. Giles stops frowning.", "BUFFY: (sighs, laughs nervously) Boy, I just, I just keep talking, don't I? I'm sorry, you-you had something you wanted to say?", "GILES: (smiling) No ... it's nothing. He picks up his teacup. Buffy looks relieved.", "Cut to Joyce's house. Buffy walks through the halls and peeks into Joyce's bedroom.", "BUFFY: I'm outta here. (Joyce comes onscreen, in the bedroom. Buffy moves offscreen but keeps talking) Riley and I are going to the movies.", "JOYCE: Okay. Have a good time. Buffy goes into another room and sees the back of a girl with long brown hair.", "BUFFY VO: What are you *doing* here? The girl turns around, looks surprised, then gives Buffy a sour look. Buffy doesn't look too pleased either. Cut back to Joyce in her room, calling out.", "JOYCE: Buffy? If you're going out, why don't you take your sister? Cut back to the bedroom. Both girls turn to look at the doorway, looking annoyed.", "Buffy and Dawn (in unison): Mom! End." ]

[ "Buffy is having trouble getting along with her sister Dawn , who is kidnapped by Harmony's gang. Harmony makes two inept attempts on Buffy's life, but fails each time and Dawn is saved." ]

[ "Teaser", "BUFFY: I've been going out a lot.", "GILES: Patrolling?", "BUFFY: Hunting. Various shots of Buffy fighting and killing vampires.", "GILES VOICEOVER: Previously on BTVS...", "BUFFY VOICEOVER: That's ... what Dracula called it. And he was right. Shot of Buffy talking to Giles.", "BUFFY: He understood my power better than I do. He saw darkness in it. Shot of Giles looking concerned.", "BUFFY: I need to know more. About where I come from, about the other slayers. I need you to be my Watcher again. Shot of Xander in Dracula's castle.", "XANDER: Dammit! You know what? I'm sick of this crap. I'm sick of being the guy who eats insects and gets the funny syphilis. As of this moment, it's over. I'm finished being everybody's butt-monkey! Shot of Buffy walking into a room in Joyce's house, seeing Dawn.", "BUFFY VOICEOVER: What are you *doing* here? Shot of Dawn looking annoyed. Shot of Joyce in her room, calling out.", "JOYCE: Buffy? If you're going out, why don't you take your sister? Shot of Buffy and Dawn looking annoyed in Joyce's direction.", "Buffy and Dawn (in unison): Mom!", "GILES VOICEOVER: There is nothing but you. Head-shot of Buffy with her eyes closed. Quiet, meditative music begins.", "GILES VOICEOVER: You are the center. And within you, there is the core of your being ... of what you are. Shot of Giles walking in a circle around Buffy.", "GILES: Find it ... breathe into it. We see Buffy wearing a tank-top and pants, leaning over a short pedestal with both her hands on it. Giles walks in front of her.", "GILES VOICEOVER: Focus inward. Let the world fall away ... fall away ... fall away... The camera zooms in on Buffy's face as Giles repeats \"fall away.\" She opens her eyes. Buffy leans forward and goes into a handstand, balancing on her hands on the pedestal. The pedestal is about two feet high and four inches square. We see exercise mats underneath it and a vault in the background. Giles is still walking circles around Buffy, staring at her. Shot of a large flat crystal with three smaller crystals standing on end atop it. Shot of Giles watching Buffy. Closeup of Buffy's face, eyes closed again. She begins to remove one hand from the pedestal. Slow-motion shot of Buffy bringing one arm out parallel to the floor, so she is balancing on the other hand. Giles still walking around her, watching. The music continues. Buffy's face looks very peaceful. Shot of the crystals. A hand appears and tries to balance a fourth crystal on top of the three standing ones, but it's clumsy and all the crystals fall over with a clunk. Buffy's eyes pop open, she loses her concentration and crashes to the floor with a cry. Giles starts toward her in alarm, sees she's all right. He then looks in a different direction, pulling off his glasses in an angry motion. Shot of the ceiling from Buffy's point of view. Dawn's face emerges into the shot.", "DAWN: Can we go now? Shot of Buffy looking annoyed. Wolf howl. Opening credits. Michelle Trachtenberg (Dawn) is now listed with the regular cast members, after Emma Caulfield and before James Marsters. Guest starring Mercedes McNab, Bob Morrisey, Amber Benson as Tara, and Kristine Sutherland as Joyce Summers. Written by David Fury, directed by David Grossman.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on a hanging mobile of fish. The camera pans across a bedroom.", "DAWN VOICEOVER: Nobody knows who I am. Not the real me. It's like, nobody cares enough to find out. I mean, does anyone ever ask *me* what I want to do with my life? Or what my opinion is on stuff? Or what restaurant to order in from? We see Dawn sitting on a bed, wearing pajamas, writing in a diary. There's a huge pile of stuffed animals on the bed with her.", "DAWN VOICEOVER: No. Underline. Exclamation point. We see her underlining the word and drawing the exclamation point. She ponders for a moment and then violently draws a few more, stabbing at the paper with her pen.", "DAWN VOICEOVER: Exclamation point, exclamation point. (pause) No one understands. No one has an older sister who's a slayer. Shot of Buffy opening the refrigerator and taking out a carton of milk.", "DAWN VOICEOVER: People wouldn't be so crazy about her if they had to live in the same house with her every single day. Everybody cares what she thinks. Just 'cause she can do backflips and stuff. Buffy sniffs the milk and puts it on the counter. In the background we see Joyce drinking coffee and Dawn opening a cabinet to get out a box of cereal. Buffy picks up a banana from a bowl of fruit, turns away.", "DAWN VOICEOVER: Like that's *such* a crucial job skill in the real world. As Buffy moves to the background of the shot to get a bowl, Joyce and Dawn move to the foreground. Joyce pours milk into her coffee cup. Dawn opens the cereal box and sits down.", "DAWN VOICEOVER: Plus Mom lets her get away with everything. \"Your sister's saving the world.\" Joyce moves to the background again as Buffy returns with a bowl, which she places on the counter, moving the milk carton aside. She picks up the banana again and turns away, peeling it. Dawn takes Buffy's bowl and pours cereal into it.", "DAWN VOICEOVER: *I* could so save the world if somebody handed me super powers... Dawn turns away from the table as Buffy returns with a knife, prepared to slice the banana into her bowl, but finds the bowl missing. She sees it sitting at Dawn's spot full of cereal, and makes an irritated face.", "DAWN VOICEOVER: ...but I'd think of a cool name and wear a mask to protect my loved ones, which Buffy doesn't even. Dawn returns with a spoon, wearing an innocent expression. Buffy turns away to get another bowl, and Dawn picks up the carton of milk. She empties it into her bowl and sits down to eat.", "DAWN VOICEOVER: If this town wasn't so lame everyone would completely know what she does. And then I bet they wouldn't even be that impressed, because like, killing things with wood? Oh, scary vampires, they die from a splinter. Buffy returns with another bowl, reaches across Dawn for the cereal box, pours it into her bowl, picks up the milk carton and finds it empty. Dawn continues eating, pretending not to notice.", "JOYCE: So Buffy, what are your plans today? Buffy continues giving Dawn a dirty look for a moment, then looks away.", "BUFFY: Oh, actually, Giles and I are gonna go to the magic shop for supplies for my new and improved training sessions.", "JOYCE: Oh, that's great.", "BUFFY: (walking to sink, then to fridge) Oh, yeah, I'm actually-", "JOYCE: (interrupts) You can take Dawn shopping for back to school supplies. Dawn puts down her spoon and turns around, preparing to argue.", "BUFFY: What?", "DAWN: Mom, I-I thought you were taking me.", "JOYCE: Well, honey, I've got the Gurion showing tonight, and there's so much to do to get the gallery ready. (Turns to leave kitchen.)", "BUFFY: No, but, see, Mom -- Buffy and Dawn run after Joyce as she walks to the living room.", "BUFFY: That doesn't really work for me. We're just going to the magic shop. No school supplies there.", "DAWN: Yeah, Mom, I'm not going to Hogwarts. (She giggles at her own joke till she notices Buffy looking annoyed and confused.) Geez, crack a book sometime.", "JOYCE: Look, I'm sure Giles doesn't mind dropping you and your sister off at the mall afterwards.", "BUFFY: Actually, he does mind. This is supposed to be quality Watcher/slayer time. I told you, she completely ruined my training yesterday.", "DAWN: Did not!", "BUFFY: Oh, you know you did too.", "JOYCE: Buffy. I realize the importance of your new slayer thing, but- Knock on door.", "JOYCE: -I could really use your help. She walks past the two girls, both sighing and rolling their eyes in annoyance. They glare at each other as Joyce opens the door and Riley comes in.", "RILEY: Morning, Mrs. Summers. You look great.", "JOYCE: Oh, thank you, Riley. (Exits) Buffy goes over to Riley.", "BUFFY: Suck up.", "RILEY: What? It's a nice outfit. Dawn pretends not to be watching them.", "BUFFY: Mm-hmm.", "RILEY: Besides, \"I'm here to violate your firstborn\" never goes over with parents. Not sure why. He and Buffy smooch.", "DAWN VOICEOVER: Riley, my sister's boyfriend, is *so* into her. They're always kissing ... and groping. I bet they have s*x! Riley stops kissing Buffy and looks at Dawn.", "RILEY: Hey, kid.", "DAWN: I'm not a kid. She walks off as Buffy & Riley move into the living room.", "BUFFY: Well, this is a surprise of the nicest kind.", "RILEY: Now it's my turn to be surprised. I thought we had plans today. They sit on the sofa.", "BUFFY: Plans? We planned plans?", "RILEY: Well, you said, uh, \"come over tomorrow and we'll hang,\" and then I said, \"OK.\" Not the invasion of Normandy, but still a plan. Buffy nods in resignation.", "BUFFY: Right.", "RILEY: (studying her expression) We're not hangin' today, are we?", "BUFFY: Giles is on his way to pick me up.", "RILEY: Oh, slayer training.", "BUFFY: Slayer shopping, actually, but equally as important.", "RILEY: I have no doubt. Okay, well, we'll hook up later. (Starts to get up)", "BUFFY: Are you mad at me?", "RILEY: Oh, no, not at all. I'm plotting your death, but in a happy way. (Smiles)", "BUFFY: Good.", "RILEY: Look, Buffy, I know what this means to you. I think it's great that you've got this new mission. I'll see you tonight.", "(Smooch. Riley gets up.)", "RILEY: Bye. (calling) See ya, kid!", "DAWN: (OS) I'm not a kid!", "Cut to a shot of a bright red convertible driving down the street. Giles is at the wheel, Buffy beside him and Dawn in the back. Classical music plays on the radio.", "GILES: Well, I sympathize with you, Buffy, I truly do. But I'm certain that Riley understands better than anyone else the importance of training. You can't allow personal concerns to distract you from- (Dawn reaches between them to change the radio station) Dawn, will you stop fiddling with the radio and sit down?", "Dawn sits back, looking exasperated. The radio plays classical music.", "DAWN VOICEOVER: I don't think Buffy's Watcher likes me too much. Shot of Dawn back in her room, writing in her diary.", "DAWN VOICEOVER: I think it's 'cause he's just so ... old. I'm not sure how old he is, but I heard him use the word \"newfangled\" one time. So he's gotta be pretty far gone. Cut back to Dawn fidgeting in the backseat of the car.", "BUFFY: (studying a piece of paper) There's a lot of books on this list. Any of them come on tape? You know, read by George Clooney or someone cute like that?", "GILES: You're entering a new realm here, Buffy. One for which I myself am not entirely prepared. Are you ready for this commitment?", "BUFFY: I'm just kidding! Hey, this Betty's ready. Color me committed. The car engine races as Giles tries to shift.", "GILES: Blast!", "BUFFY: You put it in neutral again, huh?", "GILES: I'm just not used to this automatic transmission. I-I loathe this sitting here, not contributing. Shot of Dawn looking surprised.", "GILES: No, i-it's not working out.", "BUFFY: Giles, are you breaking up with your car?", "GILES: Well, it did seduce me, all red and sporty!", "BUFFY: Little two-door tramp. Giles gives her a sour look.", "GILES: I-I-I don't know, I just - I was so at loose ends, I-I found myself searching for ... some way of feeling more...", "BUFFY: Shallow?", "GILES: Perhaps, as I am to act as your Watcher again, a modicum of respect might be in order.", "BUFFY: Do I have to?", "GILES: I'm serious, Buffy, there's going to be far less time for the sort of flighty, frivolous-", "DAWN: (pointing) Hey, there's Willow and Tara!", "GILES: Ooh, they haven't seen my new car. He pulls over. Buffy rolls her eyes at him. We see Willow and Tara coming out of the coffee shop.", "WILLOW: Hey Giles, sharp wheels!", "TARA: The rest of the car's nice too. Everyone gets out of the car.", "GILES: Handles like a dream.", "BUFFY: Where are you guys heading?", "WILLOW: Magic shop. I have some charms on back order.", "DAWN: (smiling) Willow, hi.", "WILLOW: Hey Dawny! (They hug) How's my favorite chess partner? Still leading with your knight? Dawn shrugs in embarrassment.", "DAWN VOICEOVER: Willow's the awesomest person. Cut back to Dawn in pajamas, now lying on her bed writing in the diary with a smile.", "DAWN VOICEOVER: She's the only one I know who likes school as much as me. Cut back to the street. Dawn smiles at Willow, then the camera pans over to Tara.", "DAWN VOICEOVER: Even her friends are cool! Tara smiles and gives a little wave.", "TARA: Hey Dawn.", "DAWN VOICEOVER: Like Tara. (Cut back to Dawn in the bedroom) She and Willow are both witches. They do spells and stuff, which is so much cooler than slaying. I told Mom one time I wished they'd teach me some of the things they do together. A-and then she got really quiet and made me go upstairs. (She pauses in her writing and looks puzzled.) Huh. I guess her generation isn't cool with witchcraft. Cut back to the street. Dawn and Tara are walking side-by-side, with Giles ahead of them and Buffy and Willow in the lead.", "BUFFY: So Giles and I worked out a whole schedule around school. A block of time every day just to focus on my new slayer training.", "WILLOW: That's a work ethic! Buffy, you're developing a work ethic.", "BUFFY: Oh, no. Do they make an ointment for that?", "WILLOW: People gotta respect a solid work ethic. Look at you, motivated Buffy. Eager to soak up learning. Oh, you and I are gonna have so much fun this semester.", "BUFFY: (stops walking, and so do the rest of them) Yeah, that reminds me. With the whole new training schedule, I kinda had to drop a class.", "WILLOW: That's understandable. Your slayer studies are way more important.", "BUFFY: So I won't be taking drama with you. In the background we see Tara and Dawn peering in the windows of the magic shop.", "WILLOW: What? You have to, you promised!", "BUFFY: Well, I know, but Giles said that it just was- (gesturing to Giles who's behind her, looking in the opposite direction)", "WILLOW: The hell with Giles. (Giles turns in surprise)", "GILES: I can hear you, Willow.", "WILLOW: Drama is just Tuesday and Thursday afternoons. You can blow off training Tuesday and Thursday afternoons, can't you?", "BUFFY: What happened to \"people gotta respect a work ethic\"?", "WILLOW: Other people, not me! There's a whole best friend loophole.", "TARA: (calling to them) Shop's kinda dark. Maybe it's closed.", "GILES: That's odd. Everyone looks bemused and walks toward the magic shop.", "Cut to interior of the magic shop as Giles opens the door and walks in. It's dark and the furniture is overturned. Giles and Buffy walk in slowly, followed by the others, all looking around.", "BUFFY: Well, I think \"odd\" just got upped to \"bad.\"", "GILES: (calling) Hello? Anyone here?", "TARA: Mr. Bogarty? Everyone looks at Tara.", "TARA: The owner. I-I come in here a lot. Willow advances farther into the store.", "WILLOW: Well, maybe this happened ... really late at night when nobody was... She trips over something and falls to the floor.", "BUFFY: Will? Tara comes forward.", "WILLOW: I'm fine, I - I just tripped over... She sits up and sees the body. He's lying face-up and we can see vampire bite marks on his neck.", "WILLOW: Mr. Bogarty.", "DAWN: (behind Buffy and Giles) Wha-what is it, is he okay? She tries to move forward but Buffy pushes her back.", "BUFFY: It's nothing you need to see, Dawn, go wait outside. Buffy hustles her toward the door with a hand on Dawn's elbow.", "DAWN: I don't wanna wait outside!", "BUFFY: Dawn!", "DAWN: Ow, that hurt! (Buffy pushes her out the door onto the street) You're hurting me. I'm telling.", "BUFFY: Look, I don't have time for this. Just do as I say and wait. She starts off, then turns back.", "BUFFY: Here. Buffy goes back inside. Dawn sighs in annoyance, walks around a little, then goes back and peers between the blinds. Inside the shop she can see Buffy, Tara and Willow standing around as Giles kneels beside the body.", "GUY: Whatcha doin'? Dawn turns with a gasp. A scruffy older man is standing there, unshaven, his tie loose.", "GUY: What are you doing here? You can't loiter. There's no loitering. He advances on Dawn as she backs up, scared.", "GUY: That's why I'm a cat. Quiet. See, cat's in the cupboard (making cat-scratching gestures with his hands) but they find you there anyway, and it hurts. Dawn has backed up against a van. She looks around, scared.", "GUY: (sobbing) Please, make it stop. (in a different tone) Shut up, shut up, they'll hear you!", "DAWN: (tries to call out) Buff- (Shrieks as the guy puts his finger on her lips)", "GUY: I know you. Curds and whey. (Dawn looks shocked) I know what you are. (slowly and ominously) You ... don't ... belong ... here. Dawn shakes her head, looks on the verge of tears. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Cut in on the outer door to the magic shop. It opens and Tara comes out. She looks around.", "TARA: Dawn? She walks out a little farther, looking around.", "TARA: Dawn? She looks down and sees Dawn sitting on the ground, leaning against a building.", "TARA: Dawn. You okay?", "DAWN: Is ... Is that guy dead in there? Tara nods.", "TARA: Yeah. She sits down next to Dawn.", "TARA: They're gonna be a little while longer, doing the detective thing. Best non-scoobies like you and me stay out of the way. Dawn nods. They sit silently for a few moments.", "TARA: Do you wanna thumb-wrestle? Dawn nods again.", "DAWN: Okay. They lock their hands together and begin to thumb-wrestle.", "Cut to a shot of the dead guy lying face-up. Giles' hands reach over and close his eyes.", "BUFFY: Judging by the bite-fest, I'd say it was more than one vampire.", "GILES: (standing up) I make it four at least.", "BUFFY: Looks like someone's put together a new fang club. (Walks to the counter. Willow is behind it, holding a book.)", "WILLOW: Well, I've cross-checked the inventory list, and things are definitely missing. (puts inventory book on the counter) Mostly books. Including A Treatise on the Mythology and Methodology of the Vampire Slayer. Buffy pulls out her list as Giles picks up the inventory book.", "BUFFY: Oh, shoot! Was that the only copy?", "GILES: Come on, Buffy, this could be very serious. Whoever's leading this pack of vampires appears to be interested in learning more about you. Perhaps searching for weaknesses or ... good lord.", "BUFFY: What?", "GILES: Well, I had no idea the profit margins on a shop like this were so high. Buffy and Willow exchange a look.", "GILES: Look at this! Uh, low overhead, out-of-state orders, international - it's no wonder there's never any trouble attracting new owners. (Looking around) A place like this is a virtual-", "BUFFY: Deathtrap?", "GILES: What? Well, uh, yes, there is that. But, uh, still... (puts book down and looks around some more) Location, pedestrian traffic...", "WILLOW: So what's the next step?", "GILES: (still gazing around) Buffy, you should begin looking for their lair straight away.", "BUFFY: I'll get Riley to help me patrol.", "WILLOW: Wait, aren't you forgetting something?", "GILES: Impressive square footage... He walks off as Buffy gives Willow a questioning look", "WILLOW: You're on Dawn duty. Buffy looks annoyed.", "BUFFY: Oh, duty. I gotta drop my sister back home. (eyes widening) My mother's gonna *kill* me.", "GILES: (wandering back into view) I bet the death rate keeps the rent down. (pauses) Oh, hello. Something's been taken from this case, look here. He goes over to a case where the glass has been knocked out.", "BUFFY: What'd they take? Willow looks in the inventory book.", "GILES: I should think an item of, of value, or-or power, possibly even a-", "WILLOW: A unicorn. 10-inch ceramic unicorn imported from Thailand.", "BUFFY: Was it valuable? Giles stares in puzzlement at the empty case.", "WILLOW: (OS) List price, $12.95.", "GILES: Which begs the question, what kind of an unholy creature fancies cheap tasteless statuary?", "Cut to head shot of Harmony.", "HARMONY: Okay, hi. First of all, I wanna thank everybody for a really successful raid on the magic shop last night. (applauding) Good job, minions! We see Harmony in the underground lair, wearing a skimpy black top and shiny gold pants. Four male vampires are standing around. They applaud along with her, a little uncertainly. They are Brad, Cyrus, Peaches, and Mort. Mort is very tall and large, whereas the others are fairly average-sized.", "HARMONY: Yes, you deserve it. Secondly... (turns away to reach for something) somebody remembered to pick me up the sweetest little unicorn! (Holds up the ceramic unicorn and smiles at Brad. The other vamps stare at him.)", "BRAD: (whispering to other vamps) What?", "HARMONY: Brad, guess someone was feeling guilty for standing me up in the tenth grade. (Admiring the unicorn)", "BRAD: (to other vamps) I, I had to get her something. She sired me.", "Peaches: (to Cyrus) Sire-whipped. We see Mort adding the unicorn to a large collection of other unicorn statues sitting on a table.", "HARMONY: Anyway, the books you guys brought me to help with the plan? Well, I've been skimming through the book jackets all morning, and let me tell you, there's some pretty useful stuff in there, so- Cyrus raises his hand.", "HARMONY: Yes, uh ... sorry, forgot your name.", "CYRUS: Cyrus.", "HARMONY: Cyrus, huh, right. Peaches' friend. (Peaches nods) What's your question?", "CYRUS: When are we gonna do it?", "HARMONY: Eww! That's rude! I barely know you! (Cyrus looks sideways at the other vamps in confusion) Uch, and you're a minion!", "MORT: He means the plan! When are we gonna do the plan?", "HARMONY: Ohhh! The plan! (laughs in embarrassment) Ah, well, first lemme tell you I'm really psyched about it and I hope the rest of you guys-", "MORT: (yelling) When?!", "HARMONY: (yelling) Tonight! (more calmly) We kill the slayer ... tonight. (Smiles in self-satisfaction.) The other vamps grin and nod at each other.", "Cut to Dawn sitting on her bed holding her diary, wearing the same clothes she was wearing at the magic shop.", "JOYCE VOICEOVER: So not only didn't you take your sister shopping for school supplies- Dawn listens in. Cut to Joyce's bedroom. While Buffy and Joyce argue, Joyce walks back and forth getting dressed and putting on jewelry.", "JOYCE: -you brought her to a murder scene.", "BUFFY: No, I didn't bring her to it, it ... just ... sorta came upon us. It's not like she saw the body or anything.", "JOYCE: Oh, well. That makes it all right then, doesn't it?", "BUFFY: No, that is not what I meant.", "JOYCE: I asked one favor of you, Buffy. To look after your sister. And now you want to unload her, so you and Riley can go out.", "BUFFY: To patrol. I'm working, it's not like I wanna go to the sock hop.", "JOYCE: I have to be at the pre-show reception in half an hour. Who's gonna watch Dawn?", "DAWN: (OS, calling from her room) I don't need anyone to watch me!", "BUFFY and JOYCE: (unison) Yes you do! Joyce walks into the bathroom.", "BUFFY: Wait. So what you're saying is if I can get an acceptable babysitter here before you leave, I can go patrol?", "DAWN: (OS) Babysitter? I'm fourteen! I'm old enough to *be* a babysitter!", "JOYCE: And who are you gonna get on such short notice?", "DAWN: (OS) I can take care of myself!", "BUFFY: (suddenly realizing) Xander.", "JOYCE: Xander? Sound of running footsteps. Joyce and Buffy look up as Dawn appears in the doorway.", "DAWN: Okay. Doorbell rings.", "Cut to Dawn running up to the front door, pausing to fix her hair. She's wearing a tight short dress. She opens the door. Xander stands there holding a pizza.", "XANDER: Dawn patrol.", "DAWN: (smiling) Hey.", "XANDER: Check this out, they put cheese on round bread. It's gonna be big. He comes in. Dawn watches him with a smile as Joyce appears, putting on a jacket. We see her and Xander talking, but we only hear Dawn's voiceover.", "DAWN VOICEOVER: Xander is so much cuter than anyone. And smarter too. He totally skipped college and got a job working construction. Which is so kind of ... deep, you know? He builds things. And he's brave too.", "Cut to Dawn in her pajamas, lying on the bed and writing in her diary.", "DAWN VOICEOVER: Just last week he went undercover to stop that Dracula guy.", "Note: the closed-captions provide the following dialogue during this scene which is not actually heard:", "JOYCE: Xander, thanks for doing this.", "XANDER: Total non-sweat.", "JOYCE: Again, thanks for coming. Oh, uh, here is my card. If you have any problems, you just call me on the cell phone. Cut back to downstairs as Joyce gives Xander her card.", "XANDER: Have fun. Not too much fun, though. (Although we can hear this line and it sounds like Xander's voice, we see his face, and it's clear that his lips aren't moving.)", "JOYCE: Dawn, be good. (Kisses Dawn goodbye)", "XANDER: Oh, we will. We're just gonna play with matches, run with scissors, take candy from ... some guy ... I don't know his name. (Winks at Dawn. Joyce leaves, and Dawn, smiling at Xander, starts to shut the door.)", "DAWN VOICEOVER: Xander treats everyone like an equal. He doesn't look down on people. Anya appears in the doorway, preventing Dawn from closing the door. Anya carries a stack of board-game boxes.", "ANYA: Hello there, little girl. Dawn's happy expression turns to one of dismay.", "DAWN VOICEOVER: Even when he should.", "ANYA: (talking as if to a very small child) We are gonna have fun, fun, fun. Look, I've got Monopoly, Clue, and ooh, the Game of Life! That sounds good! Dawn looks upset. She closes the door.", "TARA: (OS) Poor Dawn.", "Cut to Tara looking at herself in a mirror, which is above a sink with a towel rack beside it.", "TARA: She was pretty shaken up.", "WILLOW: Well, sure. Bloody death and stuff. The camera pans out and we see they are in a dorm room, unpacking. Willow goes to hang a painting while Tara is unpacking bathroom stuff from a box.", "WILLOW: She'll be okay.", "TARA: It's just ... I, I think it's tough for her, not being able to ... well, allowed to, you know, help. Willow tries the painting in a few places, then puts it atop a bureau and begins unpacking another box.", "WILLOW: Help?", "TARA: Oh, you. You guys. The slayer circle.", "WILLOW: Well, Buffy doesn't really need ... a-and I think Dawn's a little young.", "TARA: I-I know, you're right. It's just hard. That outsider feeling. Willow looks over at her.", "WILLOW: Tara ... you're not an outsider.", "TARA: Well, yeah. I kinda am.", "WILLOW: (walking toward her) No, you're not.", "TARA: Willow, it's okay. Where does this go?", "WILLOW: Somebody making you feel uncomfortable? Is it Xander? It's Xander, isn't it?", "TARA: No, Xander's a sweetie.", "WILLOW: It's Giles! It's 'cause he's ... British and doesn't understand about stuff.", "TARA: It's no one. (Continues taking stuff out of the box) You guys all just have this really tight bond. It's-it's hard to break into that. And I'm not even sure I want to. Willow walks up behind Tara and puts her arms around Tara's waist, resting her chin on Tara's shoulder.", "WILLOW: I'm sure. Tara puts her hands over Willow's.", "WILLOW: You're completely one of the gang now. Everyone accepts that. Closeup of their faces as they both smile.", "WILLOW: You're one of the good guys. Tara's smile disappears and she pulls away, disengaging herself from Willow's embrace. Willow doesn't notice her expression.", "WILLOW: Maybe I can talk to the rest of the group and we can do something, some kind of scooby initiation. (They both return to what they were doing) Oh! Maybe we could wear some kind of special ring that identifies us as members.", "TARA: I don't think so. But maybe something like that would be nice for Dawn. I do worry about her sometimes.", "WILLOW: You don't have to. She's got big sister Buffy happily looking out for her.", "Cut to Buffy and Riley walking through a graveyard.", "BUFFY: So then my mom goes off on me about how I'm supposed to watch out for Dawn and make sure that she's shielded from something that might upset her.", "RILEY: Like dead shopkeepers.", "BUFFY: She didn't see him! A foot, maybe. A dead foot, which is bad, okay, but hello, I see dead stuff *all* the time, and you don't see Mom shielding me.", "RILEY: So you want your mother to give you space to be a slayer, and shield you from it at the same time.", "BUFFY: Thank you, logic boy. Did I mention this is a rant? Sense really has no place in it.", "RILEY: I'm getting that. (sighs) What's the deal, Buffy? You seem really- Buffy stops him by putting out a hand. She stops walking and looks intently to her right.", "BUFFY: Oh, trash can. From a distance it looked kinda-", "RILEY: Tense.", "BUFFY: Nooo, I-I was gonna say brown, squat, shadowy...", "RILEY: Uh-uh. Back to what I was saying before we were rudely attacked by nothing. You seem really tense.", "BUFFY: (shrugs) Yeah, there's a new vampire gang in town.", "RILEY: I mean domestically tense. You're on Dawn's case a lot.", "BUFFY: I guess. It's just... (sighs) I don't know, it ... I know it's always been this way. She's the baby. But for some reason lately, it's just really getting to me. She's *always* around.", "RILEY: Well, yeah. You're like her idol, Buffy.", "BUFFY: Her idol? I don't think so, unless you like to spill things on your idol's new leather pants, and-", "RILEY: You know what I mean. You have super powers ... and college ... a studly yet sensitive boyfriend...", "BUFFY: And a pesky life-or-death job that I can't quit or even take a break from.", "RILEY: She doesn't get the sacrifices. She's a kid.", "BUFFY: And that's what bugs. *She* gets to be a kid, and she acts like it's the biggest burden in the world. Sometimes *I* would like to just curl up in Mom's lap and not worry about the fate of the world. I'd like to be the one who's protected, who's waited on-", "Cut to Joyce's house.", "DAWN: -hand and foot, getting her own way. Always the favorite. We see that they're playing the Game of Life around a low table in the living room, surrounded by various junk food. Dawn is eating a bowl of ice cream.", "XANDER: You nut. Your mom loves you both equally. But if I'm wrong, I find money usually helps tip the scale. Slip Joyce a 10 or a 20 once in a while. Then we'll see who's the favorite. Dawn smiles.", "DAWN VOICEOVER: He says I'm like a kid sister...", "XANDER: (looking at the game board) Here comes the judge!", "DAWN VOICEOVER: ...but sometimes when he looks at me, I feel like he sees me as I am... Xander gives Dawn a big goofy grin.", "DAWN VOICEOVER: ...as a woman. We see that Dawn has chocolate ice cream smeared all over her face.", "ANYA: Oh, crap. (slaps down her cards) Look at this! Now I'm burdened with a husband and several tiny pink children, more cash than I can reasonably manage...", "XANDER: That means you're winning.", "ANYA: Really?", "XANDER: Yes. Cash equals good.", "ANYA: Ooh! (claps her hands in excitement) I'm so pleased. (Scoops up the plastic markers that represent children) Can I trade in the children for more cash? Dawn gives her a disgusted look. Suddenly something smashes in the window, showering them with broken glass. They all duck behind the table. Dawn shrieks. Xander gets up and goes to see what it was. Anya follows. Xander picks up a rock with a note tied around it. He unties the string, hands the rock to Anya, and reads the note. Dawn stays on the floor watching.", "XANDER: \"Slayer, come out and die.\" We see the note, written in large letters. The \"i\" in \"die\" is dotted with a smiley-face.", "HARMONY: (OS) I'm waiting for you, Buffy! Xander goes over to the hole in the window and peeks out. He sees Harmony, surrounded by her four minions, who carry weapons. Harmony looks annoyed.", "HARMONY: (yells) I know you're in there!", "Cut to Xander standing in the doorway, holding the front door open.", "HARMONY: (OS) What do you mean, she's not in there? Xander looks unimpressed.", "HARMONY: She has to be. I'm calling her out! We see Anya and Dawn a few feet behind Xander.", "XANDER: Then I bet she'll be real sorry she missed your call. 'Fraid you and your buddies are gonna have to come back and be killed by Buffy later.", "HARMONY: (scornful) They're not my buddies. They're my minions.", "XANDER: They're ... what now?", "HARMONY: Minions! You know, lackeys? They work for me. Xander looks skeptical. Then he starts laughing.", "HARMONY: What's so funny?!", "XANDER: Nothing! What could be funny, just \"Look out, it's a terrifying Harmony gang, ooh!\" (Laughing)", "HARMONY: Stop laughing! (Tries to attack him, but she can't go past the doorway. Dawn ducks behind Anya. Xander continues laughing)", "XANDER: I just, I just can't picture anyone pathetic enough to be following- (Looks at the minions again and pretends to be shocked) Is that Brad Konig? Huh! Hey Brad, who'd have thought when you were beating up kids in gym class, you'd end up Harmony's lapdog?", "BRAD: Screw you, Harris.", "HARMONY: You should know all about being somebody's lapdog. I hear you were a good little puppy for Dracula. Anya and Dawn look insulted on Xander's behalf.", "XANDER: You heard wrong.", "HARMONY: (laughs) Don't feel bad. I hear that mind-control thing he does works really well on weak fraidy-cat losers. You didn't stand a chance.", "DAWN: (still behind Anya) Shut up!", "XANDER: Dawn, I'm handling this. Shut up, Harmony!", "HARMONY: Make me.", "XANDER: Fraid I don't feel like getting into another hair-pulling contest with you.", "HARMONY: You're the hair-puller, you big girl!", "DAWN: Oh yeah? Come inside and say that! Xander will kick your-", "ANYA: Dawn, no! Xander makes his \"uh-oh\" face. Harmony morphs into vampire face and lunges at Xander, shoving him to the floor as Dawn shrieks. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Harmony is on top of Xander, holding him down as he struggles. Dawn shrieks and pushes past Anya to run up the stairs. The minions rush to the door but can't enter.", "XANDER: The invitation was for one. The minions snarl. Anya turns and runs into another room.", "HARMONY: Not such a pushover any more, am I? (Punches Xander in the face a few times)", "ANYA: (running around) Slayer's house have more weapons lying around. (Picks up a lamp)", "HARMONY: I've been working out, learning some new tricks, honing my - She bends to bite Xander as Anya runs up with the lamp. Harmony straightens up and backhands Anya, breaking the lamp and sending Anya flying.", "HARMONY: Instincts. Xander kicks Harmony in the stomach and she flies backward out the front door, crashing into the minions. They all fall down the porch stairs. Xander and Anya rush to close the door and lean against it, looking out at the vampires.", "HARMONY: This isn't over, Xander! I'll be back!", "XANDER: And we'll be ready for you! Stakes ... crosses ... the whole enchilada. He and Anya pull their heads away from the windows.", "XANDER: Buffy is not going to be happy about this. Anya shakes her head in agreement.", "Cut to Buffy laughing hysterically.", "BUFFY: Harmony ... (laughing) Harmony has minions? We see Buffy and Riley in the kitchen laughing, along with Anya and Xander, who aren't laughing.", "XANDER: Yeah, that was pretty much my reaction.", "BUFFY: I'm sorry, I'm sorry. (Clear throat and stops laughing) It's just ... Harmony has minions! (Starts laughing again)", "XANDER: And Ruffles have ridges. Uh, Buffy, there's actually a more serious side to all this.", "BUFFY: I sure hope so, 'cause I'm having trouble breathing. (Giggles, then stops and takes a deep breath) What is it?", "XANDER: (nervously, looking at Anya) Well, she did come here to kill you. Buffy bursts out laughing again. Riley also snickers.", "RILEY: (chuckling) Buffy, come on, they have killed once that we know of. She could be a threat to you. (Buffy laughs harder)", "ANYA: Especially now that she can enter your house any time she wants. Buffy stops laughing for real this time.", "BUFFY: What? Xander and Anya fidget.", "XANDER: Uh, yeah, actually, she -- Harmony -- kind of happened to sort of get an invite.", "BUFFY: You guys can't invite her in. I mean, only someone who lives here can- (The clue hits. Xander nods. Buffy frowns.)", "BUFFY: (quietly) Where is she?", "ANYA: In her room. Look, I think she's still pretty freaked out.", "BUFFY: Dawn! (starts to stomp out. Xander stops her)", "XANDER: Buff, it was an accident. She didn't mean it.", "BUFFY: Oh, well that just makes it okay then, doesn't it? (Stomps out)", "XANDER: (calling after her) No, but believe me, nobody feels worse than her right now.", "Cut to Harmony and minions walking through a dark graveyard.", "HARMONY: What a total disaster. My first plan! I so wanted it to go well. Plus, I didn't even get to kill stupid Xander Harris! God, that was so embarrassing.", "MORT: We'll go back later.", "HARMONY: No! It's no good. Buffy's gonna expect us now. The whole surprise is blown.", "PEACHES: (to Cyrus) Who're you growling at?", "CYRUS: Not me, my stomach. If I don't eat somebody soon, I-I'll get dizzy.", "PEACHES: Let's go back to the lair. That census taker may not be empty yet.", "BRAD: Not me. This night is young, and I want some action. A hand taps Brad on the shoulder, and when he turns, it punches him in the face. He goes down. The other three minions turn.", "SPIKE: Happy to oblige. Here I thought it was gonna be a slow night. (puffing on a cigarette, sizing up the minions) Step on up, kiddies. Thrashings for all. The minions start forward.", "HARMONY: Stop! She emerges from behind Mort. Spike looks surprised.", "SPIKE: Well. Hello, Harm.", "HARMONY: Spikey. I mean, Spike.", "SPIKE: Long time. You look good.", "HARMONY: I feel good.", "SPIKE: (smirks) I remember. They both grin.", "HARMONY: How've you been?", "SPIKE: (shrugs) Not bad. Just got a brand-new telly in my crypt, so...", "MORT: (walking up behind Harmony) Why are you talking to him?", "HARMONY: It's okay, we used to go steady. (sighs) Spike, Mort. Mort, this is-", "MORT: I know who he is. He kills our kind.", "HARMONY: Oh yeah! (to Spike)What's up with that?", "SPIKE: (shrugs) Bloke's gotta have a hobby, don't he? Piss off, Mort. Mort growls and steps forward, but Harmony stops him.", "HARMONY: Mort, just give us ... a couple minutes, 'kay? (Turns back to Spike) He's really testy. Some of us were thinking of voting him out of the gang. (She and Spike step aside where the minions can't overhear.)", "SPIKE: Gang?", "HARMONY: Oh, yeah. I've got my own gang now.", "SPIKE: (checking out the minions) Is that what those circus freaks are?", "HARMONY: Uh huh. I mean ... shut up! (Spike grins) We're gonna kill the slayer.", "SPIKE: Singing my song now, are you? You should pay me royalties for that one, or at least get your own tune.", "HARMONY: I'm not gonna make the same mistakes you did. I've been doing my homework, reading books and stuff.", "SPIKE: What, Evil for Dummies? (walks around her) Look at you, all puffed up and mighty, thinking you're the new Big Bad. It's, uh ... well, let's face it, it's adorable.", "HARMONY: You just can't stand the fact that I'm my own person now. There comes a time in every woman's life when she realizes she needs to take the next step. I've taken it. I've found the real me... and I like her. Spike moves closer to her during this speech until their faces are inches away.", "SPIKE: Hope you'll be very happy together. In the meantime, save slayer slaying for the professionals.", "HARMONY: (sighs) You'll see. Buffy'll be dead by sunrise. I've got a plan.", "SPIKE: (chuckling) Lemme guess. Snatch one of her friends, use 'em as bait, lead her into a trap. That sort of thing?", "HARMONY: (bluffing) No! Much, much better one. (Spike looks skeptical.) I'm not gonna tell you!", "SPIKE: Thought as much. Best of luck. Let me know how this arch-villain thing works out for you. (Backs away and walks off)", "HARMONY: I'll do that. (shouting after him) And after Buffy is gone? I'm gonna kill everybody in this town that was ever mean to me ... Spike! Spike waves a hand over his shoulder as he walks off. Harmony sighs, then turns back to the minions.", "HARMONY: (smiling) Guys! New plan.", "Cut to Buffy laying out a huge array of stakes and crosses on her bed as Riley watches.", "RILEY: That's a lot of weapons for somebody you weren't sweating twenty minutes ago.", "BUFFY: Well, that was before Dawn gave Harmony a backstage pass to kill us all in our sleep.", "XANDER: Buff, I left word with Willow. She'll come do a return engagement of her uninvitation spell. She probably still has the stuff from last week. And bang, boom, you're back in the Fortress of Solitude. All better.", "BUFFY: No. Not all better. I mean, it's not like Dawn hasn't grown up in this house knowing all the rules.", "Cut to the hallway where we see Dawn listening in.", "BUFFY: (OS) Especially the biggie! Numero one-oh. \"Do not invite bloodsucking dead people into our house.\" (Dawn rolls her eyes) Cut back to the bedroom.", "BUFFY: I mean, please. I would never have Harmony over even when she was alive.", "XANDER: People slip, Buffy. Your mom did. She invited in the mas- (Catches himself) Dracula. In for coffee. Buffy and Riley give Xander an odd look.", "BUFFY: Well, that was different. I mean, she ... He would ... She was lonely, and, and, and she didn't know he was a vampire. *The* vampire. Meanwhile, Dawn knew exactly what Harmony was and she rolled out the welcome mat for her. Cut back to Dawn in the hallway.", "RILEY: (OS) She's just a kid. (Dawn rolls her eyes) Cut back to the bedroom.", "BUFFY: You know, will everybody please stop saying that? I was just a kid when I met my first vampire, but somehow, I still managed to remember the rules.", "RILEY: You had to. It was your job.", "BUFFY: (putting on a jacket) No. No, it was common sense. But nobody expects even that much from Dawn, do they? No, she has to be protected and coddled from the big bad world, well you know what? We are doing nothing but turning her into a little idiot who is going to get us all killed. Cut back to the hallway. Dawn makes an unhappy face. Cut back to the bedroom. Xander and Riley look displeased, but they don't argue any more. Cut back to the hallway. Dawn turns and walks away. Cut back to the bedroom. Buffy sighs and speaks more quietly.", "BUFFY: She just has to be more careful. Now, I can't be there to protect her 24 hours a day. I-I just can't.", "Cut to Dawn running through the downstairs part of the house, passing by Anya in the kitchen.", "ANYA: Hey! Don't! Dawn runs out the back door and Anya follows.", "ANYA: Dawn! Dawn stops a few feet outside the door and puts her hands to her face, as if trying not to cry. Anya grabs her shoulder, startling her.", "ANYA: What do you think you're doing?", "DAWN: Leave me alone.", "ANYA: I will after you come back inside the house. (Grabs Dawn and starts shoving her back toward the door.)", "DAWN: Let go of me! (breaks free)", "ANYA: No, it's not safe out here! Dawn shrieks as Mort steps from behind a bush, wearing his vamp face.", "MORT: You got that right. He hits Anya, sending her flying back inside, where she falls on the kitchen floor unconscious. Mort grabs Dawn and passes her to the other minions, who herd her away shrieking. Mort pauses to look at Anya lying on the floor, then follows the other minions. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Xander, Riley and Buffy come down the stairs and find Anya on the kitchen floor.", "XANDER: Anya! Xander and Riley kneel to lift Anya up. Buffy goes to look out the door.", "ANYA: (half conscious) Oh, vampires took...", "RILEY: This head wound looks bad. We gotta get her to the hospital. Buffy goes to the phone.", "ANYA: (murmuring) They took her...", "XANDER: Shh, shh.", "ANYA: Dawn.", "BUFFY: Dawn? Wha-what about Dawn?", "ANYA: She ran out ... they took her ... vampires...", "BUFFY: Oh god. Oh god. Uh, take care of Anya. (Hands the phone to Riley and runs out)", "RILEY: Buffy!", "Cut to the underground lair. The minions look a little impatient.", "HARMONY: All right, once again, nice work, minionators. I'm really, really proud of you guys. (Mort comes in) Ah, Mort. I trust you made our guest ... comfortable?", "MORT: (confused) You told me to chain her to a wall.", "HARMONY: Yeah, I know, I'm being, you know, sarcastic or whatever? (Mort looks blank) Anyway... (turns back to the other minions) I'm feeling really good about this new plan, people. I think it's a winner.", "CYRUS: When do we eat the girl?", "HARMONY: We don't. Not yet.", "CYRUS: Why not?", "HARMONY: Because! That's not the plan! (sighs) Do I have to go over the plan again? We use the sister as bait. We send Buffy a note-", "PEACHES: More notes?", "HARMONY: (annoyed) We send Buffy a note, telling her that if she wants to see her sister again, she has to come alone to a place we choose. She comes, we jump her, we kill her. (Peaches nods.)", "MORT: So it doesn't really matter if we're actually holding the slayer's sister, just as long as she thinks we are. She'll walk into the trap.", "HARMONY: I guess.", "CYRUS: So it won't make any difference if we eat the girl now.", "HARMONY: We're not eating the girl.", "PEACHES: Why not?", "HARMONY: Cause! That's not the plan. All the minions look dissatisfied.", "Cut to a TV showing mostly static. Spike bangs on it and fiddles with the knobs and antenna for a while, with no results.", "SPIKE: Bollocks. Gonna have to pinch one of those satellite dishes. He looks up as the door bangs open and Buffy strides in.", "SPIKE: Well, speaking of dishes, to what do I owe this unpleasant- (Buffy hits him in the face) Ow! Bloody hell!", "BUFFY: (grabbing his shirt) I don't have time for banter, Spike. Where's Harmony's lair?", "SPIKE: Haven't seen her in months. How should I know- (Buffy hits him in the face again) Ow!", "BUFFY: Where is she?", "SPIKE: At least lay off the nose. (Buffy pulls back her fist) Okay! Okay! Used to have a cave in the north woods. About forty meters past the overpass construction site. Buffy punches him in the nose again, then lets go and turns to leave.", "SPIKE: Ow! I was telling you the truth!", "BUFFY: (leaving) I know. Spike rubs his nose and glares after her.", "Cut to the lair.", "HARMONY: They don't respect me. They pretend they do, but deep down they think I'm nothing. We see that she's talking to Dawn, who's chained to a wall with her wrists at head height.", "HARMONY: I mean, I'm the one who put this group together. Me! But they treat me like I don't even matter. Do you have any idea what that feels like?", "DAWN: A little.", "HARMONY: (whining) They have no idea how much pressure I'm under. I have to make all the hard decisions. And it's hard! Dawn gasps. Harmony turns to see Mort leading the other minions in, all wearing vamp faces.", "HARMONY: Excuse me, I didn't hear anybody knock.", "MORT: We've been talking it over, and we decided we don't like this plan.", "PEACHES: (scornfully) Except for Brad. He abstained.", "HARMONY: (angry) Oh really? You have a plan you like better?", "MORT: We're gonna feed on the girl and kill you. Dawn looks scared.", "MORT: Maybe not in that order.", "HARMONY: I don't think I like your attitude, Mort. (to the others) Kill him for me. The other minions don't move. Mort smirks.", "HARMONY: All right. You're all on my list. (Looks nervous as Mort advances toward her) Th-this isn't fair. Okay, so things haven't been perfect. I just need a little more time to grow into my leadership role.", "MORT: Time's up. He grabs her by the throat. Dawn watches fearfully as Cyrus walks toward her.", "DAWN: (nervous) Touch me and my sister's gonna kill you. Cyrus smirks and reaches out one finger. He pokes her in the shoulder and laughs. The other minions laugh too. Suddenly the point of a stake shoots through Cyrus from behind. He stops laughing and turns to dust. Mort lets go of Harmony and they both turn, as do the other minions, who are holding weapons.", "BUFFY: Can't say she didn't warn him.", "HARMONY: (to Mort) And you didn't like the plan.", "BUFFY: Dawn, close your eyes. Dawn does so.", "HARMONY: So, slayer, at last we meet.", "BUFFY: We've met, Harmony, you halfwit.", "HARMONY: I'm the halfwit? Um, excuse me, but look who's fallen into my- Peaches attacks Buffy with a large axe. She ducks his swing and stakes him. As he turns to dust, Buffy grabs the axe from him, Brad attacks, and Buffy chops off his head. Dawn scrunches her eyes together tightly.", "HARMONY: Trap.", "BUFFY: Harmony, when you tried to be head cheerleader, you were bad. When you tried to chair the homecoming committee, you were really bad. But when you try to be bad ... you *suck*. During this speech we see Mort moving around behind Buffy. Dawn opens her eyes and sees him.", "DAWN: Buffy, watch out! Buffy turns and swings the axe but Mort knocks it out of her grasp and knocks her down.", "HARMONY: Ooh, good shot, Mort, I think you got her on the- Mort glares at her. Harmony laughs nervously, turns and runs away. Mort swings at Buffy; she punches him, grabs a large stick and hits him with it. He punches her. She ducks a few more punches and lands one on him. Shot of Dawn struggling against her chains as sounds of battle continue. Buffy kicks Mort a few times, he hits her a few times and she goes down. He picks her up and throws her. She gets up and they exchange more punches and kicks. Mort grabs Buffy by the neck and lifts her off the ground. She looks around and notices a large unicorn statue nearby. She shoves Mort away, lands on the ground, grabs the unicorn and stabs him through the heart with it. He turns to dust. Buffy scowls at the unicorn, then shrugs and puts it down. Buffy strides toward Dawn, picking up the axe along the way.", "BUFFY: You are going to be in so much trouble when we get home. (Strikes at the chains with the axe)", "DAWN: Yeah, well ... I'm telling Mom you slayed in front of me.", "BUFFY: Fine. I'll just tell her that you ran out of the house in the middle of the night, (another strike at the chains) that you got Anya hurt, (another strike) invited a vampire in, (strike) got kidnapped...", "Cut to exterior shot of Joyce's house, night.", "Cut to interior of the kitchen. Buffy and Dawn enter, moving quietly, looking around guiltily. Just as Buffy closes the back door, Joyce comes in the front door.", "JOYCE: Sorry it ran so late. Everything, uh, go okay? Buffy and Dawn look at each other.", "BUFFY: Yeah. Yeah, you know ... I got the vamps and we watched some TV.", "JOYCE: (smiles) Well, I know at least one of us who's supposed to be in bed by now. Dawn obediently kisses Joyce and exits.", "JOYCE: Night.", "BUFFY: So how was the exhibit?", "JOYCE: (opening the fridge) Oh, it was fantastic. We see Dawn looking back at them as she walks toward the stairs.", "DAWN VOICEOVER: Buffy probably would've gotten in way more trouble than me anyway.", "Cut to the magic shop, day. Dawn is sitting at a table writing in her diary.", "DAWN VOICEOVER: But I guess it was pretty okay of her not to say anything to mom. Anya's gonna be okay, and Xander wasn't mad at me. So stuff mostly worked out. The camera pans over Dawn to the counter, where we see Buffy leaning against it.", "BUFFY: Giles, are you sure about this? Giles stands up behind the counter.", "GILES: Why wouldn't I be?", "BUFFY: Well, aside from the fact that most magic shop owners in Sunnydale have the life expectancy of a Spinal Tap drummer ... and, have you ever run a store before?", "GILES: I was a librarian for years. This is exactly the same, except people pay for the things they don't return. (comes out from behind counter) It'll give me focus. Increase my resources. And it'll prevent you lot from trampling all over my flat at all hours. (he and Buffy walk toward the back) There may even be some space for you to train in the back.", "BUFFY: Boy, you've really thought this through. How bored *were* you last year?", "GILES: I watched Passions with Spike. Let us never speak of it. (Exits) Buffy follows him out, laughing. A moment later she reappears in the doorway.", "BUFFY: Don't. Break. Anything. Dawn gives her an exasperated look. Buffy goes out, then comes back in again.", "BUFFY: Just don't *touch* anything. (exits)", "DAWN VOICEOVER: Not that Buffy's really changed at all. Like she ever would. Buffy reappears in the doorway.", "BUFFY: What you're doing right now, not moving? (Makes the \"okay\" sign with her fingers) Good. Keep doing that. (Exits)", "DAWN: She still thinks I'm Little Miss Nobody, just her dumb little sister. Boy, is she in for a surprise." ]

[ "Xander is split into two people by a demon, one strong, the other weak. The lame Xander is unhappy that the cool Xander lives his life better than he can, getting an apartment and a date with Anya ." ]

[ "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Dawn sitting on her bed writing in her diary.", "DAWN VOICEOVER: No one knows who I am. Not the real me. No one understands. No one has an older sister who's a slayer.", "BUFFY: I know it's always been this way. She's the baby. Shot of Dawn in the shadows.", "BUFFY: But for some reason lately, it's just really getting to me.", "RILEY: Well, yeah. You're like her idol, Buffy. Anya grabbing Dawn's shoulder.", "ANYA: What do you think you're doing?", "DAWN: Leave me alone.", "ANYA: I will after you come back inside the house. (Grabs Dawn and starts shoving her back toward the door.)", "DAWN: Let go of me! (breaks free)", "ANYA: No, it's not safe out here! Shot of vampire growling. Shot of vampire hitting Anya, who goes flying into Joyce's kitchen and collapses on the floor.", "XANDER: Anya! Xander and Riley helping Anya up.", "RILEY: This head wound looks bad. We gotta get her to the hospital. Fade in on Buffy, Riley, Xander, and Anya sitting in Xander's basement. The guys are sitting on the sofa, with the girls sitting on the floor each in front of her respective boyfriend. They're watching TV, except Buffy, who has a book in her lap and is studying it. Xander's holding the TV remote. Anya's right arm is in a sling.", "XANDER: Wish I had something food-like to offer you guys, but the hot plate's out of commission.", "ANYA: We think the cat peed on it. On the TV, one Asian guy screams, and a bunch of other Asian guys perform kung-fu on each other.", "XANDER: I do have Spaghetti-O's. Set 'em on top of the dryer and you're a fluff cycle away from lukewarm goodness. (Gestures at the dryer)", "RILEY: Hmm. Yeah, I had dryer food for lunch. Upstairs we hear a door slam.", "XANDER: (looking up) Ah, I guess the folks are back. We can hear voices yelling at each other. Xander, Anya, and Riley look uncomfortable. Buffy is oblivious.", "XANDER: No, no, I was wrong. Just incompetent burglars. More yelling from upstairs. Then there's a bang (another door slamming?). Plaster dust from the ceiling drifts down onto Anya.", "XANDER: Yeah, maybe it's definitely time to start looking for a new place. Something a little nicer. Buffy, you've been to Hell. They have one-bedrooms, right? Riley laughs, then notices Buffy isn't paying attention.", "RILEY: Hey Buffy, how's that book? Full of zippy dates and zesty names?", "BUFFY: (not listening) I'm fine. Riley leans forward, reaching his arms over Buffy's shoulders and placing his palms on the book pages.", "BUFFY: Heyyy. I'm enjoying the studying.", "RILEY: Who are you lately? Give it up and watch the movie.", "BUFFY: I guess it has been a long day with the crusades. I can take a little break from the violence for some (looks up at TV) ooh, fighting. Onscreen, the kung-fu guys argue. Their mouths move, and we hear the English that has been badly dubbed in.", "XANDER: Incompetently-dubbed kung fu. Our most valuable Chinese import.", "ANYA: Much more durable than their hot plates. Riley leans forward to rub Buffy's shoulders.", "RILEY: Just relax.", "BUFFY: Mm ... mm. That feels good. Xander looks at them, cracks his knuckles, and puts his hands on Anya's shoulders.", "ANYA: Ow! What are you doing? I have a dislocated shoulder! (Xander stops rubbing. Riley stops rubbing Buffy's shoulders too.) I'm trying to concentrate on the kicking movie.", "BUFFY: Hey! Rubbing went away. Riley starts rubbing again.", "RILEY: Oh ... sorry, I got caught up in the action. (gesturing at TV)", "BUFFY: Yeah, it's pretty good. On screen, the fighting continues.", "BUFFY: Oh, give me a break! This is all wrong. See, first you would get the big guy, with a flying kick. Then you would take out all the little ones, bam, ba- see, now with the flying kick. (scornfully) From a dead stop! What's powering it, raw enthusiasm?", "RILEY: Hey Buff, maybe you oughta leave the work behind sometimes. You're not always on slayer duty, you know?", "BUFFY: It would drive you crazy if we were watching an army movie and they were all saluting backwards and ... invading all willy-nilly. More shouting and banging from upstairs. Xander and Anya shift uncomfortably. Riley coughs.", "BUFFY: And anyway, I mean, you know, you can't blame me for being critical. Willow's the same way when we watch a, a movie about witches, right Xander?", "XANDER: (distracted by the noise from upstairs) What? Oh yeah, she's all like, \"What's that, a cauldron? Who uses a cauldron any more?\"", "Cut to a dark lair filled with steam or smoke. Cheesy dramatic music. A demon is tending to a huge cauldron full of bubbling yellow liquid. Steam rises from it. The demon pulls the hood of his cloak back, so we can see he has brownish skin with cracks through which yellowish light(?) shows. His eyes are sunken and red, and his voice is very deep.", "TOTH: The last step in thy forging is my pain ... the price with which I purchase ... the death of the slayer. He has some kind of rod or stick in his hand. He plunges it into the cauldron, along with his hand. He screams in pain. Wolf howl. Opening credits. Guest starring Michael Bailey Smith, and Kristine Sutherland as Joyce Summers. Written by Jane Espenson, directed by James A. Contner.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on a nice modern apartment building surrounded by bushes and grass. We see a \"For Rent\" sign outside.", "Cut to interior hallway.", "WILLOW: If you get the apartment, this'll be your hallway. We see Willow, Anya, Xander, Buffy, and Riley walking down the hall. Xander wears a yellow T-shirt with a brightly flowered Hawaiian shirt over it. Anya still has her arm in the sling.", "WILLOW: We'll walk down this hall, and we'll say, \"La la, I'm on my way to Xander's.\"", "BUFFY: Just warning you, Xander, I probably won't be doing that.", "RILEY: Really? I will.", "XANDER: Hey, we're just lookin'. Rent's way high, so don't get your hopes all carbonated.", "ANYA: But you have references.", "XANDER: No, I have Albert, which is me doing an important voice. (Does important voice) 'Xander Harris? An excellent tenant. And a very nice-looking fellow.' Anya opens a door and they walk into the apartment. It's large and spacious.", "WILLOW: Whoa! Big!", "BUFFY: It's nice. And not subterranean. It's very, uh, above-terranean. Xander looks less than thrilled.", "ANYA: I want it. Pay anything.", "WOMAN: (OS) Xander Harris? The real-estate manager woman enters, smiling at Riley.", "RILEY: Uh, no, Riley Finn. (shakes her hand) This is Xander. Xander wipes his hand on his shirt before holding it out.", "XANDER: Hey. He and the manager shake hands.", "MANAGER: Ah.", "XANDER: I brought my friends.", "MANAGER: I see.", "XANDER: They wouldn't always be around.", "WILLOW: But we're clean and-and quiet. Xander looks nervous. The Manager looks uncertain.", "ANYA: (Standing in the living room, gesturing around) We can have the scooby meetings in the living room, and-and Giles can explain the boring things over there.", "WILLOW: (going into kitchen) Oh, there's a microwave! It would be like having hot and cold running popcorn.", "MANAGER: Phone and electricity are hooked up. There's a private balcony, ceiling fan, closet space... (sees Xander opening a door) And that's the bedroom. Xander opens the door and finds Buffy and Riley sitting on the bed, smooching.", "XANDER: Guys, you can't save it for the bedroom? Buffy and Riley look around pointedly.", "XANDER: Okay, good point. He walks away. In the background we see Buffy and Riley getting up.", "MANAGER: I brought an application for you to fill out. (giving Xander a piece of paper)", "XANDER: An application? I can't just ... tell you my references? Because there's Albert.", "MANAGER: We run your credit check based on the application.", "XANDER: Oh! Credit check. (nervously, to the others) Little check on the credit. See how credible my checks are. (Laughs nervously. The others laugh politely.)", "MANAGER: And we'll be asking for first, last, security, and a small cleaning deposit. The total's at the bottom of the sheet there. Xander looks at the sheet. Riley, Buffy, and Willow lean in to look too. Anya comes over and glances briefly at the sheet.", "ANYA: (to Manager) He'll take it. (to Xander) Xander, go get the furniture, I'll wait here. (to Manager) He's been living in his drunken parents' basement where something urinated on the hot plate.", "XANDER: (laughs nervously) Anya, can we talk quietly over there? (to Manager) Excuse us. He pulls Anya aside, leaving the other three with the Manager. They smile nervously at her.", "RILEY: Uh, we, uh ... we like the ceiling fan.", "WILLOW: Yes. It's very, you know, kind of old south.", "BUFFY: But without the unpleasant slavery associations.", "ANYA: (OS) But why can't we have it? Cut over to Xander and Anya across the room.", "XANDER: (quietly) I told you, my construction job is ending, and I won't have any more money coming in. And by the way, you do have your own place.", "ANYA: So when I wanna visit you, I have to be in that awful basement?", "XANDER: Not forever. Just until things come together.", "ANYA: Which is when, Xander? 'Cause right now, things are looking pretty untogether, and you can't expect me just to wait around for- (Her voice rises and the others try not to notice)", "XANDER: Quiet, please. Anya, what is this? What's going on with you?", "ANYA: (loudly) What's going on with me is my arm hurts ... and I'm tired ... and I don't really feel like taking a tour of beautiful things I can't have. She stalks out. Manager looks a little suspicious. The others smile gamely.", "XANDER: (with a big fake smile) I guess I'll just start on that application. I think you'll like it. I've been told I have lovely penmanship. He takes the application, puts it on a counter and begins filling it out. Manager watches, looking skeptical.", "Cut to exterior shot of the magic shop.", "Cut to inside. Giles is surrounded by boxes, looking at one.", "GILES: (to himself) \"Miscellaneous curses.\" (laughs, picks up something unidentifiable from the box) Brilliant. Be lucky if I don't curse my hands off at the wrist. He picks up the box, turns, and is confronted by Toth.", "GILES: Oh!", "TOTH: (raising his stick) The slayer is not here. Giles grabs something out of the box and holds it up toward Toth.", "GILES: Rabbit's foot, no, wait... (Tosses it aside and looks in the box for something else. Toth brushes the box out of Giles' hands. Giles gasps and holds up a wooden statue about a foot and a half high.)", "TOTH: That is a fertility god. (Giles looks at it in dismay) Feeble man, you are not going to distract me- Giles hits him in the head with the statue. He reels backward. Giles hits him with the statue a few more times, then Toth shoves Giles, and he falls into a pile of boxes.", "TOTH: (pointing the stick at Giles) You are not the slayer. (Giles rolls over and looks up at him) You do not concern me. Toth turns and walks out, his black cape flowing behind him. Giles watches, stunned, then lets his head drop back onto the floor with a groan.", "Cut to a shot of Giles standing, holding the statue, making hitting motions.", "GILES: Like this ... and this ... and this... The camera follows him as he moves across the magic shop floor, and we see Riley, Buffy, Willow, and Xander. The girls sit on the floor with books in their laps. The guys are standing around watching Giles demonstrate what happened.", "RILEY: That thing's pretty heavy.", "WILLOW: That's Oofdar. Goddess of childbirth. She's got some nice heft to her.", "BUFFY: How badly did you hurt him?", "GILES: Well, hurt, uh ... maybe not ... hurt.", "WILLOW: Well, I-I'm sure he was startled.", "GILES: Uh, yes, yes, I'd imagine it gave him, uh, rather a turn.", "BUFFY: (grinning) He ran away, huh?", "GILES: Um, sort of more ... uh ... turned and swept out majestically, I suppose. He said I didn't concern him.", "BUFFY: So a mythic triumph over a completely indifferent foe?", "GILES: (insulted) Well, I'm not dead or unconscious, so I say bravo for me.", "WILLOW: (holding up a book) Some good demons in this one. See if your guy's in here. Giles walks over to take the book.", "XANDER: So you bought the magic shop and you were attacked before it opened. Who's up for a swingin' chorus of the \"We told you so\" symphony?", "RILEY: (hefting the Oofdar statue) Owning this place does seem kinda dangerous. (takes a few experimental swings)", "GILES: (looking up from the book) Toth.", "RILEY: What?", "BUFFY: He called you a Toth. It's a British expression. It means, like, moron.", "GILES: No, Toth is the name of the demon. (Sees Xander holding a crystal) Be careful with that. (Xander looks around at the others, puts the crystal down carefully) Ancient demon. Very strong. Last survivor of the Tothric clan. It also says that for a demon he's unusually sophisticated.", "BUFFY: Sophisticated. So I should discuss men's fashions with him before I chop his head off?", "GILES: (exasperated) They're referring to the fact that he does not fight bare-handed. He uses tools, devices. Oh, he's also supposed to be very focused. And since he mentioned the slayer, I think we know what the focus is.", "RILEY: He mentioned Buffy? Where do we find him, and how hard can I kill him?", "GILES: (consulting book) Well, there's no mention of the types of places he might frequent, but ... (closes book and stands up) I have an idea. (Walks around, talking thoughtfully) He had a very specific olfactory presence.", "XANDER: Well, I guess we're off to the olfactory. I hate that place. (Everyone rolls their eyes at him) I'm joking, I know what it means. He smelled. (uncertainly) Right?", "WILLOW: Some demon rituals involve anointing with oils. Was it sort of ... sandalwoody?", "GILES: Um ... not even remotely. But he was very, um... distinctive.", "Cut to exterior location, night. Giles, Xander, Buffy, Riley, and Willow walk along cautiously. Buffy carries a large axe.", "BUFFY: The city dump. Where smells go to relax and be themselves.", "RILEY: People say they're recycling. (shakes head) They're not recycling. (Xander pats him on the shoulder)", "WILLOW: I found a spell so you can't smell anything, but it does it by taking your nose off, so ... no. They hear noises and see someone rooting around in the trash.", "RILEY: What are *you* doing here, Spike? (We see that Riley has a crossbow) Spike straightens up, holding a mannequin arm.", "SPIKE: Oh, there's a nice lady vampire who set up a charming tea room over the next pile of crap. What do you think I'm doing? I'm scavenging, ain't I? (Holds up a small lamp in the other hand)", "WILLOW: Very pretty. Spike nods and turns to put the arm and the lamp in a shopping cart nearby.", "GILES: Spike, um ... we're looking for a demon, um... tall, robed, skin sort of hanging off. Deep voice?", "SPIKE: You mean a great tall robe-y thing like that one? (Pointing behind them) They all turn and see Toth standing there. He points his stick at them. Fire flashes out of it and they all duck just in time.", "RILEY: Take cover!", "SPIKE: Big guy! Kick her ass! Toth fires again. Buffy and Xander duck aside, and the bolt shatters Spike's lamp which he's still holding.", "SPIKE: Oh, very nice! I was on your side! (angrily tosses the pieces of lamp aside) Toth fires again.", "XANDER: Watch out! Xander thrusts Buffy behind him. The blast hits him full in the chest and he flies backward into a pile of trash. The others rush over.", "RILEY: Hey, you okay?", "XANDER: I'm okay.", "WILLOW: Buffy, he's gone.", "XANDER: I'm fine.", "RILEY: Easy, easy. Riley and Giles help Xander up. He groans.", "RILEY: He disappeared. They look around. No sign of Toth. They start to walk off.", "RILEY: That had to hurt.", "XANDER: Yeah, yeah.", "GILES: Take it slowly. They walk off. The camera pans slowly back across the piles of trash. Among the bags, we see another Xander, lying apparently unconscious. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "NOTE: from this point on the two Xanders are referred to herein as \"ScruffyXander\" and \"SuaveXander.\"", "Fade in on the city dump, day. The camera pans across mounds of trash to where ScruffyXander is lying, yawning and beginning to wake up. Eyes closed, he makes a disgusted face.", "ScruffyXANDER: Anya ... you trying to use the hot plate again? Slowly he opens his eyes, looks around. We can hear flies buzzing.", "ScruffyXANDER: Uh-oh. He gets up and walks off.", "Cut to ScruffyXander walking around the corner of his parents' house, looking confused and disheveled. He goes down the outer stairs to his basement door, tries to open it but it's locked. He knocks.", "ScruffyXANDER: Anya? An? He knocks some more, then kicks the door, hurting his foot, and hops around in pain. He limps up the stairs and goes to the nearest window. It's ground-level. He lies on the ground, wipes dirt off the window, and peers in. Long shot of a person wearing khaki pants but no shirt, combing his hair in front of the mirror inside Xander's room.", "ScruffyXANDER: (peering in window) Oh my god! Closer shot of the person inside as he turns away from the window. It looks just like Xander.", "ScruffyXANDER: (OS) What? No way! Who is ... me? We see SuaveXander putting on a blue button-down shirt. His hair is neatly combed and appears to be wet. Cut back to outside.", "ScruffyXANDER: What am I doing in there? Buffy. Need Buffy. He gets up, trips over his own feet and falls over.", "Cut to ScruffyXander standing at a pay phone with the receiver tucked under his ear as he digs in his pockets.", "ScruffyXANDER: (into phone) No, it ate my quarter. Uh-huh. But see, I'm sort of having this aggressively bad day. (pulls quarter out of pocket) Ooh! I found a quarter! I found a quarter! ... Well, ma'am, for me it *is* worth getting excited about. He hangs up, puts the quarter in, and dials.", "ScruffyXANDER: Come on, Buffy. He turns and sees SuaveXander walking toward him, looking very tidy and confident. ScruffyXander quickly turns away and hides his face with one hand, then watches as SuaveXander walks past him.", "BUFFY: (on phone) Hello? ScruffyXander dithers for a moment, then hangs up and goes after SuaveXander.", "Cut to Buffy holding the phone to her ear.", "BUFFY: They hung up. She hangs up and picks up an axe. We see that she's in her bedroom at Joyce's place. Riley sits on the bed. Buffy moves toward the bed, where she puts the axe in a bag with some other weapons.", "BUFFY: Well, if this guy wants to fight with weapons, I've got it covered from A to Z. From axe to ... zee other axe. (Riley looks tense. She walks over to him.) Relax. Another day, another demon.", "RILEY: Right. It'll be good.", "BUFFY: Hey. She leans down to kiss him. The kiss goes on, and then we hear choking, gagging noises. Shot of Dawn in the doorway, pretending to gag. Buffy and Riley stop smooching, look annoyed.", "DAWN: My friend Sharon's older brother knows a girl who died because she choked on her boyfriend's tongue.", "BUFFY: (annoyed) Go away, Dawn. (Riley looks amused)", "DAWN: I'm not in your room. I'm in the hallway. The hallway doesn't belong to you. We see Joyce coming out of the room across the hall.", "BUFFY: (moving toward the door) Get *out* of here.", "DAWN: Mom, I can stand in the hallway, right?", "BUFFY: She's watching us like a big freak!", "JOYCE: (sighs, puts hand to her forehead) This must be my \"two teenage girls in the house\" headache. I thought it felt familiar.", "BUFFY: Good work, Dawn. You gave her a headache.", "DAWN: I did not! (to Joyce) Did I give you a headache, Mom? I'm sure part of it is Buffy's.", "BUFFY: But part of it is Dawn's.", "JOYCE: It's so nice you've learned to share. You girls, sort this out yourselves. It's good for you. (Exits. Buffy looks annoyed.)", "DAWN: (smiling smugly) She didn't say I couldn't stand here.", "BUFFY: (smiling smugly) Hmm. Buffy shuts the door in Dawn's face.", "DAWN: (OS) Ow!", "Cut to Spike in his crypt, arranging a mannequin. As the camera moves out we can see that the mannequin is from the waist up only (no legs). Spike arranges its clothing, then turns away and takes a long blonde wig from his shopping cart and carefully places it on the dummy's head. He smiles slightly.", "SPIKE: Very posh. He turns away as if to get something else, but suddenly whirls and aims a kick at the mannequin. It falls over and its head comes off, bouncing on the floor. Spike kicks it into the air and catches it. The wig is still on. Spike holds the head up and gazes at it.", "SPIKE: Oh, slayer. (Rubs his thumb along its cheek) One of these days...", "Cut to exterior shot of a construction site, day. Various men and machines are working. SuaveXander walks through the scenery, approaches a rack where a bunch of hard-hats are hanging. He picks up the one marked \"Harris\" and puts it on. He walks off.", "Cut to SuaveXander wearing the hard hat, gloves, and safety goggles, using some kind of noisy power tool on a piece of wood. A guy walks up behind him. It's his boss.", "BOSS: Hey Harris! (No reaction. Boss yells louder.) Harris!", "SuaveXANDER: (turns off tool) Harris, right. Yeah.", "BOSS: In my trailer, okay? I'm talking to all the guys today. The job's winding down.", "SuaveXANDER: Right, I'll ... be right there. Boss walks off as SuaveXander puts down the tool. Shot of ScruffyXander hiding behind a Porta-Potty, watching. He's still wearing the yellow t-shirt and flowered shirt over it, now looking extremely dirty. His hair is disheveled. Shot of SuaveXander walking toward boss's trailer.", "ScruffyXANDER: (muttering) Welcome to payback, mister evil-plan-face-stealer. You take my life, you get my being fired absolutely free. We see SuaveXander walking across the site, smoothly ducking underneath a big pipe being carried by two other guys. The door of the Porta-Potty opens and smacks ScruffyXander in the face. A hard-hatted guy, exiting the Porta-Potty, looks at ScruffyXander as he puts a hand to his face.", "GUY: Harris. Where's your hard hat? ScruffyXander makes a face and walks off.", "Cut to interior of boss's trailer.", "BOSS: Sit down. SuaveXander does so, putting his hard hat on the desk. Shot of ScruffyXander outside, walking up to the trailer, trying to look through the window but it's too high. Cut back inside.", "BOSS: How long you work here, Harris? We see that SuaveXander has something shiny in his hand, about the size and shape of a US quarter. He's turning it around in his fingers.", "SuaveXANDER: Huh? I'm not sure.", "BOSS: About three months?", "SuaveXANDER: I guess, yeah. Cut back outside. ScruffyXander is trying to make a table to stand on, by pulling together some random pieces of wood that were lying around. He climbs up on it and peers in the window. We see the boss and SuaveXander from ScruffyXander's perspective.", "BOSS: (OS) And you haven't done much construction work before this, is that right?", "ScruffyXANDER: I knew they were gonna notice that.", "BOSS: I have to tell you, that's surprising ... 'cause your work here has been first-rate. Yeah, we have another job lined up in Carlton when you're finished here. Cut back inside. We see that the shiny thing in SuaveXander's hand is reflecting the light onto the boss's face and chest.", "BOSS: You ever think about staying on full-time? Cut back outside.", "ScruffyXANDER: What? Why isn't he firing me? ... Him? Cut back inside.", "BOSS: I was thinking that I'd have you head up our interior carpentry crew ... (Closeup of the shiny thing in SuaveXander's hand, reflecting the light.) ...see how it goes. It's more responsibility, but the pay is better.", "SuaveXANDER: (enthusiastically) That would be *great*.", "Cut to outside.", "ScruffyXANDER: Promotion? But I ... I mean, he didn't ... Doesn't he see the shiny thing? (Gestures angrily at the window. This causes him to lose his balance and fall off his perch.) Cut back inside. The boss shakes SuaveXander's hand.", "BOSS: Congratulations, Harris. You and your girl should go out and celebrate.", "SuaveXANDER: I already have an idea how.", "Cut to exterior of the apartment building, night. The For Rent sign is gone.", "Cut to interior of the apartment. SuaveXander is filling out forms while the manager lady watches. He's still wearing the khaki pants and blue shirt, but now with a brown suit jacket over it.", "MANAGER: I was going to call you, Mr. Harris, let you know your credit checked out fine, but ... I really didn't think you'd be back.", "Cut to the hallway. ScruffyXander is listening in, crouching on the floor.", "ScruffyXANDER: \"Mister Harris.\" Yeah, right.", "MANAGER: I'm sure you'll like the building... Cut back to inside the apartment.", "MANAGER: (smiling) ...I think someone said you're currently in your parents' basement?", "SuaveXANDER: Right. There comes a point where you either have to move on, or just buy yourself a Klingon costume and ... go with it. Manager laughs a little more than necessary.", "MANAGER: Well ... (picking up documents) I hope you'll be happy here, Mr. Harris. We're certainly happy to have you.", "SuaveXANDER: Thank you. (We see that he's doing the trick with the shiny thing again.)", "MANAGER: And if you ... need anything ... day, or night ... please. Call me. SuaveXander grins.", "MANAGER: I, um ... I'm leaving my home number here...", "Cut to hallway.", "ScruffyXANDER: She's coming on to him ... me! Cut back to inside apartment.", "MANAGER: Call me. (hands SuaveXander her card) Even for, you know ... non-business stuff. Maybe we could, uh, do something?", "Cut to hallway.", "ScruffyXANDER: Please, lady, that is so not me. He's too clean for one thing. And his socks are all matchy. He leaps aside as the door opens. He rushes to hide around the corner.", "MANAGER: (in doorway) Remember ... any time. She closes the door and walks off. Cut back to inside apartment. SuaveXander is dialing the phone.", "SuaveXANDER: Anya, you there? ... Look, I know you're still mad, but ... I figure you're probably sitting there pretending you're not home but listening anyway.", "Cut to Anya's apartment. She's standing there in a bathrobe, still with arm in sling, listening to SuaveXander on the answering machine.", "ANYA: Am not. Cut back to Xander's apartment.", "SuaveXANDER: Look, I have something to show you. Meet me at the apartment. Cut back to Anya's.", "SuaveXANDER: (on machine) You know the one. Nine o'clock. (Beep) Anya looks conflicted. Cut back to hallway outside Xander's apartment. The door opens and SuaveXander comes out. He closes the door, locks it with the key. ScruffyXander comes out from around the corner and leaps on SuaveXander's back, yelling.", "ScruffyXANDER: Yaah! SuaveXander throws him off and ScruffyXander falls down. He gets up and they stare at each other. SuaveXander punches ScruffyXander in the face. He goes down again, clutching his nose.", "ScruffyXANDER: I won't let you do this!", "NEIGHBOR WOMAN: (OS) What's going on down there?", "ScruffyXANDER: You can't do this to me! SuaveXander turns and runs off. ScruffyXander groans and clutches his face.", "ScruffyXANDER: Oh, man, I need Buffy.", "Cut to shot of Sunnydale, night, with rain pouring down. Cut to exterior of Giles' apartment (courtyard). ScruffyXander runs across the courtyard, soaking wet.", "SuaveXANDER: (OS) No, no. He looked *exactly* like me. ScruffyXander goes to the window and sees SuaveXander talking to Riley, Buffy, and Giles.", "SuaveXANDER: It stole my face. We have to find it, and we have to kill it. ScruffyXander turns away.", "ScruffyXANDER: She sees it's not me. Please, Buffy ... resist his spell. Do this for me. He turns to look in the window again.", "BUFFY: (to SuaveXander) Don't worry, Xander. Whatever stole your face, it has to deal with the slayer now. ScruffyXander stares through the window in alarm. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Exterior shot of a UC Sunnydale dorm building, still night, still raining. Cut to inside Willow's bedroom. She enters, carrying some books. A moment later the door bursts open and ScruffyXander comes in, thoroughly drenched.", "ScruffyXANDER: Don't be scared, Will. Just listen. It's me, Xander. Willow puts her books on the bed, looking confused.", "ScruffyXANDER: And I can prove it.", "WILLOW: Um ... okay. (Sits on the bed)", "ScruffyXANDER: Let's see. (paces) Stuff only you and me know. Okay! On my seventh birthday ... I wanted a toy fire truck, and I didn't get it, and you were real nice about it, and then the house next door burnt down, and then real fire trucks came, and for years I thought you set the fire for me. And if you did, you can tell me. (grins nervously. Willow doesn't respond. He paces more.) For a while last year, I thought I was lactose-intolerant, but it was just some bad Brie. Oh! (points at Willow) Every Christmas, we watch Charlie Brown together, and I do the Snoopy dance. He begins to do the Snoopy dance, wearing a big grin. Willow watches for a moment and then gets up.", "WILLOW: (smiling) Xander ... stop dancing.", "ScruffyXANDER: Aha! You called me Xander!", "WILLOW: Xander, shut up! Why wouldn't I think you were Xander?", "ScruffyXANDER: Oh. Huh.", "WILLOW: What's goin' on?", "ScruffyXANDER: (sighs) Okay. I woke up in the dump this morning.", "WILLOW: Xander, the basement isn't a dump. It, it's more like a really nice hovel.", "ScruffyXANDER: No. The dump. The city dump. I got hit last night, fall down boom, woke up this morning.", "WILLOW: Nuh uh! We walked you home last night, remember? (Sits down on bed again)", "ScruffyXANDER: You walked? Will. Did I do anything weird? Did I wave any shiny things around?", "WILLOW: Shiny things, what are you talking about?", "ScruffyXANDER: Last night, that wasn't me. There's a double out there. Some ... thing has stolen my face, and it's going around pretending to be me, and it's hypnotizing people. It even got to Buffy and Giles and Riley. It's over there right now and they have no idea.", "Cut to Giles' apartment.", "GILES: What's intriguing me is that there are any number of demons with the ability to mimic a simple form, but, uh ... this sounds like more than that.", "SuaveXANDER: Hold up. Do we really have to figure out what it is? Let's just go kill it.", "RILEY: Yeah. When the imposter's killed, the body'll probably turn back into whatever it really is, and then we'll know.", "BUFFY: Toth! They all look at her.", "BUFFY: The demon with the creepy stick thing.", "SuaveXANDER: (thoughtfully) Toth.", "BUFFY: It's gotta be! He hit Xander with that blast, and somehow it allowed him to take Xander's form. Couldn't that be what the creepy stick thing did?", "GILES: Yes ... I suppose, yes, yes, it makes sense. A shape-shifting device. (Moves offscreen toward his bookshelves)", "SuaveXANDER: It does make sense. It must be Toth. Cut back to Willow's room. Willow and ScruffyXander are sitting side-by-side on the bed. He's wringing out his wet clothing.", "ScruffyXANDER: (angrily) It's a robot. It's an evil robot constructed from evil parts that look like me designed to do evil.", "WILLOW: Uh huh. Or it's Toth.", "ScruffyXANDER: (still angrily) Or, it's Toth. Cut back to Giles'.", "BUFFY: I was gonna look for Toth anyway. Guess now I start ... looking for you.", "SuaveXANDER: Should I go with you? I ... told Anya to meet me at my new place. I'd feel a whole lot better knowing she's safe from this creep. Buffy nods.", "BUFFY: Go be with her. I, I mean, if you were out there looking for the double too ... (looks at Riley, then back at SuaveXander) let's just say that I wouldn't wanna run into you and kill the wrong one.", "SuaveXANDER: Good thinking. When you kill this thing, you better make sure you got the one's who's actually- Cut back to Willow's.", "ScruffyXANDER: A demon. A demon has taken my life from me, and he's living it better than I do. He's now standing and has his Hawaiian shirt in his hands. He gives it a shake to remove the water. Willow is still sitting on the bed, and winces as the water sprays her.", "WILLOW: Well, we're working on it. There has to be a way to get to Buffy to ... unhypnotize her. I'll find a spell to snap her out of it. (Stands up and goes to her bookcase)", "ScruffyXANDER: (sourly) Right. Whatever.", "WILLOW: (turns back to him) Xander, you sound a little ... you have to help me figure this out, you know.", "ScruffyXANDER: But I never help. I get in trouble and Buffy saves me.", "WILLOW: That's not true! Sometimes we all helped save you. (realizes that was unhelpful) And sometimes you're not in trouble. They both sit on the bed again.", "ScruffyXANDER: I'm just ... another great humiliation. (Willow looks sympathetic) But this time it's even worse. This demon, he's like taking my life, and everyone's treating him ... Everyone's treating him like a grown-up! Will, I'm starting to feel like...", "WILLOW: Like what?", "ScruffyXANDER: Like ... he's doing everything better. He's smarter, and ... (shakes head) I don't know, maybe I should just let him have it. Take my life, please.", "WILLOW: Xander, no! (Puts hand on his shoulder) You're just tired, and ... and all soggy. That's why it seems so hard, but you can't let him just take your whole existence.", "ScruffyXANDER: Why not? It's not like I was doing anything so great with it. When I get to the pearly gates I'm sure the guy is not gonna go, \"Hey, what a kick-ass comic book collection, come on in!\" (Willow still looking sympathetic) No, what have I got that's even worth- (eyes widen) Anya!", "WILLOW: You think he's after her?", "ScruffyXANDER: She won't know. He can just ... no. No way! (Jumps up) No way. He can take anything, but he can't have her. I need her.", "WILLOW: (half disgusted, half smiling) Really?", "ScruffyXANDER: (desperately) He could be with her right now! Figure out a spell, something ... revealy. I gotta find her. (Turns to leave)", "WILLOW: Xander... (He turns back) You already knew he was taking over your life, and ... you didn't think about Anya till just now?", "ScruffyXANDER: Hey, wait till you have an evil twin. See how you handle it. (Exits)", "WILLOW: (pouts) I handled it fine.", "Cut to Anya's apartment. ScruffyXander bursts in.", "ScruffyXANDER: Anya? An? He looks around. No one there. He notices the answering machine blinking and pushes the button.", "SuaveXANDER: (on machine) Meet me at the apartment. You know the one. 9:00. ScruffyXander looks around, runs to a bureau, starts rummaging through the drawers.", "ScruffyXANDER: It's gotta be here. Where is it?", "Cut to Xander's apartment. SuaveXander is getting together a bottle of wine and two glasses. Anya stands in the living room, on a blanket that's spread on the floor. A picnic basket is at her feet.", "ANYA: You're lying. It's a trick.", "SuaveXANDER: No. Trust me. He walks over with the wine and puts it on the floor next to the basket.", "ANYA: You really got this apartment?", "SuaveXANDER: I really did. And do you know why? Anya looks around.", "ANYA: The ceiling fans? Very attractive.", "SuaveXANDER: No. It's because I knew you wanted it. It's all for you. She moves closer to him and they kiss.", "SuaveXANDER: Anya, you didn't see me today, did you? I mean, we didn't talk?", "ANYA: What do you mean? I just got your phone message, that's all.", "SuaveXANDER: Good. They kiss some more, kneel and then sit on the blanket.", "ANYA: So... what happens next?", "SuaveXANDER: Well, at some point we take off our clothes.", "ANYA: I mean what happens next in our lives? When do we get a car?", "SuaveXANDER: (confused) A car?", "ANYA: And a boat. No, wait, I - I don't mean a boat. I mean a puppy. Or a child. I have a list somewhere.", "SuaveXANDER: What are you talking about?", "ANYA: Just ... we have to get going. I don't have time just to let these things happen.", "SuaveXANDER: There's no hurry.", "ANYA: Yes there is. There's a hurry, Xander. I'm dying. SuaveXander looks shocked.", "ANYA: I may have as few as fifty years left.", "SuaveXANDER: Fifty years? What is thi- Oh, wait a minute. This is about this. (Touching her arm sling)", "ANYA: What about the sling?", "SuaveXANDER: You haven't been hurt like this since you became human. (She nods reluctantly) Maybe it's finally hitting you what being human means.", "ANYA: (pouting) No, that's not it.", "SuaveXANDER: Yes, I think it is. You were gonna live for thousands of years. (Anya nods) And now you're gonna age and die. That must be terrifying.", "ANYA: You don't understand what it's like.", "SuaveXANDER: Being suddenly human? I think I can get what that would be like. And we can get through it together.", "ANYA: You can't make it any different. I'm going to get old. And ... you can't promise you'll be with me when I'm ... wrinkly and my teeth are artificial and stuck into my wrinkly mouth with an adhesive.", "SuaveXANDER: No, I can't promise that. But it doesn't sound terrible. And that's saying something. (Anya looks somewhat comforted) I promise you, Anya. Very soon you won't be thinking about getting older. They smooch. Suddenly the door bursts open and ScruffyXander rushes in. SuaveXander and Anya look up.", "ScruffyXANDER: Get away from her!", "ANYA: Xander! Anya and SuaveXander stand up.", "ANYA: (to SuaveXander) Xander!", "SuaveXANDER: (to ScruffyXander) Get out. You don't belong here.", "ScruffyXANDER: Anya. It's me. Anya looks in confusion from one to the other. She starts to walk toward ScruffyXander but SuaveXander stops her.", "SuaveXANDER: It's a demon. He stole my face, he's trying to trick you. Anya looks from one to the other, very confused.", "SuaveXANDER: Anya, you know I'm me, right?", "ScruffyXANDER: No! Anya looks at ScruffyXander again and moves closed to SuaveXander.", "ANYA: What is it? Make it go away.", "Cut to Giles'. Riley is looking at a map. We see Giles in the background looking at books.", "RILEY: So you're thinking we split up?", "BUFFY: Yeah, you check the places where he might try and go and blend in as Xander. I'll check the places where Toth might hang out. The door bursts open and Willow enters.", "GILES: I swear, this time I *know* I had that locked.", "WILLOW: Buffy, Toth looks like Xander.", "RILEY: We already know. We're on our way.", "BUFFY: Wait a second, how did you know about this?", "WILLOW: He came to me. I-I mean Xander did. And he's in terrible shape, we need to help him. Shot of Giles reading a book, not listening to them.", "RILEY: He came to us too.", "WILLOW: No. We each had a Xander. I mean ... you didn't have a Xander, you had a, a demon in a Xander suit.", "BUFFY: What makes you so sure that yours is the right one?", "WILLOW: He knew stuff! He, he did the Snoopy dance. (Another shot of Giles reading) Buffy, it was Xander, and he needs us.", "GILES: Oh, dear lord.", "RILEY: Buffy, our Xander, did he seem a little-", "BUFFY: He seemed kind of forceful and confident.", "WILLOW: That's not Xander.", "GILES: I said, \"Oh, dear lord.\"", "BUFFY: You always say that.", "GILES: Well, it's always important! (coming forward to join them, carrying book) Neither Xander is a demon.", "WILLOW: Um ... is one of them a robot?", "GILES: What? No. Um, uh, the rod device, it's called a ferula-gemina. It splits one person in half, distilling personality traits into two separate bodies. As near as I can tell, Toth was attempting to split the slayer into two different entities. (Hands the book to Willow)", "BUFFY: Two Buffys?", "GILES: Yes. One with all the qualities inherent in Buffy Summers, and the other one with everything that belongs to the slayer alone ... the, uh, the-the strength, the, uh, speed, the heritage. And when it hit Xander, I think it separated him into his strongest points and his (grimaces) weakest.", "RILEY: But which one's the real one?", "GILES: They're both real. They're both Xander. Neither one of them is evil. There's nothing in either of them that our Xander doesn't already possess.", "RILEY: I still don't get the original plan. I mean, why do it? The slayer half would be like slayer concentrate, pretty unkillable.", "GILES: But the two halves can't exist without each other. Kill the weaker Buffy half, and the slayer half dies.", "BUFFY: So the same goes for the Xanders. We lose one, we lose them both. Cut back to Xander's apartment.", "ScruffyXANDER: He's the demon! (Anya looks uncertainly at SuaveXander) Or possibly a robot. Look at me. Look in my eyes. Can't you see it's me? Anya looks from one to the other, still completely confused.", "ANYA: I, I don't know!", "ScruffyXANDER: (desperately) Please! Look at him! Listen to him! He's all smooth! You have to know it's me!", "SuaveXANDER: Don't worry, Anya. I'll get rid of this thing. I'm thinkin' this is gonna last about fifteen seconds. (Walks slowly toward ScruffyXander) ScruffyXander reaches inside his clothing and pulls out a gun. He points it at SuaveXander.", "ScruffyXANDER: I'm thinkin' less. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade back in on the standoff. ScruffyXander points the gun at SuaveXander, with Anya behind. Suddenly Anya rushes forward.", "ANYA: No! Don't shoot him! She pushes the gun so it points at the ceiling. SuaveXander comes forward and grabs ScruffyXander's hands and they all three grapple for the gun.", "Cut to exterior shot of a car zooming down the streets. Cut to interior of car with Riley driving and Buffy in the passenger seat.", "BUFFY: Can't this thing go any faster? Ultimate driving machine, my ass.", "RILEY: We're pushing 70. Pause. Buffy looks meditative.", "BUFFY: Riley, do you wish-", "RILEY: No.", "BUFFY: No? You don't even know what I was gonna say.", "RILEY: Yes, I do. You wanted to know if I wished you got hit by the ferula-gemina, got split in two.", "BUFFY: Well, you have been kind of rankly about the whole slayer gig. Instead of having slayer Buffy, you could have Buffy Buffy.", "RILEY: Hey. I *have* Buffy Buffy. Being the slayer's part of who you are. You keep thinking I don't get that, but...", "BUFFY: It's just ... I know how ... un-fun it can be. The bad hours, frequent bruising, cranky monsters...", "RILEY: Buffy... if you led a perfectly normal life, you wouldn't be half as crazy as you are. I gotta have that. I gotta have it all. I'm talkin' toes, elbows, the whole bad-ice-skating-movie obsession, everything. There's no part of you I'm not in love with. Buffy looks up at him. He glances at her. She smiles a little, then looks out her window.", "BUFFY: We better get there soon. If Xander kills himself, he's dead. (frowns) You know what I mean. Riley nods. Shot of the car zooming along. Cut back to the apartment. The Xanders and Anya are still wrestling over the gun.", "ScruffyXANDER: Let go! I have to kill the demon-bot! The gun falls to the floor. SuaveXander grabs it.", "SuaveXANDER: Anya ... get out of the way. Anya is standing in front of ScruffyXander. Buffy and Riley rush in.", "BUFFY: Xander! Riley closes the door.", "SuaveXANDER: (smiling) All right, Buffy. I have him.", "ScruffyXANDER: No! Buffy! I'm me! Help me!", "ANYA: My gun! He's got my gun! (Pointing to the gun in SuaveXander's hand)", "RILEY: You own a gun?", "BUFFY: Xander ... gun-holding Xander. (Walks quickly over to SuaveXander) Give me the gun. Both Xanders stare. Finally SuaveXander holds the gun up and gives it a quick twist with one hand so that the bullets fall out onto the floor. He flips it shut and hands it to Buffy, who looks impressed.", "ANYA: Buffy, which one's real? Buffy hands the gun to Riley.", "ScruffyXANDER: I am.", "SuaveXANDER: No, I am. They try to attack each other but Buffy steps between them. She flings ScruffyXander across the room; he lands against the kitchen counter.", "SuaveXANDER: Thank you. Buffy grabs him and shoves him over next to ScruffyXander.", "SuaveXANDER: Ow! Anya, Riley, and Buffy come up to examine the two Xanders side-by-side.", "RILEY: Wild.", "BUFFY: Yeah. Okay, Xander ... Xa ... (sighs) You've been split in two. But you're both Xander. And you *can't* kill each other. Um, well, you could, but it would be really bad. The Xanders look at each other.", "SuaveXANDER: No way.", "ScruffyXANDER: He can't be me. He's all ... fancy.", "RILEY: We can prove that you're both Xander.", "BUFFY: Yeah! (to Riley) How?", "RILEY: Um...", "BUFFY: Um...", "RILEY: Well, there has to be a way.", "BUFFY: Ooh! What number am I thinking of?", "RILEY: I don't think that's gonna do it.", "XANDERS: (in unison) Eleven and a half.", "BUFFY: Wrong. Oh! But see? The Xanders frown.", "ScruffyXANDER: No. We're not the same. We're all different.", "RILEY: Different properties went into each of you, but you're both Xander.", "ANYA: Different properties?", "ScruffyXANDER: What different properties?", "BUFFY: Uh, uh, you know, uh, sense of direction. Good night vision, stuff like that.", "ScruffyXANDER: Oh, but he has a thingie! In his pocket! (pointing to SuaveXander's pocket) A shiny disk that stuns and disorients!", "SuaveXANDER: (reaching in pocket, taking out the thing) What disk?", "ScruffyXANDER: Cover your eyes! (covering eyes with hands)", "SuaveXANDER: This?", "ScruffyXANDER: It'll melt your brain! Buffy takes the thing from SuaveXander. Anya and Riley lean in to see.", "BUFFY: (to ScruffyXander) Look.", "SuaveXANDER: (tolerantly) It's a nickel someone flattened on the railroad track. I found it on the construction site and I thought it was cool. It's not magic. ScruffyXander uncovers his eyes to take the thing from Buffy.", "ScruffyXANDER: No, I ... huh. It *is* kinda cool. (SuaveXander nods tolerantly)Washington's still there, but he's all smushy. (looks more closely) And he may be Jefferson.", "ANYA: Okay, isn't anyone gonna tell me why there are two Xanders?", "BUFFY: I will on the way to Giles'. Let's go. They all turn to leave just as the door is smashed in. ScruffyXander and Anya hide behind SuaveXander, grabbing his shoulders. Toth strides in.", "BUFFY: Oh great. Rod boy.", "TOTH: I will not miss again, slayer.", "ScruffyXANDER: (standing behind SuaveXander, clutching him around the shoulders) The gun! Pick up the little gun pieces! Toth raises his rod. Buffy and Riley dive away in opposite directions. Toth fires at Buffy and misses, tearing a big hole in the floor.", "SuaveXANDER: Hey, I just made a small cleaning deposit! Riley jumps on Toth from behind, making him drop the rod. He throws Riley off. Riley punches him a few times, then Toth head-butts him and flings him aside. Buffy comes up and kicks Toth a few times, punches him a few times, then he picks her up and body-slams her. She kicks up as he approaches, catching him on the chin. She gets up, lands a few more kicks and punches, and Toth goes down.", "BUFFY: Sword! Riley grabs the sword from the bag of weapons and throws it to her. She catches it and stabs Toth. He screams and dies. Buffy stands up, panting. Anya and ScruffyXander let go of SuaveXander. They all cluster around the corpse.", "SuaveXANDER: Oh, yeah. That cleaning deposit's gone.", "ScruffyXANDER: (gasps) I was thinking the same thing! Hey, do you suppose we're both Xander? SuaveXander gives him a big grin. Anya stares at them.", "Cut to a shot of the two Xanders side-by-side. Now they're dressed the same, both in yellow T-shirts and identical Hawaiian shirts, but ScruffyXander's shirt is all dirty whereas SuaveXander's is clean, and ScruffyXander's hair is much messier.", "ScruffyXANDER: Look and admire, ladies. We see that they're in the magic shop. Willow, Buffy and Anya are in a row staring at the Xanders, fascinated. In the background we see Riley watching, and Giles on the floor making markings with chalk.", "BUFFY: (looking closely) Look, there's a scar there, (pointing at ScruffyXander's forehead) and there's the same one right there. (pointing at SuaveXander's forehead)", "WILLOW: It's all double. (pointing) This zit, and this ... kinda funny dippy thing. A-and this weird little hair that grows in the wrong way (pointing to ScruffyXander's nose)", "ScruffyXANDER: Okay! Back off, ladies.", "RILEY: Psychologically, this is fascinating. Doesn't it make everyone wanna lock them in separate rooms and do experiments on them? Everyone gives him an odd look.", "RILEY: Just me, then.", "ANYA: So ... you Xanders really do have all the same memories, all the same ... (looking downward) physical attributes? (Laughs suggestively)", "SuaveXANDER: We're completely identical.", "ScruffyXANDER: Yeah, we checked out some stuff in the car on the way over. (Anya frowns in puzzlement) Fingerprints!", "ANYA: (turning to the others) Well, maybe we shouldn't do this reintegration thing right away. See, I can take the boys home, and ... we can all have s*x together, and ... you know, just slap 'em back together in the morning. Giles tries not to look appalled. Buffy and Riley grin.", "SuaveXANDER: She's joking.", "ScruffyXANDER: No she's not! She entirely wants to have s*x with us together. Which is ... *wrong*, and, and it would be very confusing.", "GILES: (getting up from the floor) Uh, uh, we just need to light the candles. Also, we should continue to pretend we heard none of the disturbing s*x talk.", "WILLOW: Check. Candles and pretense. Everyone moves around getting stuff ready, except the Xanders.", "ANYA: It's not like it'd be cheating. They're both Xander.", "ScruffyXANDER: Now, hold on a sec. If you weren't putting a whammy on people with the shiny thing, how'd you do it? How'd you get the promotion?", "SuaveXANDER: Well, I'm good at that stuff.", "ScruffyXANDER: I am?", "SuaveXANDER: Yeah.", "ScruffyXANDER: And hey, how 'bout that lady, huh? The apartment manager.", "SuaveXANDER: How weird was it when she called me \"mister\"? The Xanders grin goofily at each other.", "WILLOW: We're ready. We should do it now. (The Xanders turn their grins toward her)", "ANYA: What'll we do if this doesn't work?", "XANDERS: (unison) Kill us both, Spock! (They look at each other and laugh delightedly.)", "BUFFY: They're ... kinda the same now.", "GILES: Yes, he's clearly a bad influence on himself.", "ScruffyXANDER: Hey, summon the goddess. Chant the chant. Let's do it.", "WILLOW: Actually, it's not that hard. Your natural state is to be together. Toth's spell is doing all the work of keeping you apart. I just have to break it. So you two ... (takes them both and positions them inside the chalk markings) stand right here. Side by side. We don't want you to end up with two fronts, now do we?", "ScruffyXANDER: Are you sure you know how to do this?", "WILLOW: (exhales) Here we go. Brace yourselves. The two Xanders close their eyes and prepare.", "WILLOW: Let the spell be ended. Closeup of a single Xander, still with eyes closed.", "XANDER: You gotta be kidding. \"Let the spell be ended,\" that's not gonna work. He opens his eyes and sees there's only one of him.", "XANDER: Oh! Willow smiles proudly.", "ANYA: I liked it the other way. Put him back. Shot of Buffy raising her eyebrows.", "Cut to interior of Xander's basement. Xander and Riley are carrying boxes out. Anya is sitting on a stool reading a magazine. Riley and Xander put the boxes by the door, and Xander pauses to look around.", "RILEY: Getting nostalgic?", "XANDER: I don't know. At first it's just a place, then you start to make memories, and ... then you're like, (pointing) that's where Spike slept, and (pointing) there, that's where Anya and I drowned the separvo demon. Oh! (points) and, and right there, that's where I got my heart all ripped out. (shakes head) I really hate this place. He and Riley turn to pick up the boxes as Buffy walks by. She goes to pick up another box, passing Anya.", "BUFFY: Anya. I see you've joined the non-sling-wearing crowd.", "ANYA: (smiling) Yes, I'm feeling better. And I anticipate many years before my death. Excepting disease or airbag failure.", "BUFFY: That sounds nice. (Walks off carrying box) Xander walks up to Anya, carrying another box.", "ANYA: Ooh! (tosses magazine aside) Presents?", "XANDER: Not unless you want my collection of Babylon 5 commemorative plates. Which you cannot have. I just thought you could help carry a little.", "ANYA: Me? (pouts) Buffy has super strength. Why don't we just load her up like one of those little horses?", "XANDER: Anya. Please.", "ANYA: (getting off stool) Fine. I'm just your slave. (Takes box and goes out) Xander watches her go. Riley watches too, while packing a box.", "XANDER: How is it that she can always make me feel SuaveXander's left the building?", "RILEY: You two have your friction, but ... she digs the whole package. It's obvious.", "XANDER: Still, I do envy you sometimes. (Riley looks up at him) I mean for the sanity. Not that I'm still into Buffy. (quickly) Not that I ever was.", "RILEY: (grinning) Hey, I'm well aware of how lucky I am. Like, lottery lucky. Buffy's like nobody else in the world. When I'm with her it's like ... it's like I'm split in two. Half of me is just ... on fire, going crazy if I'm not touching her. The other half ... is so still and peaceful ... just perfectly content. Just knows: this is the one. (Smiles a little, continues packing for a moment, then looks up at Xander again.) But she doesn't love me. Xander stares at him, not knowing what to say. Buffy re-enters.", "BUFFY: Got something else for me to carry?", "RILEY: Uh, you can help me pack this.", "BUFFY: Sure. (goes over to Riley and kisses him) Sure. They both turn to the packing as Xander watches. Blackout." ]

[ "Riley is risking his health to be able to fight with Buffy. His super soldier enhancement is destroying his heart. Buffy enlists Spike to take Riley to the doctor, but instead Spike kidnaps the doctor to remove his chip." ]

[ "A Buffy the Vampire Slayer episode transcribed by Joan the English Chick. •I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser Riley talking to Xander.", "RILEY: Buffy's like nobody else in the world. But she doesn't love me.", "GILES: Previously on Buffy the Vampire Slayer... Riley in fatigues.", "RILEY: What have you done to me? Riley strapped into a chair in the Initiative, reaching for a piece of glass on the nearby table.", "ADAM VOICEOVER: Professor Walsh. She implanted the behavior modifier.", "RILEY VOICEOVER: The chip in my head.", "ADAM VOICEOVER: Actually, the chip is here... Riley stabbing himself in the chest with the piece of glass. Adam pointing to Riley's chest.", "ADAM VOICEOVER: ... tied directly into your central nervous system through the thoracic nerve. Riley yanking the chip out of his chest. Riley pointing a gun at something.", "RILEY VOICEOVER: What's happening to me? Riley in Willy's bar, sweeping a bunch of glasses off the bar. Willow pulling back a curtain and jumping when she finds Riley behind it.", "BUFFY VOICEOVER: Engleman said Walsh was feeding you drugs. Buffy leaning over a sweaty Riley who's lying on Xander's couch.", "RILEY: Something's crawling inside me.", "INITIATIVE DOC: I don't want to think about the damage our guys could do under the stress of withdrawal. Buffy walking into Dawn's room. Buffy and Dawn looking at each other.", "JOYCE VOICEOVER: Buffy? If you're going out, why don't you take your sister? Buffy and Dawn looking annoyed.", "BUFFY/DAWN: (unison) Mom! Dawn writing in her diary.", "DAWN VOICEOVER: Nobody knows who I am. Not the real me. No one understands. No one has an older sister who's a Slayer. Fade in on a graveyard, night. Camera pans across the crypts and finds Buffy crouched on top of one. She stands up, stake in hand. Looks around, leaps to the ground.", "Cut to Buffy running through the graveyard, pausing, looking around. A pair of arms bursts out of a fresh grave but Buffy stakes the vampire before it can finish coming out of the ground. Buffy straightens up, turns as another vamp emerges from another grave. She ducks his swing, throws a few punches, kicks him in the chest. He does a back-roll and comes up to his feet. Riley appears out of nowhere and throws the vamp aside.", "BUFFY: Riley?", "RILEY: (smiling) Buffy, what are you doing here?", "BUFFY: My job?", "RILEY: Well, I just thought you were in the north sector.", "BUFFY: Watch out! The vamp attacks Riley from behind. He kicks the vamp's legs out from under him and throws him aside. The vamp hits a crypt and slides down.", "BUFFY: Never mind. Riley punches the vampire, then stakes him. Shot of another vamp emerging from the ground. Buffy spots him and starts forward with a yell, raising her stake. Another person appears from the left side of the screen and tackles the new vamp, carrying him to the ground. Buffy looks bemused.", "BUFFY: Why do I even bother to show up? The two fighters get up and we see that the newcomer is Spike. He blocks a couple of punches from the other vamp, then grabs his arm.", "BUFFY: Spike, what are you doing here?", "SPIKE: Same thing as you and your Cub Scout here, I'll wager. He lands a few punches and the vamp goes down. Spike turns toward Buffy with a big grin.", "SPIKE: A spot of violence before bedtime. The other vamp punches him in the face and he goes down. He gets to his knees, wiping blood from his nose. The other vamp growls. Buffy rushes forward. Shot of Spike standing up, still wiping his nose with his hand. The other vamp attacks from the left. Buffy appears from the right, shoves Spike out of the way, and stakes the vamp. Spike exhales loudly, and Buffy gives him a dirty look.", "SPIKE: What? I softened him up. He wipes more blood from his nose, sniffs it, then licks it from his fingers.", "BUFFY: Better keep out of my way, Spike. I'm not gonna take this much longer. (Riley walks over to join them.)", "SPIKE: And I should do what in my spare time? Sit at home knitting cunning sweater sets?", "BUFFY: Would it keep you out of my way?", "RILEY: She's right. You shouldn't be out here when she's patrolling. Buffy turns to Riley in exasperation as if she's going to say something, but she doesn't.", "SPIKE: Oh! I saw that. Looks like neither boy's entirely welcome. You should take him home, Slayer. Make him stay there. I've got knitting needles he can borrow. Riley looks annoyed.", "BUFFY: Spike ... I just saw you taste your own nose blood, you know what? (Spike grins at her) I'm too grossed out to hear anything you have to say. Go home. She stalks off. Riley gives Spike a dirty look, then follows. Spike looks injured.", "SPIKE: (yelling after them) It's blood! It's what I do!", "Cut to Buffy walking along, looking tired and annoyed. Riley catches up with her.", "RILEY: Hey, hope I didn't get in the way. He puts his arm around her. She gives a fake smile.", "BUFFY: Of course not. I-I was just ... startled. And, you know I don't ... love the idea of you patrolling alone.", "RILEY: Not much for bench-warming.", "BUFFY: No, you made the squad. You ... threw that vampire like he was a ... teeny-weeny little vampire.", "RILEY: (grinning) Hey, wanna go again? Come on, I bet this place is just teeming with aerodynamic vampires. Buffy looks around.", "BUFFY: Nah. (pauses) Unless you wanna go back and kill Spike for the fun of it? Riley raises his eyebrows in a sort of shrug. They both turn and continue on their way. Cut back to Spike staring after them.", "SPIKE: I will know your blood, Slayer. (pause) I will make your neck my chalice ... and drink deep. He wipes blood from his nose again, turns, and tries to stride away purposefully, but he falls into an open grave. Long shot of the graveyard looking empty, with the open grave in the foreground.", "SPIKE: (voice coming from the grave) Ow! Wolf howl. Opening credits. Guest starring Mercedes McNab, Bailey Chase, Charlie Weber, Time Winters, Amber Benson as Tara, and Kristine Sutherland as Joyce Summers. Written by Rebecca Rand Kirshner, directed by David Grossman.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on a UC Sunnydale building filled with students walking around, talking, studying, etc.", "WILLOW: You can't possibly be arguing that Marat didn't betray the French Revolutionaries. We see Willow and Buffy walking through the halls.", "WILLOW: This was the guy who declared the rights of man, and then the next thing you know he's ... killing Girondin like it's going out of style.", "BUFFY: Will, you're totally missing my point. Now, I agree that Marat wasn't a real martyr, but the death in the tub ... the neck wound, all that blood, just a little more fang-y than knife-y. I mean, Charlotte Corday wasn't a real martyr either, but...", "WILLOW: Buffy! Willow stops walking and grabs Buffy's hand.", "BUFFY: What?", "WILLOW: (smiling hugely) Listen to us! We-we're arguing! We're having a debate about a college lecture! I have dreamt of this day since ... forever! (proudly) You are turning into quite the student. (Buffy smiles) Should I be watching my occipital lobe?", "BUFFY: Your what?", "WILLOW: Occipital. (pointing to her head) The lobe in the back of your brain. You know, like, \"should I be watching my back?\" But, you know, the ... back of your brain. (sighs)", "BUFFY: Apparently not. Don't worry, Will, you still wear the smarty-pants in the family.", "WILLOW: I don't know. You've been studying ... really a lot.", "BUFFY: I'm trying. But they're really piling on the reading, and Giles fills any free time I have with extra training ... I'm starting to think this working hard is hard work.", "WILLOW: Isn't it crazy like that?", "BUFFY: I thought it was gonna be like in the movies. You know, inspirational music ... a montage, me sharpening my pencils, me reading, writing, falling asleep on a big pile of books with my glasses all crooked, 'cause in my montage I have glasses. (Willow nods) But real life is slow, and it's starting to hurt my occipital lobe.", "WILLOW: (sympathetic) Aw. Poor Buffy's brain. (Pats Buffy on the head)", "BUFFY: Actually, I'm heading to training now. Do you wanna come with?", "WILLOW: I'm in. (They start walking again) Maybe we can argue some more about the French Revolution. Hey! Wasn't that Robespierre the coolest?", "BUFFY: Robespierre? You're kidding me, right?", "WILLOW: I'm just gettin' it goin'.", "Cut to a shot of a circle saw cutting some wood. We hear Giles' voice indistinctly over the saw noise. The camera pulls back and we see it's Xander wielding the saw, wearing safety goggles, standing in the middle of the magic shop. Giles is behind the counter wearing a dust-mask, painting something.", "GILES: (muffled by the noise) It seems the plans worked perfectly. Xander stops the saw and unclamps the piece of wood from the vise.", "XANDER: Yes, blueprints, not a bad idea. That, and getting straight \"measure twice, cut once.\" You know, for the longest time I had it backwards. Mess-y! Xander begins fitting the piece of wood into a bookcase(?) that he's working on.", "GILES: (pulling mask down from his mouth, so it hangs around his neck) Well, I must say, I'm very impressed.", "XANDER: Yeah, carpentry is pretty cool. Knock on the door. Giles goes to answer it. As he walks across the shop and the camera follows him, we see Tara standing by a small round table, wearing a long skirt, holding a deck of tarot cards. Then we see Anya moving stuff around on the shelves.", "ANYA: Oh! Who put the monkey heads near the Styx water? Do we *want* to pick exploded monkey out of our hair? (Picks up a jar and a monkey head, and walks across the room.) Giles opens the door. Willow and Buffy stand there, smiling.", "BUFFY: Trick or treat!", "GILES: Hello, you two, come on in.", "WILLOW: Thank you, kind proprietor. They enter.", "TARA: Hey, you.", "WILLOW: Hey! (looking around) Oh, wow, this place looks great. Oh, I feel like a witch in a magic shop. (picks up a jar from a table) Ooh. Are these real newt eyes? (Looks at Giles)", "GILES: No, too ... rich for my blood, I'm afraid. No, these are salamander eyes, it's the ... cataracts which give them their newt-like appearance. (moving past her) They're really equally effective, though, it's ... just a matter of overcoming snobberies. We see Buffy putting her purse down, and Xander looking at a blueprint, holding a pencil.", "XANDER: I'm telling you Giles. You gotta set up a blind taste test and prove once and for all that generic amphibian eyeballs are just as good.", "WILLOW: I don't know. If you ask me, the newt name still means something. (puts down jar and walks off)", "GILES: (to Buffy) You ready to train?", "BUFFY: You betcha.", "GILES: Shall we then?", "BUFFY: We shall then. They walk off toward the back. We see Willow sitting at the round table, with Tara standing beside her. A lot of tarot cards on the table.", "TARA: I just ... keep thinking how cool it would be, if we got a real psychic to sit up here and read fortunes and stuff.", "WILLOW: You should do it.", "TARA: Not me. But, but I'd love to, to watch and learn. From someone who's really good, you know?", "WILLOW: You're really good. (holds out her hands) I'll prove it. Here, do me. Tara nods and sits, putting down the cards, taking one of Willow's hands. Willow watches her study it.", "TARA: Hmm.", "WILLOW: What do you see?", "TARA: Willow hand. They both smile.", "Cut to Giles opening the door to the back as Buffy and Xander watch. Giles holds the door for Buffy. Shot of Buffy entering, looking around. Someone tackles her from the side, pulling her out of the shot so we see Giles and Xander behind, looking surprised. Buffy falls to the floor on top of Riley, who has his arms around her waist.", "BUFFY: Unh! Ow, Riley... They get up.", "RILEY: Just keeping you on your toes.", "BUFFY: Or off them, as it were. What's gotten into- She stops as she looks around the room and sees it for the first time.", "BUFFY: Oh my god. Look at this place! Long shot of the room. We see a punching bag hanging from the ceiling, a vault horse atop a set of mays, a stationary bike, and a scarecrow/dummy. In the background there's something that looks like a mini-fridge(?). Against the far wall there's a set of weights. Symbols are painted on the floor and walls.", "BUFFY: (gasps) Thank you. (looks up at Giles) Thank you ... so much.", "GILES: (removing his glasses and then the mask that's still around his neck) It's just a start, you need a proper space to train, so-", "BUFFY: I love it. (Giles gives a small smile)", "RILEY: (grinning) So come on, let's test this puppy out. Think you can take me? (throws a few fake punches at Buffy. She mostly ignores him, walking farther into the room.) What's the matter, afraid of a little competition?", "BUFFY: It must have been so much work.", "XANDER: I'm the dummy man. (coming forward) I mean, I ... made the dummy. (gestures at it) The thing that you hit that doesn't hit back. (shrugs, looking embarrassed) That, I made.", "BUFFY: It's great. (to Giles) I-it's all great.", "GILES: (putting his glasses back on) Well, you've earned it. Truly.", "BUFFY: Thank you guys so much. You're like my ... fairy godmother and Santa Claus and Q all wrapped up into one. Riley looks confused.", "BUFFY: Q from Bond, not Star Trek. Xander nods.", "BUFFY: I'm gonna go change.", "Cut to the graveyard, night. The camera pans jerkily across gravestones and bushes. We hear the sound of someone panting. The camera moves up the stairs leading into a crypt.", "Cut to Spike sitting in his crypt, watching TV.", "SPIKE: Oh Pacey, you blind idiot. Can't you see she doesn't love you? Suddenly there's a banging on the door. Spike jumps up and turns off the TV. More banging and Harmony comes in, looking disheveled and nervous. She shuts the door behind her and presses her back against the wall.", "SPIKE: Well, well, well. Looky here.", "HARMONY: (anxiously) Is it safe? Has Buffy gotten to you yet? I saw her patrolling just now ... with a stake! (Spike pretends to look shocked) She won't give up until she's killed me to death!", "SPIKE: (skeptical) Buffy's looking for you.", "HARMONY: Of course! (walks forward) That's why I'm on the lam. Didn't you hear? I'm totally her arch-nemesis!", "SPIKE: Is that right. I must have missed the memo.", "HARMONY: There was a mem-? (sighs) Spike, oh my god! This is like a real emergency! Uhh! (Spike grins) I need a hideout so bad. You're my only hope. We're just gonna have to rise above ... our petty differences... (looks anxiously at Spike) Listen, Spike ... I'm desperate.", "SPIKE: (still grinning, looking her up and down) Desperate, are you? Harmony smiles a cajoling smile.", "HARMONY: Come on, Spike. Pretty please? I'll do anything!", "SPIKE: Anything, will you?", "HARMONY: Yeah! I said I'll do anything. Spike raises his eyebrows.", "HARMONY: Ohhhh. You mean will I have s*x with you? (shrugs casually, like \"duh\") Well, yeah. Spike grins to himself as Harmony sits in his chair and takes out a cigarette. She begins flicking a lighter, trying to light it. She flicks it quite a few times before she finally figures it out and gets the cigarette lit.", "SPIKE: Taking up smoking, are you? Harmony leans back in the chair.", "HARMONY: I *am* a villain, Spike, hellooooo. (Takes a drag and starts to cough)", "SPIKE: I guess you are at that. What with the slayer on your tail and all. Harmony watches him warily.", "SPIKE: She's not the type to give up, either. She'll hunt you down, day and night, till you're too tired and too hungry to run any more. And then? (leans down to grab a handful of dust) Then... (dusting off his hands) that is you. Harmony looks upset.", "SPIKE: I guess you're gonna have to kill her.", "HARMONY: (whining) I tried! It was all hard and stuff! (sits up) You do it.", "SPIKE: (looking down at her) I'd love to. But, I can't. Remember? I've got this cute little government chip in my head.", "HARMONY: (sighs) Oh, right. Guess it'll have to be me after all. (looks up at Spike again) Can you help with the thinking?", "SPIKE: (nods) Yeah. I suppose I could do that. Harmony smiles and sits back again, putting the cigarette to her lips.", "Cut to Buffy and Riley lying in bed, side-by-side. Riley is tapping his hands agitatedly on his chest. Buffy gives a contented sigh.", "RILEY: Yeah.", "BUFFY: Mm, that was relaxing. She turns onto her side as if to sleep. Riley continues patting himself, looks over at her.", "RILEY: You, uh ... wanna relax some more? (Turns onto his side and snuggles up against her)", "BUFFY: Again? Right away again? Riley is kissing her bare shoulder.", "RILEY: Maybe you're too tired.", "BUFFY: Hey. (reaches behind her to caress his cheek) I have the endurance of ten men.", "RILEY: Let's make it women, okay? (Buffy laughs) Just for the imagery.", "BUFFY: Whatever. You know, it takes a lot to wear me out. (turns toward him)", "RILEY: Oh, I love a challenge.", "BUFFY: Mm. Buffy turns back onto her back and Riley moves on top of her. They kiss passionately.", "DAWN VOICEOVER: Well, wouldn't you?", "Cut to Dawn in Joyce's kitchen, pouring from a box of Sugar Bombs cereal. There are a number of bowls on the table in front of her.", "DAWN: Every kid tries to make the substitute cry. It's like a rite of passage. We see Joyce in the background, cooking over the stove.", "JOYCE: I certainly would not. Being a substitute is an *extremely* difficult job. Besides... (looks at the bowls) Honestly, Dawn, how many bowls of cereal are you planning on eating?", "DAWN: Oh, these aren't for eating. I'm just trying to get the extra out of the way so I could... (sticks her hand in cereal box, pulls out a toy) get this. (She smiles cheerfully at Joyce and sits down.) Anyway, (pointing to Joyce) I want eggs.", "JOYCE: You want the cereal prize, but you don't want the cereal. You *are* growing up. All righty, half an omelette coming up. (Scooping the eggs onto two plates)", "DAWN: Oh, um, with ketchup if you please?", "JOYCE: Mm-hmm. Joyce turns away from the stove, holding the two plates. Suddenly she stops and blinks as if dizzy. Dawn looks up from unwrapping the prize.", "JOYCE: (confused) Oh, what is the... (looks at Dawn) Who are you? Dawn looks confused. Suddenly Joyce collapses to the floor, the plates shattering. Dawn jumps up in alarm. Shot of Joyce lying unconscious on the floor, surrounded by pieces of plates and food. Dawn backs away, panting fearfully, and grabs the telephone. She dials 911.", "Cut to a hospital emergency room. Double doors burst open and Buffy pushes in past some people, followed by Riley. Long shot down the hospital hall. We see Dawn sitting on a chair, fiddling with a stethoscope that's hung around her neck. Buffy rushes up to her.", "BUFFY: Hey. How's Mom? Are you okay? (Hugs Dawn)", "DAWN: I'm okay.", "MAN: And your mom's doing just fine. A young man in a white coat approaches. Buffy lets go of Dawn and stands up.", "DAWN: (still sitting) This is Ben. He gave me his stethoscope.", "BEN: *Lent* you his stethoscope. Buffy, right? (holds out hand) I'm Ben, I'm an intern here. I've had the pleasure of hanging out with the renowned Dr. Dawn here while your mom's being tested. (Buffy shakes his hand)", "RILEY: So what's goin' on? What happened?", "BEN: Well, she's doing okay now ... the doctors don't really know what caused the collapse... We see Dawn putting the stethoscope earpieces in her ears and tapping the end with her fingers. The voices fade out; we can still hear them, but they're muffled as they would sound to Dawn with the stethoscope in her ears.", "BEN: (muffled)... it could've just been a dizzy spell, low blood sugar, that sort of thing.", "BUFFY: But it's nothing bad. I, I mean it's not ... serious, right?", "BEN: (muffled) Very unlikely. So your mom doesn't have a ... history of fainting? We see Dawn putting the stethoscope to Ben's chest. We hear a normal heartbeat.", "BUFFY: (muffled) No. I mean, not that I know of. She's usually really healthy.", "BEN: (muffled) Well, I think they'll be running tests for a few more hours... We see Dawn putting the stethoscope to Buffy's chest. We hear a normal heartbeat.", "BEN: (muffled) ...then they'll probably want her to come back for some follow-up tests in a couple weeks, but it really doesn't look like anything too serious.", "BUFFY: Oh, thank god. I was freaking out. We see Dawn getting up and walking around them.", "BEN: (muffled) I think you'll be able to take her home before too long.", "RILEY: (muffled) Well, that is definitely good news. We see Dawn putting the stethoscope to Riley's chest. We hear a heartbeat that is much too fast and irregular. Dawn's eyes widen and she looks up at Riley's face. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade in on a hospital exam room. Riley sits on the exam table buttoning up his shirt.", "DOCTOR: I know I'm repeating myself here, but I don't know what else to say to convince you. We see Buffy watching as a female doctor talks to Riley. The doctor is writing on her clipboard.", "DOCTOR: I have never in all my years of medicine let a patient with tachycardia this severe leave a hospital.", "RILEY: You said you couldn't keep me.", "DOCTOR: Legally, no, I can't force you to do a thing. (Riley nods and resumes buttoning his shirt) But with that pulse, believe me, I'd get on my knees and beg you if I thought I could change your mind.", "RILEY: You can't. I'm going home.", "DOCTOR: And your friend here can't convince you to- Riley holds up a hand to stop her.", "RILEY: I'm going. Buffy looks very concerned.", "DOCTOR: All right then, but you're leaving against my recommendation. The doctor leaves. Riley looks at Buffy, then stands up.", "BUFFY: What's going on? What are you doing? What if you have a heart attack?", "RILEY: (puts hands on her shoulders) Listen to me. Calm down.", "BUFFY: *Me* calm down? I'm not the one with a pulse of a hundred and fifty.", "RILEY: My heart's different than yours, Buffy. It works differently now, but it's okay.", "BUFFY: But you're still a human, Riley. You could still have a heart attack.", "RILEY: I'm a human who was used as a lab rat for months. They look up as the door opens. Joyce and Dawn enter.", "JOYCE: Hi.", "BUFFY: Hey. How are you? (hurries over to hug Joyce)", "JOYCE: Oh ... embarrassed, mostly. I'm sorry to put you through this. But, no more tests, so you can take this pincushion home.", "RILEY: Yes. (comes forward) Let's, uh, get outta here. He holds the door for Joyce and Dawn. Buffy gives him a concerned look, then exits also. Riley follows.", "Cut to Joyce's living room. Joyce is lying on the sofa, sipping from a mug, with Buffy and Dawn sitting by her. Willow stands beside the sofa.", "WILLOW: What about a crossword? Some people say feed a cold, I say puzzle it.", "JOYCE: Oh, no thanks, Willow.", "DAWN: I like chicken fingers with mustard when I'm sick.", "JOYCE: (puts mug on coffee table) I know you do, sweetie. I can make us some later.", "BUFFY: Oh, uh-uh. You are sitting right here on this couch today.", "JOYCE: I feel silly lying here like a lump!", "WILLOW: You could make a game out of it. A-a very quiet game, about being a lump.", "JOYCE: I feel fine. Honestly, I'm more concerned about Riley than I am about me.", "BUFFY: You shouldn't even be thinking about that. He's not worried, so I don't think we should be.", "Cut to Buffy's room. Buffy is pacing. Willow lies on the bed while Dawn sits on the floor, leaning against the bed.", "BUFFY: I don't get what he's thinking. (steps over Dawn as she paces around the bed) Why isn't he worried?", "WILLOW: Maybe he thinks his body can handle it. He *is* in really good shape.", "BUFFY: Nobody's body can handle a heart attack. (steps over Dawn to pace the other way again)", "WILLOW: I know. I'm sorry, Buffy. I'm trying too hard to make it okay.", "BUFFY: (sighs) I just keep coming back to the Initiative. Dawn watches her pace back and forth.", "WILLOW: It does have that icky government feel to it.", "DAWN: Did you know that one time the CIA tried to kill Fidel Castro with poisonous aspirin?", "BUFFY: Dawn, please. Dawn looks annoyed. Buffy sits on a chair.", "BUFFY: I know I have to do something, I just don't know what.", "DAWN: Another time the CIA-", "BUFFY: Dawn!", "DAWN: It's important. Buffy looks annoyed but nods.", "DAWN: (quickly) Tried to make Castro go crazy by putting itching powder in his beard. (Buffy raises her eyebrows accusingly) It's about the government!", "WILLOW: Call the Initiative. If they know what's wrong with him, they have to help.", "BUFFY: Yeah, but call them how? First of all, they don't exist any more, and secondly, they never *claimed* to exist in the first place. Willow looks defeated.", "BUFFY: (getting up) It's so unfair. I mean, i-it's like Big Brother can spy on you all the time, and-and the second I have something to say, no one will listen!", "DAWN: (muttering) Sounds more like Big Sister.", "WILLOW: There has to be a way.", "BUFFY: Like what? Take a tour of the White House and pretend to get lost, and look for some door with a sign on it that says \"Secret Government Monster Hunters\"?", "DAWN: If they're really spying on you all the time, you just say something so you know they'll hear you. (Buffy looks thoughtful) Like sometimes, I write fake things in my diary in case... (trails off)", "BUFFY: I gotta go. Uh, see you guys later. She grabs her bag and leaves. Dawn looks over at Willow.", "DAWN: What'd I say?", "Cut to Buffy entering Riley's room. We see a punching bag in the foreground. It's dark.", "BUFFY: Riley? No one's there. Buffy walks in, closing the door behind her. She picks up the phone and puts it to her ear. We hear a dial tone, alternating with clicking noises.", "BUFFY: (into phone) Riley's in trouble. He needs help. She hangs up. Fast music starts. Cut to Riley playing basketball with a bunch of other guys. They're all yelling. The camera moves very fast, as do the men, giving it all a dizzy frantic feeling. Riley is clearly playing very well. The other men shake their heads as the game ends.", "GUY: No way, man.", "RILEY: I'm out. He throws the ball to one of them. He's very sweaty. He turns and walks off. Riley walks past a bench where a guy is sitting. He glances at the guy, then away.", "RILEY: Graham. (Keeps walking)", "GRAHAM: Riley. (We see Graham sitting on the bench, talking over his shoulder) Can we talk? Riley bends over a water fountain and drinks. Graham gets up, gestures to two men standing nearby in button-down shirts.", "GRAHAM: Agent Goodman, Agent Brown. Riley walks toward Graham.", "RILEY: So talk.", "GRAHAM: What's goin' on, man? (Riley shrugs) You gotta get this taken care of immediately. We gotta get you into an operating room.", "RILEY: Very convincing. Makes me completely wanna put myself under government control. Graham stares Riley down with the two other agents behind him. Riley puts out his hands, in fists, with the wrists together, as if inviting handcuffs.", "RILEY: Please take me where they can make me unconscious and naked.", "GRAHAM: Hey, you think I'd pull something on you?", "RILEY: You're still in. I'm out. I don't know what orders you're following.", "GRAHAM: Oh, come on. You know Walsh pumped all those chemicals and crap into us. You got more than anyone. She messed us up bad.", "RILEY: (scornful) And now the government's knocking themselves out to kiss it and make it better.", "GRAHAM: Riley, I'm tellin' you, you need help. I'm not saying it to trick you.", "RILEY: (shakes head) Maybe you even believe it.", "GRAHAM: I know it. You don't want this.", "RILEY: You're sure you got the fix for it?", "GRAHAM: Yeah. We got a guy, a doctor. He's gonna take care of you, and we're going to him now. (Riley nods) I'm not givin' you a choice.", "RILEY: I guess you're not. Suddenly he punches Graham in the face. The other two agents grab both Riley's arms but he throws one of them off, knees the other one in the stomach and punches him. He blocks a kick from the first one, punches him, clotheslines him, throws the other one to the ground and runs off.", "Cut to interior of UC Sunnydale building. We see Buffy talking to Graham amid a crowd of students. Graham's face is bruised.", "BUFFY: So you messed up and now he's gone and when are you even gonna tell me what's wrong with him?", "GRAHAM: I'm not permitted to say.", "BUFFY: Say.", "GRAHAM: (sighs) Hyperadrenal overload and a bunch of stuff that sounds even worse than that, and all it means is he's way stronger than he oughta be and feeling no pain. His heart can't take it. We've been at him for weeks about it. Buffy sighs.", "GRAHAM: There's a specialist waiting at Sunnydale General, fourth floor neurology. Get Riley there. If you don't-", "BUFFY: I'll get him there.", "GRAHAM: (nods) I'll tell the doc. Buffy turns to walk off. Graham watches her go.", "GRAHAM: Buffy. She turns back.", "BUFFY: If you tell me to hurry ... I'll kick your ass. She walks off as Graham watches.", "Cut to shot of Sunnydale, evening.", "Fade to Riley walking through woods, approaching the entrance to a cave and entering it.", "Cut to interior of the magic shop. We see Willow and Tara sitting at the round table with Giles standing in the background.", "WILLOW: Poor Riley.", "GILES: Could he have simply gone back to his apartment? Giles walks toward them and we see Buffy standing beside the table. Xander and Anya are sitting across from Willow and Tara.", "BUFFY: No, he's not at his apartment, he's not at the gym, he's not at the library ... he's gone somewhere where he doesn't wanna be found.", "ANYA: So basically he's gone AWOL.", "BUFFY: Basically exactly.", "WILLOW: Poor Buffy.", "XANDER: Maybe he just needs some time alone. Like, I had this friend once, who really liked this girl, and ... he got all worried that maybe she didn't like him back... (Buffy and Giles look confused) and maybe that made him act like a total jerk. Maybe Riley reminds me of that friend. Anya smiles.", "WILLOW: What are you talking about?", "XANDER: Then again, maybe not. Maybe he just wants attention.", "BUFFY: Well, here's a hot tip, if you want attention? *Be* there so people can give it to you.", "ANYA: (softly) I care about you, Xander.", "XANDER: (smiles confusedly) Thanks.", "ANYA: (smiles) Don't be insecure.", "XANDER: (shrugs, shakes his head) Thanks ... I won't.", "ANYA: And, I also have this \"friend\" (making air-quotes) and, uh, I have it on really good authority that she really likes that guy, your \"friend\" (air-quotes) ... and, by the by, my friend-", "BUFFY: You guys, enough! (Anya and Xander look embarrassed) Okay, Riley is in real danger here. (sighs) Anya, Xander, why don't you guys check the docks. Anya and Xander nod.", "XANDER: Aye aye. They get up and leave.", "WILLOW: Tara and I can scope out the burned-out school. Riley hid there once. Maybe he ... feels it's homey or something.", "BUFFY: (thoughtful) Homey. You know what else he might find homey in a ... dank, unpleasant evil sort of way? (Giles sits in Xander's vacated seat) The Initiative caves. I don't know them too well.", "GILES: (sipping tea) We do have an associate who knows those caves like the back of his ... melanin-deprived hand.", "BUFFY: (sighs) I *so* don't want to deal with Spike right now. That guy is really starting to bug me in that special \"I wanna shove something wooden through his heart\" kinda way.", "WILLOW: He does seem extra twitchy lately. Maybe the whole not killing is gettin' to him.", "BUFFY: Plus hanging out all day in that moldy crypt, you just *know* he's doing something nasty.", "Cut to Spike sitting with Harmony in the crypt.", "SPIKE: Okay, is it bigger than a breadbox?", "HARMONY: (smiling) No. Four left.", "SPIKE: So it's smaller than a breadbox.", "HARMONY: (giggling) No! Only three!", "SPIKE: (quietly annoyed) Harmony ... is it a sodding breadbox?", "HARMONY: (clapping and laughing) Yes! Oh my god! Someone's blondie bear is a twenty-question genius! Banging on the door. Harmony stops laughing and looks scared.", "HARMONY: She's found me! She jumps up and runs over to a coffin, climbs into it. Spike follows and slides the lid onto the coffin, then sits on top of it trying to look casual. Buffy busts the door open and strides in.", "BUFFY: I've got a proposition for you.", "SPIKE: (jumping off the coffin) Funny, I've got a proposition for you, what about knocking? (Buffy ignores him, pulling out a wad of cash and unfolding it) Seems only fair since we vamps can't enter your flat without an invite, you could at least - Say, look at those pretty pieces of paper.", "BUFFY: Riley's sick with some Initiative thing and he's missing. I think he might be in the caves. You find him, bring him to the fourth floor of the hospital, their doctors get to him in time... (holds up the money) you get the cash.", "SPIKE: Oh, dear, is the enormous hall monitor sick? Tell me, is he gonna die? Buffy slaps him across the face.", "BUFFY: He is not the only person that can die.", "SPIKE: Hey. I'm just saying, if it's really that important to you, I think I'll get half now. Buffy looks at the money in her hand. She rips the bills in half, slams one half against Spike's chest, and strides out. Spike watches her go, then looks down at the half-bills in his hand. Harmony pushes the coffin lid aside and peeks out.", "HARMONY: So? What'd she say about me?", "Cut to hospital corridor. The double-doors open and Graham walks through, walks down the hallway, past a security guard who nods at him. Graham goes through another set of double-doors and enters a lab. The doctor (Dr. Overheiser) is there.", "OVERHEISER: Any word?", "GRAHAM: They'll be here any minute. Overheiser looks at a folder in his hand.", "GRAHAM: That's soon enough, right? I mean, if we bring him in now?", "OVERHEISER: I'll be honest. I'm not sure it's soon enough if you brought him in yesterday. Knock on the door. Graham turns.", "GRAHAM: Finally. He opens the door to see the security guard apparently standing there. Then the guard falls forward, his head hitting Graham's. Graham falls back and the guard falls on top of him as we see Harmony walking in behind the dead guard. Overheiser looks up in alarm. Spike follows Harmony in, carrying a crossbow. He tosses it to Harmony, who catches it and points it at the doctor, letting the tip of the arrow touch his cheek.", "SPIKE: You got yourself a new patient, doc. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on Buffy walking in the woods, holding a flashlight. It's dark. She finds the cave entrance that Riley used earlier, and walks in. Exterior shot of a college building.", "Cut to interior of a room with several tiers of chairs. The door opens and Spike enters, followed by Overheiser and then Harmony with the crossbow.", "OVERHEISER: Look, you don't understand. This is a complicated neurological procedure and I've never performed it before. They walk down the steps, past rows of seats, into a surgical theatre.", "SPIKE: Little performance anxiety, eh doc? (Takes off his jacket, sits on the operating table) Butterflies in the old belly? Harm, do us a favor. Shoot the nasty butterflies for the good doctor. (Overheiser looks from Harmony to Spike and moves toward the operating table) There you go. It's not so complicated. Just do whatever those Initiative lab monkeys did, only backwards. Harmony sits on a nearby counter.", "OVERHEISER: This is a medical school, not a proper operating facility, these instruments... (gesturing at the tray of instruments)", "SPIKE: (sighs) They look pointy enough. They'll do. He lies back on the table with his hands behind his head.", "OVERHEISER: You're not listening. That chip is deeply imbedded in your cerebral cortex. Removing it could leave you a vegetable.", "SPIKE: That's not gonna happen, mate. See, I have faith in your survival instinct. He looks significantly over at Harmony. Overheiser looks too. Harmony smiles and lifts the crossbow.", "SPIKE: (smiling) Yeah. You'll have me up and killing before the night's over. (Note: although it sounds like \"killing,\" and the closed-captions say \"killing,\" his lips clearly say \"fighting.\") Overheiser looks apprehensive. Spike continues to grin.", "SPIKE: Come on, doc! (nudges the doctor with his foot) You'll do me right. Nothing bad'll happen to you. Suddenly an arrow flies across the room, narrowly missing the doctor, and lodging in the wall opposite. Spike and Overheiser look at it, startled, then look over at Harmony.", "HARMONY: Oops. (grinning apologetically) String was slippy.", "Cut to exterior shot of the burned-out old Sunnydale High School building.", "WILLOW VOICEOVER: (calling) Riley!", "Cut to inside. Willow and Tara walking through the rubble.", "TARA: This place kinda creeps me out.", "WILLOW: You shoulda been here when it was a school. (calls) Riley! They walk on, very slowly, looking nervous.", "WILLOW: Oof. Darkness.", "TARA: Piles of it. We shoulda brought a flashlight.", "WILLOW: Ooh! I know! (reaches into her bag) Better to light a candle than curse the damn darkness. (Smiles. Pulls a small bottle out of her bag) A little spell. (Shows it to Tara) Fiat lux! (Latin, translation: \"let there be light\") Willow throws the bottle at the ground. There's a big burst of flame and then the entire area is lit with a soft diffuse light.", "TARA: Wow.", "WILLOW: There, that's better. Tara stares at her in amazement.", "WILLOW: (calling) Riley! Come on out! She begins to walk again. Tara follows, still staring.", "TARA: How'd you do that? With the light?", "WILLOW: Oh, you know. You taught me.", "TARA: I taught you teeny Tinkerbell light.", "WILLOW: Okay, so I ... tinkered with the Tinkerbell. It was easy. And besides, isn't this better than ... using a flashlight like some kind of doofus?", "Cut to Buffy with a flashlight, walking through the caves, calling.", "BUFFY: Riley? Riley, answer me. (mutters softly) Please. She walks on. Pan across the rocks, with vines growing on them. We hear a repetitive knocking noise.", "BUFFY: Riley? She rounds a corner and finds Riley punching the rock wall. There's a large cavity in the wall where he's clearly been punching for some time. He's shiny with sweat and looks tired.", "RILEY: (not looking at Buffy) You know, this doesn't even hurt.", "BUFFY: Your hand is bleeding.", "RILEY: (looks at her) Don't feel a thing. He moves to punch the wall again but Buffy stops him.", "BUFFY: This stops now. I'm taking you to the doctor.", "RILEY: The one from the government, you mean? Like the ones who did this to me in the first place? (Puts up a hand in a \"no thanks\" gesture and backs away)", "BUFFY: (moving toward him) He's the only one that understands what's wrong with you. He's the only one that can help.", "RILEY: What's wrong with me? I'm more powerful than I've ever been, Buffy. Most people would kill to feel this way.", "BUFFY: Yeah, and this feeling is *going* to kill you. Riley, your body was not built for this kind of strength-", "RILEY: I can handle it. This is my deal, Buffy, just ... back off. He walks past her. She turns to watch him.", "BUFFY: What is this? He stops walking, turns back to her.", "BUFFY: What's happening to you?", "RILEY: I go back ... let the government get whimsical with my innards again ... They could do anything that- Best-case scenario, they turn me into Joe Normal, just... (sighs) Just another guy.", "BUFFY: And that's not enough for you?", "RILEY: It's not enough for *you*.", "BUFFY: Why would you say that?", "RILEY: Come on. Your last boyfriend wasn't exactly a civilian.", "BUFFY: So that's what this is about? You're going to die, all over some macho pissing contest.", "RILEY: (shakes his head) It's not about him. It's about us. (Buffy shakes her head, not understanding) You're getting stronger every day, more powerful. I can't touch you. Every day, you're just ... a little further out of my reach.", "BUFFY: You wanna touch me? (walks toward him) I'm right here. I'm not the one running away.", "RILEY: Not yet.", "BUFFY: So you have this all figured out? I'm bailing because you're not in the super club.", "RILEY: (shrugs) It's human nature.", "BUFFY: (angrily) Don't Psych 101 me. (Riley looks away) Not now. Not after everything that ... Nobody has ever known me the way you do. Nobody. (Riley doesn't look at her) I've opened up to you in ways that I've never opened up to ... God, you're just sitting back there thinking that none of this means anything to me.", "RILEY: (still not looking at her) I never said that.", "BUFFY: (teary-eyed) Because it obviously doesn't mean anything to you. Do you really think so little of me-", "RILEY: Buffy.", "BUFFY: No! No. Do you think that I spent the last year with you because you had super powers? If that's what I wanted, then I'd be dating Spike. (quietly) Riley, I need you. (He looks at her, looks apprehensive) I need you with me ... and I need you healthy. But if you wanna throw it all away because you don't trust me, then ... (firmly) then I'm still gonna make you go to that doctor. Riley looks at her, looks away. He sighs.", "RILEY: Take me to him. Buffy nods.", "BUFFY: We have to hurry. She strides past him, but he grabs her arm and turns her to face him.", "RILEY: Loving you is the scariest thing I've ever done, Buffy.", "BUFFY: I don't know why. She puts her hand over his heart.", "BUFFY: The doctor said we didn't have much time. They walk off.", "Cut to Spike on the operating table. A sheet lies vertically over the top of his head, and his eyes are closed. As the camera pulls back we see the doctor wearing rubber gloves, working on Spike's head. Harmony comes into view, walking behind Overheiser.", "HARMONY: I read in a magazine that some women think a man's real s*x organ is his brain. She leans next to the doctor and looks at where his hands are.", "HARMONY: Yecch! No contest. I mean, look at it. It's so ... pink and wriggly-looking. (grins suddenly; to the doctor) Can I touch it? Spike's eyes pop open.", "SPIKE/OVERHEISER: (unison) No!", "HARMONY: (looking over at Spike's face) Oh my god, you're awake?", "OVERHEISER: Local anesthetic.", "HARMONY: Wow, Spikey, how does it feel?", "SPIKE: Like someone's cutting into my brain with a knife, you silly bint. Harmony looks back at Spike's brain.", "HARMONY: (to doctor) You know what it means that he can't hurt any living thing? It means he can't even pick flowers.", "SPIKE: What? Yes I can!", "OVERHEISER: (softly) Please be quiet. Everyone is quiet for a moment. Then Harmony points at Spike's brain again.", "HARMONY: Is it supposed to do that?", "OVERHEISER: Please. For god's sake, please, be quiet.", "HARMONY: Listen, buster. I don't see a crossbow in *your* hands, okay?", "SPIKE: Harmony, if your incessant prattling bolloxes up this operation, I'm gonna personally yank out your pink and wriggly tongue. Overheiser looks at Harmony.", "HARMONY: What are you looking at?", "Cut to the hospital room. Riley and Buffy come through the double-doors and find the security guard and Graham on the floor.", "BUFFY: Uh-oh. Buffy bends over the guard while Riley goes to Graham.", "RILEY: Graham. Graham. (Helps him sit up. Riley holds up two fingers) How many fingers I got?", "GRAHAM: Seventeen. Riley and Buffy exchange a concerned look.", "GRAHAM: Hostile 17 and a blonde girl.", "BUFFY: (sighs) Spike and Harmony, together again. Riley helps Graham stand up. They look around.", "GILES: Where's Dr. Overheiser?", "BUFFY: Uh, Spike must have taken him. What would Spike want with - (The clue hits) The chip. He's gonna force the doctor to remove the chip from his brain. Riley bends over and puts his hands on his knees, panting. He's pale and sweaty.", "BUFFY: Riley?", "RILEY: (straightens up, breathlessly) I'm okay. Okay.", "GRAHAM: (to Buffy) We're running out of time. We don't find the medic soon, he's not gonna make it.", "BUFFY: (thinking fast) Okay, okay, brain surgery. He, he's gonna need a medical facility, he-he's gonna need, uh, uh, equipment...", "GRAHAM: This is a big hospital.", "BUFFY: No, uh-uh, he wouldn't do it here. It's too risky. We'll split up. Graham, get on the horn, or the ... pipe, or whatever you guys get on, I-I want you to check animal hospitals, doctors' offices... Graham walks to the door. Riley stops him.", "RILEY: Hey, about before...", "GRAHAM: We're good. Apologize later, if you're not dead. He leaves. Riley looks nervously at Buffy. She walks toward him.", "BUFFY: (firmly) You are *not* going to die.", "RILEY: Bet you say that to all the boys.", "BUFFY: No. There is one peroxided pest whose number is up. (They start to walk off) When I get my hands on Spike, I'm gonna rip his head off, I'm gonna...", "Cut to closeup of Spike's face. He's still on the operating table.", "SPIKE: ...bathe in the slayer's blood. Gonna dive in it. (with relish) Swim in it. Shot of Overheiser and Harmony behind the sheet, staring at Spike's brain. Harmony is smoking another cigarette.", "SPIKE: I'm gonna do the bloody backstroke. Harmony blows out smoke, which drifts toward Spike's face. She begins to jump up and down.", "HARMONY: I see it, Spikey! I see the chip! It's nestled in there like ... a pretty little Easter egg with your brain all around it like that green plastic grassy stuff ... only this is more a beige, like-", "OVERHEISER: Would you please put out that cigarette? It's really not allowed.", "HARMONY: Oh yeah? Says who? The doctor turns to look pointedly at the NO SMOKING sign on the wall.", "HARMONY: Oh god, sorry! Didn't see the sign! She turns away to put out the cigarette. The doctor turns and drops something into a dish. It makes a metallic clinking noise.", "OVERHEISER: The chip's out. (Harmony squeals excitedly) Didn't think I could do it, I just ... it's out.", "SPIKE: Yeah?", "HARMONY: (jumping up and down, clapping) Yay! Yay for Spikey!", "SPIKE: Right then. (determinedly) Stitch me up, doc. Got places to go. And slayers to kill. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade in on Harmony holding the crossbow. Pan across to Spike, sitting up while the doctor puts a few last stitches in his head.", "SPIKE: Listen to me. My stomach's growling, I'm so starved. (The doc looks nervous, begins to apply a bandage) I'm afraid I'm gonna have to have me a little snack. Overheiser looks very nervous. Spike turns his head to speak over his shoulder.", "SPIKE: Oh, don't worry. I won't fill up on the bread. I'll still have plenty of room for the main course. The door opens and Buffy walks in, followed by Riley.", "SPIKE: (fiercely) Slayer! He jumps off the table. Harmony moves to stand beside him, holding the crossbow. Buffy and Riley stand side-by-side. Faceoff. The doctor tries to sidle around toward the door. Spike morphs into vampire face.", "SPIKE: Suit up, Harm. Harmony morphs into vampire face. Buffy turns to stop the doc as he tries to leave.", "BUFFY: Stay here. (She pushes him so he falls to the floor) We're gonna need you.", "SPIKE: Buffy. I swear I was just thinking of you. I wanted to tell you the great news. My head's all clear now. No more bug-zapper in my noggin.", "BUFFY: That means I get to kill you.", "SPIKE: You get to try. The standoff continues. Suddenly the crossbow goes off and the arrow flies, landing in Riley's leg. Buffy looks over at him. Riley doesn't seem to react.", "HARMONY: Oops. Riley storms toward her. She moves toward him. He brushes the crossbow out of her hands. Buffy punches Spike in the face. Riley throws Harmony down on the operating table, picks her up and throws her against a wall full of equipment. Buffy punches Spike in the face a few more times; he stumbles back against the operating table. Riley punches Harmony, throws her across the room, leans against a counter panting. He turns as Harmony shoves a wheeled chair toward him. He trips over it and goes down. Harmony kicks him in the face. Spike jumps up onto the operating table and grins down at Buffy. In the background we can still see and hear Riley and Harmony exchanging blows.", "SPIKE: At long last. He leaps on top of Buffy, carrying her to the ground and landing on top of her. He pins her hands down and bends to bite her neck. Buffy struggles. Spike gives a yell of pain and jerks backward. Buffy punches him, then shoves him off her so he lands next to the doctor. Spike looks angrily at Overheiser, who looks scared. Riley punches Harmony in the face; she kicks him away. He starts toward her again but stops, grabbing his chest and groaning in pain.", "BUFFY: Riley! Riley stumbles against a metal table and falls down with it on top of him. Harmony looks at her fist, then runs off. Buffy crawls over to Riley and puts her hands on his chest.", "BUFFY: Riley. Spike gets up and opens the container where the doctor supposedly put his chip. He takes out a penny from inside it.", "SPIKE: (looking at doctor) A penny?", "OVERHEISER: (getting up) I told you I couldn't do it.", "BUFFY: Oh god. Doctor! Doctor, we need you *now*! The doctor rushes to lift the table off of Riley as Spike and Harmony move to the door. Spike grabs his jacket and pauses to look back, then turns and leaves. Buffy and the doctor lift Riley up to a sitting position.", "Cut to exterior graveyard, night. Spike and Harmony run between the trees and gravestones.", "SPIKE: Buffy, Buffy, Buffy! Everywhere I turn, she's there! That nasty little face, that ... bouncing shampoo-commercial hair, that whole sodding holier-than-thou attitude.", "HARMONY: Well, aren't we kinda unholy, by the-", "SPIKE: She follows me, you know, tracks me down. I'm her pet project. Drive Spike round the bend. Makes every day a fresh bout of torture. He stops running, picks up a headstone and throws it against another. Harmony cringes as the dust showers her.", "HARMONY: Spike!", "SPIKE: You don't understand. I can't get rid of her. She's everywhere. She's haunting me, Harmony! He grabs her upper arms. She looks very scared. Spike stares at her, slowly calms down.", "SPIKE: (quietly) This ... has got to end.", "Cut to Riley lying on the operating table, with the doctor putting a bandage on his chest. Buffy walks in.", "OVERHEISER: All patched up. Overheiser exits and Riley sits up. We see that in addition to being shirtless, he's also only wearing half a pair of jeans -- the other pant-leg was cut away to help get the arrow out of his leg. Another bandage is wrapped around his thigh. He picks up his shirt and begins to put it on. Buffy puts one hand on Riley's good leg and lightly touches the bandage on his chest with her other hand.", "BUFFY: How's it goin' in there?", "RILEY: Good. Back to normal. Buffy leans her head against his chest to listen to his heartbeat.", "BUFFY: Yep. He strokes her hair. She leans back and takes his bruised hand in hers, pulling his hand to her heart.", "BUFFY: And see ... I'm still touchable.", "RILEY: (nods) Give me a week or so to heal, and ... I'll take full advantage of that fact. Buffy smiles, still holding his hand", "BUFFY: Are you gonna be okay? 'Cause I should really go check on my mom. Riley looks up at her.", "RILEY: Yeah. Yeah, go ahead. I'll be fine.", "BUFFY: I'll talk to you later. He nods. She leans up and kisses him softly, then turns away. Shot of Riley's hands as Buffy pulls her out of his grasp and leaves. Shot of Riley watching her go, looking pensive.", "Cut to Riley and Graham walking down the hall in a dorm or frat building. Riley has a noticeable limp. Graham's face is still bruised.", "GRAHAM: It's a good thing Buffy found you when she did, 'cause you were about to detonate big-time. Always said she's pretty impressive.", "RILEY: You know, she really is.", "GRAHAM: But you know you don't belong here, right? (Keeps walking and talking although Riley has stopped walking and is staring at his back) This town? I mean, you're nothin' here.", "RILEY: Hey. (Graham stops walking, turns to look at him) What are you saying?", "GRAHAM: Come on, man. You know it's true. There's nothing for you here.", "RILEY: There's her.", "GRAHAM: Okay, right, there's her. And? You used to have a mission, and now you're what? The mission's boyfriend? Mission's true love? Riley looks at the floor, then walks on, past Graham.", "GRAHAM: You belong with us. Riley doesn't reply, keeps walking. Graham watches him go.", "Cut to Spike's crypt. Spike is sleeping in his chair. Banging noises. Spike opens his eyes and gets up as the door flies open and Buffy walks in.", "SPIKE: Should have known it's you. Been nearly six hours.", "BUFFY: Well, it would've been less if I wasn't busy cleaning up your mess.", "SPIKE: *My* mess? I just *borrowed* the doc. The mess is yours, Slayer. Yours and the boy's.", "BUFFY: I'm done. She takes a stake from her back pocket and walks toward Spike. He looks surprised.", "BUFFY: Spike, you're a killer. And I shoulda done this *years* ago. Spike looks her in the eye.", "SPIKE: You know what? Do it. Bloody just do it.", "BUFFY: What?", "SPIKE: End ... my ... torment. Seeing you, every day, everywhere I go, every time I turn around. Take me ... out of a world ... that has you in it! (Yanks off his shirt and throws it aside) Just kill me! Buffy stares at him, then raises her stake and lunges. Spike winces, but she stops at the last minute. They stare into each other's eyes. Suddenly Spike grabs Buffy by the upper arms and kisses her passionately. She returns the kiss. It goes on for a moment and then Buffy pulls back with a little noise of dismay, bringing her hand to her mouth. She stares at Spike and he stares back, both panting. The stake is gone from her hand. Slowly Buffy drops her hand from her mouth and walks back to Spike, putting both her hands to the back of his head and pulling him down toward her. They kiss again, very passionate. Spike brings his hands up to clutch her back, kissing her cheek and the side of her neck.", "BUFFY: (panting) Spike ... I want you.", "SPIKE: (muffled against her neck) Buffy, I love you. He pulls back. Closeup of Buffy staring at him.", "SPIKE: (OS) God, I love you so much.", "Cut to Spike sitting up in bed with a gasp. Shot of Harmony sleeping in the bed next to him. Shot of Spike sitting up in the bed, looking horrified, while Harmony continues to sleep.", "SPIKE: Oh, god, no. Closeup of Spike's face.", "SPIKE: Please, no. Blackout. The sound of Spike panting continues as the producer credit appears.", "Executive Producer: Joss Whedon." ]

[ "When relatives arrive in Sunnydale, to celebrate her birthday, Tara uses a magic spell on her friends to keep them from learning her \"secret.\" Meanwhile, Glory unleashes a hoard of demons to hunt down Buffy." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Spike and Buffy kissing.", "SPIKE VOICEOVER: Buffy, I love you. Spike sitting up in bed looking horrified. Willow arranging stones on the floor in a square.", "WILLOW: We conjure the goddess Thespia to help us locate demonic energy.", "TARA: Are you sure we're ready for that? Willow pouring herbs into Tara's hand. Willow blowing herbs off her own hand. Tara hiding her herbs under the bed and pretending to blow them away. Willow looking confused.", "WILLOW: Or not. Glory talking to a monk tied to a chair.", "GLORY: Tell me ... where ... the key is. Monk talking to Buffy.", "MONK: The key is energy. It's a portal. My brethren sent it to you.", "BUFFY: Dawn. She's not my sister?", "MONK: She doesn't know that. Buffy brushing hair back from Dawn's face.", "WILLOW VOICEOVER: Tell me a story.", "TARA VOICEOVER: Okay. Once upon a time, there was, um ... a kitty. She was very little, and she was all alone, and nobody wanted her.", "WILLOW VOICEOVER: This is a very upsetting story.", "TARA VOICEOVER: Oh, oh, but it gets better. The kitten runs offscreen. Cut to a shot of her trying to crawl under a bed.", "TARA VOICEOVER: 'Cause one day the kitty was running around in the street and a man came, and swooped her up... A pair of hands comes into the shot and swoops up the kitten.", "TARA: And took her to the pound. We see Tara sitting on the end of Willow's bed lifting the kitten into her lap. Willow is in the bed, under the covers.", "TARA: And at the pound there were lots of other kitties, and there were puppies, and some ferrets...", "WILLOW: (smiling) Were there dolphins?", "TARA: (handing kitten to Willow) Yes. Many dolphins at the pound.", "WILLOW: Or was there a camel?", "TARA: (thinks) There was the front of a camel. A half camel. (Smiles)", "WILLOW: (cuddling kitten) Did the kitty get chosen by some nice people?", "TARA: Well, now you ruined the ending.", "WILLOW: Mmm... (lets go of the kitten and it runs off) I'm sleepy.", "TARA: Do you mind if I keep the light on? I was gonna look up some spells.", "WILLOW: It's fine. (pouts) I don't need to be snuggled. (smiles)", "TARA: (smiles back) Vixen! Tara takes some books that are on the bed and piles them up on the floor.", "WILLOW: You've been spell gal night and day lately.", "TARA: Well, I just wanna keep up with you, and I'm ... well, I just like to be useful. You know, to the gang? (Willow looks concerned) I just ... never ... feel useful.", "WILLOW: You are. You're essential. Tara smiles. She comes over and gets under the covers with Willow, turning off the light.", "TARA: Do you think Buffy found out anything tonight?", "WILLOW: At the factory? I don't know. If there was something, I figured she'd call us. Tara lies down, putting her head on Willow's shoulder, and they snuggle up together.", "Cut to Joyce's house, night. Giles and Buffy sit in the living room. They talk quietly.", "GILES: Uh, I don't know what to say.", "BUFFY: Tell me about it. (looks toward the stairs)", "GILES: She has no idea?", "BUFFY: No. She thinks she's my kid sister.", "GILES: Are you going to tell her?", "BUFFY: How can I? (sighs, gets up) She'd freak, and that's the last thing we need. She walks to the doorway and looks up the stairs.", "BUFFY: (sighs) We have to keep her safe. She turns and walks back into the living room.", "GILES: This ... woman, this, uh, whatever she was... she knows you now. (Buffy sits) Should we be thinking about ... sending Dawn away?", "BUFFY: Away where?", "GILES: I don't know, uh ... your father's?", "BUFFY: (scoffs) Yeah, he's, um ... in Spain, with his secretary. Living the cliche. (Giles looks sympathetic.) I called him when Mom got sick, he hasn't even...", "GILES: I'm sorry. Beat.", "BUFFY: When he bailed on us ... I remember, Dawn cried for a week. Except she didn't. She wasn't there, but ... I can still feel what it was like. Giles puts his hand over his mouth and frowns.", "BUFFY: They sent her to me, Giles. I think ... I have to take care of her. I want to.", "GILES: Do we tell the others?", "BUFFY: No. No one. They-they'd act weird around her, and it's, it's safer for everyone if they don't know.", "GILES: Yes. (Stands, begins to pace) We have to find out who this woman is, and what she needs Dawn for. Buffy ponders this.", "GILES: I mean, if she comes after you-", "BUFFY: She'll come. (Looks toward the stairs) She'll come for us.", "Cut to a pile of rubble that suddenly explodes upward as Glory throws it off of her. She rises in the middle of the destroyed building, still wearing her red dress. She looks around angrily.", "GLORY: Okay. Now I'm upset. Wolf howl. Opening credits. Guest starring Mercedes McNab, Clare Kramer, Charlie Weber, Amy Adams, Steve Rankin, and Amber Benson as Tara. Written and directed by Joss Whedon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Exterior shot of UC Sunnydale, day.", "Cut to inside dorm. Buffy is stacking some boxes in the hallway. Xander and Riley are carrying a mini-fridge out of a dorm room. Xander bumps his hand on the door frame.", "XANDER: Ow! Thumb! Necessary opposable thumb!", "RILEY: Sorry. Crybaby.", "BUFFY: You know what, you guys, just leave it here.", "RILEY: Got it. He and Xander put down the fridge. Dawn emerges from another door, carrying a stack of boxes that obscure her vision.", "DAWN: I don't need help.", "BUFFY: Just be careful. Buffy turns and enters through the door Dawn just exited. We see Willow, Anya, and Giles in a dorm room, surrounded by boxes.", "ANYA: But we just helped her move the stuff in a few days ago... (turns and sees Buffy) ...and it was fun!", "GILES: (reading a book) People help each other out, Anya. It's one of our strange customs.", "BUFFY: Giles, I noticed you're doing the smallest amount of helping that can actually be called helping.", "GILES: Well, I saw myself in more of a ... patriarchal sort of role. You know, lots of pointing and scowling. (Smiles. Looks to his left, points and scowls.) You two, stop that! Shot of Xander and Riley grappling, bent over at the waist. Xander has Riley in a headlock.", "RILEY: He started it.", "XANDER: He called me a bad name. (Tara looks at them and grins) I think it was bad. It might've been Latin.", "GILES: Stop it, or you're going to break something.", "BUFFY: Or I'm going to break something. The guys suddenly let each other go and straighten up. We see Willow and Tara folding clothes, smiling at each other.", "XANDER: Still can't believe you're giving up this cherry corner suite.", "ANYA: (re-entering from hallway) Just a few days after we moved you in!", "BUFFY: (shrugs, tries to look casual) It's no big. (Giles looks up from his book) You know, with Mom not being well, I'm hardly ever here. (Picks up a pile of clothes to put in a box) Just figured I'd ... save a little cash for this semester, that's all.", "WILLOW: I think that's smart.", "XANDER: Still, it's hard to give up. You've got the two entrances (pointing to the two doors to the room) lot of opportunity for bawdy French farce, and everybody loves bawdy-", "BUFFY: Where's Dawn?", "RILEY: I think she just walked out. (Points out one of the doors)", "BUFFY: (hurrying forward) Dawn! Dawn re-enters and breezes past Buffy.", "DAWN: Some of your CDs are my CDs.", "BUFFY: I know. Come help me fold. Tara smiles at them. Everyone returns to packing and carrying (and reading in Giles' case). Willow takes a suitcase and leaves the room. Buffy bends over to fold something and grabs her lower back with a sigh.", "RILEY: Starting to feel that fight? Buffy and Dawn fold a sheet.", "BUFFY: Nothing like gettin' your ass kicked to ... make your ass hurt.", "DAWN: You'll totally take her next time.", "XANDER: 'Cause you'll have backup, baby. She's messin' with all of us.", "GILES: Yes, uh, we'll, we'll, uh, find her weaknesses, and then, uh-", "TARA: Yeah. You learn her source, (grins) and, uh, we'll introduce her to her insect reflection. Everyone looks at her in confusion. Tara stops smiling.", "TARA: Um ... that, that was funny if you, um, studied Taglarin mythic rites... (softly) and are a complete dork.", "RILEY: Oh, then how come Xander didn't laugh? (Tara takes a box and exits)", "XANDER: (not realizing he's been insulted) I don't know that Taglarin stuff.", "RILEY: Oh.", "Cut to Tara walking out into the hall, shaking her head. Willow approaches.", "WILLOW: Hey. You wanna start taking stuff down to the car?", "TARA: (nods) Yeah.", "WILLOW: Okay. Willow goes back into the dorm room. Tara walks off with her box.", "TARA: (whispering to herself) Stupid...", "Cut to Willow re-entering the dorm room.", "WILLOW: Okay. Guys, now remember, you have to be at the Bronze by eight. Everyone looks blank.", "BUFFY: Bronze.", "WILLOW: Tomorrow night! Tara's birthday!", "BUFFY: Right! Right.", "ANYA: (to Xander) We have to bring presents, right? Birth is a present thing?", "XANDER: I got something ... picked out, yeah.", "WILLOW: (anxious) You-you guys can all still come, right? I mean, I know there's ... this new evil and all, but...", "BUFFY: No, no. We'll be there. I could definitely use a break from all this craziness.", "Cut to a woman in a hospital gown, being wheeled on a gurney through a hospital hallway. Hospital noises. Camera pulls back and we see a male intern pulling the gurney. Ben approaches.", "BEN: What's the story?", "INTERN: Another crazy. Got her family out there. (nods toward waiting room)", "BEN: OK, let me guess, no history of mental problems.", "INTERN: Yeah. That makes like five this month.", "BEN: Ah, they told me Sunnydale was gonna be interesting.", "INTERN: (chuckles) Yeah. Aren't you off?", "BEN: (looks at watch) Yeah, as of now. Have fun. He turns and walks off.", "Cut to hospital locker room. Ben enters, walks past two rows of lockers, opens a locker, begins taking his clothes off and putting them in the locker. Pan back across the two rows of lockers. A Lei-Ach demon comes into view. It has gray skin broken by red bloody-looking sores, and dark sunken eyes. It opens its mouth and puts out a thick, black, forked tongue. Its nose twitches as it walks forward, putting out its tongue again with a hissing noise. Glory comes into the shot, putting one hand over the demon's mouth, the other hand on the back of its head.", "GLORY: I need a favor. She pushes the demon backward out of the shot.", "Cut to the magic shop. Anya hands a paper bag to a customer.", "ANYA: (smiling) Thank you for coming. We value your patronage. (Yelling after the departing customer) Please come again for more purchases! Giles comes into the shot and puts a box on the counter.", "GILES: Could we please be a little less effusive, Anya? Don't want to frighten the people.", "ANYA: I'm just so excited. They come in, I help them ... they give us money in exchange for goods ... you give me money for working for you ... I have a place in the world now. I'm part of the system. (smiles widely) I'm a working gal.", "GILES: (smiles) Yes. Well, why don't you start organizing the shipping orders. (Takes the box and starts to walk off)", "ANYA: Oh, no, that's boring. I just want to do the money parts. Buffy and Xander enter.", "BUFFY: Well, sure I forgot about the party. I mean, there's kind of a lot going on. And it's not ... you know ... the most thrilling social event of the season.", "XANDER: (nods) Yeah ... it's a big deal for Willow, though. I mean, you are gonna be there?", "BUFFY: Yeah. (shrugs) Barring monsters.", "ANYA: Hey, hi. (Leans over the counter toward Xander)", "XANDER: Gimme sugar. I've come to buy sugar. He puts his hands on Anya's face and they kiss.", "ANYA: Mmm. We value your patronage.", "BUFFY: (to Giles) So, any breakthroughs on the identity of Miss Congeniality?", "GILES: Well, I have narrowed it down somewhat. He looks down at a table. The camera pans out so we can see the large assortment of books spread out on the table.", "BUFFY: Your definition of narrow is impressively wide.", "GILES: Well, you didn't give me much to go on. She-she looks human, so the mug shots aren't any use, and, uh, you can't be more specific about what she's like?", "BUFFY: (ponders) She was kinda like Cordelia, actually. (Giles nods thoughtfully) I'm pretty sure she dyes her hair.", "GILES: Right! That one, of course. Our work is done.", "BUFFY: There must be something on her. (sits at table as Xander approaches)", "XANDER: (melodramatically) The answer is somewhere here. (stares at the book-covered table) It's right in front of us and we're too blind to see it! (Slams his hand down on the table) Buffy gives him an exasperated look. Giles rolls his eyes.", "XANDER: I'm helping, I'm reading, (sits, whispers) I'm quiet. Giles takes a box and begins climbing some stairs to the loft. Buffy and Xander sit at the table looking at books.", "BUFFY: So ... what'd you get her?", "XANDER: Huh?", "BUFFY: Tara. You said you got a present already.", "XANDER: Yeah, that was a tangled web of lies, sweetie. I'm not really sure what kind of thing she'd ... I mean, I don't really know her that well.", "BUFFY: (nods) I know.", "XANDER: (quickly) I mean, she's nice.", "BUFFY: (quickly) Yeah! Yeah, nice ... nice. I-it's just, I-I sort of...", "XANDER: I don't necessarily get her ... but she's really nice.", "BUFFY: Yeah. There's ... just that thing.", "XANDER: (agreeing) That thing.", "BUFFY: That ... thing of not understanding-", "XANDER: Half of what she says?", "BUFFY: As for example. But she's super nice.", "XANDER: You betcha. They continue looking at books.", "BUFFY: Think there'll be a lot of Wiccas there, heavy Wiccan crowd?", "XANDER: Well, that's sort of her deal. Her and Willow are all Wiccie. Swingin' with the Wiccan lifestyle.", "BUFFY: Which is cool.", "XANDER: Well, yeah.", "BUFFY: I just hope we fit in, not awkward.", "XANDER: With Willow it's like, she's got this ... whole new thing in her life. But she's still Willow, so I can always figure her out. But Tara, I just know she likes Willow, and she already has one of those. Buffy groans and slams a book shut.", "BUFFY: Ugh! I have a present-buying headache. Tara's damn birthday is just one too many things for me to worry about.", "XANDER: Relax. You should take a few minutes. (jerks his thumb toward the training room in the back) Train or stretch out. You should do something to ... work off the tension.", "Cut to Buffy punching Spike in the face. Then she kicks him. We see they're in his crypt. Spike kicks Buffy in the stomach, then punches her in the face, once, twice, thrice. On the fourth swing Buffy grabs his arm and punches him with her other hand. She lands a roundhouse and then an uppercut. She kicks Spike in the stomach and then does a backflip, kicking him in the jaw. Spike spins, tries a circle kick but Buffy ducks it. She blocks a punch, then he grabs her by the throat from behind, holding one of her hands. She kicks him in the face over her shoulder, twists out of his grip and throws him. He lands sitting on his armchair and it slides backward until it hits the wall. Buffy leaps up to stand on the two arms of the armchair, punches Spike in the face four times. He pushes her legs apart and she falls onto his lap. Spike grabs her butt and Buffy wraps her legs around his neck as he stands up. Then she flings herself backward, landing with her hands on the floor, and uses her legs to flip Spike over by the neck. She lands on top of him. Spike throws her off and she slides against a wall. Spike stands up. Buffy crouches, panting.", "SPIKE: You want me, Slayer, come and get me.", "BUFFY: Oh, I'm coming. I'm coming right- (lunges up toward him)", "Cut to Spike and Harmony in bed.", "HARMONY: -now! Spike is on top of Harmony, covered by a blanket, both of them naked and panting. Harmony caresses Spike's face.", "HARMONY: What are you thinking?", "SPIKE: All about you, baby.", "HARMONY: Aww. (Pulls Spike's head down to her shoulder) You're my little lamb. Cut back to the magic shop. Giles comes back down from the loft.", "GILES: Come up with anything yet?", "XANDER: Well, candles, maybe, or bath oils of some kind.", "BUFFY: I saw a really cute sweater at Bloomy's ... but, I think I want me to have it.", "GILES: And you are talking about what on earth?", "BUFFY: Tara's birthday. We're at a loss.", "GILES: You're in a magic shop, and you can't think what Tara would like. I believe you're both profoundly stupid.", "XANDER: Well, we don't really know ... the kind of things witches like. What, are we gonna get her some cheesy crystal ball?", "GILES: Bloody well better not. I've got mine already wrapped. A youngish guy with blond hair and a beard (Donny) is looking at the shelves. Now he turns and looks at the books on the table in front of Buffy and Xander.", "DONNY: Uh, are all these magic books?", "GILES: Uh, private collection. Uh, books for sale are against the walls over there. (gestures with his coffee cup, then walks toward the counter) Donny continues looking through books on the table.", "DONNY: So all these books got spells in 'em? Turn people into frogs, things like that? Everyone looks dubiously at him. We see Anya behind the cash register.", "XANDER: Yeah, we're building a race of frog people. It's a good time. Donny grins.", "DONNY: So, uh... (gestures at them) You all witches? Hey, don't do a spell on me now. (Laughs)", "GILES: Was there something in particular you were looking for? Donny continues chuckling. The door opens and Willow and Tara enter, laughing.", "WILLOW: Her insect reflection. That is so good.", "TARA: I just thought that'd be funny, you know, if her center of power was-", "DONNY: Whatta you know. Tara sees him and stops laughing, looks alarmed.", "DONNY: What's the matter? You don't have a hug for your big brother? Willow looks surprised. Tara looks upset. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade in on the same scene. Tara still looks upset. Willow looks at her.", "WILLOW: Brother? Shot of Buffy and Xander still sitting at the table, watching.", "TARA: Willow, this is (stutters) Donny. Willow walks forward. Tara follows, looking uncomfortable.", "WILLOW: Hi.", "DONNY: (shakes Willow's hand, smiling) Nice to meet you.", "TARA: And, uh, these are my-my friends. Donny looks back at the others, who nod and wave.", "DONNY: What, uh, all of you hang out? Wow. That's more people than you met in high school. (Gives Tara a friendly punch on the arm)", "TARA: How did you fi - I, I mean, how come you came?", "DONNY: Well, duh, birthday girl. Uh, we came down in the camper, been all over the campus.", "TARA: We? Tara and Willow turn as the door opens and a man walks in (Mr. Maclay), followed by a girl about Tara's age (Cousin Beth).", "DONNY: Look what I found! (gesturing at Tara)", "TARA: Uh, Dad, hi. (walks forward. Willow watches)", "MR. MACLAY: Well, here's my girl. Tara hugs her dad awkwardly. We see Giles walking forward, as the others watch the reunion scene.", "TARA: S-such a s-surprise.", "DONNY: Yes.", "TARA: Cousin Beth.", "BETH: Hey.", "MR. MACLAY: One of your dorm-mates said I might ... find you here. (looking around)", "TARA: Oh. Oh, um, (turning toward the others) these are, these are friends. Um, this is Mr. Giles, um, he runs the shop. Shot of Willow smiling.", "GILES VOICEOVER: How do you do?", "MR. MACLAY: Pleasure. Well, I, I don't mean to interrupt your plans, I know we've come on you kind of suddenly, but I thought we could have dinner.", "TARA: Okay.", "MR. MACLAY: Why don't I pick you up at six, And we'll ... (glances at the others) do some catching up.", "TARA: Yes, sir.", "MR. MACLAY: (to the others) Forgive me for running out. We're double-parked. Giles gestures with his coffee cup like \"that's okay\". Mr. Maclay, Cousin Beth, and Donny leave. Tara watches anxiously.", "DONNY: (waving from doorway) Nice to meet you all. Willow waves and smiles back. Tara walks farther into the shop, toward Willow.", "WILLOW: That's so weird. Your ... whole family.", "TARA: (smiles nervously) Yeah. Shot of Buffy and Xander exchanging a look.", "WILLOW: (OS) They seem nice.", "TARA: You know, they-they're okay. Families are always-", "WILLOW: (understandingly) They make you crazy.", "TARA: Usually. Wanna get into research mode?", "WILLOW: Sure. They move off.", "Cut to: interior foyer of Joyce's house, day. Buffy enters through the front door, tossing her keys onto a table.", "BUFFY: (calling) Honey, I'm home.", "RILEY: (coming down the stairs) Did you have a good day at work?", "BUFFY: It's a rat race. They kiss.", "RILEY: I squared away the rest of your stuff. Wouldn't even know you ever left.", "BUFFY: Oh, you're a god. You're like the ... god of boyfriends.", "RILEY: Nah, I just like it when you owe me favors.", "BUFFY: Well, this earns you a big favor. There could be outfits.", "RILEY: Ooh. Be still my heart. They kiss again. Dawn emerges from the other room, carrying a bag.", "DAWN: See ya later.", "BUFFY: Whoa! Whoa, whoa, whoa, whoa, where do you think you're going?", "DAWN: I'm going to Melinda's for dinner.", "BUFFY: Since when?", "DAWN: Now-ish.", "BUFFY: You can't. I-it's not safe for you to walk there.", "DAWN: It's just across the street. What is the big deal, I'm just gonna go-", "BUFFY: No. It's family night. (glances at Riley) And besides, Melinda's a bad influence. I don't like you hanging out with someone that ... short.", "DAWN: (annoyed) I am so glad you're moving back into the house. This is the source of my gladness. She stalks off. Buffy sighs.", "BUFFY: She makes me crazy. (Walks past Riley into the living room)", "RILEY: That's ... kinda the word I was searching for.", "BUFFY: (sits on sofa) What? She shouldn't be going over there.", "RILEY: Yeah, a lot of young people nowadays are experimenting with shortness. Gotta nip that in the bud.", "BUFFY: She ... can't be running out whenever she'd like.", "RILEY: (walks forward) It's more than that.", "BUFFY: What do you mean?", "RILEY: (sits next to her, shakes his head) You tell me.", "BUFFY: We all have to be careful. This ... demon chick is ... exciting and new. I don't know what I'm up against.", "RILEY: If we're in trouble here I could contact Graham, maybe get the government boys on it-", "BUFFY: No! No, I-I-I don't want them anywhere near this.", "RILEY: (annoyed) Just a suggestion.", "BUFFY: Look, the fewer people that are involved, the safer I will feel.", "RILEY: Every time I think I'm getting close to you ... (shakes head) I gotta take off. (Gets up)", "BUFFY: (gets up to follow) Wait! What?", "RILEY: (walking toward front door) I'll call you later.", "BUFFY: Riley! (He stops walking) I *want* you to help. I'm not-", "RILEY: Yeah. Know you got a lot on your mind. You decide you wanna let me in on any of it, (opens door) let me know. I'll come running. He exits. Buffy looks troubled.", "Cut to exterior Sunnydale dorm, day.", "Cut to inside. Tara enters her room, stops when she sees her dad standing there. He has his arms folded, staring at her roomful of witchy stuff.", "MR. MACLAY: The door wasn't locked. I was a little early. (looks around) I suppose you ... wanted me to see all these ... (picks up a large crystal and examines it) toys. (puts crystal down) You don't even try to hide it any more. I'd hoped maybe you'd gotten over the whole witchcraft thing. That if we let you go, you'd ... get it out of your system. (puts hands in pockets) Then they told me to look for you in ... (disgusted) that store.", "TARA: I didn't - I, I didn't kn-know that you were coming.", "MR. MACLAY: Of course we came. We haven't heard from you in months. Your birthday's getting closer and closer. You know what that means.", "TARA: (upset) I don't think it's ... (stammers) it, it won't mean that-", "MR. MACLAY: You're turning twenty. (walks toward her) It's the same age your mother was when she... Do your friends even know?", "TARA: (softly) Y-yes.", "MR. MACLAY: Are you lying to me? (Tara looks down) Tara, you're coming home with us. You know it's the only way.", "TARA: Home?", "MR. MACLAY: You can't control what's going to happen. You have evil inside of you and it will come out. And letting yourself work all this magic is only going to make it worse. Where do you think that power comes from?", "TARA: It ... it doesn't feel evil ... sir.", "MR. MACLAY: Evil never does. (Tara looks down, upset) I don't feel much like eating right now. (Starts to walk past her) I'll give you some time, but we need to be gone by morning. (Walks to the door. We see him unfocused in the background; in foreground Tara looking sad) Your family loves you, Tara, no matter what. How do you think your friends are going to feel when they see your true face?", "Cut to the Lei-Ach demon asleep or unconscious. Something hits its face and it begins to wake. The camera pulls back slowly and we see that the demon is standing, chained to a clothes-rack, surrounded by fur coats. Its nose twitches. A shoe flies into the shot and hits the demon in the face, and it growls.", "GLORY: (OS) Finally. I thought you were gonna nap the whole day away. (Demon growls and struggles) Stop whining. We see that they're in a large walk-in closet with clothes racks on all four walls. Glory stands in the middle of the room, now wearing a shiny green (leather?) dress. She has her previous red dress on a hanger, which she now hangs up.", "GLORY: You know, I remember when the Lei-Ach were a proud warrior race, not sneaking around hospitals looking for weak sickly types to suck the bone marrow from. (Demon growls and struggles) But ... let's talk about my problems for thirty seconds, if that's perfectly all right with you. She walks toward the demon and we see a vanity table against one wall. Glory kneels on the chair, leans her hands on the table and talks to her reflection in the mirror.", "GLORY: Blonde ... short ... strong for a human ... (turns back around, sits on chair, speaks angrily to demon) and massively rude! Broke my shoe, took my monk, do you have any idea who I'm talking about? The demon growls and grunts.", "GLORY: A slayer? Oh god, please don't tell me I was fighting a vampire slayer! (Puts one hand to her forehead) How unbelievably common! If I had friends, and they heard about this ... (Shot of the demon looking like it's going to fall asleep again) and you know she's going around telling everybody, I mean she probably just- (leaps up and grabs the demon by the throat) Pay attention! I am great and I am beautiful, and when I walk into a room all eyes turn to me, because my name is a holy name, and you will listen! (Removes her hand from demon's throat, strokes his hair with both hands) Get your friends ... find the girl ... kill the girl ... okay baby? (Demon nods. She smiles and looks closer at it) You have the cutest little suppurating sores! Has anyone ever told you that?", "Cut to: some sort of irregularly shaped crystal ball. Camera pulls out and we see Tara sitting in her room, staring sadly at the crystal. Behind her the door opens and Willow enters. Tara doesn't turn.", "WILLOW: Hey.", "TARA: (turning) Hey.", "WILLOW: Was dinner fun? Tara stands, nodding.", "WILLOW: Well, there's Scoobyage afoot. Giles called a meeting about our spankin' new menace.", "TARA: Oh ... y-you should go, they don't need me for that. You can fill me in.", "WILLOW: (walks toward her) No, no, you have to come. This demon chick is supposed to be really powerful, and I was thinking. Maybe we could try that, that spell, you know, the one to find demons?", "TARA: That didn't work.", "WILLOW: Yeah ... but we only tried it once, and I-I think I got some ingredients wrong.", "TARA: Well, I-I'm tired. Maybe we can do it tomorrow?", "WILLOW: You sure you don't wanna-", "TARA: Look, my family's here, okay, I can't just- (pauses) Not everything is about your friends and stuff.", "WILLOW: (makes a face) Sorry. (Backs away from Tara, starts walking to the door)", "TARA: No! No, I mean... (Willow turns back) There's just so much ... going on. It's just ... I'm, I'm really tired.", "WILLOW: (nods) Okay.", "TARA: I'll see you in the morning. You can fill me in.", "WILLOW: Great. We'll be demon hunters. (Leaves) Tara turns, hunts through some books, picks one up and leafs through it, frowning. She finds what she's looking for and looks up with a calculating expression.", "Cut to magic shop. Buffy, Anya and Xander sitting around the table. We see Dawn in the background looking at a bookshelf. Willow enters.", "WILLOW: Hey. Am I late? Did I miss any exposition?", "GILES: (enters the shot from the right) No, no, no, no, nothing earth-shattering to relate. (leans his hands on the back of a chair as Willow sits) I just have a few thoughts, and, uh, wanted to make sure that we were all on the same page.", "DAWN: Can I buy one of these?", "BUFFY: (OS) No.", "DAWN: With my own money?", "BUFFY: (OS) I let you come, now sit down and look studious. Dawn looks annoyed, walks toward the table and out of the shot. The camera pans past the bookshelves and around a corner.", "GILES: (OS) Well, first of all, I want to talk to you about ... safety. Um, this creature could be- We see Tara hiding around the corner, listening.", "BUFFY: (OS, fading) Will be.", "GILES: (OS, fading) Will be coming after Buffy, and possibly all of us.", "TARA: (whispering) Blind Cadria, desolate queen, work my will upon them all. Your curse upon them, my obeisance to you. She holds up her hand and blows on it. Red dust (?) flows out of her hand. Cut back to the other room, where Giles is sitting down with the others around the table. We see the tendril of red floating into the room from Tara's hiding place, toward the table.", "GILES: Now, I may have a lead on this monk that Buffy spoke of. There, there are a few orders that I-I've read up on- The red dust turns yellow and floats into the middle of the table, then sends out shoots, one for each Willow, Buffy, Dawn, Giles, Anya and Xander. It hits them in the eyes and they all simultaneously flinch back. A pause, then Giles continues, looking confused.", "GILES: I-I'm sorry, where was I?", "BUFFY: The monk.", "GILES: Yes, um, I'd like us all to start looking at these orders, I-it's possible whichever one this monk belonged to was wiped out entirely... His voice fades out. We see Tara retreating backward, watching them. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on interior of Willy's Bar. Pan across various people and demons drinking at tables. Pan over to the bar. The bartender (not Willy) paces behind it.", "BARTENDER: You shouldn't be coming in here. (Turns and takes a glass from a shelf) You got a rep with these monsters. (Puts glass on the bar, shakes head) But you come in here... (turns and gets a bottle) night after night. (Pours into the glass, looks up at the customer) Are you lookin' to get killed? Shot of Riley sitting on a bar stool, watching the bartender pour.", "RILEY: I come for the ambiance. (picks up glass, looks around) What can I say? This place just reeks of class. (Drinks the shot)", "BARTENDER: Yeah, well, if Willy was here-", "RILEY: Well, Willy's not here. (puts glass down) Hit me. Bartender scowls and pours.", "FEMALE VOICE: Drinking alone? A woman with long dark hair and a low-cut blouse (Sandy) walks up next to Riley.", "SANDY: It's not a good sign. (Sits on the stool next to him)", "RILEY: So they tell me. (looks at her) I buy you a drink, neither one of us has that problem any more, now do we? (Sips his drink)", "SANDY: Vodka tonic.", "RILEY: (to bartender) Vodka tonic. Bartender puts a napkin in front of Sandy and walks off.", "SANDY: (to Riley) I'm Sandy.", "RILEY: Riley. We hear the bartender pouring Sandy's drink.", "SANDY: This place is such a dive.", "RILEY: No no, it's great. You just have to close your eyes, (Sandy chuckles) plug up your nostrils, it's fine.", "SANDY: We ... could go somewhere else. Someplace more ... private.", "RILEY: (sighs, stares off into the distance) Ohhhh, Sandy, Sandy. It's no good. My heart belongs to another. Besides, (looks at her again) I don't go out with vampires. Sandy narrows her eyes in annoyance and uses her straw to stab at the ice in her drink.", "RILEY: (to bartender) Never interested in my intellect.", "Cut to interior of Spike's crypt. Spike sits in his armchair holding his mannequin head with the long blonde wig, caressing its cheek. The door opens and he quickly hides the head under his chair as Harmony enters, carrying several shopping bags.", "HARMONY: Hi baby!", "SPIKE: (bored) Hello, sweetbreads. Have fun?", "HARMONY: Uhh, it was so exciting. You wouldn't believe it. I went to April Fool's, and absolutely everything was on sale.", "SPIKE: You *paid* for it?", "HARMONY: (unpacking bags) Oh, no. I just killed the clerk. Still, a bargain's a bargain. (Spike frowns and shakes his head) Oh, I ran into Carol Beets. You know. She sired Brandon, Brandon from the sewer gang ... and she said, the Lei-Ach demon... (happily) was recruiting his brethren to kill the slayer!", "SPIKE: (suddenly paying attention) How's that?", "HARMONY: Apparently, he got recruited by some big nether-wig and now he's on a mission. (Spike looks thoughtful) You think they might actually do it? Kill her?", "SPIKE: (pondering) God, that would be ... pleasant.", "HARMONY: Well, if they do, I think we should do something. (Spike jumps up) Like a gift basket or something. (Spike grabs his jacket) Where are you going?", "SPIKE: To get a decent seat. (puts on jacket) If the slayer's gonna die ... I'm gonna watch. (Exits)", "Cut to Tara walking across campus. It's dark. She looks over her shoulder several times. Then she sees Cousin Beth approaching. Beth looks surprised and pleased.", "BETH: Tara.", "TARA: Beth, what are you-", "BETH: I-I was looking for you.", "TARA: I'm sorry we didn't get to have dinner.", "BETH: I just ... wanted to see if everything was okay. (Tara smiles) See if you needed any help with anything. Packing.", "TARA: (stops smiling) Beth, I'm not, I'm n-not (stutters) coming back with you.", "BETH: You're not?", "TARA: I-I don't think so.", "BETH: You ... selfish bitch!", "TARA: What?!", "BETH: You don't care the slightest bitty bit about your family, do you? Your dad's been worried sick about you every day since you've been gone. There's a, a house that needs taking care of ... Donny and your dad having to do for themselves while you're down here living god knows what kind of lifestyle. (Tara looks upset) I can't wait till your little friends find out the truth about you. And they will, you know. No matter how innocent you act, they'll see.", "TARA: (firmly) No they won't.", "BETH: They will. Unless you ... do some kind of spell on them ... (sees Tara's face) You did!", "TARA: N-no!", "BETH: You did something to them. I'm telling your father. She starts to turn away. Tara grabs her arm.", "TARA: No! No, it wasn't anything!", "BETH: You think you can just go around cursing people? Your dad's gonna pop.", "TARA: It was just so they wouldn't see. So-so-so they wouldn't see the demon part of me. (teary) Please don't tell Dad. It's harmless.", "Cut to Buffy in her workout room, doing some stretches on the floor.", "Cut to Willow in the magic shop, taking a book off a shelf. There's a knock on the door.", "WILLOW: Tara? Willow goes to the door and opens it. We see three Lei-Ach demons standing there, snarling. Willow doesn't see them. She looks around the doorway in confusion, then closes the door and turns away.", "WILLOW: (to herself) I thought I heard something. (Shrugs and walks off) Shot of the lead Lei-Ach demon grinning. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade in on UCS campus, still night. Tara sits on a bench while Cousin Beth scolds her.", "BETH: Don't you see how out of control you are? You've been lying to these people for a year, and now you've put a spell on them, is that right? (shakes head) Is that a human thing to do? Now I'm telling your father. If he doesn't force you to come home, and I think he should, I know he's going to tell your friends the truth. If I were you, I'd tell them first. And then I'd tell them good-bye.", "Cut to magic shop. Dawn is playing with a glass snow-ball, shaking it to make the snowflakes move. A Lei-Ach demon comes up right behind her, but she doesn't notice. Another demon walks across the foreground, toward the table, where Anya is stacking up some books.", "ANYA: Do I get paid overtime for this? (Gets up and walks right past the demon, not noticing it)", "GILES: (OS) Certainly not. (comes into the shot, walking past the demon as a second demon joins it) Dawn, would you close the door? We see Willow and Xander sitting at the table, studying books as the two demons walk past them, staring at them.", "DAWN: (OS) I didn't open it. The lead demon turns, sniffing, and extends its tongue as it moves off toward the back.", "Cut to Buffy in the workout room, punching a punching bag. She pauses to do some arm stretches. We see the demons walk in behind her. Slow eerie music. Buffy frowns and looks toward the door. Shot of the room from Buffy's POV: it's empty, no demons. Buffy turns back to the punching bag, doing some shoulder rolls, making a face as if she's sore. We see the lead demon coming up behind her. Suddenly Buffy whirls around and blocks as the demon tries to grab her. The music changes to fast fight-music. Buffy falls to the floor with the demon on top of her. We see a second demon standing beside them.", "BUFFY: Giles! Shot of Buffy with her hands in front of her, pushing at the demon, but we don't see the demon. Shot of Giles getting up from his desk as Buffy yells.", "BUFFY: (OS) Something's in here! Shot of Xander getting up as well. Xander rushes toward the back. The third demon stops him before he reaches the doorway, grabs him by the upper arms as he struggles. Shot of Willow getting up, staring in confusion. Shot of Xander struggling against what looks like empty air. Dawn runs up behind Giles. Xander flies backward as the demon throws him. He lands on his back on the floor, grabbing at his neck, trying to grab the demon's hands as it chokes him. Anya turns from the bookshelf and comes forward. Willow grabs a chair. Anya grabs something else from the counter (a crystal ball?). Willow uses the chair to whack at the area on top of Xander (we still don't see the demon). Xander sighs as the demon lets go of his neck.", "ANYA: Where'd it go? Willow looks around, suddenly goes flying backward. Giles pushes Dawn toward his desk.", "GILES: Under there, go.", "DAWN: Willow? (crawls under the desk) Cut back to Buffy still wrestling with the first demon. The workout room door opens and Spike enters, grinning. Buffy breaks out of the demon's grasp and shoves it backward, off of her. As she stands up, the second demon grabs her around the waist from behind. Spike stops grinning as the first demon gets up. Spike rolls his eyes in exasperation and hurries forward. He tackles the first demon and pulls it aside, landing on the floor on his back with the demon on top of him. Buffy punches the second demon over her shoulder, then flips it, grabs it and shoves it against the wall. It slumps down and is still. Shot of the workout room from Buffy's POV: it's empty. She rushes toward the door. Shot of Spike still on the floor with the demon in a stranglehold.", "SPIKE: You're welcome! The demon punches him in the face. Buffy enters the main shop area and runs forward.", "ANYA: Where'd it go?! (swinging her weapon around randomly) Shot of Giles suddenly reeling backward as the unseen demon punches him. Shot of Buffy looking around. Anya retreats behind the counter and lifts her weapon cautiously.", "XANDER: It's over there!", "GILES: How many are there?", "ANYA: I've already been injured once this month!", "BUFFY: Shut up! (Music stops. Silence as Buffy looks around.) The front door opens and Tara enters. She walks forward a few steps, looking anxious.", "TARA: Buffy, behind you! We see a demon standing immediately behind Buffy. She turns just as it grabs her and throws her onto the table. She rolls off the other side of the table onto the floor. Cut back to the workout room. The demon punches Spike in the face several times; he flies backward and hits the wall. He notices a rack full of weapons hanging on the wall and grabs one. It looks a bit like a scythe, only with a short handle. The demon rushes at Spike but he kicks it and it falls to the floor. Spike lifts the weapon and chops downward. Cut back to the shop as Buffy stands up.", "BUFFY: Tara, where is it? (looking around) Can you see it?", "TARA: Oh, god. Tara comes forward as the demon punches Buffy in the face. Punching noises continue as Tara rushes into the middle of the room and stops, looking down to concentrate.", "TARA: (panting) Blind Cadria, lift your veil. Give evil form... (The demon turns away from Buffy to glare at Tara) ...and break my spell. We see a light flash in Buffy's eyes and suddenly she can see the demon, which is rushing at Tara. It hits her in the face; she goes down. The demon turns back to Buffy. She punches it, then it grabs her arm and throws her to the floor. She rolls over several times. Tara's dad enters, followed by Donny and Beth. The demon stands over Tara, who is still lying on the floor.", "MR. MACLAY: Tara! The demon looks up, rushes toward Mr. Maclay. He falls backward onto the floor. Buffy, still on the floor, trips the demon and it falls on its stomach across the three steps up to the higher store level. Buffy flips up to her feet and puts one foot on the back of the demon's neck, gives it a shove. We hear the crack as the demon's neck breaks. Shot of Mr. Maclay sprawled on the floor staring. Shot of Dawn peeking out from under the desk. Giles gives her his hand and helps her up.", "MR. MACLAY: What in god's name is that? Spike enters from the back.", "SPIKE: Lei-ach demon. (Everyone looks at him) Fun little buggers. Big with the marrow-sucking. Mr. Maclay gets up. Shot of Tara sitting on the floor, looking guilty.", "MR. MACLAY: I don't understand.", "BUFFY: (arms folded, looking down at Tara) I'm not sure I do either.", "TARA: I'm sorry. I'm s-s-so sorry. (sniffling) I was, I was trying to hide. Willow comes forward and kneels by Tara.", "TARA: I didn't want you to see ... what I am.", "WILLOW: Tara, what?", "BUFFY: What do you mean, what you are? Tara tries to speak but can't.", "MR. MACLAY: (OS) Demon. The women in our family... (Everyone looks up at him) have demon in them. Her mother had it. That's where the magic comes from. Tara looks down, then looks up at Willow, who stares at her.", "MR. MACLAY: We came to take her home before... (sighs) well, before things like ... (points at the dead demon) this started happening.", "GILES: You cast a spell on us, to keep us from seeing your ... demon side. (to Buffy) That's why we couldn't see our attackers. Buffy looks behind her at Dawn.", "BUFFY: Nearly got us killed.", "TARA: I'll go. (scrambles to her feet. To Buffy) I'm very sorry.", "MR. MACLAY: The camper's outside.", "WILLOW: Wait! Go? (grabs Tara's elbow) I, she just did a spell that went wrong. It-it was just a mistake.", "MR. MACLAY: That's not the point and it's not your concern. She belongs with us. We know how to control her ... problem. Willow looks at Tara in distress.", "WILLOW: Tara ... look at me. (Tara does.) I, I trusted you more than anyone in my life. Was all that just a lie?", "TARA: (teary) No!", "WILLOW: Well, do you wanna leave?", "MR. MACLAY: It's not your decision, young lady.", "WILLOW: (sharply to him) I know that! (more softly, to Tara) Do you wanna leave? Tara shakes her head, crying.", "MR. MACLAY: You're going to do what's right, Tara. Now, I'm taking you out of here before somebody *does* get killed. (Tara wipes her face on her sleeve) The girl belongs with her family. I hope that's clear to the rest of you. Willow looks anxiously at Tara.", "BUFFY: (OS) It is. Shot of Buffy narrowing her eyes at Tara.", "BUFFY: You want her, Mr. Maclay? You can go ahead and take her. Shot of Tara looking sad, as if that's what she expected. Shot of Mr. Maclay nodding in satisfaction. Shot of Buffy whirling around to face Mr. Maclay, putting her hands on her hips.", "BUFFY: You just gotta go through me. Tara looks up in amazement as hope begins to grow.", "MR. MACLAY: (OS) What?", "BUFFY: (OS) You heard me. Shot of Buffy staring him down, looking very tough.", "BUFFY: You wanna take Tara out of here against her will? You gotta come through me.", "DAWN: And me! Tara smiles. Dawn walks up to stand beside Buffy. They both give Mr. Maclay the same steely glare.", "MR. MACLAY: Is this a joke? (steps down one of the stairs) I'm not gonna be threatened by two little girls.", "DAWN: You don't wanna mess with us.", "BUFFY: She's a hair-puller. Giles walks up behind them.", "GILES: And ... (puts on his glasses) you're not just dealing with, uh, two little girls. Tara smiles even more.", "XANDER: You're dealing with all of us.", "SPIKE: 'Cept me.", "XANDER: 'Cept Spike.", "SPIKE: I don't care what happens.", "MR. MACLAY: This is insane. You people have no right to interfere with Tara's affairs. *We* ... are her blood kin! Who the hell are you? Shot of Giles, Dawn, Buffy, Willow, Tara, Xander, and Anya all standing together in a group, with Spike in the background.", "BUFFY: We're family. Tara smiles through tears. She looks at Willow, who smiles back. Mr. Maclay looks angry.", "DONNY: Daaad. You -- you gonna let 'em just... (stomps forward) Tara, if you don't get in that car, I swear by god I will beat you down.", "XANDER: And I swear by your full and manly beard, you're gonna break something trying. (Donny looks cowed)", "BETH: Well. I hope you'll all be happy hanging out with a disgusting demon. The same shot of the whole Scooby gang spread out in a row. Anya, farthest back, raises her hand.", "ANYA: E-excuse me. What kind?", "BETH: What?", "ANYA: What kind of demon is she? There's a lot of different kinds. Some are very, very evil. And some have been considered to be useful members of society. (Smiles proudly. Xander turns to smile back at her.)", "BETH: Well, I-I ... what does it matter?", "MR. MACLAY: Evil is evil.", "ANYA: Well, let's just narrow it down. (Xander nods)", "SPIKE: Ohhh. (looks around) Why don't I make this simple. Spike walks forward and taps Tara on the shoulder. When she turns, he punches her in the face. Both Tara and Spike reel backwards in pain. Tara grabs her nose, Spike his head.", "SPIKE: Oww!", "WILLOW: (angry) Hey! (suddenly realizing) Hey...", "TARA: (both hands over her face) He hit my nose!", "WILLOW: And it hurt! Uh, him, I mean. Tara looks at her in surprise.", "BUFFY: (to Mr. Maclay) And that only works on humans. (Willow smiles)", "SPIKE: There's no demon in there. That's just a family legend, am I right? (Mr. Maclay looks angry) Just a bit of spin to keep the ladies in line. (smirks) Oh, you're a piece of work. I like you.", "TARA: (softly, to Willow) I'm not a demon.", "WILLOW: (smiling) You're not a demon.", "TARA: He hurt my nose.", "WILLOW: Aw.", "SPIKE: (still rubbing his forehead) Yeah, you're welcome. (Stalks off) Tara and Willow smile hugely at each other. Shot of Buffy and Dawn in identical poses side-by-side, with their arms crossed, their heads cocked at the same angle, and the same steely glare on both their faces. Giles stands behind them.", "GILES: Mr. Maclay, I would say your business here is finished.", "MR. MACLAY: Tara. (Tara looks at him) For eighteen years your family has taken care of you and supported you. If you wanna turn your back-", "TARA: (walking forward) Dad ... just go. Mr. Maclay scowls, turns and heads for the door. Donny follows. Mr. Maclay pauses at the door.", "MR. MACLAY: (disgusted) Magic. Beth gives Tara a very dirty look.", "BETH: Are you happy now? A slow smile spreads across Tara's face as fast rock music begins.", "Cut to the Bronze. A montage of scenes of the whole group wearing party clothes, talking and laughing in different groups. Xander giving Tara a drink. Buffy talking with someone. Willow laughing at Xander's joke. Dawn racing through the crowd and Buffy stopping her. Willow blowing bubbles while Tara opens her presents, admiring the crystal ball from Giles. Dawn running up to Tara, holding a broom with a bow tied around it. A bunch of them hanging out, talking, playing pool.", "Cut to Buffy leaning against a pole, watching the action with a smile. Behind her the door opens and Riley enters, with a gift box under his arm. He goes up to Buffy.", "RILEY: Sorry I'm late.", "BUFFY: (smiling) You came.", "RILEY: Of course I came. They kiss.", "Cut to Tara talking to Anya, who wears a party hat.", "TARA: No, see, 'cause your insect reflection represents your insignificance... (Anya nods) in terms of the karmic cycle. Anya nods to show that she understands, then ponders it for a moment.", "ANYA: But it's still not funny.", "Cut to Xander, Buffy, Dawn and Giles talking together. Riley comes over with three blue plastic cups, gives one to Buffy and one to Giles. We see that Xander already has a cup.", "DAWN: (with her back to the others, watching the crowd) This place is so cool. (looks at hand) 'Cept I have to wear this stupid stamp on my hand.", "XANDER: That's to keep you from boozing it up.", "DAWN: Oh please. Only losers drink alcohol. A beat as the others take this in. The cups they're all holding are prominently visible. Dawn is cheerfully oblivious. Cut back to Tara and Anya.", "ANYA: So what's an eagle reflection?", "TARA: Umm... Willow approaches.", "WILLOW: My dance? She takes Tara's hand and leads her onto the floor as a slow song starts. They begin to dance. Willow has her hands on Tara's waist; Tara's hands on Willow's shoulders.", "WILLOW: Good birthday?", "TARA: Best birthday.", "WILLOW: I still can't believe you didn't tell me about your family and all that.", "TARA: I was just afraid if you saw the kind of people I came from, you wouldn't wanna be anywhere near me.", "WILLOW: See ... that's where you're a dummy. I think about ... what you grew up with, and ... then I look at what you are ... it makes me proud. It makes me love you more.", "TARA: Every time I- (takes a deep breath) even when I'm at my worst ... you always make me feel special. Willow smiles.", "TARA: How do you do that?", "WILLOW: Magic. They embrace, putting their heads on each other's shoulders and swaying to the music.", "SINGER: I can't take my eyes off you... I can't take my eyes off you...", "(this line of song repeats several more times as they continue slowly moving to the music and the camera moves around them. We see them slowly rising upward.)", "Long shot of Willow and Tara, surrounded by other couples who are also dancing. But Willow and Tara are floating several feet above the floor. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Joyce Summers has a brain tumor, and Buffy worries about how Dawn will take it. In addition, Buffy must keep her sister safe from Glory and her magic snake." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GLORY: You keep refusing to tell me where the key is! Monk talking to Buffy.", "MONK: We had to hide the key ... made it human and sent it to you. Buffy brushing hair back from Dawn's face.", "BUFFY VOICEOVER: Dawn.", "DAWN: What's wrong with Mom?", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer...", "BUFFY: I don't know. Riley talking to Xander.", "RILEY: Buffy's like nobody else in the world. When I'm with her it's like, half of me is just ... on fire, going crazy if I'm not touching her. But she doesn't love me. Riley talking to Buffy.", "RILEY: I know you got a lot on your mind. You decide you wanna let me in on any of it, you let me know. Riley in Willy's bar talking to Sandy.", "SANDY: We ... could go somewhere else. Someplace more ... private.", "RILEY: Ohhhh, Sandy, Sandy. My heart belongs to another. Besides, I don't go out with vampires. Spike and Buffy kissing.", "BUFFY: Spike. I want you.", "SPIKE: God, I love you so much. Spike sitting up in bed.", "SPIKE: Oh god, no. Please no. Buffy talking to Joyce.", "BUFFY: Are you okay?", "JOYCE: You know the nothing that I've been dealing with the last couple of weeks? I-it might not be nothing.", "BUFFY: What is it?", "JOYCE: I'm, uh, staying overnight at the hospital for observation. I'm getting a CAT scan. Buffy sitting on the back steps crying, putting her face in her hands. Fade in on hospital CAT scan room. Joyce lies on the machine, wearing a hospital gown. We see a glass window, behind which two technicians are standing. The machine makes noises as the part Joyce is lying on slides into it. Close-up on Joyce's face. She closes her eyes. Long shot of the machine. Close-up on Joyce's face again, her eyes open again. She closes them again.", "Cut to Dawn fiddling with a bracelet on her right wrist. A hand comes into view and gives her a can of soda. It's Buffy. Dawn looks up at her. She sits down next to Dawn and opens her own can.", "DAWN: What is a CAT scan exactly?", "BUFFY: I don't know. It's some ... x-ray, I guess.", "DAWN: Where do they get the CAT scan from? I mean, do they test it on cats or ... or does the machine sort of look like a cat?", "BUFFY: Dawn, I'm really... She stops herself as Dawn gives her an apprehensive look. Buffy puts her arm around Dawn and brings Dawn's head to rest on her shoulder. She kisses the top of Dawn's head. Long shot of them sitting there in the hospital waiting room as various staff people walk by.", "Cut to a telephone book, open to a page where we see a large advertisement for the Magic Box.", "TARA VOICEOVER: \"Your one-stop spot to shop for all your occult needs.\" We see Tara and Giles standing behind the counter, looking at the ad.", "TARA: Catchy.", "GILES: Think so?", "TARA: Uh-huh. In a ... hard to read sort of way, but I think it's great.", "GILES: Oh. Tara moves away as Giles studies the ad and soundlessly mouths the words to himself. The door opens and Anya enters, followed by Xander and Willow. Anya immediately begins straightening the merchandise on the shelves.", "XANDER: I'm just saying, I think it's rude.", "WILLOW: I wouldn't call it rude.", "XANDER: Rude-ish. Rude-esque. Whatever you want to call it. When a person makes a \"destroy all vampires\" date, it's simple courtesy to wait for your co-destroyers. Am I right, Giles?", "GILES: I'm almost certain you're not, but to be fair, I wasn't listening.", "TARA: Oh, the-the new phone book's in with Mr. Giles' ad. Anya races around the counter, shoving past Tara.", "WILLOW: Oh, nice.", "ANYA: Yay! Am I mentioned? (looking eagerly at the ad)", "GILES: Not as such.", "ANYA: (disappointed) Oh.", "XANDER: Okay, we were supposed to hook up with Riley this morning, to take on a nest o'vamps holed up in a tomb? So we get there, and guess what? Tell him, Will.", "WILLOW: Tomb go boom.", "XANDER: Yep. Captain America blowed it up real good. All by his lone wolf lonesome.", "GILES: Hmm, uh, rather reckless of him. (We see Anya still studying the ad.)", "XANDER: I'd say very rather.", "GILES: All that aside, I should think you'd be pleased to avoid the confrontation.", "ANYA: That's what I've been saying. I mean, I for one didn't want to start my day with a slaughter. (Suddenly gets a look of realization on her face; excitedly) Which really just goes to show how much I've grown! (Smiles hugely. Willow and Tara grin at each other)", "GILES: Yes, well, um, in any event, uh, since you're all here, Tara and I could use your help researching Buffy's mysterious woman.", "XANDER: Oh yeah, this has been fruitful. Trying to look up something you ... never saw and don't know the name of.", "ANYA: Just do what I do: flip through the pages and look busy.", "WILLOW: It'd be nice if we knew where she was, where she's hiding out.", "XANDER: No doubt lurking around some sewer or condemned church or rat-infested warehouse. You know, the usual haunts.", "Cut to: a beautiful, well-appointed apartment. Glory reclines on a round bed surrounded by shoeboxes. A demon dressed in monk's clothing is kneeling on the floor, holding a scroll.", "DREG: Most beauteous and supremely magnificent one, this dark spell I hold in my worthless and scabby hand is our gift to you, most tingly and wonderful Glorificus...", "GLORY: (trying on a shoe) Please, call me Glory. And get up, looking at you is hurting my neck.", "DREG: (gets up) Forgive me, shiny special one. I beg of you to rip out my inadequate tongue.", "GLORY: (reaches out her hand) Gimme. Dreg grins and walks forward, sticking out his tongue. Glory waits till he's close enough and then grabs the scroll.", "DREG: Oh. (laughs nervously) I thought... (still laughing as Glory examines the paper) You should know, your elaborate marvelousness, that this dark incantation has been lost for eons...", "GLORY: Uh-huh. (trying on another shoe)", "DREG: And great dangers have been faced to...", "GLORY: (sticking her leg straight up in the air) Does this pump make my ankle look bony?", "DREG: No! No, no, your terrifically smooth one, it is the epitome of ankles. (Glory ignores him, trying on another shoe) To touch such an ankle would be - but I'm not touching. I'm backing away. Glory kicks out her foot and the shoe flies off it, hitting Dreg in the forehead.", "DREG: Ow! Thank you.", "GLORY: Dreg, is it? (Gets up)", "DREG: Yes. Dreg. Your creamy coolness has honored me by speaking my name. Your voice is like a thousand sweet songbirds that-", "GLORY: (irritated) Yeah, I never tire of hearing that. Look, just so we're clear, the spell's gonna work, right? (Dreg nods anxiously. Glory turns and goes to the window, peeking around the curtain) I mean, nothing worse than a gift that doesn't work. Then I'd have to get all mad and kill you! (apologetically) It's this whole big thing.", "DREG: It will work, your extremeness. Provided you have the other items you need.", "GLORY: Don't worry. I'll have them all right. She walks past him to where a copy of the phone book is sitting open to the page with Giles' ad. She tears out the page and smiles at it.", "GLORY: I'll have it all. Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Kevin Weisman, William Forward, Amber Benson as Tara, and Kristine Sutherland as Joyce Summers. Written by David Fury, directed by Daniel Attias.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Exterior of the Summers house, day. Riley approaches the front door and finds it slightly ajar. He knocks and walks in.", "RILEY: (calling) Hello? Buffy? He takes off his jacket, then notices something on the floor and picks it up. It's a blanket. He frowns, looks up the stairs, drops both blanket and jacket and starts up the stairs.", "Cut to: Spike holding a pink sweater up to his face and inhaling deeply. He lowers the sweater, sighing happily, then takes another sniff as Riley appears behind him.", "RILEY: What are you doing in here? Spike whirls around and we see he's in Buffy's bedroom. He quickly hides the sweater behind his back.", "SPIKE: What, me? I was um ... uh ... what are *you* doing here?", "RILEY: Looking for the girl who's gonna rip your arms off when she finds out you were in her bedroom. (Walks forward.)", "SPIKE: Oh yeah? Well ... me too. Riley glances down, makes a move toward Spike's hands. Spike flinches backward and tries to maneuver so Riley can't see what he's holding.", "RILEY: (bemused) Were you ... were you just smelling her sweater?", "SPIKE: (scoffs) No. (Riley glares at him) Well, yeah, all right, I did. It's a ... predator thing, nothin' wrong with it. Just ... know your enemy's scent, whet the appetite for a hunt. (He sniffs the sweater again) Ah, that's the stuff! Slayer musk, it's bitter and aggravating! Spike presses the sweater against his face and makes angry growling noises. Riley snatches the sweater away from him, tosses it aside, then grabs Spike by the front of his shirt.", "RILEY: Out. As Riley hustles Spike out, Spike grabs a piece of lacy pink underwear from a drawer. Riley hurries down the stairs, pulling Spike after him.", "SPIKE: Hey, watch it! Easy, you're bruising the leather! (They reach the bottom of the stairs and Riley lets go) Look. I know for a bleeding fact the Slayer wouldn't mind me being here.", "RILEY: Right. What's a little sweater-sniffing between sworn enemies.", "SPIKE: Your girl in the habit of buying her enemies drinks? 'Cause she spent the better part of last night with me, (smugly) doing just that.", "RILEY: 'Cause you guys are such tight pals.", "SPIKE: Yeah.", "RILEY: That's good. Tell me another.", "SPIKE: Okay, how 'bout this one. Twice in recent memory, she's had the lover-wiccas do a deinvite on the house. Keep out specific vamps. Ever ask yourself why she's never taken my name off the guest list?", "RILEY: (falters for a moment) Because you're harmless.", "SPIKE: Oh yeah, right. (scoffs) Takes one to know, I suppose. Least I still got the attitude. (looking Riley up and down) What do you got, a piercing glance? Face it, white bread. Buffy's got a type, and you're not it. She likes us dangerous, rough, occasionally bumpy in the forehead region. (patronizingly) Not that she doesn't like you ... but sorry Charlie, you're just not dark enough. Riley scowls, grabs Spike, opens the door and thrusts Spike out into the sunlight.", "SPIKE: Hey ... Hey! Hey! Hey!", "RILEY: Am I dark enough for you now?", "SPIKE: Bloody pull me back in, you sod, I'm starting to sizzle!", "RILEY: You don't know anything about Buffy, you never did. I'm the one who knows what she needs.", "SPIKE: Oh yeah? That's why you're with her at hospital right now, giving her what she needs.", "RILEY: (pulls Spike back inside) What are you talking about?", "SPIKE: Don't you know, didn't she tell you?", "RILEY: You tell me.", "SPIKE: Mum's sickly. Buffy took her to the hospital for a bit of prod 'n probe. Bite-sized one went too. (needling) You know, it's-it's funny her not calling you about that. I've known since last night. Riley grabs Spike and shoves him outside. Sizzling noises.", "SPIKE: (OS) Blanket! Blanket! Riley kicks the blanket out and slams the door. He leans against the banister looking conflicted.", "Cut to Buffy in the hospital, pacing outside a door marked \"Examination Room.\" She twiddles her fingers nervously and sighs. A hand appears and grabs her shoulder; she spins around.", "BUFFY: (sighs) Riley.", "RILEY: Sorry. I heard. I thought maybe you'd ... need ... Buffy hugs him.", "BUFFY: I do. I do. I'm glad. (pulls back) I just, I-I didn't ... I mean, until we knew what it was...", "RILEY: I understand. How's she doing? Buffy turns to look at the door.", "BUFFY: Well, she just had a CAT scan. I was about to go in and find out. Will you ... sit with Dawn while I talk to Mom? She's in the waiting room.", "RILEY: Yeah, yeah, you got it. Buffy nods, sighs, turns away. Riley turns in the opposite direction.", "Cut to Buffy entering a darkened room.", "BUFFY: Hi. We see Joyce and a doctor standing in front of a set of CAT scan images stuck on a lighted wall. They turn.", "BUFFY: May I come in?", "JOYCE: Oh, of course, baby, come on in. Uh, where's Dawn?", "BUFFY: Uh, she's with Riley. They're watching TV in the waiting room.", "DR. ISAACS: Excuse me, I'm just gonna check on the status of the OR. (Exits)", "BUFFY: The OR?", "JOYCE: Dr Isaacs says I'm ... lucky there's one available on such short notice. Some people wait for days, sometimes, weeks.", "BUFFY: (softly) Mom, what did they find?", "JOYCE: A shadow. I've got a shadow. (looks at the images on the wall) Somewhere ... over there ... he showed it to me, but, um ... they have to do a biopsy to find out exactly what it is. Buffy looks upset. They hug.", "JOYCE: (voice breaking) Doctor says it's too early to be concerned.", "BUFFY: Right. (pulls back to look Joyce in the face) No concern.", "JOYCE: Just a shadow. They smile bravely at each other. Buffy turns to look at the images again.", "WILLOW VOICEOVER: I just wish we knew what we were dealing with.", "Cut to Magic Box. The table is spread with books, Xander, Tara, and Willow sitting around it.", "WILLOW: It feels like we're going around in circles. In the background we see Anya looking at bookshelves and a customer walking through the shop.", "XANDER: Our circles are going around in circles. We've got dizzy circles here, Giles. The customer walks up to the counter and hands Giles an item.", "GILES: Ah, weeping buddha, shoulders your spiritual burden. (wraps the item) Makes a lovely paperweight too.", "TARA: Maybe she's not in the books.", "WILLOW: What do you mean?", "TARA: I mean, what if she's not a demon or sorceress or spirit or whatever these books cover? (Giles looks over at her as he rings up the sale) What if she's something else altogether?", "GILES: Thank you, come again. (Hands item to customer and comes out from behind counter toward the table) Something new, you mean?", "TARA: (shakes head) Something old. So old it pre-dates the written word.", "WILLOW: (thinks of something) Giles, the Dagon sphere. You said that was created to repel...", "GILES: That which cannot be named. (removes glasses thoughtfully)", "WILLOW: So I'm thinking maybe she...", "GILES: Predates language itself? Willow nods significantly. Xander looks puzzled.", "XANDER: Well hey, if it means I don't have to read any more, woo! And might I add a big hoo!", "GILES: If Tara's right, then we're blind. There's ... there's no way we can determine ... her moves, her habits, where she'll turn up next- He turns around, putting his glasses back on, and is confronted by Glory. She has a few items in her hands.", "GILES: Oh! I beg your-", "GLORY: (abruptly) Uh-huh. (holds up items) I want these.", "GILES: Yes, of course! (hurries behind the counter, taking the items) Um, you find everything all right?", "GLORY: No problemo. (takes out her purse as Giles scribbles on a receipt)", "GILES: That's, um... Shot of Xander, Tara, and Willow sitting at the table, ignoring Giles and his \"customer.\" Cash register noises. They continue looking at the books.", "GILES: Your receipt. (Hands receipt to an impatient Glory) And ... (puts items in a paper bag) Thank you! (hands bag to Glory. She smiles and leaves. Giles watches her, smiling.)", "GILES: (turns back to the others, removes glasses again) She could be anywhere. But if she is as powerful as, uh, Buffy says, I imagine it won't be long before she makes herself known. Shot of the others sighing and turning back to the books.", "Cut to hospital. Dawn is curled up asleep on an armchair. Riley drapes his jacket over her and crouches beside her. Across the room we see Buffy sitting and watching them. Riley comes over to sit next to her. She puts her head on his shoulder. He kisses the top of her head. Suddenly Buffy sees the doctor approaching. She gets up and walks over to him, leaving Riley behind.", "DR. ISAACS: Everything went fine, they're moving her into recovery now.", "BUFFY: (nervous) Do we have the results yet?", "DR. ISAACS: Let's, um, sit down over here for a minute.", "BUFFY: No! (more quietly) Excuse me, no, I ... I don't mean to be rude, I just, I've been sitting for hours, I don't wanna sit. I just ... tell me, please.", "DR. ISAACS: Your mother has ... the term is low-grade glioma. It's a brain tumor. The clinical name is oligodendroglioma. It's in the left hemisphere of the cerebrum. In your mother's case the tumor seems to have started there. In other words, it hasn't spread from another part of the body... He keeps talking but his voice fades out as the camera zooms slowly in on Buffy's dismayed face. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade back in on Buffy still listening to the doctor.", "DR. ISAACS: I know this is very difficult, and, uh, because of the nature of your mother's illness ... unfortunately, things may progress very quickly.", "BUFFY: Things? What things?", "DR. ISAACS: Symptoms. There's a fair variety that might present. Loss of vision or appetite, lack of muscle control, uh, mood swings...", "BUFFY: But what can we do?", "DR. ISAACS: Well, not much, until we determine if the tumor's operable. Which we are working on. (Leads Buffy over to some chairs and they sit)", "BUFFY: Is there something that I ... I mean ... can I help?", "DR. ISAACS: Well, there's some literature you might want to look at. If we aren't able to go in surgically, there are a number of new treatments that are very promising. Your mother's prognosis is a lot better today than it would have been only a year ago. Even if the tumor's not operable, she has a real chance.", "BUFFY: What's a real chance?", "DR. ISAACS: Nearly one out of three patients with this condition does just fine. (Buffy sits back looking shocked. Camera stays on her face as the doctor continues.) Now, let me ask. Does your mother's insurance company require copies of the MRI and pathology reports?", "BUFFY: I'm not sure.", "DR. ISAACS: (OS) Well, just let me know as soon as possible. And I could use some information regarding your mom's lifestyle and home environment. For instance, does she use a cell phone?", "BUFFY: (frowns) Uh, I think so. Uh, yeah, she um, she-she has one of those ear things.", "DR. ISAACS: OK, is your house near any power lines, chemical plants, waste disposal facilities?", "BUFFY: Uh ... I-I don't know. Maybe.", "DR. ISAACS: Well, the more we know...", "BUFFY: I'm sorry. The doctor scowls and writes on his clipboard. Ben approaches and puts his hand on the doctor's shoulder.", "BEN: Excuse me Doc, but they told me you're needed in ICU.", "DR. ISAACS: Excuse me, Miss Summers. (Gets up)", "BUFFY: (distracted) Uh, it's okay. Isaacs leaves and Ben sits down next to Buffy.", "BEN: Thought you looked like you needed a break. Guy's great, but he doesn't have the bone in his head that tells him when to back off.", "BUFFY: You mean ... they, they didn't need him?", "BEN: Well, I'm sure someone does somewhere, they always do. He really is a good doctor. Your mom's in good hands.", "BUFFY: (smiles) Thank you. It's Ben, right?", "BEN: Right.", "BUFFY: He, um, he was just telling me that there's nothing I can do.", "BEN: Yeah, I'm gonna tell you the same thing. Give yourself a break. Listen, your mom's gonna be unconscious for at least another six, seven hours.", "BUFFY: A break?", "BEN: Well, I just mean go out, get some air. Come back later on this evening, talk to the doc then if you want. My unsolicited advice of the day. He leaves. Buffy leans her head back and sighs deeply.", "RILEY: (OS) Buffy. Riley approaches and Buffy gets up to hug him.", "BUFFY: It's bad.", "RILEY: I know.", "BUFFY: I ... (grabs her coat and puts it on) I have to do something.", "RILEY: Do something?", "BUFFY: Yeah, like, you know, magic, like a healing spell.", "RILEY: Buffy ... people get sick. I don't think magic-", "BUFFY: That attitude's not helping. (Riley looks cowed) I have to try.", "RILEY: Okay.", "BUFFY: I need to talk to Giles. Uh, will you do me a favor and, and drop Dawn off at school, and tell her I'll meet her at the magic shop in an hour when she gets off?", "RILEY: Of course, whatever you need me to do. (Buffy starts to leave) Buffy! (she stops) What do you want me to tell Dawn ... about your mom? They both look at Dawn, still sleeping in the chair with Riley's jacket over her.", "BUFFY: Tell her we don't know anything yet. Riley nods. Buffy turns and leaves.", "Cut to magic shop. Anya is looking through a pile of receipts. We see Xander in the background. Suddenly Anya stops and stares at a receipt.", "ANYA: Hey. (louder) Hey! (shouting) HEY! Xander turns to look at her. Anya holds up the receipt and waves it as Giles, Willow and Tara come rushing over. Giles wears a large false smile.", "ANYA: HEY!", "GILES: Anya, your heys are startling the customers.", "XANDER: And-and pretty much the state.", "ANYA: You sold someone a Khul's amulet and a Sobekian bloodstone.", "GILES: Yes, I believe I did. (takes receipt and examines it)", "ANYA: Are you stupid or something?", "GILES: Allow me to answer that question with a firing.", "XANDER: She's kidding! (to Anya) An, we talked about the employee-employer vocabulary no-nos. That was number five.", "ANYA: (grabs receipt back from Giles) You never sell these things together, ever! Bad news! Don't you know about the Sobekites?", "WILLOW: Oh! I do. It was an ancient Egyptian cult, heavy into dark magic. (Anya nods)", "TARA: And the Khul's amulet, wasn't that a transmogrification conduit?", "ANYA: Damn straight!", "GILES: Be that as it may, I still see no reason for concern. I mean, the-the Sobekian transmogrification spells were lost thousands of years ago. And besides, the young woman to whom I sold them would have to have had enormous power- (Stops suddenly.)", "WILLOW: (quietly) Young woman?", "GILES: Oh, dear lord.", "Everyone looks alarmed except Xander, who looks confused.", "XANDER: What?", "Cut to a carousel whirling around, brightly lit, playing cheerful music. Pan down to Riley and Dawn sitting on a bench in front of it. Dawn is holding an ice-cream float, poking at it with her spoon, distracted.", "RILEY: You're melting.", "DAWN: Oh, um ... guess I'm not hungry.", "RILEY: Maybe I'm not making this any better.", "DAWN: No, I just ... this is better. (They smile nervously at each other and are quiet for a moment.) I had my tenth birthday party here.", "RILEY: Really?", "DAWN: Mm-hmm. We'd just moved to Sunnydale, and ... Mom rented the carousel for an entire hour for just me and my friends. (pauses) Except I hadn't made any friends yet, so ... it was just me and Mom and Buffy riding it by ourselves, over and over and over again... (Riley smiles) for the whole hour, just so Mom felt like we'd gotten our money's worth. (Pause, then Dawn speaks with her voice breaking) She's ... she's not gonna get better, is she?", "RILEY: (leans toward her) Absolutely she will. Summers women are tough. Dawn smiles.", "DAWN: I'm really glad you're here.", "RILEY: Thanks.", "DAWN: Buffy's glad too.", "RILEY: (smiles skeptically) Yeah?", "DAWN: She sure cries a lot less with you than she did with Angel.", "RILEY: (surprised) Angel ... made her cry a lot, huh?", "DAWN: Everything with him was all ... (grimaces, makes claw motions with hands) eee, you know?", "RILEY: All...?", "DAWN: You know ... \"my boyfriend's a vampire\" crazy crazy. (Riley nods) Every day was like the end of the world. She doesn't get all worked up like that over you. Riley looks stung, but tries not to show it. Dawn realizes she didn't say the right thing.", "DAWN: I think you've been really good for her. She smiles encouragingly. Riley tries to return her smile, but he doesn't really feel it.", "Cut to magic shop.", "BUFFY: So I figured there has to be some kind of mystical cure, right? I mean, like a, a potion, or a spell or something. We have to look. During this speech the camera pans around the table showing us Anya, Xander, Tara, Buffy, and Willow sitting, and Giles standing, leaning with his hands on the table.", "WILLOW: We can look ... I mean, we will, but ... I haven't seen anything.", "GILES: The truth is, uh, the ... mystical and the medical aren't meant to mix, Buffy. Sorry, um .. .the human mind is very delicate. Too much can go wrong.", "TARA: Yeah, I've heard stories about people trying healing spells ... if we did something, it could make things a lot worse, Buffy.", "ANYA: We've done just about enough making things worse for one day, haven't we? Everyone looks guilty except Buffy, who looks confused.", "BUFFY: Why? What do you mean?", "XANDER: Uh, nothing. Anya broke a ... bippity boppity boo. A thing. Don't worry about it.", "ANYA: I did not! I didn't break-", "GILES: Anya, Buffy doesn't need to hear about your ... clumsiness right now.", "ANYA: (sighs) My clumsiness. I mean, that is so- (Willow and Xander give her meaningful looks. She looks at Buffy) ...like ... me. Slippery, slippery ... butterfingers.", "BUFFY: (not fooled) What happened?", "GILES: Nothing to concern you, uh-", "BUFFY: Giles!", "GILES: (sighs) The, uh, (embarrassed) demon woman was here, the one who attacked you. Buffy looks alarmed.", "WILLOW: It's no biggie, she-she just got an amulet and a bloodstone.", "ANYA: That can create a monster.", "WILLOW: Okay, biggie.", "BUFFY: My god, are you guys okay though? I mean, did - no one got hurt, right?", "GILES: Oh no, thankfully, no, uh, no violence to speak of.", "BUFFY: Okay, so, that's good ... (not understanding why everyone looks guilty) How did she get away with this bad mojo stuff? Pause. The others look at each other in embarrassment.", "ANYA: (whispering) Giles sold it to her. (Buffy looks at Giles accusingly)", "GILES: (defensive) I, I, I... I didn't know it was her! I mean, how could I? (sighs) If it's any consolation, I may have overcharged her.", "TARA: Anya figured out what the demon lady's up to.", "ANYA: Yeah, a few thousand years ago there was this cult, the temple of Sobek.", "BUFFY: Sobek.", "ANYA: Reptile demon. Sobekites were reptile worshippers.", "XANDER: Just once I would like to run into a cult of bunny worshippers.", "ANYA: (angrily) Great. Thank you very much for those nightmares.", "XANDER: Sorry.", "ANYA: Anyway, their high priest Khul had great mystic powers. He, um, forged an amulet with transmogrifying crystal.", "WILLOW: Transmogrifying is changing a living thing into a different kind of thing.", "GILES: We've managed to decipher the markings that were on the bloodstone that I sold - that she left with. Um, cobra. She's going to transmogrify a cobra.", "BUFFY: Okay, so she's making a monster. What for? What does it do?", "GILES: That's the part ... (clears throat) we're working on it.", "BUFFY: Well, you keep working on it I'll go kill it. (gets up to leave)", "GILES: Buffy?", "BUFFY: (turns back) What? I'm going.", "XANDER: Buffy, this chick creamed you last time.", "BUFFY: That's because I wasn't ready for her last time. I am now.", "WILLOW: But you-", "BUFFY: But what? Will, I can't just sit here. I have to do something. She leaves.", "Cut to: exterior shot of the Sunnydale Zoo, day.", "Cut to: inside the reptile building. Pan across a sign explaining the characteristics of the cobra. We see a cobra case with the snake inside. Pan back across to Glory looking at the case. She punches a fist through the glass, reaches in and grabs the snake. She holds it up to her face, smiling. The snake hisses. Glory hisses back(?). The snake's tail lashes angrily.", "GLORY: Chill, worm. I'm gonna make you a star! (Laughs. We see Dreg watching, smiling.) Glory takes the snake by the tail and lowers it into a large clay vase, head-first. Dreg watches anxiously, then hands her the amulet. She holds it in both hands, over the mouth of the vase.", "GLORY: Chant! Dreg opens the scroll and begins to chant in a foreign language. Titles at the bottom of the screen translate.", "DREG: The form is vessel, rendered new. The base is stone, bathed in blood. The gem is fire and elements rarified...", "GLORY: (speaks English) Sobek, grant the power ... (Dreg continues chanting) that it may mold this wretched creature ... that it may be reborn ... that it may serve ... (irritated) ah! Dark incantations! Always overwritten! (Dreg stops chanting, looks uncertainly at her) Why can't they just cut to the- Suddenly Buffy tackles Glory from the side, slamming her into a wall.", "BUFFY: Fight? Buffy kicks Glory in the face.", "GLORY: No fair- (Buffy kicks her again) attacking- (Buffy punches her in the stomach, then in the face) when I wasn't even looking! (Buffy grabs her head and begins slamming it against the wall) Ow! (She grabs Buffy's hand, removes it from her head, and slams Buffy into the wall.) No, this is no good. (Buffy rises and tries to punch her again; Glory grabs Buffy's arm and pulls it behind her) I'm out of the moment... (braces her other hand against Buffy's shoulder) and you're not giving me anything I can use. Dreg! I'm not hearing chanting! (Punches Buffy in the face, then slams her against the wall)", "DREG: (OS) Yes, Glory. (resumes chanting) Glory lifts Buffy to her feet again.", "GLORY: Hey, hey. Work with me here. (Flings Buffy backward against another wall. She slides down to sit on the floor.) There! (grabs Buffy's hair and knees her in the face) That feels more real, don't you think? (Pulls Buffy up and flings her against another wall. Buffy lands upside down and stares, gasping, as Glory approaches. She grabs Buffy by the throat and lifts her up again.", "GLORY: Even if I do have to carry your performance. She throws Buffy across the room. Buffy crashes through the glass into the snake case.", "GLORY: (throws up her arms) Scene!", "DREG: Cir hayyan win-hud!", "GLORY: (walking toward the vase) Arise. (louder) Arise.", "DREG: Cir hayyan win-hud!", "GLORY: (annoyed) Arise! The vase rocks wildly back and forth. Suddenly it explodes as the creature bursts out of it. It looks like a very large snake, but with arms. It hisses and sways back and forth.", "DREG: He is arisen!", "GLORY: 'Bout damn time! (Smiles. Blackout.)", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on the reptile house. Dreg and Glory watch the creature arising. Buffy picks herself up and climbs out of the cage, unnoticed.", "GLORY: Spawn of Sobek! The creature turns toward her and approaches. She smiles and puts her hands on its face.", "GLORY: The power is yours ... (We see Buffy leaving) to see what is unseen. To find what is shrouded in shadow. Already, you know what I seek. I have given you form, now find for me the key. Seek it out in the holy places. (The creature hisses) Yes, yes, yes! Let your vision guide you to its hiding place, and then return to me and tell me where it lies. Her smile fades as the creature continues to stare at her.", "GLORY: Now would be good. She smiles again and claps her hands as the creature turns away.", "GLORY: (giggles) Fun, fun, fun!", "Cut to magic shop. Giles talking to a customer.", "GILES: Aleister Crowley Sings? Um, sadly, no, I-I don't carry that, but I do have some very nice whale sounds. (Sees Riley entering) Oh, excuse me for a moment. Giles walks toward Riley. We see Xander also getting up and coming to join them.", "RILEY: Where's Buffy?", "GILES: Um, she-she left a while ago.", "RILEY: What? (sighs) Where?", "XANDER: That creepy demon woman's conjuring some kind of monster.", "RILEY: And you let Buffy go after her? Alone?", "GILES: Uh, \"let\" isn't really a factor when she sets her mind to something, you know that. (He sees a customer approaching the counter and hurries off.)", "RILEY: (to Xander) She'll get herself killed. It's crazy.", "XANDER: Yeah. Crazy. Going off alone, half-cocked, instead of waiting for much-needed backup ... charging in with a big old hand grenade ... oh, wait. Riley looks a little guilty.", "RILEY: This is different.", "XANDER: Yeah, it is. Buffy needs something she can fight, something she can solve. I don't know what kind of action you're looking for ... (looks closer at Riley) Do you? Riley stares at him, then looks away.", "XANDER: Hey, I'm not trying to get-", "RILEY: It's cool.", "XANDER: You okay?", "RILEY: (nods) Just a little crazed.", "XANDER: I hear ya.", "RILEY: (moving toward the door) If, uh, she needs me... (He shrugs and leaves.)", "Cut to: exterior shot of a church.", "Cut to: interior of church. Pan across a statue of Jesus on the cross. Pan down. We see the snake creature moving through the church, hissing. Its eyes are yellow.", "Cut to Magic Box. Giles hands something to a customer as the phone rings. He moves to answer it.", "GILES: Magic Box, your one-stop spot to shop for-", "BUFFY: (on phone) Giles, it's me.", "GILES: Buffy! You all right?", "Cut to Buffy in the hospital, on a pay phone.", "BUFFY: No, I'm really not. (takes an ice-pack from a nearby rack of medical supplies; sighs) I-I couldn't stop her. I couldn't even slow her down.", "GILES: Where are you?", "BUFFY: (puts the ice-pack inside her jacket, on her shoulder) Sunnydale Memorial.", "GILES: Are you badly hurt? I'll, I'll come right over.", "BUFFY: No. No, I-I just wanted to warn you that that thing she conjured, it's loose -- it's a big snake thing. Not mayor big, but it's pretty (winces) lethal looking.", "GILES: Do you know why she raised it?", "BUFFY: I don't know yet.", "GILES: I'll warn the others. We'll get weapons, we'll fan out-", "BUFFY: Wait. What time is it?", "GILES: (looks at his watch) Half past four, why?", "BUFFY: School's out. Dawn's on her way over to you. Giles-", "GILES: Understood. We'll keep her safe here until you arrive.", "BUFFY: Thanks. And Giles...", "GILES: Yes?", "BUFFY: Dawn's kind of fragile right now. About Mom. She doesn't know how bad it is.", "GILES: We'll not say a word.", "BUFFY: (sighs) Well, my mom's gonna wake up soon, and I should ... be there when the doctors tell her.", "GILES: She's in good hands, Buffy. There's really nothing else you can do.", "BUFFY: Okay. Bye.", "GILES: Bye. They hang up. Buffy walks off through the hospital halls, possibly limping a little. Begin slow piano music without words. Shot of Riley drinking in Willy's bar. Shot of Buffy sitting in the hospital, waiting. Shot of Dawn sitting at the table in the magic shop, trying to do homework but unable to concentrate.", "Cut to bar. Sandy walks over to sit next to Riley. He looks at her.", "Cut to hospital. Buffy sits on the hospital bed next to Joyce as the doctor talks. Joyce reacts to the news, turning her head away, then composes herself and turns back as she puts on a brave smile for Buffy.", "Cut to a dark room where Riley and Sandy are alone. Sandy smiles up at Riley and runs her hands over his chest, pushing his jacket aside. Shot of Riley's face as Sandy kisses his neck. She pulls back and we see she's in vampire face. Riley looks a little apprehensive as he moves his head aside, exposing his neck. Sandy leans forward to bite him. Riley jerks in pain as Sandy bites him, then slowly he relaxes as she begins to drink. He closes his eyes and puts one hand on the back of her head. Suddenly he thrusts her away forcefully. Shot of Sandy staring at him, then she crumbles to dust. Shot of the stake in Riley's hand. Pan up to his face. We see blood running down his neck from the bite marks. He looks a little shaken.", "Cut to the snake creature moving across grass, night. It slithers up to the carousel, sees the bench where Riley and Dawn sat earlier. It hisses, its tongue flickers and its eyes glow red for a moment. It moves off.", "Cut to exterior shot of the Magic Box. A customer exits holding a bag. Buffy walks up to the door, pauses, and enters.", "Cut to inside. Giles is yawning and putting on his suit jacket. Willow is at the counter reading a book, looking tired. Buffy walks in. Dawn sees her and jumps up from the table. We see Xander and Anya in the background as Dawn walks quickly over to Buffy. They hug.", "DAWN: Is she awake yet?", "BUFFY: Yeah. She's waiting for us. Dawn pulls back to look Buffy in the face.", "DAWN: Can we take her home now? Buffy tries to smile, brushes hair back from Dawn's face.", "BUFFY: We'll see. Go get your stuff. Willow and Giles watch with concern. Dawn turns away to gather her stuff.", "BUFFY: (sighs, speaks quietly to Willow and Giles) So, any monster reptile sightings?", "GILES: None.", "WILLOW: Tara and I did a mini-patrol earlier, but biggie snake was nowhere to be- Suddenly the snake creature bursts in through the display window. Everyone turns as it slithers inside and rears up, looking at them. Dawn is in the forefront. The snake smacks a display case with one arm and it topples over onto Buffy, knocking her to the floor. The snake moves toward Dawn, who screams continuously as it looms over her. Its eyes glow red again. Dawn continues screaming as Buffy struggles to get out from under the case, and the snake stares at Dawn. Then it turns and slithers quickly back out the way it came in. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade back in on the magic shop. Tara and Willow get up from behind the counter as Xander rushes over to Dawn.", "XANDER: Dawn, you okay?", "WILLOW: Why was the big snake afraid of Dawn? Giles rushes up to Buffy as she frees herself from under the case and stands up.", "BUFFY: (whispers) It knows! She turns and runs out. Giles runs after her. Buffy runs out into the street and stops to stare. Overhead shot of the city street as the huge snake slithers down the middle of the street and people run out of its path. A car comes around the corner and screeches to a stop as the creature moves past it. People scream. Buffy starts to run after the creature. Giles comes out of the magic shop, sees her running, and moves off in another direction. Shot of the snake moving down an alley with Buffy running after it. Buffy turns as Giles' convertible comes around the corner and screeches to a stop beside her. She jumps in and Giles burns rubber after the creature. As they round a corner, the creature uses its tail to shove a dumpster out into the car's path. Giles swerves to avoid it and crashes into a pile of garbage bags. Giles struggles to shift into reverse.", "BUFFY: I've gotta stop this monster before it gets back to Glory.", "GILES: Glory?", "BUFFY: That's what he called her. Giles, she's gonna know Dawn's the key if we don't-", "GILES: We will. Giles backs the car out and they resume the chase.", "Cut to: Exterior shot of Glory's apartment building.", "DREG: (OS) Please! Please, mistress!", "Cut to inside the apartment. Dreg is cowering as Glory throws shoeboxes at him.", "DREG: Perturbed, yet ultimately merciful- Glory sweeps a pile of shoeboxes off the sofa in annoyance.", "DREG: Please, don't-", "GLORY: What is taking so long, Dreg? You told me snakey-wakey would find my key. Now why isn't he back here with a beautiful message for me?", "DREG: I grovel like a bug, most silky and effervescent Glorificus- (She throws more shoeboxes at him) Glory! Glory. Your most fresh and cleanness, it's just a matter of time.", "GLORY: (angrily) Ohh! Everything takes time! What about my time? Does anyone appreciate that I'm on a schedule here? (Dreg nods nervously) Tick, tock, Dreg! Tick frickin' tock!", "Cut to the snake slithering down darkened streets with Giles' car in pursuit. They careen around a corner and nearly slam into another car. The snake tears down a section of fence that's covered with a tarp, and moves off past it as Giles' car passes the fence with a screech of tires. Giles reverses back into view, and Buffy leaps out of the car and runs through the broken fence, past picnic tables, across a wide expanse of grass. We see Buffy running across the grass after the snake; she seems to be tiring. The creature knocks over a sign reading \"Bike path, closed after dusk.\" Buffy pauses to grab a piece of chain from another section of fence as the snake flees into a more wooded area. Buffy leaps up onto a large rock as the snake passes around it. She leaps off the rock and lands on the snake's back, looping the chain around its neck. The snake rears up and thrashes, trying to throw her off, but she holds on, tightening the chain around its neck and riding it like a wild horse. It bucks and fights but finally goes still as a gray film comes down over its eyes. Buffy frowns and lets go of the chain, which drops to the ground. Suddenly the gray film slides aside and the snake rears up again, throwing Buffy off. She flies backward and lands on her back in the grass. The snake turns to growl at her as she gets up. She punches it in the face, making it reel backward. She climbs on top of it and begins punching it in the face, over and over. We see the tip of its tail thrashing and finally lying still as the creature dies. Buffy continues to punch it, grunting with each blow. Long shot of Buffy crouching over the dead creature and still steadily punching it. Pan up across lawn and trees, and we see the apartment building looming up behind the trees.", "Cut to a closer shot of the building with Glory in one of the windows, looking out. Zoom in on her as she frowns and looks from side to side, then lets the curtain drop back over the window as she moves away.", "Cut to Joyce's hospital room. Buffy stands beside the bed.", "BUFFY: You want me to stay?", "JOYCE: No, I'm fine. I-I think I should ... talk to Dawn alone.", "BUFFY: (nods) Okay.", "JOYCE: Oh. Do I have bad hair? (puts hands to her head) I don't look like scary mom, do I?", "BUFFY: (smiles) No. You look beautiful. (She brushes some hair back from Joyce's forehead. Joyce smiles bravely.)", "JOYCE: Okay. Let's do this. (puts her hand on Buffy's arm) Stay close.", "BUFFY: (puts her other hand over Joyce's) I will. Buffy turns and goes to the door, lets Dawn in. Dawn smiles nervously and walks over to hug Joyce. Buffy pauses in the doorway to watch them embrace.", "RILEY: (OS) Buffy... Buffy leaves the door slightly open, turns to walk toward Riley. He's wearing a turtleneck sweater.", "RILEY: You okay? You look pretty beat up.", "BUFFY: (nods) Minimal damage of the fighting kind. It's all the other kind.", "RILEY: Come here. He hugs her.", "RILEY: It's okay. Just let it out. I'm right here.", "BUFFY: I can't. (sniffles, pulls back) Not now. (glances toward the hospital room) They need me. If I start now ... I won't be able to stop. She bites her lip and we see tears in her eyes. Riley starts to lift his hand to her face.", "JOYCE: (OS) Buffy? Buffy turns and walks back to the hospital room door, wiping her eyes. Riley watches her enter the room and close the door behind her. Long shot of Riley standing in the hallway, putting his hands in his pockets. Blackout.", "Executive Producer: Joss Whedon." ]

[ "As Buffy and Dawn help their mother prepare for surgery, an extraterrestrial preys on Sunnydale's mental patients and follows Joyce home. The alien was summoned by Ben to clean up Glory's mess, and Buffy kills it." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Sandy rubbing Riley's chest. Sandy leaning in to bite Riley. He thrusts her away and she crumbles to dust.", "DREG: This dark spell I hold in my worthless hand is our gift to you, Glorificus...", "GLORY: (trying on a shoe) Please, call me Glory.", "TARA: What if she's something else altogether?", "GILES: Something new, you mean?", "TARA: (shakes head) Something old. So old it pre-dates the written word. Glory in the warehouse with the tied-up monk.", "SECURITY GUARD: Lady, whatever you are, please ... I have two daughters. Glory screaming and putting her hands on the security guard's head. Light streams out of his eyes and mouth. Glory makes a pained face. The guard slumping to the floor with Glory on top of him. Monk talking to Buffy.", "MONK: The key ... is energy. My brethren sent it to you.", "BUFFY VOICEOVER: Dawn.", "GILES: She has no idea.", "BUFFY: No. She thinks she's my kid sister. Buffy putting her arm around Dawn in the hospital, drawing Dawn's head onto her shoulder.", "BUFFY VOICEOVER: I have to take care of her. Joyce in the CAT scan machine.", "DOCTOR: Your mother has ... low-grade glioma. It's a brain tumor. Buffy reacting.", "JOYCE: Listen you two, I know this creamed spinach is pretty delicious, but I promise, I won't be offended if you go out for some real food.", "BUFFY: You kidding me? This is the good life. Relaxing in bed while people bring you food on trays.", "DAWN: (licking fingers) I like the Jello.", "JOYCE: (laughs) Help yourself. There's something about food that moves by itself that gives me the heebie-jeebies.", "DAWN: It's good and wiggly. (speaks with mouth full) This girl at school told me that gelatin is made from ground-up cow's feet, and that if you eat Jello there's some cows out limping with no feet. Joyce and Buffy grimace.", "DAWN: But I told her I'm sure they kill 'em before they take off their feet. (Suddenly nervous) Right?", "BUFFY: (to Joyce) You're the one who insisted on teaching her to talk. A doctor enters.", "JOYCE: Oh, hello, Dr. Kriegel, um, you know my girls, (gestures to them) Buffy and Dawn.", "DR. KRIEGEL: Yes, of course. You two are becoming part of the regular crew around here.", "BUFFY: Just keeping her company.", "DR. KRIEGEL: Good. Just be careful you don't wear her out.", "JOYCE: Ohh, don't worry about that. I woke up exhausted, there's really no more exhausted to get. The doctor takes Joyce's chart and looks at it.", "DR. KRIEGEL: Well, maybe some good news will help. The blood work's come back from the lab, and everything seems fine. So, we've scheduled your surgery for day after tomorrow at ten in the morning. Buffy and Joyce sober up at this.", "DR. KRIEGEL: How's that sound to you?", "JOYCE: Oh, well, I think they had me scheduled for volleyball, but, ah, we can work around it.", "DR. KRIEGEL: (laughs) All right. Joyce, you take care. Make sure you get some good solid rest. And I mean that. (Exits)", "JOYCE: Uhh, the day after tomorrow. I don't think I can stand to stay here another two days just waiting.", "BUFFY: Waiting? Gimme a break, we got, we got tons to do.", "DAWN: We have soap operas to watch and trashy magazines to read.", "BUFFY: And an adjustable bed to fiddle with. That alone will keep me busy for four hours or so.", "JOYCE: Oh, I really don't need you to stay here, Buffy. I know you've got patrolling to do.", "BUFFY: Not tonight. Tonight I have mom-taking-care-of to do. And besides, Riley's filling in for me with the others. I'm sure they have everything under control.", "Cut to: graveyard, night. Giles has a dark-haired female vampire in a choke-hold from behind while Willow attacks from the front. The vampire shoves Willow away and twists out of Giles' grip. Another female vampire, this one blonde, throws Xander to the ground as the first one throws Giles over her shoulder. The blonde vampire grabs Xander's shirt and pulls him upright. Willow gets to her feet, holding a stake. She rushes at the brunette vampire, but the vampire grabs her, lifts her over her head, and throws her to the ground. Xander rushes the blonde vampire from behind and she grabs him in a headlock and punches him in the face. Giles rushes the brunette vampire and tries to lift her over his shoulder but she punches him in the back and then knees him in the chest. The blonde vampire still has Xander in a headlock and is punching him. Giles reels to his feet, disoriented, and the brunette vampire punches him in the face. Xander breaks free of the blonde vampire and she punches him in the face with both her hands clasped together. Willow gets to her feet again as the two female vamps are beating up on Giles and Xander. She picks up her stake and runs forward. The brunette vampire throws Giles over her shoulder and as she straightens up, Willow comes up behind her and stakes her. Giles grabs for his own stake. The blonde vampire shoves Xander to the ground and tries to get on top of him but he gets his feet on her stomach and kicks her backward. He gets up and lunges at her but she deflects him and throws him against a crypt. He staggers to his feet and she puts her hand on his neck and shoves him back against the crypt. Giles lunges forward, shoves the vampire out of the way and raises his stake as if to stab Xander.", "XANDER: Human chest! Human chest!", "GILES: Sorry! The blonde vamp gets up, shoves Willow away as she approaches. Willow falls to the ground again. The vampire goes to where Giles and Xander are still standing by the crypt and shoves them up against it with one hand on each of their chests. They stare at her in alarm. Willow runs up behind the vampire and stakes her. The guys gasp and pant as Willow begins to grin.", "GILES: My god, what a rough night.", "WILLOW: (giggling, grabbing at Xander) I just did two of 'em! Yay on me! (giggles in exhilaration) Xander grins. The guys come on either side of Willow and they begin to walk off.", "WILLOW: That was pretty cool. Except the part where I was all terrified and ... and now my knees are all dizzy. Giles stops them as he spots something on the ground and bends over to pick it up. It turns out to be his glasses.", "XANDER: Not so much a big success night for me. (They resume walking as Giles begins cleaning his glasses on his shirt) But I think I should get points just for showing up. Unlike some Riley Finn who shall remain unnamed.", "GILES: Yes, that was disappointing. Things would have been easier if he'd been here. (Puts glasses on)", "WILLOW: Oh, piffle, who needs him when I'm dusting two at a ti- (She suddenly staggers and they catch her, each grabbing an arm) Whoops. (smiles nervously at Xander) Maybe it would've been good if ... he'd shown up.", "GILES: Perhaps he forgot. They walk off.", "Cut to: exterior shot of an alley, doorway of what could be an abandoned warehouse.", "Cut to inside. It's littered with random pieces of furniture and debris. Pan across the dark room to where Riley is sitting on an old armchair or couch. A female vampire is crouched next to him, drinking blood from his outstretched arm. She lifts her head and smiles at him. Riley is stone-faced. The vampire returns to feeding, gripping Riley's arm in both hands. He stares off into the darkness. Wolf howl. Opening credits. Guest starring Charlie Weber, Nick Chinlund, Kevin Weisman, Randy Thompson, Amber Benson as Tara and Kristine Sutherland as Joyce Summers. Written by Rebecca Rand Kirshner, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on hospital. Joyce is reading in bed while Buffy and Dawn are doing something at a nearby table. Willow enters with a large colorful paper bag.", "WILLOW: Care package! Special delivery for the Summers girls. (Puts the bag on the bed next to Joyce. Dawn comes running over, as Buffy follows more slowly) Now, let's see what I have in this sack of mine. Oh, I feel just like Santa Claus, except thinner and younger and female and, well, Jewish. (Joyce smiles as Willow reaches into the bag) This (to Dawn) is an extra-special gift for your mom, that I know she'll need. (pulls it out) A beer hat! See, i-it's got cup holders, and a straw that goes directly into your mouth, and (to Joyce) you can fill it with other stuff than beer. And somehow, when I was in the store this seemed like the most important idea (Buffy and Dawn smile at each other. Buffy is holding a cup) and now there's the whole part where I'm crazy.", "JOYCE: It's perfect. Thank you, Willow. You're very sweet. Willow hands the beer hat to Dawn.", "WILLOW: Now, let's see, who's next? Dawn, I believe I have something in here for you... Joyce is now holding the cup. She puts her hand to her head and grimaces. Buffy looks concerned.", "BUFFY: (quietly) Headache? Dawn stops smiling.", "JOYCE: Just a little one. (smiles) A biggish little one. (Willow stops going through the bag, looks concerned) I'm fine! Go on, what else is in that sack of goodies, Willow?", "WILLOW: All right. Dawn, to keep you busy. She takes out a book marked \"Spells\" and hands it to Dawn, who smiles in delight.", "DAWN: Ooh, spells! Thank you, Willow! She hurries over to a nearby chair and sits down to read. Buffy folds her arms and looks at Willow.", "BUFFY: You got her a book on spells. (Willow stops smiling) The girl who can break things by just looking at them, now has a book to teach her to ... break things by looking at them?", "WILLOW: Oh, well, it doesn't actually have spells in it. Just history, and anecdotes, stuff like that. Shot of Dawn quietly reading the book.", "WILLOW: Oh, Buffy- (reaches into bag) I have this for you. (Pulls out a large textbook called \"World History\" and gives it to Buffy)", "BUFFY: Homework? (pouts) Oh. I don't believe in tiny Jewish Santa any more.", "WILLOW: (smiling) And a yo-yo. (Pulls yo-yo out of bag and gives it to Buffy)", "BUFFY: (smiling) Thank you.", "WILLOW: The book is just in case you get a chance to look it over. Shot of Joyce looking thoughtful.", "WILLOW: (OS) We're doing World War One now. The last exam was really pretty easy, just underlying causes and trench foot. So it should be no hassle to make it up-", "BUFFY: (sighs) I don't even know if I'm gonna take that exam.", "JOYCE: (scowling) I'd rip it in half and stick it in bed with me! The girls look confused. Dawn looks up from her book.", "BUFFY: (tentatively) Mom? Joyce looks confused.", "JOYCE: You know, I think I'm gonna take a little rest now. She hands her cup to Buffy as Willow packs up her bag. Buffy puts the cup on a nearby table as Joyce lies back in bed.", "BUFFY: Okay. We'll be right outside if you need us. Dawn gets up and they leave. Joyce smiles after them, then lies back and closes her eyes.", "Cut to hallway. Dawn looks anxious as Buffy closes the door behind herself.", "DAWN: (to Willow) What was she talking about? I mean, that was weird.", "WILLOW: She's gonna be fine.", "BUFFY: (joins them) It's okay. I'm sorry, the doctor spoke to me, and uh, I should have told you. Um, the, the thing that's pressing on her brain, sometimes it, it might make her say weird things.", "DAWN: Does she know she's saying them?", "BUFFY: Not really. It's sort of like a flash, you know, but you saw her two seconds afterward. She was normal.", "WILLOW: And after the operation, no more pressing. She'll be all normal all the time. Buffy and Willow take Dawn's arms and they begin to walk down the hall.", "DAWN: (to Buffy) Is that right?", "BUFFY: Hey, Santa doesn't lie. Dawn and Willow smile. As they walk down the hall, a man passes them going the other way with three women. He brushes Buffy.", "BUFFY: Oh, excuse me.", "MAN: Careful, the facts say a-a picnic is in order. It's the security guard from the warehouse (see episode \"No Place Like Home\"). He turns around to look back at the three girls.", "GUARD: What is that thing? He points at Dawn and walks back toward them, becoming agitated. The three women with him exchange a worried look.", "GUARD: There-there's no data. There's no pictures on this one there! He continues pointing at Dawn. She looks scared. The guard's wife comes forward.", "GUARD: What is the data? (scared) There's no one in there.", "DAWN: (scared) Buffy?", "BUFFY: (grabs Dawn and turns her away) Come on, honey. Don't worry about it. Buffy and Willow stare over their shoulders as they hustle Dawn away. The guard turns to his wife.", "GUARD: I'm going home? (Wife nods) Home? Home, home, home. His wife escorts him away. Buffy, Dawn, and Willow turn back to look.", "DAWN: What's wrong with him? (Shot of the guard being led away by his wife and daughters) Is it like Mom? A thing in his head?", "BUFFY: (staring after the guard) I don't think so, I-I think it's, it's different. Don't, don't worry about it. (Brushes hair back from Dawn's face) Ben approaches.", "BEN: I guess I missed that, was he bothering you?", "BUFFY: Hey Ben, uh, this is my friend Willow.", "BEN: Hi.", "WILLOW: Hi. (They shake hands)", "BUFFY: And, uh, yeah, the crazy man was a little ... you know, crazy, but it's okay. (Dawn still looks shaken) Are they really gonna send him home?", "BEN: Don't get me started. The mental ward's booked beyond capacity, literally nowhere to put them, so the ones with families, they're letting 'em go home. Like his family's gonna be able to take care of him. He has to have someone to watch him 24-7! (looks at Dawn) What was he saying to you?", "DAWN: I-", "BUFFY: Oh, he was just babbling.", "Cut to: aerial shot of Sunnydale, night. Pan across roofs and treetops.", "Cut to: roof of a UCS dorm building. Willow and Tara are lying side-by-side on their backs on a sleeping bag, with pillows under their heads and another sleeping bag covering them.", "WILLOW: You know what's weird?", "TARA: Japanese commercials are weird.", "WILLOW: Yes. And also, you know some of the stars we're looking at ... don't even exist any more? In the time that it takes for their light to reach us, they've died. Exploded. (Tara turns her head to look at Willow) Poof.", "TARA: Were, um ... were things rough at the hospital?", "Willow frowns and shrugs.", "WILLOW: You know, I used to love to look up at them when I was little. They're supposed to make you feel all insignificant, but ... they made me feel like ... like I was in space ... part of the stars. (points) There's ... Canis Minor ... and ... (points) and Cassiopeia.", "TARA: (smiles, points) And the big pineapple. Willow frowns.", "WILLOW: Hmm. You know, I'm not sure I remember that one.", "TARA: Oh, it's, it's a major one. (points) See those three bright stars right over there? Willow moves over to put her head on Tara's shoulder and look along Tara's pointing arm. Shot of the starry sky with Tara's finger pointing.", "WILLOW: Yeah.", "TARA: And see those stars along there? (Shot of the stars) That's the bottom of the pineapple.", "WILLOW: It's big.", "TARA: Hence the name. (pause) The real ones never made sense to me, I ... sort of have my own.", "WILLOW: Teach me.", "TARA: (points) See those stars over there? \"Short man looking uncomfortable.\" They both giggle.", "TARA: Uh... (points) \"Moose getting a sponge bath.\" Umm... \"little pile o'crackers.\" (Willow frowns) Tha-that was a bit of a stretch. (They both laugh) You do it. What would you call ... mm, that one? (points)", "WILLOW: Hmm, let's see. Shot of the starry sky. One of the stars suddenly enlarges and streaks toward the earth, trailing a golden tail.", "WILLOW: A huge flaming meteor about to crash into something! They scramble to their feet as the thing flies past them and lands somewhere in the distance. A burst of light momentarily flashes from behind trees.", "Cut to: Darkness. Bits of flaming rubble slowly appear as we see from the perspective of something digging its way out of something. The camera moves jerkily as the something looks around, finds itself in a trench carved by the passage of the meteor. Our perspective rises as we climb up out of the trench and find rocky earth, surrounded by trees. In the distance we see the security guard walking toward us, alone.", "GUARD: (muttering to himself) I know what I said. I said-I said I won't go away far. A person needs to respect a man. We see the guard from the perspective of something low to the earth, moving swiftly toward him.", "GUARD: And then it says ... that... the facts says... he's got to go take a walk and get some fresh air and find some fresh spaces. He continues mumbling as we see from the perspective of something climbing a tree.", "GUARD: ...and some fresh space! And needs to walk to get ... to get where he's going. Suddenly something drops down from the tree onto his back. It's a creature with a wrinkly gray face, cloven hooves, and a carapace like a cockroach's. The guard yells and falls to the ground. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Exterior hospital, night. Paramedics take a gurney from an ambulance and wheel it into the emergency room. Hospital noises. As they wheel the patient inside, we see the alien creature crawling along the ceiling above them. Shot of its face. Its eyes are red and its mouth is like a big circle ringed with long yellow teeth. It is hairless. Shot of the paramedics from the creature's point of view. Its vision appears slightly curved as if looking through a lens.", "Cut to: Joyce in her hospital bed, holding the nurse call button, pushing the button again and again.", "JOYCE: (irritated) This thing doesn't work! It isn't working!", "BUFFY: I'm sure they heard you. (Takes the call button from Joyce and puts it aside. We see Dawn in the background reading.)", "JOYCE: I bet it's not even hooked up to anything. Just like the push buttons at the crosswalk that are supposed to make the signal change.", "BUFFY: I'm sure someone's on - What, the push buttons aren't hooked up to anything? The doctor enters.", "JOYCE: Oh, tell him, Buffy. Tell him, okay?", "BUFFY: Look, Dr. Kriegel, we wanna go home.", "DR. KRIEGEL: Well, of course. You can come back and visit your mother first thing in the morning.", "BUFFY: No. We. I-I mean, all of us. My mom too. Joyce looks anxiously at the doctor and nods.", "DR. KRIEGEL: Oh. Well, I understand that, but it's not necessarily the first thing I'd recommend.", "JOYCE: I can't! I-I can't stay here waiting for two days for this operation, I just can't. (Doctor sighs) It makes my head hurt to be here, can't you tell that?", "DR. KRIEGEL: Joyce, there's no reason to get upset.", "JOYCE: No reason to get upset? Oh, right, sorry, I must just think there is because of my brain tumor! Dawn looks upset. Joyce calms down slightly.", "BUFFY: Here, Dawn, why don't you get something from the machine? Buffy hands Dawn some money. She takes it and leaves, looking apprehensive.", "JOYCE: (softly to Buffy) I-I'm sorry I said that, I'm just tired.", "BUFFY: I know. Listen, Doctor, I don't see why we can't take her home, you know, just until... (gestures) I-I mean, wouldn't it be better for her to rest someplace where she felt safe and comfortable?", "DR. KRIEGEL: Even if it would mean some work for you, taking care of her?", "JOYCE: (sighs and leans back in bed) Oh, thank god.", "BUFFY: I'll do it, anything.", "DR. KRIEGEL: (sighs, shakes his head) There are medications to administer, I'd have to go over those with you, and I'd need for you to check her vitals, watch her pretty closely. I'm afraid you won't get a lot of sleep.", "BUFFY: (shrugs) I'm not much of a sleep person anyway.", "JOYCE: (anxiously) Can we go now? (starts to get out of bed) Let's go now!", "BUFFY: Oh, hold on! (stops her) Lemme get all the medications and all the instructions on how to do everything.", "DR. KRIEGEL: She's right. Let's do this right. We don't wanna forget anything. Joyce sighs.", "Cut to: Dawn sitting in the hallway reading her book. Shot of her from overhead, in the alien creature's point of view. Shot of Dawn reading as we see the creature crawling along the ceiling above her head.", "Cut to: Willow and Tara walking through forest, night. Then we see Riley, Xander, Anya, and Giles walking behind them. Giles has a flashlight.", "RILEY: Everyone stay close. (to Xander) I'm glad you called me in on this.", "XANDER: Glad you answered.", "RILEY: Oh, yeah. I'm sorry about last time. Heard I missed out on some fun.", "XANDER: Oh, yeah, fun was had. Also frolic, merriment, and near-death hijinks.", "RILEY: Look, there it is. (Pushes past Willow and Tara) They approach a long trench in the ground. It's about four feet deep, ten feet wide, and several hundred feet long. At its end there's a large chunk of what looks like rock. They all run up to the edge of the trench. Riley jumps down into it as Giles moves his flashlight over the rock.", "WILLOW: Wow. We have meteorite. The rock at the end of the trench is steaming or smoking.", "ANYA: Is it hot? Riley puts his hands toward it.", "ANYA: 'Cause, uh, if there's radiation, you could like go all sterile. Riley looks alarmed. Xander jumps backward. Riley touches the rock carefully.", "RILEY: No, it's not hot. It's warm. And broken. (Kneels to look at it. Everyone stares.) It's sort of-", "GILES: Hollow.", "RILEY: Yeah.", "ANYA: So, uh, we're all thinking the same thing, right?", "XANDER: Festive pinata? Delicious candy?", "WILLOW: Something evil crashed to earth in this and then broke out and ... slithered away to do badness.", "GILES: In all fairness, we don't really know about the slithered part.", "ANYA: Oh, no. I'm sure it frisked about like a fluffy lamb.", "TARA: Let's look around. Maybe we can figure out where it went. They move off. Riley climbs out of the trench to join them. They all go a little way into the woods. Willow moves around some trees and finds the security guard lying on the ground.", "WILLOW: It went here! They all rush over. Riley kneels by the body and feels its neck.", "RILEY: No pulse. Xander joins Riley by the guard's head.", "ANYA: Yep, the space lamb got 'im. (Giles gives her a disgusted look)", "XANDER: I don't see any marks on him.", "WILLOW: I-I know him! He, he was at the hospital, a mental patient. They released him today. Everyone leans down to look at the body. Riley takes out a pen and brings it toward the guard's mouth.", "GILES: Uh, Riley, what are you doing?", "RILEY: I'm not sure, there's something... He sticks the pen in the guard's mouth and it comes out covered with a clear slimy substance. Everyone reacts at the same time, making disgusted noises and covering their noses as it obviously smells bad.", "RILEY: Oh, that might be toxic, don't touch it.", "XANDER: Oh yeah, touching it was my first impulse. Luckily I've moved on to my second, which involves dry-heaving and running like hell. (straightens up) Oh, man, does that smell.", "ANYA: So what do we do now?", "WILLOW: We can't call Buffy. (beat) I wanna call Buffy!", "TARA: You can't. She's got ... life stuff. That has to come first.", "WILLOW: So, so we'll just figure this out ourselves. We're experienced.", "ANYA: Yes, 'cause it seems like we're always dealing with creatures from outer space. Except that we don't ever do that.", "RILEY: (gets up) This is definitely new territory.", "GILES: Perhaps we should explore a bit more, head into the woods a bit. They all look into the woods. It's dark and scary-looking.", "XANDER: Who votes research? Everyone raises their hands and starts to walk away, except Riley.", "WILLOW: Research.", "RILEY: Yeah, I think that's a good call. There could have been some other cases like this. I'm gonna stay here, examine the body some more, look around a little bit.", "XANDER: Yeah, don't do anything hunterly.", "RILEY: No, no, I'm just not great at research, which I'm sure you guys figured out. I like me a good crime scene.", "GILES: Um, give us a call if you need help.", "RILEY: Believe me, something jumps out at me in the dark ... you'll hear me even without the phone. Call me if you learn anything.", "WILLOW: You got it. The group starts to move off.", "WILLOW: (to Giles) I don't wanna be the one who finds the bodies any more. Riley watches them go, crouching next to the body. Then he gets up and takes out his cell phone, dials.", "RILEY: I need to speak to the man at the desk. This is A ... this is Riley Finn. You have an Agent Miller, Graham Miller, he'll tell you who ... Yes. Emergency frequency.", "Cut to hospital. Pan across a sign reading \"Psychiatric Ward.\" Cut to a ward containing five beds with patients in them. A nurse is moving from bed to bed. One of the patients is muttering.", "PATIENT: Cold. Cold. The nurse moves over to him. His arms are in restraints. The nurse pulls the blankets up over him. Then she turns off the light on his nightstand and walks away.", "PATIENT: Wait! You can't go! (snorts) Don't you be that kind of barn owl! (Nurse continues walking away) Please! Please don't go! Please! He begins to cry as the nurse turns out the overhead light and leaves the room.", "PATIENT: Please! Please! Please don't- He looks around the darkened room and whimpers in fear. We hear scurrying noises. The patient twists around trying to look under the bed, panting.", "PATIENT: I can't see you! I can't see you! I can't see you! We see the tail of the alien creature moving behind his bed. Then it climbs up on top of him with a squeal.", "Cut to the nurse sitting at her desk doing paperwork. She hears the patient scream and looks up, then goes back to her paperwork.", "Cut to the ward. The creature is on top of the patient with its cloven hands on his chest. It spits clear slime out of its mouth all over his face, making a squealing noise. Shot of the nurse still doing paperwork, eating chocolate.", "Cut to Dr. Kriegel in the hospital hall checking some paperwork as Joyce stands behind him, dressed.", "DR. KRIEGEL: Well, I guess we're all set then. He turns and we see Buffy and Dawn on either side of Joyce. The doctor hands Buffy a piece of paper and three pill bottles.", "DR. KRIEGEL: You've got my home phone number, pager number, and here, these are the medications I talked to you about. The sedative and so forth, painkillers.", "BUFFY: Right. No problem.", "DR. KRIEGEL: Now, if this is gonna be too much for you, we can make your mom perfectly comfortable here.", "BUFFY: No. No, no, I-I got this. We really, really appreciate-", "JOYCE: (to Buffy) You look just like your father when he cries. Shot of the four of them from the alien's perspective. Shot of the alien on the ceiling a few feet down the hall, watching them. We can hear Joyce talking but the words are inaudible. Cut back to the group.", "BUFFY: (to doctor) I-I told you she's been-", "DR. KRIEGEL: I know. Joyce? (Joyce is staring dazedly at Buffy) Joyce. (She looks at him) We're all done here. Why don't you take your girls home now.", "JOYCE: Yes. Yes, thank you. Thank you for all your help, doctor.", "DR. KRIEGEL: I'll see you in a couple of days. He walks off. The Summers women turn away, Buffy and Dawn flanking Joyce and linking their arms through hers.", "JOYCE: Oh, let's get the hell outta here. Shot of the three of them from the alien's POV as it watches them walk out.", "Cut to: overhead shot of Sunnydale, night.", "Cut to: inside foyer of the Summers house. The door opens and Buffy enters followed by Joyce and Dawn.", "BUFFY: Here we go.", "JOYCE: Oh, it's nice to be home. Buffy closes the door behind them and turns on the lights. Joyce winces and puts her hand to her eyes.", "DAWN: Do you wanna go in to bed, Mom?", "JOYCE: Buffy, no, that light is too bright. It's too bright. Buffy rushes to turn the lights off again. Dawn rubs Joyce's shoulders.", "BUFFY: Oh, okay, okay!", "JOYCE: It's too bright. Buffy, it hurts. It hurts, it hurts my eyes.", "BUFFY: It's off, it's off. You know what, (to Dawn) why don't you turn off the lights in the living room, (to Joyce) and I will take you upstairs and we'll shut off all the lights up there. Okay? Come on. Buffy leads Joyce upstairs as Dawn moves into the living room. Exterior shot of the house as the downstairs light goes off and then the upstairs ones. The porch light remains on. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on an aerial view of a pond surrounded by trees, with the alien landing trench beside the pond and a person standing next to it. A helicopter flies into the shot and moves toward the trench. Cut closer as the helicopter search light illuminates the trench and the person, who we see is Riley. The copter lands and several commandos in black clothing and black berets get out and run toward Riley. The one in the lead speaks.", "ELLIS: You Finn?", "RILEY: Yeah.", "ELLIS: Major Ellis. I'm in charge of this op. (Shakes Riley's hand) What's the situation, just the one civilian casualty?", "RILEY: That I know of. This way. They all begin to walk. We see that one of the other commandos is Graham.", "GRAHAM: You found a stiff in the woods and called us in? Don't you usually call your girlfriend for this kind of thing? He grins. Riley gives him a dirty look. They walk up to the body and Ellis kneels beside it.", "RILEY: I wouldn't touch that stuff in his mouth if I were you.", "ELLIS: Toxic?", "RILEY: No, just messy. (Ellis stands) Guy seemed to have simply choked on the stuff. (Tosses Ellis a small vial) Near as I can tell, it's some kind of protein alkaloid. Ellis holds up the vial and looks at the slimy stuff in it. Riley gestures and the others follow him. They walk off toward the trench.", "ELLIS: Does this fit the profile of any Sub-T you're familiar with?", "RILEY: Not subterrestrial, Major. Extraterrestrial. (Leads them to the rock at the end of the trench) It came outta that.", "ELLIS: Miller, set the trackers for a protein signature.", "GRAHAM: Yes sir.", "RILEY: No good, Major. This alkaloid's breaking down at an accelerated rate. It's dissolving too fast to track.", "ELLIS: You got a better idea?", "RILEY: Thing came from space. Gotta be some trace radiation.", "ELLIS: We have Geiger counters in the packs.", "RILEY: Shouldn't be too much background gamma noise out here.", "ELLIS: Break 'em out. They all walk off.", "Cut to: exterior of the Summers house, still dark except the porch light.", "Cut to: Buffy and Dawn on the living room sofa, watching TV. Dawn rests her head on Buffy's shoulder. Canned laughter from the TV. View from the alien's perspective as it moves along the ceiling, through the foyer and toward the living room. It sees the girls, turns, sees Joyce coming down the stairs in her nightgown and robe. She walks into the kitchen. Cut back to Buffy and Dawn watching TV. There's a noise from the kitchen as of dishes clinking together. They both look up. Buffy picks up the remote control and turns off the TV.", "DAWN: Mom? More crashing noises. Buffy and Dawn get up.", "Cut to Joyce bending over, looking in the refrigerator. The kitchen is dark. There's a sizzling noise. Buffy and Dawn come in.", "BUFFY: Oh, my- Dawn goes to Joyce as Buffy rushes to the stove and turns it off, moving a pan off the burner and coughing as whatever's in it gives off smoke. Joyce straightens up, holding the fridge door, and turns to give Buffy an annoyed look.", "BUFFY: Mom, wha-what are you doing?", "JOYCE: (angrily) I'm making breakfast. (closes fridge, looks Buffy up and down) And you shouldn't eat any more, you're disgustingly fat. Buffy looks hurt. Joyce looks confused.", "JOYCE: Oh, Buffy, I don't know what I'm doing.", "BUFFY: You just need some rest. We'll put you back to bed. She and Dawn take Joyce's arms and lead her out. As they walk past the door leading down to the basement, we see that it's slightly ajar and there's light coming from below. Shadows on the door indicate that something is moving around in the basement.", "Cut to Joyce's bedroom. Buffy is closing a pill bottle as Joyce swallows some water.", "BUFFY: Okay, here we go. (Takes glass from Joyce) That will help you sleep. Come on, let's get you all tucked into bed. Buffy and Dawn stand on opposite sites of the bed and pull the covers over Joyce as she lies down. Buffy picks up Joyce's bathrobe and moves away as Dawn leans over to caress Joyce's forehead. Suddenly Joyce gasps and sits up, staring at Dawn.", "JOYCE: Don't touch me! You - you thing!", "DAWN: (backing up) Mom, please!", "JOYCE: Get away from me! (Buffy comes over and Dawn gives her an anxious look) You're nothing, you're, you're a shadow!", "BUFFY: Mom-", "JOYCE: I don't know what you are or how you got here!", "BUFFY: Mom, it's Dawn. Dawn backs away, upset, and runs out of the room.", "JOYCE: Dawn? Honey, what's wrong? The door slams behind Dawn. Buffy turns to Joyce.", "BUFFY: She's .. just tired. We all are. (She coaxes Joyce to lie down, which Joyce does, looking worried) Come on, go to sleep. I'll check in on you in a little bit. (Exits)", "Cut to Buffy entering Dawn's room. Dawn is sitting on the bed.", "DAWN: (teary) She hates me.", "BUFFY: (kneeling beside the bed) No.", "DAWN: She called me a thing.", "BUFFY: She loves you. Okay? She's not herself. (puts her hand on Dawn's) I told you what the doctor said about the tumor.", "DAWN: (shakes head) No, not just Mom. People. They keep saying weird stuff about me.", "BUFFY: Are you talking about the man in the hospital?", "DAWN: He called me a thing too. And there was another one. Weird guy outside the magic shop. (Buffy looks concerned) He said I didn't belong. He said I wasn't real. (Buffy sighs) Why does everybody keep doing that? What's wrong with me?", "BUFFY: Nothing. It's not you. I think there's something that happens in people's brains when there's something wrong. It's, it's like a short-circuit ... and it makes them feel like nothing's real except for them. That's all it is. Dawn looks unconvinced.", "BUFFY: Look, it is not you. (Gets up to sit on the bed next to Dawn) Okay? And if anyone says anything like that to you again, don't listen. Even if it's Mom. Dawn stares at her, then shakes her head.", "DAWN: (softly) I hate it.", "BUFFY: I know. (puts her hand on Dawn's shoulder) Just don't listen.", "Cut to: Xander staring at a small model of the solar system, which is hanging above his head. Behind him we see Giles and Willow sitting at a table covered with books. There are bookshelves everywhere.", "XANDER: Look at how teeny Mercury is compared to, like, Saturn. Whereas in contrast, the cars of the same name-", "GILES: Xander, please, we have work to do here.", "XANDER: (walks toward them) I still don't get why we had to come here to get info about a killer snot monster. (Sits)", "GILES: Because it's a killer snot monster from outer space. (Pauses) I did not say that. Xander gives Giles an amused look. We see Willow is working on a laptop computer.", "GILES: (in lecture voice) Demons enter our world in all sorts of ways, this one came from above.", "XANDER: And the university library's astronomy section is the home of aboveness. Got it. Hey, take in the study material, too. (Holds up a book titled \"Meteors and You!\") Anya and Tara approach.", "TARA: We've been scouring all the international periodicals for any other meteorite landings in the last week.", "ANYA: Big zippo. (Sits)", "GILES: Well, then it would appear that the world is not being invaded.", "TARA: I'm pretty pleased about that.", "WILLOW: Uh, guys? I've got some stuff. (Everyone looks at her.) The most recent meteoric anomaly was the Tunguska blast in Russia in 1917. (Giles gets up to come behind her and look at the screen) Some witnesses claimed the meteor was hollow.", "XANDER: Hmm. Maybe with a chewy demon center like ours.", "GILES: How far back does this list of anomalies go?", "WILLOW: Pretty far. Back to the Queller impact in the twelfth century.", "TARA: The what?", "WILLOW: Queller. I-I don't know why they call it that, it didn't hit a place called Queller or anything. It landed just outside of Reykjavik in Iceland.", "XANDER: Wait, I just saw... (flipping pages) Queller. Quell ... here, here! \"Primitive people used to believe that the moon was a cause of insanity. Sometimes they would pray to the moon to send a special meteor to fix the problem the moon had caused. These meteors were expected to *quell*\" (slams the book down on the table) the madmen.", "TARA: The man in the woods. He was a mental patient.", "XANDER: And he got pretty well ... quelled.", "WILLOW: Okay, I'm looking in history right now. It says in the Middle Ages there were these sweeping plagues of madness. People were losing their marbles everywhere. But then it would suddenly subside. And these dates look pretty close. Like-like maybe it happened after each one of the meteor events.", "GILES: So something emerged from the meteors ... and quelled the madmen.", "XANDER: Meteor go boom, crazy guy goes bye-bye.", "TARA: Xander's little book made it sound like this Queller thing had to be summoned. So ... who summoned it?", "XANDER: Who else? My money's on Glory, our resident beastie summoner.", "WILLOW: We should call Buffy. E-except we can't call Buffy. (looks up at Giles) Can we?", "GILES: No, but we better call Riley.", "Cut to Riley talking on his cellphone.", "RILEY: Queller demon?", "WILLOW: (on phone) Yeah, that's our perp. (Cut to Willow on a pay phone in the library) It's sort of a scavenger that can be summoned to kill-", "RILEY: (on phone) Crazy people.", "WILLOW: Yeah, how'd you know?", "Cut to Riley in the hospital psychiatric ward. We see another commando in the background.", "RILEY: 'Cause I've got five corpses here at the mental ward at Sunnydale Memorial.", "WILLOW: (on phone) You're at the hospital? Oh, listen, Riley, I ... I saw Buffy's mom earlier, and she was acting kinda ... wacky. Insane wacky, if you know what I mean?", "RILEY: It's okay. Joyce was released earlier today. That intern, um, Ben, told me. They're safe at home.", "WILLOW: Oh, good. A-and the thing, the Queller, is it still there?", "RILEY: We - I think I've got it cornered in the air ducts. Ellis comes up and taps Riley on the shoulder, then nods to him. Riley holds up a finger to say \"just a moment.\"", "RILEY: Look, Willow, keep at what you're doing. Call me if you find out how I can kill this thing.", "WILLOW: Well, okay, but shouldn't we come help- (She hears a dial tone as Riley has hung up) Oooookay. (Hangs up and walks away)", "Cut to Joyce in bed, talking angrily.", "JOYCE: I wish that someone had bothered to tell me that there would be tennis being played! Overhead shot of Joyce lying on her bed, on her back with her knees bent and her hands on either side of her head. The blankets are shoved to the end of the bed.", "JOYCE: I just didn't know. Those eyes ... (grimly) Those eyes, they're like gasoline puddles! (quieter) Tell me. Tell me because I need to know why, why are you staring at me like that?", "Cut to Dawn in her room, lying in bed. Joyce can be heard still talking. Dawn hugs a stuffed animal and listens unwillingly.", "JOYCE: (OS) What are you asking me? You are asking me, aren't you? Is this a test? And if this counts for the final grade, I need to know now! (Dawn makes faces, not wanting to hear this) Okay, there are teachers, and they put this on the syllabus, but they do not stare down at you, they do not cling, (teary) they do not look down on you... Dawn grabs her pillow and pulls it over her ears, trying to blot out the sound, but she can still hear it.", "JOYCE: (crying) You know there are people who are nice, and they give you presents, even when you are bad.", "Cut to kitchen. Cheerful Spanish music is playing on the radio. Buffy turns up the volume and begins washing dishes. She bites her lips as she works, trying not to cry, but after a few dishes she begins to sob. She wipes her nose with the back of her hand, tries to compose herself, then breaks down in tears, putting her hand over her face. Cut back to Joyce's bedroom. She is still lying on her back talking to the ceiling.", "JOYCE: Does someone know you're here? Because they should have told you that at the gate. You are *not* supposed to be here. I need to rest now. I-I don't like the way you're staring at me! (She pauses for a moment, staring wide-eyed) Did they tell you that at the gate? Side shot of Joyce in her bed and the Queller on the ceiling above her.", "JOYCE: (firmly) Stop staring at me, I don't like it! The Queller squeals. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Exterior hospital. Graham comes out the door, holding a Geiger counter. He walks a few steps staring at it, then stops as Ellis, Riley, and other commandos emerge behind him.", "GRAHAM: Trail stops here, edge of the parking lot.", "ELLIS: It stops? (Graham nods)", "RILEY: A car. It hitched a ride. Probably underneath. So much for containment.", "ELLIS: So some poor mental patient checks out of here today, drives away with this thing, (Riley looks alarmed) took it right to his own home.", "RILEY: Checked out today.", "ELLIS: (to another commando) Get me a list of all patients discharged in the last 24 hours.", "RILEY: No. I know where it's going. We've gotta move, now! They rush off.", "[Transcriber's Note: As near as I can tell there are three doors to Joyce's bedroom. One leads to the hallway; the one next to that leads to Dawn's room; and the door on the other side of the bed leads to Buffy's room. The bathroom is across the hall from Dawn's room and has two doors, one going to the hall, the other going into Buffy's room. This is relevant for the following scene...]", "Cut to Joyce still in her bed staring up at the alien.", "JOYCE: I'm going to close my eyes, and when I open them, you are going to go away.", "The Queller squeals and drops down on top of Joyce. She screams. Dawn hears the scream and gets up. Joyce struggles against the Queller.", "JOYCE: Get off me! It spits its slime onto her face. She shakes her head trying to dislodge it. Dawn opens the door and sees the demon on top of Joyce. She gasps. The Queller looks at her as she grabs a coatrack from her room and shakes the clothing off of it. She attacks the demon with it, shoving it off the other side of the bed. Most of the slime seems to have hardened on Joyce's face. She pulls it away, gasping and panting. Dawn looks around, scared. The Queller arises from behind the bed and launches itself at Dawn, squeaking. She screams and runs back into her room. The Queller chases her, crawling along the floor. Dawn runs through her room and out into the hall, as the Queller enters the hall from Joyce's room. Dawn runs into the bathroom and slams the door.", "DAWN: Buffy!", "Cut to Buffy still crying in the kitchen. The radio and the running water from the sink are loud, so she doesn't hear Dawn yelling. She wipes hair back from her face and sniffles. Dawn runs through Buffy's room and into Joyce's room from the other door. Joyce is sitting up on the bed, clawing at her face and gasping. Dawn closes the door, grabs an exercise bike and pushes it in front of the door, runs to the other door (leading to her own room) and slams it shut too.", "Cut to Buffy in the kitchen. She splashes water on her face, reaches for a towel and dries her face.", "Cut to Dawn in Joyce's room. She opens the door leading into the hall, and yells as loud as she can.", "DAWN: BUFFY!", "Buffy hears the scream and whirls around, dropping the towel. Dawn slams the door shut again. Buffy races out of the kitchen, down the hall and up the stairs. She opens the door to Joyce's room and finds Dawn and Joyce on the bed, still wiping slime off of Joyce's face.", "BUFFY: What? What is it?", "DAWN: There's something out there, Buffy. It's after Mom!", "BUFFY: You guys stay in here. Don't leave this room. As Buffy closes the door, the Queller drops from the ceiling and lands on her face. She grabs it and they struggle, slamming against a wall and then tumbling down the stairs. The Queller squeaks and crawls away. Buffy rubs her neck and looks around in confusion.", "Cut to Joyce and Dawn on the bed in the dark bedroom, hugging each other tightly.", "JOYCE: It's okay, my baby. It's okay. Dawn stares at the door over her mom's shoulder, looking scared. Buffy walks slowly through the dark house, looking around for the Queller. She goes into the kitchen, goes over to the knife rack and takes out the largest knife. She spins around wearing her tough-Slayer expression and continues looking around, moving back toward the hallway. We hear creaking noises. As Buffy nears the door to the basement, it suddenly pops open. She jumps in alarm and raises the knife. Spike emerges from the basement and gives her a wary look. Buffy sighs. Spike closes the basement door.", "BUFFY: Spike?", "SPIKE: Yeah. Listen, uh, did you hear a noise?", "BUFFY: What the hell are you doing in my house?", "SPIKE: Right then, caught me. (takes a deep breath) Your basement's full of junk. And me being in need of, uh, junk...", "BUFFY: (can't believe it) You were stealing?", "SPIKE: Well, yeah. Can't exactly work the counter at Burger Barn, can I? He has something in his hand. He tries to slip it into his pocket without being noticed, but Buffy spots it.", "BUFFY: Wait, are those pictures of me? The Queller attacks from the left, jumping onto Spike's face and knocking him to the ground. He cries out as he lands on the floor with the Queller on top of him, choking him. They struggle. Buffy grimaces and raises her knife, looking for an opening. Spike's flailing foot kicks Buffy's hand and the knife flies away. Buffy winces in pain and makes an exasperated face. The Queller turns and sees Buffy. It squeals and attacks her as she moves toward it. They slam against a wall and fall down with the Queller on top. Buffy punches it and throws it off her, starts to scramble backward on her butt, into the hallway toward the front foyer. Spike picks up the knife and whirls around.", "SPIKE: Buffy! He throws the knife to her. She catches it just as the Queller knocks her down again and climbs on top of her. She stabs the knife into its back. It screams. Buffy stabs it again and again until it stops screaming and falls still. Buffy gasps and makes a pained face, rolling the Queller off of her, then lying back with a sigh. Spike holds out his hand. Buffy takes it and he pulls her to her feet. Just as she rises, the door bursts open and Riley comes in, followed by the commandos. Spike and Buffy turn and see more commandos coming in the back door. The commandos yell random orders to each other. Riley looks at Spike and Buffy apparently holding hands. Spike gives him a sour look.", "RILEY: (to Buffy) Are you okay? Buffy frowns at him, then rushes to the stairs.", "SPIKE: (to Riley) You just missed a real nice time. Riley looks down and sees the Queller lying dead with the knife in its back. Buffy bursts into Joyce's bedroom.", "BUFFY: It's gone. I killed it.", "JOYCE: (relieved) Oh god.", "DAWN: It's gone? You promise?", "BUFFY: I promise. (Both Dawn and Joyce hug her, putting their heads on her shoulders. She puts her arms around them) Everything's all right. Everything's all right.", "Cut to: exterior hospital, night. Ben comes down some stairs, walks over to a car, unlocks it and gets in, looking around nervously. As he closes the door, a voice speaks up from the back seat.", "DREG: It's strange. (Ben looks up, startled, and looks at him in the rear-view mirror) A body might ask what exactly it is you think you're doing. He might ask what all this was meant to accomplish. Because to a humble postulant, it looks like chaos. Like unnecessary attention drawn where it ought not to be.", "BEN: (angrily) Get out!", "DREG: Sir. Dreg gets out, stands by the driver's-side window.", "DREG: Sir, forgive me. I just want to understand. Why summon the Queller?", "BEN: What do you think? Because I'm cleaning up Glory's mess. Just like I've done my whole damn life. He starts the car and drives off as Dreg watches.", "Cut to hospital. A nurse is putting an IV in Joyce's arm as Buffy sits on the bed by her, holding her other hand. Joyce winces as the needle enters her arm. The nurse finishes and leaves. Buffy sighs.", "JOYCE: Buffy, uh, (clears throat) I'm gonna ask you something, a-and if I'm, if I'm being crazy you just tell me, okay?", "BUFFY: (nods) You got it.", "JOYCE: The other day ... well, actually, I'm, I'm not sure when, the days seem to all bleed together...", "BUFFY: It's not important.", "JOYCE: No, I guess it isn't. I do know I was ... pretty out of it, and I had ... not-not a dream ... exactly, more like I had this ... knowledge, i-it just came to me like ...truth, you know? (Buffy frowns) Even though it didn't seem...possible, even though I shouldn't even think such things.", "BUFFY: What?", "JOYCE: That Dawn... Buffy looks very startled.", "JOYCE: She's not ... mine, is she? Buffy stares at her mom, then looks down. She comes to a decision and looks Joyce in the eye.", "BUFFY: No. Joyce absorbs this for a moment.", "JOYCE: She's ... she does belong to us, though.", "BUFFY: Yes, she does.", "JOYCE: And she's important. To the world. Precious. (Buffy nods) As precious as you are to me. Buffy smiles and nods again. Joyce nods back.", "JOYCE: Then we have to take care of her. Buffy, promise me. If anything happens, if I don't come through this-", "BUFFY: Mom-", "JOYCE: No, listen to me. No matter what she is, she still feels like my daughter. I have to know that you'll take care of her, that you'll keep her safe. That you'll love her like I love you.", "BUFFY: (teary) I promise.", "JOYCE: Good. Good. They hug.", "JOYCE: Oh, my sweet brave Buffy. What would I do without you? Buffy hugs her mom tightly, looking as if she'd like to ask the same question.", "Cut to Joyce on a gurney, being wheeled away. She has one arm up behind her head and she smiles down the hall as she moves backward. Shot of Buffy and Dawn with arms around each other, watching. Behind them we can see Riley, Xander, Anya, Giles, Tara, and Willow. The camera moves back from them as if we see them from Joyce's perspective. Shot of Joyce looking very calm as the nurses take her away. Shot of the others watching. The camera continues to pull back from them and then fades to black.", "Executive Producer: Joss Whedon." ]

[ "Buffy learns Riley has been going to a vampire brothel to have his blood sucked for pleasure. She confronts him, and he says he's going away with the military if she doesn't give him a reason to stay. She wants him to stay, but doesn't tell him in time." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "BUFFY: Riley!", "RILEY: Know you got a lot on your mind. You decide you wanna let me in on any of it, you let me know.", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Riley letting a female vampire bite him.", "RILEY VOICEOVER: Buffy's like nobody else in the world. But she doesn't love me. Spike kissing Buffy.", "SPIKE VOICEOVER: Buffy, I love you. Spike sitting up in bed horrified.", "SPIKE: Oh God, no. Joyce in the CAT scan machine.", "DOCTOR VOICEOVER: Your mother has ... a brain tumor. Buffy reacting. Buffy and Joyce hugging in a hospital room. Joyce being wheeled into surgery as Buffy and Dawn watch. Shot of the hospital corridor with various personnel coming and going. Riley wakes up as someone walks over to them.", "GILES: Just me. Sorry. Can I get you anything?", "BUFFY: No, thank you.", "GILES: Riley?", "RILEY: No, I'm fine. Giles nods, looks fidgety, walks off. We discover Willow and Xander sitting nearby. Behind them we see the nurses' station.", "WILLOW: What time is it?", "XANDER: There's a clock behind you, Will.", "WILLOW: (pouty) I know, but there's a watch right above your hand. Xander shows her his watch. Willow frowns.", "WILLOW: That can't be right. (Turns to look at the clock above nurses' station) Oh. She sits back and exchanges a look with Xander. Cut back to Buffy and Riley. Buffy leans her head back and sighs loudly. Riley puts his hand on her knee.", "BUFFY: I can't stand this. What's taking so long?", "RILEY: It doesn't mean anything.", "BUFFY: You think?", "RILEY: I'd worry more if your mom was out of surgery quickly. Might mean that, you know, they couldn't do much. Buffy frowns, looks down at Dawn, looks up. Suddenly she puts her hand over Riley's which is still on her leg. Shot of the hospital corridor. We see the doctor walking toward us. Dawn wakes up as Buffy slides out from under her. Everyone stands up. The doctor walks closer. Zoom in on Buffy, nervously waiting for the news with Riley and Dawn behind her. Wolf howl. Opening credits. Guest starring Bailey Chase, Nick Chinlund, and Kristine Sutherland as Joyce Summers. Written and directed by Marti Noxon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade back in on the hospital scene.", "DR. KRIEGEL: Okay, your mom's in recovery.", "BUFFY: What happened, is she all right?", "DR. KRIEGEL: It was possible to visualize the tumor completely, which means I was able to get all of it. So, barring complications in recovery ... I think your mother's going to be fine. (Everyone reacts with relief) Of course we're still going to have to watch your mother carefully, and, uh, have her back in here for some follow-up testing, (Buffy nods) but, uh, overall I'd consider the procedure a complete success. Smiles all round. Everyone hugs each other. Giles and Xander start to hug, then settle for a handshake instead.", "BUFFY: (hugging Riley) Oh my goodness, doctor, thank you, thank you so much.", "DR. KRIEGEL: Please, it's my pleasure. Buffy hugs him and he yells in pain as she forgets her slayer-strength. She gasps and pulls back.", "BUFFY: Sorry. Sorry! The doctor puts a hand on his back and gives Buffy a funny look.", "Cut to: exterior shot of Xander's apartment building, night.", "Cut to: interior of Xander's apartment. Xander, Anya and Dawn are eating Chinese food around a low table.", "DAWN: When I was younger, I used to put my chopsticks in my mouth like this, (She puts chopsticks into her mouth so they stick out like very long fangs) and then Buffy would chase me around the house yelling, (makes claw hands) 'I'm the slayer, I'm going to get you!' (Laughs)", "ANYA: That's disturbing. You're emotionally scarred and will end up badly.", "DAWN: (removes chopsticks) No, it was great. I mean, she didn't actually stake me in the heart, you know.", "XANDER: Buffy's pretty cool like that. (Gets up to clear the dishes) So, what do you wanna do now, Dawnster? Keeping in mind that I won't chase you because I'm old and I'm stuffed full of moo goo gai starch. Dawn starts to reply but Anya interrupts.", "ANYA: Well, we could play that game again, Life. That was fun.", "DAWN: (frowns) For you. You always win.", "ANYA: Well ... we can make a wager this time. You can give me real money. That would be different.", "XANDER: (sarcastic) And after we teach her to gamble, maybe we can all get drunk!", "ANYA: (not getting it) I don't think the bar would serve her, but we could bring something in. (to Dawn) Strawberry schnapps taste just like real ice cream.", "XANDER: Okay, how's about a movie? (Opens the newspaper and walks back to them) They're showing them in theaters now. I hear it's like watching a video with a bunch of strangers and a sticky floor. (He lays out the newspaper where he and Dawn can both look at it)", "DAWN: (points) That one looks sad.", "XANDER: The chimp playing hockey? Is that based on the Chekhov? Anya comes running over and grabs the paper eagerly.", "ANYA: There's a chimp playing hockey?", "DAWN: Um, no, the other one. I don't wanna see a sad movie.", "ANYA: We have to see the chimp playing hockey! That's hilarious! The ice is so slippery, and, and monkeys are all irrational. We have to see this.", "XANDER: You pick, Dawn. This is your night. We are celebrating your mom's good news. Anya looks chastised.", "ANYA: (softly) Go monkey. Choose monkey.", "DAWN: It's okay. You guys don't have to make a big deal for me. I'm only sleeping over here so Buffy and Riley can boink. Xander looks embarrassed.", "XANDER: No, that's not, that's not it at all, they just need time to, uh... (clears throat) be tender. Relax. Anya smiles and rubs Xander's chest.", "ANYA: (to Dawn) He's not very convincing, is he? Dawn shakes her head in agreement.", "DAWN: 'Alone time' always translates into 'get Dawn out of the house so we can have loud obnoxious s*x.' Xander looks like he wants to object, but doesn't. Anya smiles, then suddenly realizes something.", "ANYA: (softly to Xander) Oh, does that mean we can't? Xander gives her a look.", "Cut to candles burning on a mantle. Soft romantic music. Pan over to Buffy and Riley dancing in the darkened Summers home.", "BUFFY: Can we put this song on repeat?", "RILEY: Whatever you want.", "BUFFY: Can we put the whole night on repeat?", "RILEY: Absolutely.", "BUFFY: Good. (sighs happily) Mm, I can't believe how relaxed I feel. It's like all the tension's just left my body.", "RILEY: Oh, really? 'Cause I had that scheduled for a little later on.", "BUFFY: Scheduled? Are you planning on seducing me, Mr. Finn?", "RILEY: Always. They kiss.", "RILEY: I want tonight to be special for you.", "BUFFY: It's more than special. It's perfect.", "RILEY: Well, I'm glad. You deserve it after everything you've been through.", "BUFFY: Well, it's nothing compared to what my mom had to deal with.", "RILEY: (nods) It was a lot. And you were incredible.", "BUFFY: (smiles) Not really. Just covering for the weepy chicken within.", "RILEY: Don't sell yourself short. You stayed strong throughout, Buffy. You never even cried.", "BUFFY: Oh, I cried. I cried so hard, I didn't think I was gonna be able to stop. Riley looks surprised. She puts her head on his shoulder.", "RILEY: Oh.", "BUFFY: That's all in the past now. Mom's out of the woods, and I'm here with you. That's all that matters. She lifts her head up and they kiss again.", "Fade to bare legs moving together under bed sheets. Pan up to Buffy and Riley in bed, kissing, naked with strategically placed sheets. Riley is on top. Panting noises. Lots of kissing and writhing. Closeup on Buffy's face as she closes her eyes in pleasure. Pan across them to the window.", "Cut to exterior shot of the bedroom window. We see Spike standing on the ground below, smoking a cigarette and looking up at the window. He sighs.", "Cut to the bedroom. Buffy is asleep. Riley watches her for a moment, then slides out of the bed. We can see a partially healed cut on his upper chest and a small bandage on his arm.", "Cut to Spike outside, putting out his cigarette and turning to leave. He stops as he hears the house's front door open and sees Riley come out. Riley doesn't see Spike. He closes the door quietly and walks off. Spike follows.", "Cut to Riley walking through a dark alley. Spike still following. Riley walks up to an old warehouse, up some stairs to a door. Spike watches, frowning.", "Cut to: exterior hospital, day.", "Cut to: Joyce's hospital room. Joyce has a hand mirror and is looking at her reflection. There's a large bandage on her head.", "JOYCE: I don't know, Buffy. I think I'll look like I have a cat on my head. We see Buffy holding a wig.", "BUFFY: But a very well-groomed cat.", "JOYCE: I think maybe I'll ... stick with a scarf.", "BUFFY: Come on, wigs are fun. We can get you a whole bunch of different ones. You know, you can be, like, Sixties Mom, Action Mom... (wiggles her hips, suggestively) French Maid Mom...", "JOYCE: (smiles) I must be getting better, 'cause you're making fun of me.", "BUFFY: Well, you know. (sits on the bed) Got a lot of time to make up for.", "JOYCE: You have more important things to make up. I know you've been missing a lot of school.", "BUFFY: I may have to take a few incompletes, but I will make it through the semester.", "JOYCE: Well, what about slaying and your friends? I want you to have your life back.", "BUFFY: Right now I'd rather be here, styling your beautiful new plastic dream hair.", "JOYCE: Fair enough, but you don't have to keep me company all night. Go out, have fun, get, get Riley to take you to a movie or something.", "BUFFY: I gave Riley the day off.", "JOYCE: I don't think he thinks of you as a chore, Buffy.", "BUFFY: I know that. Look, I told him to make plans with his friends because I wanted to have you all to myself, okay? Besides, I can see him any time. (Gets up, turns away to put the wig on a stand) And I'm sure he'll come over later looking for a little... (suddenly stops herself, turns around to give Joyce an innocent look) bible study. (Nods)", "JOYCE: Well, good. I mean, just as long as the two of you are spending some quality time with ... the lord.", "BUFFY: We are. Absolutely.", "Cut to: looks like a hotel room. A commando is sitting on a sofa fiddling with some high-tech equipment: he has headphones on his ears. Graham walks over to a table where Major Ellis has some maps spread out.", "ELLIS: What've we got?", "GRAHAM: Belize. Last transmission. Infra-red scans say they're-", "ELLIS: Breeding. They're not gonna stay in that village for long. Looks like we got ourselves a hot spot. Tell the men to get ready. Graham starts to leave, pauses.", "GRAHAM: What about Riley? (Ellis looks confused) Agent Finn. (Ellis nods) I'm telling you, sir, if we go in for a sweep and drop, he's definitely a guy we want on the team.", "ELLIS: (nods) Well, let's bring him on board.", "GRAHAM: It, uh, might take a little convincing.", "ELLIS: Why? What's he got here in Sunnydale that's so special?", "Cut to: Buffy in bed, asleep, alone. We hear the door open. Buffy wakes up halfway.", "BUFFY: (sleepy) Riley? We see Spike standing by the door.", "SPIKE: It's me. Buffy wakes up fully, sits up holding the sheet to her chest.", "BUFFY: Every time you show up like this, you risk all of your parts, you know that?", "SPIKE: I wouldn't be here if I didn't have a good reason. As usual, I'm here to help you, and I - are you naked under there?", "BUFFY: (rolls her eyes) Get out.", "SPIKE: No, I'm serious. I mean, not about the naked part, I mean... (cranes his neck trying to see under the blankets)", "BUFFY: Get out or I will drop you out head-first. Spike lowers his voice, speaks intensely.", "SPIKE: I wanna show you something.", "BUFFY: (realizing he is serious) What?", "SPIKE: You need to see this. Buffy sighs.", "SPIKE: But we need to move if we wanna get there in time. Buffy raises her eyebrows to indicate that she can't get dressed with Spike watching. He scoffs.", "SPIKE: Oh, please! Like I give a bloody damn. He turns his back, and then makes an agonized face, forcing himself not to look as Buffy reaches for her clothing.", "Cut to: Spike leading Buffy through the alley, up the stairs to the warehouse. Buffy looks confused. Spike opens the door for her. They enter the warehouse and see a bunch of people being sucked on by vampires. Random trash, old bathtubs, etc., all around. Buffy stares at it in dismay.", "SPIKE: Don't stop, Slayer. This isn't what we're here for. We see two large male vampires overseeing things. One of them is putting some money into his vest. Buffy looks around with a frown, looks at Spike. He nods toward some stairs. They approach the stairs and start up them. One of the vamps grabs Spike and spins him around.", "VAMP 1: What do you think you're doing?", "SPIKE: Just having a little look, mate. Keep it down. He turns away but the vamp stops him again.", "VAMP 1: You can't go up there. Spike grabs the vamp by the throat and shoves him to the floor.", "SPIKE: I said keep it down. Buffy watches all this from halfway up the stairs. Spike turns, adjusting his jacket, and they go up the stairs. The second level is just as messy as the first. Spike leads Buffy through the mess to a slightly open door. She looks suspiciously at him, then goes through the door and discovers Riley, sitting bare-chested on a mattress on the floor, with a female vamp sitting on his lap, drinking from his arm. He doesn't see Buffy yet.", "RILEY: Harder. The vampire continues sucking. Buffy gasps. Riley looks up and sees her. Closeup on Buffy staring in horror. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade back in on the same scene. The vamp continues to feed from Riley. Riley looks at Buffy and gulps.", "RILEY: Buffy. Buffy stares at him, backs away and runs out. Spike smirks.", "RILEY: Buffy!", "SPIKE: We only came here because we care about you, friend. (Riley shoves the vamp aside and gets up) You need help. Spike smirks and walks out.", "Cut to Buffy hurrying down the stairs. Vamp #2 hands something to Vamp #1 and moves to intercept Buffy.", "VAMP 2: Hey. Hey, hey. He steps in front of her but she gives him a shove and he flies backward, hitting the wall as Buffy exits. Spike comes down the stairs a few steps behind. Vamp 2 growls as Spike passes him.", "Cut to Buffy exiting the warehouse, pausing at the bottom of the stairs, looking shell-shocked. Spike bursts out, passes her and turns back.", "SPIKE: I thought you should know- Buffy lifts her head and gives him a fierce look. Spike looks startled. She runs past him and away, down the alley. Spike looks disappointed.", "Cut to inside the warehouse. Riley comes rushing down the stairs, buttoning his shirt. Vamp #2 intercepts him, grabbing his shirt.", "VAMP 2: Was that the slayer? What the hell do you think you're doing bringing the slayer here?", "RILEY: Back off, man. I didn't know.", "VAMP 2: Nobody's gonna risk coming here now!", "RILEY: I said back off! Vamp 2 punches Riley in the stomach. Riley punches him in the face and he goes down. Riley runs out as Vamp 1 helps Vamp 2 up.", "Cut to: exterior of the Summers house, night.", "Cut to: interior of Buffy's room. She enters, closes the door and leans against it, frowning, still looking shocked.", "Fade to Riley entering his own apartment, which is dark. He closes the door and sighs, moves inside and turns on a lamp. Behind him we see Graham and Major Ellis, and another commando. Riley doesn't turn around.", "RILEY: Get out.", "ELLIS: I need to talk to you.", "RILEY: (turns to face them) I'm not in a talkin' mood.", "ELLIS: Then listen. (Walks toward him. Graham follows)", "GRAHAM: Riley, just give the man a chance. You don't like what you hear, we'll be on our way.", "RILEY: Talk fast.", "ELLIS: We have a Code One in Belize. A demon tribe is taking apart missionaries in the rain forest down there.", "RILEY: And you're telling me this because?", "ELLIS: We're going down to terminate their operation. We want you to join us. Riley looks from one to the other, then away.", "RILEY: (quietly) I'm a civilian.", "ELLIS: You're a soldier.", "RILEY: I quit the government a long way back.", "ELLIS: We're not government. We're army.", "GRAHAM: Just like you.", "ELLIS: (moves closer to Riley) It's not the Initiative, Finn. We don't do experiments. None of us give a damn what makes monsters tick. We just stop 'em.", "RILEY: What do you need me for?", "ELLIS: I think you can handle yourself. And I always need bodies. I'm not gonna lie to you. It's the real deal. High risk, low pay, and seriously messy. We ship out for Central America tomorrow midnight. Now maybe civilian life is working out for you... (Riley looks down) and maybe not. Midnight. Tomorrow. The decision's yours. The commandos leave, as Riley ponders the offer.", "Cut to: magic shop, day. Giles is hanging up a large banner that reads: Don't Forget! Winter Solstice Hanukkah Christmas Kwanzaa & [something obscured by Giles's arm] Are Coming! We see Xander, Anya, and Willow behind the counter unpacking merchandise.", "GILES: And so it begins. He steps down from his footstool and we see that the last holiday listed is \"Gurnenthar's Ascendance.\"", "GILES: No longer a victim of crass holiday commercialization, I'm ... a purveyor of it. Anya takes a jar out of a box. Willow moves out from behind the counter.", "ANYA: Oh. Who ordered more chickens' feet? The ones we have aren't moving at all.", "XANDER: That's generally what happens when you cut them off the chicken.", "ANYA: I'm serious. (Opens jar) Maybe we could do a ... holiday promotion. (Takes out a chicken foot) One free with every purchase! (smiles)", "GILES: Oh, yeah. (nostalgically) Dear holiday memories. Merry tykes by the fire, enjoying their new Christmas ... chicken feet. Willow comes up beside Giles, on the opposite side of the counter from Anya.", "WILLOW: Aw, holding them tight as they fall asleep. Painting their little toenails. Willow and Giles laugh. Xander grins. Anya grins too, though she is not amused.", "ANYA: That's so very humorous. Make fun of the ex-demon! I can just hear you in private. (talks to the chicken foot) 'I dislike that Anya. She's newly human and strangely literal.'", "WILLOW: (frowns) Anya, I don't say that. No one says that. No one talks that way.", "ANYA: There's nothing wrong with my idea anyway. I've been very good for this store. (frowns) If it wasn't for me, Giles would be a terrified old man staring at a quarterly tax statement and wetting himself.", "GILES: (insulted) I say, that's an exaggeration.", "WILLOW: Anya, you've helped out a lot, but I have too.", "ANYA: (opening another jar) Yes, I forgot about all the vigorous sitting around.", "XANDER: Anya, you can back off a little. You get paid. Willow's doing this on her own time. Willow smiles and nods triumphantly.", "ANYA: (with a fake smile) I'm sorry, Willow. Thank you for making time in your busy life to come in here and get in the way of mine.", "XANDER: (annoyed) Anya, play nice.", "ANYA: You know, fine, take her side instead of mine (Xander sighs, puts his hands over his face) even though I'm the one who sleeps with you and feeds you, bathes you... Willow frowns.", "WILLOW: (to Xander) She bathes you?", "XANDER: Only in an erotic, Penthouse-y way, not in a sponge-bath-y geriatric sort of...", "GILES: (puts up a hand) Please! Stop, I beg of you. They all look up as the door opens (it has bells that jingle when it moves) and Buffy enters. She has a bag over her shoulder. She strides purposefully over to the counter.", "BUFFY: I need to find out everything I can about a vamp nest downtown.", "GILES: A nest? What sort of-", "BUFFY: There were people there. It, um, it looked like they were paying vampires to bite them. Giles looks shocked.", "XANDER: *Now* I know what to get for the person who has everything!", "WILLOW: Who would pay to get bitten?", "ANYA: Oh, that's been going on for centuries. Humans hire vampires to feed off them, they, well, you know, they-they get off on the rush.", "GILES: And the ... hazards of the underworld can become addictive to ... some people.", "XANDER: Why don't the vampires just kill 'em?", "ANYA: Because they get cash, hot and cold running blood, and ... they don't leave any corpses behind so they don't get hunted.", "GILES: But still, i-it can be terribly dangerous for humans. I mean, people can end up dying accidentally, or, or meeting a, a vampire who only pretends to play by the house rules.", "BUFFY: (angrily) You knew about this and you didn't tell me?", "GILES: I hadn't seen it since my Ripper days. I had no idea it was going on in Sunnydale.", "BUFFY: Well, it is. (Giles frowns) And I'm gonna stop it. She turns toward a large trunk and opens it, revealing a stash of weapons.", "GILES: Buffy, even if I had known about this, I might not have told you right now. Buffy whirls around.", "BUFFY: What? Why?", "GILES: Well, I'm not sure this is where your efforts are best spent. Perhaps you should focus on ... a less ambiguous evil. Glory, for instance?", "BUFFY: You said people are dying.", "GILES: They're willing victims. I mean, there are people out there who deserve your help who aren't.", "BUFFY: Vampires are vampires. And my job description is pretty clear. (They all look uneasy) Are you coming with me or not?", "XANDER: What's the rush, Buff? If we're going into a nest, maybe we should come up with a strategy. Wait for Riley. Buffy scowls in extreme displeasure.", "BUFFY: Back me up or not. I'm going. She stalks out. Giles looks conflicted, but he and Xander begin to collect their things.", "GILES: Anya, will you mind the store? Anya nods. The others gather up jackets and stakes, and leave. Anya watches them go with a smile.", "ANYA: Have a nice day! Don't get killed. The bell jingles as they exit.", "Cut to: inside the warehouse. Buffy and Giles are coming down the interior stairs.", "BUFFY: I don't understand. This place was doing serious business last night. We see that the place is deserted. Willow and Xander are on the main floor. A small grill sits on a table, with a fire burning in it.", "XANDER: Well, I guess everybody jumped ship once the word got out that the slayer found their crib. (pauses) I just want to apologize for the use of the word 'crib.'", "BUFFY: (to Giles) Do you think they'll set up shop again in town?", "GILES: It's hard to say. I'm sure they'll lie low for a bit.", "BUFFY: But they're around somewhere. There's gotta be a way to find these creeps.", "WILLOW: Don't worry, Buff, you'll find them.", "XANDER: Yeah, I'm sure you'll get them next time, champ. Buffy does her angry expression again. She grabs the grill and throws it against a wall. The fire begins to spread. Buffy stalks out as the others stare at her. Willow follows in her footsteps. Xander and Giles follow more slowly, looking concerned.", "Cut to: Spike sitting in his armchair in his crypt, holding a bottle of alcohol. He pulls out the cork, sighs, and lifts the bottle to take a swig. The door bursts open and Riley enters.", "SPIKE: What took you? (Puts the cork back in and sets the bottle aside) Guess it takes a while to get back to full strength after those bites. Riley grabs Spike by the shirt and pulls him up out of the chair.", "SPIKE: Hey! Hey, let's be reasonable about this. Riley slams him up against a pillar.", "RILEY: You may have noticed, Spike, (punches Spike in the face) I left reasonable about three exits back.", "SPIKE: Look, I'm not the one who got you into this. Don't kill the messenger. Riley scowls. He pulls back his arm and we see there's a stake in his hand. He plunges it into Spike's chest. Spike gasps.", "RILEY: Why the hell not? Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade back in on Riley holding the stake in Spike's chest.", "SPIKE: (yelling) Ow! Bloody hell! Oh god! (quieter) Hey. He looks down at his chest as he realizes he hasn't been dusted yet. Riley yanks the stake out. Spike grabs his chest in pain, and stares at the stake.", "RILEY: Plastic wood-grain. Looks real, doesn't it? (Grabs Spike's shirt again) Don't think I don't know what's goin' on with you, Spike. (They glare at each other) Stay away from her. Or we'll do this for real next time. He pats Spike on the cheek and walks away. Spike leans against the pillar panting. He's still clutching his chest, but he begins to chuckle, and Riley turns back.", "SPIKE: (chuckling) Oh, man. You are really under it, aren't you?", "RILEY: (angrily) What?", "SPIKE: Look at you. All afraid I'm hot for your honey.", "RILEY: (walks back toward Spike) Because you are.", "SPIKE: Well ... yeah. But that's not your problem. Even if I wasn't in the picture, you're never gonna be able to hold onto her. Riley puts his hand over Spike's hand that is covering the wound. He pushes his hand deeper into it.", "SPIKE: Ow, bloody hell!", "RILEY: Maybe I didn't almost kill you enough.", "SPIKE: (in pain) Come on. You're not the long haul guy and you know it.", "RILEY: Shut up.", "SPIKE: You know it. Or else you wouldn't be getting suck jobs from two-bit vampire trulls. Riley looks annoyed, lets go of Spike. Spike continues panting.", "SPIKE: The girl needs some monster in her man ... and that's not in your nature... (He pushes away from the pillar, still holding his chest, and goes to sit in his chair) ...no matter how low you try to go. Spike sits back with an expression of pain. Riley paces around restlessly. Spike reaches for his bottle and begins to remove the cork again.", "RILEY: You actually think you've got a shot with her?", "SPIKE: No, I don't. (removes cork) Fella's gotta try, though. Gotta do what he can. (Drinks) RILEY: If you touched her... you know I'd kill you for real.", "SPIKE: I had this chip outta my head, I'da killed you long ago. (Replaces cork) Ain't love grand? Spike tosses the bottle to Riley, who catches it and removes the cork again. He sits on a nearby coffin and takes a sip.", "SPIKE: (quietly) Sometimes I envy you so much it chokes me. (They exchange a look) And sometimes I think I got the better deal. (sighs) To be that close to her and not have her. To be all alone even when you're holding her. Feeling her, feeling her beneath you. Surrounding you. The scent ... (louder) No, you got the better deal. Riley looks over at Spike, takes another drink.", "RILEY: (bitterly) I'm the lucky guy. (shakes his head) Yeah. Long shot of the two of them sitting together. Riley tosses the bottle back to Spike.", "RILEY: I'm the guy. Spike takes another swig. They sit there together.", "Cut to Buffy in her workout room, beating on a punching bag. She grunts angrily and scowls as she punches over and over.", "Cut to the main room of the magic shop. Anya is going over paperwork behind the counter. Xander stands on the other side of the counter looking toward the back room.", "XANDER: How long has she been in there?", "ANYA: A while now. Seems pretty gung-ho about it too. Didn't even stop to say hello.", "XANDER: Yeah, when we went to deal with that vampire nest, she got all Rambo and torched the place. (Anya looks up) Something seriously bad is going on with her.", "ANYA: Oh, I don't know, maybe you're overreacting. I mean, who hasn't done stuff like that from time to time? I mean, I made this one guy spontaneously combust, (the door bell jingles) and he set his whole village on fire. We see Riley entering.", "XANDER: Can you stop being scary for a minute and listen to what I'm trying to tell you? Riley approaches and Xander turns to face him. Riley nods toward the back.", "RILEY: She in there?", "XANDER: She's training.", "RILEY: (nods) Would you guys mind clearing out? I need a minute alone with her. Xander nods, goes to get his jacket.", "ANYA: (to Riley) A little after-hours hanky-panky in the training room, huh? (She comes out from behind the counter as Riley walks toward the back) Boy, Xander and I could tell you some stories...", "XANDER: Not now. Let's go, Anya. (He and Anya begin walking out)", "ANYA: (calling over her shoulder) There's a funny thing with the vaulting horse that you can tr...", "XANDER: Anya!", "ANYA: What? He started it.", "XANDER: In your world, maybe, but where the people are, this isn't the time for 'Tales of Anya and Xander's Sexcapades.'", "ANYA: Oh. (Stops walking and turns to him) Uh, well, maybe we can go home and, you know, have 'em.", "XANDER: Actually, I've got some stuff to take care of. He walks past her and opens the door to leave. Anya follows him.", "Cut to Buffy still punching. Riley walks in behind her.", "RILEY: We need to talk.", "BUFFY: (continues punching) I'm not ready to talk to you yet. Riley walks forward, removing his jacket and tossing it aside.", "RILEY: Too bad. He takes hold of the punching bag. Buffy stops punching.", "BUFFY: I'm serious. (turns away) Unless you wanna fight.", "RILEY: So let's fight. We need to have this out, Buffy. Right now. Buffy turns back, annoyed.", "BUFFY: And say what, Riley? 'What were you thinking? How long have you been lying to me?' Nothing you say right now is gonna make this better. She turns away again. Riley moves forward.", "RILEY: I realize that. (Grabs her arm and turns her around) I don't expect... (angrily) I just need you to hear me out.", "BUFFY: (quietly) Fine. Get your hand off of me. He lets go of her arm, sighs, walks a few steps away.", "RILEY: I think, when this thing started, it was just some stupid, immature game. I wanted to even the score after you let Dracula bite you.", "BUFFY: I did not *let* Dracula-", "RILEY: I know. On some level I know that. But I was still spun. (pause) I don't know, I - I wanted to know what you felt. I wanted to know why Dracula and Angel have so much power over you.", "BUFFY: (shakes her head) You so don't get it.", "RILEY: I wanted to get it, Buffy. I wanted to get you.", "BUFFY: So this is my fault? Hey, gee, Buffy's so mysterious, I think I'll go out and almost die. I think I'll go and let some other w... (She stops and looks down.)", "RILEY: This isn't your fault. It's mine. I feel like hell for what I've put you through. (Buffy still doesn't look at him) It's just... (sighs) these girls-", "BUFFY: Vampires. Killers.", "RILEY: They made me feel something, Buffy. Something I didn't even know I was missing until-", "BUFFY: I can't. I can't hear this. She turns away again and Riley grabs her arm again.", "RILEY: You *need* to hear this. Buffy pulls her arm away, walks a few steps away.", "BUFFY: Fine. Fine! Tell me about your whores! Tell me what on earth they were giving you that I can't.", "RILEY: They needed me.", "BUFFY: They needed your money. It wasn't about you.", "RILEY: (walks closer to her) No. On some basic level it *was* about me. My blood, my body. (sighs) When they bit me ... it was beyond passion. They wanted to devour me, all of me.", "BUFFY: (teary) Why are you telling me this?", "RILEY: It wasn't real. I know, it was just physical. But the fact that I craved it ... that, that I kept going back ... even if it was fleeting, they made me feel like they had such... hunger for me.", "BUFFY: And I don't ... make you feel that way? (Riley looks away) How on earth can you compare me to that? How can you tell me you understand what those vampires are feeling? You aren't a passion to them, you are a snack! A willing, idiotic snack.", "RILEY: (angrily) No, I know exactly what they feel when they bite me, because I feel it every time we're together. It's like the whole world falls away. And all there is is you.", "BUFFY: And you think that I don't feel the same way about you? How dare you tell me what I feel?", "RILEY: You keep me at a distance, Buffy. You didn't even call me when your mom went into the hospital.", "BUFFY: (incredulously) Oh, I'm sorry. You know, um, I'm sorry that I couldn't take care of you when I thought that my mother was dying.", "RILEY: It's about me taking care of you! It's about letting me in. So you don't have to be on top of everything all the time.", "BUFFY: But I do. That's part of what being a slayer is. (shakes her head) And that's what this is really about, isn't it? You can't handle the fact that I'm stronger than you.", "RILEY: It's hard sometimes, yeah. But that's not it.", "BUFFY: Then what? What else do you want from me, Riley? I've given you everything that I have, I've given you my heart, my body and soul!", "RILEY: You say that, but I don't feel it. I just don't feel it.", "BUFFY: Well, whose fault its that? Because I'm telling you, this is it, this is me. This is the package. And if it's so deficient that you need to get your kicks elsewhere ... then we really have a problem. They both stare at each other silently for a moment. Then Buffy looks down. Riley sighs.", "RILEY: They want me back, Buffy ... the military. (Buffy looks up in shock) It's deep undercover, no contact with civilians. Transport's leaving tonight.", "BUFFY: Tonight? When were you gonna tell me about this?", "RILEY: I'm telling you now.", "BUFFY: Are you going?", "RILEY: I don't know. If we can't work this out...", "BUFFY: Then what? This is goodbye? (Riley shrugs. Buffy gets mad.) You are unbelievable. You're giving me an ultimatum?", "RILEY: No, I'm not.", "BUFFY: Yes you are! You expect me to get over it now or you're gone!", "RILEY: I don't, Buffy, that's not what I meant.", "BUFFY: Well, I have heard enough. (angrily) I will not take the blame for this. (Starts to walk away.)", "RILEY: I'm not asking you to. (Grabs her arm yet again)", "BUFFY: Let go of me! (pulls her arm away)", "RILEY: Or what? You'll hit me? (She stares at him. He spreads his arms out.) Go ahead. Come on, do it.", "BUFFY: Get out of my way.", "RILEY: I'm serious, Buffy, hit me. Hit me. He walks right up to her. She walks around him and takes her jacket off a hook.", "RILEY: I'm leaving, Buffy. She stops walking but doesn't turn to face him. He turns to speak to her back.", "RILEY: Unless you give me a reason to stay ... I'm leaving tonight. Buffy opens the door and walks out, closing it behind her. Riley looks upset.", "Cut to Buffy walking through dark alleys. Suddenly Vamp #2 and another vamp appear behind her. Buffy slows, then stops and turns to face them.", "VAMP2: The pyro act was a bad idea, slayer.", "BUFFY: Felt pretty good to me.", "VAMP2: I'm not running. And you're not shutting me down. More vampires appear, surrounding Buffy. Overhead shot of her looking around as they form a loose circle around her. There are about ten of them in total.", "VAMP2: In fact ... you're not gonna make it through the night. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade back in on Buffy surrounded by vamps. She looks at them, and speaks to Vamp 2.", "BUFFY: Walk away. (Vamp 2 moves closer) I'm serious. Don't do this. Not now. Vamp 2 lunges at her and she shoves him. He flies backward into some large tubes. The other vamps attack. Buffy backhands Vamp 3, kicks Vamp 4 in the face, spins around to punch Vamp 5. Then Vamp 4 attacks her with a long staff. She punches him in the face, takes the staff and uses it to stake Vamp 6 behind her. She hits Vamp 4 in the face with the staff, dusts Vamp 7, punches Vamp 8, and quickly dusts three more vamps with three quick jabs of the staff. She pauses and faces down Vamp 2. He runs at her, and as he flies over her head she stakes him. She turns and puts the staff to the throat of the last vamp, a woman, who stands still looking scared. Brief shot of Riley being bitten from earlier in the episode, as Buffy realizes the vamp she now faces is the one who was drinking from Riley. Buffy slowly lowers the staff. The vampire looks surprised, then turns and begins to run away down the alley. Buffy stands there looking thoughtful. After a moment she lifts the staff and throws it like a javelin. It flies down the alley and dusts the female vamp as she's running. Buffy stands there staring down the alley. Someone comes up behind her.", "XANDER: So, how'd that work out for ya? Buffy turns to see Xander emerging from the shadows.", "XANDER: Make you feel better?", "BUFFY: What are you doing here?", "XANDER: I thought you might need to talk. Then I saw the skirmish happen. I was gonna lend a hand, but I noticed you grew a few extra ones.", "BUFFY: (angrily) Go home, Xander. She turns and starts to stride away.", "XANDER: Buffy.", "BUFFY: (turns back) I'm serious!", "XANDER: So am I. Something's up. You're acting like a crazy person. Buffy turns and begins walking away again. Xander follows. Buffy pushes aside a large metal door and enters a random building. Xander enters after her.", "Cut to interior of another warehouse. Boxes and metal cans are stacked neatly on metal shelving. Buffy walks over to a set of shelves backed by a metal grating and leans her face against it. Xander walks in behind her.", "XANDER: Take this, for instance. You don't wanna deal, so you hide? It's not very slayer-like.", "BUFFY: Just leave me alone, Xander. You have no idea what's going on.", "XANDER: No? Good, so you and Riley *aren't* imploding? (Buffy turns to face him in surprise) It doesn't take a genius. What I can't figure out is how you never saw it coming.", "BUFFY: What? Who told you?", "XANDER: Nobody told me anything, Buffy. It was right in front of my Xander face. The guy would do anything for you.", "BUFFY: The guy got himself bit by a vampire! (Xander is surprised) He lied to me. He ran around behind my back and almost got himself killed! And now he tells me that he's leaving with some covert military operation at midnight unless *I* convince him not to. Now tell me that you understand. Because I sure as hell don't.", "XANDER: You gonna let him go?", "BUFFY: (sighs) It's not my decision to make.", "XANDER: Of course it is.", "BUFFY: Well, it's not fair.", "XANDER: Who cares if it's fair? In about twenty minutes, Riley's gonna disappear, maybe forever, unless you do something to stop him.", "BUFFY: What am I supposed to do? Beg him to stay?", "XANDER: (in disbelief) Why wouldn't you? To keep Riley here-", "BUFFY: I don't even know who he is any more. I mean, I thought he was ... dependable.", "XANDER: Dependable? What is he, State Farm?", "BUFFY: You know what I mean.", "XANDER: Yeah. I think you mean convenient. I think you took it for granted that he was gonna show up when you wanted him to, and take off when you didn't.", "BUFFY: Look who's talking. Look who has Anya following him around like a lovesick puppy.", "XANDER: Oh boy, is this *not* about me.", "BUFFY: Is she more than a convenience? 'Cause that would kinda be a surprise.", "XANDER: (angrily) If you don't wanna hear what I have to say, I'll shut up right now.", "BUFFY: Good, 'cause I don't. She starts to walk off. Xander intercepts her.", "XANDER: I lied. See, what I think, you got burned with Angel, then Riley shows up.", "BUFFY: I know the story, Xander.", "XANDER: But you miss the point. You shut down, Buffy. And you've been treating Riley like the rebound guy. When he's the one that comes along once in a lifetime. (Buffy looks dismayed) He's never held back with you. He's risked everything. And you're about to let him fly because you don't like ultimatums? Buffy's eyes begin to water as Xander's words finally get through.", "XANDER: If he's not the guy, if what he needs from you just isn't there, (shakes head) let him go. Break his heart, and make it a clean break. But if you really think you can love this guy ... I'm talking scary, messy, no-emotions-barred need ... if you're ready for that ... then think about what you're about to lose. Buffy looks up at him, then looks around anxiously. There are tears in her eyes.", "BUFFY: Xander...", "XANDER: Run. She turns and runs out. Xander watches as the door slams behind her.", "Cut to: Buffy running as hard as she can, down the main street of Sunnydale, her expression still anxious. Shot of Riley standing next to a helicopter, looking around. Buffy runs along in the street, turns a corner and enters a more residential neighborhood. Riley continues to look around, checks his watch. Behind him the helicopter blades begin to turn slowly. Buffy runs down quiet streets. Riley looks at the ground, looking very disappointed. The helicopter blades move faster and faster. Buffy runs through a foresty area and down some wooden stairs. Riley stares at the two trees between which he wants Buffy to appear. She doesn't. He turns and gets into the helicopter next to Graham. Buffy runs through the forest and comes out on the helipad. The helicopter is already off the ground and rising fast.", "BUFFY: Riley! Riley! Shot of Riley inside the helicopter, staring grimly out the front window. Behind him we can see out the helicopter door and we see Buffy on the ground yelling up at him.", "BUFFY: Riley! Riley! He doesn't hear her and continues to stare out the front. Buffy watches as the helicopter rises and flies away.", "Cut to: Buffy walking slowly down the residential streets.", "XANDER VOICEOVER: I've gotta say something...", "Cut to: Anya's apartment. Anya is in her nightgown, sitting on the bed.", "XANDER: 'Cause ... I don't think I've made it clear. Anya stands up. Xander walks toward her.", "XANDER: I'm in love with you. He walks closer toward her, and she toward him.", "XANDER: Powerfully, painfully in love. The things you do ... the way you think ... the way you move ... I get excited every time I'm about to see you. They are up close now, looking at each other. Anya smiles slightly, looking a little teary.", "XANDER: You make me feel like I've never felt before in my life. Like a man. (Pause. He shrugs uneasily) I just thought you might wanna know. Anya moves up to him and they kiss.", "Cut to Buffy entering the dark Summers house. She walks partway up the stairs and then sits down, looking sad. Her image fades into the image of Riley sitting in the helicopter with the dark town of Sunnydale laid out below him. Blackout. In Memory of D.C. Gustafson.", "Executive Producer: Joss Whedon." ]

[ "Emotions between Willow and Anya come to a boil over Xander, and they summon a troll ( Olaf ). The troll was Anya's ex-boyfriend whom she called vengeance upon. He tries to make Xander choose between the women, but Buffy sends him packing." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy talking to the dying monk.", "MONK: We had to hide the key ... made it human and sent it to you.", "BUFFY: Dawn.", "DOCTOR: OK, your mom's in recovery.", "BUFFY: Is she all right?", "DOCTOR: I think your mother's gonna be fine. Buffy and the others reacting happily.", "SPIKE: I wanna show you something.", "RILEY: Harder. Riley being bitten. Buffy walking in, looking shocked.", "RILEY: Buffy. Buffy yelling at Riley.", "BUFFY: I've given you everything that I have, my heart, my body and soul!", "RILEY: I just don't feel it. They want me back, Buffy. The military. Buffy reacting.", "RILEY: I'm leaving tonight. Buffy walking out on Riley. Riley in the helicopter flying away. Buffy on the ground below, yelling up at him.", "BUFFY: Riley!", "Cut to Xander lying in bed staring at the ceiling.", "XANDER: You ever have that feeling where there's something you know you're supposed to do and you forgot what it was? We see Anya lying next to him. She thinks about it.", "ANYA: Nope.", "XANDER: I've been having that feeling, I just realized what it was. (looks at Anya) Like three weeks ago Riley asked me to borrow a crescent wrench. (shakes his head) I keep having this feeling like I'm supposed to give it to him.", "ANYA: Well, that's not going to happen unless he comes back. You know, not to get the crescent wrench. Just to come back.", "XANDER: I just mean, sometimes I sort of forget that he's gone. It's like, \"where's Riley? Oh wait, the central republic of Where-in-the-hell.\"", "ANYA: (softly) Xander? He looks at her. We see they're holding hands.", "ANYA: If you ever decide to go, I want a warning. You know, big flashing red lights, and-and-and one of those clocks that counts down like a bomb in a movie? And there's a whole bunch of, of colored wires, and I'm not sure which is the right one to cut, but I guess the green one, and then at the last second \"No! The red one!\" and then click, it stops with three-tenths of a second left, but then you don't leave. (pause) Like that, okay?", "XANDER: Check. Big bomb clock. (She smiles) Come here. He puts his arm around her and she moves to put her head on his chest.", "ANYA: Maybe it's her.", "XANDER: Huh?", "ANYA: Well, maybe it won't happen to us because it's all about *her* messing things up. She couldn't make it work with Angel, and then she let Riley go away.", "XANDER: Yeah, relationship debris is kind of piling up on the Buffy highway.", "ANYA: Hmm. Humans make the same mistakes over and over. I saw it when I was a vengeance demon. Some guy dumps a girl, she calls me, I exact vengeance, blah blah blah, the next year, same girl, different guy. I mean, after you smite a few of 'em you start going \"my goodness, young lady ... maybe you're doing something wrong here too.\"", "XANDER: I don't think it's a pattern with her. No, it's just ... you know, now that it happened again ... man number two ... I wonder how she's dealing with it.", "Cut to: a courtyard filled with nuns. The camera follows one of them whom we only see from the back. She has a blonde curl of hair sticking out from under her habit. Suddenly a vampire appears behind her, backing away from something. He bumps into the nun, turns around and grabs her, holds her in front of him. The nun screams. The vampire pushes her aside as Buffy runs up and kicks him in the face. He falls backward, flips upright again. Buffy kicks him again. They continue fighting as the nun watches in amazement. Buffy hits the vampire, he kicks Buffy twice, then she hits him a few times, kicks him a few times, and thrusts with her stake, but he grabs her arm and pushes her away. Buffy ducks as he leaps at her, then she straightens up and stakes him. Buffy tosses the stake aside and goes to the nun, who is still on the ground.", "NUN: What, what, what was that, he looked like a, a demon!", "BUFFY: Yeah, he did. Are you okay?", "NUN: Yeah, I think so.", "BUFFY: Here. Buffy helps the nun get up.", "BUFFY: So, um, a-about being a nun... (They begin to walk along together) you know, um, with the whole ... abjuring the company of men ... you know, how's that working for you? The... abjuring.", "NUN: (confused) Um ... good.", "BUFFY: Yeah, do you, do you have to be like super-religious?", "NUN: Well, uh...", "BUFFY: How's the food? Wolf howl. Opening credits. Marc Blucas (Riley) is no longer shown as part of the regular cast. Guest starring Abraham Benrubi, Amber Benson as Tara, and Kristine Sutherland as Joyce Summers. Written by Jane Espenson, directed by Christopher Hibler.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on Buffy and Giles in the exercise room. Giles has padded mitts on his hands and Buffy is training, hitting Giles in sequence.", "GILES: All right. Switch. Left lead. Buffy continues hitting.", "BUFFY: So you really think they might be able to help us?", "GILES: Uh, if you mean are they gonna help us find out something about Glory ... I saw that coming. You're dropping your shoulder. (Buffy looks surprised, continues hitting) Uh, the resources that the ... Watchers Council has at their disposal, (wistfully) I mean the Central Library alone is just... Buffy stops hitting.", "BUFFY: (sternly) Don't talk about the books again. You get all ... and sometimes there's drool. She resumes hitting.", "GILES: I'm sorry, but we, we've really exhausted the materials I have here, and we're coming up empty. (More hitting) You're, you're still dropping your shoulder. I can see when you're gonna go with your right. (More hitting) You're doing it again! Buffy hits him sharply in the upper arm and he stumbles aside.", "GILES: Ow!", "BUFFY: Sorry! Sorry. So, Glory's all you're gonna talk to them about, right?", "GILES: (nods, rubs his shoulder) Let's, let's take a break. (Turns away)", "BUFFY: Answer me.", "GILES: (moving away, gestures with the mitts still on his hands) I, I'm not gonna mention Dawn's name. I wouldn't do that, I promise.", "BUFFY: But you're gonna tell them about the key? That Glory's looking for something called the key?", "GILES: (removes mitts) Well, knowing her goal is, is crucial. I mean, i-i-if anything helps them uncover her origins, her, her plans...", "BUFFY: I know. It's just I trust these Watchers about as far as ... you could throw them.", "GILES: (pouring himself a glass of water) Thank you very much.", "BUFFY: (sighs) I'm just freaked about the idea of giving them any information that could possibly lead them to Dawn. (She comes over and sits on a bench. Giles sits next to her)", "GILES: Truly, Buffy, if I saw an alternative ... if, if the Initiative were still around, I'd consider using them, but... they're gone, and then Riley was, was, uh, the last link we had to the government. Giles wipes his face with a towel. Buffy looks down sadly.", "GILES: Sorry, I didn't mean to...", "BUFFY: It's okay. You can say his name. (pensively) I'm doing all right. These things happen. People break up and they move on ... for a while it feels like the end of the world, you know, but ... big picture...", "GILES: Not so huge. Buffy looks at him in disbelief.", "BUFFY: Not so huge? I just said it feels like the end of the world, don't you listen? Giles looks dismayed. Buffy leans in closer toward him.", "BUFFY: (whispers) I'm teasing.", "GILES: (relieved smile) Oh.", "BUFFY: Sort of. I'll be okay.", "GILES: Well, I do hate to go if you're feeling badly.", "BUFFY: look, if it help you find out something about Glory, (pats him on the back) I'm thrilled to have you gone. She hops off the bench and walks away.", "Cut to: magic shop, day. Anya, Xander, Willow, Tara, and Buffy sit around the round table looking at books and papers. Xander has Willow on his right and Anya on his left. Giles stands next to the table fastening his tie.", "ANYA: You're going away for a *week*? That's great!", "GILES: Yes, yes, everybody seems delighted about it. (picks something up to read)", "ANYA: Well, I get to run the store, right? Giles looks alarmed.", "GILES: You? Ah, w-well, it's quite a lot for one person to take care of. Well, I-I mean, the trash men, for example, I mean, they, they, they've been making such a mess in the back alley, the recycling people can't get in there to collect. Well, somebody has to talk to them.", "ANYA: I can take care of that.", "TARA: I'm envious, Mr. Giles. A trip to England sounds so exciting and exotic. (realizes) Un...less you're English. (Giles grins)", "BUFFY: Look, don't worry about the shop. We'll take care of it. We can open and close, and, and we'll deal with everyone. Anya frowns.", "WILLOW: We can come by between classes! Usually I use that time to copy over my class notes with a system of different colored pens ... but it's been pointed out to me that that's, you know, insane.", "TARA: I said \"quirky.\"", "ANYA: (annoyed) Hello, I work here! I'll take care of everything.", "XANDER: (not looking up from his reading) Yeah, Anya can do it!", "ANYA: Thanks, sweetie. (pats him on shoulder) Well said.", "GILES: Um, Anya, while, while I completely trust you uh, uh, to take care of the inventory and the money, um ... dealing with people requires a certain, uh ... finesse.", "ANYA: (angry) I have finesse! I have finesse coming out of my bottom! I can completely lie to the health inspector. I can, you know, distract him with coy smiles, and, and bribe him with money and goods.", "XANDER: See there? She'll be great.", "WILLOW: Don't worry, Giles. I'll help her take care of everything. It'll be ship-shape. Better, it'll be shop-shape. (smiles)", "ANYA: Xander, she's talking to Giles like I'm not here. Make her stop.", "GILES: Perhaps I'd better call the airline...", "WILLOW: I'm just trying to help out! Xander, tell her. (smacks Xander in the arm)", "GILES: ...schedule an earlier flight back, excuse me.", "ANYA: Tell her that I don't need her help. Xander sits between Anya and Willow looking uncomfortable.", "XANDER: (to Buffy) So, how goes the slaying?", "BUFFY: I killed something in a convent last night.", "XANDER: In any other room, a frightening declaration. Here, a welcome distraction. (Anya and Willow both look at him) Tell us all about the killing, Buff.", "BUFFY: Pretty standard. Vampire staking. Ooh! But I met a nun, and she let me try on her wimple.", "XANDER: Okay, now we're back to frightening.", "Cut to: exterior of the Summers house, night.", "Cut to: Joyce's bedroom. A light-blue bathrobe lies on the bed. Buffy enters, sees it, frowns, looks up.", "BUFFY: You! We see Joyce wearing a striped sweater and dark pants. She has a scarf over part of her head.", "BUFFY: You with the actual clothing, who are you? (turns toward Dawn's bedroom door) Dawn, come look at this.", "JOYCE: It's hard to recognize me, huh? Dawn enters.", "DAWN: Whoa.", "BUFFY: No more bathrobe.", "JOYCE: Hmm. I looked at it today, and there it was, all fuzzy and blue, (shot of the bathrobe) and I just couldn't stand it any more.", "BUFFY: I don't think the rest of us will miss it much either.", "DAWN: It was getting a little ripe, Mom.", "BUFFY: (to Dawn) Maybe we should burn it.", "DAWN: It would keep the bugs away.", "JOYCE: It doesn't smell! Fine, fine, make your funny jokes at the expense of the woman with the hole in her skull. (Sits on the bed)", "BUFFY: (to Dawn) Let's go. I think we've tired her out. Buffy goes into her room. Dawn follows. Joyce watches them with a smile, then leans back and sighs. Buffy walks into her room, sits on the bed and begins flipping through a magazine. Dawn stands in the doorway watching.", "DAWN: Whatcha doin'?", "BUFFY: Playing soccer.", "DAWN: Can I hang out in here?", "BUFFY: Don't touch anything. Dawn comes into the room, looks at a corkboard where several photos are hanging.", "DAWN: You took down his pictures.", "BUFFY: Yeah.", "DAWN: I ... I think I would've done that sooner. Like, boom! \"Don't wanna see that face again.\"", "BUFFY: It wasn't like that. I was never angry with him. (sighs) Okay, that's a lie. But it's not like I don't want to see his face.", "DAWN: I was just starting to kinda like the guy, and then ... gone. So fast.", "BUFFY: It wasn't really so fast. Him leaving. According to everyone who isn't me, it was kind of gradual.", "DAWN: Oh. Does that make it any better? Dawn sits on the end of the bed.", "BUFFY: No.", "DAWN: Because you should have noticed earlier?", "BUFFY: Stop being insightful. It's creepy. (Dawn continues looking at her. Buffy speaks more softly.) It hurts. In all kinds of horrible ways. In the way where I'm furious at him ... in the way where I blame myself ... and all the little ways I imagine ... how I could have fixed things.", "DAWN: It'll get better. (Frowns) Won't it?", "BUFFY: I hope so. Yes. It has to. (Dawn lies down, puts her head in Buffy's lap. Buffy strokes her hair) I'll just keep going like I have been, and every day it'll get a little bit better.", "DAWN: Really? Every day?", "BUFFY: Not really. But it'll be better soon.", "DAWN: It still feels all sudden to me. With him gone where no one can talk to him.", "BUFFY: But you never know. Maybe he'll come back. Maybe he'll hate the jungle ... or maybe he'll want to give it another try. I could ... say all the things I didn't get to say.", "Cut to: Spike holding a box of chocolates. He talks to someone we can't see.", "SPIKE: (softly) Um ... there's something I got to tell you. About showing you Riley in that place. (deep breath) I didn't mean to ... (long pause) Anyway, I know you're feeling all betrayed - by him, not me. (The camera pans around and we see he is talking to a mannequin, which has no legs but wears a blue blouse and a blonde wig. It's set up on a block of stone so that it is about Buffy's height.) I was trying to help, you know. Not like I made him be there, after all. Actually trying to help you. Best intentions. He gets a little agitated, paces a few steps away.", "SPIKE: I mean, you know, pretty state you'd be in, thinking things are all right (moves back toward the mannequin) while he's toddling halfway round the bend. (Stares at the mannequin, gets madder) Oh, I'll insult him if I want to! I'm the one who's on your side! Me! Doing you a favor! (very angry) And you, being dead petty about it - me, getting nothing but your hatred and your venom and - you ungrateful bitch! He loses control of himself, smashes the box of chocolates over the mannequin's head.", "SPIKE: Bitch! He hits the mannequin with the chocolates again and it falls over. The box of chocolate goes flying. Spike sighs. He picks up the mannequin and replaces it. He carefully rearranges the wig, sighs again, picks up the box of chocolate, tries to stuff the chocolates back in. He composes himself and faces the mannequin again.", "SPIKE: (quietly) Buffy ... there's something I wanted to tell you.", "Cut to: magic shop. Anya is working at the cash register. Willow stands behind her with her back to the camera, holding a book. Tara is standing by the shelves behind the register, where there are jars of magical supplies.", "WILLOW: Good, and, and hellebore. It's up and to the right. Tara takes down a vial and gives it to Willow.", "TARA: Hellebore, one of my favorites.", "WILLOW: It's powerful stuff. (She and Tara walk out from behind the counter) I tried to use it to de-rat Amy, and it didn't work. But I think it might have made her really smart. (They approach the table, where a variety of magical supplies are laid out. Willow puts the vial into a rack with some others.) She keeps giving me these looks like she's planning something. Rubbing her paws together. Anya comes out from behind the counter and walks over to them.", "ANYA: (annoyed) Hey. What are you two doing?", "WILLOW: Oh, we're gonna try out a few spells.", "TARA: There's this thing you can do where you create light, and we thought, what if you could make, like, simulated sunlight?", "WILLOW: Yeah, so then, you know, there Buffy is, middle of the night, and she finds this whole nest of vamps, a-and then she just goes, \"Presto!\"", "TARA: Only it won't be \"presto\" exactly.", "WILLOW: And, and voom! There's a, a floating ball of sunlight. Vamps get dusty.", "TARA: You don't wanna look right at it, though.", "ANYA: That's swell, but you can't use this stuff. Giles has only been gone two days and you're already causing trouble. You shouldn't do things while he's gone.", "WILLOW: (smiling) You're the fish!", "ANYA: What? Tara grins.", "WILLOW: The, the fish in the bowl, in The Cat in the Hat. He was always saying that the cat shouldn't be there while the mother was out.", "ANYA: What are you talking about?", "TARA: It's a book. This cat does all this mischief.", "WILLOW: It's so cute. He balances a bunch of stuff, including that fish in the bowl! A-and, but don't try it for real when you're six, because then you're not allowed to have fish for five years.", "ANYA: (upset) You're referencing literature I have no way to be familiar with. You're trying to make me feel left out, and you're stealing!", "WILLOW: I'm not stealing. I-I'm just taking things without paying for th... (pauses) In what twisted dictionary is that stealing?", "TARA: Willow, maybe we should just pay.", "WILLOW: Anya, Giles would be totally fine with this. Come on, it'll be fun. (Gets an idea) We could show you how to do some stuff! You could be floatin' pencils by the end of the day.", "ANYA: Sometimes I miss having powers. (Willow grins. Anya realizes something) Oh. Oh! I know what this is! (shaking her finger at them) This is peer pressure! Any second now you're gonna make me smoke tobacco and, and have drugs.", "WILLOW: Look how easy. They all look at the table. A small stick of dried sage and a vial rise off the table and float in the air.", "ANYA: Hey! Don't float the merchandise! (grabs the items and puts them back on the table) Willow turns. A few items on the counter rise into the air.", "ANYA: Stop that! Xander appears, walking past the floating stuff without noticing.", "XANDER: Hey, look at this, my two favorite girls! (to Tara) Three favorite girls.", "ANYA: Xander, Willow's stealing. She's a burglar.", "WILLOW: Right, the cunning, broad daylight in front of everyone burglar. Xander, I'm just doing a spell to help Buffy. Xander nods.", "ANYA: Xander, Giles left me in charge. Tell her.", "XANDER: Hey, hey, Judge Xander requesting a recess here.", "TARA: You really shouldn't pull him into this.", "XANDER: Yeah, see? Tara's with me. (moves to stand behind Tara) Protect me, Tara.", "WILLOW: (walks back behind the counter, holding a mortar and pestle) Xander, what I'm doing, it's a good thing. And if it doesn't work, Giles never even needs to know about it. She puts the mortar and pestle on the counter, takes a pinch of something out of the bowl, and sprinkles it on the cash register. The register disappears in a puff of pink smoke.", "WILLOW: Oops. Anya rushes over. The others come over as well.", "ANYA: The cash register! What did you do with the cash register? Dear god!", "WILLOW: I'll fix it, I'll fix it! Recursat. (latin translation: revert/return) Another pink puff, and the register reappears, now with the receipt paper hanging out of it in long curls. Smoke rises out of it.", "WILLOW: There, all back. Good as new.", "ANYA: Money. Did you hurt the money? (Opens the cash register and coughs as more smoke (not pink) comes out) Money good? (takes out some money and shakes it at Xander) She endangered the money! (Xander shrugs)", "WILLOW: Of course, that's what she cares about. (imitates Anya) \"I like money better than people. People can so rarely be exchanged for goods and/or services.\"", "ANYA: (horrified) Xander, she's pretending to be me!", "WILLOW: Well, can you even believe how she's acting?", "XANDER: Okay, you know what? I'm tired of being the one in the middle. I'm not gonna let you pull me into this.", "WILLOW: I'm not.", "XANDER: Whatever the issue is between you two, just figure it out without me. He begins to walk out.", "ANYA: Xander, don't go! Xander slams the door behind him.", "WILLOW: (softly) You made him mad.", "ANYA: (angrily) Me?!", "WILLOW: Tara, who do you think he was more mad at?", "TARA: Um, you know? I think, uh, maybe, maybe you guys have some stuff you need to work out, you know, just really ... talk. She leaves. Anya and Willow look at each other.", "Cut to: exterior of magic shop, day.", "Cut to inside. Anya sits on a stool near the shelves, holding a pencil and notepad. Willow is at the counter, where she has a large cauldron and a bunch of vials and containers laid out.", "WILLOW: Fleabane... (measures some stuff into her mortar)", "ANYA: Fifteen cents. (writes)", "WILLOW: Salamander eyes... (puts them into the mortar)", "ANYA: Ten bucks for twelve. Bargain. (writes)", "WILLOW: Bindweed. (puts it in)", "ANYA: Ugh, ooh, that's a pricey one. (writes)", "WILLOW: Would you stop that? It's very distracting.", "ANYA: Fine. Make your little ball of sunshine. I'll be quiet.", "WILLOW: Good, because this spell is very sensitive. Once I begin, any non-ritual word can disrupt it. (mashes the ingredients together with the pestle)", "ANYA: Fine.", "WILLOW: Okay, here we go. She pours the mixture into the cauldron. Then she closes her eyes and takes a deep breath.", "ANYA: Did you start yet?", "WILLOW: (exhales loudly, turns to give Anya an annoyed look) Shh, no! This is it. Again she closes her eyes and inhales.", "WILLOW: Spirits of light, I invoke thee. Let the gloom of darkness part before you. A small circlet of yellow-orange light arises out of the cauldron and begins to spin.", "WILLOW: Let the moonlight be made pale by your presence. Spirits-", "ANYA: Is it done?", "WILLOW: Shh! The circle of light flashes brighter and grows a bit larger.", "WILLOW: Spirits of light, grant my wishes.", "ANYA: Sorry, I thought you were done.", "WILLOW: (angry) Do you *wanna* screw this up? Willow turns away to yell at Anya. The circle of light grows bigger and brighter, and its spinning becomes less smooth. It continues to grow and twist crazily.", "ANYA: No. No. I'm sure you can do that all on your own.", "WILLOW: Hey Anya, whatever really has you mad, why don't you just say it, like you do every other thought that stomps through your brain?", "ANYA: (stands up) I believe I have said it.", "WILLOW: No. You haven't. Come on. Let it out! The circle of light suddenly drops down through the glass of the countertop and touches a large crystal that is in the display case underneath. It gives off a big flash of light and a large demon (Olaf) suddenly appears next to the counter. Willow and Anya shriek and grab each other. Olaf stumbles a bit, gets his balance and looks around. He is about seven feet tall, with long hair and green scaly skin and a big beard covering most of his face, and two curved horns on his head. He holds a large hammer. Anya and Willow stare in shock. Olaf looks at himself, looks around. He turns and sees the two girls, and roars loudly. They shriek again and clutch each other. Olaf turns and uses his hammer to smash a display case full of merchandise, then another, growling all the time. Then he smashes a statue on a pedestal. He goes to the door and stumbles outside, still roaring. Willow and Anya come forward.", "WILLOW: He's not a ball of sunshine. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade in on Buffy and Tara in a classroom, surrounded by other students. Tara holds some books. A professor hands Buffy a piece of paper.", "BUFFY: (sighs) New semester, new classes. (She and Tara begin to walk out into the hallway) Whole new vistas of knowledge to be confused and intimidated by.", "TARA: (laughs) I think this one's gonna be kind of fun. Greek Art's gonna touch on so many things -- mythology, history, philosophy...", "BUFFY: (whispering) The professor spit too much when he talked. It was like being at Sea World. \"The first five rows will get wet.\"", "TARA: (laughs) That was just, you know, um, enthusiasm.", "BUFFY: It seemed very much like saliva.", "TARA: We'll sit farther back next time.", "BUFFY: Good plan. (stops walking, folds the paper and puts it in her bag) I need to keep this course. The only other thing that fits into my schedule is Central American Geopolitics.", "Tara: (grimaces) Hmm.", "BUFFY: And no, thank you. (resumes walking) I even hear the word jungle, all I can think of is him. (Tara looks sympathetic) You know, \"is that the one Riley's in?\" Really don't need a daily 2:00 knife in the heart.", "TARA: Is it that bad?", "BUFFY: (stops walking) Sort of. But I'm starting to get perspective on the whole situation. You know, maybe Riley's ... where he's supposed to be. You know, maybe he needed ... to be where he was needed.", "TARA: Willow says that things always happen for a reason.", "BUFFY: But you ever notice people only say that about bad things? (Tara laughs) But not for me the furrowed brow. (resumes walking) What do you say we go pick up Willow and indulge ourselves in a little after-school hamburger?", "TARA: I guess we could. She might still be at the magic shop. I was there earlier, and she and Anya kinda got in this little squabble ... Xander and I sort of cleared out, he was pretty upset.", "BUFFY: (stops walking, looks very concerned) Anya and, and Xander are in trouble?", "TARA: Oh! No, I-I said that all wrong. It was nothing. Willow and Anya were sort of fighting, and then Xander kind of snapped at both of them and he left.", "BUFFY: (alarmed) He left? Xander left Anya?", "TARA: (frowning) Ummm ... no, not \"left her\" left her, he just left. It was only a little thing, it-", "BUFFY: Little thing? (tearfully) See, the thing is, the ... little things get bigger, you know, and, and, and, and, if you don't catch the little thing and then, boom! You have this, this, this whole huge thing!", "TARA: Oh dear.", "BUFFY: (sniffling) Not, not, not them with the little things! They can't break up!", "TARA: Oh, I think-", "BUFFY: They have a beautiful love.", "TARA: I think they'll be fine. Buffy bursts into tears and puts her face against Tara's shoulder, hugging her. Tara looks alarmed, pats Buffy on the back.", "BUFFY: (muffled) They have a miraculous love!", "TARA: What?", "BUFFY: (sobbing) A miraculous love!", "Cut to: Giles's convertible zooming down the streets of Sunnydale. We see another car by the side of the road with its side all smashed in.", "ANYA: There, that parked car! We're still on his trail. We see that Anya is driving while Willow sits in the passenger seat holding a bunch of papers. The car screeches around a corner.", "WILLOW: I don't even get how we made that guy, because, wow, advanced! (She continues looking through the papers)", "ANYA: No one made him. He must have been trapped in that crystal, and you released him.", "WILLOW: *I* released him? No, this was definitely a \"we\" thing. Or, or a \"you\" thing! I-it definite feels like a you thing.", "ANYA: Look, just find the reversal spell. And hurry! Look what he did to that lamppost! We see a lamppost lying on the ground, broken in two.", "WILLOW: I'm trying. Put the top up, the pages are all blowy!", "ANYA: Well, I don't know how to put the top up, I only just figured out what the left pedal does. (turns to smile at Willow) It makes us stop! Anya slams on the brake and they slow down with a screech. Willow grabs the side of the car for balance. Anya resumes driving.", "WILLOW: You don't know how to drive? Why didn't you say you don't know how to drive?", "ANYA: Well, I couldn't know if I could until I tried, could I? They exchange an angry look.", "WILLOW: This is very, very bad. There, there's an ogre on the loose-", "ANYA: Troll.", "WILLOW: What?", "ANYA: Troll on the loose. Now hold on, I'm gonna press the right pedal harder. (smiling) I expect us to accelerate. She presses on the gas pedal and they both lean back in their seats as the car speeds up. Willow looks very angry.", "WILLOW: (yelling over the engine noise) There's a troll on the loose, and you're gonna crash Giles' car!", "ANYA: (agreeing) It's likely. We're going very fast. You should have listened to me and not done the spell. Giles put me in charge.", "WILLOW: Giles can be an idiot. The smart kind, but still.", "ANYA: Xander agreed.", "WILLOW: Oh, right. Xander doesn't step out of line.", "ANYA: (turns to look at her) Well, what do you mean by that?", "WILLOW: Nothing. Willow looks ahead, points at something. Anya looks, twists the wheel quickly. The car screeches around another corner, narrowly misses hitting another parked car, which has its roof bashed in. Some of the papers fly out of Willow's hands and are gone with the wind behind the car. Willow watches them go.", "ANYA: Find that spell quickly!", "WILLOW: Whoa, that's gone.", "Cut to: interior of the Bronze. Xander takes a bowl of peanuts from the counter and turns away. As he walks away he bumps into Spike, who is drinking a mug of beer.", "SPIKE: Hey, watch it. (looks at Xander) Oh, it's you.", "XANDER: Spike, don't let me stop you from not being here.", "SPIKE: I was here first, you know.", "XANDER: Uh-huh. Go away. Xander walks off. Spike grins and follows him.", "SPIKE: Now why would I do that, when it's bugging you so much having me here? Xander sits at a round table and begins shelling the peanuts. Spike watches.", "SPIKE: They have chicken wings too. Also a sort of a flower-shaped thing they make from an onion. It's brilliant.", "XANDER: Are you talking to me hoping that I'll get so depressed that I'll impale myself on a fork right in front of you?", "SPIKE: Lovely thought. If I don't hurt you myself, the chip wouldn't zap me. I could eat you that way. Beat the onion thing all to hell. Spike reaches over to take one of Xander's peanuts. Xander slaps his hand away.", "XANDER: Hey! Those are mine.", "SPIKE: My, my. Someone's in a temper. (sits down opposite Xander) This all sympathetic misery borrowed from the Slayer?", "XANDER: What? No, nothing to do with Buffy.", "SPIKE: So she's all right then. Not, uh ... holding grudges.", "XANDER: What are you talking about? What does Buffy have to do with anything? What grudges?", "SPIKE: Oh, yeah. Okay. No need to talk about her then. I'm sure she's merrily slaying some pals of mine, having a grand old time. He eyes Xander warily as he takes another sip of his beer.", "BUFFY VOICEOVER: This is very bad.", "Cut to: interior of magic shop. Buffy steps around the broken debris lying on the floor.", "BUFFY: (calling) Willow? Anya? Tara comes running from the back room.", "TARA: They're not back there either, they're gone. (anxious) Buffy, something's been here and Willow's gone.", "BUFFY: Don't worry. We'll get her back, I promise. (Tara nods) Come on, this thing's probably leaving a huge trail. Buffy grabs Tara's hand and they both run out.", "Cut to: city street, night. Olaf comes round a corner with his hammer. He uses it to hit a large dumpster, which goes spinning across the street toward a bunch of passers-by. The people stare. Olaf laughs loudly.", "OLAF: Puny receptacle! He growls and hits a mailbox with his hammer. It flies toward the dumpster. The people begin to move away in alarm.", "OLAF: Rrrah! You do well to flee, townspeople! I will pillage your lands and dwellings! (The people begin to run away) I will burn your crops and make merry sport with your more attractive daughters! Ha ha ha! Mark my words! He pauses and sniffs the air.", "OLAF: Ooh! Ale! I smell delicious ale! He walks off.", "Cut to: interior of the Bronze. Spike and Xander are playing pool together.", "XANDER: And they get in these fights, and they're both looking at me like I'm the referee. Also, sometimes I'll say something about Anya, and Willow'll get this look, this, um, \"what the hell do you see in her\" look.", "SPIKE: I know that look. Lot of people never really got Dru, you know.", "XANDER: Well, she was insane. (Spike looks offended) Then it's like, well, I get all torn. Because, Willow's my best friend and I really value her opinion, but, uh, Anya's my girlfriend, you know?", "SPIKE: Hmm. What does the Slayer think of all this ... friction in the ranks? (walks around the pool table to study the angles) Can't be good for morale.", "XANDER: I don't know.", "SPIKE: (bitterly) She's a little ... preoccupied, maybe. It's understandable what with all the upset, all the blaming of innocent bystanders who got caught up in the mess.", "XANDER: What?", "SPIKE: (walks closer to Xander) I mean, did she *want* to be made a fool of? And, what does a person have to do to make it right? (Olaf walks past, bumping Spike's shoulder) Hey, watch it, mate. Spike turns to look up at Olaf. Both he and Xander stare.", "SPIKE: On second thought, do what you like. Olaf sniffs the air.", "OLAF: Ale! Yes! He walks over to where a guy is wheeling a dolly with two half-kegs on it.", "OLAF: Ah, fragrant ale! Olaf picks up a keg with one hand, lifts it to his mouth and begins to drink.", "XANDER: (still standing behind Spike) So, uh ... think I should run and get Buffy? Olaf finishes off the keg, sighs happily and tosses it aside. He looks around at the patrons staring at him in fear. He spots a waitress.", "OLAF: Barmaid! Bring me stronger ale, and some plump, succulent babies to eat.", "XANDER: I'm gonna run and get Buffy. (Pats Spike on the shoulder) Or maybe you could fight him.", "SPIKE: Yeah, I could do that, but I'm paralyzed with not caring very much.", "OLAF: (pointing at Spike) You there! (walks up to Spike and Xander) Do you know where there are babies?", "SPIKE: (to Xander) What do you think, the hospital?", "XANDER: What? Shut up! (to Olaf) Um ... listen...", "OLAF: I find myself very hungry. And when I'm hungry I grow short of patience.", "XANDER: Well, we can take care of the hungry, so how's about you just sit down in one of the ... sturdier chairs, and we can ... have a calm talk and something to eat.", "OLAF: Can it be babies?", "XANDER: Well, not so much.", "OLAF: (disappointed) Oh.", "XANDER: But maybe ... some roast pigs, and ... stags, and ... much hearty grog. (grins nervously)", "SPIKE: They've got this onion thing...", "OLAF: You cannot appease me! Do not try! (turns away) More ale! He grabs the second keg off the dolly. Xander and Spike edge toward the door. Just as they reach it, Anya and Willow enter. Willow carries a book.", "ANYA: Xander! You shouldn't be here. There's a troll. (She goes over to him and they put their arms around each other)", "XANDER: Uh, a big guy? Hammer? (Anya nods) I think I noticed him. (points) Anya and Willow look over at where Olaf is draining the second keg.", "WILLOW: I wish Buffy was here. The door opens again and Buffy runs in, followed by Tara.", "BUFFY: I'm here. Willow looks surprised.", "WILLOW: I wish I had a million dollars. (The others look at her) Just checking.", "BUFFY: (looks at Olaf) What's going on? Where did he come from? Spike steps forward, looking nervous.", "SPIKE: Hello, Buffy. Buffy looks at him.", "ANYA: (still holding on to Xander) Willow stole ingredients and released him from a purple crystal. He's a troll. Spike looks annoyed, steps back.", "BUFFY: (to Willow) You did this?", "WILLOW: Me? No, we. I mean, us. (points to Anya) Uh, her. It's very complex.", "ANYA: Well, we can stop him. Willow, do the spell. Willow opens her book to read.", "WILLOW: Uh, let the conjuring be- Olaf suddenly stops drinking and looks over at them.", "OLAF: Stop! They all look up at him. He growls.", "WILLOW: Nobody lets me finish!", "OLAF: You ... told the witch to do that, Anyanka. (Anya looks alarmed) You seem determined to put an end to all my fun. Just like you always did when we were dating! Buffy, Tara, and Willow stare at Anya. Spike stares at Anya. Xander frowns.", "ANYA: Uh, um...", "XANDER: You dated him?", "BUFFY: You dated a troll?", "WILLOW: And we're what, surprised by this?", "ANYA: Well, he wasn't a troll then! You know, he was just a big dumb guy, and ... well, you know, he cheated on me and I made him into a troll, which by the way is... (embarrassed) how I got the ... job as a vengeance demon. Olaf roars angrily and smashes the countertop with his hammer. Patrons scream and run away.", "OLAF: I did not cheat! Not in my heart. It was only one wench! I, I had had a great deal of mead! Next thing I know, I'm a troll! Ohh ... ohh ... you did this, Anyanka. You will die for this.", "XANDER: But, but, you seem to enjoy the, the being a troll.", "OLAF: (shrugs) I adjusted. And then what happened? Witches. (Willow looks offended) Filthy, dirty, disgusting witches. They trapped me. I was imprisoned in that crystal for centuries. Ohh, a curse on all witches! All must die!", "BUFFY: (to Willow) Willow, again.", "WILLOW: Uh, uh, (looks at book) Let the conjuring be undone. Return the beast to native form.", "OLAF: comes toward them) Witch, you must stop!", "WILLOW: (quickly) Keep it far from us and ours as long as my voice shall sound. Olaf pauses, looks down at himself. Nothing happens. He begins to laugh. Willow flips pages frantically.", "OLAF: (laughs) It did not work!", "WILLOW: Okay, wait! Uh, \"Let the conjuring-\" Olaf lunges forward but Buffy kicks him in the chest. As she drives him back, kicking and punching, Spike follows right behind her. Buffy ducks a punch and Spike prepares to punch Olaf himself, but gets caught by a swinging arm and goes flying aside. Buffy seizes Olaf and shoves him down on a pool table. They both grapple for his hammer. Olaf shoves Buffy and she goes flying backward into Spike, who had just gotten up. They both fall down again. Olaf gets up from the pool table and begins smashing the pillars that hold up the mezzanine level of the Bronze. People scream and run. Buffy is on the floor on top of Spike. She tries to get up and Spike acts like he's helping her, but actually he's hindering by clutching her around the waist. Finally she gets to her feet and rushes off. Spike watches her go with a smirk. Olaf continues smashing pillars as people run around screaming. Xander and Anya cower in a corner. Olaf smashes another pillar and the entire upper level of the Bronze comes crashing down, bringing people and tables with it. Buffy covers her head with her hands as the debris falls on her. Some of the people manage to cling to the railings, dangling in the air, but then they lose their grips and fall to the floor below. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade back in on the Bronze. A large piece of wood is pinning Buffy down and she lifts it off her as Tara helps. Spike runs up and holds the thing out of the way so Buffy can get up. She rushes over to Willow, Xander, and Anya standing nearby.", "BUFFY: Where is he?", "WILLOW: Gone.", "BUFFY: Xander, follow him. (Xander nods) Anya, Willow, head back to the magic shop, find a spell that will actually stop him. The others leave. Buffy goes over to Tara who is trying to move some debris off a pair of injured people. Buffy helps clear the stuff away and they check on the victims. We see Spike crouching next to another injured woman. She has blood on her face. Spike puts something under her head for support. Buffy sees him and approaches.", "BUFFY: What are you doing?", "SPIKE: Making this woman more comfortable. (looks up at Buffy) I'm not sampling, I'll have you know. (looks around) Just look at all these lovely blood-covered people. I could, but not a taste for Spike, not a lick. Know you wouldn't like it.", "BUFFY: (amazed) You want credit for not feeding on bleeding disaster victims?", "SPIKE: Well, yeah.", "BUFFY: You're disgusting. (Walks away) Spike looks after her in disbelief.", "SPIKE: (to himself) What's it take? (sighs, continues helping the injured woman)", "Cut to: interior of the magic shop. Willow is looking at bookshelves.", "WILLOW: Hurry up! I'm taking everything on relocation spells, suspension spells, and, what the heck, spells to make him really sleepy, 'cause, slightly better. She takes some books and puts them on the table. Anya approaches from the counter, her arms full of supplies.", "ANYA: In case we need 'em, I'm getting more of all the things you stole.", "WILLOW: I didn't - why do you do that?", "ANYA: What? (Goes back to the counter for more stuff)", "WILLOW: You're so rude! I mean, sure, at first, ex-demon, doesn't know the rules. Well, you been here forever. Learn the rules.", "ANYA: (putting more stuff on table) Rules are stupid.", "WILLOW: Great, whatever. (they both sit down and open books) I just thought you might be interested in learning to act more human. Some of us enjoy it. Oh, look for, uh, spells with dimensional portals too.", "ANYA: I *am* a human. And there are ... many humans who are stranger than me.", "WILLOW: Uh-huh, but, unless I'm really wrong about crazy Larry down at the bus stop, he's probably not gonna turn Xander into a troll.", "ANYA: Well, now, that's a very complicated proced... (pauses) Oh. You think I'm gonna hurt Xander? I would *never* hurt Xander! (Willow looks skeptical) You really think I would do that!", "WILLOW: Anya, it's what you do. You spent what, a thousand years hurting men? You got your \"thousand years of hurting men\" gold watch.", "ANYA: I was a demon then, and, and I don't even have any powers now! Is this the spell? (holds a book up)", "WILLOW: (looks) Only if you want him to double in size, and grow extra arms, which ... let's not. A-and by the way, you weren't a demon when you turned Olaf into Lord of the Hammers. You managed that. (Anya continues looking at the book) Also, there's ... other ways to hurt Xander.", "ANYA: I don't do magic now. You're the one with that kind of power. In fact, D'Hoffryn offered you my old job. You're closer to being a vengeance demon than I am, maybe Xander should be afraid of you.", "WILLOW: Xander's my best friend!", "ANYA: Oh, and you don't want anyone else to have him. I know what broke up him and Cordelia, you know. It was you! And your lips!", "WILLOW: No it was not! Well, yes it was so, but ... that was a long time ago. Do you think I'd do that again?", "ANYA: Why not?", "WILLOW: Well, hello, gay now.", "ANYA: But you're always doing everything you can to, to point out how much I'm an outsider. You've known him since you were squalling infants together. You'll always know him better than I do. You could sweep in and, and poison his mind against me.", "WILLOW: You're insane! I am not gonna take him away and I am not gonna hurt him.", "ANYA: Well, I'm not either! Suddenly the door crashes inward as Olaf smashes it with his hammer. Willow and Anya jump up as he storms in, walking over the debris covering the floor.", "OLAF: Aha! He walks up to them. Anya thrusts Willow behind her and they clutch each other.", "OLAF: I knew it. You two, performing more spells. I could be out pillaging, devouring babies, making merry with the local virgins, but instead, I had to come all the way back here to kill you.", "WILLOW: Run! They try to run away but Olaf grabs them with one arm around each of their waists. They scream. He throws them both over the counter and they crash into the merchandise shelves behind the counter. Olaf lifts his hammer and chuckles. Xander runs in.", "XANDER: No, get away from them!", "OLAF: (turns to laugh at Xander) I will get away from them, after I kill them.", "XANDER: You are not touching these women. Xander runs at Olaf, who simply holds out his hammer. Xander runs into it and falls down, wincing. Olaf picks him up by the front of his shirt. Xander hits Olaf across the face. Olaf hits Xander in the face with the hammer and Xander flies across the room, smashes into a wall. He gets up. Olaf watches him.", "OLAF: Ah, you wish for more? Admirable! Xander runs forward and punches Olaf. He lifts his arm to punch again but Olaf grabs his arm with one hand, uses the other hand to hit Xander in the head with his hammer. Xander goes down. Olaf reaches down and grabs the back of Xander's jacket and slides Xander across the floor. He crashes into another display case, gets to his feet again as Olaf laughs. Xander stumbles over to the stairs and climbs halfway up. He launches himself off the stairs at Olaf, who catches him in midair and slams him to the floor. Xander has blood on his forehead and mouth. Olaf laughs again.", "OLAF: You fight well, although you are a tiny man. (lifts Xander to his feet) I shall reward you. Only one of your women shall die, (shot of Anya and Willow still lying on the floor) and you shall be the one to choose. Zoom in on Xander looking surprised. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade back in on the magic shop. Willow and Anya sit up.", "WILLOW: Did he just say-", "OLAF: Ha ha. Choose! (gestures at them with one arm, the other arm around Xander's shoulders) Anyanka or the witch. One of your women must die. The girls get to their feet as Xander shakes his head.", "XANDER: No. You are one crazy troll, I ... I'm not choosing between my girlfriend and my best friend. That's insane troll logic.", "ANYA: Go Xander. I love you.", "OLAF: (laughs, shakes Xander by the shoulders) Good for you. You are a loyal man. Olaf takes Xander by the wrist and breaks it. We hear the bone snap. The girls scream. Xander doubles over in pain.", "WILLOW: Xander!", "OLAF: Now. Choose!", "ANYA: Olaf, no!", "XANDER: (still bending over in pain) I'm not choosing.", "OLAF: Then you shall be the one who dies. (Lifts his hammer with one hand, holds Xander by the hair with the other)", "ANYA: (rushes forward) No! (Olaf looks at her) Choose me! Just don't take him! Don't take Xander! Willow moves up behind Anya and throws a handful of powder at Olaf.", "WILLOW: E conspectu abeat monstrum (translation: \"let the monster be gone from sight\"). (The cash register disappears) Damn. Buffy and Tara run in.", "ANYA: Buffy!", "WILLOW: Tara, stay back! Buffy rushes forward. Olaf drops Xander and turns to face her. She hits him in the stomach.", "ANYA: Buffy, the hammer! The strength's in the hammer! Olaf swings the hammer at Buffy. She ducks, hits him again. He hits her with the hammer and she lands on some debris. Olaf lunges toward her. Willow begins mixing more ingredients.", "ANYA: How can I help?", "WILLOW: Uh, distract him from Buffy, (shot of Buffy and Olaf grappling over the hammer again) uh, piss him off.", "ANYA: I don't know how.", "WILLOW: Anya, I have faith in you. There is no one you cannot piss off. Anya smiles proudly, rushes out from behind the counter. Shot of Buffy and Olaf exchanging blows.", "ANYA: Hey Olaf! You're as inadequate a troll as you were a boyfriend! Olaf looks over at her with an angry grunt. Buffy lands another blow. Anya looks back at Willow, who gives her the thumbs-up. Anya looks back at Olaf.", "ANYA: Uh, y-you're hairy, and unattractive, and even women trolls are put off by your various odors.", "WILLOW: (muttering) Instrumentum ultionis, telum fabuloso, surge, surge, terram pro voca. (translation: \"Instrument of revenge, fabled weapon, arise, arise,\" ?) Olaf's hammer glows green for a moment. He lifts Buffy by the throat.", "ANYA: Your menacing stance is merely alarming! Olaf hits Buffy in the upper arm with his hammer and flings her aside to land against a wall.", "ANYA: And your roar is less than full-throated!", "OLAF: Desist! (stomps toward Anya) My god, woman, it's been a thousand years, and yet you are as aggravating and emasculating as ever you were. He swings the hammer at Anya. She ducks.", "WILLOW: Vola cum viribus, dominum tuum nega. Vola! (translation: \"I wish with all men, that god will deny you.\") Olaf's hammer glows green again and flies out of his hand as he tries to swing it at Anya. It lands on the floor and stops glowing. Olaf stares at his hands. Buffy gets up. Anya goes over to Willow.", "ANYA: Hey, good job.", "WILLOW: You too, very irritating.", "BUFFY: (confronting Olaf) So. Your power's in your hammer? She rushes at him. He backhands her and she flies across the room again, landing next to Xander.", "ANYA: (calls to Buffy) Oh, yeah! I forgot he still has all that troll strength. Buffy gets up, helps Xander up.", "OLAF: You shall all die! I will dispense no mercy now! Buffy punches him in the face, then again, then a third time. She grabs his arm and twists it up behind his back. He grunts loudly and throws her off. She lands on the floor again.", "OLAF: What are you fighting for, minuscule blonde one? Your friends? (gestures to Anya comforting Xander) These two? (chuckles) They will never last. (Buffy's lower lip begins to tremble) Anyanka is very difficult to live with, and he... (we see Willow and Anya both comforting Xander) he's ludicrous and far too breakable. Their love will never last. Buffy looks on the verge of tears. She gives a sad little whimper. Then she jumps to her feet, flips over Olaf's head. He bends over and she flips herself across his back, spins and kicks him in the chest. Shot of Willow, Xander, and Anya watching as Buffy drives Olaf across the room.", "WILLOW: She's got him now. Anya nods, then turns her attention to Xander's broken wrist.", "ANYA: Poor baby. They all watch Buffy driving Olaf back in the other direction.", "XANDER: You really dated him?", "ANYA: (grimaces) Yes.", "XANDER: But you like me better, right?", "ANYA: (smiles) Yes! Oh, and Willow likes you too, but not in a sexy way, you know, 'cause she's gay. (Willow smiles at Xander) And she's not gonna try to break us up, so, you know, it's all okay. They all turn to look at the fighting again.", "BUFFY: (OS) Their love... (punching noise, Olaf grunts) will last ... (punch, grunt) forever! (punch, sound of Olaf falling to the floor) Shot of Olaf lying unconscious on the floor. Shot of Willow looking down at him.", "WILLOW: Let the transposition be complete. Olaf dissolves into nothing and disappears. Willow smiles hugely. Shot of Tara watching.", "BUFFY: (OS) Where did you send him?", "ANYA: (OS) The land of the trolls. We see them all standing around in the magic shop.", "ANYA: He'll like it there. Full of trolls.", "WILLOW: It's hard to be precise, though. Alternate universes don't stay put. Trying to send him to a specific place is sort of like ... like ... trying to hit a ... puppy, by throwing a live bee at it. (They all look at her) Which is a weird image, and you should all just forget it.", "ANYA: It's possible that he's in the land of perpetual Wednesday ... or the crazy melty land ... or, you know, the world without shrimp.", "TARA: There's a world without shrimp? (Willow looks at her) I'm allergic.", "WILLOW: He, he's probably in troll land.", "BUFFY: I only care that he's not here, and I got this nifty souvenir. She turns and puts Olaf's hammer on the countertop. After a moment, the glass breaks and the hammer, plus everything else on the counter, falls into the display case below with a loud crashing noise.", "BUFFY: Oops.", "XANDER: The place is trashed enough anyway.", "BUFFY: Well, see how well things worked out? (looks fondly at Anya and Xander) And look at you guys. So good and alive and together. (starts to tear up again) So together, and ... good, and ... alive... (sniffles, turns to grab a tissue) Oh, god... (crying) I'm ... I'm just so happy for you... She bursts into tears and buries her face in the tissue as the others stare.", "Cut to: Buffy and Giles sitting at the table in the Summers dining room.", "GILES: I cringe to think what the place would have looked like if I'd been away for longer than three days.", "BUFFY: Well, maybe we would have had time to clean it up. You know, if Willow used some magicks to help.", "GILES: Yes, 'cause nothing could possibly go wrong with that. Joyce enters with a tray holding a teapot and several mugs.", "JOYCE: Rupert, I still don't understand - (Giles gets up and takes the tray) oh, thank you - why the other Watchers made you go all the way to England when they don't know anything. She and Giles sit down on either side of Buffy.", "GILES: (passing out mugs) Well, they don't know it ... yet. I mean, they have no record of, of Glory or anyone like her, but, uh, based on the information that I've given them, they're gonna look into it. Um, they might have something soon.", "BUFFY: What about the key? Were they all over it?", "GILES: (warily) Yes. (to Joyce) You, you know all of this?", "JOYCE: I got some of it myself, Buffy told me the rest.", "GILES: (pouring tea) Well, they're interested, certainly, and, uh, full of theories. (Sits back, lifting his cup) Most of them ... nonsensical. The camera pans past Giles into the hallway. We see Dawn coming down the stairs, stopping when she hears voices.", "BUFFY: (OS) They don't know that it's Dawn.", "GILES: (OS) No. Cut back to dining room.", "JOYCE: I still can't begin to grasp this. I mean, she's my little girl, I... Cut back to Dawn on the stairs listening.", "GILES: (OS) It is disorienting.", "BUFFY: (OS) Giles, what happens if they figure it out? What would they do?", "GILES: (OS) I don't know. Dawn frowns. Cut back to dining room.", "JOYCE: Oh, I can't even think about this. It's too ... I'll get some more milk. Cut back to Dawn looking upset. The camera lingers on her expression. Blackout.", "Executive Producer: Joss Whedon. [an error occurred while processing this directive]" ]

[ "The Watcher's Council withholds information about Glory from Buffy and make her go through a series of tests. Glory and the Knights of Byzantium target Buffy, and she realizes it's because she has power over them. She orders Quentin to give her the scoop on Glory, and it turns out she's not a demon - she's a god." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser Buffy fighting vampires in \"Helpless.\"", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Quinton Travers talking to Giles in \"Helpless.\"", "TRAVERS: When the Slayer turns 18, it's a time-honored rite of passage.", "GILES: It's an archaic exercise in cruelty. Quinton, Giles, and Buffy in the Sunnydale High library.", "GILES: We're finished.", "TRAVERS: Not quite. She passed, you didn't. I've recommended to the Council you be relieved of your duties as Watcher immediately. You're fired. Giles, Wesley, and Buffy in Angel's mansion in \"Graduation.\"", "WESLEY: The Council's orders are to concentrate-", "BUFFY: I don't think I'm gonna be taking any more orders. Wesley, go back to your Council and tell them, until the next Slayer comes along, I'm not working for them any more. Buffy, Giles, and Joyce sitting around the table in \"Triangle.\"", "BUFFY: What about the key, were they all over it?", "GILES: Well, they're interested.", "BUFFY: But they didn't guess about Dawn, right? I mean, they don't know that it's her. Dawn listening in on the stairs.", "BUFFY VOICEOVER: Here, I'll get that.", "Cut to inside.", "BUFFY: Sorry. Mom's still not a hundred percent, and I guess I haven't really been taking up the slack. We see the living room. Tara, Anya, and Willow sit on the sofa. Xander sits in a chair. Buffy and Giles are standing. Buffy moves around trying to pick up stuff that's lying around.", "WILLOW: No, the place looks fine, Buffy.", "TARA: Yeah, it's just us. Buffy picks up a sweater (Riley's) and looks sadly at it.", "XANDER: That must have belonged to, uh... (We see that Xander's right wrist is in a cast after having been broken in \"Triangle.\") Um, aren't we supposed to have a meeting?", "GILES: Uh, yes, yes, we, we're here for a reason. (Buffy sits) I've had some rather, uh ... well, I've had some news. It seems that the Council of Watchers has ... found some information that may help us out.", "BUFFY: About Glory?", "GILES: Presumably. We'll find that out when they ... arrive. Could be very important.", "BUFFY: Arrive? They're coming here? Now? W-why do they have to come here?", "XANDER: Yeah, don't they have phones? (fake British accent) \"Allo, Buffy, here's some stuff we know, pip pip.\"", "BUFFY: Yeah! Phones. See, I'd like them on phones.", "TARA: Well, what's so bad about them coming here? Aren't they good guys? I mean, Watchers, that's just like other Gileses, right?", "BUFFY: Yeah, they're scary and horrible!", "GILES: Um, they, well, they can appear a bit ... well, uh, hard-nosed, but, uh, well, essentially, their agenda is the same as ours, they want to save the world and kill demons.", "ANYA: Kill the current demons, right? *Current* demons.", "BUFFY: Giles, I don't want them to come here. I don't trust them. Make them not come here.", "GILES: They're probably already on their way. Our old friend Quinton Travers is ... heading up the delegation.", "BUFFY: They put me through that test, and it almost killed me. And then, when I was Faith, they almost killed me again. Honestly, I really can't handle almost being killed right now.", "ANYA: I don't like the sound of this. They don't sound very ex-demon-compatible.", "TARA: Are you sure they're English? I-I thought English people were, um, gentler, then, uh, (trailing off) normal...", "WILLOW: Maybe it won't be so bad this time. I mean, Buffy, they did think you were Faith last time. Now that they know you're just you, maybe they won't care enough to kill you.", "BUFFY: It's not just that. They're gonna screw everything up. I-it's a delicate time right now. I-I have to take care of Dawn, and-", "XANDER: But that's not new, you've always taken care of her.", "BUFFY: Right. Right, I, I know that, it's just, you know, there's, there's Glory, and... We see Dawn on the stairs, listening in, wearing pajamas.", "BUFFY: (OS) ...and I don't need the Council looking over my shoulder when I don't even know what we're dealing with.", "GILES: (OS) Well, that's precisely why we need to talk to them. Joyce comes down the stairs and sees Dawn.", "JOYCE: Dawn, honey, what are you doing up at this hour? Go back to bed. Cut back to living room. Buffy hears Joyce and looks alarmed.", "DAWN: (OS) I was just getting a snack.", "BUFFY: (yelling over her shoulder) Dawn, are you listening?", "Cut to stairs.", "DAWN: (calling to Buffy) I can get a snack if I want to. Dawn turns and goes back upstairs. Cut back to living room.", "BUFFY: (alarmed, to Giles) She was listening.", "WILLOW: Does it matter? I mean, is she really gonna set the junior high school buzzing with \"ooh, there's a delegation a-coming\"?", "BUFFY: No, I, I guess not. You know, it's just ... sometimes we ... say stuff, and, and ... it's all good. Giles, you were saying ... something?", "GILES: Um, just that ... if the Council knows something about Glory, her agenda or her origins, then ... (sighs) then maybe it will help us get a, a, a grip on what we're dealing with. Right now I think we're, we're a bit lost.", "Cut to: Glory sitting on the floor of her apartment, panting and sweaty, looking pale and in pain. The door bursts open and Dreg enters with another demon who looks like him (Jinx). They are dragging a man in postal carrier uniform.", "DREG: Mistress, at last we've found one. They throw him to the floor next to Glory.", "MAILMAN: Look, don't hurt me. I beg of you, if you just let me go, I swear I won't tell anyone. Dreg pulls him upright.", "DREG: (to Jinx) Help her! Jinx goes to Glory and drags her toward the mailman.", "JINX: We're here for you, great one. Glory gets up on her knees and the demons put her hands on the mailman's head.", "MAILMAN: What-", "DREG: Drink!", "MAILMAN: Oh, what is this? What the, what the hell are you things doing to me? Glory puts her fingers on the sides of his head, and then pushes them into his head. Instead of blood, yellow light streams out as Glory pushes her hands deeper into his brain. Both Glory and the mailman scream. After a moment the light stops and they both fall to the floor.", "DREG: Very good, delicious. Glory lies on the floor panting and smiling. She no longer looks pale or sweaty. Jinx moves toward her but she stops him.", "GLORY: No, I'm good. It's okay. She looks at the mailman in disgust, smacks the side of his head. He sits up, then stands.", "MAILMAN: I know you're all always looking at me. I can tell. Always tell. I can see. I, my hat, where's my hat? (wanders off)", "GLORY: (groans, laughs) Try not cutting things so close next time, understood?", "DREG: Yes, we live to serve.", "JINX: As always.", "GLORY: Cool. (to Dreg) Take this mess out with the rest of the trash. (Dreg moves away) And you ... (Jinx takes her hand, helps her up) have something to tell me?", "JINX: Indeed, Glorificus.", "GLORY: (smiling) Well, I'm waiting. (picks up a hand-mirror and rubs lipstick off her teeth)", "JINX: We have found that the signs of the alignment are moving faster than expected.", "GLORY: (primping in mirror) Meaning?", "JINX: If you are to use the key, you must act quickly.", "GLORY: Fine. (puts mirror down) I have been cooling my heels in this crappy little town long enough. (lies down on bed) Sunnydale's got too many demons and not enough retail outlets. (Picks up a pair of shoes)", "JINX: All you need is the key.", "GLORY: (lying on her back) Yes, and I bet Mousy the Vampire Slayer has an idea where it is.", "JINX: If I may remind your eminence ... you don't have much time.", "GLORY: (scoffs) Baby, if that girl's the only thing between me and my key? I don't need much time. Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Cynthia LaMontagne, Oliver Muirhead, Kris Iyer, Kevin Weisman, Troy T. Blendell, Amber Benson as Tara, Harris Yulin as Quinton Travers, and Kristine Sutherland as Joyce Summers. Written by Douglas Petrie and Jane Espenson, directed by Nick Marck.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on magic shop. Giles is talking to a female customer. He is holding two books.", "GILES: Well, if you're serious about these matters, all right, but ... you need to be very careful. Measure precisely, and, and, please don't step ahead.", "TRAVERS: (OS) No, he's quite right. We see Quinton Travers standing there with six other Watchers standing behind him: four men, two women. Quinton takes one of the books from Giles and looks at it.", "TRAVERS: You wouldn't want to do anything dangerous. Turn the wrong person into a badger. (Smiles, hands the book back)", "GILES: Quinton. I didn't realize you were here. (Gives book to customer; she walks off)", "TRAVERS: Well, evidently.", "GILES: Been a while. I see you've, uh, brought some of our ... colleagues with you. Would you care to introduce us?", "TRAVERS: Well, first I thought we might catch up. The other Watchers begin to spread out through the store.", "GILES: Well, certainly, certainly. Uh, well, um, this is the shop, obviously. (Begins walking toward the counter. Travers follows) Uh, i-it's been a very interesting transition into the world of retail. But I think it's gone rather well. I'll give you the grand tour if you like.", "TRAVERS: No, that's all right, I think I can see what you've been up to. Anya comes up to them behind the counter.", "GILES: Yes, well, I, I, uh, do limit my time here, obviously. Watcher #1 (Nigel) comes up behind Anya, looking at the racks of magic stuff behind the counter. Anya looks at him suspiciously.", "GILES: Buffy and I have been training a great deal these days. Uh, there's a, a back room... (points toward the back)", "TRAVERS: (sits on a chair beside the counter) Oh yes. I thought perhaps you were keeping that space for the really dangerous items that should be kept out of the public's hands. (Giles frowns) Or maybe you don't worry about that.", "GILES: I'm very careful.", "NIGEL: (comes over holding a vial) Most of this stuff couldn't harm anyone. Incense, dime store trinkets ... but there are some things. (Hands vial to Travers)", "GILES: I'm sorry, who are you? Watcher #2 (female) is looking at the stuff on another shelf.", "WATCHER2: There are some very potent elements here ... focusing crystals, runic artifacts, an amulet of Cauldis... Also this statue. (Picks up a statue about 2 feet tall) Its removal from Burma is a criminal offense... (Giles looks surprised. Watcher 2 carries the statue over to Travers) ...and when triggered, it has the power to melt human eyeballs. (She gives the statue to Travers and walks off)", "GILES: In that case, I severely underpriced it.", "TRAVERS: (nods to Nigel) Uh, Giles, sorry, but this is just for the duration of our stay. I think you can see why. Nigel takes the book from Giles.", "GILES: What, what, wha-what is just for the duration? Nigel stands in the middle of store and speaks loudly.", "NIGEL: Magic Box shoppers! We're going to have to ask you to leave. The store is, uh, closing early today. Watcher #3 (Philip) takes an item away from a customer.", "PHILIP: Terribly sorry for the inconvenience. Customers begin to leave. Anya looks alarmed.", "ANYA: Hey! Giles, what are they doing? Customers! Please bring your money back. Watchers escort customers out. Giles glares at Travers.", "GILES: You knew you were gonna do this before you even saw the place.", "TRAVERS: I'm sorry. It's just for the duration of the Council's review.", "ANYA: Council? You're the Council? (smiles) Welcome to our store. We're closed now. I'll be in the back. (Begins walking toward the back)", "GILES: What review, Quinton? Let's just stop a moment and talk about this.", "TRAVERS: (to Anya) Miss, excuse me, you, uh, you work here? Anya stops walking, turns back looking apprehensive.", "ANYA: Yes I do. Ever since I moved here from southeastern Indiana, where I was raised by both a mother and a father.", "GILES: Anya, just go. You don't have to talk to him. (Anya looks relieved, leaves) She works for me. Now tell me about this review. No one said anything to me about this.", "TRAVERS: Let's sit down and talk about it over here. All the Watchers move toward the round table at the far end of the store. Watcher #4 (female) pours some tea. The others stand around.", "GILES: You all stand around and look somber. (They do. Giles rolls his eyes) Good job.", "TRAVERS: You used to respect us, Giles. You used to be one of us.", "GILES: You used to pay me. If you recall, firing me was not my idea.", "TRAVERS: Touche. (sits at table) But you were on the inside once. You know what sort of resources we command. Another Watcher puts a suitcase on the table, opens it, takes out some papers and puts them in front of Travers. Watcher #4 gives Travers a cup of tea.", "TRAVERS: We've discovered information about this creature, your Glory. Some of it is clearly vital, the rest merely extremely disturbing. And it won't be handed over until we're convinced that you and your Slayer are prepared for it. Thus the review.", "GILES: (leans over to put hands on table, speaks softly) I'm not having you put her through another one of your insane tests.", "TRAVERS: It's not a test. It's a check of her methods. We need to know that this information is safe.", "GILES: You can trust her. (straightens up) Buffy's come very far recently. She's acquired a remarkable focus.", "Cut to: UC Sunnydale classroom. Buffy is sitting among the students, yawning while the professor lectures.", "PROFESSOR: Now, Rasputin was associated with a certain obscure religious sect. (Buffy taps her pencil on her desk. The girl next to her glares. Buffy sees her and stops tapping the pencil but continues fidgeting) They held the tenet that in order to be forgiven, one first had to sin. Rasputin embraced this doctrine and proceeded to sin impressively and repeatedly. The notion that he was in fact evil gained strength years later (Buffy fiddles with her pencil, drops it, shrugs and doesn't pick it up) when the conspirators who set out to kill him found it nearly impossible to do so.", "BUFFY: (to herself) Nearly impossible?", "PROFESSOR: I'm sorry, there's a question? The students look at Buffy.", "PROFESSOR: (sighing) Miss Summers, of course. Buffy makes a pained face, stands up as the professor gives her a disapproving look.", "BUFFY: I, uh, about, you know, killing him ... you know, they, they poisoned him and, and they beat him and they shot him, and he didn't die.", "PROFESSOR: Until they rolled his body in a carpet and drowned him in a canal.", "BUFFY: But there are reported sightings of him as late as the 1930s, aren't there?", "PROFESSOR: I can assure you there is near consensus in the academic community regarding the death of Rasputin.", "BUFFY: There was also near consensus about Columbus, you know, until someone asked the Vikings what they were up to in the 1400s, and they're like, \"discovering this America-shaped continent.\" (Professor looks annoyed) I just ... I'm only saying, you know, it might be interesting, if we ... came at it from, you know, a different perspective, that's all.", "PROFESSOR: Well, I'm sorry if you find these facts so boring, Miss Summers. Maybe you'd prefer I step aside, so that you can teach your own course. Speculation 101 perhaps? (The other students laugh) Intro to Flights of Fancy? (The students laugh more)", "BUFFY: I only meant-", "PROFESSOR: What was it you were going on about last week? Mysterious sleeping patterns of the Prussian generals? (Buffy looks annoyed) Now, some of us are here to learn. Believe it or not, we're interested in finding out what actually happened. It's called studying history. You can sit down now. Unless you have something else to add, professor? Buffy scowls, sits.", "BUFFY VOICEOVER: Miss Summers!", "Cut to graveyard, night. Buffy is fighting a vampire. She kicks him backward.", "BUFFY: Some of us are here to learn, professor! She kicks, punches twice. The vamp swings, she ducks. She grabs him and spins him around, throws him against a headstone.", "BUFFY: Maybe you'd like to teach your own class!", "VAMP: Who are you talking to? Buffy approaches and the vamp punches her in the face. She spins around from the blow, gets her bearings and turns to attack again. Spike comes flying over the headstone and grabs the vamp from behind, knocking him to the ground. As he gets up, Spike kicks him, then stakes him. Spike grins at Buffy, who stalks forward.", "BUFFY: Spike ... why did you do that?", "SPIKE: Not for money, if that's what you're thinking. Your heartfelt gratitude's plenty. (stops grinning) I expect I'll be getting that any moment.", "BUFFY: Gratitude. For getting in my way?", "SPIKE: Ge-getting in your way? I saved you.", "BUFFY: I was regrouping.", "SPIKE: You were about to be regrouped into separate piles. You needed help.", "BUFFY: I didn't need you. I never need you, Spike. She turns and starts to walk off.", "SPIKE: Oh, I get it. (follows) You just don't like who did the rescuin', that's all. Wishin' I was your boyfriend what's-his-face. Oh wait, he's run off.", "BUFFY: You know what? I don't need a boyfriend, to rescue me or for any other reason.", "SPIKE: Don't need or can't keep? (She stops walking to glare at him) You keep making notches in the headboard but eventually they get up out of the bed and run off, don't they?", "BUFFY: (deeply annoyed) You're disgusting.", "SPIKE: Oh, rough talk. (They resume walking) Maybe that's your problem, maybe you push 'em away. Or is it the other? Maybe you cling too much. Or maybe ... your beauty's fading. (They stop again) The stress of slaying, aging you prematurely. Things not as high, not as firm. Spike grins and makes a gesture with his hand as if trying to hold up sagging breasts.", "BUFFY: You know what, Spike? The more I get to know you, the more I wish I didn't.", "SPIKE: Or maybe you just don't hold their interest. He walks off, leaving Buffy looking stung.", "Cut to: interior hospital. Ben comes around a corner, wearing scrubs but putting on his jacket. Jinx comes out of a doorway and grabs him.", "JINX: Begging permission to speak with you, sir. He pulls Ben into an empty room.", "BEN: Don't touch me, you're crusty. What do you want?", "JINX: Oh, not me, the magnificent Glory. She wants. She wants more information on the Slayer, she ... knows you know her.", "BEN: The Slayer? I don't know any Slayer. Get away from me, you shouldn't be here.", "JINX: Oh, I believe you do, sir. She's short, symmetrical, hair on top? Buffy something.", "BEN: Buffy Summers is the Slayer?", "JINX: That's the one! Very clever of you, sir.", "BEN: The Slayer. How does Glory know this?", "JINX: I do not know, I was not there. But the beauteous Glory said for you to tell us please, where her dwelling is ... who her friends are...", "BEN: Why? So Glory can find her, do something to her? Why would I do that?", "JINX: I don't know, sir, she just said to tell you to do it. For her. That was her message.", "BEN: Well, I've got a message for Glory too.", "Cut to: interior magic shop. Giles is walking out of the back room, along with the other Watchers.", "GILES: We've been developing sort of a, a hybrid fighting style ... let me outline her progress for you and I-I think you'll see that your review isn't strictly needed. Buffy enters, sees the Watchers and tries to back out.", "BUFFY: (muttering) Bad day. Bad, baaad...", "TRAVERS: Miss Summers ... (Buffy stops backing away) good to see you again. Buffy enters reluctantly, closes the door behind her.", "BUFFY: Mr. Travers.", "TRAVERS: Giles has just been telling us of your training regimen. Perhaps you'll favor us with a demonstration while we're here.", "BUFFY: Right now?", "TRAVERS: No need to rush you.", "GILES: (ruefully) They're ... staying a little longer than I'd anticipated.", "TRAVERS: We've already laid out our project for Mr. Giles. Nigel? The Watchers and Buffy move toward one side of the room while Giles stays leaning against the counter.", "NIGEL: It's an exhaustive examination of your procedures and abilities. We'll observe your training, talk to your friends...", "BUFFY: Talk to my friends?", "TRAVERS: Yes, we understand you're still taking civilians out on patrols.", "BUFFY: Oh, you've gotta be kidding me.", "TRAVERS: Buffy ... I can sense your resistance, and I don't blame you. But I think your Watcher hasn't reminded you lately of the resolute status of the players in our little game. The Council fights evil. The Slayer is the instrument by which we fight. The Council remains, the Slayers change. It's been that way from the beginning,", "GILES: (scornfully) Well, that's a very comforting, bloodless way of looking at it, isn't it?", "TRAVERS: Giles, let me talk to Buffy, because I think she's understanding me. (to Buffy) Glory is stronger than you. She's a more powerful instrument, if you will. We can help you. We have information that will help. Pass the review and we give it to you without reservation. Fail the review, either through incompetence, or by resisting our recommendations...", "GILES: (angrily, moves toward them) Resisting your recommendations? She fails if we don't do whatever you say! How much under your thumb do you think we are?", "TRAVERS: How much do you want our help?", "GILES: (pokes his finger angrily at Travers; the other Watchers restrain him) She's not your bloody instrument and you have no right to do any of this!", "BUFFY: Giles! Giles shakes off the other Watchers and moves away, frustrated.", "TRAVERS: I understand you think this is unfair. But there are factors which should motivate you to go along with the review. Now, I don't want to do this, but obviously we could shut this place down permanently.", "BUFFY: You can't do that. You don't have that kind of power.", "TRAVERS: Of course we do, and a great deal more. In fact, if you insist on fighting us, we'll arrange to have Mr. Giles deported within the day. Never set foot in this country again. Now perhaps you're used to idle threats and sloppy discipline, Miss Summers, but you're dealing with grownups now. (pause) Am I making myself clear? Buffy looks angrily from Travers to Giles (who doesn't look at her) and then back. She glares at Travers. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Glory's apartment. Jinx enters, holding his head down to hide his face.", "GLORY: Jinx... hey, what's the deal with your face? Jinx lifts his head to reveal his face bruised and bloody. We see Glory standing in front of a vanity with a towel wrapped around her.", "JINX: It's a message from Ben. He ... isn't going to help.", "GLORY: (pouring oil into her hand) Isn't go... (bemused) isn't going to help?", "JINX: No.", "GLORY: All he has to do is turn over that tiny squirming Slayer girl! (rubbing oil on her arms) I have business to do with her. If she knows where I can start looking for my key... aah! She grabs her head in frustration. Jinx watches. Glory calms down and begins walking toward him.", "GLORY: Why won't he help? He knows her. He could go to her ... he could talk to her ... (irritated) he could seduce her and bang the key out of her!", "JINX: He is quite attractive.", "GLORY: Well, of course he's attractive! (pouty) But he drives me insane. Know what I mean?", "JINX: He drives you insane?", "GLORY: Yeah! That's it exactly! (puts her head on Jinx's chest) Oh. Sweet lumpy minion. You're the only one that understands. (thoughtfully) Probably cause I haven't sucked your brain out yet. (Jinx cringes) He makes me so mad... if I could just ... get my hands on him... She curves her fingers into claws and gestures as if she's about to grab Jinx's head. He cringes in fear.", "GLORY: (drops her hands) You know? (Walks away. Jinx sighs in relief) I'll just find her myself.", "Cut to magic shop. Buffy and Giles are alone. Buffy sits at the round table; Giles paces.", "GILES: It's a power play, that's what it is. It's about who has the power.", "BUFFY: I'm guessing they do? Big power outage in Buffy county?", "GILES: I should have set you loose on them, that's what I should have done.", "BUFFY: Giles, that Travers guy is like sixty. I can't hit him. (looks up) Can I?", "GILES: I suppose not. Well, I could. I think I will.", "BUFFY: Can they really do the stuff they threatened? Kick you out the country?", "GILES: In a heartbeat. (Takes off his glasses, takes out a handkerchief and begins cleaning his glasses) See, the rough stuff, they're all right out there, a bit ham-handed, but they get it done, but, uh ... this stuff, the, uh, bureaucracy, the pulling of political strings, they're the best in the world. They can kill you with the stroke of a pen. Poncy sods. There's a crunching noise as Giles's glasses break in his hands from too vigorous a cleaning. One of the lenses has popped out of the frame. Giles looks down at them.", "BUFFY: (softly) Am I gonna be able to get through this review?", "GILES: Well, I... (comes over and sits next to her) I suppose they'll make it as difficult as they want to. The physical stuff could be a bit of a challenge. (Puts on his glasses, immediately takes them off again)", "BUFFY: That's not what I'm worried about. It's the other stuff. Examining decisions I've made. I mean, twice now I've been within slaying distance of Glory, and twice she's kicked my ass without even tensing a muscle. And I haven't been able to figure out ... what she is, or anything about her except that she wants the key, which I have, and I can't even figure out if it's okay for me to tell anyone that.", "GILES: Buffy, no one could have done any better than you.", "BUFFY: But no one else is gonna be asked the questions that I can't answer. (getting agitated) They're gonna expect me to ... to be like a Slayer and, and know stuff, but I'm just me and I don't know anything, and they're gonna go away, and they're not gonna tell me how to fight Glory, and I'm not gonna be able to protect Dawn.", "GILES: Buffy, calm down. The scandal here is not anything you've done wrong, it's the way they're behaving. Holding what they know hostage with a gun pointed at my bleeding green card, no less. (sighs) It's humiliating.", "BUFFY: Also smart. They picked the perfect thing. I can't lose you.", "GILES: (softly) Thank you.", "BUFFY: (sighs) I guess I should be getting ready. What do you think it'll be like, I mean, how do you think they'll start?", "Cut to: Anya sitting next to Xander in Xander's apartment.", "ANYA: Anya Christina Emanuella Jenkins, twenty years old. Born on the fourth of July, and don't think there weren't jokes about that my whole life, mister, 'cause there were. \"Who's our little patriot?\" they'd say, when I was younger, and therefore smaller and shorter than I am now. We see Philip sitting across the table from them, and Watcher #4 standing in the background.", "PHILIP: (taking notes) So, you spell it A-N-Y-A, yes?", "ANYA: Yes.", "PHILIP: Fine, now we can get to the questions.", "Cut to: Willow and Tara's room. Willow and Tara sit on the bed side-by-side. Nigel stands before them with a notebook.", "WILLOW: Questions, great.", "TARA: Well, we can answer questions.", "NIGEL: Good. I need to know a little bit more about the Slayer, and about the both of you. Your relationship, whatever you can tell me.", "TARA: O-o-our relationship?", "WILLOW: We're friends.", "TARA: Good friends.", "WILLOW: Girlfriends, actually.", "TARA: Yes, we're girlfriends.", "WILLOW: We're in love. We're ... lovers. (puts hand on Tara's knee) We're lesbian, gay-type lovers.", "NIGEL: I meant your relationship with the Slayer. Both girls look embarrassed. Willow removes her hand from Tara's knee.", "TARA: Um, just good friends. Cut back to Xander/Anya interrogation.", "XANDER: *Best* friends. Willow and me and Buffy. The three of us have been together from the beginning. We've always gone on patrols, and uh, done demon research with her and everything.", "PHILIP: Have you mastered any fighting disciplines over the years?", "XANDER: No.", "PHILIP: So, you have no special skills, or powers, or knowledge that you bring to the mix. Neither of you.", "ANYA: Just enthusiasm for killing the demons. Go deadness for the demons.", "XANDER: I don't have any powers, but I do help.", "PHILIP: How? Be specific.", "XANDER: Last year, uh, Willow, Giles and me combined our essences with Buffy, which isn't as weird as it sounds. (laughs nervously) We merged, and I was the heart part of a super-Buffy. Again, let me stress the not-as-weird thing.", "ANYA: I'm told it was all very professional.", "NIGEL VOICEOVER: Are you saying that the Slayer needs that level of help from you often? Cut back to Willow/Tara interrogation.", "WILLOW: No, no, she doesn't need help.", "TARA: She'd be fine without us. Sometimes she goes off and does stuff without even telling us.", "WILLOW: Not that she's like a, a weird loner or anything.", "TARA: I'm not sure we're saying this right.", "WILLOW: See, here's the thing. We, we can help because we do magicks. I'm working on this ball of sunshine thing. See, I have this theory.", "TARA: It's very cool.", "WILLOW: A-and if it works, easier slaying for Buffy. Not that it's hard for her now!", "NIGEL: Interesting. What level are you at?", "TARA: Level?", "NIGEL: Magical proficiency level?", "WILLOW: Oh! Uh, high, a high level. Very high. One of those ... top levels.", "TARA: Five! Nigel writes this down as Willow and Tara give each other anxious looks. Willow mouths, \"five?\" and Tara shrugs.", "NIGEL: And you're registered as practicing witches under the names as you gave them to me?", "TARA: R-registered?", "WILLOW: Oh yes! Yes, of course we're-", "TARA: ...r-r-registered. (nodding) Cut back to Xander/Anya interrogation.", "PHILIP: Do either of you know anything about the key?", "ANYA: Nope, but it sounds demony to me. I don't hold with that demon nonsense. (picks up a basket of muffins and holds it toward Philip) Muffin? I cooked them myself.", "PHILIP: (gestures to indicate \"no thanks\") So, Buffy sometimes protects you from the dangerous elements of her work.", "XANDER: Yes. She's saved my life lots of times. The vampires in this town hate her.", "Cut to: Spike's crypt. Spike staring at someone.", "WATCHER #2: (OS) But we understand that you *help* the Slayer. We see that Spike is being interrogated by Watcher #2 while the other two nameless male Watchers stand between her and Spike. One of the men holds a cross, the other a crossbow.", "SPIKE: I pitch in when she pays me.", "WATCHER2: She pays you? She gives you money?", "SPIKE: Money, a little nip of blood out of some stray victim, whatever.", "WATCHER2: Blood?", "SPIKE: Well, if they're gonna die anyway. (considers) Come to think of it, though, that's a bit scandalous, isn't it? Personally, I'm shocked. The girl's slipping.", "WATCHER2: You've noticed a decline in her work?", "SPIKE: Oh, yeah. See, the poor little twig can't keep a man. Gets her all down. Few more disappointments, she'll be cryin' on my shoulder, mark my words.", "WATCHER2: (frowns) Is that what you want? I'd think you'd want to kill her. You've killed Slayers before.", "SPIKE: (intrigued) Heard of me, have you? He walks a little closer. The two male Watchers shift nervously and hold up their weapons.", "WATCHER2: (embarrassed smile) I ... wrote my thesis on you.", "SPIKE: (grins) Well, well. Isn't that neat. (stops smiling) Tell me, pet, now we're such good friends, how's the Slayer doing? Is she okay? High marks in all categories?", "TRAVERS VOICEOVER: Agility, clarity, stamina and strength-", "Cut to the workout room in the back of the magic shop. Nigel is tying a blindfold around Buffy's head. Giles and the other Watchers are standing around.", "TRAVERS: ...these are the qualities that the Slayer must possess to do her job.", "BUFFY: What came after agility?", "GILES: If you want her to attack the dummy-", "TRAVERS: No, no. Philip will attack the dummy. (We see Philip standing next to the dummy, wearing a karate robe) The Slayer's job is to protect it. Do you understand?", "BUFFY: Protect the dummy.", "TRAVERS: As if it were precious. Now, getting the best of Philip will require agility. Listening to my instructions at the same time, that will demonstrate clarity. And stamina and strength will win the long fight. Good luck.", "BUFFY: Instructions?", "TRAVERS: Yeah, I'll be telling you what to do, how to counter Philip's attack. We assume you're familiar with the Japanese names for aikido and jiu-jitsu moves.", "BUFFY: Japanese?", "WATCHER2: (clicking a stopwatch) And, go!", "BUFFY: Whoa, hold on a second. We uh, you know in America, we usually just work our way up to \"go.\" Philip bows toward Buffy. He's holding a short axe.", "TRAVERS: (speaks Japanese)", "BUFFY: Huh?", "GILES: He wants you to bow. Take a bow.", "BUFFY: Oh. (bows) Philip circles around her. Buffy follows his movements. He thrusts at the dummy and Buffy blocks. Then she kicks at him and misses. She spins around and blocks his overhead punch.", "TRAVERS: (Japanese) Philip punches Buffy in the face.", "GILES: Punch him.", "BUFFY: Thanks, Giles.", "GILES: Sorry.", "TRAVERS: (Japanese)", "GILES: Uh...back kick, elbow- Buffy back-kicks and Philip moves out of the way. She thrusts with her elbow and he avoids it.", "GILES: ...elbow...strike.", "TRAVERS: How have you been training her?", "GILES: I've trained her to win. Buffy looks annoyed.", "BUFFY: You know what? I'm gonna have to do it my way, guys. Philip swings the weapon and she ducks. He lifts it for an overhead blow and Buffy grabs the handle, kicks him in the stomach, forces him back against the training horse and elbows him in the face. He tumbles backward over the horse, losing his grip on the weapon. The momentum pulls it out of Buffy's hands and it flies backward to land in the dummy's chest, knocking the dummy backward into Nigel. He falls to the floor with the dummy on top of him. Buffy turns around, pulling the blindfold off. Watcher #2 kneels by Nigel and clicks the stopwatch.", "BUFFY: Uh-oh. The others help Philip up.", "PHILIP: I think she just broke my rib.", "TRAVERS: Yes, well.", "BUFFY: I didn't mean to. Um, you know, I, I can do better. I think I might be getting this, like, inner ear thing, and so maybe, maybe if I got a note, I, I could try again.", "TRAVERS: No, that's all right, I don't think we need to see any more physical tests for a while. We can move on to the real review. Look into your strategies, plans ... figure out what's going on in that head.", "BUFFY: (unhappily) Good. Head stuff.", "TRAVERS: We start at seven tonight. Give you time to, uh ... (looks from Buffy to Giles) well, however you prepare. The Watchers leave. Buffy and Giles look glum.", "Cut to: Buffy entering the Summers home.", "BUFFY: (puts down her bag, calling) Mom? She walks toward the living room. As she rounds the corner, she comes face-to-face with Glory.", "GLORY: Long day, sweetie? Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade back in on Buffy looking apprehensively at Glory as Glory checks out the living room.", "GLORY: So ... this is where the Slayer eats, sleeps, and (runs her finger through the dust on a side table) ...combs her hair? Oh... (picks up a photo) so cute. (Holds it up for Buffy to see, then puts it down) I can't even stand it. Personally? I need more space, but uh, this is good for you, it's, it's so quaint, and... As Glory is speaking with her back to Buffy, Buffy moves across the room to the fireplace and picks up a poker. When she straightens up, Glory is right behind her.", "GLORY: Buffy... (takes the poker) If I wanted to fight, you could tell by the being dead already. (goes to sit in an armchair, giggles) So play nice, little girl.", "BUFFY: What do you want?", "GLORY: The key. Why else do you think I'd come here? See, (points poker at Buffy) I think you knew where it is. And that's a good thing.", "BUFFY: I'm glad you think so.", "GLORY: Well, it's the only thing keeping you alive right now. Because you may be tiny queen in vampire world... Dawn enters behind Glory. Buffy looks at Dawn in alarm, tries not to let Glory see her looking.", "GLORY: ...but to me, you're a bug. You should get down on your knees and worship me! Dawn walks closer. Buffy widens her eyes to signal Dawn to go away.", "GLORY: But oh, no, you still think it's neat having Slayer strength. (Dawn mouths \"What?\" at Buffy) Ooh, big deal! Stronger than humans! (Dawn begins to back away) Who isn't? I could crush the life from you as easy as you'd break a nail. But I need the key. Dawn has reached the stairs. She begins to turn away.", "GLORY: Kid! Dawn stops. Buffy looks alarmed.", "GLORY: Come here a sec.", "BUFFY: Leave her out of this.", "GLORY: Not asking twice. Dawn approaches, still behind Glory and out of her line of sight.", "BUFFY: This is between you and me.", "GLORY: No. This is between me and my key. You just happen to be the thing in the way. Glory lifts her hand over her head and snaps her fingers. Dawn walks into her view, folds her arms over her chest sullenly.", "GLORY: And you are just the darlin'-est thing I ever did see in my life. What's your name, honey?", "DAWN: Dawn.", "GLORY: Dawn? Did you know your sister took my key, Dawnie? And she won't give it back! I bet you know where she put it, don't you?", "BUFFY: She doesn't know anything.", "DAWN: (looks at Buffy, annoyed) I know some stuff.", "GLORY: I bet she takes your stuff all the time without asking, doesn't she? Where's my key, Dawn?", "BUFFY: Go upstairs, Dawn.", "DAWN: (angrily, to Buffy) You're always talking about stuff I'm not supposed to hear. (Glory looks interested) I'm gonna figure it out, you know. Dawn leaves.", "GLORY: (grins) Ooh, I like her. She's sassy. (pauses, gets serious) And I'll kill her. I'll kill your mom, I'll kill your friends ... and I'll make you watch when I do. (sighs) Just give me the key. You either have it or you know where to find it. (stands up) Obviously, this is a one-time-only deal. Next time we meet, something you love dies bloody. You know you can't take me. You know you can't stop me. She drops the poker on the floor and leaves. Buffy watches her go with a grim expression. Joyce enters.", "JOYCE: Buffy, who was that?", "BUFFY: Pack a bag.", "Cut to Spike asleep in his crypt. A ray of sunshine falls on his face as the door opens. He screams and jumps up to find Buffy standing beside his \"bed.\"", "SPIKE: (sarcastically) Oh, it's the Slayer. For a second there I was worried. He starts to rub his eyes sleepily, pauses and looks over at the other end of the crypt. Shot of Dawn and Joyce standing by the door.", "SPIKE: (surprised) So, what's with the family outing?", "BUFFY: (quietly, walking up close to him) I need your help.", "SPIKE: Great. I need your cash.", "BUFFY: I'm serious. (even more quietly) You have to look after them.", "SPIKE: Well, that's a boatload of manly responsibility to come flying out of nowhere. What's the matter, Slayer? You're not feeling a hundred percent?", "BUFFY: (frowns) No.", "SPIKE: (frowns) They didn't put a chip in your head, did they?", "BUFFY: No!", "SPIKE: Be funny if they did.", "BUFFY: (annoyed) Spike, I need an answer. Now. In or out? (quietly) You're the only one strong enough to protect them.", "SPIKE: (looks at her for a moment) All right then. (calls to Joyce and Dawn) Ladies... (walks toward them; Buffy follows) Come on in. There's plenty of blood in the fridge.", "DAWN: Do you mean like, real blood?", "SPIKE: What do you think?", "DAWN: Mostly I think \"ew.\"", "BUFFY: (to Joyce) Keep Dawn here as long as you can. I'll be back soon.", "JOYCE: Okay.", "BUFFY: (walks over to Spike) I don't think I need to remind you, but-", "SPIKE: Yeah, yeah, \"anything happens to 'em I'll stake you good and proper.\" Sing me a new one sometime, eh? That bit's gone stale. Buffy leaves. Spike, Dawn, and Joyce stand around looking uncomfortable.", "JOYCE: I, I love what you've, um, neglected to do with the place.", "SPIKE: Just don't break anything. (goes to turn on the TV) And don't make a lot of noise. Passions is coming on.", "JOYCE: (comes forward) Passions? Oh, do you think Timmy's really dead?", "SPIKE: Oh! (gestures to his armchair. He and Joyce each sit on one arm) No, no, she can just sew him back together. He's a doll, for god's sake.", "JOYCE: Uh, what about the wedding? I mean, there's no way they're gonna go through with that. Dawn makes an exasperated face, walks off.", "Cut to magic shop, night. The Watchers are walking around, looking at books, moving stuff around. Giles sits in a chair by the table. Anya, Xander, Willow, and Tara sit on the balcony above, looking down. Their feet dangle in the air and they lean against the railing watching the Watchers.", "XANDER: Look at them. Big tough Council members pickin' on the books.", "WILLOW: Fascists.", "TARA: Why doesn't Mr. Giles put them all out of here?", "XANDER: Because if they deport him, they're not just destroying his career, they're ... condemning the man to a lifetime diet of blood sausage, bangers, and mash.", "Cut to below. Travers walks over to where Giles is sitting.", "TRAVERS: Well, your Slayer's twenty minutes late and counting, Rupert.", "GILES: Buffy will be here, I assure you.", "TRAVERS: (chuckles) Yes, but when?", "Cut to: Buffy walking through a dark alley. She looks at her watch.", "BUFFY: Crap. She walks faster. Suddenly someone appears from behind a trash can and grabs her around the waist, pulling her down to the ground. They both get up. It's a person in medieval armor with chain-mail covering his face. He backhands Buffy, she spins around and flies into a pile of garbage. As she straightens up, two more knights appear. The first one has a sword, the other two have metal staves. They circle around Buffy, twirling their weapons.", "BUFFY: Uh ... guys? A-any way we could ... not do this? Overhead shot of the three knights circling her. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade back in on the same scene. The knight with the sword swings. Buffy ducks. She spins and punches him, ducks a staff thrust, kicks the other staff, ducks again, kicks the first staff-holder in the stomach. Ducks another swing, kicks the second staff guy twice. Ducks a swing from sword guy, blocks a punch, punches him in the face while holding his sword arm. Kicks him back, grabs the staff of another and pushes him away. Deflects the other staff holder. Then she does two back-flips that carry her over the two staves, grabs one staff and thrusts it into that knight's stomach, deflects a sword thrust with it, kicks the sword guy in the stomach. Jabs the staff into disarmed knight's stomach again, ducks a thrust from the other staff, kicks that knight so he goes spinning away. Buffy and the disarmed knight grapple for his staff, finally she hits him in the face with it. He goes down. She drops her staff and blocks an overhand sword thrust, punches the sword holder and he goes down. Buffy kicks the other staff holder away, picks up the staff again and faces off with the sword holder. Buffy knocks the sword out of the knight's hand and pushes him to the ground, jumping on top of him and holding the staff to his throat.", "BUFFY: Okay. Let's see what you are. She removes the chain-mail mask to reveal an ordinary-looking human man with a symbol on his forehead.", "BUFFY: Or who you are.", "KNIGHT: One soldier in a vast army.", "BUFFY: What army?", "KNIGHT: The Knights of Byzantium, an ancient order. And now your enemy.", "BUFFY: (pushes the staff harder into his throat) You work for Glory?", "KNIGHT: You think we align ourselves with the beast? You must be mad.", "BUFFY: You're the ones tried killing me.", "KNIGHT: No, we were fools, three alone. But if it takes a hundred men, we send a hundred men, and if it takes a thousand, we send a thousand.", "BUFFY: A thousand?", "KNIGHT: So long as you protect the key, the brotherhood will never stop until we destroy it and you. You are the Slayer, and we know what we must do. Now, be done with it. Kill us, and let legions follow. Buffy shoves the staff into his throat again, then tosses it aside, gets up and picks up the sword. The knight gets to his feet, and she puts the sword to his throat. He turns his head away waiting for the kill stroke.", "BUFFY: Go. The knight looks surprised, edges around her and leaves. Buffy stares at the sword.", "Cut to: Buffy entering the magic shop, still holding the sword. Pan across all the Watchers standing there, the four Slayerettes still sitting on the upper level, and Travers sitting at the table with a pile of papers spread out in front of him. Giles sits on the stairs leading up to the balcony.", "TRAVERS: You're late.", "BUFFY: Yeah.", "GILES: (sees the sword, gets up) Was, was there an attack?", "BUFFY: Yeah.", "TRAVERS: We can begin the review at last. We'll, uh, skip the more obvious questions... Buffy puts the sword down on his papers.", "BUFFY: There isn't gonna be a review.", "TRAVERS: Sorry?", "BUFFY: No review. No interrogation. No questions you *know* I can't answer. No hoops, no jumps - (Nigel starts to speak) and no interruptions. Nigel shuts up. Buffy looks around, begins to pace.", "BUFFY: See ... I've had a lot of people talking at me the last few days. Everyone just lining up to tell me how unimportant I am. And I've finally figured out why. (looks Travers in the eye) Power. I have it. They don't. This bothers them. Buffy moves back to the table, removing her coat.", "BUFFY: Glory ... came to my home today.", "GILES: (alarmed) Buffy, are you-", "BUFFY: (puts her coat on a chair) Just to talk. (resumes pacing) She told me I'm a bug, I'm a flea, she could squash me in a second. (stops, looks at Travers again) Only she didn't. She came into my home, and we talked. We had what in her warped brain probably passes for a civilized conversation. Why? (pauses) Because she needs something from me. Because I have power over her. Buffy looks around, hands on her hips. She walks the floor, looking from one Watcher to the next as she talks.", "BUFFY: You guys didn't come all the way from England to determine whether or not I was good enough to be let back in. You came to beg me to let you back in. To give your jobs, your lives some semblance of meaning.", "NIGEL: This is beyond insolence- Buffy grabs the sword from the table and throws it across the room in a single movement. It flies point-first into the wall directly in front of Nigel's nose. He jumps back looking shocked.", "BUFFY: (clears throat) I'm fairly certain I said no interruptions.", "XANDER: (whispers) That was excellent! Willow and Tara grin.", "BUFFY: You're Watchers. Without a Slayer, you're pretty much just watchin' Masterpiece Theater. You can't stop Glory. You can't do anything with the information you have except maybe publish it in the \"Everyone Thinks We're Insane-O's Home Journal.\" (Pauses, addresses Travers again) So here's how it's gonna work. You're gonna tell me everything you know. Then you're gonna go away. (resumes pacing) You'll contact me if and when you have any further information about Glory. The magic shop will remain open. Mr. Giles will stay here as my official Watcher, reinstated at full salary...", "GILES: (coughing) Retroactive.", "BUFFY: ...to be paid retroactively from the month he was fired. I will continue my work with the help of my friends...", "WATCHER2: I, uh, I ... don't want a sword thrown at me, but, but, civilians, I - we're talking about children.", "BUFFY: (looks up at her friends on the balcony) We're talking about two very powerful witches and a thousand-year-old ex-demon.", "ANYA: Willow's a demon?!", "PHILIP: The boy? No power there.", "BUFFY: The boy has clocked more field time than all of you combined. He's part of the unit.", "WILLOW: (whispers to Xander) That's Riley-speak.", "XANDER: (whispers back, with a big grin) I've clocked field time.", "BUFFY: Now. (addresses the Watchers) You all may be very good at your jobs. The only way we're gonna find out is if you work with me. You can all take your time thinking about that. (turns back to Travers) But I want an answer right now from Quinton, 'cause I think he's understanding me.", "TRAVERS: (clears throat) Uh, your terms are acceptable. Giles smiles hugely. The Slayerettes burst into cheers and applause, but quickly stop, looking embarrassed. Buffy looks up at them, looks at Giles. She doesn't smile, but looks satisfied. She sits across from Travers.", "BUFFY: See? No biggie.", "TRAVERS: (nods) Uh, Rupert.", "GILES: Quinton?", "TRAVERS: When we inventoried your shop, we found a bottle of single malt scotch behind the, uh, incense holders.", "GILES: Well, it's, it's not, you know, during working hours.", "TRAVERS: I think I could use a glass.", "GILES: Well, I suppose we could- (starts to move away)", "BUFFY: (gets up) Just a minute. (Giles stops) Glory. I wanna know.", "TRAVERS: Well, there's a lot to go through.", "BUFFY: Just tell me what kind of demon I'm fighting.", "TRAVERS: Well, that's the thing, you see. Glory isn't a demon.", "BUFFY: What is she?", "TRAVERS: She's a god.", "BUFFY: (long pause, eyes widen) Oh. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Dawn discovers that she is the Key, becomes depressed, and runs away. She tells her tale to Ben, who morphs into Glory. Glory, not remembering Ben's thoughts, decides Dawn doesn't know the Key's location, and Willow and Tara teleport Glory elsewhere." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Monks running in fear. Monk talking to Buffy.", "MONK: We had to hide the key ... made it human... Monks chanting.", "MONK: ...and sent it to you. Dawn looking sullen.", "BUFFY VOICEOVER: Dawn. Glory talking to Dawn in \"Checkpoint.\"", "GLORY: Did you know your sister took my key, Dawnie? And she won't give it back! I bet you know where she put it, don't you?", "BUFFY: She doesn't know anything. Buffy kneeling on top of the knight (Orlando), pulling off his mask.", "BUFFY: Okay, let's see who you are.", "ORLANDO: The Knights of Byzantium, an ancient order. And now your enemy. So long as you protect the key, the brotherhood will never stop until we destroy it and you.", "SPIKE: Look at you. All afraid I'm hot for your honey. Spike in Buffy's darkened bedroom in \"Into the Woods.\" Buffy asleep.", "RILEY VOICEOVER: Because you are.", "SPIKE: Well ... yeah. Buffy in the magic shop in \"Checkpoint.\"", "BUFFY: Just tell me what kind of demon I'm fighting.", "QUINTON TRAVERS: Glory isn't a demon.", "BUFFY: What is she?", "TRAVERS: She's a god.", "BUFFY: Look, I know Mom wants to gather and make with the merry tomorrow night, but with everything that's going on... Willow walks up behind Buffy.", "WILLOW: This is exactly what you need. (Sits next to Buffy. We see Tara sitting on Willow's other side) A 20th birthday party with, with, with presents, and funny hats, and, and those candles that don't blow out... (whispers to Tara) Those used to scare me.", "TARA: Me too.", "BUFFY: I just don't think this is the best time to break out the party pinata. We need to stay focused if we're gonna find a way to stop Glory. We see Xander and Anya sitting on Buffy's other side.", "XANDER: We're going up against a god. An actual mightier-than-thou god.", "WILLOW: Well, you know what they say, the bigger they are-", "ANYA: The faster they stomp you into nothing. Everyone looks at her. We see Giles sitting between Buffy and Xander, looking through books and papers.", "BUFFY: She's right. I've thrown everything I've got at her and she just shrugs it off.", "WILLOW: Then we have to find something heavier to throw.", "GILES: That might pose some difficulty. From what the Council's been able to discover from the book of Tarnis and, and, and other sources, Glory and two of her fellow hellgods ruled over ... one of the more seriously unpleasant demon dimensions.", "TARA: There's more than one?", "ANYA: Oh, there are thousands of demon dimensions. All different.", "GILES: All pushing on the edges of our reality, trying to find a way in.", "BUFFY: I guess Glory found one. The question is, why?", "GILES: There's nothing to indicate that here. Just ... vague references to ... chaos and destruction. (Sound of teakettle whistling. Giles gets up to get it.)", "BUFFY: Okay, so, we know where Glory's from. What do we know about her? You know, she's tough, yeah, but, but no bolts of lightning, no blasts of fire, shouldn't a god be able to do that kind of stuff?", "GILES: (pouring tea) Uh, usually, yes, but um, being in human form must be severely limiting her powers. All we have to worry about right now is she's immortal, invulnerable, and insane.", "XANDER: A *crazy* hellgod? And the fun just keeps on leaving.", "GILES: From what I've been able to gather, her living in this world is ... seriously affecting her mental state as well. She's only being able to keep her mind intact by, uh, extracting energy from us. Well, from, from the human brain.", "TARA: She, she, she's a brain-sucker? (Willow and Tara exchange a look)", "GILES: She, um ... (leans over to read from book) \"absorbs the energies that bind the human mind into a cohesive whole.\" Once drained, all that's left behind is, uh-", "BUFFY: Crazy people.", "GILES: (pouring more tea) Which is, I'm afraid, why there's been a marked increase in the ranks of the mentally unstable here in Sunnydale.", "TARA: At least vampires just kill you.", "BUFFY: (gets up) We have to find a way to stop her.", "WILLOW: Oh, well, Tara and I can work on some tactical spells. (Giles hands Buffy a cup of tea)", "ANYA: I can do some research. I know *way* more about demon dimensions than Giles does. (Giles frowns) Well, I do.", "XANDER: This is great long-term plan-y stuff, but what about this ... key thingy Glory's looking for? Buffy and Giles both standing, sipping tea, exchanging a look.", "TARA: (OS) Yeah, I mean, shouldn't we be trying to find it before she does?", "BUFFY: I don't think that's what we should be worrying about right now. (Giles sits)", "WILLOW: They've got a point. Whatever Glory's planning on opening with the key, I'm guessing it won't be filled with candy and flowers.", "XANDER: So where should we start looking? Do we know where it used to be kept? Who saw it last?", "BUFFY: We did. Giles and me. We, we know where it is.", "XANDER: You what?", "WILLOW: You know, and you didn't tell us?", "GILES: There were ... reasons.", "BUFFY: Look, i-if Glory knew that you guys knew where it was, I ... (sits) I-I just didn't wanna put you in that kind of danger.", "XANDER: (annoyed) As opposed to the other kind we're always in?", "WILLOW: You should have said something.", "BUFFY: Will, there- (pauses) You're right. (to Giles) It's time.", "GILES: Are you sure?", "BUFFY: If they're gonna be risking their lives, they deserve to know.", "XANDER: Know what? Buffy looks at her friends. They look at her.", "BUFFY: There's something that you need to know ... about Dawn.", "Cut to: graveyard, night. The knight from \"Checkpoint\" (Orlando) holding a sword.", "ORLANDO: The link must be severed. Such is the will of God. We see two other knights standing with him, also holding swords. They all chant in unison.", "KNIGHTS: The key is the link. The link must be severed. Such is the will of God. The key is the link. The link must be severed. Such is the will of God.", "JINX: You really think *he* is going to help you? The knights draw their swords and turn to see Jinx, Dreg, and another demon who looks like them, each holding an axe.", "JINX: I fear your faith is gravely misplaced. The demons attack. The fight is brief; two of the demons are defeated. Only Jinx is left. He cowers and tries to back away as Orlando advances, but Jinx trips over something and falls on his butt. Orlando stands over him and lifts his sword high.", "ORLANDO: Shall we test your faith now? He starts to stab downward. Jinx cringes. A hand appears and grabs the sword's blade.", "GLORY: Never send a minion to do a god's work. She backhands Orlando, who goes flying backward, losing his grip on the sword. He crawls toward it on the ground as Glory beats up the other two knights. She stabs one knight with his own sword, then uses it to kill the other as well. She drops the sword and walks toward where Orlando is still trying to reach his sword.", "GLORY: Hey, nice sword. (Picks it up and points it at his face) Bet it hurts. Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Troy T. Blendell, Amber Benson as Tara, and Kristine Sutherland as Joyce Summers. Written by Steven S. DeKnight, directed by Michael Gershman.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on Willow and Tara outside the magic shop, daylight. They are drawing symbols on the ground with colored sand. Dawn walks up.", "DAWN: You guys doin' a spell?", "WILLOW: Dawn, hey. Y-yeah, we're doing an early warning incantation. If anything hellgodishly powerful comes within a hundred feet of the shop, then screechy siren things will, you know, screech.", "TARA: This should give us a heads-up so we can hide ... the, um, key.", "WILLOW: We already put one up around your house.", "DAWN: Cool, can I help? Willow and Tara exchange a look.", "WILLOW: Well, I don't think Buffy would like the, uh, black arts bumpin' auras with the littlest Summers.", "DAWN: (nods resignedly) Yeah, whatever. (Goes into the shop)", "TARA: (quietly) How can she not be real?", "WILLOW: She's real, she's just ... kinda ... new. Willow throws a last handful of dust down; the symbols all flash brightly and disappear.", "Cut to inside magic shop. Dawn enters. Anya is dusting something while Xander sits at the table reading.", "DAWN: Hey. We on the case?", "XANDER: Yeah. Right on top, perched, ready for action. (Anya looks uncomfortable) How's my sweet fancy Dawn doing? Xander reaches over to tickle Dawn's stomach. She giggles and tries to fight him off.", "DAWN: (laughing) Fine. What's up with you? (Xander stops tickling) Did you get into the sugar again?", "ANYA: (loud fake cheerful tone) You make a very pretty little girl! Xander jumps up.", "XANDER: (same fake tone) Anya, you wanna help me with that thing?", "ANYA: (same fake tone, with fake smile and fake laugh) Xander needs help with his thing! They walk off. Dawn looks annoyed.", "GILES: I'm not sure our regular workout is ... challenging you any more. Perhaps we should make it harder. Giles and Buffy walk in from the back room. Buffy holds a bottle of water. Giles is writing in a small book.", "BUFFY: You always think harder is better. Maybe next time I patrol I should carry a load of bricks, use a stake made of butter.", "GILES: Very amusing. They walk over to the counter, where Dawn is standing, with a notebook lying open on the counter. Giles puts his book down on the counter also.", "GILES: I'm sure Dawn feels that way about her schoolwork sometimes.", "BUFFY: That true? How was school today?", "DAWN: Um, the usual. Big square building filled with boredom and despair.", "BUFFY: (OS) Just how I remember it. Giles closes his book, slides it off the counter and out of sight.", "BUFFY: So, what's the homework sitch?", "DAWN: We have to imagine what we'll be like ten years from now and write a letter to our future self. The teacher's clearly so out of ideas. (Giles closes a drawer behind the counter) Wanna help?", "BUFFY: Maybe later. I have some stuff I have to do first. Giles moves his hands away from the drawer. Dawn looks over at him, then back at Buffy.", "DAWN: Is it about that weird girl that came to the house?", "BUFFY: Glory. And no it's not.", "DAWN: Like you'd tell me anyway. Dawn's too young and Dawn's too delicate.", "BUFFY: Right. A young delicate pain in my butt.", "DAWN: I just think you're freakin' out 'cause you have to fight someone prettier than you. That is the case, right? Buffy walks closer to her.", "BUFFY: (softly) Glory is evil. And powerful. (normal tone) And in no way prettier than me.", "DAWN: I just think you're getting soft in your advanced age. She didn't look that tough to me. (Smirks)", "Cut to: Glory in her apartment, talking to Orlando. His face is bloody.", "GLORY: Okay. One more time. (circles around behind him) Just between me and you. Our itsy-bitsy little secret. (comes back to the front, grabs his face) Where ... is ... the key?", "ORLANDO: Even if I knew, I'd die a thousand deaths before I'd tell you.", "GLORY: (annoyed) Well, you won't need a thousand, sweetie. (pats his cheek, turns away) I'll make the first one last. Long time. She walks a few steps away. She's holding his sword. She turns back and shakes her head.", "GLORY: What is it with you religious types? (gasps, smiles. Throws the sword aside and goes back to him) It's intimacy, isn't it? She grabs his face, runs her hands down his chest.", "GLORY: Oh! You're just scared of letting someone in! (circles around him, hugging him and rubbing his chest) Shh, shh, shh. It's okay. I know how difficult the first time can be. You don't have to be afraid. (gets back to the front, puts her face right next to his) Just relax. You may not have the info I want ... but you still got something I need. She slides her fingers into his head. Light streams out of the holes. Orlando screams.", "Cut to: huge pile of brightly wrapped gifts.", "BUFFY VOICEOVER: Prezzies! Pull out to reveal the Summers living room. Joyce and Dawn on one couch, Buffy on the other, on either side of the coffee-table laden with presents. Xander, Giles, Tara, Anya, and Willow stand around. Tara and Xander hold gifts. Willow wears a party hat and holds a bottle of bubble-blowing liquid.", "WILLOW: See, just what you needed. (Blows bubbles)", "BUFFY: You are very, very wise. Now gimme, gimme, gimme! (Tara hands her a gift. Buffy begins ripping off the paper.)", "ANYA: This is extremely suspenseful! I want the presents. Buffy pulls out a dress.", "BUFFY: Ohh ... it's beautiful. Thank you, guys.", "TARA: Well, we thought you'd get lots of crossbows, other killy stuff.", "WILLOW: Yeah, so we figured, less killy, more frilly.", "ANYA: Gotta look. (Grabs the dress from Buffy) Oh, it's just so lovely! Oh, I wish it was mine! Everyone gives her a look.", "ANYA: (quietly) Oh, like you weren't all thinking the same thing. (puts the dress down)", "GILES: I'm fairly certain I wasn't. (whispers to Xander) I've got one just like it.", "DAWN: (gets up) Here. Open mine. (Gives gift to Buffy)", "BUFFY: It's not gonna explode, is it? She opens it and removes a photo of herself and Dawn, in a frame covered with seashells.", "DAWN: It's when we visited Dad that summer in San Diego. (Buffy staring at it) Um, I put the shells on it myself. We picked them off the beach.", "BUFFY: (softly) I remember. Joyce smiles. Everyone else looks thoughtful. Dawn looks uncomfortable.", "DAWN: Well, geez, don't get all movie-of-the-week. I was just too cheap to buy a real present.", "BUFFY: Thank you. Buffy gets up and hugs Dawn. Buffy and Joyce exchange a look over Dawn's shoulder.", "Cut to later. Joyce, Buffy, and Giles in the kitchen. Giles pouring a glass of wine. Buffy pouring a glass of water from a pitcher.", "JOYCE: It still seems to me like there's a lot you don't know about this. I mean, is she dangerous?", "BUFFY: No.", "GILES: Well, now, wait just a second. (Camera pans across to the doorway. We see Dawn in the dining room, looking down the hallway, listening in.) I assume you're talking about her existence rather than her intentions. Buffy looks down the hall, sees Dawn.", "JOYCE: Exactly.", "BUFFY: (calls) Dawn? What are you doing in there? Party gettin' slow?", "DAWN: Uh, (picks up a stack of plates from dining-room table) we need plates. Cake time. She walks off. Buffy smiles nervously.", "Cut to living room. Tara and Willow are preparing the cake. Xander and Anya stand in the doorway kissing. As Dawn walks in, Anya pushes Xander away; Willow and Tara stop what they're doing. Dawn puts plates on the table next to the cake, smiling. She stops smiling when she sees Tara's face, then turns around to look at Xander and Anya.", "DAWN: Why does everybody start acting all weird when I'm around?", "XANDER: Me? Me not weird. Tara looks worried. Willow licks frosting off a birthday-cake candle.", "DAWN: I'm not an idiot. I know you're talking about me.", "XANDER: No, no, we really weren't.", "ANYA: (fake voice) We were talking about s*x. Buffy, Joyce, and Giles enter.", "DAWN: (to Joyce) They were talking about me, just like everybody is.", "XANDER: Again, not so much. In fact, none.", "ANYA: We were talking about s*x. I mean, you know us, sometimes we like to pretend stuff-", "JOYCE: Um...", "XANDER: Anya!", "ANYA: You know, like, say there's a fireman, or a shepherd-", "BUFFY: You know what? Let's not have this exchange of images right now.", "DAWN: Oh. Right. Of course. Can't let Dawn hear anything. (angry) Fine. I'm just gonna go to bed. That way I won't accidentally get exposed to, like, words. She storms out. Everyone looks unhappy.", "WILLOW: (holds up a piece of cake on a plate) Cake?", "Cut to: Dawn storming into her bedroom, slamming the door. She leans against the wall and looks sullen.", "Cut to: exterior of the house. Dawn climbs out her window and down the trellis, climbs from the trellis onto the back porch. The curtains are drawn; we can see the shadows of the others moving inside the house. Dawn goes down the back stairs, watching the windows, and turns around to find Spike standing right behind her. He has something under his arm and a cigarette in his mouth. Dawn gives a little yelp of surprise.", "DAWN: Geez! Lurk much?", "SPIKE: I wasn't lurking. I was standing about. It's a whole different vibe.", "DAWN: What is- (looks at the thing under his arm. Folds her arms and smirks) Are you giving Buffy a birthday present? (Spike looks at the box) Oh my god. Weird. And chocolates? Lame. And the box is all bent, and, well, you know she'd never touch anything from you anyway.", "SPIKE: (leans closer to her, speaks menacingly) Shouldn't you be tucked away in your beddy-bye? All warm and safe where nothing can eat you?", "DAWN: (giggles) Is that supposed to scare me?", "SPIKE: (sighs, leans back) Little tremble wouldn't hurt.", "DAWN: Sorry, it's just ... come on. *I'm* badder than you.", "SPIKE: (insulted) Are not!", "DAWN: Am too. You're standing in the bushes hugging a bent box of chocolates, and I'm-", "SPIKE: What? Sneaking out to braid hair and watch Teletubbies with your mates?", "DAWN: No. (softly, looking back at the house) I'm breaking into the magic shop ... (boastfully) to steal things.", "SPIKE: (frowns) Magic shop, eh? (looks over his shoulder; thoughtfully) All number of beasties between here and there. (Dawn looks a little nervous) Bet they'd really go for a little red riding hood like you. Bet that wouldn't sit too well with big sister.", "DAWN: (uncertain) I can take care of myself. Spike just looks at her. She looks around, anxious.", "DAWN: You wanna come steal some stuff?", "SPIKE: Yeah, all right. Dawn nods. They walk off.", "Cut to: exterior magic shop, night. Dawn stands by the door holding the chocolates while Spike kneels, trying to pick the lock.", "DAWN: Do you know how to do that or not?", "SPIKE: Give us a sec. I usually just (gestures) burst through doors. The door finally opens.", "SPIKE: That's right! (Stands up, gives Dawn his best smug smirk) Who's bad now? They enter.", "SPIKE: Girl with a mission, eh? (Dawn turns on a flashlight) What's the caper? Jewels? Ancient artifacts? Or just plain hard cash liberated from the till?", "DAWN: A book.", "SPIKE: All this for a book? Dawn walks confidently to the counter, puts down the chocolates and goes behind the counter.", "DAWN: I don't want the book. Just what's inside. I think it was Giles' notes. (Shines the flashlight around as Spike examines the stuff on the counter) He was standing here, and when I turned around it was gone. She begins feeling under the counter. Spike takes something off the counter and puts it in his pocket. Dawn finds the hidden drawer and pulls it open, revealing the book. She smiles in triumph.", "Cut to later.", "SPIKE: Where did he learn to write so bloody small, from a fruit fly? We see Dawn and Spike sitting on the floor, three candles lit in front of them. Dawn reading the book. Spike's cigarette is mostly ash.", "DAWN: Wait, here's something. Uh, \"Tarnis, 12th century. One of the founders of the monks of the order of Dagon.\" (Spike stands up) \"Their sole purpose appears to have been as protectors of the key.\"", "SPIKE: (scoffs) Brown-robe types are always protecting something. It's the only way they can justify giving up girls. (He looks around, spots Olaf's hammer from \"Triangle\" in a display case) Hey! Troll hammer. Spike tries to pick it up but it's too heavy. It falls to the floor with a clang. He glances over to see if Dawn noticed. She has her back to him.", "SPIKE: Didn't go with my stuff anyway. He continues looking around at the shelves, looking bored, as Dawn reads.", "DAWN: \"The key is not directly described in any known literature, but all research indicates an energy matrix vibrating at a dimensional frequency beyond normal human perception. Only those outside reality can see the key's true nature.\" (shakes head) Outside reality. What's that mean?", "SPIKE: Mm. Second-sight blokes, mostly. (Puts out his cigarette in an item on the shelf) Or even just your run-of-the-mill lunatics. He resumes his seat beside Dawn as she begins to get an expression of revelation. Flash to hospital in \"Listening to Fear.\"", "CRAZY SECURITY GUARD: There! (points at a scared Dawn) There's no one in there. Flash to outside magic shop in \"The Real Me.\"", "CRAZY GUY: I know what you are. Back to Dawn looking thoughtful.", "SPIKE: What else does it say about this key? Is it made out of gold? Maybe we can hock it, split the take.", "DAWN: Um, (reads) \"The key is also susceptible to necromanced animal detection, particularly those of canine or serpent construct.\" Flash to the snake creature slithering across the floor in \"Shadow.\" Dawn screaming as it rears up above her. The creature's eyes flashing red. Back to Dawn holding the book, pondering. Spike reaches over and takes the book from her.", "SPIKE: (frowns at book) \"The monks possessed the ability to transform energy, bend reality.\" Blah, blah, blah. (looks at Dawn) Good lord, Giles writes as dull as he talks, doesn't he? (back to book) \"They started work. But the Council ... has suggested ... to us that they were interrupted. Presumably by ... Glory.\" (Dawn continues staring into the distance as she listens) \"They obviously did manage to accomplish the taste...\" (looks closer) \"accomplish the task. They had to be certain the Slayer would protect it with her life. So they sent the key to her ... in human form. In the form of a sister.\" Zoom in on Dawn's shocked expression. Spike frowns, looks over at her.", "SPIKE: Huh! I guess that's you, nibblet. Shot of Dawn continuing to react. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Exterior shot of the Summers house, night.", "Cut to inside. Willow and Tara on a sofa, facing Buffy in an armchair.", "WILLOW: Not even a card, huh?", "BUFFY: I wasn't really expecting one. No contact with civilians. There's probably a ... code name for it. You know, like radio silence, it's \"greeting card silence.\"", "WILLOW: Sorry.", "BUFFY: Maybe it's time to start a new tradition. Birthdays without boyfriends. It could be just as much fun.", "WILLOW: Preaching to the choir here, baby. (smiles at Tara)", "TARA: Yeah, some of my best- (sees something across the room) Oh-oh my god. Buffy turns to look behind her, gets up. We see Dawn standing in the doorway. A large knife in one hand, blood running down her other arm from a wound across the inner forearm.", "DAWN: (dazed) Is this blood? We see Joyce and Giles across the room, turning to look.", "BUFFY: Dawn!", "JOYCE: Oh, baby. Buffy and Joyce rush over to Dawn.", "BUFFY: What did you do?!", "DAWN: This is blood, isn't it? It can't be me. I'm not a key. (Buffy looks shocked) I'm not a thing.", "JOYCE: Oh, sweetie, no. Wha-what is this all about?", "DAWN: (grimly) What am I? (getting teary) Am I real? Am I anything? She begins to cry. Joyce hugs her. Buffy watches grimly, also a little teary-eyed.", "Cut to: Buffy seeing the others out.", "WILLOW: If you need anything-", "BUFFY: Thanks. Willow hugs Buffy and leaves. Giles walks up to the door.", "GILES: Perhaps I should stay, you know, just in case.", "BUFFY: This is a family thing. We should deal with this.", "GILES: Okay. Giles leaves. Buffy closes the door behind him.", "Cut to: Dawn sitting on her bed. Joyce sits at the foot of the bed. Buffy enters.", "DAWN: (softly, not looking up) Why didn't you tell me? Joyce looks at Buffy.", "BUFFY: We were going to. It just... (trails off. Dawn gives her an angry look)", "JOYCE: We thought it would be better if we waited until you were older.", "DAWN: How old am I now?", "JOYCE: You're fourteen, sweetheart, you know that.", "DAWN: No. The monks. When did ... when did they ... (trails off)", "BUFFY: Six months ago.", "DAWN: (trying to hold back tears) I've only been alive for six months, huh?", "JOYCE: Honey, you've been alive a lot longer than that to us.", "DAWN: You don't know that! You don't know anything. I'm, I'm just a key, right? Everything about me is made up.", "BUFFY: Dawn ... (sits on the bed next to Dawn) Mom and I know what we feel. I know I care about you. I know that I worry about you-", "DAWN: You worry about me because you have to. I'm your job. Protect the key, right?", "BUFFY: I worry because my sister is cutting herself!", "DAWN: Yeah? How do you know? Maybe this is just another fake memory from my fake family.", "JOYCE: Sweetheart-", "DAWN: Get out.", "BUFFY: Dawn...", "DAWN: Get out, get out, get out! Her voice rises to a shriek on the last two words. Joyce and Buffy get up to leave. Dawn lies down on the bed, curls up hugging a stuffed animal.", "Cut to magic shop, day.", "BUFFY: We need answers, Giles. Buffy, Willow, Xander, and Giles move across the room toward the counter. Giles goes behind the counter, where Anya is already moving around looking at stuff.", "BUFFY: We need to find out everything we can about the key. What's it for, who created it.", "XANDER: And why Glory has a big girl-god jones for it.", "BUFFY: This isn't about her. It's about Dawn. She deserves to know where she came from. She needs to know. Or it's just gonna eat away at her.", "GILES: (looking at his notebook and papers on the counter) How did she find these? How did she get in here?", "ANYA: (turns away from the back shelves, holding an item) Ew! Who's been using the urn of Ishtar as an ashtray? (takes out a cigarette butt) Willow looks thoughtful. Shot of Buffy as the realization hits her.", "Cut to: Buffy bursting into Spike's crypt. Spike is sitting atop one of the coffins, painting his fingernails.", "SPIKE: Morning, sunshine. If you've come around for eggs or sausage, I'm fresh out. Buffy grabs the lid of the coffin and pulls it out from under Spike so that he tumbles backward into the coffin. He sits up.", "SPIKE: Hey, careful! These are wet. (Holds up his hand) Buffy slides the lid back onto the coffin so that it slams into Spike's chest, pinning him against the opposite side of the coffin.", "BUFFY: How could you let her find out like that? From books and papers? You hate me that much?", "SPIKE: I was just along for the ride. Not like I knew she was mystical glowy key thing. Nobody keeps me in the bloody loop, do they?", "BUFFY: (bangs the lid, steps back) You could have stopped her.", "SPIKE: Oh, yeah, here it comes. Something goes wrong in your life, blame Spike. News flash, blondie. (Heaves the lid up off of him, tossing it aside) If kid sis wants to grab a midnight stroll, she'll find a way sooner or later. I just thought she'd be safer with big bad looking over her shoulder.", "BUFFY: (glares at him silently for a moment) She shouldn't have found out like that.", "SPIKE: You didn't think you could keep the truth from her forever, did you? (angrily) Maybe if *you* had been more honest with her in the first place, you wouldn't be trying to make yourself feel better with a round of Kick The Spike. Buffy turns and storms out, slamming the door. Spike sighs and shakes his head.", "Cut to: Joyce knocking on Dawn's door, entering. Dawn still lying on her side on the bed, with her back to the door.", "JOYCE: Honey? You're gonna be late for school.", "DAWN: I'm not going. Blobs of energy don't need an education.", "JOYCE: You want me to make you some soup? (sits on the bed) I think there's some chicken and stars...", "DAWN: I'm not sick! (quieter) I'm not anything.", "JOYCE: Honey, calm down, okay... (puts hand on Dawn's back)", "DAWN: (faces her) Don't tell me what to do. (pause) You're not my mother. Joyce looks hurt. Dawn lies back down for a moment, then gets up.", "DAWN: I changed my mind. I'd rather be at school. (Grabs her backpack and leaves)", "Cut to: Exterior hospital, day.", "Cut to: interior, mental ward. Ben enters carrying a tray with a bunch of cups of Jello on it.", "BEN: All right, fellas, today we've got blues, greens, and... (looks at tray) oh, hey, chartreuse. It's a party.", "ORLANDO: It won't stick. The birds have been pecking too hard. (laughing) Ben looks over and sees Orlando strapped down in one of the beds.", "BEN: Byzantium.", "JINX: Yes, they've arrived. (We see Jinx standing in the corner. He walks over to stand beside the knight's bed) Unfortunate, but not completely unexpected.", "BEN: How many?", "JINX: Their numbers are few for the moment, but they will grow. (Ben puts down the tray) The Knights of Byzantium are like ants. First you see one, then two, then the picnic's ruined. No matter how many we kill, they'll keep coming ... wave after wave. (walks over to Ben) It's time to set old animosities aside. Your fate is directly linked to her magnificently-scented Glorificus. She's been extremely forgiving of your considerable foibles up until now, but if you persist in your defiance, she'll be forced to-", "BEN: To what? What is she going to do? Send a six-pack of minions to bore me to death? Glory can't lay a finger on me. You know it, I know it, she knows it. So save the threats, or I'll finish the job I started on your head. He shoves past Jinx and exits.", "Cut to: Exterior of the Summers house, night.", "Cut to: Dawn in her bedroom looking through her diaries. She has a bunch of them, of different sizes, shapes, covers, etc. She clutches one to her chin and looks pensive.", "Cut to: Buffy and Joyce in the living room. They sit side-by-side on the sofa.", "JOYCE: We can't just let her sit up there all alone.", "BUFFY: She needs time. We can't force her to be all right with this.", "JOYCE: That's your answer? Just ... leave her alone and hope that everything works itself out?", "BUFFY: No, but if I were her, I'd want a little bit of time right now. I wouldn't want my mother and my sister coming at me from all sides.", "JOYCE: Her school called today. She was suspended. We see Dawn on the stairway above, listening.", "JOYCE: (OS) She yelled at a teacher. The things she said, Buffy, I mean she never used language like that", "BUFFY: (OS) She probably feels like she can say or do anything right now. She's not real. We're not her family, we don't even know what she is. Dawn looks shocked.", "Cut to: Dawn storming back into her room, crying. She slams the door, looks around, and begins to trash her room, shrieking. She shoves stuff off the desk, shoves books off the shelves, tears posters off the walls. She picks up one of her diaries and flips through it, then begins to tear out pages, throws them in the wastebasket, then throws the whole book in. Extended sequence of Dawn ripping pages out of diaries, throwing the pages and the diaries into the wastebasket. Cut back to living room. Joyce jumps up, staring at Buffy in horror.", "JOYCE: How can you talk about Dawn as if she's a thing?", "BUFFY: I'm not! I'm just ... saying that's probably how she feels.", "JOYCE: Well, then we have to show her that it isn't true. She needs to know that she's still a part of this family and that we love her.", "BUFFY: It's not that simple! We're not gonna be able to fix this with a hug and a kiss and a bowl of soup! Dawn needs to know where she came from, she needs real answers.", "JOYCE: (sits) What she needs is her sister, Buffy, not the Slayer.", "BUFFY: The Slayer is the only thing standing between Dawn ... and this god from the bitch dimension that wants to shove her in some kind of lock and give her a good twirl. Mom, I need to be out there, doing my job- A shrill beeping noise begins. They both jump up.", "BUFFY: Oh my god, Glory. It's Willow's spell. (Runs toward stairs)", "JOYCE: (following) Wait. It's not Glory.", "Cut to: Buffy kicking down Dawn's door, rushing in followed by Joyce. The beeping continues.", "BUFFY: Damn it. We see the wastebasket on fire. Buffy grabs a blanket from the bed and tosses it over the flames to put them out.", "BUFFY: Dawn!", "JOYCE: (looking at something across the room) Buffy.", "BUFFY: No. No, she could have burned the house down.", "JOYCE: Buffy ... she's gone. Buffy looks in the direction Joyce is looking. Shot of the open window. The alarm continues beeping. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on magic shop, night.", "BUFFY: She tore up her room ... she burned all of her diaries. (Moves across the screen to sit in a chair by the table)", "XANDER: The Dawnmeister Chronicles? Pan across Xander to find Willow and Tara sitting beside the counter. Giles and Anya behind it. Giles hands Willow a cup of tea.", "WILLOW: She's been keeping those since ... (pauses, looks confused) I mean...", "BUFFY: Since she was seven. I remember too, Will. (We see Spike standing in the background behind Buffy) We have to find her. Fast. Before Glory or the knights of hack-n-slash figure out what - *who* she really is. Mom's gonna stay at home in case she shows up. I figure we split up and sweep the city. (stands) Anya. Will you stay here in case she shows up? Xander, Giles, you guys take the center of town. Willow, Tara, west side. Spike, you and I'll get the east side. Everyone gets up to leave. Spike moves forward to stand beside Buffy.", "BUFFY: (softly) Just find her ... please.", "Cut to: Dawn walking through a playground, night. She looks over at a swing-set. Flash to a bright sunny day, small girl with Dawn's hair on the swing, bigger girl with Buffy's hair pushing her. (We only see them from the back.)", "YOUNG DAWN: Bet you can't push me all the way around!", "YOUNG BUFFY: Oh yes I can!", "YOUNG DAWN: No you can't! Flash back to today, the swing-set dark and empty. Dawn looks sad, tears on her face. She turns and walks away.", "Cut to: Xander and Giles walking through alleys in Sunnydale, night. Giles pokes around looking behind things, inside dumpsters, etc.", "XANDER: There's so many things I remember. Seeing Dawn ... hanging with her ... listening to Buffy complain about her. Mostly that last one. How could it be that all those things never really happened?", "GILES: Well, it takes some getting used to. The idea of a ... bright fourteen-year-old actually being living energy thousands of years old. They continue walking, looking around.", "XANDER: I'm guessing some kind of super-powerful in her raw form.", "GILES: People have killed, died for it ... summoned armies to control the key.", "XANDER: You know, uh ... she kinda has a crush on me.", "GILES: Your point being?", "XANDER: (stops walking) Well nothing, no, uh ... just saying, powerful being ... big energy gal digging the Xan-man. (Grins. Giles frowns at him) Some guys are just cooler, you know? Giles turns and walks away, rolling his eyes. Xander follows.", "Cut to: Buffy and Spike walking through the playground, night.", "BUFFY: (calls) Dawn! Dawn!", "SPIKE: Yeah, that should do it.", "BUFFY: Shut up.", "SPIKE: The nibblet scampered off to get away from you. She hears you bellowing, she's gonna pack it in the opposite direction. (they stop walking) Can't say I blame her. (looking around)", "BUFFY: (quietly, staring at the ground) You were right. (Spike looks surprised) This is my fault. I should have told her.", "SPIKE: (sighs) Look, she probably would have skipped off anyway, even if she never found out. She's not just a blob of energy, she's also a fourteen-year-old hormone bomb. (sighs) Which one's screwing her up more right now, spin the bloody wheel. (shrugs) You'll find her, just in the nick of time, that's what you hero types do. Buffy gives him a hopeful look.", "SPIKE: (firmly) You'll find her.", "BUFFY: (quietly) And then what?", "Cut to: Dawn walking down a street. She steps aside as an ambulance goes past, siren wailing, lights flashing. She stares after it.", "Cut to: Exterior hospital, night. We see the emergency room door, ambulance parked next to it, people running inside with a patient on a gurney.", "Cut to: Dawn entering the hospital. She goes down a hall, looks around to make sure no one's watching, then slips though a door.", "Cut to: Dawn entering the mental ward. All the patients begin to mutter nervously as she enters.", "PATIENT 1: It's here. It's here. It's here.", "PATIENT 2: Can't stop.", "PATIENT 1: It's here. It's here. (repeats over and over)", "PATIENT 2: Make it stop. The skin's too tight.", "PATIENT 1: (lifts his head to look at Dawn) Can't hear it. What's the frequency? Empty. All spilled out.", "DAWN: (goes over to Patient 1's bed) Please. Y-you see me, right? Look at me. Patient 1 stares at her, very fearful.", "PATIENT 2: Can't stop it!", "DAWN: You know what I am, don't you? You all know!", "PATIENT 1: (stares at ceiling) Can't hear it, can't hear it, can't hear it (repeats over and over)", "DAWN: Tell me!", "PATIENT 1: Can't hear it, can't hear it ... (repeats)", "DAWN: What am I?", "ORLANDO: The key. Dawn whips her head around to look at Orlando.", "ORLANDO: I found it. Thank you. Thank you. Thank you. Thank you.", "DAWN: (rushes over to him) You know what the key is? (He stares at the ceiling still repeating \"Thank you\") Where did I come from? Who made me, wha-what am I?", "ORLANDO: Thank you, thank you...", "DAWN: Please!", "ORLANDO: (suddenly jerks his head up and yells) Destroyer! (Dawn jumps back) Cracked ... bones ... the sun bleeding into the sky! The key is the link.", "DAWN: (shakes her head, backing away) No, no.", "ORLANDO: The link must be severed. Such is the will of God. Such is the will of God. Such is the will of God. (repeats) He continues repeating this phrase as Dawn backs away, then turns and runs away.", "ORLANDO: Such is the will of God.", "PATIENT 1: Can't hear it. Orlando continues repeating his phrase and Patient 1 repeats his, as the other madmen mutter also, getting louder and louder. Dawn runs to the door, pulls it open and finds Ben on the other side. He looks at her in surprise.", "Cut to: hospital locker room. Dawn sits at a small table. Ben walks over carrying two cups, which he puts on the table.", "BEN: Two steaming cups of chocolate goodness courtesy of ... whoever I swiped it from out of the cupboard. (sits) Couldn't find any marshmallows. I'll try to steal some for next time.", "DAWN: Don't like 'em anyway.", "BEN: What? Is that even possible?", "DAWN: Too squishy. When I was five, Buffy told me they were monkey brains, and I- (stops)", "BEN: Dawn, was your mom brought back in? Is that why you're here?", "DAWN: No. (bitterly) My *mom*'s just fine.", "BEN: (puzzled) Is there anybody I can call? Your sister?", "DAWN: I don't have a sister.", "BEN: Oh ... you two have a fight? It's okay, I know how that goes. I got a sister too. They can be a real pain sometimes. (Dawn nods) I tell you, there've been a lot of nights I wish she didn't exist either.", "DAWN: It's not Buffy. It's me. I'm the one that doesn't exist. (sighs)", "BEN: Look, I know it can feel that way sometimes, but when you're older-", "DAWN: No, you don't understand. It's not real. None of this. (indicating her body) They made it.", "BEN: Dawn-", "DAWN: I'm nothing! I'm just a thing the monks made so Glory couldn't find me. I'm not real. Ben looks extremely shocked and fearful. He gets to his feet.", "BEN: (gets up) You're the key?", "DAWN: How do you know about the key?", "BEN: Go! Before she finds you. Don't ask me how she knows, 'cause she always knows. Just go.", "DAWN: Wait! Calm down, just tell me-", "BEN: (agitated) You don't understand, you're a kid. (Dawn gets up) You stay, she'll find you. She finds you, she'll hurt you.", "DAWN: What's wrong with you?", "BEN: You're what she's been searching for. I am telling you, run. You don't know, you - (looks around nervously) Oh god. Oh god no, she's coming. (Dawn looks frightened) I can feel it, you've gotta get out. No ... oh no, she's here! He grabs Dawn by the arms. She screams.", "BEN: She's here! In the middle of \"She's here,\" Ben morphs into Glory. Dawn gasps and stares at her in shock. Glory looks confused.", "GLORY: Hey, don't I know you? Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade back in on the hospital. Dawn is sitting in the chair again.", "GLORY: (OS) Ugh, cotton! We see Glory standing by the lockers, taking off Ben's hospital scrubs (her back to the camera).", "GLORY: Could a fabric be more annoyingly pedestrian? (reaches into a locker) Now *this* is what I'm talkin' about. (Pulls out a red silk blouse and slides it over her head, smiling) Makes your skin sing.", "DAWN: You're-you're Ben...", "GLORY: (fastening the blouse behind her) Uh, it's an eensy more complicated than that. Family always is, isn't it? Dawn looks anxiously toward the door.", "GLORY: (still with her back to Dawn) You'd never make it. I'd rip out your spine before you got half a step. And those little legs? (smiles over her shoulder at Dawn) They wouldn't be much good without one of those. Suddenly Glory is right next to Dawn, bending over with her hands on her knees so that her face is at Dawn's level.", "GLORY: Would they, Dawnie? Dawn looks alarmed.", "GLORY: Now. What I'm trying to noodle, is what in the world was the Slayer's little sis doing here with gentle Ben?", "DAWN: Y-you don't remember?", "GLORY: Remember what? (brushes hair off Dawn's shoulders) You were talking to him, not me. (gasps, grabs Dawn's chin) Oh, he wasn't being naughty, was he? A hospital guard enters.", "GUARD: Excuse me, ma'am. This area's for hospital personnel- Glory turns around, grabs his head and twists it, breaking his neck. He falls to the floor. Dawn gasps. Glory turns back to Dawn and leans down again.", "GLORY: Rude! I was talking! (sighs) What do you say ... (pulls Dawn to her feet) we find a nice place off the beaten (grabs Dawn by the front of her blouse, spins her around) where you and I can have a long uninterrupted chat. Glory pushes a very scared Dawn around in front of her.", "Cut to: graveyard, night. Buffy and Spike walk up and encounter Willow and Tara.", "WILLOW: We looked, but no Dawn. Giles and Xander approach.", "BUFFY: What about the carousel?", "TARA: Checked there too.", "BUFFY: (to Giles) Nothing?", "XANDER: Sorry, Buff.", "BUFFY: Anything could have happened to her. Not just Glory. They all look concerned.", "BUFFY: We better check the hospital. They all walk off together.", "Cut to: hospital. Dawn and Glory are in some sort of lab, with X-ray display cases along one wall, racks full of beakers and test tubes. Glory shoves Dawn against a metal counter.", "GLORY: (briskly) Okay. Small talk over. I'm in a bit of a crunch here, so let's cut right to the ooey gooey center. Your sister, the Slayer, has my key. It's mine, I want it. (softer) Do you know where she squirreled it away? There's ice cream and puppydogs in it for you if you start singin'.", "DAWN: (nervously) I'm not sure. What does it look like?", "GLORY: (smiles fondly, puts hands over her heart) Well... (walks a few steps away, gets nostalgic) the last time I caught a peep ... it was a bright green swirly shimmer. Really brought out the blue in my eyes. (annoyed) But then those sneaky little monks pulled an abracadabra, so now it could look like anything. You see the predicament I'm in.", "DAWN: Maybe...", "GLORY: Yes?", "DAWN: Well, maybe if you ... told me more about it, I'd know if I've seen it. Glory sighs, leans forward, puts her hands on the table on either side of Dawn. Dawn gasps nervously. Glory gazes at her for a moment.", "GLORY: Okay.", "Cut to: the others waiting in the hospital emergency room. Buffy turns away from the desk.", "BUFFY: She wasn't brought in.", "XANDER: Which is a happy thing, right?", "BUFFY: I don't know, I... A doctor goes by, leading a bunch of security guards.", "DOCTOR: ...found him on the floor in the break room. You guys gotta see him. His head's almost twisted clean off. Buffy stares after them.", "BUFFY: Glory.", "Cut to exam room. Dawn is now leaning against a wall while Glory sits on the exam table.", "DAWN: So this ... key thing ... it's been around for a long time?", "GLORY: Well, not as long as me, but ... yeah. Just this side of forever.", "DAWN: (long pause, very quietly) Is it evil?", "GLORY: Totally! Dawn gives a little gasp of dismay.", "GLORY: (laughs) Well, no, not really. I guess it depends on your point of view.", "DAWN: What's it for? I mean ... if it's a key, there's gotta be a lock, right?", "GLORY: Yes. We have a winner.", "DAWN: S-so what does it open?", "GLORY: (sighs) I smell a fox in my hen house. (annoyed) Is that why you've been playing sugar and spice with old Uncle Ben? (gets down from the table) Trying to get a peek at Glory's unmentionables?", "DAWN: No, I-", "GLORY: Shh! I kinda wanna hear me talking right now. Me talking. (gets right up close to Dawn) You know what I'm starting to think? I'm thinking ... that maybe you ... (Dawn looking very apprehensive) don't have any idea where my key is. Glory spins away, speaking faster.", "GLORY: Very irritating. Irrational. Know what I mean, tiny snapdragon? Like... She bangs her elbows down on the table, leans over and rubs her forehead, scowling as if she has a headache.", "GLORY: ...bugs under my skin. And say, (sighs, closes her eyes) I'm feelin' a little...", "DAWN: What's wrong with you?", "GLORY: Hey. (sighs, smiles) Hey! (straightens up) This doesn't have to be a complete waste of my precious time. (turns and walks back toward Dawn) I've been meaning to send the Slayer a message. And I could use a little pick-me-up. Two birds, one stone, and (claps her hands in front of Dawn's nose) Boom. (Dawn looks very scared) You have yummy dead birds. The door bursts open and Buffy enters, followed by the others.", "BUFFY: Get away from my sister.", "GLORY: Hey, we were just talking about you. (Dawn runs over behind Buffy)", "BUFFY: Conversation's over, hell-bitch. Buffy punches Glory with a right, then a left, then ducks a punch, kicks Glory. Spike enters the room. Buffy and Glory grapple; Buffy spins her around and slams her into a display case. Glory kicks Buffy away. Shot of Dawn hiding behind a garbage can, watching the fight. Glory punches Buffy. Spike comes up behind Glory and grabs her, pinning her arms against her sides. She struggles. Buffy punches Glory in the face while Spike holds her.", "SPIKE: I thought you said this skank was tough. Glory breaks free, grabs Spike's arm and flips him over, throwing him against a wall. She picks him up, head-butts him as Xander moves around behind them, holding a tire iron. Glory throws Spike and he slides across the exam table, crushing a bunch of medical equipment. He falls off the other side, lands against the wall unconscious. Buffy watches looking concerned. We can see Giles holding a crossbow.", "GLORY: He wakes up, tell your boyfriend to watch his mouth. Buffy gets in Glory's face, glaring.", "BUFFY: (very firmly) He is NOT my boyfriend. Giles tries to aim the crossbow, but Buffy is between him and Glory. Buffy begins punching Glory. We see Willow and Tara watching, both holding small leather bags and quietly chanting. Buffy tries to kick but Glory grabs her foot and looks at it.", "GLORY: Hey, those are really nice shoes. Glory pushes Buffy's foot away. Buffy goes into a back-flip and kicks Glory in the face on the way down.", "BUFFY: Giles, now! Buffy dives out of the way and Giles fires the crossbow. The arrow bounces off Glory's stomach. She looks annoyed.", "GLORY: Oh, please. Like that's- Xander comes up behind her and hits her over the head with the tire iron.", "GLORY: Hey! (grabs the tire iron and Xander) Watch the hair. She flings Xander away; he flies back into Giles and they both crash into the x-ray display screens, which explode, showering sparks over them and Dawn in her hiding place. Dawn shrieks and covers her head.", "GLORY: (points the tire iron at each of them) Time to start the dyin'. (We hear Willow and Tara still chanting) Start with the whelp! Glory throws the tire iron like a javelin at Dawn.", "BUFFY: Dawn! Buffy throws herself into the tire iron's path, letting it stab her in the upper chest as she falls to the ground. Dawn begins to crawl out toward her.", "DAWN: Buffy!", "BUFFY: Get back!", "GLORY: Nice catch. Is that the best you little crap-gnats can muster? (Buffy pulls the tire iron out of herself with a grimace of pain) 'Cause I gotta tell ya, so not impressed. Glory walks in between Tara and Willow. They each throw a handful of glittery powder over her. It flutters down on her, covering her hair and body.", "GLORY: (angry) Look what you did to my dress, you little-", "WILLOW: (claps her hands once) Discede! (latin: \"disperse\" or \"separate\") Glory explodes into a cloud of dust and disappears. Willow falls to the floor.", "TARA: Willow! (rushes over to her) Buffy stares, turns to Dawn.", "BUFFY: Dawn. Buffy pulls Dawn over and hugs her, looking back at Willow and Tara.", "BUFFY: What did you do to her?", "WILLOW: (panting, nose bleeding) Teleportation spell. Still working out the kinks.", "BUFFY: Where'd you send her?", "WILLOW: Don't know. That's one of the kinks.", "Cut to: exterior nighttime. Several hundred feet above Sunnydale. We can see the lights of the city below. A cloud of dust appears and materializes into Glory. She looks around, looks down.", "GLORY: Oh, sh- Long shot of Glory as a ball of light streaking toward the ground. Cut back to hospital. Tara crouches by Willow as Giles comes over. We see Xander getting up also.", "GILES: That was an incredibly ... dangerous spell for an adept at your level. (He and Tara help Willow sit up)", "WILLOW: (dazed) Yep. Won't be trying that one again soon. Shot of Spike sitting up, looking annoyed. Buffy and Dawn sitting on the ground together.", "BUFFY: Are you okay? Did she hurt you?", "DAWN: Why do you care?", "BUFFY: Because I love you. You're my sister.", "DAWN: No I'm not.", "BUFFY: Yes you are. (Lifts Dawn's arm, so we can see her arm and hand are still bloody) Look, it's blood. It's Summers blood. Buffy presses her hand against the tire-iron wound on her shoulder, wincing a little. She clasps her bloody hand in Dawn's bloody hand.", "BUFFY: It's just like mine. It doesn't matter where you came from, or, or how you got here. You are my sister. (pause) There's no way you could annoy me so much if you weren't. Dawn looks at her for a moment, then hugs her tightly. They both get teary-eyed.", "DAWN: I was so scared.", "BUFFY: Me too. Shot of the others watching them.", "BUFFY: Come on. Buffy and Dawn stand up.", "DAWN: Wait. Ben. He was here, he was trying to help me. He... (stops, looks confused) I ... I think he might have left before Glory came ... (frowns) I can't, I can't remember.", "BUFFY: (takes her hand again) It's okay. Don't worry about it. Next time we see him, we'll thank him. (Dawn still looking puzzled) I have to get you back home though. Mom's freaking out.", "DAWN: (eyes widen) Oh. Is she mad about the whole fire thing?", "BUFFY: I think you sorta have a get-out-of-jail-free card on account of big love and trauma.", "DAWN: Really? Okay. Good. They start to walk out, holding hands.", "DAWN: You think she'd raise my allowance?", "BUFFY: Don't push it. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Spike's profession of love for Buffy is spurned when Drusilla returns. He offers to kill Drusilla for her, but Buffy is unimpressed. After Harmony returns to the scene and attacks Spike for revenge, Drusilla tries to kill Buffy. He saves Buffy from Dru, but has his invitation to the Summers' home revoked." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Spike in \"Into the Woods\"", "SPIKE: Look at you. All afraid I'm hot for your honey.", "RILEY: Because you are. Dawn listening to Spike read.", "SPIKE: They had to be certain the Slayer would protect it with her life. So they sent the key to her ... in the form of a sister. Dawn in the hospital talking to Ben.", "DAWN: I'm not real.", "BEN: You're the key. Go. Before she finds you, don't- she's here! Ben morphing into Glory.", "DAWN: Ben. He was here, he was trying to help me. He might have left before Glory came. I can't remember.", "Cut to inside the Bronze, which has been extensively remodeled following its demolition by Olaf in \"Triangle.\" The basic layout is the same but the fixtures and furniture have a new style, less gothic/industrial and more modern. It is filled with people dancing, talking, etc. We can see Willow/Tara and Xander/Anya dancing. The group Summercamp is onstage performing their song \"Play It By Ear.\" I'm amused by the overwhelming choices I guess the hardest part is knowing when to stop I'm confused and I think I'm hearing voices Things are happening so fast Do I save the best for last? Closer shot of Xander and Anya dancing. Pan across them to Willow and Tara dancing. All smiling. Pan over to Buffy sitting by a low round table by herself, watching the dancers, looking pensive.", "SPIKE: (OS) Bleedin' crime, is what it is. Buffy looks up as Spike sits in the chair beside her. Instead of his usual attire he wears khaki pants, a blue/gray button-down shirt open over a black t-shirt, and a shiny brown leather jacket.", "SPIKE: Jackin' up the bar price to pay for fixin' up this sinkhole. Not my fault insurance doesn't cover act of troll.", "BUFFY: Gee, maybe it's time you found a new place to patronize.", "SPIKE: (sits back) I've half a mind to! Especially since the flowering onion got remodeled off the sodding menu. (leans forward) 'S the only thing this place had going for it.", "BUFFY: (frowns) What are you doing?", "SPIKE: (frowns) Wha, what do you mean what am ... I ...", "BUFFY: Here? At this table? Talking to me. Like we're some kind of talking buddies.", "SPIKE: Well, I saw you ... sitting here alone. Thought, I don't know, you could, maybe do with a bit of, uh, you know, company. Buffy raises her eyebrows at him. Spike frowns.", "SPIKE: Suit yourself! He gets up. Focus on Buffy looking back over at the dance floor.", "SPIKE: (OS) Although... He sits back down as Buffy rolls her eyes.", "SPIKE: It's just, we took on that Glory chippie together, I was right there with you, fightin' the fight.", "BUFFY: Actually, you were sleeping the sleep of the knocked unconscious.", "SPIKE: Still, points for intent. (Buffy looks doubtful) You'd think that would be enough to cut me a sliver of slack. Earn a little consideration, respect.", "XANDER: (OS) Hey, uh, Evil Dead, you're in my seat. We see Xander and Anya standing behind Spike. He turns his head to look at them, sighs.", "SPIKE: Bugger it. He reaches for his beer bottle, knocks it over accidentally, grabs it and gets up. Buffy watches him go in some confusion as Xander and Anya sit.", "ANYA: Xander, I think you may have hurt his feelings.", "XANDER: And you should never hurt the feelings of a brutal killer. (ponders) You know, that's, uh, that's actually some pretty good advice. Buffy doesn't reply. Willow and Tara come over and sit.", "XANDER: So, who's up for some more liquid refreshments? I'm buying, for I am payday man.", "WILLOW: (opening a bottle of aspirin) I could use a water.", "XANDER: (raises a hand dismissively) Water poses no challenge for payday man, for I have... (pauses, looks dismayed) Shot of a small tray lying on the table, with just a few coins on it.", "XANDER: (OS) Hey, where's my change? Buffy looks at the tray, scowls, glances over at the bar. Xander looks too. Shot of Spike at the bar, buying another beer.", "XANDER: Spike, you diabolical fiend. Xander gets up and walks toward Spike. Buffy looks at Tara comforting Willow.", "BUFFY: Poor Will. Still getting those headaches?", "WILLOW: Fewer and further between, but...yep, they're still exercising their visitation rights.", "TARA: Honey, in case you didn't hear me the first six thousand times, no more teleportation spells.", "WILLOW: Well, it's just we have squat in the way of Glory-fighting arsenal, and ... another run-in with her and my headaches and nosebleeds are gonna be the least of our problems.", "BUFFY: You know what? This is the first R-'n'-R I've had in weeks. How about we go one night without saying the name Glory. Everyone nods.", "TARA: I'm down with that. Let's just call \"she who will not be named\" another name. Let's just call her-", "BUFFY: Ben! Shot of Ben sitting on a sofa across the room, with another guy.", "TARA: (OS) For example.", "BUFFY: I'll be right back. Buffy gets up and the other three girls watch her walk over to Ben.", "BUFFY: Ben! Hey!", "BEN: Buffy, hi.", "BUFFY: I barely recognized you without your hospital scrubs. The guy next to Ben gets up and leaves, and Buffy sits in his place.", "BEN: Oh, you'd be surprised the extent of my wardrobe.", "BUFFY: Really?", "BEN: I actually have entire outfits that aren't blue pajamas.", "BUFFY: (laughs) Um, my sister ... uh, told me what happened at the hospital before I got there.", "BEN: (wary) Uh huh.", "BUFFY: And, uh, I just wanted to say ... thanks. (Ben looks confused) For looking after her?", "BEN: (sighs, smiles) That's okay. I'm glad Dawn's all right.", "Cut to Spike and Xander by the bar.", "XANDER: The point is, I work hard for that money.", "SPIKE: And you're saying I didn't?", "XANDER: You stole it.", "SPIKE: And you're making it into very hard work!", "XANDER: Listen, bleach boy, I don't have a chip in my head. I can do far more damage to you than you can ever do to me. Spike isn't listening, as he has noticed Buffy chatting with Ben and is watching them intently.", "SPIKE: (distracted, still watching Buffy) Yeah? Like you could ever hurt me.", "Cut to: train station. A porter leans against a fence reading a Spiderman comic as a train approaches, the horn blowing. It comes to a stop. Lingering shot of the stair in the doorway of the train. Shot of the porter straightening up, waiting for the passengers to start coming out. Another shot of the doorway. No one appears. The porter frowns, walks forward to the door of the train and calls inside.", "PORTER: Sunnydale Station! Last stop this line. Nothing. He looks around. The platform is empty.", "Cut to the porter entering one of the train cars. He walks to the first row of seats, stops and looks shocked. Shot of a male passenger lying slumped over with blood on his neck and on the pillow behind his head. Shot of the porter looking shocked. Short of a female passenger also lying slumped over dead and bloody. The porter walks farther into the train and we see more dead passengers in the seats. Shot of another female passenger with her arm stretched out into the aisle, covered with blood from a wound on the wrist. The porter breathes heavily. Sound of footsteps. He turns and sees something.", "PORTER: Oh god! Oh please! Help me! Somebody please! Help me! He runs back the way he came.", "Cut to exterior shot of the train's doorway. The porter appears still screaming \"Help me!\" Before he can make his way down the stairs, something grabs him from behind and drags him back into the train. We hear him screaming. Wolf howl. Opening credits. Guest starring Mercedes McNab, Charlie Weber, Amber Benson as Tara, Juliet Landau as Drusilla, and Kristine Sutherland as Joyce Summers. Written by David Fury, directed by Daniel Attias.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on exterior shot of the Summers home, night. Sound of a door closing.", "Cut to inside. Giles, Joyce, and Dawn are sitting in the living room. Joyce and Giles have books; Dawn sits on the floor watching television.", "JOYCE: (looking toward the door) Buffy? Buffy enters.", "BUFFY: I'm back by popular demand.", "GILES: Did you have a nice time?", "BUFFY: (ponders, sits) You know, I think I did. Much-needed fun, apart from Willow's headaches and Spike's cameo appearance.", "DAWN: Spike was there?", "BUFFY: Unfortunately. Joyce comes forward to sit beside Buffy.", "JOYCE: Well, I'm relieved that you're home. Because to be honest, I wasn't feeling all that safe with you gone. Shot of Giles sipping tea, raising his eyebrows in an injured manner. Buffy looks meaningfully from her mother to Giles and back.", "JOYCE: (quickly) At first. And then I, um, remembered that, um, Rupert was here and I felt much, much safer.", "GILES: (puts down book, gets up) Yes, well, thank you for the little backpedal, but uh, I'm forced to agree that I'm ... barely an adequate substitute for a Slayer in the house. (moves toward the door) Good night.", "JOYCE: Good night. Buffy gets up and follows Giles to the hallway where he begins putting on his coat.", "BUFFY: So how is Dawn?", "GILES: She's, uh, she's coping very well. Extremely well, really, considering the extraordinary circumstances of her origin.", "BUFFY: Then lemme ask you something. Um, we've been going easy on her the last week ... letting things slide?", "GILES: Oh, I don't think that's at all wise.", "BUFFY: You don't?", "GILES: No, the best thing you can do now is behave exactly as you always have. Any special treatment at this stage is likely to undermine Dawn's sense of normality.", "BUFFY: You think so?", "GILES: Absolutely.", "BUFFY: (nods) Thanks. (turns around and yells sharply) Dawn! Dawn jumps up from the floor.", "DAWN: What?!", "BUFFY: What did I tell you about borrowing my clothing?", "DAWN: I didn't take your clothes.", "BUFFY: Bull!", "DAWN: I never touched your stuff.", "BUFFY: Really. Then what happened to my blue cashmere sweater?", "Cut to Spike sitting in his crypt, fondling Buffy's blue cashmere sweater.", "HARMONY: (OS) Spikey... Spike quickly hides the sweater behind him and turns in his chair. We see Harmony wearing a silk negligee.", "HARMONY: Aren't you coming to bed?", "SPIKE: I'm not tired.", "HARMONY: Me neither. She comes forward and slides onto Spike's lap, giving him an excellent view of her cleavage. He turns his head aside, looking annoyed.", "HARMONY: Don't you wanna come in and ... tire me out?", "SPIKE: Harm ... (she kisses his ear) really not in the mood right now.", "HARMONY: (annoyed) You're never in the mood! (kisses his ear again) We could do something different tonight.", "SPIKE: Like what, you stop yammering for two seconds?", "HARMONY: (caressing his face) Well, we could ... I don't know ... maybe play a game? Spike looks at her, thoughtful.", "Cut to: Harmony jumping out of the shadows, wearing Buffy's blue sweater and a pair of tight brown leather pants, holding a stake. She stalks dramatically around the crypt.", "HARMONY: Oh, I'm gonna stake you! (looks around) I'm coming after you, you bad, evil vampire, (gestures with the stake) and I'm gonna slay you! (pauses and thinks for a moment) I'm sneaking up, and I'm going to stake you so much with my slaying powers that I have because I'm the chosen- She shrieks as Spike, shirtless, lunges into the shot and grabs her around the waist, growling, pulling her to the ground. The camera doesn't follow them down but remains focused on the darkened crypt.", "HARMONY: (OS) Oh, Spike!", "Cut to: exterior UC Sunnydale building, day.", "WILLOW VOICEOVER: I just don't see why he couldn't end up with Esmerelda.", "Cut to inside. Tara, Buffy, and Willow are walking along the hallways.", "WILLOW: They could have the wedding right there. Beneath the very bell-tower where he labored thanklessly for all those years.", "TARA: No, see, it can't, it can't end like that, 'cause all of Quasimodo's actions were selfishly motivated. He had no moral compass, no understanding of right. Everything he did, he did out of love for a woman who would never be able to love him back. (They come to a vending machine and stop walking. Tara digs in her purse. Willow looks in hers as well) Also, you can tell it's not gonna have a happy ending when the main guy's all bumpy. Willow takes some money out of her purse and hands it to Tara, who smiles and turns to the vending machine.", "WILLOW: What did you think, Buffy?", "BUFFY: The test isn't till tomorrow, right? (shrugs) I don't have an opinion till then.", "WILLOW: But, you read it, right?", "BUFFY: Kinda not. I rented the movie.", "TARA: (takes her snack out of machine) Oh, with, um, with Charles Laughton?", "BUFFY: I don't know. Was he one of the singing gargoyles?", "WILLOW: Oh boy. (They all begin to walk off)", "BUFFY: What, I, I'm kidding! (notices a guy reading a newspaper) You're done with this? (grabs the paper from him)", "GUY: Yeah, hi, uh, kind of reading that? Buffy ignores him, taking the paper over to Willow and Tara, staring at the front page. Shot of front page of the Sunnydale Press reading: \"METROTRAIN MURDER. Six Found Murdered on Train at Sunnydale Station.\"", "BUFFY: \"Six found murdered on train at Sunnydale Station.\"", "TARA: Glory?", "BUFFY: (shakes her head) \"Unconfirmed reports of severe trauma to the throats of one or more of the victims.\" (lowers the paper) Survey says ... vampire.", "Cut to: Spike climbing up some stairs, emerging in his crypt. A woman is watching him; we only see her from the back. Spike reaches the top of the stairs, sees her and gasps in surprise.", "SPIKE: Oh, it's you. (frowns) What are you doing here lurking about? He bends over to slide a trapdoor cover over the hole in the floor that he just emerged from. We see the visitor is Dawn.", "DAWN: I'm not lurking. I'm looking. What are you doing?", "SPIKE: (nervous) Nothing.", "DAWN: So is that how you get around town in the daytime? I mean, does that lead into the sewers or something? Can you show me?", "SPIKE: No. (moves forward) Why are you- (pauses, sighs) Does Buffy know you're here? (takes out a cigarette, lights it)", "DAWN: Yeah, right. (turns and walks a little bit away) 'Cause nothing would make her happier than to find out I'm hanging out after school in the vampire's lair. Especially yours.", "SPIKE: (snaps off his lighter in annoyance) Go home then.", "DAWN: I don't feel like it right now.", "SPIKE: Well, you can't bloody well stay here.", "DAWN: Why not?", "SPIKE: Because, I've got things to do. Dawn folds her arms over her chest, looking skeptical. Spike approaches her.", "SPIKE: Bad, evil things! (Dawn tries to stifle a grin) That are not for a child's eyes.", "DAWN: (stops smiling) I'm not a child. (goes to lean against a pillar) I'm not even human. Not originally.", "SPIKE: (sighs) Yeah, well, originally I was. I got over it. (Sits on the edge of a coffin) Doesn't seem to me it matters very much how you start out.", "DAWN: That's smart. I get that. (pauses) I like how you talk to me like I can understand things. Everyone else is being all ... twitchy and secretive.", "SPIKE: They're just trying to keep you safe, I expect.", "DAWN: I feel safe with you. Spike chokes on his cigarette smoke in horror. He begins to cough and jumps down from the casket. Dawn moves forward from the pillar in alarm.", "SPIKE: Take that back!", "DAWN: (quickly) I, I mean, you have that whole ... superpower thing, and ... you're just as tough as Buffy is, maybe tougher. (quieter) Buffy thinks so too.", "SPIKE: She does?", "DAWN: Well, she's always worried about what she's gonna do if you ever get that chip out of your head.", "SPIKE: Is that right? So, um... (He sits back down on the coffin and Dawn leans back against the pillar) what else does Buffy say about me?", "Cut to: Buffy entering the Summers house, day, holding an armful of books.", "BUFFY: (calls) Hey!", "JOYCE: (OS) Dawn?", "BUFFY: No, it's me. Buffy puts her books down, moves toward the living room. Joyce emerges from the kitchen.", "JOYCE: Is Dawn with you?", "BUFFY: Isn't she here?", "JOYCE: No, she didn't come home from school today. (anxious) Oh Buffy, the news said something about people murdered-", "BUFFY: It's not Glory, it has nothing to do with Dawn, I promise. Look, she probably - I'll find her. She leaves.", "Cut to: exterior, aerial shot of the graveyard, night.", "DAWN VOICEOVER: And the lady just invited you in?", "Cut to inside Spike's crypt. Spike and Dawn sit on the coffin, both cross-legged, facing each other, with a lantern lit between them. It's very dark.", "SPIKE: Well, I had hubby by the throat, didn't I? Promised her he'd live if she gave me the invite.", "DAWN: And did you? Let him live?", "SPIKE: What do you think?", "DAWN: (frowning) Huh.", "SPIKE: Too much for you?", "DAWN: (quickly) No! Keep going.", "SPIKE: (softly) And I kill 'em. Right quick, the whole lot. (Dawn looks fascinated) But... (grinning) There's someone missing. Supposed to be ... this little girl. So I get real quiet, (looking at ceiling) and I hear this tiny noise coming from the coal bin. This little sigh. (looks at Dawn) So I listened harder, it's very, very quiet... Dawn is hanging on every word. Suddenly there's a loud noise of the crypt door banging open. Dawn jumps with a very startled gasp. Spike starts too, looks over her shoulder at the door.", "SPIKE: Oh ... bloody hell. Buffy comes rushing in.", "BUFFY: Spike, I need your help, Dawn is- (Stops short when she sees Dawn) Here. (Spike gets down from the coffin)", "DAWN: Spike was just telling a story, a-and he was just at this really cool part-", "BUFFY: (to Spike) What the hell is this? What is she doing here?", "DAWN: Just hanging out.", "BUFFY: (raises eyebrows) Here?", "DAWN: Can you please let him finish the story? Then you could do the lecture? Buffy scowls, looks over at Spike.", "BUFFY: Yeah. Okay. Let's hear the story that Spike is telling my little sister.", "SPIKE: (nervous) Right. Yeah. (Shot of the two girls watching, Dawn interested, Buffy with her arms folded) So, uh, I knew the girl was in the coal bin. So I rip it open, very violent, haul her out of there ... (looks at Buffy) and then I give her to a good family in a nice home, (Buffy rolls her eyes) where they're never ever mean to her, and didn't lock her in the coal bin.", "DAWN: What? That's so lame!", "SPIKE: (to Buffy) I was just about to send her home. I knew you'd be frettin'.", "BUFFY: Dawn, get your stuff, we're getting out of here. Spike watches them leave, frowning.", "Cut to Buffy and Dawn walking through the graveyard.", "BUFFY: Why doesn't that register with you? Crypt plus vampire equals bad.", "DAWN: 'Cause it was Spike!", "BUFFY: Hanging out with Spike is not cool, Dawn, okay? It is, it is dangerous, and ... icky. Dawn pauses, smiles bashfully.", "DAWN: I don't think Spike's icky.", "BUFFY: Yeah, well, think again, sister- Buffy sees Dawn's expression and stops. Dawn tries to hide her face. Buffy folds her arms across her chest.", "BUFFY: You have a crush on him.", "DAWN: No I don't! It's just, (giggles) he's got cool hair, and he wears cool leather coats and stuff. (stops smiling) And he doesn't treat me like an alien.", "BUFFY: He's a killer, Dawn. You cannot have a crush on something that is ... dead, and, and evil, and a vampire.", "DAWN: Right, that's why you were never with Angel for three years.", "BUFFY: (quietly) Angel's different. He has a soul.", "DAWN: Spike has a chip. Same diff.", "BUFFY: (turns away, gesturing angrily) I, I can't listen to this! (sighs, turns back) Spike is a monster, okay? A-and plus, you are only fourteen years old.", "DAWN: I like hanging out with him is all. And even if I did have a crush, he wouldn't notice in a million years. Not with you around.", "BUFFY: What does that mean?", "DAWN: Spike's totally into you. Buffy is speechless.", "DAWN: Oh, come on. You didn't notice? Buffy, Spike is completely in love with you. Buffy stares at her.", "BUFFY: Huh? Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade in on a piece of yellow police tape (CRIME SCENE DO NOT CROSS) stretched across the doorway of the train. A hand rips it down. Pan over to Buffy and Xander standing on the platform. Buffy has the yellow tape in her hand. Xander is holding a flashlight.", "XANDER: So, tell me again what we're looking for?", "BUFFY: Clues. She goes into the train.", "XANDER: Ooooh-kay. He follows.", "Cut to inside the train. Tape on the seats marks where the victims were found. Buffy and Xander enter, look around.", "XANDER: Could you give me a clue about what kind of clues?", "BUFFY: Something. Anything. (looks around) Just wanna know this was a vamp attack. If it was, how many we're talking about. Xander shines his flashlight around.", "XANDER: Well, Sunnydale's finest didn't ... leave us a lot of stuff to examine ... who knows how many people have traipsed through here. Buffy is thinking about something else.", "BUFFY: Xander?", "XANDER: What? Buffy starts to speak, stops.", "BUFFY: Never mind. They each turn to look at a different part of the train car. Then Buffy turns back.", "BUFFY: I-it's just that ... Dawn ... said that...", "XANDER: Yeah?", "BUFFY: Forget it.", "XANDER: Buffy! (walks toward her)", "BUFFY: She thinks that ... she said that ... (Xander nods, waits for it) Spike's in love with me. Xander frowns for a second, then bursts out laughing.", "BUFFY: I'm not joking.", "XANDER: (still laughing) Oh, I hope not. It's funnier if it's true.", "BUFFY: I'm serious. Xander, this is serious! He stops laughing with an effort, puts up a hand to show willing.", "XANDER: (seriously) All right. (clears throat) After a moment he snickers and begins laughing again. Buffy pouts, sits down on a seat, right inside the tape outline of a corpse.", "BUFFY: It's creepy.", "XANDER: No. Not creepy. 'Cause it's not real! I mean, how upset can you really get over one of Spike's ... fevered daydreams that's not gonna happen?", "BUFFY: I guess.", "XANDER: So, where did Dawn, how did she come to this *extremely* ... entertaining conclusion?", "BUFFY: (gets up) She was hanging out with Spike. I think she has a crush on him. She walks past Xander, who turns to watch her in dismay.", "XANDER: What?", "BUFFY: I mean, I always knew that he had this ... weird fixation with me...", "XANDER: I'm the one she has a crush on! Me!", "BUFFY: (shakes head) There's nothing here. Let's go. (turns to leave)", "XANDER: It's always been me! Big funny Xander! Oh, what, she just suddenly decides I'm not the cool one any more? Why is that okay? Xander follows Buffy out. The camera pans up to the cargo compartment in the ceiling of the train car. We see an antique doll lying on its side, with a red blindfold tied around its eyes.", "Cut to: Buffy entering her home, walking down the hall toward the kitchen.", "JOYCE: (OS) But what they didn't get was, that it was a copy of the bill of lading... Pan down the hallway. We see Joyce leaning on the kitchen island. As the camera moves closer we see Dawn on the other side of the island, listening and smiling.", "JOYCE: ...so they thought that it was another order form, so now I've got two shipments of Greek amphorae on my hands! The camera pans further and we see Spike sitting on the counter behind Dawn. All three laugh at the conclusion of Joyce's story.", "SPIKE: That's funny. And really, how many do you need, amphorae? They all laugh more. Buffy enters, folding her arms over her chest. Joyce sees her.", "JOYCE: (giggling) Oh, Buffy. Spike came by to apologize for yesterday. (puts her hands over Dawn's) Our missing child drama.", "BUFFY: (nods) And he just decided to ... hang out for a while?", "JOYCE: Oh, well, I got talking about the gallery. See, there was this-", "SPIKE: Oh, don't get us all laughing again, Joyce. Anyhow, I really need to talk to your eldest.", "BUFFY: What about? Spike gets down from the counter and goes past Buffy into the hallway. She turns to follow him, looking suspicious.", "SPIKE: I got a bit of info you might be keen on knowin'.", "BUFFY: Sorry, all out of cash. Why don't you hit on Giles - hit *up* Giles.", "SPIKE: I got a bead on the guy who killed those people. The ones on the train.", "BUFFY: Do tell.", "SPIKE: (jerking his head to indicate she should come with him) I'll do better than that, I'll show. Buffy doesn't budge. Spike frowns.", "SPIKE: What's the matter?", "BUFFY: (nervous) Nothing ... just...", "SPIKE: (sighs, rolls his eyes) Two vamps holed up in a warehouse downtown. Come on, what are you waiting for, grab your coat and your pointy sticks. Buffy moves past him. He lets her pass and falls in behind her.", "Cut to: Spike and Buffy sitting in a car watching a warehouse. Spike looks at Buffy. She gives him a sharp look back. He looks away. Buffy frowns at him, looking very suspicious and nervous. Spike suddenly reaches toward her and Buffy flinches back in her seat.", "BUFFY: Hey! He opens the glove compartment and takes out a flask. Buffy looks relieved. Spike takes a swig and then offers her the flask.", "BUFFY: Ew.", "SPIKE: It's not blood, it's bourbon.", "BUFFY: (slower) Eeeeew.", "SPIKE: (grins ruefully) Suit yourself. He shakes his head, reaches across Buffy to put the flask back, sits back and sighs. He begins to hum, tapping his fingers on the steering wheel. Buffy gives him a look, which he doesn't notice.", "SPIKE: (sings) I wanna be sedated... (stops singing, looks at Buffy) Do you like the Ramones?", "BUFFY: So if you're not doing this for the money, why *are* y-", "SPIKE: Shh! They both look out the front window. Two figures walk across the street. Closer shot of the two male vamps going up to a door, opening it and entering the warehouse. Spike and Buffy get out of the car.", "Cut to inside warehouse. The two vamps are sitting on a sofa. One is making popcorn over a small lantern. The other is looking through a pile of CDs. Buffy and Spike enter. The vamps get up.", "VAMP 1: The Slayer! The two vamps turn and run away. The popcorn continues popping.", "SPIKE: Well, that was sad. (Buffy moves forward, looking around) I'm embarrassed for our kind. Shot of the vamps' furniture arranged in a cozy grouping. Spike comes forward, goes a few steps in the direction the vampires went. (continuity note: the popcorn disappears at this point)", "SPIKE: So. Should we chase after 'em, then? They couldn't have gone far. Buffy is still staring at the furniture and stuff.", "BUFFY: These vamps have been here for a while. They've nested.", "SPIKE: So ... you're saying they're a couple of poofters?", "BUFFY: No. I'm saying they had nothing to do with last night's murders.", "SPIKE: How do you figure?", "BUFFY: Whoever did it only arrived in town last night. Looks like you've wasted my time. She turns to leave. Spike hurries after her, arrives in time to open the door for her. Buffy stops with her hand up (prepared to grab the doorknob) and turns to Spike with a frown.", "BUFFY: What are you doing?", "SPIKE: (looks at the door) I, I was ... (scoffs) I wasn't thinking.", "BUFFY: What is this?", "SPIKE: Oh, come- (shoves the door closed) don't get your knickers twisted, I was-", "BUFFY: What ... is this? (Spike stares at her) The late-night stakeout, the bogus suspects, the flask? (Spike raises his eyebrows) Is this a date?", "SPIKE: (loudly) A d- Please! (pretending to be amused) A date? You are completely off your bird! I mean - (quietly) Do you want it to be? Buffy makes a little groan, with an expression of disgust. She moves past Spike back into the warehouse.", "BUFFY: (upset) Oh my god. Spike bites his lip, turns to watch her.", "BUFFY: Oh ... oh no. (turns back to Spike) Are you out of your mind? (continuity note: the popcorn reappears)", "SPIKE: It's not so unusual. (walks toward her) Two people ... in the workplace ... feelings develop.", "BUFFY: No! No, no, feelings do not develop. No feelings.", "SPIKE: You can't deny it. There's something between us.", "BUFFY: Loathing. Disgust.", "SPIKE: Heat. Desire.", "BUFFY: Please! Spike, you're a vampire.", "SPIKE: Angel was a vampire.", "BUFFY: Angel was good!", "SPIKE: And I can be too. I've changed, Buffy.", "BUFFY: What, that chip in your head? That's not change. Tha-that's just ... holding you back. You're like a serial killer in prison!", "SPIKE: Women marry 'em all the time!", "BUFFY: Uhh!", "SPIKE: (realizing that's not what he meant) But I'm not ... like that. Something's happening to me. I can't stop thinking about you.", "BUFFY: Uhh. (turns away)", "SPIKE: And if that means turning my back on the whole evil thing-", "BUFFY: (turns back) You don't know what you mean! You don't know what feelings are!", "SPIKE: (offended) I damn well do! I lie awake every night!", "BUFFY: You sleep during the day!", "SPIKE: Yeah, but - (through his teeth) You are missing the point. This is real here. I love-", "BUFFY: Don't! She puts up a hand to stop him. He sighs.", "BUFFY: Don't say it. (Spike stares at her) I'm going. She starts to walk toward the door again.", "SPIKE: Oh, come on, we need to talk-", "BUFFY: (turns back) We don't need to do anything! Okay, there is no we! Understand? She turns to leave.", "SPIKE: Buffy. She opens the door and exits. Spike watches her go.", "Cut to: Spike entering his crypt, moving slowly. It's dark. He walks in, makes a face and puts his hand to his face. Suddenly there's a sniffling noise. Spike looks up, looks around suspiciously.", "SPIKE: Who's there? A voice comes from the shadows behind him. He turns.", "VOICE: A happy memory, pretty Spike. Drusilla walks out from the shadows, holding a red rose.", "DRUSILLA: Look who's come to make everything right again. Spike stares at her, astonished. She puts the rosebud against her cheek and draws it down across her face. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on closeup of Spike.", "SPIKE: So, uh, let me get this straight. Darla got mojo'd back from the beyond ... you vamped her... (camera pulls back so we can see Dru circling behind him) ...and now she and you are working on turning Angel into his own bad self again.", "DRUSILLA: Mm-hmm.", "SPIKE: Sounds fun.", "DRUSILLA: It is. Like lollipops at the circus. Although ... didn't care for Angelus setting us on fire. (She touches her cheek and chest where we can see still-healing burn marks.)", "SPIKE: And this has got you, what, all nostalgic now, has it?", "DRUSILLA: I want us to be a family again, my William. She walks up close to him and puts her mouth next to his ear.", "DRUSILLA: (whispers) Come back with me. (pulls back to look at him)", "SPIKE: To Los Angeles? (she nods) I've done the whole L.A. scene, Dru. Didn't agree with me. (walks away) Besides, I've got a sweet little setup here in Sunny-D. (gestures around) Decent digs... (sits in his armchair) not to mention all the tasty townies I can eat. Dru rubs one finger against the other in a scolding gesture.", "DRUSILLA: Naughty! Shh. (puts finger to her lips) You needn't make up stories. I already know why you're not coming. Poor boy. (puts hands to her head) Tin soldiers put funny little knick-knacks in your brain. Can't hunt! Can't hurt! Can't kill! She jerks her head on each \"can't\" in an imitation of Spike being zapped by the chip.", "DRUSILLA: You've got a chip. She tries to put her hands on Spike's head but he gets up from the chair and moves away.", "SPIKE: Right, so you've heard. Poor Spike's become a cautionary tale for vampires, right? \"You better be good, kiddies, or else they might wire you up someday!\" (Kicks something across the room)", "DRUSILLA: I don't believe in science. All those bits and molecules no one's ever seen. I trust eyes and heart alone. (Walks over to him) And do you know what mine is singing out right now? She takes Spike's hand and puts it over her heart. He stares at her.", "DRUSILLA: You're a killer. Born to slash ... and bash ... and... (gives a little gasp of pleasure) oh, bleed like beautiful poetry. Dru breathes faster, getting excited. They turn in a circle, still with Spike's hand on her chest.", "DRUSILLA: No little tinker-toy could ever stop you from flowing.", "SPIKE: (whispers) Yeah.", "DRUSILLA: Ohh.", "SPIKE: (shakes his head, removes his hand from her) But the pain ... love, you don't understand, it's ... it's searing. It's, um, blinding. She puts her hand on the top of his head and pulls it down toward her.", "DRUSILLA: All in your head. I can see it. Little bit of ... plastic, spiderwebbing out nasty blue shocks. (moves her fingers across his head imitating a spider) And every one is a lie. (Spike keeps his head bent) Electricity lies, Spike. It tells you you're not a bad dog, but you are. She runs her hand around behind his head and then across his face, takes his chin and lifts it to look at her. Spike growls. They gaze into each other's eyes.", "HARMONY: (OS) What the heck is this?", "SPIKE: Oh, bloody hell. He turns to see Harmony entering. She comes over to them.", "HARMONY: Who is - oh, wait. I get it. Our little s*x game was just the beginning. Now you've gone and picked up some cheap queen of the damned to dress up like your precious Drood-zilla.", "SPIKE: Harm.", "HARMONY: You'd better not be thinking what I think you're thinking. 'Cause my answer is the same as always. No threesomes unless it's (gestures to Spike) boy, (gestures to the air) boy, (gestures to herself) girl. Or Charlize Theron.", "SPIKE: Harm, you moron, this *is* Drusilla. Dru just watches with a small smile.", "HARMONY: Oh. Well, (walks toward Dru) you've got some nerve showing up here like this. After all this time. After breaking my sweet boo-boo's heart. Dru looks over Harmony's shoulder at Spike and mouths the word \"boo-boo.\" Spike shrugs.", "HARMONY: Do you have any idea how hard it's been to break down the walls he put up after you left? I mean, *serious* trust issues.", "SPIKE: Harm...", "HARMONY: So it's no use you crawling back to him, 'cause Spikey don't play that game any more, Morticia. Dru puts up a hand as if to block out the sight of Harmony. Harmony turns back to Spike and he grabs her by the throat.", "SPIKE: (looking at Dru) It's been fun while it lasted, Harm, (Dru smiles) but I think it'd be best now if you hit the road. He throws Harmony across the room. She hits the wall and slides down to the floor, clutching her throat and panting.", "HARMONY: Why? Because she's back?", "SPIKE: (still looking at Dru) No. (moves closer to Dru) Because I am. Dru smiles. Harmony begins to get to her feet. Spike puts his arm around Dru's waist and pulls her up against him.", "DRUSILLA: And there you are, my darling, deadly boy. She puts her hand on the back of his neck and they kiss.", "Cut to: Joyce, Buffy, and Willow sitting in the Summers living room.", "WILLOW: Well, he ... he actually told you? He, he said, \"I love you\"?", "BUFFY: Well, I-I didn't let him get that far, but ... I could see the words coming.", "JOYCE: Honey, did you ... somehow, unintentionally, lead him on in any way? Uh, send him signals?", "BUFFY: (ponders) Well, I ... I do beat him up a lot. For Spike that's like third base. Joyce looks upset, stands up.", "WILLOW: Buffy, um ... I'm really worried.", "JOYCE: So am I. He could become dangerous.", "BUFFY: Not really. As long as it's still chips ahoy in Spike's head he can't hurt me, or any of us. You know, besides, this'll probably just blow over. You know? It's just some weird Spike thing. He'll have the hots for some gak demon before we know it.", "WILLOW: I don't know. Uh, these things can, can become pretty twisted.", "JOYCE: (comes back to sit down again) Yeah, and Spike, I mean, he's...", "BUFFY: Pretty twisted.", "JOYCE: Yeah.", "WILLOW: Well, well, you made it clear, right? That it could never happen. That there's no possible way. Ever.", "BUFFY: Yeah! (looks at them) I, I think so. I don't know, I, I was just so thrown.", "WILLOW: Well, Buffy, you have to talk to him again.", "BUFFY: What? No. No, no, no, I have to avoid him again.", "WILLOW: Not until you shut him down completely. If he thinks there's even a little chance with you, there's no telling what he'll do. Buffy looks concerned.", "Cut to the Bronze. The group Devics is onstage performing their song \"Key.\" And this time I'm staying to bury the trail that you left, you left Pan across people dancing. Pan over to the door. Spike and Dru enter, arm in arm. Spike is once again wearing his usual attire complete with long black leather coat. He takes a glass of wine from a tray carried by a passing waitress. The waitress gives him a dirty look as Dru removes her coat. Shot of the band doing an instrumental interlude. Cut back to Dru putting the now-empty glass down. Spike takes her hands and they move onto the dance floor and begin to dance, very slow and sensual. The singer resumes singing. And if I was cold, well then you would stay inside me, warm me... Dru looks up. Shot of a couple kissing on the balcony above. Dru turns around so that her back is to Spike. He puts his arms around her waist. She leans back against him, grins and looks up again. Another shot of the couple still kissing. Dru leans her head back on Spike's shoulder and draws his attention to the couple. Spike has an evil expression as he and Dru begin to move off the dance floor.", "Cut to the Summers house. Joyce is in the hallway taking a coat down from a hook.", "JOYCE: I know this is hard, honey, but I think you made the right decision. She walks back into the living room where Buffy and Willow are standing. Joyce gives the coat to Buffy.", "JOYCE: Better to nip this in the bud before-", "BUFFY: The bud nips me?", "JOYCE: Exactly.", "WILLOW: If you want, Buffy, I can go with. Back you up with some scowling. She demonstrates her scowl as Buffy puts on her coat.", "BUFFY: Thanks, but ... I think this is something I have to do myself. Besides, you know, maybe I'm wrong. Maybe this, this whole thing's just been blown way out of proportion and ... he's already gone back to wanting me dead.", "WILLOW: Here's hoping. (Grins and holds up both hands with the fingers crossed) Buffy sighs, turns and walks toward the door. She stops and turns back to Willow.", "BUFFY: You know what, though? There is one thing you can do for me while I'm gone. Cut back to the Bronze. Close-up shot of the couple still kissing on the balcony. Pan across to Spike and Dru, climbing the stairs hand in hand. Dru has her vamp face on. They walk in step, slow-motion, as the music continues. I told you just like I told everyone I still have some doubts that you are the reason Dru walks up to the couple, grabs the girl's head and twists it. We hear her neck snap. Dru pushes the dead girl back toward Spike, who catches her as the boy looks on in horror. Still this is just so hard 'cause I know that I'll be left like always Dru walks behind the boy, turns his face aside and leans in to bite his neck. Shot of the dead girl with her head lolling back, exposing her neck. Pan up to Spike staring at her neck. He looks over at Dru, who raises her head from the boy to look at Spike, smiling. Here I'm safe so here I stay Lift me out, lift the doubt Spike looks conflicted. He closes his eyes, looks back at the girl, takes a few deep breaths. His vampire face appears and he bends down with a growl to bite the girl's neck. Shot of Dru watching, then turning back to her meal. Zoom in on Spike drinking from the dead girl.", "Cut to Spike's crypt. The door opens and Buffy peeks in, looking around.", "BUFFY: Spike? ... Are you here? She walks in, looking around.", "BUFFY: Spike? Nothing. She sighs. Then she looks at the floor, sees the trap-door, crouches down and moves it aside, looking down into the hole.", "Cut to underground. Buffy comes down a wooden ladder and emerges into an underground cave. There's a torch burning on the wall and a pile of human skulls by the foot of the ladder. Buffy takes down the torch and looks around, finding a couple of caskets lying with their lids open. More skulls lying all around. Buffy goes over to one wall that's covered by a sheet. She pulls it aside and reveals Spike's mannequin. The sheet drops away and reveals a whole Buffy Shrine with a collage of pictures of her -- some photos, some drawings -- on the wall, and more pictures on a small table, along with some stakes.", "Cut to Buffy climbing back up the ladder. She looks up, startled. Spike is squatting by the trap-door waiting for her. There's blood on his mouth.", "SPIKE: See anything interesting?", "BUFFY: (continues climbing out) Spike. I, uh ... what ... (begins backing up as Spike advances on her) what happened?", "DRUSILLA: (OS) Me. Buffy turns to see Drusilla behind her. Dru holds out a cattle prod/taser and zaps Buffy with it. Buffy falls to the floor with a grunt. Spike grins.", "SPIKE: You remember my ex, don't you, Slayer? He walks around Buffy toward Dru as Buffy sits up, leaning against the casket, groaning and wincing in pain. Spike puts an arm around Dru's shoulders.", "SPIKE: Come back, she did. Couldn't live without me.", "DRUSILLA: My boy's been feeding again. But I know what he really wants to eat. Dru leans over to Buffy, who can't move. Dru tasers her again. Buffy falls over. Dru straightens up.", "DRUSILLA: Shall we tie her up? (licks her finger) Play with her a teensy bit first.", "SPIKE: (pensively, looking at Buffy) I'm through playing.", "DRUSILLA: (delighted) Oooh. I like it when you're all dour and straight to business-like. Spike looks at her. She gives him the taser. Spike reaches out and tasers Dru. She gives a cry of pain and falls down.", "SPIKE: (quietly) Bloody well through playing. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade in on Buffy coming back to consciousness.", "SPIKE: (OS) There she is. Pull out to reveal Buffy in the underground cave, standing in a stone arch, with each hand cuffed to chains hanging from above. Her hands are chained at about shoulder-height. Spike stands directly in front of her. Buffy gasps anxiously and tugs at her bonds.", "SPIKE: Beginning to think you'd sleep the night away. Buffy stares at him, then remembers.", "BUFFY: Dru ... Drusilla? Spike raises his eyebrows with a slight grin. He moves aside so that Buffy can see Dru, tied to a pillar with her hands behind her back. Dru and Buffy are facing each other, about ten feet apart.", "DRUSILLA: Not nice to change the game in mid-play, Spike. You've taken my chair and the music hasn't stopped.", "SPIKE: Sorry, pet. My house, my rules.", "DRUSILLA: I think I shall be very cross with you when I'm free again.", "BUFFY: What's going on?", "SPIKE: Simple. I'm gonna prove something. (moves up close to her) I love you. Buffy closes her eyes and grimaces in disgust.", "BUFFY: Oh my god.", "SPIKE: No, look at me! (grabs her chin and forces her to look at him) I ... love you. (Buffy jerks her chin out of his hand) You're all I bloody think about. Dream about. You're in my gut ... my throat ... I'm drowning in you, Summers, I'm drowning in you. Dru begins to laugh. Spike turns.", "SPIKE: I can do without the laugh track, Dru.", "DRUSILLA: But it's so funny. I knew ... before you did. I knew you loved the Slayer. The pixies in my head whispered it to me. Spike turns back to Buffy as Dru continues talking.", "SPIKE: You can't tell me that there isn't anything there between you and me. I know you feel something.", "BUFFY: It's called revulsion. And whatever you think you're feeling, it's not love. You can't love without a soul.", "DRUSILLA: Oh, we can, you know. We can love quite well. If not wisely.", "SPIKE: (to Buffy) You still don't believe. Still don't think I mean it. You want proof, huh? How's this? He stalks over to the Buffy Shrine, grabs a stake off the table, turns and puts the stake against Dru's chest. He looks over at Buffy.", "SPIKE: I'm gonna kill Drusilla for you. Dru begins laughing again.", "BUFFY: That doesn't prove anything ... except that you're a sick miserable vampire that I should have dusted a long time ago. And, hey, already there.", "SPIKE: Don't mock this.", "BUFFY: Go mock yourself.", "SPIKE: This is Drusilla, girl! You have the slightest idea what she means to me? It's the face of my salvation! (looks at Dru, smiles slightly) She delivered me from mediocrity. For over a century we ... cut a swath through continents. A hundred years, she never stopped surprising me. He caresses Drusilla's cheek ad she leans her face into his hand.", "SPIKE: (quietly) Never stopped taking me to new depths. I was a lucky bloke. (Dru smiles) Just to touch such a black beauty. Shot of Buffy looking bored. Spike continues stroking Dru's face as she smiles.", "DRUSILLA: Aw... Suddenly Spike lifts the stake again and puts it firmly against Dru's chest. She gasps and winces.", "DRUSILLA: Ow.", "SPIKE: (turning to look at Buffy) So you see, it means something.", "BUFFY: Not to me. Kill her, why do I care? Spike looks surprised, takes his hand down.", "SPIKE: Here's why. (walks toward Buffy) If you don't admit ... that there's something there ... some tiny feeling for me ... then I'll untie Dru, let her kill you instead.", "DRUSILLA: (nodding quickly) Yes, please. I like that game much more.", "SPIKE: Just ... give me something ... a crumb ... a barest smidgen ... tell me ... maybe, someday, there's a chance. Buffy looks intensely at him. He moves right up close to her.", "BUFFY: Spike... He looks hopeful.", "BUFFY: The only chance you had with me was when I was unconscious.", "SPIKE: (puzzled) Oh, what... (makes a face of extreme frustration) Ohh! He turns away, throws the stake away and gives a loud angry yell.", "SPIKE: (shouting) Gaaah! What the bleeding hell is wrong with you bloody women? What the hell does it take? Why ... do you bitches torture me?", "BUFFY: Which question do you want me to answer first?", "SPIKE: Look, I, I'm at the end of my bleeding tether. You know? I don't even know why I even bother, you know. (points at Dru) This is your fault. You're the one to blame for all this.", "DRUSILLA: Am I?", "SPIKE: (shouting) Bloody right you are! If you hadn't left me for that chaos demon, I never would have come back here! Never would have had this sodding chip in my skull! And you - (to Buffy) wouldn't be able to touch me, because this, (pointing to Buffy, then to himself) with you, is wrong. I know it. I'm not a complete idiot. He stomps past Buffy, then turns back.", "SPIKE: You think I like having you in here? Destroying everything that was me, until all that's left is you, in a dead shell. (scoffs) You say you hate it, but you won't leave. You know, what I should just do, is get rid of both of you. Burn you. Cut you into little pieces (makes scissor gesture with his fingers) so there won't be any more bints to cock up things for Spi- He suddenly stops talking and spins around, falls over as we see an arrow protruding from his back and Harmony standing behind him with a crossbow. Shot of Spike on the floor, looking up.", "SPIKE: Oh, great.", "HARMONY: (OS) What about me, Spike? We see her standing over him.", "HARMONY: You forget about me again? The *actual* girlfriend? Shot of Drusilla looking at Buffy. Shot of Buffy watching Harmony.", "HARMONY: I gave you the best ... bunch of months of my life! She hits him over the head with the crossbow.", "DRUSILLA: That's right, little girl. Teach our naughty boy a lesson.", "SPIKE: (still on the floor) Oh, so now you're all ganging up.", "HARMONY: I thought I could change you, Spike. I thought maybe if I gave and I gave and gave, maybe you'd come around. Maybe be a little nicer. Stop treating me like your dog. (begins reloading the crossbow) But now I see it's you. You're the dog. Who needs to be put d- She turns away for a moment and Spike rushes her, grabs the crossbow and hits her in the face. He throws the crossbow away. Shot of Dru looking over at Buffy. Shot of Buffy tugging at her chains. Spike tries a kick on Harmony, which she avoids. She punches him. Shot of Dru struggling. Shot of her hands behind her, tied with rope. Shot of Buffy struggling. Harmony knees Spike in the groin, slaps him, but he ducks another swing, knees her in the stomach and throws her to the floor. The arrow is still sticking out of his back. Drusilla frees herself from the ropes and runs across to Buffy, who jumps up to brace herself against the sides of the arch. Dru punches her in the stomach, then tries to swing but Buffy blocks with her still-chained hands and head-butts Dru. Spike is on top of Harmony, pinning her down.", "HARMONY: Ow, you're on my hair! She reaches around him, grabs the arrow in his back, and twists. Spike gives a cry of pain. Buffy kicks Dru, flips over, locks her legs around Dru's neck and flings Dru aside. Harmony is standing, with the arrow in her hand. Spike is on the ground getting up. She tries to stake Spike with the arrow but he grabs her arm and they grapple. Dru picks up a 2x4 and hits Buffy with it a few times, grinning. Spike punches Harmony in the face and she falls down. Dru grabs Buffy's throat and looks into her face. Spike runs over and grabs Dru, flings her aside. She falls to the floor. Spike takes out the keys and unlocks Buffy as Dru gets to her feet. Buffy and Spike stand side-by-side, both panting. Dru stands up, holding her face, panting and looking shocked.", "DRUSILLA: Poor Spike... (shot of Spike and Buffy staring at her) so lost. (tearfully) Even I can't help you now. She turns and leaves. Spike and Buffy watch her go.", "HARMONY: (OS) Oh Spikey. Both Buffy and Spike roll their eyes and turn to see Harmony standing up.", "HARMONY: And you can say good-bye to this (pointing at her butt) because you're not gonna see it any more ever. (thinks) Unless you run into me somewhere and it's me walking away from you. She starts to leave, stops and turns back, putting hands on her hips.", "HARMONY: But even then ... I'll probably just ... you know ... back away. She backs away and exits. Buffy turns to Spike. He takes a deep breath and looks at her, anticipating. Buffy punches him in the face. He goes flying backward into the Buffy Shrine, bringing the mannequin and all the pictures crashing down. Buffy turns and walks off. Spike sits up, covered in Buffy pictures, and sighs.", "Cut to: Buffy walking quickly down the street near her home. Spike runs up behind her.", "SPIKE: Buffy! Come on now, stop. He reaches her and begins walking by her side.", "SPIKE: You can't just walk away from this.", "BUFFY: What part of punching you in the face do you not understand?", "SPIKE: So we had a fight. It's not our first, love, and it doesn't change anything.", "BUFFY: (stops walking, turns to him angrily) It changes everything, Spike! I want you out. I want you out of this town, I want you off this planet! You don't come near me, my friends, or my family again ever! Understand? She walks off. Spike shakes his head and follows.", "SPIKE: No, it's not that easy. We have something, Buffy. (Buffy is walking up the stairs to the front door of her house. Spike follows) It's not pretty, but it's real, and there's nothing either one of us can do about it. Buffy opens the door and enters, turning to face Spike who is right on her heels.", "SPIKE: Like it or not, I'm in your life, you can't just shut me out. He stops suddenly at the doorway as an invisible force prevents him from entering. Buffy stands right inside the door, giving him a grim look. Spike stares in surprise, gives a tentative smile, not quite getting it yet. It begins to dawn on him that his invitation to the Summers house has been revoked. Buffy steps back and closes the door in his face. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Buffy is comforted by Angel following her mother's death, although he can't stay. Dawn attempts to resurrect Joyce with the help of Spike and Doc, but stops part way through the ceremony after Buffy convinces her." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser Buffy in the Summers house, turning toward the living room.", "BUFFY: What are you doing?", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy walking into the living room, seeing Joyce on the sofa.", "PARAMEDIC: Your mother's dead. Buffy in the hospital.", "BUFFY: She just wouldn't believe me. Dawn in the school bathroom.", "DAWN: Oh god.", "BUFFY: I still don't think she does. Dawn talking to Ben.", "DAWN: I'm not real.", "BEN: You're the key. Go, before she finds you. She's here. Ben morphing into Glory. The lights come on. Buffy looks up, startled.", "GILES: Buffy, you're here. Giles, Dawn, and the funeral-home director enter. Buffy drops the lid of the coffin and folds her arms.", "GILES: You all right?", "BUFFY: Yeah.", "DIRECTOR: Did you find something?", "BUFFY: (nods) This one. Dawn walks over and stares at the coffin.", "DIRECTOR: (OS) It's a fine choice. It speaks of your deep feeling for the deceased. Giles and the director turn to leave. Buffy follows but Dawn remains. The others stop and look back at Dawn.", "BUFFY: You don't like it?", "DAWN: (still looking at the coffin) No, it's not that. It's just ... what if Mom ... what if she'd like something else better?", "BUFFY: Dawn...", "DAWN: I mean, how do we know for sure? She's the one who has to be in it forever.", "BUFFY: Dawn, maybe it wasn't such a good idea you coming along.", "DAWN: (turns to look at her) It's fine. It's just ...", "BUFFY: I'm serious. Y-you shouldn't have to deal with this stuff.", "DIRECTOR: If you'd like a few more minutes to decide-", "BUFFY: No. I, it's done, it's fine. (to Dawn) Okay? Dawn nods.", "BUFFY: Okay. Buffy turns and walks out with the men following. Dawn remains staring at the coffin. Wolf howl. Opening credits. Guest starring David Boreanaz, Clare Kramer, Charlie Weber, Troy T. Blendell, Amber Benson as Tara, and Joel Grey as Doc. Written and directed by Marti Noxon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Fade in on Dawn in the Summers dining room, standing by a side table, looking at the card in a flower arrangement.", "GILES: (OS) I checked prices at different florists, and the funeral home seems to be fairly competitive. Dawn turns and we see the table, laid out with food. Xander sits at left eating. Giles and Buffy sit side-by-side at the end of the table, looking at paperwork.", "BUFFY: Let's just go with that, it's easier.", "DAWN: (sits at the other end) What color flowers? Willow enters with a pitcher of water, pours a glass, and sits opposite Xander.", "BUFFY: Uh, white. (looks at Giles) They're nice.", "GILES: Yeah.", "BUFFY: (to Giles) Uh, what about an announcement? People are gonna be expecting a wake after the burial unless we say something.", "GILES: Um, well, we could put a, a line in the program expressing your mother's preference not to have one.", "WILLOW: There's no wake?", "BUFFY: Mom didn't like them. She said that potlucks are depressing enough as it is.", "DAWN: She said that? When?", "BUFFY: Uh, right before she went in for the operation. We had a talk about what she wanted ... in case. (looks down)", "DAWN: She never said anything to me.", "XANDER: I'm sure she just didn't wanna upset you, Dawnster. Now you better get to work on that dinner. You barely touched it.", "BUFFY: You really should eat something.", "DAWN: Why should I? You're not.", "BUFFY: This isn't about- The cordless phone on the table rings. Buffy sighs.", "BUFFY: (to Giles) I'm all phoned out. Will you? Unless it's my dad.", "GILES: Of course. Giles answers the phone. Buffy returns to the papers.", "GILES: Hello? Yes, yes they did. (Buffy looks at him) Thank you. (gets up) The, uh, funeral is at, uh, three tomorrow. Do you know the Brown Brothers mortuary? Giles walks out of the room, still talking. Buffy and Dawn look disappointed.", "BUFFY: Can't believe he still hasn't called.", "XANDER: Your dad's still AWOL, huh?", "BUFFY: The number he left for us in Spain is no good, and I've left messages everywhere. Um, how about a line that just says, 'Following the burial, there will be no wake'? Or gathering? (Shot of Willow thinking about it) 'At the request of Joyce, there will be no gathering'? Uch, that sounds lame. Buffy puts a hand to her forehead. Willow gives her a concerned look, looks at Dawn, gets up and begins clearing the table.", "DAWN: What are we gonna do? After, I mean. Are we just gonna ... come back here?", "BUFFY: Uh ... I, I don't know. I guess so. Um, how about 'At the request of the family, there will be no wake.'", "XANDER: (gets up to move into the chair next to Buffy) Good, yeah, it's got, uh...", "DAWN: (to herself) I don't wanna be here.", "BUFFY: Should I put it at the top, or just a small line at the bottom? Xander and Buffy bend over the paperwork. Willow re-enters, resumes clearing.", "DAWN: Can I go to your place tomorrow?", "WILLOW: Tomorrow?", "DAWN: After everything.", "WILLOW: Um, well, maybe you and Buffy should ... I-I don't mind.", "DAWN: (to Buffy) Can I?", "BUFFY: (looks up from discussing with Xander) Huh?", "DAWN: Can I go to Willow's tomorrow after the service?", "BUFFY: (looks at Willow, uncertainly) Um ... i-if you want to. I guess so.", "DAWN: I'll, uh, get my sleeping bag out of the attic. She gets up and leaves. Buffy returns to her paperwork.", "Cut to: Willow and Xander leaving the house. Xander closes the door and they start down the porch steps.", "XANDER: You going home?", "WILLOW: I'm gonna stop by my mom's first. Been doing that a lot lately.", "XANDER: Yeah. I actually might stop by your mom's too. (she looks at him) Well, I'm not going to *my* place. Those people are scary. (looks up) Speaking of. We see Spike coming up the walkway holding a bunch of flowers.", "XANDER: You have got to be kidding.", "SPIKE: (sighs) I'm not going in.", "XANDER: And you're not leaving those. Shot of Spike's hand holding the flowers.", "XANDER: You actually think you're gonna score points with Buffy this way?", "SPIKE: This isn't about Buffy. (walks closer)", "XANDER: Bull. We're all hip to your doomed obsession.", "SPIKE: They're for Joyce.", "XANDER: Like you care about her. Spike sighs angrily. Willow steps between them.", "WILLOW: Guys, guys, not here.", "SPIKE: Care? Joyce was the only one of the lot of you that I could stand.", "XANDER: And she's the only one with a daughter you wanted to shag. I'm touched.", "SPIKE: I liked the lady. Understand, monkey boy? She was decent. (Xander and Willow exchange a look) She didn't put on airs. She always had a nice cuppa for me. Willow looks sympathetic.", "SPIKE: And she never treated me like a freak.", "XANDER: Her mistake.", "SPIKE: (scoffs) Think what you want. He throws the flowers to the ground and stomps off.", "XANDER: Un ... believable. Willow looks at Xander, bends to pick up the flowers.", "XANDER: The guy thinks he can put on a big show and con Buffy into being his s*x monkey.", "WILLOW: (looking at flowers) Xander... (he looks at her) He didn't leave a card. Xander stares in the direction Spike went, looking surprised. Willow looks sad.", "Cut to: a wall covered with old black-and-white pictures of people and children. Pan across the wall. It's the hallway in the upstairs of the Summers house. Through the open door, we see Buffy sitting on her bed staring at nothing. Pan across more photos. We see Dawn sitting on her bed doing the same.", "Fade to: graveyard, daylight. Aerial shot of a group of people standing around the coffin. Fade to a shot of Buffy and Dawn standing together. We can see Xander and Giles behind them. Fade to a shot of the coffin.", "MINISTER: (OS) We commend to almighty God...", "Fade to overhead shot of the group.", "MINISTER: (OS) ...our sister, Joyce Summers... Shot of Willow and Tara holding hands. Fade to shot of Anya and Xander.", "MINISTER: (OS) ...and we commit her body to the ground.", "Fade to overhead shot of the group. The camera moves down to head height. Buffy and Dawn are at the front of the group. Dawn wears a black dress, Buffy in black pants with a long beige coat over.", "MINISTER: (OS) Earth to earth... (shot of Giles) ...ashes to ashes... (shot of Buffy and Dawn. Dawn winces. Pan across the others) ...and dust to dust. Sound of a shovel digging into earth. Dawn suddenly turns and buries her face in Buffy's shoulder. Buffy puts her arms around Dawn, still staring at the coffin.", "Fade to shot of a shovel putting the first dirt on the coffin.", "MINISTER: (OS) The Lord bless her and keep her.", "Fade to overhead shot of the group as it breaks up. One by one the others hug Buffy and Dawn.", "MINISTER: (OS) The Lord makes his face to shine upon her and be gracious to her. Shot of Dawn looking upset, Willow and Tara in the background. Fade to shot of Buffy hugging Giles.", "MINISTER: (OS) The Lord lift up his countenance upon her... Shot of Willow and Tara. Tara leans on Willow's shoulder.", "MINISTER: (OS) ...and give her peace.", "Fade to a shot of Buffy and Dawn standing alone at the grave, with Willow and Tara behind. Dawn turns away from Buffy and walks over to them.", "Cut to a closer shot. Dawn takes Willow's arm as the three of them exchange nods. Tara moves over to Buffy, taps her gently on the shoulder.", "TARA: Hey, um, Dawn's kind of ready to go. Can we take her with us?", "BUFFY: Yeah. She should probably get out of here.", "TARA: What about you? We can wait if you want.", "BUFFY: I'm fine. Thank you. Tara rejoins the others, whispers to them and they turn to leave. Dawn looks back over her shoulder at Buffy as they lead her away. Shot of Buffy staring at the grave with a small frown on her face. The camera lingers on her as the daylight lengthens to darkness behind her. Shot of the grave with Buffy's feet beside it. Another pair of feet appears and walks up beside her.", "ANGEL: I'm sorry. We see Angel standing beside Buffy, both staring at the grave.", "ANGEL: I couldn't come sooner. Buffy doesn't look at him, but she nods slightly and slips her hand into his. They stand looking at the grave, holding hands.", "Cut to Willow and Tara's dorm room. Dawn lies on her sleeping bag on the floor, with Willow and Tara crouched on either side.", "WILLOW: Oh, Dawn. I wish I could ... help more. (Dawn doesn't look at her) The only thing is ... it'll get better. I promise.", "DAWN: (looks at her) You don't know that.", "TARA: Sure she does. We're witches. We know stuff.", "DAWN: What? (looks from one to the other, sits up) Life goes on, and I forget Mom? (angry) Is that what you're saying?", "WILLOW: Not forget, no! I, you... (looks to Tara for help)", "TARA: You make a place for her in your heart. It's sort of like she becomes a part of you. Does that make sense?", "WILLOW: (nods hopefully) Dawn ... hey, we don't have to talk about this now, uh, you could just go to sleep.", "DAWN: No. (gets up) I don't wanna sleep.", "TARA: Okay, we can just ... sit, or, or whatever you want. Dawn goes over to a low table where the magical supplies are laid out.", "DAWN: Good. 'Cause I know ... what I wanna do now.", "WILLOW: Great. (she and Tara get up) What are you up for?", "DAWN: You guys are witches ... and you do ... magic and ... stuff.", "WILLOW: You want us to teach you something? Uh, like a-a glamour, or, or, I could ... make a stuffed animal dance.", "DAWN: I wanna do a spell. I wanna bring Mom back. Shot of Willow and Tara looking concerned. Shot of Dawn looking determined. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade in on Anya and Xander in bed. Anya is on top of Xander, both covered by sheets.", "ANYA: Mm. (breathing heavily, lies down and puts her head on Xander's chest) That was different.", "XANDER: (breathing heavily) Yeah. It was more ... intense.", "ANYA: (nods) It's because of Joyce.", "XANDER: Right. (pause) Huh?", "ANYA: Well, she got me thinking ... about ... how people die all the time, and ... how they get born too, and how you kind of need one so you can have the other. When I think about it that way, it ... makes death a little less sad, and ... s*x a little more exciting.", "XANDER: Again I say, huh?", "ANYA: Well, I just think I understand s*x more now. It's not just about two bodies smooshing together. It's about life. (Xander looks a little alarmed) It's about *making* life.", "XANDER: (alarmed) Right, when ... two people are much older, and ... way richer, and far less stupid.", "ANYA: (lifts her head to look at him, laughs) Breathe. You're turning colors. I'm not ready to make life with you, but I could. *We* could. Life could come out of our love and our smooshing, and that's beautiful. (Xander looks relieved) It all makes me feel like I'm part of something bigger. Like I'm more awake somehow. (smiles) You know?", "XANDER: Yeah, I do. He lifts his head and they kiss.", "Cut to Willow and Tara still reacting to Dawn.", "TARA: (steps forward) Of course you wanna bring your mother back, and ... I wish we could, but it's not possible.", "DAWN: Why? You guys do magic for all kinds of things.", "WILLOW: We do, but...", "TARA: This is different. Magic can't be used to alter the natural order of things.", "DAWN: But all you do is mess with the natural order of things. You, you make things float, a-and disappear, and-", "TARA: But we don't mess with life and death. (Shot of Willow looking upset) Dawn, I know how bad you hurt.", "DAWN: You don't. (upset) They put her in the ground.", "TARA: They did, and it's awful and unfair, but this isn't the way.", "WILLOW: I'm not even sure it's possible, Dawn. I mean, I've ... seen things on resurrection, but ... there's books and stuff ... but I guess ... the spells ... backfire?", "TARA: That's not the point.", "WILLOW: That's not the point. The, the point is it's bad ... because ...", "TARA: Because witches can't be allowed to alter the fabric of life for selfish reasons. Wiccans took an oath a long time ago to honor that.", "DAWN: So it's possible ... to bring someone back? They wouldn't have taken an oath if thy didn't know they could do it.", "TARA: Maybe they could, but we can't.", "WILLOW: She's right, Dawn. It's too dangerous.", "DAWN: You said you wanted to help me. Dawn makes an annoyed sound and goes to lie down on her sleeping back with her back turned. Willow kneels beside her.", "WILLOW: Dawn... Willow touches Dawn's shoulder but she jerks away, turns over so her back is to Willow again. Willow looks over at Tara. Tara looks concerned.", "Cut to: graveyard, night. Pan across trees and graves. We discover Buffy and Angel sitting on the ground under a tree, leaning against it. Buffy has her legs curled under her and leans against Angel's shoulder. They both look at the grave as they talk.", "BUFFY: The funeral was ... (sighs) it was brutal, but it's tomorrow that I'm worried about.", "ANGEL: What's tomorrow?", "BUFFY: That's exactly what I don't know. Up until now, I ... I've had a road map. Things to do every minute, having to do with Mom.", "ANGEL: Tomorrow the stuff of everyday living resumes.", "BUFFY: And everybody expects me to know how to do it, because ... (sarcastically) I'm so strong.", "ANGEL: You just need some time. I'm sure everybody understands that.", "BUFFY: Time's not the issue. I can stick wood in vampires ... but Mom was the strong one in real life. She always knew how to make things better ... just what to say.", "ANGEL: Yeah ... you'll find your way. I mean, not all at once, but...", "BUFFY: (shakes her head) I don't know. I keep thinking about it ... when I found her. If I had just gotten there ten minutes earlier...", "ANGEL: You said they told you it wouldn't have made a difference.", "BUFFY: They said ... \"probably\" ... wouldn't have made a difference. The exact thing they said ... was \"probably.\" I haven't told that to anyone.", "ANGEL: Doesn't make it your fault. You couldn't have done anything different.", "BUFFY: (annoyed sigh) I didn't even start CPR until they told me. I fell apart. That's how good I am at being a grownup.", "ANGEL: Buffy...", "BUFFY: And it'd be okay if it was just me I had to worry about. But Dawn...", "ANGEL: Look, it's okay. I know you don't feel like it now, but you are strong, Buffy. You're gonna figure this out. And you have people to help you. You don't have to do this alone.", "BUFFY: (looks at the sky) It's gonna be light soon.", "ANGEL: I can stay in town as long as you want me.", "BUFFY: How's forever? Does forever work for you? She turns her head to look at Angel, sighs and sits up to look him in the face.", "BUFFY: (apologetically) That's a bad idea. I'm seriously needy right now.", "ANGEL: Let me worry about the neediness. I can handle it. They look at each other, then Buffy leans in and kisses him. They kiss softly for a moment. Then it gets a little more heated and they pull away, both breathing harder.", "BUFFY: (looks down) I told you. (Angel sighs) You better go.", "ANGEL: (another sigh) I'm sorry.", "BUFFY: (firmly) No. I'm so grateful that you came, Angel. I didn't think I was gonna be able to make it through the night.", "ANGEL: (looks up at the sky) Well, we still have a few more minutes until I have to go.", "BUFFY: Good. She puts her head on his chest and leans against him. He puts his arm around her shoulders.", "BUFFY: Good. They sit quietly together.", "Cut to: exterior hospital, night. Ben walks out, wearing a jacket over his hospital scrubs. He turns a corner and see Jinx lurking. Jinx sees Ben and walks toward him.", "BEN: (angrily) Tell my sister I'm sick of running into her Jawa rejects.", "JINX: She ... bade me come to you. The news of your relationship with the Slayer-", "BEN: We don't have a relationship.", "JINX: But ... you attempted to court her, did you not?", "BEN: You're more fun when I hit you.", "JINX: It's just, Glory ... would like to encourage this interest of yours in the Slayer. It might lead to more information about the key.", "BEN: And why would I share that with the most unstable one?", "JINX: Time ... is running short, sir. Every moment you fight Glory, you're only fighting yourself, you see?", "BEN: Fine. Let the best me win. Let Glory understand this: I won't help her find the key. I would never do that to an innocent- (stops himself)", "JINX: An innocent? The key? That's an interesting choice of words.", "BEN: No, that, that's not what I-", "JINX: I understand, sir. I'm sorry to have bothered you, I'll ... take my leave. He begins to leave but Ben stops him.", "BEN: You understand what? When I said it's innocent, I didn't mean that the key is ... it's not a person.", "JINX: Of course not.", "BEN: You're gonna run and tell her, aren't you? Do you understand what's going to happen if she finds the key? How many people are going to die?", "JINX: Please, I heard nothing.", "BEN: I can't let that happen. Shot of Ben's hand taking a dagger from Jinx's belt.", "BEN: Don't you see? Ben stabs Jinx with the dagger. Jinx gasps.", "BEN: I can't. He pushes Jinx to the ground, looks around nervously.", "Cut to: Dawn lying on the floor, covered with a blanket. We see her from the back.", "WILLOW: (OS) We're heading down to breakfast. We see Willow sitting beside Dawn. Dawn turns over to look at her.", "DAWN: I'm not hungry.", "WILLOW: Oh. Okay. (We see Tara standing nearby, holding schoolbooks. Dawn sits up) It's just, we have class after that, and I, I didn't know if you want to go home, or...", "DAWN: I was gonna sleep some more. Giles said he'd pick me up whenever.", "WILLOW: Oh, okay, great. Sure, uh, hang out. (smiling) I have a, a break around lunchtime. I can come back.", "DAWN: (sullen) I might not be here.", "WILLOW: (still smiling) Well, I'll try my luck. Dawn looks away.", "TARA: Take care, Dawn. Willow gets up, picks up her bag, looks back at Dawn. Dawn doesn't look at her. Willow walks to the door, pauses, framed in the shot with her bookcase behind her. Close shot of Willow's hand hanging by her side, the bookcase in the background. She wiggles her fingers, closing them into a fist. One of the books slides out so that it sticks out from the rest. Willow walks out of the shot, revealing Dawn behind her still sitting on the floor. Shot of the bookcase with the one book sticking out. Sound of the door closing. Dawn gets up and goes to the bookcase, pulls out the book, opens it. It is titled History of Witchcraft.", "DAWN: (reading table of contents) 'Age of Levitation ... War of the Warlocks...' (flips pages) 'Resurrection -- A Controversy Born.' She flips the pages quickly, finds the spot, reads quickly, then looks up with a thoughtful expression.", "Cut to: exterior magic shop, day.", "Cut to inside. Dawn is pretending to dust while really examining the merchandise. We see Anya doing something behind her. Dawn moves over to a cart full of books and dusts them while reading the spines. Anya follows, supervising. In the background we see Giles. He looks over.", "GILES: You don't have to do that, Dawn, just, just relax.", "ANYA: Yes, sit down. We have some very amusing chicken feet you can play with.", "DAWN: That's okay.", "ANYA: Don't you watch television? I thought all children despise effort and enjoy cartoons.", "DAWN: (rearranges some books) Um, I like being useful. It keeps my mind off things.", "GILES: (approaches) Then useful you shall be. I can always use a hand. He comes over to the customer side of the counter. Anya and Dawn stand behind it.", "ANYA: (anxious) But you have a hand. A paid hand. A hand that isn't the hand of illegal child labor.", "GILES: (rolls his eyes) Anya.", "ANYA: (nods in understanding, turns to Dawn) But of course, it's wonderful that you find doing my job so distracting. (smiles) I am unthreatened. Proceed. (walks away)", "GILES: Yes, uh, carry on, Dawn. Giles starts to move away too, but Dawn speaks up quickly to stop him.", "DAWN: Is there anything I should know, like, um, off-limits stuff? Willow told me that some of the books and things are ... kind of dangerous?", "GILES: Quite right. Um, but they're all labeled, and, and, and, uh, kept off the floor. Most of our, uh, more potent texts and potions are all up there. He points upward. Shot of the loft, a fairly narrow section full of bookcases.", "GILES: If anyone asks you about anything in that area, just come and get me. (turns away)", "DAWN: Okay. Anything else?", "GILES: Oh, um, well, if you like, uh, I could teach you how to ... work the cash register, you can ring up sales.", "DAWN: Cool.", "ANYA: (approaching) Ring up sales? With the money? She gets to fondle the money? Giles gives her a look. The door-opening bell sounds.", "ANYA: (excited) Customer! (walks off) Hello, customer!", "GILES: (to Dawn, resigned) I'll just be a moment. (moves off)", "ANYA: (in background) I'll help you!", "DAWN: (as Giles passes her) No problem. Dawn watches to make sure both Giles and Anya are occupied. Then she puts down her feather-duster and picks up her backpack. She climbs the ladder to the loft, looks over the books, grabs one and puts it in her pack. She picks up a small vial and it clinks against the others. She winces and looks to see if anyone heard, then puts it in her pack too, begins to climb back down. Below, Giles goes through the bead curtain (which separates the customer area from the office area) and Dawn freezes until he moves past. Then she continues climbing down. She reaches the bottom and turns to see Giles standing a little bit away. He didn't see her climbing down.", "GILES: Dawn.", "DAWN: Uh-huh? (quietly lets her backpack drop to the floor)", "GILES: Do you wanna come watch this, uh, transaction that Anya's doing? Then I'll let you try.", "DAWN: You got it. She walks off, leaving the camera to linger on her backpack.", "Cut to: graveyard, night. Dawn kneels by the fresh grave, opening a jar. Overhead shot of her. She scoops some dirt from the grave into the jar and caps it. She reaches over to smooth down the remaining dirt, looks around nervously, brushes her hands off. We see someone come up behind her.", "SPIKE: I hope it's just dirt you're after. Dawn turns in surprise.", "SPIKE: If the spell calls for anything more than that, you're into zombie territory, and that's bad news.", "DAWN: (shakes her head anxiously) Spike, I-I wasn't...", "SPIKE: I know good and well what you're up to. That book you've got is infamous.", "DAWN: Please ... don't tell Buffy. I just ... I have to get her back. (anguished) I have to.", "SPIKE: I'm not gonna tell, little bit. Dawn looks surprised.", "SPIKE: I'm gonna help. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Fade in on a phonograph with a record on the turnstile. The song is \"Tales of Brave Ulysses\" by Cream (same song that Giles and Joyce listened to in \"Band Candy\").", "SINGER: ...you touch the distant beaches with tales of brave Ulysses... Pull out to reveal Giles standing next to the phonograph in his apartment. He has a glass in his hand.", "SINGER: How his naked ears were tortured by the sirens sweetly singing... Giles goes over to a chair and sits.", "SINGER: For the sparkling waves are calling you to kiss their white-laced lips... The song goes into a guitar riff. Giles slowly takes a sip from his glass and sits staring at nothing.", "Cut to Spike and Dawn walking down the street of downtown Sunnydale, night.", "SPIKE: I've never used this bloke's services myself, but there's talk. Word is he knows everything there is to know about resurrection spells. Dawn looks a little nervous.", "SPIKE: Come on now, no worries.", "DAWN: You don't have to be all nice to me. I know why you're doing this.", "SPIKE: Do you now? Enlighten me.", "DAWN: (frowns, stops walking) Spike, I'm not stupid. You're, like, stalking my sister. (Spike stops, turns to look at her) You'd do anything to get in good with her.", "SPIKE: (takes a few steps closer; firmly) Buffy never hears about this, okay? (looks around) Found out what I was doing, she'd drive a redwood through my chest.", "DAWN: Then, if you don't want credit, why are you helping me?", "SPIKE: (looking at the ground, quietly) I just don't like to see Summers women take it so hard on the chin, is all. (looks up, speaks angrily) And I'm dead serious. You breathe a word of this to Buffy, I'll see to it that *you* end up in the ground. Got it?", "DAWN: Yeah. Got it.", "Cut to: Glory's apartment. Glory is walking down the stairs into the living room, followed by several sycophant demons.", "GLORY: Where is he? He should have been back hours ago.", "MURK: I'm sure Jinx is on his way, your ... new and improvedness. He's most loyal to-", "GLORY: Hey! He better be loyal. The door opens and two more demons enter, half-carrying Jinx between them. He has his arms around their shoulders but is conscious.", "GLORY: Jinxie? She rushes forward and takes one of Jinx's arms around her shoulders. The displaced demon goes to shut the door.", "GLORY: Oh, no, no! Oh, mind the rug, honeys, blood's a bitch. (to Jinx) Was this the Slayer, I'll pull her wings off!", "JINX: No. They put Jinx on a sofa.", "JINX: It was Ben.", "GLORY: Ben? (turns away) Ben? Oh god, you pointless, stupid lout! Oh, I hate you, I hate you, (pulls several handfuls of hair off her head) I hate youuuuu!", "JINX: The key! He told me.", "GLORY: The key? She turns back to him, still holding handfuls of hair.", "GLORY: What about the key?", "JINX: He indicated that it was a person, most ... (searching for words) ... highest ... you.", "GLORY: (smiling hopefully) The key's in human form?", "JINX: I believe so ... (searching for words) good one.", "GLORY: (delighted) Ahh! She sits on the sofa and pulls Jinx into a hug.", "GLORY: Jinx, you robed stud, you're my man! I'm even gonna let you slide on the lame toadying on account of your dying and stuff. Jinx looks a little surprised to hear this. He looks to Glory but she is talking to the other demons. Jinx looks from her to the other demons to his wound as Glory talks.", "GLORY: So, the key's all secreted away in a flesh wrapper! (gets up and paces) This narrows the search from now on in a serious way, I mean we didn't have a clue. It could have been a log, or, or a bicycle pump, or whatever, am I right? Jinx has fallen asleep or unconscious on the sofa.", "GLORY: Uch, get him fixed, would ya? (smiling, plops down on another sofa) I wanna hear the whole story again, without all that annoying moaning.", "Cut to: an apartment. A black cat jumps over a globe in the foreground and runs offscreen as the door opens and we see Spike. He holds the door open for Dawn, who enters cautiously.", "DAWN: This place belongs to a magic guy? It smells like grandpa. Spike closes the door. The camera pulls back so we can see piles of books and papers all over a table.", "SPIKE: Hey! We see a door leading into another room, partly obscured by a curtain. Behind the curtain there's a figure standing.", "SPIKE: Anybody home? The figure moves through the curtains. Spike and Dawn look apprehensive. The figure emerges and turns out to be a small elderly man wearing glasses and a bathrobe. He looks surprised to see them.", "DOC: I know you.", "SPIKE: I don't think so, mate.", "DOC: No, no, you're that guy, that, that guy, hangs around down at the corner mart. (Spike looks confused) Big into dominoes, aren't you?", "SPIKE: Can't say as I am. Look, we came here because- (stops because Doc is laughing)", "DOC: That's crazy, isn't it? I mean, I, I, I'd swear, you were that guy. (Dawn looks nervous) I mean, your hair's a different color and you're a vampire, but uh, other than that...", "DAWN: (to Spike) Maybe we should just go.", "DOC: No. Now, just because the lights are dim doesn't mean the juice is all gone. What can I do for you?", "SPIKE: This one's mum kicked it a few days back.", "DOC: Ohh. I'm so sorry. (Dawn looks down)", "SPIKE: So we were wondering, what's to be done about it. Heard you were the one to ask.", "DOC: (concerned) Ohh ... no, no, that's, uh, you don't wanna mess with that. Uh, I know some tonics, uh, make the grieving fly by-", "DAWN: (shakes head) I don't want any tonics.", "DOC: Either one of you witches? Got any experience with, uh, spells of this magnitude? Dawn shakes her head. Spike just looks grim.", "DOC: Didn't think so. Suddenly he reaches out and pulls some hair from Dawn's head. She gasps.", "DAWN: Ow! Spike steps forward but doesn't do anything. Doc takes the hair over to a lamp and holds it up to the light. Dawn gives Spike an angry look, holding the side of her head.", "DOC: Well, your mother's a good candidate, at least. Strong DNA.", "DAWN: Right. Doc turns and begins examining the stuff on his shelves. He hums the theme from Prokofiev's \"Peter and the Wolf.\" Dawn watches. Shot of Doc with his back turned. From underneath his bathrobe a greenish, scaly tail pokes out. Dawn sees it and her eyes widen. She turns to Spike, but he is lighting a cigarette and by the time Dawn catches his attention, Doc has turned again and the tail is hidden again. Doc continues humming, looks at a pile of books, picks up a large one and smiles triumphantly at Dawn, holding it up. He carries the book over to a table, still humming the same tune. Dawn and Spike follow. Doc puts the book on the table and flips the pages.", "DAWN: I've gathered some ingredients. But the spell I found ... there's things on it I don't understand.", "DOC: We've got the ghora demon standing between you and success, that's the translation you were missing.", "SPIKE: Ghora, I've heard of those. They local?", "DOC: Yeah, they like to stick close to the hellmouth. (Spike nods. Doc reads from the book) Egg of the ghora gives life. (looks up at Dawn) It's key to the spell.", "DAWN: Can you buy it, this ... egg, or-", "DOC: If it was as easy as making an omelet, everyone would try it. (Dawn looks chastised) No. You have to steal the egg from the nest of the demon. (looks at Spike) And the ghora won't be happy about it.", "SPIKE: Where do we find this demon?", "DOC: First things first. We'll need an image of your mother. A photo, a painting.", "DAWN: No problem.", "DOC: Once you get all the ingredients together, put them in the center (makes circular gestures) of a sacred circle. With the photo of your mother. (Dawn nods) Then... (reaches for a small notebook) say this incantation... (begins to write) three times. (Spike listens closely) She won't appear, you know, poof. (Dawn listens very carefully) It'll take ... a while, (smiling) but she will come to you. (tears off the page, hands it to Dawn) Got it?", "DAWN: Got it.", "DOC: Oh. Anything goes wrong, the only way to reverse the spell ... is to destroy the image of your mother, understand?", "DAWN: I'll do it right.", "DOC: It's a tricky spell, girl. I can't say for sure your mother will come back exactly like she was. (shots of Dawn and Spike listening) Sometimes these ... things ... get a little off.", "DAWN: But she'll still be my mother. (frowns) Won't she?", "DOC: More or less. He walks off. Dawn looks apprehensive.", "DAWN: (weakly) Good. (a little stronger) Good. Dawn and Spike go to the door. Doc follows.", "SPIKE: And the ghora?", "DOC: Oh, right, sorry. Um, go in the sewer entrance near Tracy Street. The opening's, um, on the left. Can't miss it. Just follow that down. Spike goes to open the door as Dawn takes out a wad of money and begins removing some bills.", "DOC: No, no. Keep your money. (smiles, removes his glasses)", "DAWN: Oh. Thank you. Still smiling, Doc holds out his hand and they shake.", "DOC: You just keep in touch now. Let me know how it goes. Dawn smiles slightly and nods. Closeup of Doc's face. Suddenly, his eyes go all black (the whites turn black too). Dawn jerks her hand out of his in startlement. Doc pulls his own hand back as Dawn takes a step backward, apprehensive.", "DAWN: I-I-I will. Spike opens the door. Dawn gives Doc one last nervous look and exits. Spike follows her out, closing the door. Shot of Doc still smiling. As soon as the door closes, his smile drops away.", "Cut to Spike and Dawn walking down a dark alley. Spike carries an axe. They come to a spot where the wall looks all slimy and rough.", "DAWN: It's here. Just like he said.", "SPIKE: (looking into the hole) Well, at least we know the old coot isn't completely daft. Look, you better let me snatch this egg thing on my own.", "DAWN: No way. I'm going.", "SPIKE: (firmly) No ... you are not. I've got no idea what's down there.", "DAWN: You need me, Spike. Somebody's gotta get the egg while you distract the ghora. Now come on. She turns and strides into the opening. Spike shakes his head, sighs and hefts his axe.", "SPIKE: Well, what do you know. Bitty Buffy. He follows Dawn into the hole.", "Cut to Dawn making her way down stairs. The walls are stone, covered with vines. Spike follows close behind. We can hear the demon growling. They reach the bottom and look up. Shot of the demon, which looks like a huge lizardy thing sleeping on a pile of rocks. The noises are actually snores. Spike and Dawn move over to the wall and hide behind some vines.", "DAWN: Doesn't look so bad.", "SPIKE: (scoffs) Wait till it wakes up. That's usually when the bad starts. Shot of the nest behind the demon's tail. There are several eggs in it, about the size and shape of footballs but pink with purple spots.", "DAWN: I can't get to the eggs unless it moves. No way.", "SPIKE: (grinning) I'll make it move. You just be ready. He moves past her and strides toward the demon, lifting the axe.", "SPIKE: Hey! Ghora! Heads up. The demon wakes and sits up. It has three heads.", "SPIKE: (staring) Right then. Heads it is. Dawn comes forward. Spike hits one of the heads with his axe. The heads rear back and then strike at him.", "SPIKE: ? (sorry, can't make out this line) Dawn hurries over to the nest and tries to grab an egg but the demon's tail lashes at her. She jumps back as the demon tries to twist around and look at her.", "SPIKE: Hey, get away from her! Spike hits the demon some more, regaining its attention. Dawn grabs an egg and runs back to the base of the stairs.", "DAWN: Spike, come on!", "SPIKE: That's it. Spike gives one last thrust and buries the axe in one of the demon's necks. He runs to rejoin Dawn. As they start up the stairs, Dawn trips and drops the egg. It bursts open, leaking bright blue stuff.", "SPIKE: Leave it, Dawn.", "DAWN: I can't. Mom.", "SPIKE: It's too dangerous and I haven't got- Dawn turns and runs back toward the nest.", "SPIKE: -a weapon! Dawn runs to the nest, screams as the demon turns to confront her. One of the heads is inches from her face. Spike throws stones at the demon's head. It turns to him and lashes at him with its tail, knocking him over. Dawn grabs another egg and gets up. One of the demon's heads bites Spike in the stomach and he screams with pain. He shoves it off and gets up as Dawn backs away quickly.", "SPIKE: No, that's it. Spike gets up, holding his side with one hand. With the other, he grabs the axe from the demon's neck and slams it into the demon's chest. The demon screams as blue blood seeps out. Spike pulls the axe out again.", "DAWN: Spike! Spike joins her at the stairs. The demon continues screaming.", "DAWN: Sorry!", "SPIKE: Did you get it? Dawn holds up the egg to show him.", "SPIKE: Don't be sorry then. He goes up the stairs, pulling her after him as the demon's noises fade away.", "Cut to: exterior Summers house, night.", "DAWN VOICEOVER: Osiris... giver of darkness...", "Cut to Dawn's bedroom. She has a sheet on the floor with a circle of candles on it, and she kneels by it, pouring something from a vial, onto her hands. She smears it on the sheet, drawing a circle around a cauldron in the middle.", "DAWN: Taker of life ... god of gods... accept my offering. Bone, flesh, breath ... She completes the circle.", "DAWN: Yours ... eternally. Closeup of a picture of Joyce, leaning against the cauldron.", "DAWN VOICEOVER: Bone... Shot of Joyce's grave, night.", "DAWN VOICEOVER: Flesh, breath... Closeup of the photo.", "DAWN VOICEOVER: I beg of you... Zoom in on Dawn's face, lit only by the candles.", "DAWN: ...return to me. She takes a shaky breath. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade in on Willow and Tara's dorm room. Tara sits on the bed studying. Willow lies on her stomach next to Tara, writing in her diary.", "WILLOW: What did I have for breakfast this morning? Do you remember?", "TARA: Hmm?", "WILLOW: I-I wanna say bagel, but I think that was yesterday. You had two eggs sunny-side-up. (grins) I remember 'cause they were wiggling at me like little boobs.", "TARA: (grins) Sassy eggs. (Willow continues writing) What are you writing this for?", "WILLOW: My journal. Tara puts her book aside and lies on her stomach next to Willow. She puts her hand on Willow's non-writing hand.", "TARA: That's new.", "WILLOW: Yeah. I-I figured, life goes by so fast, if you don't write stuff down it just gets ... lost. And I wanna remember.", "TARA: Down to every last bagel.", "WILLOW: (grins, looks Tara in the eye) Down to every last everything I do with you. Willow returns to writing, the fingers of her other hand still twined with Tara's. Tara looks past Willow toward the bookcase.", "TARA: Huh.", "WILLOW: (stops writing) What?", "TARA: What happened to History of Witchcraft? Tara gets up as Willow tries to hide her guilty look.", "WILLOW: I, uh, i-it isn't there? Willow sits up as Tara goes to the bookcase and checks out the empty space.", "TARA: Dawn must have taken it.", "WILLOW: (anxiously) No she didn't! Did she? (gets up and goes quickly toward Tara)", "TARA: This is bad, this is really bad.", "WILLOW: (anxiously) But, i-it's just a history book. I-it might answer some of her questions. I-I don't think she could do any ... harm with that stuff, could she?", "TARA: Well, it's not a how-to guide, but it refers to specific resurrection spells and potions.", "WILLOW: But I-I didn't ... I mean ... hey! How'd she know that?", "TARA: I-I don't know, but ... god, what else did she take?", "WILLOW: Nothing! I-I think. I think n... she took nothing else. But maybe she did, and we should probably look. Because who knows? I-I don't.", "TARA: No, no, we can't waste time on that now. We don't know what she's up to.", "WILLOW: (nodding) We have to call Buffy. Now.", "Cut to Buffy entering the Summers house. The phone is ringing. Buffy tosses down her keys, pulls off her jacket as she hurries over to the phone.", "BUFFY: Hello?", "Cut to the cauldron in Dawn's room. We see that it is filled with the blue goo from the ghora egg. Pan up across the broken eggshell and the piece of paper with the spell written on it. Dawn is still kneeling, with her hands on her knees.", "DAWN: Bone ... flesh ... breath ... yours eternally. Bone, flesh, breath, I beg of you, return to me. Buffy bursts in.", "BUFFY: Dawn. Dawn doesn't move.", "BUFFY: What have you done? (rushes over to Dawn) What have you done?", "DAWN: (standing) She's coming. She's coming home. Dawn turns and runs out of the room. Buffy reaches down and picks up the picture of Joyce, stares at it for a moment, turns and follows Dawn.", "Cut to Dawn rushing down the stairs with Buffy in close pursuit. The house is dark.", "BUFFY: Dawn! Dawn! Dawn reaches the bottom of the stairs and turns to face Buffy, who comes right up in her face.", "BUFFY: You have no idea what you're messing with. Who knows what you actually raised, what's gonna come through that door!", "DAWN: (tearful) No, I-I know. It'll be her.", "BUFFY: No. Now, Tara told me that these spells go bad all the time. People come back ... wrong.", "DAWN: Not Mom. He told me her DNA-", "BUFFY: (grabs Dawn by the upper arms) Who told you? Who helped you?", "DAWN: (angry) Nobody, let me go.", "BUFFY: You have to stop it. Reverse it.", "DAWN: No! Dawn wrenches free of Buffy's hold, grabs the picture of Joyce and goes into the living room. Buffy follows.", "BUFFY: Dawn, you know this is wrong. You know you can't let this happen. Not to Mom.", "DAWN: (quietly) But I need her. I don't care if she...", "Cut to: shot of a pair of feet walking on grass. The feet are wearing pale blue pumps, and we can see the hem of a pale blue skirt.", "DAWN VOICEOVER: I'm not like you, Buffy. Cut back to the living room.", "DAWN: I don't have anybody.", "BUFFY: What?! Of course you do. You have me!", "DAWN: No, I don't. You won't even look at me. It's so obvious you don't want me around.", "BUFFY: That's not true.", "DAWN: (harshly) Yes it is. Mom ... died, and it's like you don't even care.", "BUFFY: (shocked, with tears in her eyes) Of course I care. How can you even think that?", "DAWN: How can I not? You haven't even cried. You've just been running around like it's been some big chore or something. Cleaning up after Mom's mess. Buffy slaps Dawn across the face. Dawn yelps and puts her hand to her cheek. Buffy puts her hand over her mouth in horror.", "BUFFY: (tearful) Dawn ... I've been ... working. I've been busy, because I have to-", "DAWN: (tearful) No! You've been avoiding me.", "BUFFY: I'm not! ... I have to do these things, 'cause ... (crying) 'cause when I stop, then she's really gone. Dawn frowns in confusion.", "BUFFY: And I'm trying. Dawn, I am, I am really trying to take care of things, but I don't even know what I'm doing. Mom always knew.", "DAWN: Nobody's asking you to be Mom.", "BUFFY: Well, who's gonna be if I'm not? Huh, Dawn? Have you even thought about that? Who's gonna make things better? (crying harder) Who's gonna take care of us?", "DAWN: Buffy...", "BUFFY: I didn't mean to push you away, I didn't. I just, I couldn't let you see me. Dawn begins to cry too.", "BUFFY: Oh god, Dawnie... We see the two of them from the side, facing each other. In the background, the living-room curtains are drawn. A shadow moves past the window, silhouetted against the curtains. The girls don't notice.", "BUFFY: (still crying) I don't know what we're gonna do. I'm scared.", "DAWN: Buffy... Sound of someone knocking on the front door. Buffy whirls around, no longer crying.", "BUFFY: (small smile) Mommy? Zoom in on the inside of the door.", "DAWN: (alarmed) Buffy.", "BUFFY: Mom. Buffy runs toward the door. Dawn swiftly picks up the photo of Joyce. Shot of the door from Buffy's perspective as she runs toward it. Dawn stares at the photo for an instant, makes up her mind. She rips the photo in half. Buffy pulls the door open. Shot of the view out the front door. There's nothing there. Just darkened city street and the house across the street. Sound of crickets chirping. Shot of Dawn looking sad. Shot of Buffy looking sad. Dawn comes forward into the foyer. Buffy turns to look at her.", "BUFFY: (voice breaking) Dawn. She begins to sob. Dawn comes forward and hugs her.", "DAWN: It's okay. They sink to the floor, holding each other tightly and crying.", "DAWN: It's okay. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Willow and Tara get into an argument, leaving Tara vulnerable to be attacked by Glory, who thinks she is the Key. After discovering her error, Tara's mind is partially sucked out and Willow swears revenge." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Monks running in fear. Glory smashing through the warehouse.", "BUFFY VOICEOVER: Tell me what kind of demon I'm fighting.", "QUENTIN TRAVERS VOICEOVER: Glory isn't a demon, she's a god. The dying monk talking to Buffy.", "MONK: We had to hide the key ... made it human... Monks chanting.", "MONK: ...and sent it to you.", "BUFFY VOICEOVER: Dawn. Dawn in the hospital talking to Ben.", "DAWN: I'm not real.", "BEN: You're the key. Go. Before she finds you, she's here! Ben morphing into Glory. Ben talking to Jinx.", "BEN: I won't help her find the key. I would never do that to an innocent-", "JINX: An innocent?", "BEN: It's not a person. Ben stabbing Jinx. Glory in her apartment.", "GLORY: What about the key?", "JINX: He indicated that it was a person. Spike tied up in Glory's apartment.", "SPIKE: I'll tell you who the sodding key is.", "GLORY: The vampire is lying to me.", "SPIKE: The Slayer is going to kick your lopsided ass. Glory kicking Spike across the room, through the door.", "Cut to a classroom. Close shot of a pair of hands fiddling with a slide projector. In the background the door opens and Buffy comes in. We see students leaving. The person at the slide projector is the professor. Buffy walks over to him.", "BUFFY: Professor Lillian?", "PROFESSOR: Buffy.", "BUFFY: I'm sorry that I missed the lecture today. (professor continues struggling with the slide machine) Was it good? He gives her a look.", "BUFFY: Um, of course it was. (He returns to fiddling) D-do you want me to try?", "PROFESSOR: Yes, thanks, the ... (gesturing vaguely) slide is stuck in the ... thing.", "BUFFY: Okay. (begins pulling at the slide) Um, I just ... came by to tell you that ... I have to drop this class. Um, all my classes actually. I'm not finishing the semester. I wish it ... um ... I just, I can't be in school right now. I, I have to take care of my sister.", "PROFESSOR: (nods) Yes, I, I thought you might. I was very sorry to hear about your loss. Buffy looks pensive for a moment, then reaches for her bag.", "BUFFY: Um, I have these forms from the registrar's office that I need you to sign. She gives him the papers.", "PROFESSOR: Oh ... yes. He puts the papers on the table, puts on his glasses to read them. Buffy waits while he signs the papers and gives them back.", "BUFFY: Thanks. She puts them in her bag as the professor takes his glasses back off. Then she looks back up at him.", "PROFESSOR: Is there something else?", "BUFFY: No. Yes. Yeah. Um ... I wanted to tell you ... how much I enjoyed this class. (resumes pulling at the slide projector) I mean, I know that I wasn't the best student, but ... I really learned a lot. Uh, and I really like poetry. (shot of her hands on the projector) I really do. The stuck slide pops out and goes flying across the room.", "BUFFY: (embarrassed) Oh, sorry.", "PROFESSOR: (smiles) I'm glad you like poetry, Buffy.", "BUFFY: I wish I had time for it. But I just ... don't right now.", "PROFESSOR: Well, maybe short poems.", "BUFFY: Yeah! Like, like those, those Japanese ones that, that, um, sound like a sneeze?", "PROFESSOR: Haiku?", "BUFFY: Right. Maybe those. A-and hopefully I'll be back next semester.", "Cut to Ben rushing down the hospital hallways, looking anxious.", "BUFFY VOICEOVER: When I'm more myself again. Ben approaches two doctors who are standing there looking at a clipboard. One wears a white lab coat, the other blue scrubs. They seem to be waiting for Ben.", "DOCTOR: Benjamin. This is a pleasant surprise.", "BEN: I'm sorry I'm late.", "DOCTOR: You're not late.", "BEN: (looks at his watch) But sir-", "DOCTOR: You can't be late to a job that you don't have. (gives the clipboard to the other doctor who walks away) Interestingly enough, I've decided to give your job to someone who'll actually do it. (Ben sighs in annoyance) Honest to God, Ben! I've been calling you for two weeks. Where the hell have you been? I didn't wanna ... I'm sorry to fire you, but I need somebody I can count on.", "BEN: (surprised) I haven't been here... (resigned) I haven't been here in two weeks. (hopefully) There's an explanation for this. Which ... I ... can't exactly give you. I - can I just tell you it's not my fault?", "DOCTOR: (nods) Sure. You can also tell me that the dog ate your homework, or maybe eating Twinkies made you do it, or ... maybe yeah, that there's really a wicked demonic creature living inside you that takes control of your body and forces you to do its bidding. (sighs) Take responsibility for your actions, Ben!", "BEN: I ... this ... (angrily) you know, forget it. Just forget it. He turns to walk away. Fast-cut to Ben cleaning out his locker, angrily throwing clothes into a bag while talking to himself.", "BEN: This is so unfair. You're taking everything away from me. Everything I worked for, I earned, I care about. These are my choices, this is my life, and you're ruining it! (pauses, shakes his head) No. No. Not here. Not now, please. (puts his hands to his face) I'm Ben. I'm Ben. I'm Ben. He continues to repeat this phrase while turning to bang his hand against the side of the locker. Focus on his hand as it shrinks and becomes Glory's hand. Pan over to Glory standing where Ben was. She looks around with a small smile.", "GLORY: I'm hungry. Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Troy T. Blendell, Anne Betancourt, Leland Crooke, and Amber Benson as Tara. Written by Rebecca Rand Kirshner, directed by David Grossman.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on Glory taking a bubble bath. Beside the bathtub three of her demons are kneeling, with blindfolds over their eyes. One holds a tray with a wine glass on it, another holds a large box of chocolate.", "GLORY: (happy sigh) We got this part right, that's for sure. Lot of sucky things in this dimension -- bubble baths? Not one of 'em. (blows some bubbles) Know what I mean?", "JINX: I am in thunderous agreement, oh glittering, glistening Glorificus.", "GLORY: I wasn't talking to you.", "MURK: Uh, begging your pardon, and begging in general, but ... were you talking to me?", "GLORY: Eww. Yeah, right. Like any of you have ever bathed, anyway.", "MURK: Oh, but we do, your scrumptiousness. We bathe in your splendiforous radiance, your aromatic-", "GLORY: How about you shut up and listen to me, you disgusting little fools? (all three bow their heads) Okay. Now, I asked for the key, and you brought me a vampire. A pulseless, impure, follicly-fried vampire. Loofah! Murk produces a large loofah and gives it to her. She begins scrubbing her leg.", "GLORY: So, what I think we have here is a failure for you to do your frickin' jobs, pardon my French. (shoves the loofah back into Murk's hand) Mimosa. Slook holds out the tray and Glory takes the glass.", "GLORY: Mmm ... (sips, smiles) Vitamins. (briskly) So I think you better rack your little minion brains, and tell me everything that you saw when you were spying on Buffy and her wacky pals. Everything. Mm. Then I'll figure out who the key is.", "BUFFY VOICEOVER: You lied to me?", "Cut to head-shot of Dawn sitting in a chair.", "DAWN: Didn't ... lie ... e-exactly.", "BUFFY: (OS) Really.", "Cut to head-shot of Buffy sitting next to her.", "BUFFY: What about all the times I asked you how school was and you said \"fine\"?", "DAWN: Well, it was! (softly) You didn't ask if I was in it when it was fine. We see a woman sitting behind a desk with a nameplate saying \"Principal Stevens.\" Buffy and Dawn sit in chairs on the other side of the desk. Buffy sighs.", "BUFFY: I-I don't know what to say. I-I'm sure you're aware that the past few months, you know, have been kind of hard for Dawn. Not that I'm saying that's an excuse.", "PRINCIPAL: I understand. Your mother was a lovely woman and we'll all miss her very much. I know how difficult it must be.", "BUFFY: It is. Especially for Dawn. She-she's just a kid.", "PRINCIPAL: Well ... I think we both know that Dawn is a lot more than \"just a kid.\" Dawn looks alarmed, looks over at Buffy, who returns the look.", "PRINCIPAL: (leans forward) She's a talented young girl ... with a sharp mind ... (to Dawn) when she puts the effort in. Dawn looks away in relief.", "BUFFY: Look. I realize that there's been some ball-dropping, but I'm sure this will all-", "PRINCIPAL: Dawn, why don't you wait outside for a few minutes? Dawn looks very scared. She looks over at Buffy, who gives her a nod. Dawn gets up and leaves. Buffy watches her go with a sigh. The principal gives Buffy a stern look. Buffy faces her head-on.", "Cut to: interior magic shop, day. Xander and Willow sit at the table, he's reading a comic book and she's reading something else. In the background there's an older couple walking around browsing. The camera pans around to reveal Anya on the other side of the table, standing, watching the customers. Shot of the customers examining the merchandise. Shot of Anya watching them, partly hidden behind a display case.", "XANDER: Honey. Anya whirls around to face him.", "XANDER: Old saying. \"A watched customer never buys.\"", "ANYA: They would if they were patriotic. Xander and Willow both put down their reading material, look at Anya, then look at each other.", "XANDER: (to Willow) Okay, I'm goin' in. (to Anya) Patriotic?", "ANYA: Yes. I've recently come to realize there's more to me than just being human. (proudly) I'm also an American. Giles appears, holding a cup of tea.", "GILES: Yes, I suppose you are, in a manner of speaking. You were born here -- your mortal self. He walks past her.", "ANYA: Well, that's right, foreigner. (Giles gives her a look) So I've been reading a lot about the good ol' us of A (she says \"us\" not \"U.S.\"), embracing the extraordinarily precious ideology that's helped to shape and define it.", "WILLOW: Democracy?", "ANYA: Capitalism. The free market depends on the profitable exchange of goods for currency. (Xander and Willow exchange an amused look) It's a system of symbiotic beauty apparently lost on these old people. (turns to look back at the customers) Look at 'em. Perusing the shelves. Undressing the merchandise with their eyeballs (turns back to the others) all ogle, no cash. It's not just annoying, it's unAmerican. Giles comes over to her and peers past her at the customers.", "GILES: Appalling. Almost as if they no longer think money can buy happiness. He walks off.", "ANYA: Totally unAmerican. Oh, and you know what else is unAmerican? French people.", "WILLOW: You don't say.", "ANYA: From what I hear, they don't tip. Now, French old people? That's *really* the bottom of the barrel, you know?", "XANDER: Ahn, how's about we try being a bit less prejudiced, and a bit more inclusive? Not us, (indicates himself and Willow, then points to Anya) just you.", "ANYA: Fine. I'm gonna make those fogeys buy things. She turns and walks toward the customers. The door opens and Buffy enters, followed by Dawn. Buffy gives Anya a little wave as they head down the stairs toward the table.", "XANDER: Hey, what's up? It's Dawn Giovanni and the Buffster.", "DAWN: (sullen) Hi.", "BUFFY: Hey everybody.", "GILES: I trust everything went well at the university?", "BUFFY: Yep, I'm, uh, all dropped out. (she and Dawn sit at the table)", "XANDER: Good on you. Welcome to the real world. Lot of fun to be had on the outside. (looks at Willow) You'll see.", "BUFFY: Well, it's just for now. I mean, I'm thinking that I'm probably gonna go back next semester.", "XANDER: And that's cool too. Whatever you choose, you've got my support. Just think of me as ... (nervous laugh) as your ... (frowns; Buffy looks curiously at him) You know, I'm searching for supportive things, and I'm comin' up all bras, so... (Buffy smiles) something slightly more manly, think of me as that. Shot of Dawn not smiling.", "XANDER: (quietly) Seriously. Whatever you need.", "BUFFY: Thank you. Actually, I need to talk to Giles alone for a minute. (Giles looks up from his tea and newspaper)", "XANDER: (OS) Cool, that's cool.", "BUFFY: (stands) Uh, Dawn, why don't you get started on your homework? Uh, if you need help, (turns to Willow) Will, could you? (Willow nods) Okay. Buffy and Giles walk out as Dawn opens her schoolbag.", "Cut to the workout room. Buffy sits on the sofa in the background with her chin in her hand as Giles toys with the punching bag in the foreground.", "BUFFY: I just don't know what I'm gonna do. I mean, she's messing up ... I'm messing up ... it's a mess.", "GILES: You're just going to have to put your foot down with her.", "BUFFY: I try. It's just ... my foot's not used to being put down. (turns to Giles) I want you to do it. (Giles sighs) You can be the foot-putting-downer.", "GILES: No, Buffy, I don't think I can.", "BUFFY: Please? Pretty please? (desperately) I mean, your foot is way bigger than mine! And you're so much more a grownup than me. Dawn needs an authority figure. A strong guiding hand. She'll listen to you.", "GILES: (scoffs) Just like you always have.", "BUFFY: I listen! Giles gives her a look.", "BUFFY: (pouts) I do.", "GILES: (removes his glasses, sits next to her) Well, then perk up your ears. I may be a grownup, but you're her family. Her only real family now. She needs you to do this.", "BUFFY: (nervous) Right. She needs me. (Giles looks sympathetic) Me, the ... grownup. (more confidently) The authority figure. The, the strong guiding hand and, and stompy foot that is me.", "GILES: That's the spirit.", "BUFFY: (small smile) Okay. (nods) I can do this. (gets up)", "GILES: (gets up) I know you can. They walk a few steps toward the door, then Buffy whirls around to face Giles.", "BUFFY: Please?", "GILES: No. He takes her shoulders, turns her around. She takes a deep breath.", "BUFFY: Okay. (Giles nods) Here we go. Pause. Then she begins to walk again. Giles follows, still with hands on her shoulders.", "BUFFY: (reciting) Early to bed, early to rise, balanced breakfast, hospital corners. It's a new beginning.", "Cut to the main room as Buffy and Giles emerge.", "BUFFY: Discipline. Authority. Order. We hear giggling. Buffy looks into the main room and discovers Xander, Anya, and Willow lying on the floor head-to-toe forming a triangle. Dawn stands in the middle. All are giggling. Dawn sees Buffy and stops laughing.", "BUFFY: (storms forward) What is this? I thought I told you to do your homework! The others gets up from the floor.", "DAWN: I was.", "BUFFY: (folds her arms) Please don't lie to me.", "DAWN: I'm not. Giles, Xander, and Anya move away into the shop.", "WILLOW: We were acting out a geometry problem, 'cause I read this really neat article that said kids learn math better if you, you stimulate their, uh, visual learning pattern. You know, using the right side of the brain instead of just the left? Buffy still looks stern and unamused.", "WILLOW: (OS) Stuff like that.", "BUFFY: Uh-huh.", "WILLOW: So we made a triangle with our bodies, and that's when I called Xander obtuse, and he got really grumpy (smiling; Dawn giggles) and then Dawn said we were \"acute\" triangle, and, well, hilarity ensued.", "BUFFY: Right. Well, you know what I think? I think maybe Dawn should do her homework at home. Both Willow and Dawn stop smiling, look disappointed.", "DAWN: B-but it was working. I was really learning.", "BUFFY: Please get your stuff. Dawn scowls, looks at Willow.", "DAWN: Fine. Don't listen to me. (goes to get her stuff)", "WILLOW: (walking over to Buffy) Please don't be grouchy with her. Who among us can resist the allure of really funny math puns?", "BUFFY: It's really important that Dawn finishes her schoolwork right now. Shot of Dawn listening to them from the table.", "WILLOW: (OS) Yeah, I know, but... Dawn turns back to her stuff as Willow glances at her.", "WILLOW: We were having good clean educational fun, and then all of a sudden it was all gloom and doom and the outlawing of human triangles.", "BUFFY: (firmly) It's *really* important that Dawn finishes her schoolwork right now.", "WILLOW: I know it is, and I'm a big fan of school. You know me! I'm like, (sings) \"Go school! It's your birthday!\" Or something to that effect.", "BUFFY: Look, Willow, I know that you mean well, but you just don't understand, and there's no way that you could.", "WILLOW: I do so understand, it ... you're stressed out.", "BUFFY: I'm more than stressed out. I'm freaked out.", "WILLOW: Yeah, well, maybe you need a break to de-freak. Hey, you could go to the World's Culture fair if you want to, with me and Tara.", "BUFFY: (quietly) I don't think so.", "WILLOW: Come on. You can bring Dawn. It'll be fun. Good, educational-type fun in a discipline-y sort of way.", "BUFFY: I can't do it, Will. Don't worry. It's not like I don't have a life. I do. I have Dawn's life. Buffy walks over to the table where Dawn stands, holding her stuff. Buffy picks up her bag without breaking her stride.", "BUFFY: Ready? Dawn looks sullen, turns and falls into step behind Buffy. She casts a look over her shoulder at Willow as they leave.", "Cut to: close shot of Glory in her apartment.", "GLORY: So it's her. Under our noses all this time. I like the detail work those monks did. (smiling) Quirks, foibles, passions ... it's all so cute, so ... human. You know? We see that she's sitting on the sofa with the three monks standing before her. They all nod and smile.", "GLORY: Pretty convincing really. (ponders) But not convincing enough. She slowly stands up and looks each demon in the eye.", "GLORY: You all know your assignments. (smiles widely) I think it's time to collect the key. She whirls around and begins to walk out. The monks follow her in single-file. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on Willow and Tara's dorm room. Tara is looking in the closet for clothing while Willow sits on the bed putting on her shoes.", "WILLOW: It wasn't anything really. Buffy was just a little crabby at Dawn about her schoolwork.", "TARA: Well, it's understandable. (puts something on the bed, turns back to close the closet door)", "WILLOW: Yeah, sure it is. I'd totally be blowing off classes if I were in Dawnie's shoes.", "TARA: (smiles) Sweetie, you wouldn't blow off a class if your head was on fire. (goes over to the sink) And, I meant Buffy.", "WILLOW: (putting on earrings) Buffy what?", "TARA: Understandable about the crabby. She has to look after Dawn now.", "WILLOW: (putting on a jacket) Yeah, but not in a Miss Minchin's Select Seminary For Girls way. I mean, she's just gonna make Dawnie more rebellious.", "TARA: I had to deal with my brother's problems after ... I mean, you can't really know what it's like to-", "WILLOW: Yeah, I know that. Tara makes a noise of displeasure, frowns, sits on the bed next to Willow.", "TARA: I, I didn't mean to-", "WILLOW: No, I just ... I ... I know I can't know what you went through. (Tara frowns) But I just ... (fake laugh) It's no big.", "TARA: I made you mad.", "WILLOW: No. No.", "TARA: All I meant was-", "WILLOW: No, it's okay. This whole Buffy thing, let's just forget it.", "TARA: No, please. I mean, I mean, tell me if I said something wrong, otherwise I know I'll say it again. Probably often and in public.", "WILLOW: No, I was snippy gal. It's just ... I know I can't ... on some level ... (sighs) it's like my opinion isn't worth anything because I haven't been through ... (sighs) I didn't lose my mom, so I don't know.", "TARA: Well ... I-I'm not the expert. I mean, I've only lost the one. Willow gives a sympathetic smile. Tara looks anxious.", "TARA: (uncertainly) Do ... I act like ... the big knowledge woman? Wide shot of the two of them sitting on the bed, facing each other, with at least a foot separating them.", "WILLOW: (weakly) No.", "TARA: Is that no spelled Y-E-S?", "WILLOW: S-O-R-T of. (Tara frowns) I mean, I just feel like the-the junior partner. You've been doing everything longer than me. You've been out longer ... you've been practicing witchcraft way longer.", "TARA: Oh, but you're way beyond me there! In just a few- I mean ... it frightens me how powerful you're getting.", "WILLOW: (frowns) That's a weird word.", "TARA: (nervous smile) \"Getting\"?", "WILLOW: It frightens you? *I* frighten you?", "TARA: (jumps up from the bed) That is *so* not what I meant. I meant i-impresses - impressive.", "WILLOW: Well, I took Psych 101. I mean, I took it from an evil government scientist who was skewered by her Frankenstein-like creation before the final, but I know what a Freudian slip is. Tara looks upset.", "WILLOW: D-don't you trust me?", "TARA: With my life.", "WILLOW: That's not what I mean.", "TARA: Can't we just go to the fair?", "WILLOW: I don't feel real multicultural right now. (stands up) Wh ... what is it about me that you don't trust?", "TARA: It's not that. I worry, sometimes. You're, you're changing so much, so fast. I don't know where you're heading.", "WILLOW: Where I'm heading?", "TARA: I'm saying everything wrong.", "WILLOW: No, I think you're being pretty clear. This isn't about the witchcraft. It's about the other changes in my life.", "TARA: I trust you. I just ... (looks down) I don't know where I'm gonna fit in ... in your life when...", "WILLOW: When ... I change back? Yeah, this is a college thing, just a, a little experimentation before I get over the thrill and head back to boys' town. Pause.", "WILLOW: You think that?", "TARA: Should I?", "WILLOW: I'm really sorry that I didn't establish my lesbo street cred before I got into this relationship. You're the only woman I've ever fallen in love with, so ... how on earth could you ever take me seriously? She walks toward the door.", "TARA: Willow, please!", "WILLOW: Have fun at the fair. Willow storms out. Tara stands there looking upset.", "Cut to: exterior Summers house, day. A couple of Glory's demons walk up the front porch, over to the side window, kneel down and look in the window. Inside we see the living room. Dawn is sitting at the table while Buffy stands. The camera moves in through the window. Buffy is folding dish towels on the table while Dawn is doing homework.", "BUFFY: Okay, so, I-I think the next step is to make a chart. A schedule. (Dawn gives her an angry look) I'll write down all the things you're supposed to do, and when you have to do them, and then I'll leave a box next to it, which you can mark with an X when you've accomplished the task. Dawn stares at her with a sullen expression.", "BUFFY: What? You want gold stars? (rolls her eyes) Okay. You can have gold stars.", "DAWN: I don't want gold stars. (scoffs) I don't want any of this. She puts down her pencil and crosses her arms. Buffy pauses in her towel-folding.", "BUFFY: I'm just trying to give you a normal life.", "DAWN: (sarcastic) Well, good luck. Dawn returns to her schoolwork. Buffy stands and stares at her. Dawn pauses, looks up warily.", "DAWN: What? (rolls eyes, sits back) What am I doing wrong now?", "BUFFY: This is for real, Dawn.", "DAWN: No, it's not. I'm not real, so why would my exciting graph of chores be real? Who cares if a key gets an education anyway? (slams her textbook shut, folds her arms again)", "BUFFY: It's a chart. Not a graph. And you are real.", "DAWN: Yeah? Those monks put grades K through eight in my head. Can't we just wait and see if they drop nine in there too? Buffy slams her hand down on the table, making Dawn jump and wince.", "BUFFY: Damn it, Dawn. This is serious.", "DAWN: Why? Why should I care about any of this?", "BUFFY: Because they'll take you away! Beat. Long shot of the two of them facing off across the table. Dawn unfolds her arms and looks scared.", "DAWN: Take me away? What do you mean?", "BUFFY: (softly) They'll take you away from me. That's what your principal told me when you weren't in the room. If I can't make you go to school, then I won't be found fit to be your legal guardian. She resumes folding towels. Dawn absorbs this for a moment.", "DAWN: Where would I go?", "BUFFY: (softly) I don't know. Dad maybe ... or foster care ... I, I didn't really want to ask.", "DAWN: (pause, scoffs) You could've told me that.", "BUFFY: I just did. Buffy continues folding as Dawn sits there.", "Fade to a park, day. Balloons and paper lanterns are hanging from trees. People are walking around, some in costume, some holding carnival prizes. A group of cheerleaders waving pompoms. A group of Chinese men dancing with a large paper dragon. Flags of many nations hang from a wire above. Soft sad music over faint crowd noises. Shot of Tara sitting alone on a park bench, at the far right of it, looking sad.", "Cut to: magic shop. Giles walks over to the counter carrying two cups of tea, goes behind the counter where Anya is doing paperwork, gives her a mug. Pan across to a corner where Willow sits on the floor, beside a bookcase, amongst a pile of cushions, looking sad. Sad music continues. Cut back to Tara on the bench. She looks idly off to her left. Shot of Tara's right hand lying on the bench. Another hand appears and slips into Tara's. The fingers entwine together. Tara smiles, looks down at the entwined hands, then looks up at the face and stops smiling. The sad music stops.", "GLORY: Is this seat taken? Tara gasps in fear. Cut back to magic shop. Willow walks around the corner toward the counter. Giles is opening a box.", "GILES: I hope this isn't a return. Everyone wants petrified hamsters and they're never happy with them. Willow leans on the counter still looking sad. Giles notices her expression.", "GILES: You all right?", "WILLOW: Yeah.", "GILES: Ah yes, because your good mood is both obvious and contagious.", "WILLOW: I had a fight with Tara. It was awful.", "GILES: Oh, I'm sorry. (takes the box and walks toward the shelves behind the counter)", "WILLOW: (OS) Me too.", "GILES: You two don't quarrel much, do you?", "WILLOW: Never. Until today.", "GILES: Well, now it's over.", "WILLOW: (very upset) Over? How can it be over? I just found her!", "GILES: The quarrel is over.", "WILLOW: (quieter) Oh. Yeah.", "GILES: Uh, you'll feel better when you've made your apologies and you'll know that you can fight without the world ending. (walks toward the rear door) I know it all seems bleak now, but as they say, this too... Giles opens the door to discover one of Glory's demons, Slook, who was listening at the door. Slook falls into the room.", "GILES: ...shall pass. Willow and Anya both stare.", "Cut to: Giles holding the demon by the ear, dragging him into the shop and throwing him into a chair. Willow and Anya rush over.", "ANYA: Wow!", "GILES: Now, what do we have here?", "ANYA: Oh, he's one of those things that work for Glory!", "GILES: Yes. How helpful.", "SLOOK: I do indeed work for the god. Let me go if you do not wish to incur her anger.", "GILES: Well, she's not here. What a marvelous opportunity for you and me to talk.", "SLOOK: I will not betray Glorificus. I will never talk, no matter what heinous torture-", "GILES: Actually, you're talking quite a lot, just not about the right things. Tell us why you're here.", "SLOOK: No words shall pass my lips that will bring peril to Glorificus. Giles doesn't take his eyes off the demon, but points with his hand.", "GILES: Girls, get the twine that's on the counter, let's tie him up. Willow and Anya turn away. We hear some sort of rustling noise and Slook begins to sob. The girls turn back in amazement.", "SLOOK: No, no! I'll tell you! Anything! Please! Whatever you want! Just, I'll, anything! The girls walk back over.", "ANYA: What happened?", "GILES: He changed his mind.", "SLOOK: I'm ... I'm supposed to watch. We're watching the Slayer's people ... while Glory fetches the key. Everyone looks alarmed.", "WILLOW: Glory knows who the key is?", "GILES: Oh god. (removes his glasses)", "ANYA: We've got to call Buffy.", "SLOOK: Too late. Too late. Glorificus will find the witch, and there's nothing you can do to stop her.", "ANYA: Witch? What do you mean?", "WILLOW: (horrified) Tara! Willow turns to run out.", "SLOOK: She's the new one among you. It wasn't hard to figure out. The glorious one will have found her by now.", "GILES: (yells) Willow, wait! I'll go with-", "WILLOW: No! Call Buffy a-and go look in Tara's room, I'm gonna check the fair. She runs out. Cut back to the fair. Glory is still sitting beside Tara and holding her hand as Tara looks at her with fear.", "GLORY: Oh, this is nice. Just hangin' out, just us girls. You like that sort of thing, don't you? Shot of their entwined hands. Glory squeezes and we hear bones cracking. Tara winces in pain.", "TARA: Aah...", "GLORY: Don't ... make a sound. Tara gasps and whimpers as Glory looks around at the other fair attendees. The people walk around not seeming to notice anything.", "GLORY: Nah. They won't help you. I'd kill them. You know that. Tara looks around desperately. Shot of three bicycle cops riding away. Overhead shot of the fair.", "GLORY: There's no one here that can stop me. Tara continues gasping and panting.", "GLORY: I'll kill her (shot of a random woman) and ... and them (shot of a random couple) I'll kill him, and her and her, (laughs) and it'll all be your fault. Shot of their hands. Glory's nails dig in and Tara's blood begins to drip out between their fingers. Tara continues whimpering softly in pain and breathing erratically.", "GLORY: Kinda funny, isn't it? All these people here and ... no one who can do a thing. Not a person who can help you. Tara whimpers and turns her head to look at Glory.", "GLORY: But that's people for ya. They're pretty worthless. (watches some people go by) But keys, on the other hand ... keys are worth a very lot. Glory smiles and brings their clenched hands up to lick off some of the blood. Then she makes a disgusted face and spits.", "GLORY: You lying little tramp! You're not the key, you're nothing! Just another worthless human being!", "TARA: I didn't-", "GLORY: I hate being lied to. It makes me feel so betrayed. (considers) Hey! (turns back to Tara) You wanna make it all better? Tara looks at her with fear.", "GLORY: If you tell me who the key really is ... I'll let you go. Tara looks alarmed. Glory gives her hand another squeeze and she whimpers again as we hear more bones crack.", "GLORY: Think about it. You think your hand hurts? Imagine what you'd feel with my fingers wiggling in your brain. (Tara looks very scared) It doesn't kill you. What it does ... is make you feel like you're in a noisy little dark room ... (Glory frowns and fidgets uncomfortably) naked and ashamed ... and there are things in the dark that need to hurt you because you're bad ... little pinching things that go in your ears ... (Tara begins to cry) and crawl on the inside of your skull. And you know ... that if the noise and the crawling would stop ... that you could remember how to get out. Glory contemplates this as Tara continues to cry quietly. Then Glory turns to look at Tara again.", "GLORY: But you never, ever will. Glory squeezes her hand again and Tara gives another cry of pain.", "GLORY: Who ... is ... the key? Tara forces herself to stop crying and look Glory in the eye, saying nothing.", "GLORY: Fine. Let's get crazy. Glory caresses the side of Tara's face with her other hand. Tara whimpers and tries to pull her face away. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on an overhead shot of the fair.", "WILLOW: (OS) Tara! We see Willow running through the crowds.", "WILLOW: Tara! Shot of Tara and Glory on the bench. Willow runs toward them.", "WILLOW: By force of heart and mindful power, by waning time and waxing hour ... Glory puts her hand on Tara's head. People keep walking past and blocking them from view so it's difficult to tell what's happening.", "WILLOW: I echo Diana, um, when I decree ... uh, what is it, what is it? Shot of Glory with both her hands on Tara's temples.", "WILLOW: No! No! The light begins to stream out as Glory's fingers enter Tara's head. Both Tara and Glory cry out. Willow reaches the edge of the path but is blocked by the Chinese dragon people and has to stop.", "WILLOW: That she I love must now be free! Shot of Tara with Glory's fingers still in her head and the light streaming out as Tara makes a pained face. People continue walking past and blocking her from view. Shot of Willow straining to see around the people.", "WILLOW: Tara! The crowd clears momentarily and we see Tara sitting alone on the bench with her head lolling to one side.", "WILLOW: No! Willow runs over and sits on the bench, grabs Tara by the shoulders. Tara doesn't react or look at her.", "WILLOW: Tara, Tara, are you okay?", "TARA: It's dirty. It's all dirty. And all over me! She begins brushing at her stomach as if to brush off dirt.", "TARA: Dirty. Dirty. I'm bad. Bad. (whimpering)", "WILLOW: (crying) Tara. Oh, I'm so sorry. I'm so sorry. Willow pulls Tara's head down onto her shoulder and rocks her gently. Overhead shot of them on the bench. People continue to walk by all around them.", "Cut to: interior hospital. Giles is looking at some X-rays of a hand that are posted on the wall. He removes his glasses and wipes his eyes as he turns and the camera pans across to reveal Anya and Xander, then Tara sitting on the edge of an exam table wearing a hospital gown. She looks straight ahead with a glazed expression. Her hand is bandaged. We see Willow sitting beside her.", "WILLOW: Can she go home now? We see the same doctor who fired Ben earlier.", "DOCTOR: Unfortunately, no. Hospital policy dictates we keep her for the night.", "WILLOW: But does she have to? I-I can take care of her at home.", "TARA: It's poisoned. (to Willow, matter-of-factly) Why don't I tell you that? It, it has to be checked, though. Willow looks sad. Tara looks confused.", "DOCTOR: She your sister?", "TARA: I-i-it has to be verified, of course. Anyone can tell you that. Of course. (looking from one person to the next) Of course, of course.", "WILLOW: (staring at Tara) She's my everything.", "DOCTOR: Well, you can get her released first thing in the morning. But she's gotta spend one night in the psych ward. Just for observation. We'll keep an eye on her, do a couple basic tests, then you can take her home. Does that sound fair? (Willow nods uncertainly) Well, sit tight then, and I'll send a nurse by in a few minutes to pick up Tara. The doctor leaves as Anya and Xander give Willow concerned looks. Willow stands and brushes hair back from Tara's face.", "XANDER: Man, words cannot express how much I hate this place.", "GILES: It's dreadful.", "ANYA: It's like communism. Buffy enters.", "BUFFY: Hey. Will, I'm so sorry. She hugs Willow, looking over her shoulder at Tara. Shot of Tara staring vaguely at nothing. Buffy and Willow pull apart. Willow has tears in her eyes. She looks at Tara who gives her a huge smile.", "TARA: They kill mice. Shot of Willow with tears on her cheeks.", "BUFFY: Tara. Buffy hugs Tara, who doesn't react. Buffy pulls back slowly and looks at Willow.", "BUFFY: I'm sorry it took me so long, but Dawn's safe with Spike, so I-I can stay as long as you need. Willow puts her hand over Tara's non-bandaged hand.", "WILLOW: (to Buffy) I'm so scared. Buffy puts her hand on Willow's cheek.", "SPIKE VOICEOVER: Nothin' to be worried about, kid.", "Cut to Spike leading Dawn through his underground cavern. Spike moves a little slowly and with a slight limp. Dawn holds a flashlight.", "SPIKE: No one's gonna hurt you.", "DAWN: Oh yeah? Same no one who did that to you?", "SPIKE: What, these? It's just a few bruises. We see that Spike is still looking very bruised and battered from his encounter with Glory in \"Intervention.\"", "SPIKE: Nothin' to write home about. He stops and turns back to see Dawn's nervous expression.", "SPIKE: Hey, chin up, platelet. Don't get scared. Maybe Glory doesn't wanna kill you, maybe it's something-", "DAWN: Worse? Spike doesn't respond, walks a little more. Dawn sits down on a rock. Spike turns to watch her as she sits there looking scared, facing away from him. He slowly walks toward her.", "SPIKE: Hey. He puts out a hand to touch her hair, but pulls it back quickly as she turns back toward him.", "DAWN: You wanna know what I'm scared of, Spike? ... Me. (tearfully) Right now, Glory thinks Tara's the key. But I'm the key, Spike. I am. And anything that happens to Tara ... is 'cause of me. Your bruises, your limp ... that's all me too. I'm like a lightning rod for pain and hurt. (crying) And everyone around me suffers and dies. I ... must be something so horrible ... to cause so much pain ... and evil.", "SPIKE: (firmly) Rot.", "DAWN: (teary) What do you know?", "SPIKE: I'm a vampire. I know somethin' about evil. You're not evil.", "DAWN: Maybe ... I'm not evil. But I don't think I can be good. (looks up at Spike with a hopeful expression)", "SPIKE: (considers) Well, I'm not good, and I'm okay.", "Cut to Tara in a wheelchair. A nurse is trying to settle her into the chair. Tara pushes at the nurse's hands trying to stop her.", "TARA: (upset) Don't! Please don't with that treachery! She calms down slightly as the nurse goes around behind the wheelchair and begins to wheel her out. Tara looks up at Willow.", "TARA: I told the cat. And now I beg my mother sitting all alone.", "WILLOW: Bye, Tara. I'll see you tomorrow. I love you. Tara whimpers as the nurse wheels her out. We see her good hand reaching back toward Willow. Willow watches her go, tries to run after her but Xander steps into her path.", "XANDER: Willow. No. It's just for one night. (We see Buffy in the background leaning against the wall)", "WILLOW: Yeah, I-I know, but ... it's a whole night. I don't think I can sleep without her.", "ANYA: You can sleep with me. Everyone looks at Anya.", "ANYA: Well, now that came out a lot more lesbian than it sounded in my head.", "BUFFY: (comes forward) Will, you just have to rest. Okay? Right now there's nothing you can do.", "WILLOW: (ponders) Yes there is. (walks out the door)", "BUFFY: No. No way. Buffy chases Willow out into the hallway and stops her.", "BUFFY: You cannot even think about taking on Glory.", "WILLOW: You saw what she did to Tara. I can't let her get away with it.", "BUFFY: No. You *have* to let her get away with it. Even I'm no match for her, you know that.", "WILLOW: But maybe I am. She turns to go but Buffy grabs her arm.", "BUFFY: You're not. And I won't let you go.", "WILLOW: This is not your choice. It's mine.", "BUFFY: This is not the time.", "WILLOW: When, Buffy? When is? When *you* feel like it? When it's someone *you* love as much as I love Tara? When it's Dawn, is that it?", "BUFFY: When we have a chance. We'll fight her, when we have a chance. You wouldn't last five minutes with her, Willow. She's a god.", "WILLOW: (shakes her head sadly) Fine. I'll wait.", "BUFFY: It's the only way.", "WILLOW: (skeptical) Yeah. Willow starts to walk away.", "BUFFY: Can I do anything?", "WILLOW: (not turning back) Just let me be alone. Buffy watches her go with a concerned expression.", "Cut to: interior magic shop. Willow bursts in at a run. She runs straight to the stairs that lead up to the loft where the more dangerous stuff is kept. She goes up the stairs, takes a small black leather back from the top of a bookshelf, kneels, and begins pulling stuff off the shelves. She opens a drawer and takes out a jeweled dagger, puts it in the bag. She pulls books and vials off the shelves and puts them in the bag. She shoves books off the shelves every which way, finally pulls out one very large old book and puts it on the floor in front of her. Shot of the book cover reading Darkest Magick. The book has a metal lock holding it shut. Willow grabs a small axe from the shelf and hits the lock with it. The lock breaks and the book's pages flip open. The pages continue to flip past as if blown by a wind. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on Glory's apartment. Glory is coming down the stairs followed by her three minions. She walks a little unsteadily.", "GLORY: You know, I think I'm a little buzzed from eating that witch! What a mind she has. Mmm, nummy treat.", "JINX: Is your grace not the slightest bit concerned about-", "GLORY: What, about the Slayer? Don't be stupid. I know I'm closing in. The key's as good as mine. (the demons all smile) Girl like Buffy's got just so many friends. All I gotta do it rip through 'em one by one until I finally... She stops as the walls begin to shake and rattle. Knick-knacks on the walls fall over and smash to pieces. Glory and the demons look around in confusion. The lights darken.", "GLORY: Did anybody order an apocalypse? The door suddenly flies open, revealing Willow floating several inches above the floor. Her hair is blown back by an unseen wind.", "WILLOW: Kali, Hera, Kronos, Tonic... She floats into the room toward Glory as the minions flee.", "WILLOW: Air like nectar, thick as onyx... We see that her eyes are completely black.", "WILLOW: Cassiel by your second star...", "GLORY: Uhh. It's the lover. (walks forward) That's so cute.", "WILLOW: Hold mine victim as in tar. The air around Glory shimmers and she suddenly cannot move forward. She looks at Willow in surprise.", "WILLOW: I ... owe ... you ... pain! Blue lightning flashes out of Willow's hands toward Glory. Glory screams and clutches her shoulders.", "Cut to: Buffy and Dawn sitting together in Spike's cavern. Spike stands a little ways off.", "DAWN: It's all my fault.", "BUFFY: No. (brushes Dawn's hair back) Sweetheart, it is *not* your fault.", "DAWN: (teary) How's Willow?", "BUFFY: (continues stroking Dawn's hair) She was looking to go all payback-y on Glory for a minute. But I cooled her down a little. Actually a lot.", "SPIKE: So she's not gonna do anything rash then.", "BUFFY: No. I explained that there was no point.", "SPIKE: (walks a little closer) Mm-hmm.", "BUFFY: What?", "SPIKE: You - so you're saying that a ... powerful and mightily pissed-off witch ... was plannin' on going and spillin' herself a few pints of god blood until you, what, \"explained\"? Buffy frowns, looks at Dawn and back at Spike.", "BUFFY: You think she'd ... no. I told Willow it would be like suicide.", "SPIKE: I'd do it. Buffy stares at him.", "SPIKE: (looks down at the ground) Right person. Person I loved. (looks at Buffy) I'd do it. Buffy continues to stare at him as if not getting it.", "DAWN: Think, Buffy. If Glory had done that to me. Buffy glances at Spike, jumps up and races out. Cut back to Glory's apartment.", "WILLOW: Shatter. The mirrors in the room all shatter and the glass flies toward Glory, slicing her dress into shreds but not harming her.", "GLORY: Is that it? Is that the best you can do? You think I care about all this, the apartment, the clothes? She pulls off the shreds of her dress, revealing a black negligee underneath. She backhands Willow, who flies backward and topples over a sofa, landing on the floor.", "GLORY: Now, sucking on your girlfriend's mind? Willow lifts her head. Her eyes are still all black.", "GLORY: That was something to treasure. Willow gets to her feet, wearing a very angry expression. There's a small trickle of blood coming out of her mouth and down her chin. Shot of the black bag on the floor. It slides across the floor toward Willow, who turns to look at it. The bag opens of its own accord.", "GLORY: (amused) What's this? Bag of tricks? A bunch of daggers fly up out of the bag.", "WILLOW: Bag of knives. The daggers fly toward Glory, who bats them all aside. One buries itself in the wall.", "WILLOW: Spirit of serpents now appear. Glory picks up a coffee-table and throws it at Willow, knocking her down again. Willow braces herself up on her hands and looks back at Glory.", "WILLOW: Hissing, writhing, striking near. A snake appears out of the carpet Glory's standing on and winds itself around her leg. Shot of Willow still on the floor, panting and watching. Glory shakes her foot and the snake disappears in a puff of smoke. Glory walks forward.", "GLORY: Now this is getting weak. She grabs Willow by the throat and pulls her to a sitting position.", "GLORY: And so are you, honey. Aren't ya? Willow spits in her face. Glory looks startled. Glory grabs Willow's arm and drags her across the floor to where one of the daggers is lying. Glory scoops it up and continues dragging Willow.", "WILLOW: No! Glory pulls Willow up and shoves her against the wall, holding her by the throat.", "GLORY: Know what they used to do to witches, lover? (brings up her other hand with the dagger) Crucify 'em. Glory pulls her arm back to stab with the knife, but Buffy appears and grabs Glory's wrist.", "BUFFY: They used to bow down to gods. Glory smiles in delight. Buffy kicks her in the stomach and she lets go of Willow, who falls to the floor. Buffy twists Glory's arm aside, punches her.", "BUFFY: Things change. Buffy cartwheels across the floor to kick Glory in the face, punches her a few times, kicks her again, spins around to punch but Glory blocks. Buffy does a flip and kicks Glory in the face, comes back upright and throws another couple of punches which Glory evades. Glory pins Buffy's arm behind her back and throws her over a sofa.", "GLORY: That witch barely slowed me down. Glory glares at Buffy. Buffy kicks the sofa, which flies forward and pins Glory against the wall. Buffy runs over to Willow, helps her up. Glory shoves the sofa aside and stalks toward them. Buffy begins to lead Willow out.", "WILLOW: (over her shoulder) Thicken. The air around Glory thickens, rendering her immobile. Buffy and Willow run out.", "GLORY: (shouting) This isn't over, you hear me? It isn't over! She watches them go with an annoyed sigh.", "Cut to: exterior dorm building, day.", "Cut to inside Tara's room. Willow, Tara, Dawn, and Buffy sit on the bed. Tara's hand is still bandaged and she still stares blankly in front of her. Willow has one hand on Tara's knee. Buffy has a paper bag. She takes something out of it.", "BUFFY: Chicken salad?", "WILLOW: Right here. Buffy hands Willow the sandwich and continues taking wrapped sandwiches from the bag.", "BUFFY: Eggplant, that's me ... salami with ... (looks at the sandwich) ew, peanut butter? Dawn. (gives it to Dawn)", "DAWN: Yeah, like eggplant is normal. It's what, half egg, half plant? 'Cause that's just unnatural. Buffy continues unpacking sandwiches along with plastic bags full of grapes.", "WILLOW: What's Tara got?", "DAWN: Oh. (holds out a sandwich) I ... got her tuna. Does she like...? Willow draws Tara's attention to the sandwich. Buffy stops unpacking to look at them.", "DAWN: (gently) Tara? Dawn unwraps the sandwich to show Tara. Tara anxiously looks to Willow, then back at the sandwich.", "TARA: Plastic and their six sisters. Six sick sisters. (anxiously) Willow?", "WILLOW: It's okay. Let's just start slow today. Um, Buffy, could I have that? Buffy hands her a cup of applesauce and a plastic spoon. Willow opens it.", "WILLOW: Here you go. Willow spoons some applesauce into Tara's mouth. Tara eats it uncertainly.", "WILLOW: That's my girl. Buffy looks on with a sad expression as Willow continues feeding Tara.", "DAWN: Can I help? Willow nods, gives Dawn the cup and spoon. Tara gives Willow an anxious look but accepts the food from Dawn. Willow looks over at Buffy.", "BUFFY: What are you gonna need?", "WILLOW: I don't know. They gave me a lot of stuff to ... keep her calm. They both look at Tara, still being fed by Dawn.", "WILLOW: (quietly) They said I might have to restrain her at night. But ... sometimes she's fine. She looks at me, and ... she's fine. Tara makes an unhappy face.", "BUFFY: I'm sorry I couldn't-", "WILLOW: It's okay. I can do this. I'm gonna take care of her. Even if she never... Dawn looks up at this.", "WILLOW: (softly) She's my girl. Buffy looks sympathetically at Willow, looks at Dawn and plays with a lock of Dawn's hair.", "BUFFY: I understand.", "WILLOW: (nods) I know you do. They give each other small smiles.", "WILLOW: (to Tara) Hear that, baby? (Tara looks at her) You're my always. Willow kisses Tara on the forehead. Tara smiles. Suddenly the entire outside wall smashes to pieces, exposing them to the outside. Dawn and Buffy jump up in alarm. Sunlight streams in. Glory appears in the window, which is now just a broken frame with shards of glass hanging in it.", "GLORY: I told you this wasn't over.", "TARA: No. The place is cracking! It's cracking! Cracking, no, no, no! Dawn looks anxiously at Tara as Willow tries to calm her.", "DAWN: No, Tara, it's okay.", "TARA: (gasping, staring at Dawn) Oh, look at that, look at that. The light! Buffy is staring at Glory but turns to look at Tara at this.", "TARA: Oh, it's so pure! Such pure green energy! Dawn gasps and looks over at Glory in fear. Glory begins to smile.", "TARA: (still staring at Dawn) Oh, it's so beautiful. Glory's smile widens. Dawn looks fearfully at Buffy. Buffy turns to glare at Glory. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Glory discovers the real Key, and Buffy and company must flee from her, and the Knights of Byzantium who are trying to destroy the Key. The gang race from Sunnydale in a caravan ." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Monks running in fear. The dying monk talking to Buffy.", "MONK: We had to hide the key ... made it human... Monks chanting.", "MONK: ...and sent it to you.", "BUFFY VOICEOVER: Dawn. Glory smashing through the warehouse.", "BUFFY VOICEOVER: Tell me what kind of demon I'm fighting.", "QUENTIN TRAVERS VOICEOVER: Glory isn't a demon, she's a god.", "GLORY: Did you know your sister took my key, Dawnie, and she won't give it back. I bet you know where she put it, don't you? Spike and Dawn in the magic shop.", "SPIKE: (reading) They had to be certain the Slayer would protect it with her life, so they sent the key to her, in the form of a sister.", "BEN: You're the key. Go. Before she finds you, she's here! Ben morphing into Glory. Spike talking to Buffy in his underground cavern.", "SPIKE: I love you.", "BUFFY: The only chance you had with me was when I was unconscious. Buffy kneeling atop Orlando in \"Checkpoint.\"", "BUFFY: Let's see what you are. Buffy removing Orlando's mask.", "BUFFY: Or who you are.", "ORLANDO: One soldier in a vast army. The knights chanting in a circle.", "KNIGHTS: The key is the link. The link must be severed. Glory talking to a tied-up Orlando.", "GLORY: Where ... is ... the key?", "ORLANDO: I'd die a thousand deaths before I'd tell you. Glory putting her fingers into Orlando's brain. Willow running through crowds of people.", "WILLOW: No! Glory putting her fingers into Tara's brain.", "WILLOW: Tara! No! Tara sitting on the bench. Willow running over to her.", "WILLOW: Tara, I'm so sorry.", "BUFFY: What are you gonna need?", "WILLOW: They gave me a lot of stuff to keep her calm. Willow kissing Tara on the forehead. Glory breaking down the wall. Dawn and Buffy jumping up.", "GLORY: I told you this wasn't over.", "TARA: (gasping, staring at Dawn) Oh, look at that, look at that. Such pure green energy! Glory smiling. Buffy whirls, grabs Dawn by the hand and runs straight through the door into the dorm hallway. They crash to the floor amid broken pieces of door. Glory laughs and starts after them. Willow holds up a hand. Glory suddenly can't move. She makes an angry face. Buffy and Dawn get up, run down the hall. Willow wraps her other arm around Tara, continues holding up her right hand while speaking some Latin. Glory goes flying backward, off the side of the building into some bushes. Willow and Tara get up and run out. Buffy and Dawn run through the lobby of the building. It's full of students walking, sitting, standing, talking, reading, etc. Buffy still has Dawn by the hand. They run to the doors and outside. Glory comes crashing through the wall into the building. People scream and run away. Glory walks forward, looks around, sees the door Buffy and Dawn just exited. Glory turns into a blur as she moves forward at superhuman speed. Buffy and Dawn run across grass. More students are all around, staring as they go by.", "DAWN: Buffy!", "BUFFY: We have to keep moving!", "DAWN: I can't! Dawn falls to the ground. Buffy hauls her back up and scoops Dawn up in her arms, jumps over a bench and continues running. She crosses the lawn, goes across a paved pathway, heading toward the street. Glory, still a super-fast blur, moves across the lawn toward them. Buffy, still carrying Dawn, comes out onto the sidewalk and suddenly Glory is in front of them. Buffy puts Dawn down and they both stare fearfully at Glory.", "GLORY: I really hate it when people touch my things. Buffy and Dawn just stand there looking scared.", "GLORY: Last words, slay-runt?", "BUFFY: Just one. Truck.Glory looks to her right, too late, as a huge semi smashes into her. Buffy and Dawn run off in the other direction. Glory lands on her back on top of a parked car, smashing its roof in. She starts to sit up, then stops with a jerk.", "GLORY: No! Not now, you idiot! Let go- She morphs into Ben.", "BEN: -of my body! Ben rolls off the car onto the ground, looks around. He's wearing Glory's dress.", "BEN: Oh, god. Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Wade Andrew Williams, Karim Prince, and Amber Benson as Tara. Written by Steven S. DeKnight, directed by James A. Contner.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on Xander's apartment. Dawn stands in the middle of the room telling the story.", "DAWN: A-and then whoosh! All of a sudden Glory's standing right there in front of us, (we see Giles standing listening, and Buffy peering out through the closed window blinds) all skanky and blonde and thinkin' she's all that (shot of Xander and Anya sitting, listening) just 'cause some bumpy heads kiss her stinky feet ... (pauses, very quietly) She does have nice feet. (louder) A-and she's comin' right at us, and- (shot of the whole room. Willow and Tara sitting on the sofa) Buffy's just standing there not even blinking, like \"Bring it on,\" and then, wham! (smacks one fist into the other hand) Hell-bitch in orbit.", "XANDER: Go, Buff!", "GILES: I knew you'd best Glory eventually, I mean all-all our years of training-", "BUFFY: (still staring out the window) A truck hit her.", "GILES: Oh.", "ANYA: You threw it at her?", "DAWN: Well, no. She more kind of waited for it to hit Glory. Uh, but then Buffy ran really fast and we got away. (Shot of Willow and Tara on the sofa. Tara still stares blankly at Dawn.)", "BUFFY: I don't know how we got away. That truck couldn't have slowed her down for more than a second.", "GILES: Well, how isn't important, all that matters is that the two of you are safe. Buffy scoffs, turns to look at him.", "BUFFY: Safe? (angrily) We've barely been able to manage not getting seriously dead every time we've crossed paths with Glory. Now that she knows that Dawn is the key? Giles and Dawn look chastised.", "GILES: There must be something in the Book of Tarnis that we've missed, something we can use against Glory. Buffy turns to look out the window again.", "ANYA: Piano!", "XANDER: Because that's what we used to kill that big demon that one time! Buffy turns to look at them with a confused frown.", "XANDER: No wait, that-that was a rocket launcher. (turns to Anya) Ahn, what are you talking about?", "ANYA: We should drop a piano on her. Well, it always works for that creepy cartoon rabbit when he's running from that nice man with the speech impediment.", "GILES: (rolls his eyes) Yes, or perhaps we could paint a convincing tunnel on the side of a mountain. Let's just keep thinking, everyone. (to Buffy) Perhaps we should reassemble at the magic shop, see if there's anything-", "BUFFY: We can't fight her.", "GILES: (surprised) W-well not yet, no, but-", "BUFFY: No, not ever. She's too strong, Giles. We're not gonna win this with, with stakes, or spells, or pulling out some uranium power core. She's a god and she's coming for us. So let's just not be here when she starts knocking.", "ANYA: Run away? Buffy looks at her.", "ANYA: Finally, a sensible plan.", "XANDER: That's not what she meant. (to Buffy) Is it?", "BUFFY: Well, we can't stay here! She'll just kill us off one by one until there's no one left standing between her and Dawn.", "GILES: Buffy, we all understand the severity of the situation, but there must be another way.", "BUFFY: (harshly) No. We stay, we die. Show of hands for that option. Everyone is silent.", "BUFFY: All right. Nobody goes home, nobody tells anybody we're leaving. Just pack up whatever supplies we need and that's it, we're gone.", "DAWN: (quietly) Cool. Don't have to study for that geometry test.", "XANDER: (quietly) What about wheels? I don't think everybody's gonna fit in the Xandermobile.", "BUFFY: Just get your stuff together. I'll handle the rest. She turns to look out the window again.", "Cut to: Glory's apartment. Ben comes down the stairs to the main room, wearing regular clothes, followed by a minion, Gronx. Gronx holds Glory's dress and speaks with a female voice (although she looks just like the others).", "GRONX: This is, this is terrible. I'll never be able to mend this.", "BEN: Not really my color anyway. (sits on the arm of a sofa)", "GRONX: Oh, yes. Inappropriate humor. (fake laugh) Most amusing. Don't suppose you know what led to this sartorial tragedy.", "BEN: That's not how it works, you know that.", "GRONX: Yes, of course. I just thought maybe after her magnificent incandescence was returned to this ... manly and ... (looking Ben up and down) painfully handsome assemblage ... you might have noticed something interesting? A key in human form, perhaps? Lounging about unattended?", "BEN: If I did, do you really think I would tell you?", "GRONX: Why do you insist on fighting the inevitable? No one can stand against her blindingly scrumptious luminescence.", "BEN: Glory. Her name is Glory, and she's your god, you little scab, not mine.", "GRONX: With all due respect and-and fear of sharp objects, you exist, sir, only because of her divine greatness.", "BEN: You mean her divine failure, don't you? Gronx squints angrily at him. Ben gets up to pace.", "BEN: I didn't ask for any of this. I just want to be normal.", "GRONX: We play the hand we're dealt.", "BEN: Nothing's mine, is it? This life, this body, it's all infected. The only thing I ever cared about she's taken away from me. You know why I wanted to be a doctor?", "GRONX: Flattering drawstring pants?", "BEN: To be close to people. To witness their lives and their deaths, to be there alongside them, a part of everyday humanity. (sighs) Maybe it's the drugs. (walks past)", "GRONX: Drugs, sir? (follows him)", "BEN: Find the right combination, keep her buried where she belongs.", "GRONX: Impossible! Her magnificence can never be fully contained! She is a perfect, all-encompassing light, one you should feel honored to be bathed in.", "BEN: Oh, yeah, I'm thrilled. Especially with the part where she gets her key back and I cease to exist.", "GRONX: True, this oh-so-appealing form will of necessity be shrugged off.", "BEN: Not if I get the key first. (turns to leave but Gronx stops him)", "GRONX: And if you did ... what then? Could you do it? (Ben looks annoyed) Take a human life with your own hands? (comfortingly) Oblivion is such a small inconvenience in the service of a deity. Accept your fate. I mean, you said it yourself. This life was never really yours anyway, was it?", "BEN: It doesn't matter how I came by it. It's mine. And I plan on keeping it.", "Cut to: city street, day. Willow and Tara sit on a bench while Giles, Anya, and Xander stand. They all have bags of stuff and are watching the cars go by.", "ANYA: Anybody else feel that?", "WILLOW: What?", "ANYA: Cold draft of paralyzing fear.", "GILES: We just need to stay calm.", "WILLOW: (skeptical) Calm, right.", "XANDER: Hey, we gotta be like Sergeant Rock. Cool and collected in the face of overwhelming odds.", "ANYA: *Over*whelming? (turns to him) How much more than whelming would that be exactly?", "GILES: Look, everything will be all right, we just need to stay here calmly. As soon as Buffy arrives- A large Winnebago (RV, motor home) drives up and screeches to a halt in front of them. The windows are all covered with aluminum foil. The door swings open.", "GILES: -we'll feel oddly worse. They all pick up their stuff and climb into the Winnebago.", "Cut to inside. Looking from the driver's seat back, on the left there's a small kitchen area with sink; on the right, a booth with a table. Farther back there's a door leading into a back bedroom. Willow and Anya look with interest at the driver's area as they and Tara move to sit around the table. We see Buffy sitting at the table already, studying maps. Giles and Xander enter. Giles looks at the driver's area too, does a double-take. We see Spike sitting in the driver's seat, wearing a large pair of black goggles.", "GILES: (grimly) What's he doing here?", "SPIKE: Just out for a jaunt. Thought I'd swing by and say howdy.", "GILES: Out.", "BUFFY: (looks up from the table) He's here because we need him.", "XANDER: The hell we do.", "BUFFY: If Glory finds us, he's the only one besides me that has any chance of protecting Dawn.", "XANDER: Buffy, come on-", "BUFFY: (jumps up angrily) Look, this isn't a discussion! He stays. Get over it. She takes one of the maps and storms into the back room, slamming the door. Dawn watches anxiously. Spike grins hugely. Giles glares at him.", "SPIKE: Buckle up, kids. Daddy's puttin' the hammer down. Spike puts the RV in gear and begins driving. Everyone clutches the walls and each other for balance. Shot of the RV rolling down the street. The front windshield is completely covered with foil except one small rectangle that has been cut out in front of the driver's seat.", "Cut to: interior hospital. A nurse hands a clipboard and pen to a guy wearing a baseball cap.", "NURSE: Sign here. Shot of the paper on the clipboard. The guy signs: first name Dante, last name illegible. We see two other guys standing behind him, also wearing baseball caps.", "NURSE: Okay, that should do it. Dante nods, turns to the other men. They start to walk off. The taller man is Orlando. He stares blankly ahead of him.", "DANTE: (to the other man) See. Did I not tell you how easy it would be for us to-", "NURSE: Hey! The men stop walking as in the background the nurse comes out from behind her counter. Dante and the other man exchange a look. The second man begins to pull a dagger out of his jacket. The nurse comes over to them.", "NURSE: (pointing at Dante's hand) My pen. Dante hands her the pen with a slight smile. She takes it and goes back to her desk. The other man puts away his dagger as he and Dante lead Orlando away.", "Cut to a forest. Dante, Orlando, and the other man move carefully down a slight rise. Orlando looks around at the sunny sky and the trees with wonder.", "ORLANDO: The trees are singing water. Dante ignores him, stops walking, looks around. Rustling noise from some bushes. They look over as a man emerges from the bushes, wearing battle armor. He has the mark of the Knights of Byzantium on his forehead and several long scars running down the side of his face.", "GREGOR: You have him.", "DANTE: Yes, General. Dante and the other man remove their baseball caps, revealing the marks on their foreheads. General Gregor comes forward.", "DANTE: Our brother has returned to the fold.", "GREGOR: Welcome home, Orlando. (puts his hand on Orlando's shoulder) I swear by my sword your sacrifice ... will not go unavenged. Orlando seems fascinated by the medal or amulet hanging around the general's neck. He reaches out to touch it.", "ORLANDO: Shiny.", "GREGOR: Yes, I suppose it is.", "ORLANDO: Pretty little girl, she's shiny too.", "GREGOR: (to Dante) Watch him, make sure he's comfortable.", "ORLANDO: So shiny. Pretty little shiny key.", "GREGOR: The key? You've seen it?", "ORLANDO: Pretty ... little shiny girl. Gregor and Dante stare at Orlando.", "GREGOR: The monks, they've made it human.", "DANTE: We know the Slayer's protecting the key. If what Orlando says is true... Gregor turns back to the bushes. We see a large number of knights standing in formation. One knight stands closer, guarding.", "GREGOR: Prepare to advance!", "KNIGHT: Yes sir.", "GREGOR: (turns back) We end this now. He stalks off with the knights following. The camera rises so we can see them emerging from the trees. Some are on foot, some on horseback. Hard to tell exactly how many there are, but there are a lot. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the Winnebago driving down residential streets. The hole in the foil is larger than before. It screeches around a corner.", "Cut to inside. Giles is driving. Dawn, Willow, Tara, Anya, and Xander sit around the table. Spike sits on the floor beside Dawn, looking irritated. Willow is studying a book.", "ANYA: Shouldn't somebody be asking, \"Are we there yet?\" Willow looks up from her book briefly, then returns to it.", "ANYA: (to Xander) Isn't that what small entertaining children do? Xander doesn't reply. He looks ill.", "DAWN: That kinda only works if you know where you're going. Anya nods, ponders. Xander groans softly.", "ANYA: (calls to Giles) Do we know where we're going yet?", "SPIKE: We'd already be somewhere if Captain Slowpoke would give up the wheel. (Giles looks annoyed) Hey! Gramps! Bloody step on it!", "GILES: Step on what? I've driven tricycles with more power. Everyone looks up as the vehicle jostles and bumps.", "XANDER: (groans) Is anybody else queasy?", "ANYA: (rubs his arm sympathetically) He doesn't travel well. He's like fine shrimp.", "SPIKE: (to Dawn) I shoulda nicked that Porsche I had my eye on. There's just enough room for me, you, and big sis. Xander gives Spike a queasy glare.", "SPIKE: What?", "XANDER: Would you give it a rest, or...", "SPIKE: Or what, you're gonna toss your cookies on my shoes?", "XANDER: Or you can be undead man walking. See how fast you can hitch a ride with a flaming (gulps) thumb.", "SPIKE: Fine. (quietly) Shrimp. Xander gags, gets up and stumbles to the front, falls into the passenger seat beside Giles.", "XANDER: That guy is bloodsuckin' the last nerve right outta me.", "GILES: Well, Buffy has a point. In a confrontation, Spike may prove... Giles looks back as Spike gets up off the floor and takes the seat Xander just vacated.", "GILES: ...useful.", "XANDER: (still queasy) I don't know if Buffy's thinkin' too clear on that one, or anything else right now. (gulps) I've never seen her so...", "GILES: She's ... been through more than her fair share of late. She just needs a chance to catch her breath, regroup. She'll be all right.", "XANDER: Yeah. She'll ... (gulps) Yeah. Shot of the RV going down the road. It seems to have left the city and is now on a highway.", "Cut to back inside. Willow continues studying her book. Dawn peers over her shoulder.", "DAWN: Any luck?", "WILLOW: Uh, if you define luck as the absence of success, plenty. (shot of Anya and Spike listening) There's a couple barrier spells, but... (we see Tara next to Willow, staring past her at Dawn) they only work on a fixed locus. Haven't found anything that'll work while we're still moving.", "TARA: So pretty, can I have one? Tara tries to reach past Willow to touch Dawn. Willow gently pushes Tara's arm back.", "WILLOW: (to Tara) Come on. (pushes Tara back into her seat)", "DAWN: Anyone hungry?", "ANYA: Ooh! Snacks! The secret to any successful migration. Anya reaches into her backpack and pulls out a frying pan, reaches in again.", "ANYA: Who's up for some tasty fried meat products? She holds up a can of SPAM. No one looks interested. Tara reaches over to the window and opens the blinds. Sunlight streams in, hitting Spike's hand.", "SPIKE: Hey! Aah! Spike jumps away from the table as Willow pulls Tara back from the window.", "WILLOW: Tara, no! What did I tell you? Tara whines loudly in protest. Spike cradles his smoking hand.", "WILLOW: Shh. Tara continues whimpering. Willow pulls Tara's head to her chest to comfort her, looks over at Spike.", "WILLOW: I'm sorry. She, she didn't mean to. Spike nods understanding.", "WILLOW: She doesn't know what she's doing. (Tara continues whimpering)", "DAWN: We know.", "SPIKE: No biggie. Look, the skin's already stopped smoking. You go ahead and play ... peek-a-boo with Mister Sunshine all you like. It keeps the ride from getting boring.", "TARA: (upset) All the light is gone. (crying)", "WILLOW: No, shh, baby. The light's still outside, okay? Dawn watches with concern. Willow continues trying to comfort Tara.", "TARA: All dark. All dark.", "Cut to the psych ward at Sunnydale Hospital. All the patients, strapped down in their beds, are also saying \"All dark.\" They repeat this over and over. Then one of them says \"Soon\" and they all start saying \"Soon, soon.\"", "Cut to a section of floor with candles set out and symbols written on the floor in red dirt. A pair of hands throw runestones onto the symbols. The camera pulls out and we see we're in Glory's apartment. Gronx and Murk sit on the floor casting the runes.", "GRONX: It's coming. The signs are in alignment, and soon victory will be in our grasp. (they smile) All we need do is seize the moment ... and squeeze until it bleeds. They both smile happily.", "Cut to the RV driving through the desert on what looks like a dirt road. Mountains in the background.", "Cut to inside. Buffy sits in the back room, leaning against the wall. The door opens and Dawn peeks in.", "DAWN: Hey. I think Anya's gonna try to cook. Wanna come watch the tears and recriminations?", "BUFFY: (small smile) Maybe later. Dawn starts to retreat, pauses, leans back in and gathers her nerve.", "DAWN: Thanks.", "BUFFY: (looks up) For what?", "DAWN: You know. Pretty much everything.", "BUFFY: (sarcastic) Yeah. I'm doin' a great job.", "DAWN: (firmly) You are.", "BUFFY: (scoffs) I'm the Slayer. The chosen one. All mythic and defender-y. Evil nasties are supposed to flee from me. Not the other way around.", "DAWN: You're not fleeing. You're ... moving at a brisk pace.", "BUFFY: Quaintly referred to in some cultures as the big scaredy runaway. Dawn comes fully inside, closes the door and walks over to sit beside Buffy.", "DAWN: It's the most amazing thing anyone's ever done for me. Buffy looks over at her with a pained expression, then away.", "BUFFY: (voice breaking) It just keeps coming. Glory ... Riley ... Tara ... Mom.", "DAWN: (pause) I know. But there's a bright side.", "BUFFY: There is?", "DAWN: At least things can't get any crazier. Right? Suddenly they both jump as an arrow shoots through the window and lands in the wall a little ways from Buffy's head. Dawn stares at it in horror. Buffy gives her an almost amused look.", "BUFFY: You know this is your fault for saying that. Dawn doesn't seem to see the humor. Buffy pulls down a corner of the Venetian blinds to peek outside.", "KNIGHT: Come on now! We see a bunch of knights riding horses up alongside the Winnebago, swinging their weapons.", "KNIGHT: Bring up the rear! Let's go! Buffy and Dawn stare for a moment, then Buffy turns away from the window and sighs. The RV drives on. The knights are about a hundred feet back but closing fast. Buffy and Dawn rush into the main cabin.", "BUFFY: Giles!", "GILES: I see them.", "SPIKE: See who? Shot of the side mirror with the knights reflected in it. Several knights ride up alongside the RV on either side. One has a crossbow and shoots another arrow into the side. Spike jumps aside as the arrow appears in the wall beside him.", "XANDER: Arrows!", "SPIKE: Bloody hell!", "XANDER: They're throwing arrows! Tara peeks out the window. The knights continue to ride up alongside the vehicle. They shoot more arrows.", "BUFFY: Dawn, get down under the table. Buffy pushes Dawn to the floor. Anya also ducks under the table.", "TARA: (peeking out) Horsies! The knights shoot more arrows. Willow pulls Tara away just as an arrow appears in the wall beside her.", "WILLOW: Tara! Willow and Tara duck under the table. Arrows appear in the wall beside Giles.", "GILES: Weapons? Buffy tosses a bag to Spike.", "SPIKE: Hello! You're driving one!", "WILLOW: Don't hit the horsies!", "BUFFY: Oh, we won't! Buffy moves up next to Giles.", "BUFFY: Aim for the horsies. Shot of the horsemen reflected in Giles' mirror. Giles turns the wheel trying to hit them, but the horses move out of the way. Giles swings the wheel again to get back on the road. Shot of Spike looking grim. Long shot of the RV being pursued by the horsemen. Cut closer as one of the men rides up alongside the back of the RV, grabs onto the ladder on its side and climbs on, letting his horse gallop away. He climbs up onto the roof. Cut inside. Xander sits by the table.", "XANDER: Did we shake 'em? The knight's sword stabs through the ceiling inches from Xander's head, making him jump. Giles and Buffy look up. Shot of the knight pulling his sword free. Buffy moves back toward the rear. Spike continues looking in the bag of weapons. The knight stabs down again.", "BUFFY: Stay low! The knight stabs again.", "BUFFY: Watch out for the- The sword point comes in directly at Buffy's head. Spike reaches up with both hands and grabs the sword, stops it from stabbing Buffy in the head. She ducks. The knight tries to pull his sword free but can't. Spike continues holding onto it with both hands.", "SPIKE: Now might be a good time for something heroic. The knight continues trying to free his sword. Buffy looks around.", "BUFFY: Xander! Hatch! Buffy climbs up on the table and opens the hatch in the roof. Xander boosts her up and through it. She emerges behind the knight. We see the other horsemen still riding alongside. The knight sees Buffy, pulls his sword free. We hear Spike yelling in pain. The knight thrusts at Buffy. She ducks, backs away from his second swing, wheels and kicks his legs out from under him. He goes down and Buffy gets on top of him, blocks another swing, punches him. He drops the sword.", "Cut to inside. Spike sits at the table beside Dawn. His hands are bloody and he has some rags. He tries to use his teeth to rip them up.", "Cut to above. Buffy punches the knight in the face a few times, then he blocks and punches her. They grapple, he kicks her in the head and she falls over the side, holding onto the railing along the top of the RV. She hangs there as a knight rides alongside holding a mace.", "Cut to inside. Spike holds his bloody hands on the table as Dawn rips up the rags. Tara and Willow emerge from under the table. Giles continues driving. They all look up as we hear the sounds of fighting on the roof.", "Cut to outside. The knight crouches above Buffy to hit her, but she kicks upward and he falls back. Buffy vaults back up onto the roof. They both stand and face off. Another knight rides alongside and throws a grappling hook onto the railing. He begins climbing up the side. Buffy punches the first knight, whirls around and kicks him. He falls off the side with a scream. The second knight reaches the roof as another grappling hook catches on the railing.", "Cut to inside. Dawn ties the rags around Spike's hands.", "DAWN: Keep the pressure on.", "SPIKE: I always do, sweet bit. A knight busts through the window and they both shriek and jump aside. The knight tries to grab Dawn. Spike yells in pain from the sunlight. Giles looks back. Shot from outside of the side of the van with the knight hanging on it, his upper half inside the window. Sounds of Spike and Dawn and the knight yelling. Cut back inside. Tara and Willow cower as Anya appears and begins hitting the knight in the head with her frying pan. He loses his grip and falls to the ground below.", "ANYA: Not a piano, but hey. Giles glances back, continues driving.", "Cut to the roof. Two soldiers now face Buffy, one with an axe, the other with a mace. She punches the one with the axe, kicks the other one, kicks the first one, ducks to take a mace blow on her back, punches the mace-wielder, does a back-flip and kicks them both in the faces.", "Cut to inside. Willow and Anya sit on either side of Tara trying to comfort her as she looks anxious.", "Cut to above. Buffy picks up the first knight's sword from where he dropped it, twirls it around. The mace chain wraps around the sword blade and she uses it to pull the knight closer. Behind him the knight with the axe tries to attack but Buffy kicks him away. She spins the mace-holder around, knees him in the stomach and throws him off the side of the RV, taking the mace and the sword with him. Buffy ducks an axe swing, kicks the knight in the chest, grabs his axe hand and hits him with her other hand. He gets hold of her from behind as another knight climbs up the ladder. Buffy hits the axe hand. The knight yells and lets go of the axe, which Buffy grabs. She swings it at him and he ducks, then she kicks him and he falls over the side. Buffy throws the axe and it slams into the chest of the knight on the ladder. He screams and falls backward off the RV.", "Cut to inside. It seems quiet. Spike is on the floor with Dawn crouching over him, Willow and Anya and Tara on the other side of the table, all listening. Giles peers out at his mirror. Shot of the back end of the RV with the road retreating away, clear of all knights. Giles lets out a sigh of relief. Xander does the same although he still looks queasy. Giles glances back.", "GILES: Everyone all right? Everyone seems to be all right. Giles smiles slightly as he turns back to the road. Only to see another knight on horseback coming straight at him, holding a spear. Giles looks horrified and tries to twist the wheel. The knight throws the spear. It flies through the window and into Giles' side, impaling him. He gasps and is thrown forward onto the steering wheel. Everyone shrieks and gasps as the RV jostles, out of control. Shot of Buffy still on the roof, struggling to keep her balance. She leaps off the roof, lands on the ground and rolls. She sits up in time to see the RV go careening off the road, fall over onto its side, and come to a stop in a huge cloud of dust. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the Winnebago still lying on its side with dust drifting slowly around it. It's on a dirt road in the desert, just a few trees and telephone poles on either side. In the background we can see the gang walking along. Spike has a blanket covering his head. Buffy and Xander support Giles with his arms over their shoulders.", "XANDER VOICEOVER: We gotta find shelter.", "SPIKE VOICEOVER: Yeah, right bloody quick. I'm burning up out here.", "Cut to: overhead shot of an abandoned gas station with a rusting old truck in front of it. The gang walks up to the building.", "Cut to the entrance. Spike goes first, kicking the door open and hurrying inside. The others follow.", "BUFFY: Careful. Dawn coughs from the dust, watches with concern as the others bring Giles in. Anya closes the door behind them. Inside, it looks like an empty room with little or no furniture. The windows are boarded up but incompletely, so stripes of light enter the room. There's a long sort of counter halfway in.", "BUFFY: Spike. Spike and Xander help Buffy bring Giles over to the counter. Giles groans in pain. The lower left side of his stomach is covered in blood.", "XANDER: Careful. Up.", "BUFFY: Okay, Will?", "WILLOW: I'm on it. Giles groans more as Xander and Spike lift him onto the counter. Spike also groans in pain from his wounded hands.", "WILLOW: Oh, careful! Spike finishes helping Giles onto the counter and hurries out of the sunlight. Willow and Tara come up next to Giles. Willow puts a bag under Giles's head. He is sweaty and panting. Buffy goes over to Dawn.", "BUFFY: Are you sure you're okay?", "DAWN: Yeah. B-but Spike's hurt. Buffy turns to Spike, grabs his wrist to look at his injured hands.", "SPIKE: Ow! Easy with the delicates.", "BUFFY: (to Dawn) They'll heal. Xander and Anya exchange a look as they put down their stuff.", "SPIKE: Florence bloody Nightingale to the rescue. Buffy goes to the window and looks through the boards. Shot of the view outside: no one in sight.", "ANYA: Um, you have another plan, right? (Buffy turns from the window to look at her) One that doesn't involve pointy knives and a Winnebago?", "BUFFY: We-we-we'll rest here for a minute, but then we have to keep moving.", "XANDER: Where?", "BUFFY: (desperately) I don't know! (puts her hands to her face) We just, we, we, we can't, can't stay here. I-it's too close to the wreck, we're too easy to find.", "WILLOW: Buffy! Buffy runs over to where Willow is standing over Giles.", "BUFFY: Will, how is he? Willow has her hands on Giles's wound. Shot of Giles's face, still sweaty with blood coming out of his mouth.", "BUFFY: Will?", "WILLOW: I-I think I slowed the bleeding, but... Giles continues breathing shallowly, his eyes closed.", "BUFFY: Okay. Okay, just-just give me a minute. Buffy turns away trying to think. Suddenly a flaming arrow shoots through a boarded-up window and embeds in the wall opposite. Everyone turns.", "BUFFY: Dawn, get down! Another fiery arrow breaks through some glass that's left in a window. Xander pulls the first arrow out of the window and stomps out the fire on the ground. Buffy pushes Dawn behind the counter. Dawn sits on the floor, protected on three sides. More fiery arrows come shooting through the windows. Willow pushes a whimpering Tara down to a crouch. Xander peeks out the hole made by one arrow. Shot of the outside. A bunch of knights are setting up, mostly hiding behind the abandoned truck and gas pumps with their bows and arrows. There are a few garbage barrels with fires lit in them.", "XANDER: (OS) We got company. More arrows shoot through the windows. Xander turns back inside.", "XANDER: And they brought a crusade.", "Cut to outside. The knights continue firing their arrows. The general rides up on horseback.", "Cut to inside. Everyone's crouching down. Buffy runs toward the wall.", "BUFFY: Willow! We see Willow crouching beside the counter, with one hand stretched up to keep pressure on Giles's wound while her other hand is flipping the pages of a magic book. Tara huddles next to her whimpering and covering her head.", "WILLOW: I'm working on it! Buffy and Spike together shove a large coffee machine in front of the door and tip it over on its side.", "Cut to outside. The general sits on his horse watching the action.", "KNIGHTS: Go! Go! Go! Let's move! Come on, move it! We see multiple knights attacking the boarded-up windows of the building with various weapons, trying to break in.", "Cut to inside. A knight's axe breaks through the wall right next to Dawn's head. She screams. The knight continues hacking and then reaches an arm in. Dawn screams again.", "DAWN: Buffy! Buffy runs over to help, but a knight comes through the door beside the counter. He punches Buffy and she falls aside. Xander and Anya hide behind something (looks like an old heater). Spike lunges at the knight, punches him, then screams in pain and clutches his head. The knight lifts his weapon to strike Spike but Buffy intervenes, kicks him and then punches him. He punches her back. The boards on the windows rattle as more knights pound on them and the glass shatters. Spike covers his head as glass falls on him. Buffy kicks the knight again and he stumbles back, turns and thrusts his weapon at her but she blocks it, kicks him, then twists around and flips him over her shoulder. He falls unconscious on the floor. Xander runs out from his hiding place and grabs the unconscious knight, begins dragging him away. The other knights continue beating on the walls and windows, knocking out the glass with their weapons.", "KNIGHT: It's clear! (?) Dawn stands up cautiously from behind the counter and is confronted by the bleeding Giles. She looks at his wound in dismay. The general enters. Buffy turns to look at him. He points his sword.", "GREGOR: The key. Dawn looks frightened. Buffy picks up the knight's weapon from the ground and throws it at Gregor, hitting him in the hand, making him drop his sword. He lunges at Buffy and she hits him, making him reel aside into a pillar. He hits it face-first and falls down unconscious.", "WILLOW: Enemies, fly and fall. We see Willow sitting on the floor beside the counter, with her legs crossed holding the book. Her eyes are all black again as they were in \"Tough Love.\"", "WILLOW: Circling arms, raise a wall. She raises her arms and a circle of light emits from them, expanding outward.", "Cut to outside. The sphere comes through the walls and all the knights are forced backward, flying through the air. They land several feet away from the building as the bubble holds. Dante hits the barrier with his sword. It shimmers but he can't get through.", "DANTE: (angry growl) They have the general. Clerics! Two elderly men in long black robes come forward. They walk up to the barrier and hold up their hands to it. One begins to chant while the other turns back to Dante.", "CLERIC: Energy barrier. A most powerful one.", "DANTE: Can it be breached?", "CLERIC: The witch's magic pales to the might of our god. The infidels' wall ... shall tumble before us.", "Cut to inside. Willow and Tara get to their feet as Buffy comes to check Giles's wound.", "BUFFY: Will? How long will it hold?", "WILLOW: (uncertain) Half a day maybe. Buffy and Dawn watch as Willow goes to the window and peeks out. Shot of the view through the window. We can see the two clerics chanting while the knights wait behind them.", "WILLOW: Or till Heckle and Jeckle punch a hole through it. Buffy and Dawn look nervous. Spike walks forward, looking down at the ground.", "SPIKE: So. What's the story with these role-playing rejects? Shot of Gregor lying unconscious on the floor.", "BUFFY: (OS) Let's find out.", "Cut to Gregor tied to a pillar in a rear room of the building. Buffy stands in front of him with her arms folded. Shot of Dawn by the door watching. Shot of Spike off to the side.", "SPIKE: You sure Scarface here can habla the English?", "BUFFY: He understands me. (to Gregor) Don't you?", "GREGOR: You were warned we would return, Slayer.", "BUFFY: Took you long enough. What are you supposed to be, some kind of chief?", "GREGOR: (sneers) General.", "BUFFY: General. (takes a step forward) In charge of what, getting captured?", "GREGOR: You do not frighten me, child. (looks at Dawn) The instrument of chaos must be destroyed. Buffy steps forward to him and puts her hands firmly on either side of his face.", "BUFFY: (angrily) Look at her that way again, and she will be the last thing you ever see. She lets go and steps back.", "GREGOR: As I've been told, you protect the key of the beast. Shot of Xander watching.", "BUFFY: It's not that simple.", "GREGOR: Yes. The key has been transformed, given ... breath, life. Yet, this makes no difference. The key is the link. The link must be severed. (Shot of Dawn looking scared) Such is the will of god.", "BUFFY: (upset) She doesn't remember anything about being this key you're all looking for. The only thing that she remembers is growing up with a mother, and a sister that love her. What kind of god would demand her life for something that she has no control over? Shot of Gregor looking unmoved.", "BUFFY: We are not your enemy. (Shot of Spike watching) Tell your men to stand down.", "GREGOR: (looks at Dawn) No.", "BUFFY: It is not her fault! She's human now! (Shot of Dawn)", "GREGOR: The key is too dangerous ... to be allowed to exist. No matter what form it has been pressed into.", "BUFFY: I will not let anyone tell me- Buffy breaks off as we hear a wailing from the next room and Willow saying \"Shh, shh.\" Xander turns to look through the door. Buffy, Dawn, Spike, and Xander go into the other room where Anya is watching helplessly as Willow tries to calm Tara.", "WILLOW: Shh, shh, shh.", "BUFFY: What happened?", "ANYA: I-I don't know, she just went nuts. Tara whimpers frantically and struggles to get free from Willow who is holding her still. Tara finally breaks free.", "TARA: Time! Time, time! She runs over to the boarded-up windows and claws at them. Willow runs after her and tries to pull her away. Tara breaks free and runs to another part of the wall, whimpering in agitation. The others watch helplessly. Willow grabs Tara around the torso, pinning her arms to her sides as Tara continues whimpering.", "WILLOW: Tara! (to Buffy) We have to do something! (shot of Dawn and Spike watching with concern) She, she can't stay this way. Buffy!", "TARA: Time... time... time...", "Cut to the hospital psych ward. All the patients are muttering \"Time, time\" as well, and struggling against their bonds. One of them is the man who accosted Dawn on the street in \"The Real Me.\"", "PATIENTS: Time. Time. The nurse comes in.", "NURSE: No, it's not time for your meds, just lie back- The guy from \"The Real Me\" rips free of his restraints and the nurse rushes over to try to force him back into bed.", "NURSE: (yelling over her shoulder) Doctor! Doctor McCarthy! Another patient hits her over the head and she falls down unconscious. The other patients begin to break free and get up out of bed. They all walk off toward the door, muttering \"Time\" over and over again.", "Cut to outside the gas station. Orlando is among the knights in the encampment. He walks forward, staring at the building.", "ORLANDO: It's time. It's time.", "DANTE: No, no, shh. There's nothing to fear, my brother. Orlando looks unhappy. Behind Dante we can see the clerics still standing by the barrier chanting.", "DANTE: The beast may have taken your mind, but I swear to you, she will never know the taste of your heart. Dante pulls Orlando sharply toward him. Orlando groans and grabs Dante's shoulders but then slumps to the ground. Dante looks sadly down at him. We see a bloody dagger in his hand.", "DANTE: Clerics! (The clerics turn) I want the witch's barrier down. NOW! The clerics exchange a look, return to their chanting.", "Cut to: closeup of Buffy's face.", "BUFFY: I'm sorry. We see she's standing beside Giles, holding his hand with both of hers. Giles is conscious.", "GILES: For what?", "BUFFY: We should have stayed. If we had, none of this would have happened.", "GILES: Don't. (painfully) What you did ... w-was necessary ... what I've always admired.", "BUFFY: (small smile) Running away?", "GILES: Being able to place ... your heart ... above all else. He breathes shakily while Buffy watches with concern.", "GILES: I'm so proud of you. You've come so far. You're everything a Watcher ... everything I could have hoped for. Buffy has tears in her eyes. She sniffles. Giles makes a pained face, closes his eyes. Buffy looks anxiously at their entwined hands, then at Giles's stomach. He continues breathing shallowly, seems to have fallen asleep. Buffy gently removes his hand from hers. In the background we see Willow standing over a sleeping or resting Tara, stroking her hair. Buffy turns away from Giles with a resolute expression.", "BUFFY: Willow. Willow looks up at her.", "BUFFY: Open a door. Willow looks uncertainly from Buffy to the wall and back.", "Cut to outside. A hole appears in the barrier as Buffy comes out of the building followed by Xander. Dante and a few other knights come forward. They stop at the edge of the barrier and Dante holds up a hand to stop the knights.", "DANTE: Speak.", "BUFFY: One of my friends was hurt when you attacked us.", "DANTE: And ten of my men are dead. Honorable men. (draws his sword) Shall we balance the scale?", "BUFFY: Will you let someone come and help him or not?", "DANTE: Give quarter to an agent of the beast? What madness would move me to such action?", "BUFFY: I'm done asking. Buffy starts forward but Xander intervenes, stopping her, as the knights were preparing for Buffy's attack.", "XANDER: Whoa, whoa, hey! Uh ... this is war, isn't it? And if there's one thing I've learned from Sergeant Rock, it is in war ... there are rules. Dante looks stern.", "XANDER: Or at least there should be, if you're as honorable as you think you are. (Buffy looks to see if Dante is convinced) Plus, we do have your general forehead guy. Dante considers this.", "Cut to: Willow, Spike, and Buffy standing beside a pay phone in the building. The phone is dark.", "WILLOW: Discharge and bring life. The pay phone sizzles and suddenly lights up. Buffy picks up the receiver, turns and nods to Willow, who looks relieved. Buffy begins to dial.", "SPIKE: (to Willow) Handier than a Swiss knife. Look, the door to my crypt's got this nasty squeak, maybe you could... Willow rolls her eyes, turns and walks away. Pan to Buffy on the phone.", "BUFFY: Hey, uh, i-it's Buffy. I need to ask you a really big favor.", "Cut to: exterior shot, night. A car drives up to the gas station where the army of knights stands around watching. Ben is at the wheel. He stops the car and looks fearfully out the window at the knights, who all hold weapons and glare at him. Ben takes a deep breath, picks up his black bag from the seat, and gets out of the car.", "Cut to inside. Ben stands next to Giles tending to his wound, wearing surgical gloves. Buffy stands beside him with the others in the background.", "BEN: You, uh, forgot to mention the costume party outside.", "BUFFY: Sorry. (shot of Willow sitting over a sleeping Tara) I-I didn't know who else to call.", "BEN: No, it's okay. I mean, yeah, not ... how I pictured seeing you again, but, uh ... I'll take what I can get. Shot of Spike looking annoyed, rolling his eyes.", "BUFFY: Thank you ... for coming.", "BEN: My pleasure. Ben looks past Buffy. Shot of Dawn standing a few feet away, with Xander in the background. Ben continues looking at Dawn. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on Giles's face, asleep or unconscious. Ben's hands enter the shot and put the discarded surgical gloves down next to Giles. Pan down to Giles's stomach. The bloody sweater is pulled up revealing a bandage wrapped around his abdomen.", "Cut to a longer shot as Ben pulls a blanket up over Giles's stomach and packs away his stethoscope while Buffy stands watching.", "BEN: All right, I think I got him stabilized, but there's a lot of damage. We need to get him out of here.", "BUFFY: Well, I think the guys with the pointy swords kinda have other ideas.", "BEN: Don't they always. Shot of Spike in the background making a disgusted face, mimicking Ben silently, then turning away.", "BUFFY: Look, I know this must seem extra \"Outer Limits\" to you.", "BEN: This? Naah. I've seen things you wouldn't believe. Shot of Dawn watching with Xander in the background.", "BEN: (OS) You know, emergency room, full moon on a Saturday night. Xander goes into the other room and pulls the door shut behind him. Cut back to Buffy and Ben.", "BUFFY: Look, if this gets too weird, just tell me. I'll understand.", "BEN: Don't worry about me. I won't leave until I've worn out my welcome. He smiles. Buffy smiles back, then looks with concern at Giles. Shot of Giles breathing shallowly and unevenly. Pan down to his blanket-covered stomach. Shot of Giles's hand lying beside his body. Buffy's hand enters the shot and takes hold of Giles's.", "Cut to Spike's bloody, bandaged hands as he tries to light a cigarette. He fumbles with the lighter. We see that we're in the back room. It's dark. Xander stands watching the tied-up general as the sound of Spike trying to light his lighter continues.", "SPIKE: (whispering) Ow. Spike shakes his hand in pain and annoyance. Xander walks over. Spike gives him a wary look. Xander takes the lighter. Spike sighs.", "SPIKE: Thanks. Xander flicks the lighter on and holds it up to Spike's cigarette, lighting it. Then Xander closes the lighter, puts it in his pocket as Spike takes a drag.", "XANDER: You know, those things'll kill you. Spike gives him a look.", "XANDER: Oh. Right. They stand side by side, leaning against the wall, as Spike smokes.", "XANDER: I mention today how much I don't like you?", "SPIKE: (nods) You mighta let it slip in ... (looks at Xander) once or twice. Xander smiles slightly, looks down at Spike's hands.", "XANDER: How're your feelers?", "SPIKE: (sighs, looks around) Nothing compared to the little bits we're gonna get chopped into when the Renaissance Faire kicks the door in. (points to the door; they both look over at it) And here we bloody sit.", "XANDER: It's not like we got much of a choice.", "SPIKE: (gestures impatiently) Could make a break for it! Use General Armor-All as a shield (shot of the general) get to the doc's car, and-", "XANDER: Great plan. And while all the hacking and slashing's going on, what are you gonna be doing, huh? Throwing migraines at 'em?", "SPIKE: Look, we stay here, we all die! At least this way, some of us might get-", "BUFFY: (OS) No. The guys turn to see Buffy standing in the doorway.", "BUFFY: We're all gonna make it. I'm not losing anyone. Spike sighs and shakes his head but says nothing.", "BUFFY: Check the supplies. See if anyone's hungry. Xander looks at Spike, then they both walk out. Focus on Buffy as they walk past her. She stares at the floor looking pensive. Gregor chuckles and Buffy closes her eyes briefly, then looks angrily at him.", "GREGOR: Dissention in the ranks. Seldom a harbinger of glad tidings. Buffy scowls, walks over to him and backhands him across the face.", "BUFFY: Shut up. Gregor turns his head and spits blood. Buffy turns her back to him.", "GREGOR: Poor frightened girl. (she turns back) You've no idea what you've gotten yourself into.", "BUFFY: (crosses arms over her chest) Why don't you tell me?", "GREGOR: Would it make a difference? Pause.", "GREGOR: What do you know of the beast?", "BUFFY: Strong. Fast. Hellgod.", "GREGOR: From a dimension of unspeakable torment.", "BUFFY: A demon dimension. I know. She ruled with two other hellgods, right?", "GREGOR: Along with the beast they were a triumvirate of suffering and despair. Ruling with equal vengeance. But the beast's power grew beyond even what they could conceive. As did her lust for pain and misery. They looked upon her, what she had become ... and trembled.", "BUFFY: (nervously) A god afraid?", "GREGOR: Such was her power. They feared she would attempt to seize their dimension for herself, and decided to strike first. A great battle erupted. In the end, they stood victorious over the beast ... barely. She was cast out. Banished to this lower plane of existence, forced to live and eventually die trapped within the body of a mortal ... a newborn male, created as her prison. That is the beast's ... only weakness.", "BUFFY: Kill the man ... and the god dies.", "GREGOR: Unfortunately, the identity of the human vessel has never been discovered.", "BUFFY: (puzzled) I don't understand. Now, I've seen Glory. Not a whole lot going on in the hairy chest department.", "GREGOR: You have seen a glimpse of the true beast. Her power was too great to be completely contained. She's found a way to escape her mortal prison ... for brief periods, before her energies are exhausted and she's forced back ... into her living cell of meat and bone.", "DAWN: (OS) What about me? Buffy turns to see Dawn standing in the doorway.", "DAWN: What about the key?", "BUFFY: Dawn.", "DAWN: I want to know.", "GREGOR: The key ... is almost as old as the beast itself. Where it came from, how it was created ... the deepest of mysteries. All that is certain is that its power is absolute. Countless generations of my people have sacrificed their lives in search of it, to destroy it before its wrath could be unleashed.", "DAWN: But the monks found it first.", "GREGOR: Yes, and hid it with their magicks.", "BUFFY: Why didn't they just destroy it? If the key is as dangerous as-", "GREGOR: Because they were fools. They thought they could harness its power for the forces of light. They failed, and paid with their blood.", "DAWN: What do I do? What was I created for?", "GREGOR: You were created ... to open the gates that separate dimensions. The beast will use your power ... to return home and seize control of the hell she was banished from. Buffy laughs. The general looks at her in surprise.", "BUFFY: That's it? That's Glory's master plan ... to go home?", "GREGOR: You misunderstand. Once the key is activated, it won't just open the gates to the beast's dimension. It's going to open all the gates. The walls separating realities will crumble. (shot of Buffy no longer smiling. Shot of Dawn) Dimensions will bleed into each other. Order will be overthrown and the universe will tumble into chaos ... all dark ... forever. Buffy looks dismayed.", "GREGOR: (staring at Dawn) That ... is what you were created for. Dawn stares at him, then looks down.", "Cut to: Buffy emerging from the back room into another room.", "BUFFY: Dawn. We see Dawn sitting on a table nearby. She has her back to Buffy.", "DAWN: (not turning) You think it's true ... what he said? Buffy walks forward with a sigh, sits next to Dawn. They look at each other.", "BUFFY: I don't know.", "DAWN: Destroyer of the universe. (pause) I guess cutting school doesn't seem so bad now, huh?", "BUFFY: It's not you. You know that.", "DAWN: But it's in me ... isn't it? It's inside me. They look at each other for a moment, then Dawn looks away.", "DAWN: What are we gonna do? Buffy frowns slightly, then puts her arms around Dawn's shoulders and pulls Dawn close, resting Dawn's head on her cheek.", "BUFFY: I won't let anything happen to you. I promise. They sit there quietly. Buffy sighs.", "Cut to the back room. Willow is trying to feed Tara while Gregor, still tied up, watches.", "TARA: (upset) Wriggling!", "WILLOW: Come on, Tara, you have to eat something. Tara turns her head aside and whimpers. Anya walks up.", "ANYA: Want me to try?", "WILLOW: I don't know. I'm gettin' used to pickin' fruit out of my hair. Pan over to the general. Nearby we see Ben standing over a small sink doing something with gauze.", "GREGOR: (whispers) You! Ben stops what he's doing but doesn't look at Gregor.", "GREGOR: You are not a part of this, are you?", "BEN: (still not looking at him) Just a friend of the family.", "GREGOR: Would you die for them? Ben turns to look at him.", "GREGOR: Because that is what your future holds if you align yourself with the Slayer and her misguided people.", "BEN: (walks a little closer, angrily) It's my life, and I'll do what I please with it.", "GREGOR: It's not just your life. Unimaginable legions will perish, including everyone here. (whispers) You can stop this. You can save all their lives by ending one. The little girl. The key. Destroy it, and the will of the beast will be broken, she will fade, a distant memory ... (shot of Ben listening, looking uncertain) and all of this madness will end. Ben just glares at him.", "Cut to Dawn standing over Giles, watching him as he continues to sleep, breathing raggedly. Ben walks up and Dawn gasps in surprise.", "BEN: Sorry. Ben puts his hand on Giles's wrist and takes his pulse.", "DAWN: Is ... is he gonna be okay? (shot of Xander watching)", "BEN: He was hurt pretty bad, Dawn. (releases Giles's wrist)", "DAWN: It's because of me. It's all my fault.", "BEN: No it isn't. Ben goes past Dawn to get his bag.", "DAWN: You don't know what's happening.", "BEN: I don't have to. (takes a syringe from the bag, begins filling it) I just know that sometimes terrible things happen to good people. It shouldn't, but ... it does. He pulls down the plunger, filling the syringe with liquid. Dawn continues watching Giles. Ben flicks the needle to make sure it's flowing.", "BEN: It's nobody's fault. He turns back, holding the needle up. Shot of Dawn with her back to Ben. Ben moves slowly closer to her.", "BEN: It's just the way life is. He walks past Dawn and puts the needle to Giles's arm. Dawn sees it and gasps. Shot of the needle injecting into Giles. Dawn frowns in distaste.", "DAWN: Is that gonna help? Ben doesn't answer. He turns away.", "DAWN: Ben? The syringe falls to the ground. Ben has his back to Dawn, puts a hand shakily to his forehead. Dawn stares at him looking very scared.", "Cut to Ben running into the main room.", "BEN: You have to let me out. Dawn follows him in. The others begin to gather.", "DAWN: Ben?", "BEN: You don't understand, I gotta get out, open a door now! Buffy and Spike run up next to Dawn.", "BUFFY: What happened?", "DAWN: I-I don't know, he just freaked out.", "BEN: (frantically) Let me out!", "BUFFY: Okay, W-Will, open a door. Willow turns away from Tara to see what's going on.", "BEN: No! Ha! Ben puts his hands to his head and suddenly morphs into Glory, who turns the movement into a stretch. She slowly brings her arms down and looks around. Buffy and Dawn stare in horror. Buffy pushes Dawn behind her. Glory looks around in surprise. Shot of Willow looking scared, reaching for Tara. Glory begins to smile. Shot of Xander and Anya watching.", "GLORY: Well, what do you know. Little Ben finally did something right.", "GREGOR: The beast.", "GLORY: Hey, it's Gregor. She grabs a hubcap that's hanging nearby and throws it like a Frisbee. It flies into the general's chest. Everyone stares. Gregor falls forward against his bonds, dead.", "GLORY: Now it's not. Spike rushes at Glory with a yell, Xander right behind him. Glory hits Spike and he crashes backward into Xander. They both fall against the wall. Tara looks upset as Willow lowers her head and closes her eyes. Buffy rushes at Glory as the guys try to get up. Glory hits Buffy and she crashes into Willow, both of them hitting the wall and then falling to the floor. Glory turns to look at Dawn, gives a little laugh. Dawn looks frightened. Glory runs forward and grabs Dawn. Anya grabs Dawn from the other side but Glory pulls her free and begins running out.", "DAWN: Buffy! Buffy painfully tries to get up as Glory, dragging Dawn by the hand, crashes out the door.", "Cut to outside. Glory and Dawn burst out, run forward and into the barrier, which stops them. We can hear the knights shouting.", "GLORY: Yeah, right! Glory swings her free arm at the barrier and breaks a hole in it. She runs through it, pulling Dawn with her. We hear the knights yelling battle cries. The hole begins to close as Buffy emerges from the building. She runs into the barrier just as it finishes closing. She can't get past it.", "BUFFY: Dawn! Sound of knights yelling and swords clashing. Buffy turns and runs back inside, moving with a slight limp.", "Cut to inside. Buffy enters.", "BUFFY: Willow! Willow lifts her head. Her eyes are black again.", "BUFFY: Get it down, now!", "WILLOW: Hear, hear my plea. Buffy runs back out again.", "WILLOW: Circling arm protecting me.", "Cut to outside. Buffy comes running out as the barrier disappears. Buffy limps forward and looks around. All the knights are lying dead on the ground. Buffy walks forward slowly, looking around at the corpses in horror. Spike, Xander, Willow, Tara, and Anya burst out, slow down when they see the scene.", "WILLOW: We have to- (stops) Buffy walks slowly forward, looking around. Pan across the men lying dead. We see Dante among them, still alive.", "DANTE: The beast. Spike and Xander staring around. Tara whimpers and hides her face in Willow's shoulder.", "SPIKE: (points) The car. Get the keys. Spike and Xander run off. Buffy continues staring. Willow, Tara, and Anya start forward.", "WILLOW: Buffy! Buffy, we have to find Dawn. We, we can't let Glory- Buffy abruptly sits down on the ground.", "WILLOW: Buffy? Buffy! Tears run down Buffy's face. Willow and Tara walk over to her.", "WILLOW: Buffy, you have to get up! We need you! Buffy just sits, the tears flowing, staring in front of her.", "WILLOW: (OS) Buffy, please! (echoing) Buffy... Blackout.", "Executive Producer: Joss Whedon." ]

[ "When Buffy lapses into a catatonic state, Willow uses magic to find out why; a tug-of-war erupts between Glory and Ben over Dawn's ultimate fate." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Glory talking to her minions.", "GLORY: So it's her. Under our noses all this time. Slook the minion in the magic shop.", "SLOOK: Glorificus will find the witch.", "ANYA: Witch?", "WILLOW: Tara. Glory and Tara on the park bench.", "GLORY: You're not the key, you're nothing!", "WILLOW: No! Willow trying to get to Tara through crowds of people. Glory putting her fingers in Tara's brain.", "WILLOW: Tara! Buffy, Willow, and Tara in the hospital.", "BUFFY: I'm so sorry. Buffy hugging Willow.", "TARA: (smiling) They kill mice. Ben in Glory's apartment.", "BEN: Not if I get the key first.", "GRONX: Could you do it? Take a human life with your own hands? Glory breaking down the wall to the dorm room.", "GLORY: I told you this wasn't over.", "TARA: (staring at Dawn) Such pure green energy!", "GLORY: The key!", "BUFFY: Just pack up whatever supplies we need and that's it, we're gone. Knights on horseback chasing the Winnebago.", "BUFFY: Giles!", "GILES: I see them. The knight's spear impaling Giles. The Winnebago crashing. Giles in the gas station.", "WILLOW: Buffy!", "BUFFY: How is he? Will?", "BEN: I think I got him stabilized, but there's a lot of damage. We need to get him out of here. Flaming arrows shooting into the gas station. The knights gathered outside the gas station.", "XANDER: We got company! Gregor pointing his sword at Dawn.", "GREGOR: The key. Buffy hitting Gregor.", "GREGOR: Once the key is activated, the walls separating reality will crumble. Dimensions will bleed into each other. Buffy talking to Dawn.", "BUFFY: I won't let anything happen to you. Ben in the gas station.", "BEN: Let me out!", "BUFFY: Will, open a door!", "BEN: No! Ben morphing into Glory. Glory grabbing Dawn.", "DAWN: Buffy!", "BUFFY: Dawn!", "WILLOW: Buffy, you have to get up! Buffy, please! Buffy! Buffy sitting on the ground crying.", "MURK: Quickly, quickly! Already we're behind schedule! Someone's bound for a beheading. Murk goes into a large walk-in closet where Gronx is taking stuff from the shelves and putting it in boxes.", "MURK: Let's make sure it's not me.", "GRONX: Why do we remain when our moment of triumph lies so close at hand?", "MURK: (quietly) The glorious one, having acquired much in this world, doesn't exactly travel light. They peek around a corner and we see the main room of Glory's apartment. Glory stands on top of a stool wearing an ornate gown, with tailor minions at her feet working on the gown.", "GLORY: Hey! Minions, I can hear you. God-like ears don't miss much, you know what I'm sayin'? (glares at them) Come here. Murk and Gronx hurry out toward her.", "GRONX: 'Twas he who blasphemed, your magnificence.", "MURK: Spurred on by treacherous urging! (Gronx hits him)", "GLORY: Guys! I'm not gonna kill you. (frowns in puzzlement) Not in the mood. What do you think that's about?", "GRONX: In mercy does your power lie?", "GLORY: No, brainless, in torture, death and chaos does my power lie. (frowning) So tell me, why am I not popping your head like a zit right now? The minions have no idea.", "GLORY: Maybe I'm just hungry.", "MURK: Yes, we shall fetch a, a lovely-", "GLORY: No, I'm not hungry. She drops the robe to the floor, revealing a simple black dress underneath. She steps impatiently down from the stool. The tailors continue to work on the robe.", "GLORY: Uhh! Just a little tight in the skin is all. I've been waiting an eternity - well, 25 human years - and it all comes down to tonight.", "GRONX: The portal shall open.", "MURK: And the great Glorificus shall return.", "GLORY: To the hell I came from. Where I'm gonna rain down more super-sized portions of slaughter, mayhem and bloodshed than any of you scabs can even dream about. (pacing, sits down on a sofa) So how come I ain't happy? (shot of the minions looking confused) Got everything I ever wanted ... still, something's off. She twirls her wrist a few times as if it's stiff.", "GLORY: I don't know. What do you think? She looks off to her left. Pan across to Dawn sitting on another sofa, bound and gagged, whimpering with fear.", "Cut to the gas station. Willow and Xander stand staring at something. In the background Tara is peeking out the boarded-up windows, and we see Anya standing beside Giles, who still lies on the counter but now appears to be conscious again. Sound of the door opening. Spike enters. His hands are still bandaged.", "SPIKE: Better part of a century spent in delinquency just paid off. (nods toward the door) Hotwired Ben's auto. Who's for gettin' the hell out of here?", "XANDER: All in favor, let's do it. (to Giles) You good to go?", "GILES: Oh, don't worry about me. How's Buffy?", "XANDER: The same. (turns back to staring where Willow is staring) Still.", "WILLOW: It's been almost a half an hour.", "SPIKE: (stares that way too) The Slayer's gonna be all right, won't she? Beat.", "XANDER: You should try it again, Will.", "WILLOW: All right, but ... I'm not even sure she's, you know ... really in there.", "XANDER: Try. Willow sighs, steps forward and kneels on the ground. Focus on her face (Buffy POV).", "WILLOW: Can you hear me? Buffy! We finally see what they're all looking at. Buffy sits there with her hands folded in her lap. She stares straight ahead and doesn't seem to hear or see anything. Back to focus on Willow's face.", "WILLOW: Buffy! Zoom in on Buffy's unresponsive face.", "WILLOW: (OS) Buffy? Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Dean Butler, Lily Knight, Bob Morrisey, Amber Benson as Tara, special guest star Joel Grey, and Kristine Sutherland as Joyce Summers. Written by Douglas Petrie, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on Buffy still unresponsive, staring at nothing.", "SPIKE: (OS) Buffy! The gang continues staring at Buffy.", "SPIKE: She can't just be brain-dead. (paces around behind Xander) I mean ... she's still Buffy, (Willow stands up) somewhere in there, right?", "XANDER: Spike, come on, we're not gonna get Dawn back by sittin' around here.", "SPIKE: You're not gonna get Dawn back any way you slice it, Harris, it's for Buffy to decide.", "XANDER: Good, panic. That oughta help.", "WILLOW: We should move her. U-unless we shouldn't. Should we?", "ANYA: Couldn't that make it worse? I think I read that somewhere.", "XANDER: I am so large with not knowing.", "GILES: It's impossible to know for sure. Losing Dawn, after all that Buffy's been through ... I think it's pushed her too far into some sort of catatonia.", "SPIKE: You don't need a diploma to see that. (moves forward) Snap her out of it. Spike grabs Buffy by the shoulders and shakes her.", "SPIKE: Buffy! Close shot on Spike's face (Buffy POV).", "SPIKE: Oi, rise and shine, love! The others look skeptical.", "ANYA: Spike...", "SPIKE: Come on, people. Girl's endowed with Slayer strength. It's hardly the time to get dainty. Buffy! (shakes her harder)", "XANDER: We tried that! Spike slaps Buffy across the face, hard. No reaction.", "SPIKE: Ow! (grabs his head in pain)", "ANYA: We didn't try that. Xander pulls Spike away.", "XANDER: Are you insane? We could be dealing with neurological damage here. You want to kill her?", "SPIKE: We have to do something. I can't just sit here watching. You waste time with kid gloves. I'm willing to wager, when all is said and done, Buffy likes it rough. Xander punches Spike in the face. They grapple. Willow turns to them with a stern expression.", "WILLOW: Separate. An unseen force pushes Spike and Xander apart. They both stare at Willow in surprise. She gives them a determined glare. Anya and Giles stare too.", "WILLOW: (glaring at them) Buffy's out. Glory has Dawn. Sometime real soon, she's gonna use Dawn to tear down the barrier between every dimension there is. So if you two wanna fight, do it after the world ends, okay? Spike glares at Xander. Xander goes over to Anya and Giles, leans against the counter.", "WILLOW: (very quietly and with authority) All right. First we head back to Sunnydale. Xander'll take Giles to a hospital. Anya's looking after Tara. And Spike, you find Glory. Check her apartment, see if she's still there. Try anything stupid, like payback, and I will get Very Cranky. (looks around at them) Everyone clear? Anya cautiously raises her hand.", "WILLOW: Anya.", "ANYA: Um ... w-what will you do?", "WILLOW: I'll help Buffy.", "ANYA: Okay then.", "TARA: The world is spinning. Willow looks concerned, goes over to Tara as Xander and Anya begin helping Giles down.", "TARA: Straight to a new day! Big day. Big, big day.", "WILLOW: Shh, shh. (Tara whimpers) Spike moves forward.", "SPIKE: Uh ... Will? Willow looks at him.", "SPIKE: Now, uh, don't turn me into a horned toad for asking, but ... what if we come across Ben? (shot of the others listening)", "WILLOW: I-I don't think a doctor's what Buffy needs right now.", "SPIKE: Well, yeah, especially not one who also happens to be Glory. (Everyone looks confused)", "GILES: What do you mean?", "SPIKE: You know. Ben is Glory.", "WILLOW: (frowns) You mean ... Ben's with Glory?", "XANDER: \"With\" in what sense?", "ANYA: They're working together?", "SPIKE: No. No. Ben is Glory. Glory's Ben. They're one and the same. Beat. Everyone looks completely confused (except Tara who still looks blank).", "ANYA: When did all this happen?", "SPIKE: Not one hour ago! Right here, before your very eyes! Ben came, he turned into Glory, snatched the kid, and pfft! Vanished, remember? They continue to stare at him.", "SPIKE: (uncertainly) You do remember...? (squints at them) Is everyone here very stoned? They continue to look confused.", "SPIKE: (getting annoyed) Ben! Glory! He's a doctor, she's the beast. Two entirely separate entities sharing one body. Like a bloody sitcom. Surely you remember.", "XANDER: So you're saying ... Ben and Glory...", "ANYA: Have a connection.", "GILES: Yes, obviously, but what kind?", "SPIKE: (laughs sarcastically) Oh, I get it. That's very crafty. (nods) Glory's worked the kind of mojo where anyone who sees her little presto-change-o instantly forgets. And yours truly, being somewhat other than human ... stands immune.", "WILLOW: (frowning) So ... Ben and Glory ... are-are the same person?", "XANDER: (slowly, like a revelation) Glory can turn into Ben, and Ben turns back into Glory.", "ANYA: And anyone who sees it instantly forgets.", "SPIKE: (sighs in relief) Kewpie doll for the lady. He puts one finger on his nose and points the other hand at Anya.", "GILES: Excellent. (looks around at them) Now. Do we suspect there may be some kind of connection between Ben and Glory? Xander and Anya look enquiringly at Spike. Spike sighs loudly.", "Cut to: a man wielding a blowtorch, wearing a welding mask. He turns off the blowtorch and lifts the mask. It's the crazy guy who accosted Dawn in \"The Real Me.\" We hear rhythmic machinery noises. The guy looks around, then falls to his knees as Glory enters, followed by Dawn and some minions. Glory is again wearing the robe and has Dawn by the arm. We see that we're in some sort of warehouse.", "CRAZY GUY: The key. The key. As Glory walks through the warehouse we see other crazy people doing various things with machinery. They all drop their tasks and kneel on the floor as Glory and Dawn go by. The machinery noises slow and then stop.", "CRAZIES: The key. The key. The key. Glory, Dawn, and the minions go to a door in the back.", "Cut to Murk opening the door, peeking in, then nodding and gesturing behind him. He enters, followed by Dawn and Glory and two other minions. We're in what looks like a construction office. Glory pushes Dawn into a chair and turns away, putting a hand to her head. She sits on something as Murk and Gronx hover near her. The third minion stays near Dawn. He's larger than the others and wears more ornate robes. The machinery noises resume.", "GLORY: Unbelievable how annoying those groupies can be.", "MURK: Uh, they merely sense that tonight at last, the dimensional portal shall open. We see that the third minion is putting some kind of paste on Dawn's forehead, while chanting in a foreign language. Dawn looks very scared.", "GRONX: (OS) Ushering in the long and bloody reign of the great... Glory looks over, sees the priest minion chanting over Dawn.", "GLORY: What's he doing?", "PRIEST: I must anoint the key.", "GLORY: Really don't. Go.", "PRIEST: But-", "GLORY: Out! Get out, get out! Murk hurries forward and ushers the priest out. Dawn continues to look frightened. In the background we can see a window through which the crazy people are visible, going back and forth as they do whatever they're doing with the machinery.", "GLORY: You know ... you recapture your godhood and unleash Armageddon... (picks up a rag from a table, uses it to rub the stuff off Dawn's forehead) all of a sudden everybody wants to be a part of the inner circle. Glory wets the cloth with her tongue and rubs at Dawn's forehead some more. Dawn scrunches up her face in disgust. Glory straightens up, tosses the cloth aside, sighs.", "GLORY: You okay?", "DAWN: (weakly) I wanna go home.", "GLORY: Sweetie ... ohh... Glory takes another chair, pulls it over in front of Dawn, and sits on the back of the chair with her feet on the chair's seat.", "GLORY: You're about to. Dawn looks up hopefully.", "GLORY: Not that fake suburban nightmare the monks cooked up for you. I mean your real home. (Dawn begins to cry) As the key! You fit the lock. Well, it's like a lock. Hey! (pats Dawn's knee) You want a pizza?", "DAWN: (softly) No.", "GLORY: Pillow? (looks around) I don't know if this thing gets cable. Doubtful.", "DAWN: (crying) Please. Stop.", "GLORY: You nervous?", "DAWN: (crying) Yes.", "GLORY: (smiles, gets down to sit on the chair seat) I know how you feel. It is your last night. Dawn's eyes widen in horror.", "GLORY: As, you know ... a human. (picks up Dawn's hand by the wrist and shakes it around) This body ... it's just a rental, Dawnie. Being human? It's like a costume for girls like you and me. Being something else, *that's* what we are.", "DAWN: (firmly) Don't.", "GLORY: (smiling) What?", "DAWN: Don't call me Dawnie. Glory gives a surprised laugh, lets go of Dawn's hands and sits back.", "GLORY: Huh. Wow. You know, that actually hurt my feelings.", "DAWN: (whispers) I'm sorry.", "GLORY: (lifts a hand) Not the point. Glory gets up and walks past Dawn, who continues to look very scared.", "GLORY: I'm just thinking, here I am trying to make you feel better, when comforting others ... not part of my life. (frowns) And I'm doing it, so I can stop ... feeling so ... (pats her chest) um ... Angle on Dawn in the foreground with Glory in the background, her back turned. Glory snaps her fingers at Dawn.", "GLORY: Help me out.", "DAWN: (nervous) Guilty?", "GLORY: Guilty. (laughs) That's it! (laughs some more, then stops) But I'm not supposed to feel guilty. I'm not supposed to feel anything. I'm, I'm ... I'm a god. I'm above it. I'm ... (looks over at Dawn) You. Dawn looks frightened. Glory strides back over to her.", "GLORY: You did this to me, didn't you? Some sort of spell, you've been hanging with the wicca, you could've- (pauses) But no. It's not magic. It's something else. (puts her hand to her head, then looks angrily at Dawn) Still, it is you doing this.", "DAWN: (shakes her head) I ... I'm not doing anything. I swear.", "GLORY: We'll see. Glory opens the door to reveal the minions waiting outside.", "GLORY: (glaring at Dawn) Anoint this thing now! The priest minion comes in, followed by Murk and Gronk. Dawn still looks scared.", "GLORY: Know what they're all chanting for out there, Dawnie? Blood. 'Cause we found out your blood is the key to the key! (The priest begins marking Dawn's forehead again) All I gotta do is bleed you dry, the portal opens up, and I can go home! (priest continues chanting and marking Dawn's forehead) So knock yourself out, girlfriend. Make me feel bad as you can. Glory moves forward and gets in Dawn's face.", "GLORY: (softly) 'Cause tomorrow ... you bleed, little girl.", "Cut to: exterior of Xander's apartment building, night.", "ANYA VOICEOVER: You sure you know what you're doing?", "Cut to inside. Willow is taking candles out of a small leather bag and putting them on the table.", "WILLOW: I think so. (pause) I don't know. It's ... not exactly well-explored territory, but ... I gotta try.", "ANYA: A spell like this could be really dangerous for Buffy. And you.", "TARA: Time ... oh, time is coming. Willow goes over to Tara, who is sitting cross-legged on a chair beside another table.", "WILLOW: Shh. It's okay. I'm here. Tara whimpers softly. Anya comes over.", "WILLOW: You'll look after her while I'm...", "ANYA: Sure. What do I do?", "WILLOW: Mostly ... just ... be here for her. (Anya nods) And, and there's some pills in my knapsack. Half of one every two hours keeps her ... pretty mellow.", "ANYA: Y-you think you'll be gone more than two hours?", "WILLOW: (shrugs) Wish me luck.", "ANYA: Okay. Anya reaches over to give Willow a punch on the arm.", "ANYA: (with forced enthusiasm) Good luck!", "WILLOW: Thanks. (turns to Tara, turns Tara's face to look at her) Okay. Be good now, sweetie. I-I'll be back as soon as I can, okay? We're good? Tara stares at Willow while she talks, but doesn't reply. Willow kisses her on the forehead, smiles at her, then turns away. Tara whines softly and holds out her hand toward Willow. Willow gathers up the stuff from the table and walks toward a closed door.", "ANYA: (softly) Good luck. Willow opens the door, goes through it, closes it.", "Cut to the bedroom. It's dark. Willow closes the door behind her, puts a candle on the small table beside the bed, and lights the candle. She goes around the bed to the other side. We can see a poster on the world that says, \"There's MONEY in arc welding!\" with a picture of a person arc-welding. Willow puts two more candles on another small table and lights them. As she turns away, we see Buffy sitting in a chair against the wall, still catatonic. Willow sits on the corner of the bed, facing Buffy. Shot of Buffy's unseeing face. Shot of Willow looking at Buffy. Flash to Willow in a clean, brightly-lit room. She blinks in confusion, looks around. Pan across a couple of rooms full of flowers, knick-knacks, furniture, etc. It's all done in bright cheerful colors and very tasteful. Willow walks slowly forward, looking around. She comes into another room with a fireplace. On the wall we see a picture of a woman with a baby. On a side table are more pictures, and a statue of a man, woman, and child. Willow turns away. Pan across shelves with more sculptures, records, etc. Behind Willow we can see a sofa. Then a voice comes from behind her.", "VOICE: Hi, Willow. Willow turns to reveal a little girl, about six years old, with blonde hair in two pigtails. She is holding a doll and sitting at a child-sized round table with some toys on it. Willow smiles.", "WILLOW: Hello, Buffy. Close shot of Young Buffy gazing at Willow. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on a shot of a door. A foot appears and kicks the door open. Cut out to reveal Spike in the doorway. It's the entrance to Glory's apartment. Spike turns on the light and looks around. The apartment appears empty. Spike walks in slowly, putting a cigarette in his mouth, lighting it, looking around. His hands are no longer bandaged. On the floor remains a circle of twigs and symbols from Gronx and Murk's rune-casting. Spike continues walking around, pauses, looking off to the left. Spike walks toward an arched doorway underneath the stairs. He goes slowly through it, finds a door, opens it cautiously. He walks slowly through the door, reaches up to turn on the light which is just a bare bulb hanging from the ceiling. Underneath the bulb we can see a small sink. We see a small, dark room with just a bed (unmade) and a small table that holds a lamp and some books. Pan across to some blue clothing hanging against the wall. Zoom in on Ben's hospital ID tag (with photo) attached to one blue shirt. Spike stares at the room with a small frown.", "YOUNG BUFFY VOICEOVER: What are you doing here?", "Cut to Young Buffy looking up at Willow.", "WILLOW: Actually, I'm, uh... Shot of Willow and Buffy sitting in Xander's dark bedroom.", "WILLOW: ...looking for you. Cut back to Young Buffy.", "YOUNG BUFFY: Do you like dolls? (stroking her doll's hair)", "WILLOW: Buffy ... what are you doing here?", "YOUNG BUFFY: I like it here.", "WILLOW: But ... (kneels by her) You know we need you. You have to come out.", "YOUNG BUFFY: Why?", "WILLOW: To be with your friends.", "YOUNG BUFFY: It's a big day for me. She looks over at the door. Sound of the front door opening.", "WOMAN: (OS) Hello!", "YOUNG BUFFY: (big smile) Mommy, Daddy! Young Buffy gets up and runs toward the door, handing her doll to Willow. Willow stands up to watch.", "YOUNG BUFFY: You're back! You're back! We see Joyce and Buffy's father (Hank) entering. Joyce carries a bundled-up baby.", "JOYCE: Hello, Buffy.", "HANK: (leans over with hands on his knees) How's my girl? Young Buffy smiles at him.", "JOYCE: Are you ready to meet your new baby sister? Shot of Willow watching. Young Buffy looks upset, frowns, backs away and folds her arms across her chest.", "HANK: Oh, come on now, Buffy. She's nothing to be afraid of.", "YOUNG BUFFY: Who's afraid?", "JOYCE: Don't you want to be the big sister?", "YOUNG BUFFY: No, I want to be the baby.", "HANK: Buffy.", "YOUNG BUFFY: You're gonna pay more attention to her and forget all about me!", "JOYCE: Ohh... Joyce kneels down beside Young Buffy. Shot of the baby in her arms. The baby makes baby noises. Young Buffy turns to address Willow.", "YOUNG BUFFY: Doesn't she look funny? Like a wrinkly old grandpa. Young Buffy turns back to Joyce. Joyce gently puts the baby in Young Buffy's arms.", "JOYCE: Like this ... okay, support the head ... there you go! We're calling her Dawn.", "WILLOW: (softly) Dawn.", "YOUNG BUFFY: (smiling) I ... I could be the one to look after her sometimes ... if you need a helper. (Joyce smiling at the baby) Mom? Can I take care of her?", "JOYCE: (smiling, stroking Young Buffy's hair) Yes, Buffy, you can take care of her. As Willow watches this scene, she hears something and turns to look. We see (adult) Buffy #1 wearing a sleeveless blouse and pale skirt, with her hair loose, carrying a book. She walks over to a bookshelf, puts the book on it with other books, pauses for a moment, turns and walks away. Willow watches in some confusion as Buffy #1 walks past her. Willow glances over toward where Young Buffy was.", "Cut to Willow standing by an open fire, night. She looks around in confusion.", "WILLOW: Ohh...kay.", "Cut to: Giles sitting on a hospital bed, putting on his jacket. His left arm is stiff by his side and he can only get his jacket onto the right arm. He gets up, putting his right hand to the place on his stomach where he was speared, and walks forward.", "GILES: Uh, can you, uh... Xander appears and helps Giles put the jacket on as they walk out into the hallway.", "XANDER: There. How you doing?", "GILES: It only hurts while I answer pointless questions. Where's Buffy?", "XANDER: Willow's on it. Or ... in it. She's workin' some spell, trying to reach Buffy psychically.", "GILES: Uh, she's gone into Buffy's mind?", "XANDER: (nods) Pretty tricky stuff.", "GILES: It's extraordinarily advanced. Um, I was thinking we should check on Glory's victims while ... we're here. As they continue to walk, we see the view in front of them. Around a corner we can see Spike looking at a medical cart. He takes a bag of blood from the cart and puts it in his pocket as he approaches Xander and Giles.", "XANDER: Oh, the mental ward? I already been. The vegetable section's closed. Nobody there. It's like they all just got up and walked away. Xander and Giles reach Spike and they all stop walking. Xander looks pointedly at Spike's purloined bloodbag but says nothing.", "SPIKE: Checked out Glory's flat. Looks like the great one has scampered.", "GILES: Gone to, uh, perform her ritual with Dawn and leaving us entirely clueless.", "SPIKE: Not entirely. (they look at him) I know this bloke. Well, not so much a bloke so much as a demon. But still, bookish. All tuned in to the nastier corners of this our magic world. (looks around, takes out a cigarette) It's a bit of a last resort really, but still, we might persuade him to suss out Glory's game plan. Spike lights his cigarette as we see a \"No Smoking\" sign prominently displayed on the wall right behind him.", "SPIKE: Sound worthy? Giles sighs and shrugs.", "SPIKE: (nods) Off we go then. Meet back at the shop. Spike turns to go. Xander pats Giles on the arm and then falls into step with Spike.", "SPIKE: Found Ben's room at Glory's. Didn't learn much.", "XANDER: Wait, wait, wait. Ben? At Glory's? (Spike rolls his eyes) You're saying all this time he's been subletting from her?", "SPIKE: This ... is gonna be worth it. Spike bitch-slaps Xander upside the head. Shot of the two of them from the rear as they both grab their heads in pain.", "SPIKE/XANDER: Ow!", "Cut to the front again. They both stumble, use each other to regain their balance, and continue walking.", "SPIKE: Last time. From the top. They walk off together.", "Cut to: Glory leaning her arm against the wall of the warehouse, pinching her nose with her fingers. She sighs.", "GLORY: I'm hating this, Murk.", "GRONX: And this would be what exactly, your holiness?", "GLORY: Memories. I'm starting to remember the things Ben did. People he spoke with, stuff he wore... (the minions look alarmed) Hmm! (calling to Dawn) Kid! The minions part to reveal Dawn still sitting in the chair with the priest minion next to her. Glory walks toward her.", "GLORY: I came ... he came to see you, didn't he?", "DAWN: Ben?", "GLORY: Yeah, Ben. You called him to the desert when you were hiding from me. And he came. And then he was me, you remember?", "DAWN: (nervously) Yes.", "GLORY: (whirls to face the minions) See? She's not supposed to remember that! Nobody should! (rubs her chest anxiously) The cloak between Ben and me is fading! I almost helped her! He ... (turns back toward Dawn) I wanted to. (groans) I can't do this! She walks past Dawn and grabs the priest minion by the front of his robe.", "GLORY: Get him out of me.", "PRIEST: What?", "GLORY: (crying) Ben! The human meat-sack who's infecting me. (turns to lean against the wall) Do your mojo, make an incision, or removal, or whatever you've gotta do. (sniffles) Help me! (pacing) I'm ... I'm thinking Ben's thoughts, and ... and I'm feeling his feelings! And ... uh! I... She morphs into Ben.", "BEN: ...can't kill the girl. Morphs back into Glory.", "GLORY: Damn it. She collapses to the floor. Supporting herself on her arms, she looks up at the priest.", "GLORY: Help me!", "PRIEST: Th-this I cannot do. You risk terrible magicks in opening the portal. Nothing comes without a price. This ... is yours.", "GLORY: (gets up with a scowl) Gods don't pay. She goes to Dawn, grabs Dawn by the throat and pulls her to her feet. Dawn gasps.", "GLORY: We do this *now*!", "Cut to Willow still standing by the fireside. She looks to her right. Shot of Buffy sitting on a rock (from episode \"Intervention\"). Willow looks to her left. Shot of the First Slayer on the other side of the fire opposite Buffy.", "WILLOW: Hey ... I know you. You're, you're the first original Slayer who tried killing us all in our dreams. The First Slayer gazes at Buffy.", "WILLOW: (shrugs) How've you been?", "FIRST SLAYER: Death is your gift. Willow looks over at Buffy.", "BUFFY: Death is my gift?", "WILLOW: Wait, death is her what?", "FIRST SLAYER: Death is your gift. Willow turns her head to look at Buffy again. As she does so, flash-cut back to the previous scene. Buffy #1 again walks past Willow, over to the bookcase, puts the book on the bookcase, pauses. Willow watches in confusion. Closer shot of Buffy #1 standing by the bookcase, staring at it but not really seeing it, lost in thought. Willow watches this with a small frown. Then she turns to her right and we see the back of (adult) Buffy #2. This Buffy wears jeans and a black tank top, has her hair pulled back into a ponytail, and is walking away from Willow down a hallway. At the end of the hall we see a door that is slightly ajar with sunlight coming from behind it. Willow begins to follow Buffy #2.", "WILLOW: Where are you going?", "Cut to the warehouse. Dawn is still gasping and choking as Glory holds her by the throat. The three minions gather around.", "MURK: Glorificus, wait! Kill the key now and all will be lost!", "GRONX: We'll be stuck on this mortal plane forever!", "GLORY: All right, you're right. (releases Dawn) It's cool. (Dawn staggers back, clutching her throat) I'm just a little emotional right now... (small laugh) which, if you're into irony, funny. Shot of Dawn grabbing a pillar for support, gasping.", "GLORY: (OS) Leave. We need a little girl time. The minions begin bowing and Glory makes an impatient gesture.", "GLORY: Goodbye! They hurry out. Dawn glares angrily at Glory. Glory puts her hands to her face, then rubs the sides of her neck.", "GLORY: How do they do it?", "DAWN: (hoarsely) Do what?", "GLORY: People! (walking toward Dawn) How do they function here like this in the world with all this bile running through them? Every day it's whoo-oo (wiggles her hand at Dawn) You have no control. They're not even animals, they're just these meatbaggy slaves to, to hormones and pheromones and their, and their feelings. Hate 'em! Dawn stops rubbing her neck, stares at Glory. Glory goes behind a drafting table and leans her arms against it.", "GLORY: I mean really. Is this what the poets go on about, this? (thumps her chest, shakes her head, sighs) Call me crazy, but as hard-core drugs go, human emotion is just useless! People are puppets! Everyone getting jerked around by what they're feelin'. Am I wrong? (looks at Dawn) Really, I want to know. Shot of Dawn leaning against the pillar, looking at the floor.", "GLORY: Gonna bleed you either way.", "DAWN: (opens her eyes, looks at Glory) Depends on the person.", "GLORY: So you're saying some people like this.", "DAWN: (defensively) Some.", "GLORY: Funny. 'Cause I look around at this world you're so eager to be a part of ... and all I see is six billion lunatics looking for the fastest ride out. (smiles) Who's not crazy? Look around. Everyone's drinking, smoking, shooting up ... shooting each other, or just plain screwing their brains out 'cause they don't want 'em anymore. (looks at Dawn) *I'm* crazy? Honey, I'm the original one-eyed chicklet in the kingdom of the blind. (sighs) 'Cause at least I admit the world makes me nuts. Glory comes out from behind the drafter's table, walks toward Dawn.", "GLORY: Name one person who can take it here. That's all I'm asking. (in Dawn's face) Name one.", "DAWN: (firmly) Buffy.", "Cut to Buffy sitting unresponsive in the chair in Xander's bedroom.", "Cut to Willow sitting on Xander's bed staring at Buffy.", "WILLOW VOICEOVER: I can't keep following you around like this, Buffy. We have to go.", "Cut to the dream-hallway. Willow is still following Buffy #2 down the hallway. Adult Buffy pushes through the door and continues walking.", "WILLOW: You have to talk to... Willow enters the room, sees something on the floor.", "WILLOW: ...me. Willow walks slowly into the room as we see what she's looking at. It is Joyce's graveyard plot complete with a mound of fresh dirt, sprinkled with fallen leaves, and a fringe of grass. The headstone reads \"Joyce Summers 1958-2001.\" Buffy #2 stands staring at the grave with her arms folded. Willow walks up next to her, also looking at the grave. Overhead shot of the two of them and the grave. The room appears to be Joyce's bedroom; the grave is where the bed should be, and the entire room is carpeted in grass. The other furniture (bedside table, chair, etc.) is as it should be.", "WILLOW: I'm sorry.", "BUFFY #2: (shakes her head, doesn't look at Willow) Don't be. Death is my gift.", "WILLOW: Yeah, I keep hearing that, but... (Buffy #2 begins to walk off; Willow follows) I'm not exactly sure what it means.", "BUFFY #2: (over her shoulder) It's really not that complicated. They go through a door into Dawn's bedroom. Dawn is lying on the bed.", "WILLOW: Not for you maybe. Buffy sits on the bed beside Dawn, looks at her, then up at Willow.", "BUFFY #2: It's what I do. Shot of Dawn lying on the bed. She breathes slowly and seems to be crying.", "BUFFY #2: I mean, come on, you've known me ... for how long? It's what I'm here for. It's all I am. Buffy turns to look at Dawn again. Then she picks up a pillow from beside Dawn and puts it over Dawn's face. Dawn begins to struggle, with muffled noises of protest.", "WILLOW: Buffy, stop! No! Buffy looks very calm as she holds the pillow in place. Dawn's arms and legs wave in the air ineffectively.", "WILLOW: God, no!", "BUFFY #2: (turns to Willow, still holding the pillow down) What? (Dawn's struggling slows) I keep telling you, Will. I-I figured it out. Death is my gift. Dawn stops struggling. Her arms and legs fall limply onto the bed. Willow stares in horror. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the warehouse. Glory (still wearing the black dress and ceremonial gown) walks forward shaking her head.", "GLORY: Oh, Ben. This is really not a good time. She morphs into Ben, who continues walking forward.", "BEN: Dawn. Has Glory hurt you?", "DAWN: Uh ... no. Not yet. Ben turns away, looking shaky. He sits carefully on the chair.", "DAWN: But I have to get out of here. (nervously) Ben? You okay? She walks toward him. Ben is staring at his hands, which are trembling. In the background we can still see the occasional person walking by outside.", "BEN: Where is it?", "DAWN: W-where's what?", "BEN: (staring at his hands) All the blood. I can feel it ... still warm and ... wet. Glory. Oh, god. (Dawn looks anxious) She slaughtered hundreds of men. But I can feel them ... breaking.", "DAWN: Ben, something is happening to both you and Glory.", "BEN: I'm remembering her, aren't I? The things she's done ... things she's going to do.", "DAWN: I know. She told me. I think ... whatever the magic is that keeps you guys apart, it's starting to break down. (he continues looking upset) Ben, Glory could come back any minute.", "BEN: (not seeming to hear her) How could she do this?", "DAWN: I don't know. But we have to get out of her and, and find Buffy-", "BEN: No! (turns to her) I mean, I have a job. I have a life! And Glory? She never once thinks about me in all this! Dawn stares at him. Sound of a knock on the door. They both look anxiously at it.", "DAWN: Help me.", "BEN: How?", "DAWN: I-", "PRIEST: (OS) Highness!", "Ben gets up.", "DAWN: Please.", "PRIEST: (OS) Is everything all right? Ben strides over to the door, opens it.", "PRIEST: You're not- Ben grabs the priest and pulls him inside, head-butts him. The priest staggers back against the wall and falls down. Ben punches him and he falls unconscious.", "BEN: (to Dawn) I'll take you as far as I can, ditch you before she comes back. He and Dawn run out the door.", "WILLOW VOICEOVER: Okay ... now this is weird. Cut back to the old Summers home. Willow stands looking down at Young Buffy, who is again sitting at her table holding her doll.", "YOUNG BUFFY: Hi, Willow. What are you doing here?", "WILLOW: Actually, I'm, uh ... looking for you. Here. Again.", "YOUNG BUFFY: (strokes her doll's hair) Do you like dolls?", "WILLOW: No ... (kneels) and I think we already deja'd this vu.", "YOUNG BUFFY: (giggles) You talk funny.", "WILLOW: Yes ... as you'll tell me again when we're older and in chem class. (frowns) Buffy ... what are we doing here?", "YOUNG BUFFY: Don't you like it here?", "WILLOW: We don't have time. Sound of the door opening. Young Buffy smiles, gets up, gives her doll to Willow.", "YOUNG BUFFY: Mommy, Daddy!", "HANK: (OS) We're home! Willow stands to watch.", "YOUNG BUFFY: (OS) You're back, you're back! Joyce and Hank enter with baby Dawn again.", "JOYCE: (smiling) Hi, Buffy. Shot of Willow watching.", "Cut to Joyce kneeling while Young Buffy holds the baby.", "JOYCE: We're calling her Dawn. Willow turns her head and again sees Adult Buffy #1 putting the book on the bookshelf. Shot of Willow still holding Young Buffy's doll. Sound of the baby making baby noises. Willow turns back toward the front door. Angle on Young Buffy holding the baby, with Joyce kneeling and Hank standing with his hands on his knees.", "YOUNG BUFFY: I could be the one to look after her sometimes. Willow watches with a small smile.", "Cut to: a fire burning in a fireplace. Pan across a desk covered with books, papers, and an old manual typewriter. Doc (see episode \"Forever\") sits at the desk holding a mug, flipping pages of a book. Sound of knocking on the door. He doesn't get up.", "DOC: It's always open! The door opens, Spike and Xander enter.", "DOC: (OS) What can I do for you boys? Want some cocoa? They walk over to him. He continues looking at the book.", "SPIKE: No. We need information. We need-", "XANDER: (suddenly) Ben's Glory!", "DOC: (looks up) Who's what?", "SPIKE: (surprised) Look at this. Special Ed remembers.", "XANDER: Yeah. I do. Ben's Glory and Glory's Ben. It's like this... (gestures around his head) fog's lifting.", "SPIKE: (nodding) Wonderful. But not why we're here. (turns back to Doc) Hell-god type. (Doc returns to his book) Name of Glory-", "XANDER: A.K.A. Ben.", "SPIKE: -has gone missing. She's brewing up some major-league bad, and she's nicked the Slayer's kid sister in the bargain.", "DOC: (looking at him, nodding) Hmm. That girl you brought here. Sweet little thing. How'd things work out with her mom? Changed her mind, didn't she?", "SPIKE: Yeah. You got any idea where Glory would take her?", "DOC: (closes his book, thoughtfully) Glory ... Glory. Oh! (gets up, carrying the book) You don't mean Glorificus. (walks closer to them) Gosh. What do you wanna get mixed up with her for? That's a sure way to get yourselves killed. I hear she's awfully unpleasant. (turns away, goes toward a side table) When it comes to hellgods, my best advice ... is get out of the way ... and stay there. (puts the book down)", "SPIKE: Love to. Can't.", "DOC: Well, uh, other than that ... (turns to a chest of drawers, closes a drawer) I'd like to help ... but I-I'm a small-town guy. Shot of Xander listening.", "DOC: This Glorificus, if it is her ... whoo, she's big city.", "SPIKE: She's got Dawn.", "DOC: Right. (thinks) Well, I may know a fella ... you know, who knows a fella in... (thinks) in China. He might-", "SPIKE: How the hell are we supposed to get to China? Teleport?", "DOC: I guess. Shot of Spike looking suspicious. He looks downward. Close angle on Doc from about mid-chest to mid-thigh. His hands are clasped in front of him. Behind him on the table we see something that looks like a wooden box.", "DOC: You know, if you're in that much of a hurry.", "Cut to Doc's face.", "DOC: Wish you luck.", "SPIKE: You're lying. Xander looks at Spike in surprise. Doc removes his glasses.", "SPIKE: And what's more ... I believe you're standing right in front of the very thing we need. Another shot of the box half-hidden behind Doc's body. Doc smiles and suddenly leaps to his left. Suddenly he's behind Spike, who turns in surprise as Doc grabs a sword that's leaning against the wall. He puts the sword tip to Spike's throat.", "DOC: (whispers) Idiot. Doc lunges forward but Spike smacks the sword blade aside and falls to the floor, knocking over a pile of books onto himself. Doc opens his mouth and a super-long tongue comes out, smacks Xander in the chest and slams him back against a wall, then retreats. The tongue coils back into Doc's mouth. Xander falls to the floor with a grunt. Doc walks over to where Spike is lying on the floor stunned.", "DOC: You think only underworld bottom-feeders worship the beast? Doc kicks Spike in the face, then turns, grabs the box off the table and throws it into the fire. He turns away from the fireplace, walks back toward Spike.", "DOC: Her day is coming, boys! (grabs Spike by the front of his shirt) And when she returns, then you're gonna see something. Xander jumps up and knees Doc in the chest, knocking him away from Spike. Xander falls on top of Doc. As they grapple, Spike hurries over to the fire and pulls the box out.", "SPIKE: Ow! Xander and Doc continue grappling. Xander reaches out and grabs the sword, gets up on his knees and plunges the sword downward. Blue blood spurts up at him. Shot of Spike kneeling by the fireplace, panting and looking over at Xander. Xander gets up, wipes blue blood from his face, looks at Spike. Spike gets up holding the box in both arms, walks over to Xander. The box is smoking slightly but appears undamaged.", "XANDER: What do we got?", "SPIKE: (looking down at Doc) Something worth dying for. Xander opens the door and they leave. Pan over to Doc lying there with the sword sticking out of his chest, blue blood staining his shirt. Suddenly Doc's eyes pop open.", "Cut to Buffy and Willow facing each other in the dark bedroom.", "WILLOW VOICEOVER: Buffy, will you just stop a second and listen to me?", "Cut to the dream-hallway. Buffy #2 is walking down the hallway with Willow following.", "WILLOW: Buffy! Willow hurries around in front of Buffy, stops her with a hand on her arm.", "WILLOW: You have to stop doing this.", "BUFFY #2: Doing what?", "WILLOW: Killing Dawn.", "BUFFY #2: Why?", "WILLOW: Because this never happened. You never killed your sister.", "BUFFY #2: Will, I did this.", "WILLOW: In your imagination! None of this is real! Y-you're stuck in some kind of loop!", "BUFFY #2: I don't know what you're talking about. 'Scuse me. She resumes walking. Willow follows.", "WILLOW: Buffy, why are you doing this? Buffy pushes through the door.", "Cut to Dawn and Ben walking down the main street of Sunnydale. Ben still wears the ceremonial robe and has Dawn by the wrist. Dawn looks nervously over her shoulder.", "DAWN: I think they see us.", "BEN: Just stay close to me. Don't look back. Suddenly he pushes Dawn into an alley. They press up against a brick wall.", "BEN: Shh! Stay very still. Ben goes to peer around the corner. When he turns back, Dawn hits him over the head with a large pile of chain. He goes down. Dawn drops the chain next to him.", "DAWN: I'm sorry. Dawn steps over him and starts off.", "GLORY: (OS) Sorry?! Dawn looks horrified, turns back. Glory stands up holding the chain.", "GLORY: That actually hurt, you prepubescent puke. Dawn looks very scared. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the alley.", "GLORY: Okay, first thought, just totally spontaneous, unfiltered, off the top of my head ... ow! She shakes the chain in Dawn's face, then tosses it aside.", "GLORY: You hit Ben in his soft human head, and I remember the pain. Glory pins one of Dawn's arms behind her and forces her farther into the alley. Dawn grunts in pain. Glory lets go.", "GLORY: You probably think I won't waste any precious blood of yours till tonight. You're right. But I know a thousand ways to hurt you that won't spill a drop. Glory shoves Dawn in the chest. Dawn stumbles backward with a yelp. She backs up toward some stairs leading up to a door. Dawn ends up sitting on a stair clutching the metal hand-rail. Glory advances on her.", "GLORY: You know all those pesky feelings Ben's been having like guilt, empathy? I'm gonna take 'em and mash 'em back down where they belong, okay? Now ... (strokes the side of Dawn's face) let's have big-girl fun. (grabs Dawn's chin) Just you and... Suddenly Glory lets go of Dawn and speaks in a different tone.", "GLORY: Leave her alone. She rolls her eyes and turns away, morphs into Ben.", "BEN: I said, leave her alone.", "Morph. (Note: from this point on the morphing happens so fast I won't note it each time. Just assume that they change each time there's a change in speaker.)", "GLORY: No, no. Little late in the game to start growing a backbone, Benjamin. (Dawn watches fearfully) Now be good and stay quiet. No you don't! Get over yourself, Ben! This is the way things are! I'm strong, you're weak. (laughs) This is reality. Stop trying to infect me with your... (whirls around)", "BEN: Do you ever stop talking? I don't know which is worse, waking up in a dress not knowing where I've been, or having to hear all your self-involved ranting!", "GLORY: Animal.", "BEN: Wrong, Glory. I'm no animal. This is humanity you're feeling. Welcome to the world. In the background, Dawn slowly gets up and starts edging away. Ben turns to her.", "GLORY: No, no, no! Glory grabs Dawn and throws her across the alley. Dawn slams into a dumpster and falls to the ground.", "GLORY: Stick around, chica.", "BEN: I won't let you hurt her, Glory.", "GLORY: Ooh, shut your hole, you sanctimonious little meatworm. (advances on the frightened Dawn) I'm going home no matter what you do. Glory looks to the side, reaches down to grab something, morphs into Ben as she picks it up. It's an empty beer bottle. Ben slams it against the side of the dumpster, breaking it. He holds the broken edge up to Dawn's face. Dawn cringes away in terror.", "BEN: You really think I'll just let that happen?", "GLORY: Benjamin, what are you doing?", "BEN: You need her blood? When I'm through there won't be enough left to fill a bottle cap. Then you, hellbitch, have nowhere left-", "GLORY: -to go. Huh! Glory pulls Dawn away from the dumpster, throws her across the alley, then throws the bottle against the wall. We hear it shatter. Dawn crouches on the ground staring at Glory in fear.", "GLORY: You can't hurt her and you know it, Ben. (sits down on a pile of bricks) I know it 'cause I feel what you're feeling. Scared. Shh! Shh! It's okay! You don't wanna die. Who would? I don't.", "BEN: You can't, you're immortal.", "GLORY: Nobody has to die here, Ben. Just let me bleed the girl and go home. Everything will work out fine.", "BEN: Do you really believe with all I know that you can trick me?", "GLORY: Stop ... and think, baby. We bleed the kid, return me to my seat of power, I become a god again...", "BEN: And I disappear.", "GLORY: Ooh, unless somebody up there likes you. Give up the girl ... I could like you a lot. Dawn watches this wide-eyed.", "BEN: I won't make a deal with you, Glory.", "GLORY: (angry) When exactly did you get stupid? I'm offering immortality here.", "BEN: I believe you. That's not the problem. You make me immortal, then what? (walks over to Dawn, grabs her arm and pulls her to her feet) I'd have to kill her to do it and I won't be able to live with that, not even for a day, forget about eternity! He whirls Dawn around in a circle and morphs in mid-whirl.", "GLORY: Baby, baby, baby Ben. (lets go of Dawn who falls to the ground again) Why do you worry so much? When you're immortal, all this crap you've been carrying around inside ... (leans against the wall) the guilt, the anger, the crazy-making pain ... (smiles) Ooh, it all just melts away like ice cream. Trust me. When all this is over I can set you up real nice. I'm making it easy. It's you ... or the girl. She slides down the wall and morphs halfway down.", "BEN: (panting) I can't accept that.", "GLORY: Accept it. (chuckles) I'm a god, stupid. She morphs into Ben again. He stares at Dawn, who stares back fearfully. Ben gets up, goes over to Dawn, holds out his hand.", "BEN: I'm sorry. Dawn sighs in relief, lifts her hand to take his. Ben grabs her wrist instead.", "DAWN: No! Ben pulls her to her feet and leads her out of the alley.", "BEN: Don't make this harder than it already is. Overhead shot of them from the back. They come out onto the street.", "BEN: I'm sorry, I got no choice. It's you or me. Three minions appear and walk up to them.", "Cut to: Joyce's bedroom/grave. Lingering shot of the headstone.", "Cut to Willow and Buffy #2 staring at it. Buffy turns to go.", "WILLOW: No. Buffy! Leave Dawn alone, what is this?", "BUFFY #2: (opening the door) My gift. This is what I do.", "WILLOW: I'm not talking about this, I'm talking about... Willow follows Buffy through the door, but instead of Dawn's bedroom, they come out into the magic shop. Buffy #1 walks over to the bookshelves again. In the foreground we can see the back of Buffy #2's head. Buffy #1 puts the book on the shelf.", "WILLOW: ...this. Willow and Buffy #2 watch as Buffy #1 puts the book on the shelf. Shot of Buffy #1 looking pensive. Shot of her hand putting the book on the shelf.", "WILLOW: Right here, it happened. I know it's something small, but... (shot of Buffy #1 putting the book on the shelf again) it's something. What?", "BUFFY #2: (staring at Buffy #1) Don't go there, Will.", "WILLOW: I'm not! You're the one who keeps dragging me back here! A-and you wouldn't be doing that if you weren't trying to show me something.", "BUFFY #2: (looks at her) Do I?", "WILLOW: Buffy, come on. I-it's your brain. Just tell me. They both look back over at the bookshelf. Shot of Buffy #1 putting the book on the shelf yet again.", "WILLOW: What happened here? Shot of Buffy #2 watching.", "BUFFY #1: (not turning) This was when I quit, Will. Shot of Willow standing beside Buffy #2, both staring at Buffy #1.", "WILLOW: You did?", "BUFFY #2: Just for a second. Shot of Willow and Buffy sitting in the darkened bedroom.", "BUFFY VOICEOVER: I remember. Cut back to the magic shop.", "BUFFY #1: (facing Willow) I was in the magic shop.", "BUFFY #2: I put a book back for Giles.", "BUFFY #1: Nothing special about it. And then it hit me.", "WILLOW: What hit you?", "BUFFY #2: I can't beat Glory.", "BUFFY #1: Glory's going to win.", "WILLOW: (turns to Buffy #2) You can't know that.", "BUFFY #2: (turns to Willow) I didn't just know it.", "BUFFY #1: (staring at nothing) I felt it. Glory will beat me.", "BUFFY #2: (looks away) And in that second of knowing it, Will...", "BUFFY #1: I wanted it to happen.", "WILLOW: Why?", "BUFFY #1: I wanted it over. This is ... all of this ... it's too much for me.", "BUFFY #2: (staring at nothing) I just wanted it over.", "BUFFY #1: If Glory wins ... then Dawn dies.", "BUFFY #2: And I would grieve. People would feel sorry for me. (looks at Willow) But it would be over. (looks away) And I imagined what a relief it would be. Willow looks over at the bookcase. Buffy #1 yet again puts the book on the shelf.", "BUFFY #2: I killed Dawn. Willow frowns, looks at Buffy #2.", "WILLOW: Is that what you think? Shot of the \"real\" Buffy sitting blankly in the bedroom.", "BUFFY VOICEOVER: My thinking it made it happen. Cut back to the magic shop.", "BUFFY #1: Some part of me wanted it. And in the moment Glory took Dawn...", "BUFFY #2: I know I could have done something better. But I didn't. I was off by some fraction of a second.", "BUFFY #1: And this is why...", "BUFFY #2: ...I killed my sister. Willow frowns, looks from one Buffy to the other. Buffy #1 puts the book on the shelf again.", "WILLOW: I think Spike was right back at the gas station. (loudly) Snap out of it! Buffy #2 looks at Willow in surprise. Buffy #1 whirls away from the bookcase.", "BUFFY #1: What?", "BUFFY #2: What?", "WILLOW: All this ... it has a name. It's called guilt. (the two Buffys exchange a look) It's a feeling, and it's important. (to Buffy #2) But it's not more than that, Buffy. (glances at Buffy #1) Buffys. The Buffys both look pensive.", "WILLOW: You've carried the weight of the world on your shoulders since high school. And I, I know you didn't ask for this, but ... you do it every day. And so, you wanted out for one second. So what?", "BUFFY #2: (pensive) I got Dawn killed.", "WILLOW: Hello! Your sister, not dead yet! But she will be if you stay locked inside here and never come back to us.", "BUFFY #2: (looking at Buffy #1) But what if I can't?", "WILLOW: Then I guess you're right. And you did kill your sister. Willow turns and starts walking toward the magic shop entrance. Buffy #2 turns to her in alarm.", "BUFFY #2: Wait! Shot of Willow and Buffy sitting in the bedroom.", "BUFFY VOICEOVER: Where are you going? Cut back to magic shop. Willow turns back.", "WILLOW: Where you're needed. Are you coming? Shot of Buffy #2 staring at Willow. Behind Buffy #2, Buffy #1 walks up to the bookcase and puts the book on the shelf. Pauses. Closer shot of Buffy #1 as she turns toward the others.", "Cut to the real Buffy in the chair in the bedroom. Suddenly with a start she comes to, sits up straighter, looks around, breathing heavily. Longer shot of her and Willow sitting there. Willow stares at Buffy. Buffy turns to face Willow again. Suddenly she bursts into tears. Willow gets up off the bed and kneels beside Buffy's chair, puts her arms around Buffy and holds her as she cries.", "Cut to the real magic shop. Giles stands in the back making tea. Sound of the door opening. Giles looks through the bookcase toward the door.", "GILES: Buffy? (aside) She's back. We see Spike and Xander sitting at the table beside Giles.", "XANDER: You're okay?", "BUFFY: Yeah. I'm okay. Buffy enters, comes toward the table. Behind her we see Willow leading Tara in, and Anya closing the door behind them.", "BUFFY: Hear you found the ritual text.", "GILES: Uh, something like that, yes.", "XANDER: Did you know that ... Ben is Glory?", "BUFFY: So I'm told. What do we know?", "GILES: Um ... well, uh ... (Willow, Anya, and Tara sit around the table) ...according to these scrolls, uh, it's possible for Glory to be stopped. Giles pauses. Buffy gives him a raised-eyebrow look to say, \"go on.\"", "GILES: I-I'm afraid it's, um ... well, Buffy, I've read these things very carefully and there's not much ... margin for error. You understand what I'm saying?", "BUFFY: Might help if you actually said it. Giles gives a small smile, nods, puts his mug on the table and sits, removes his glasses.", "GILES: Um ... Glory ... plans to open a ... dimensional portal ... by way of a ritual bloodletting.", "BUFFY: Dawn's blood.", "GILES: Yes. (pause) Once the blood is shed at a certain time and place ... the fabric which separates all realities will ... be ripped apart. Shot of Willow listening while holding Tara's hand; Tara staring vaguely at the ceiling, and Spike staring at the table.", "GILES: Dimensions will ... pour into one another, uh, with no barriers to stop them. (shot of Xander and Anya listening) Reality as we know it will be destroyed, and ... chaos will reign on earth.", "BUFFY: So how do we stop it?", "GILES: The portal will only close once the blood is stopped ... and the only way for that to happen is, um ... Zoom in on Giles's face as he first avoids Buffy's eyes, finally looks up at her.", "GILES: Buffy, the only way is to kill Dawn. Buffy reacts with dismay. Blackout.", "Executive Producer: Joss Whedon." ]

[ "Buffy and the gang set out to rescue Dawn and fight Glory as the ritual commences. Also, Buffy finally realizes the meaning of \"Death Is Your Gift.\"" ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Giles in the Sunnydale High library in \"Welcome to the Hellmouth.\"", "GILES: You are the Slayer. Into each generation a Slayer is born. A series of scenes from \"Welcome to the Hellmouth\"...", "BUFFY: Why don't we start with 'Hi, I'm Buffy.'", "XANDER: Xander.", "CORDELIA: Cordelia. Shot of Willow at the water fountain.", "BUFFY VOICEOVER: Willow, right?", "GILES: Mister Giles.", "ANGEL: Angel. Giles thumping the book \"VAMPYR\" onto the library counter. A quick series of scenes from the first season: the Master with the Anointed One; Buffy and Angel kissing; Angel vamping out, Buffy screaming; the possessed ventriloquist dummy; Buffy punching someone; Buffy dying; Buffy killing the Master, etc... Moves into a series of scenes from the second season. They go by faster and faster. I can't possibly detail every one, but they include all the major demons and recurring characters: Spike, Ethan, Drusilla, Kendra, Ted, etc. We see Xander kissing Cordelia, Willow kissing Oz, Angel killing Jenny Calendar, Willow in the hospital doing the spell to restore Angel's soul, Buffy killing Angel. Continues to a series of scenes from third season. Includes Mr. Trick, Xander and Willow kissing, Giles and Joyce kissing, Spike, Gwendolyn Post, Amy turning into a rat, Faith and the Mayor, Wesley, Vampire Willow, Angel feeding on Buffy, the climactic battle with the Mayor, the high school blowing up, Angel walking away. Moving even faster, a series of scenes from fourth season. Buffy going to college. The Initiative. Kathy, Vamp Harmony, Oz, the Gentlemen, Anya dressed as a bunny, Giles in Mexican costume, Spike getting zapped, Willow and Tara doing a spell in \"Hush,\" Giles as a demon, Adam, the Initiative, Faith waking up, Faith in Buffy's body, the destruction of the Initiative, Buffy/Xander/Willow/Giles doing their unification spell, the First Slayer, etc. And finally a series of scenes from fifth season that go by very fast. Buffy and Dawn, Joyce, Spike, Glory, Riley, the helicopter taking Riley away, Ben morphing into Glory, the April-Bot, Joyce dying, Willow and Tara kissing, Glory taking Tara's brain, the return of the First Slayer, the Buffy-Bot, Willow zapping Glory, Glory tearing down the dorm wall, the fight between the Winnebago and the knights on horseback. You should realize that all of the above flashes by much too fast to really see. The scenes from first season probably last for about ten frames each and by the time it gets to fifth season, they flash by two frames at a time. So the sense of increasing speed and urgency carries us into an alleyway as the \"previously\" scenes meld into the episode. The camera moves down the alley as from the POV of someone running. Fast, urgent music. We go around a corner and see the person who's running. It's a teenage boy. He rounds the corner and stops, seeing that he's in a dead end. Slowly, fearfully, he turns. Shot of the corner he just came around. The kid moves very slowly back toward the corner, very scared. Suddenly someone steps around the corner. It's a large male vampire. The kid starts, takes a step back. The vampire strides forward with a small smile.", "VAMP: Gave me a pretty good run there. Bet the blood's just pumpin'. The boy backs away, frightened.", "VAMP: (advancing) Bet it's hot.", "KID: (voice breaking) Don't hurt me.", "VAMP: Don't hurt you? (laughs) Suddenly one of the doors along the alley opens and Buffy's head pops out.", "BUFFY: (innocently) Hey, what's going on? The vamp turns his head to glare at her.", "KID: Help me! Call the police!", "VAMP: Get outta here, girl. (turns back to the kid)", "BUFFY: (emerging from the doorway) You guys havin' a fight? 'Cause, you know, fighting's not cool. The vampire turns to glare at her again.", "KID: Get out of here!", "VAMP: No. (turns fully toward Buffy) No, she wants to stay. I don't mind a little appetizer.", "BUFFY: (small frown, walks forward) Have you ever heard the expression, 'biting off more than you can chew'? The vamp frowns, shakes his head.", "BUFFY: Okay. Um ... how about the expression, 'vampire slayer'?", "VAMP: What the hell you talkin' about?", "BUFFY: Wow. Never heard that one. Okay. How about, 'Oh god, my leg, my leg'? The vampire growls and lunges at her. She ducks his grab, punches him in the face and kicks his leg. His knee buckles and he falls to the ground.", "VAMP: Oh god! My leg! Uhh...", "BUFFY: See? Now we're communicating. The vamp surges up, grabs Buffy and throws her against the wall. He grabs her again but she pushes his arms away, punches him in the face, knees him, then goes around behind him and kicks him into the wall. He lands against a dumpster, turns and backhands Buffy, who stumbles forward toward the boy. The boy leaps out of the way. The vamp punches Buffy again, picks her up and slams her down on top of another dumpster. Shot of the kid cowering in the corner. Buffy kicks the vamp, cartwheels off the dumpster and kicks him again, then again, and then yet again. On the final kick he lands on his back among a pile of wooden boxes. They all shatter. One of the shards of wood flies toward Buffy and she catches it. As the vampire lunges up out of the boxes, she stakes him with the piece of wood. The boy watches in shock. The vamp turns to dust. Buffy drops the makeshift stake and stares at the pile of dust as the boy continues to cower in the background.", "BUFFY: Wow. Been a long while since I met one who didn't know me. She turns to go, pauses and looks at the kid.", "BUFFY: You should get home. She begins walking back toward the door she came out of.", "KID: H-how'd you do that? Angle on Buffy's back as she walks toward the door. She doesn't turn or stop as she replies.", "BUFFY: It's what I do.", "KID: But you're ... you're just a girl. Buffy pauses in the doorway.", "BUFFY: That's what *I* keep saying. She walks through the door. Wolf howl. Opening credits. Guest starring Clare Kramer, Charlie Weber, Amber Benson as Tara, and Joel Grey as Doc. Written and directed by Joss Whedon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on Buffy coming in the back door of the magic shop, walking down the hall and into the main room. We see Xander sitting at the round table with Giles beside him looking at books, and Spike sitting behind them on the ladder leading up to the loft, smoking a cigarette.", "XANDER: Something goin' on out back?", "BUFFY: (walks over to table) Vampire.", "XANDER: Oh.", "BUFFY: (sighs) Anything? Angle on Giles sitting at the table with a few books open in front of him.", "GILES: Nothing you want to hear. The ritual is, uh...", "BUFFY: Explain it again.", "GILES: There's nothing new to-", "BUFFY: Go through it again. Everyone looks nervously at Buffy. We see Willow sitting at the table on Xander's other side. Giles slowly removes his glasses. Shot of Anya standing to the side.", "GILES: The key was ... living energy. It needed to be channeled, poured into a specific place at a specific time. The energy ... would flow into that spot, the walls between the dimensions break down. It stops, the energy's used up, the walls come back up. Glory uses that time to get back into her own dimension, not caring that all manner of hell will be unleashed on earth in the meantime. Buffy looks grim.", "ANYA: Um, but only for a little while, right? The walls come back up, uh, n-no more hell?", "WILLOW: That's only if the energy is stopped. And now the key is human ... (looks over her shoulder at Buffy) ...is Dawn.", "GILES: (reads from book) \"The blood flows, the gates will open. The gates will close when it flows no more.\" (removes his glasses) When Dawn is dead. Pause.", "TARA: I have places to be! Everyone looks over at Tara, who is curled up in a chair to the side. She falls silent again and they return to their conversation.", "XANDER: Why blood? Why Dawn's blood? I mean, why couldn't it be like a, a lymph ritual?", "SPIKE: 'Cause it's always got to be blood.", "XANDER: We're not actually discussing dinner right now.", "SPIKE: Blood is life, lackbrain. Why do you think we eat it? It's what keeps you going. Makes you warm. Makes you hard. Makes you other than dead. (quietly) Course it's her blood.", "BUFFY: Pretty simple math here. We stop Glory before she can start the ritual. We still have a couple of hours, right?", "GILES: If my calculations are right. But Buffy-", "BUFFY: I don't wanna hear it. (turns away)", "GILES: I understand that-", "BUFFY: (whirls back) No! No, you don't understand. We are not talking about this.", "GILES: (jumps up from the table, yells) Yes, we bloody well are! Beat. Everyone looks shocked by Giles' outburst.", "GILES: (quieter) If Glory begins the ritual ... if we can't stop her...", "BUFFY: Come on. Say it. We're bloody well talking about this. Tell me to kill my sister.", "GILES: (whispers) She's not your sister.", "BUFFY: (pause) No. She's not. She's more than that. She's me. The monks made her out of me. I hold her ... and I feel closer to her than ... (looks down, sighs) It's not just the memories they built. It's physical. Dawn ... is a part of me. The only part that I- (stops)", "WILLOW: We'll solve this. We will. Don't have another coma, okay? Buffy gives a small smile.", "GILES: (quietly) If the ritual starts, then every living creature in this and every other dimension imaginable will suffer unbearable torment and death ... (looks up at Buffy) including Dawn.", "BUFFY: Then the last thing she'll see is me protecting her.", "GILES: (quietly) You'll fail. You'll die. We all will. (turns away from the table)", "BUFFY: I'm sorry. Shot of the others looking at her as Giles walks slowly away.", "BUFFY: I love you all ... but I'm sorry. She turns away too. Giles turns back to look at her. Beat.", "ANYA: (loudly) Okay. (raises her hand) All in favor of stopping Glory *before* the ritual. Suggestions, ideas? (snapping her fingers) Time's a-wastin'.", "SPIKE: Uh ... when you say you love us all...", "XANDER/GILES: (unison) Shut up.", "ANYA: Willow. I bet you've got some dark spell a-brewin'. Uh, make her a, a, a toad? Little hoppy toad, we can hit her with a hammer?", "TARA: (giggling) Hoppy toad.", "XANDER: What about Ben? He can be killed, right? I mean, I know he's an innocent, but, you know, not like Dawn innocent. We could kill a ... regular guy. Pause while everyone considers this and Xander realizes what he's said.", "XANDER: (softly, in self-disgust) God.", "GILES: It's doubtful he'll surface again this close to the ritual. We can expect it's Glory we're dealing with.", "WILLOW: We don't have to kill her. Uh, we just have to stop her from doing the ritual. I mean, there's only the one time that she can do it, right?", "SPIKE: Yeah. We get her on the ropes, we just gotta keep her occupied till it's too late.", "ANYA: Okay. But I'm still not hearing enough ideas. She's a god. Let's think outside the box.", "SPIKE: Why don't *you* go think outside the bleeding box.", "GILES: Yes, Anya, apart from your incredibly uninfectious enthusiasm, have you anything else to contribu-", "ANYA: The Dagon sphere!", "GILES: Sorry?", "ANYA: When Buffy first met Glory, she found that magical ... (gestures) glowy sphere that was meant to repel Glory. We've got it in the basement. (everyone looks surprised) It might drive her away or hurt her. Ooh! Anya hurries over to a display case, gestures like a game-show hostess.", "ANYA: And Olaf the troll god's enchanted hammer. We see the hammer (episode \"Triangle\") on a shelf.", "ANYA: You wanna fight a god, use the weapon of a god. Buffy walks over to check out the hammer.", "SPIKE: Uh, nah, that thing's too heavy to- (Buffy picks it up easily) Yeah. Good.", "BUFFY: I like this. (to Anya) Thanks.", "ANYA: Here to help. Wanna live.", "XANDER: Smart chicks are soooo hot. (looking fondly at Anya)", "WILLOW: You couldn't have figured that out in tenth grade? Willow and Xander exchange a smile.", "GILES: Well, we have some ideas, if we could actually get Glory on the run, but, um...", "BUFFY: But, we still have no idea how to find her.", "TARA: Big day. Oh, it calls me! I have to be there! Everyone looks at Tara, then at Buffy. Buffy looks thoughtful.", "TARA: Big day!", "Cut to: Ben entering the back room at the warehouse. He still wears the ceremonial robe and is holding a pile of clothing. A few minions are in the background. Shot of Dawn sitting on the floor with her knees up to her chest, eyes closed. Ben walks over to her.", "BEN: They, uh ... said you have to put this on ... for the ceremony.", "DAWN: What if I don't?", "BEN: Come on, just-", "DAWN: What if I don't like the color?", "BEN: Look, I ... I wish there was another way.", "DAWN: And I wish you'd fall on your head and drown in your own barf, so ... (shrugs) I guess we're both disappointed.", "BEN: I think ... it'll be quick.", "MINION: Actually, sir, the bleeding is quite a slow process to give the portal time to-", "BEN: (annoyed) Thank you ... for the information. (to Dawn) I'll do what I can to-", "DAWN: Change.", "BEN: What?", "DAWN: Change. Be her. I don't wanna look at you.", "BEN: (shakes head) Dawn, I don't think you wanna-", "DAWN: Be Glory. Be Glory. (yelling) Glory! Glory! Glory!", "BEN: Will you just stop- (morphs into Glory)", "GLORY: -shouting already? Dawn scowls.", "GLORY: Huh. Glory shakes out the garment she's holding. It's a medieval-style dress. She examines it, then turns to Dawn.", "GLORY: So, what's the hubbub, bub? (sits in a chair) What do you got against old Benjy?", "DAWN: He's a monster. At least you're up-front about it.", "GLORY: (picking at the hem of the dress) Don't be so hard on the boy. He just wants to live. Most guys would do the same. Besides, he's probably the reason your sis and her little cartoon pals are still alive. That little nagging pinch of humanity that makes me go for the hurt instead of the kill. (looks at Dawn) Lowering myself to trade blows with the Slayer when I should have just put my fist through her heart. Glory stands up and holds up the dress to look at it.", "GLORY: It's gotta be Ben.", "DAWN: Or maybe you just can't take her. Glory tosses the dress to Dawn, who takes hold of one end. Glory is still holding the other end and she suddenly yanks on it, pulling Dawn to her feet. They face off.", "GLORY: Hmm, funny thing. You've been here for a few hours now, and I haven't seen big sis galloping in to save you. She probably knows what a terrible mistake that'd be.", "DAWN: She's not afraid of you.", "GLORY: Oh no, sweetie baby. I'm talking about the ritual. 'Cause you know I bleed you, the portals open, but once you die they close. The faster you die, the better for your sorry species. Glory puts her hand on the side of Dawn's face. Dawn looks scared.", "GLORY: I'm bettin' Buffy knows that. Since she's not really your sister, I'm guessin' she isn't gonna show. And if she does... Dawn winces in pain as Glory's fingers tighten on her head.", "GLORY: ...it might not be to save you. Glory shoves Dawn aside. She falls to the floor on top of a grating. Glory smirks at her. Angle on Dawn's face, shooting up from below as her face is pressed against the grating.", "DAWN: (whispers) Buffy.", "Cut to Buffy in the workout room, punching the punching-bag. She alternates hands and hits it with a steady rhythm. The camera pulls out and reveals Giles entering, walking toward her.", "GILES: You sure you're not going to tire yourself out?", "BUFFY: (stops punching) I'm sure. She resumes punching. Close shot on Buffy's face with Giles out of focus in the background.", "GILES: We're ... still working on ideas. (Buffy stops punching) Time's short, but, uh, best leave it to the last moment. (Buffy stretching her arms) If we go in too early and she takes us out, no chance of getting her to miss her window.", "BUFFY: Then we wait. Buffy gives one last punch that breaks the punching bag off its chain. It falls to the floor. Buffy stares at it, gives her arm a shake.", "GILES: I imagine you hate me right now. Same angle on Buffy with Giles in the background, her back to him. She sighs but doesn't answer. Giles takes a few steps closer.", "GILES: I love Dawn.", "BUFFY: I know.", "GILES: But I've sworn to protect this sorry world, and sometimes that means saying and doing ... what other people can't. What they shouldn't have to. Buffy turns to face him.", "BUFFY: You try and hurt her, and you know I'll stop you.", "GILES: I know. Overhead shot of the two of them. Buffy walks slowly over to the sofa in the corner and sits. Giles paces slowly over to the sofa as well.", "BUFFY: This is how many apocalypses for us now?", "GILES: Oh, uh, well... (sits, takes off his glasses) six, at least. (sits back slowly) Feels like a hundred.", "BUFFY: I've always stopped them. Always won.", "GILES: Yes.", "BUFFY: I sacrificed Angel to save the world.", "Cut to close angle on Buffy's face.", "BUFFY: I loved him so much. But I knew ... what was right. I don't have that any more. I don't understand. I don't know how to live in this world if these are the choices. If everything just gets stripped away. I don't see the point. I just wish that... (tearfully) I just wish my mom was here. She gets up, walks a few paces away, turns to face Giles.", "BUFFY: The spirit guide told me ... that death is my gift. Guess that means a Slayer really is just a killer after all.", "GILES: I think you're wrong about that.", "BUFFY: It doesn't matter. If Dawn dies, I'm done with it. I'm quitting. She walks out, leaving Giles sitting on the sofa alone.", "Cut to the warehouse. Dawn is now wearing the ritual dress. She has her other clothing folded in a neat pile and carries it over to the chair, lays the clothing down on the chair, kneels beside the chair. Shot of Glory off to the side, writing something. A minion goes to her and whispers. Dawn kneels by the chair and arranges her sneakers neatly in front of the chair. She looks up when Glory begins to speak.", "GLORY: Okay, campers, it's almost stab time. (smiling) You two, get her. Two minions move toward Dawn, who looks scared and backs away.", "DAWN: No. No! Aah! (screams) Buffy! She continues to scream as the minions grab her arms and drag her away. Glory watches them go with a smile.", "GLORY: See you in a few.", "Cut to outside. The minions drag Dawn into the courtyard area where the crazy people are still working. Sparks fly from someone's welding. Dawn looks up apprehensively. Shot of a huge metal tower, basically build out of scaffolding. It stretches into the air above the warehouse. At the top, a narrow walkway protrudes out into the air. We see the tower first from Dawn's perspective, on the ground looking up; and then a longer shot from the side. Dawn continues to stare up at the tower as the minions lead her to some stairs at the base of the tower and they begin to climb. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on Giles in the magic shop, walking over to a door and opening it. It leads down some stairs into the basement, which is cluttered as any basement tends to be.", "GILES: (calling) Any luck? Have you found the Dagon sphere? Pan down to the basement. Anya emerges from behind the stairs, wearing a bra, quickly putting on her blouse.", "ANYA: (calling) Um, I'm sure it's here, just be a minute! Xander emerges as well, fastening his pants.", "XANDER: (calling) Yeah, we're on it! Let's look over here, where we didn't look yet. Xander and Anya continue fastening their clothing. The angle is such that Giles can't see them.", "GILES: (OS) Time is a factor.", "ANYA: Yes. Yes. Not to worry. Sound of the door closing. Anya picks up a clipboard and examines it.", "XANDER: So, are you more, uh ... relaxed?", "ANYA: (looking through boxes) No.", "XANDER: No? I mean, it sounded like you, uh ... (paces past her) arrived.", "ANYA: (distracted) No. (tunes back in to the conversation) Yes. Um, I had the pleasure moment, and the blissful calm that comes right after it. But that only lasted a couple of seconds, and now I'm terrified again.", "XANDER: Well, you don't have to be. Anya moves toward another pile of stuff. Xander turns and pulls down a drop-cloth, revealing the Buffy Bot.", "XANDER: Gah! He leaps back, making Anya jump as well.", "ANYA: What? They both stare at the bot. It sits there with eyes open, unmoving.", "XANDER: Spike's sex-bot. Why didn't they just melt it down into scrap? Anya moves away as Xander continues staring at the bot.", "ANYA: Maybe Willow wanted it.", "XANDER: (turns to her) I don't think Willow feels that way about, about Buffy. I mean, I know she's gone through a lot of changes, but-", "ANYA: To study it.", "XANDER: Right. Robotics. (embarrassed ) Science. Xander moves to another pile of stuff and they both continue looking, separately.", "ANYA: Pervert.", "XANDER: Other pervert.", "ANYA: And don't frighten me like tha-aah! She shrieks as she sees something in another box. Xander comes over to look.", "ANYA: God, who, who would put something like that there? Is this supposed to be some sort of sick joke? She picks it up. It's a small toy bunny.", "ANYA: I mean, things aren't bad enough! (pause) This is an omen.", "XANDER: Hey, hey, shh. (rubs her shoulders)", "ANYA: No, no, it's an omen. It's a higher power, trying to tell me through bunnies that we're all gonna die. Oh god.", "XANDER: No it's not. Anya puts the bunny back in the box as Xander puts his arms around her waist from behind.", "XANDER: It's okay.", "ANYA: No, you see, usually when there's an apocalypse, I skedaddle. But now I love you so much that instead I have inappropriately timed s*x and try to think of ways to fight a god ... and worry terribly that something might happen to you. And also worry that something'll happen to me. And then I have guilt that I'm not more worried about everyone else, but I just don't have enough! I'm just on total overload, and I honestly don't think that I could be more nervous than I am right now.", "XANDER: Care to wager on that? Xander lifts his hand into the shot. He holds a small box, open to reveal the ring inside. Anya stares at it. Xander lets her go and she turns to face him, still looking at the ring.", "XANDER: Anya ... you wanna marry me? Anya stares at him a moment, then slaps him across the face.", "XANDER: Can I take that as a \"maybe\"?", "ANYA: You're proposing to me!", "XANDER: Yes...", "ANYA: You're proposing to me 'cause we're gonna die! And you think it's romantic and sexy and, and you know you're not gonna have to go through with it 'cause the world's gonna end!", "XANDER: I'm proposing to you, Anya, because it's not.", "ANYA: You can't know that.", "XANDER: I believe it. I think we're gonna get through this. I think I'm gonna live a long ... and silly life, and I'm not interested in doing that without you around.", "ANYA: (softly) Oh. Okay.", "XANDER: (wide-eyed) Okay?", "ANYA: Yes. (small smile) I mean, yes. They both smile happily and look down at the ring. Xander begins removing the ring from the box as Anya holds up her hands. Then she stops him.", "ANYA: No.", "XANDER: No?", "ANYA: After. Give it to me when the world doesn't end. Xander smiles slightly. Anya puts her arms around his neck and they kiss.", "Cut to the main magic shop room. Willow sits at the table reading books while Tara naps behind her. Buffy walks up.", "BUFFY: Will, what do you got for me?", "WILLOW: Some ideas. (Buffy goes to sit on the stairs leading up to the loft) Well, notions. Or, theories based on wild speculation. Did I mention I'm not good under pressure?", "BUFFY: I need you, Will. You're my big gun.", "WILLOW: (alarmed) I'm your - no, I-I was never a gun. Someone else should be the gun. I, I could be a, a cudgel. Or, or a pointy stick.", "BUFFY: You're the strongest person here. You know that, right?", "WILLOW: (frowns) Well ... no.", "BUFFY: Will, you're the only person that's ever hurt Glory. At all. You're my best shot at getting her on the ropes, so don't get a jelly belly on me now.", "WILLOW: Well ... I, I ... do sort of have this one idea. But, last few days, I've mostly been looking into ways to help Tara. I-I know that shouldn't be my priority... Buffy leans over and puts her hand on Willow's knee.", "BUFFY: Of course it should. Willow smiles gratefully. Buffy leans back.", "WILLOW: Well, I've been charting their essences. Mapping out. I think ... if I can get close enough, I may be able to reverse what Glory did. Like, take back what she took from Tara. It might weaken Glory, or ... make her less coherent. Or it might make all our heads explode.", "GILES: (OS) Buffy. Buffy looks up. Across the room we see Giles, Xander, and Anya gathered around something.", "WILLOW: I'll try to work it. Buffy gets up and walks away, putting her hand briefly on Willow's shoulder as she passes. Willow gets up and goes to crouch beside Tara's chair.", "WILLOW: Don't worry, love. It won't be long. Tara slaps her hard across the face.", "TARA: (angrily) Bitch! I'm supposed to work on the factors! Willow just looks at her sadly. The anger passes and Tara becomes anxious.", "TARA: I'm, I'm not ... I'm not... Tara puts her hand gently on Willow's cheek and begins to cry. Willow looks at her with tears in her eyes as well.", "WILLOW: I'm gonna bring you back. Cut over to the others gathered together. Giles is holding the Dagon sphere.", "BUFFY: No. No, no, that's good. That could be pivotal. (to Anya and Xander) Thank you guys.", "GILES: Well, um, you're gonna need some-", "BUFFY: Way ahead of you. We have time?", "GILES: Yes, if you hurry.", "BUFFY: Okay. I'll grab some weapons too. (we see Spike appearing behind Giles)", "XANDER: I'm looking for something in a broadsword.", "SPIKE: Don't be swingin' that thing near me. (Buffy takes the sphere from Giles, examines it)", "XANDER: Hey, I happen to be-", "SPIKE: A glorified bricklayer?", "XANDER: (looks around at the others) I'm also a swell bowler.", "ANYA: Has his own shoes.", "SPIKE: The gods themselves do tremble.", "BUFFY: Spike, shut your mouth, come with me. Buffy hands the sphere to Giles and strides out. Spike looks surprised, follows her.", "Cut to Buffy entering the Summers house with Spike behind her. It's dark outside.", "BUFFY: The weapons are in the chest by the TV, I'll grab the stuff upstairs. She moves toward the stairs, not realizing that Spike has stopped at the door.", "SPIKE: Uh, Buffy... She turns back to him. Spike lifts his hand in a little wave. Buffy frowns, still not getting it.", "SPIKE: If you wanna just hand them over the threshold, I'll...", "BUFFY: Come in, Spike. Spike looks surprised and pleased. He takes a slow step over the threshold, smiles.", "SPIKE: Hmm. Presto. No barrier. They look at each other for a moment, then Spike breaks away, walks into the living room.", "SPIKE: Um, won't bother with the small stuff. Couple of good axes should hold off Glory's mates while you take on the lady herself. (opens the chest, begins taking stuff out)", "BUFFY: We're not all gonna make it. You know that.", "SPIKE: Yeah. He takes a few weapons from the chest and walks back toward Buffy.", "SPIKE: Hey. Always knew I'd go down fightin'.", "BUFFY: I'm counting on you ... to protect her.", "SPIKE: Till the end of the world. Even if that happens to be tonight.", "BUFFY: I'll be a minute.", "SPIKE: Yeah. Buffy turns to go up the stairs. Spike watches her go.", "SPIKE: I know you'll never love me. Buffy pauses halfway up the stairs, turns back to look at Spike.", "SPIKE: I know that I'm a monster. But you treat me like a man. And that's... Buffy gazes silently at him.", "SPIKE: Get your stuff, I'll be here. She turns and continues up the stairs.", "Cut to the top of the tower. The minions are tying Dawn to the tower with rope. She stands there looking scared. The wind blows her hair around. Angle downward from Dawn's POV. We see her bare feet on the edge of the platform, and far below we can see the crazy people moving around. The minions finish tying Dawn up and turn to leave. One of them looks back.", "MINION: She will come to you soon. The camera pulls slowly back on Dawn standing at the end of the platform with the city lights behind and below her.", "Cut to the magic shop. Pan quickly across Xander and Anya looking at each other, Tara looking at stuff in a display case. Willow appears from the back as Buffy and Spike enter, carrying weapons. They walk over to the office area.", "BUFFY: We on schedule? Spike goes to put the weapons down on the desk beside Giles, who is also holding an axe.", "GILES: Yes, it's time. Pan back over to Buffy.", "BUFFY: Will? Willow nods, goes over to Tara who is still staring at the merchandise.", "WILLOW: Tara, baby? Is there somewhere you should be? Tara looks over at Buffy, doesn't look at Willow.", "TARA: They held me down.", "WILLOW: No one's holding you. It's the big day, right? Both Willow and Tara look at Buffy. Shot of Buffy looking concerned.", "WILLOW: Do you wanna go? Tara looks anxiously from Buffy to Willow and back again. She turns and begins to walk toward Buffy and the door. She passes Spike and Giles in the background, Spike packing up weapons as Giles unsheathes a sword.", "TARA: (points to Giles) You're a killer. (Giles and Spike look at her in surprise) This is all set down. Tara continues walking out. Giles puts his axe in Spike's bag. Willow, following Tara, draws alongside Buffy as Tara heads for the door.", "BUFFY: (quietly) Stay close but don't crowd her. We'll follow in a minute. Willow starts out again, stops when Buffy begins to address the others.", "BUFFY: Everybody knows their jobs. Remember, the ritual starts, we all die. And I'll kill anyone who comes near Dawn. Buffy turns and walks off. Willow turns to the open door and leaves. Angle on Giles and Spike. Giles is clutching his side where he was speared in \"Spiral.\" Spike glances at Giles, then back in the direction Buffy went.", "SPIKE: Well, not exactly the St. Crispin's Day speech, was it?", "GILES: We few... Giles goes past Spike as Spike gathers up the bag of weapons.", "GILES: ...we happy few.", "SPIKE: We band of buggered. They exit.", "Cut to: exterior city street, night. Tara walks along the sidewalk, picking at the cast on her hand. The camera pulls out to reveal Willow walking a few paces behind, with the others following farther behind that. Tara comes around a corner, pauses to gaze upward for a moment, then continues. The others follow, now all in a group. Spike carries a crossbow, Anya a baseball bat. Spike also has the bag of weapons on her back. They all stop walking and look up. Shot from below of the tower rising up into the air above them. They all stare at it.", "XANDER: Shpadoinkle.", "ANYA: What is that?", "GILES: The portal must open up there.", "BUFFY: Will, you're up. Close angle on Willow's face.", "GILES: Need anything?", "WILLOW: Could use a little courage. Spike's hand comes into the shot, holding a small flask in front of Willow's face.", "WILLOW: The real kind. Spike looks over at her. She looks at him.", "WILLOW: But thanks. Spike nods, puts the flask away. Shot of the tower. People are walking toward it as sparks (from welding) come from the yard below.", "Cut to the warehouse. The crazy people are still doing various things with machinery and metal. Pan over to the entrance as Tara enters, finally pulling the cast off her hand and tossing it aside. She walks in muttering to herself, goes over to a pile of bricks and picks one up. A hand grabs Tara's shoulder from behind and spins her around.", "GLORY: You. What are you doing here? Willow appears beside Glory.", "WILLOW: She's with me. Willow grabs both Glory's and Tara's heads. They all scream as blue lightning begins to flicker around them. Bright blue light appears to stream from Glory's head to Tara's. Suddenly a blast of power separates them. All three go flying in different directions. Willow crashes into a pile of wood. Glory lands on her back on the concrete, sits up as several minions run over.", "GLORY: What the frickin' hell did that bitch do to me? The minions look at each other, then at Glory.", "MINION: (anxiously) You look fine. Truly.", "GLORY: (clutching her head) She made a little ... she made a hole. Uh, I need a brain to eat.", "MINION: Oh, take mine, oh groove-tastic one! (bows)", "GLORY: I said a brain, you worthless dirt! She puts a hand to her forehead and begins to walk, distractedly, as the minions follow her with concern.", "GLORY: Big day. I got places to be, big day. Need a brain. She looks at something directly in front of her, scoffs.", "GLORY: Suppose I could always use yours.", "BUFFY: (OS) Okay then. Buffy stands there with her hands clasped behind her back. The camera zooms in on her.", "BUFFY: Come and get it. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on Glory still staring at Buffy. Glory starts to smile, then looks away and moves her arms as if in pain.", "BUFFY: (innocently) You don't seem very well.", "GLORY: Your little witch bitch ... gave me kind of a headache there. (removes her ceremonial robe, revealing the simple black dress underneath) But if you think this is gonna last more than eight seconds-", "BUFFY: I noticed you're talking, whereas in your position, I would attack me. The minions have taken Glory's robe as she continues to stand there looking weakened.", "MINION: Oh, most sweaty-naughty-feelings-causing one, should we...", "GLORY: Go guard the girl. This is a ... this is a, a...", "MINION: Diversionary tactic?", "GLORY: Go guard! The minions scurry away. They pull a bunch of crazies away from their work and gather them around the base of the stairs leading up to the tower. Cut back to Glory still standing there unsteadily.", "BUFFY: It's strange, you're not as blurry with speed as usual either.", "GLORY: The witch...", "BUFFY: It's not her. Buffy produces the Dagon sphere from behind her.", "BUFFY: Might be this. Glory looks alarmed.", "BUFFY: I heard it's supposed to repel you. So my guess is ... you probably shouldn't touch it, either. Buffy tosses the sphere at Glory, who catches it instinctively. The sphere lights up and seems to warp the air around it when it touches Glory's hand. She makes a pained face, drops her hand to her side. Close shot on Glory's hand holding the sphere. She slowly crushes the sphere and the light goes out as it crumbles.", "GLORY: You're gonna wish you- Buffy punches her in the face. Glory stumbles back and Buffy kicks her, then punches her again, and again, and again. The minions and crazies gathered around the stairs mutter and look around nervously as the fight continues.", "MINION 1: Stand fast! Kill anyone who dares approach! This will be our day of glory!", "MINION 2: Well punned.", "MINION 1: Well, it just called out to me. Suddenly an arrow appears in his chest and he falls back. We see Spike holding his crossbow, having just shot the minion. Anya and Giles are beside him. They rush forward and begin fighting the minions, while Spike stays behind. Giles blocks a minion's staff while Anya beats on another one with her bat. Spike gives a loud battle cry and jumps on two minions at once, bearing them to the ground. Giles slices at a minion with his sword. A minion has Spike around the waist as another one approaches. Spike fights them both.", "Cut to a wide overhead shot of the fighting. Off to the side we see Buffy hitting and kicking Glory.", "Cut to above. Dawn looks down and her eyes widen as she spots Buffy.", "Cut to below. Buffy flips Glory over and slams her down on a pile of bricks, tries to punch her but Glory rolls aside and Buffy ends up punching the bricks. Buffy tries to punch again and Glory grabs her arms, throws her across the room. Willow sits up among broken pieces of wood, looks at Buffy fighting Glory, looks over to her left.", "WILLOW: Tara! Willow half-walks, half-crawls over to where Tara lies unconscious in a pile of debris.", "WILLOW: Tara? Tara's eyes open. She looks at Willow.", "WILLOW: Tara?", "TARA: W ... Willow?", "WILLOW: (smiles hopefully) Tara?", "TARA: (tearfully) Willow ... I got so lost.", "WILLOW: (smiling) I found you. Willow kisses Tara all over her face, then hugs her. They both smile happily.", "WILLOW: I will always find you. Long shot of the two of them embracing. Cut back to Glory. She stands up straight.", "GLORY: You know what? Buffy punches, but Glory grabs her fist.", "GLORY: I'm feeling a little better. And now? I'm a little bored.", "BUFFY: Oh, I'm sorry. Cause you're about- Glory kicks her in the face. \"Buffy\"'s head goes flying off, leaving her body standing. We can see the wires exposed in the neck. The body falls over as Glory stares in bewilderment. When it hits the floor, sparks fly out of the neck.", "GLORY: (staring) Hey, wow, the Slayer's a robot. (looks around) Did everybody else know the Slayer was a robot? Glory smiles in triumph as the real Buffy appears behind her.", "BUFFY: Glory? Glory stops smiling, turns. Buffy hits her with Olaf's hammer. Glory flies across the room, crashes into a wall.", "BUFFY: You're not the brightest god in the heavens, are you?", "DAWN: Buffy! I'm up here! Buffy looks up as Dawn screams at the top of her lungs. Shot of the tower from Buffy's POV. We can't really make out Dawn at the end of the platform.", "DAWN: Buffy! Buffy runs toward the tower, leaps over a pile of bricks and onto the stairs. A minion confronts her but she punches him and throws him over the side. Glory picks herself up, looks over and sees Buffy running up the stairs.", "GLORY: Oh no you don't!", "DAWN: (screams) Buffy! I'm up here!", "Cut to midway up the stairs. There's one last level after which the stairs end and the only way up is via ladders. Buffy is ascending onto this level as Glory appears in front of her and hits her. Buffy hits Glory with the hammer, then Glory kicks her into the scaffolding. They exchange a few more blows and Buffy loses her grip on the hammer, which goes flying. It gets caught in some chain that's hanging off the tower. Glory grabs another piece of chain and uses it to swing around the side, knocking Buffy aside as Buffy tries to reach the hammer. Buffy falls aside, gets up, takes another kick from Glory and swings around the scaffolding, kicks Glory, ducks a punch and goes around Glory, kicks her from behind.", "DAWN: (looking down) Buffy! Buffy tries to continue climbing but Glory hits her in the leg, making Buffy gasp in pain. They exchange some more blows, then Buffy resumes climbing up the outer scaffolding. Glory goes around beside her and climbs up as well, kicks Buffy as she's scaling up a pipe. Buffy slides back down to the previous level. Buffy runs up a ramp, kicks Glory in the face, runs down the ramp again and manages to free the hammer. She swings it at Glory and hits her a couple of times, also hits a ladder which falls aside. Glory hits Buffy in the face and she loses her balance. As she falls backward, she grabs Glory and they both fall off the tower. They both hit the concrete below, a few feet away from each other. The hammer lands nearby. Shot of Spike still fighting two minions at once. Buffy gets to her feet. Glory does too. Buffy grabs Glory by the shoulders and pushes her away. Glory winds up a few dozen feet away, beside a wall.", "GLORY: You lost your hammer, sweet cheeks. What are you gonna hit me with now? Buffy looks at the wall. Glory turns to the wall also, just as a huge wrecking-ball crashes through the wall and into Glory. It crashes through a second wall, deposits Glory on the other side, and swings back.", "BUFFY: Whatever's handy. Buffy turns and runs off.", "Cut to Xander driving the machine that controls the wrecking ball. He shuts down the engine and sits back looking satisfied.", "XANDER: The glorified bricklayer picks up a spare.", "Cut to the hammer lying on the ground. Buffy grabs it as she runs past.", "Cut to Spike, Anya, and Giles taking refuge behind something.", "ANYA: Has anyone noticed we're going backwards? Spike straightens up to peek over the top of the machine. A brick hits him in the forehead. He ducks down again, looking annoyed.", "SPIKE: It's crossed my mind. Shot of the group of crazies standing between them and the stairs, glaring at them. There are also a few minions.", "GILES: (panting) As long as ... Buffy can keep Glory down ... long enough, it doesn't matter. (looking up at the tower) There's only a few minutes left to start the ritual.", "Cut to Buffy hitting Glory with the hammer. Glory doesn't seem able to fight back, just stands there reeling each time Buffy hits her.", "Cut to Dawn looking down at the fight. Suddenly she looks up and gasps. We see Doc standing at the other end of the platform, inside the tower.", "DAWN: You. You can help me. Untie me. Please. Help me, she's coming.", "DOC: (walks forward) Well, it seems she's running a bit late, is the thing. And, uh, if her Splendidness (Dawn looks upset) can't be here in time to bleed you... Dawn looks scared and anxious as she realizes he's not on her side.", "DOC: (whispers) Hey! (winks) Kid. Wanna see a trick? Dawn looks fearfully at him. Suddenly he produces a large shiny knife, holds it up in front of his face. Dawn gasps and cringes. Lingering shot of Doc holding the knife up with a small smile. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on a shot up at the top of the tower. Pan down to below. Xander leaps over a fence and comes to join the others. Spike, Anya, and Giles are all still crouched behind their shelter, looking up at the tower.", "XANDER: How we doing?", "ANYA: So far it's a tie.", "GILES: We haven't got up to Dawn, but then neither has anyone else.", "SPIKE: (still gazing up) Someone's up there. Shot of the underside of the platform from their POV. It's hard to tell how many people are there.", "XANDER: Okay, we gotta charge or something.", "ANYA: We tried that. Zoom in on Spike's face.", "WILLOW VOICEOVER: Spike. Can you hear me?", "SPIKE: (frowns) Yeah, loud and clear.", "Cut to Willow at the other side of the warehouse, with Tara behind her. Her lips don't move as she communicates telepathically to Spike.", "WILLOW VOICEOVER: Is there someone up there with Dawn?", "SPIKE: Yeah, can't tell who.", "XANDER: Are you talking to us?", "WILLOW VOICEOVER: Get up there. Go now. Spike peers out uncertainly. The crazies and minions are still in battle stance.", "SPIKE: Yeah, but-", "WILLOW VOICEOVER: Go! Spike gets up and charges out as the others stare at him in surprise. Willow puts her hand behind her without looking back. Tara puts her own hand in Willow's. The entire crowd of minions and crazies suddenly parts into two halves like the Red Sea. They all yell in surprise -- an unseen force is shoving them aside as Spike runs through. He reaches the stairs and leaps up them without slowing. Spike gets to the last level, runs up the ramp and begins climbing the ladder.", "Cut to the top. Doc produces a pocket-watch and looks at it as Dawn watches him fearfully.", "DOC: Well. What do you know? (Spike appears behind him) It's just about that time.", "DAWN: Spike! Doc whirls around as Spike strides slowly forward.", "SPIKE: Doesn't a fella stay dead when you kill him?", "DOC: Look who's talking.", "SPIKE: Come on, Doc. Let's you and me have a go.", "DOC: I ... (tapping his knife against his hand) do have a prior appointment.", "SPIKE: This won't take long.", "DOC: No, I-I don't imagine it will. Spike lunges forward. Doc sidesteps, grabs Spike around the neck, and thrusts his knife into Spike's back. Spike gasps. Dawn gasps.", "Cut to below. Buffy continues hitting Glory with the hammer. Glory has blood running out of her nose. She gives Buffy an anguished look.", "GLORY: You're just a mortal. You couldn't understand my pain.", "BUFFY: Then I'll just have to settle for causing it. She hits Glory with the hammer again. Glory reels to the side, recovers and turns back.", "GLORY: You can't kill me.", "BUFFY: No ... (hefts the hammer) but my arm's not even tired yet. She hits Glory again.", "Cut to the bloody knife falling onto the floor of the platform. Pan up Spike's body as he is now standing between Dawn and Doc.", "SPIKE: You don't come near the girl, Doc.", "DOC: I don't smell a soul anywhere on you. Why do you even care?", "SPIKE: I made a promise to a lady.", "DOC: Oh? Doc's long tongue appears from his mouth, shooting out at Spike, who ducks aside. Doc drops to his knees and pulls Spike's legs out from under him. Spike falls to the floor. Dawn watches anxiously as they grapple. They get to their feet, Doc holding on to Spike, pinning his arms behind him.", "DOC: Then I'll send the lady your regrets. Spike gives Dawn an agonized look.", "SPIKE: (whispers) No. Doc pushes Spike over the edge.", "DAWN: (screams) Aah! No! Spike falls to the ground below, lands amid a pile of bricks and makes a pained face.", "Cut to Glory falling to her knees. She looks up at Buffy, gasping, on the verge of tears.", "GLORY: Stop it.", "BUFFY: You're a god. Buffy hits Glory again. She falls on her back on the floor.", "BUFFY: Make it stop. Buffy goes over to Glory, kneels beside her and hits her several more times. We don't see Glory during this, just Buffy as she slams the hammer down over and over. Now we see Glory, lying there with blood covering half her face. She morphs into Ben. Buffy stops hitting.", "BEN: I'm sorry.", "BUFFY: Tell her it's over. She missed her shot. (Ben watches her, not moving) She goes. She ever, *ever* comes near me and mine again...", "BEN: We won't. I swear. Buffy drops the hammer and hurries away. Ben lies there, gives a pained cough and smiles painfully but still doesn't move.", "BEN: I guess we're stuck with each other, huh baby? He breathes painfully. Giles comes over and kneels beside him.", "GILES: Can you move?", "BEN: Need a ... a minute. She could've killed me.", "GILES: No she couldn't. Never. And sooner or later Glory will re-emerge, and ... make Buffy pay for that mercy. And the world with her. Buffy even knows that... (reaches into his pocket, takes out his glasses) and still she couldn't take a human life. Shot of Ben listening.", "GILES: She's a hero, you see. (Giles puts his glasses on) She's not like us.", "BEN: Us? Giles suddenly reaches down and puts his hand over Ben's nose and mouth, holding them shut. Ben struggles weakly as Giles keeps him still. Giles keeps his calm expression throughout. Shot of the top of the tower. Sound of Dawn screaming.", "Cut to close shot of Dawn's stomach in the ceremonial dress. The knife cuts a thin slash through the material and the skin. Dawn cries out and sobs in pain.", "DOC: Shallow cuts... (Dawn crying) shallow cuts... He makes another cut and Dawn cries out again.", "DOC: Let the blood ... flow ... Shot of Dawn's bare feet on the edge of the platform. Blood drips over her toes.", "DOC: ...free.", "BUFFY: (OS) Dawn.", "DAWN: (gasping in pain) Buffy! Doc whirls around as Buffy strides forward.", "DOC: This should be interesting. Buffy doesn't even pause, just walks right past Doc, giving him a push as she goes. He falls over the edge. We can hear him faintly screaming as Buffy goes to Dawn, who continues crying.", "BUFFY: Here.", "DAWN: Buffy, it hurts. Another shot of Dawn's bloody feet.", "BUFFY: (OS) I got it. Come here. You're gonna be okay. A few drops of Dawn's blood drip over the edge. In midair they meet something, and a small circle of light appears, quickly growing. Buffy leads Dawn limping across the platform to the tower entrance. Dawn stops, turns to Buffy.", "BUFFY: Go!", "DAWN: Buffy, it's started. Buffy turns. They can both see the light of the portal. Shot of the portal growing ever larger. Shot of Sunnydale's main street as a huge bolt of lightning opens an enormous hole in the middle of the street. People scream and run away. Shot of the portal crackling and sending out lightning. Shot of a large building being hit by lightning and burning to a shell in instants. Shot of weird demon creatures in the walls of the building, screaming in pain. Long shot of the tower with the portal hovering beside it. Lightning continues to crackle out of it.", "Cut to below. Giles stares upward. The ground shakes. The crazies and minions fall to the ground. Shot of Xander and Anya holding each other and staring up. Shot of Willow and Tara holding each other and staring up, turning to look in each other's eyes. Shot of Spike still recovering from his fall. He rolls aside as a crack appears in the ground he's lying on.", "Cut to Anya and Xander looking up.", "ANYA: Xander! Anya pushes Xander aside as a bolt of lightning goes by and a pile of bricks falls on Anya's head.", "XANDER: Anya! Shot of Anya lying unmoving among the bricks. Shot of the portal continuing to do its destruction.", "Cut to above. Buffy turns back to Dawn as Dawn continues staring at the portal.", "DAWN: (tearful) I'm sorry.", "BUFFY: It doesn't matter. Dawn tries to run past Buffy but Buffy grabs her.", "BUFFY: What are you doing?", "DAWN: I have to jump. The energy.", "BUFFY: It'll kill you.", "DAWN: (softly) I know. (Buffy staring at her) Buffy, I know about the ritual. I have to stop it.", "BUFFY: No. The tower shakes underneath them, making them both stumble.", "DAWN: I have to. Look at what's happening. More lightning crackles, even larger than before. Buffy looks up. A huge dragon flies out of the portal and buzzes the tower, flying away as they watch.", "DAWN: Buffy, you have to let me go. Blood starts it, and until the blood stops flowing, it'll never stop. Buffy stares at Dawn in anguish.", "DAWN: (tearfully) You know you have to let me. It has to have the blood. Buffy gets a realization look on her face. Flash to Spike earlier in the episode.", "SPIKE: Cause it's always got to be blood. Flash to Buffy and Dawn in the hospital at the end of \"Blood Ties.\" Buffy putting her hand to her wound, then pressing it against Dawn's bloody hand.", "BUFFY VOICEOVER: It's Summers blood. It's just like mine. Flash to Buffy earlier in this episode.", "BUFFY: She's me. The monks made her out of me. Flash to Buffy beside the fire in \"Intervention.\"", "FIRST SLAYER: Death is your gift.", "BUFFY: Death... Flash back to the present. Close shot on Buffy's face.", "FIRST SLAYER VOICEOVER: ...is your gift. Buffy frowns. Turns around slowly. Shot of the platform extending into the air. In the distance, holes seem to be opening in the sky. The sky is growing lighter as the sun tries to rise. Buffy looks peaceful. She turns back to Dawn, who stares wide-eyed.", "DAWN: Buffy ... no!", "BUFFY: Dawnie, I have to.", "DAWN: No!", "BUFFY: Listen to me. Please, there's not a lot of time, listen. The camera pulls out on the two of them. Buffy holds Dawn by the upper arms and continues talking to her, although we don't hear the words. Dawn begins to cry. Lightning continues to crackle behind them. Cut back to close shot of Buffy. She strokes the side of Dawn's face, then kisses her on the cheek. Dawn continues to cry. Buffy turns. In slow-motion, she runs down the platform as Dawn stays there crying. Buffy swan-dives off the end of the platform and into the portal. Dawn watches, sobbing. Buffy falls into the portal and hangs there motionless, making expressions of pain. Long shot from below of the portal writhing and spitting. Shot of Buffy's face inside the portal. Begin a lengthy voiceover of Buffy's final words to Dawn.", "BUFFY VOICEOVER: Dawn, listen to me. Listen. Shot of Dawn still crying on the platform.", "BUFFY VOICEOVER: I love you. I will *always* love you. Shot of Buffy in the portal.", "BUFFY VOICEOVER: But this is the work that I have to do. Long shot of the portal as it shrinks to nothingness and disappears. The sun begins to rise.", "Cut to below. Willow and Tara, holding each other up, walk forward. Behind them we can see Giles coming forward too, and Xander holding Anya in his arms. They all walk forward, staring at something we can't see.", "BUFFY VOICEOVER: Tell Giles ... tell Giles I figured it out. And, and I'm okay. The camera pulls back and we see they're all looking at Buffy's lifeless body lying amid the debris. In the background we see Spike trying to come forward, falling to the ground as the sunlight hits him.", "Cut to closer shot of Spike, his face bloodied.", "Cut to closer shot of Willow and Tara as Willow begins to cry.", "BUFFY VOICEOVER: And give my love to my friends. Shot of Xander and Anya looking sadly at Buffy. Anya lowers her head to Xander's shoulder.", "BUFFY VOICEOVER: You have to take care of them now. Shot of Giles looking sad.", "BUFFY VOICEOVER: You have to take care of each other. Giles begins to cry. Cut to Spike with his hands over his face, sobbing.", "BUFFY VOICEOVER: You have to be strong.", "Cut to Dawn coming slowly down the stairs, holding her sides, spotting the others.", "BUFFY VOICEOVER: Dawn, the hardest thing in this world ... is to live in it. Dawn begins to cry again.", "Cut to Buffy giving her speech to Dawn a few minutes ago.", "BUFFY: Be brave. Live. Cut back to Dawn on the stairs.", "BUFFY VOICEOVER: For me.", "Cut to: graveyard, day. It's sunny and pretty with lots of trees and grass. Zoom in slowly on a headstone. A small bunch of flowers lies on the grass in front of it. The headstone reads:", "BUFFY ANNE SUMMERS", "[SCENE_BREAK]", "BELOVED SISTER", "DEVOTED FRIEND", "SHE SAVED THE WORLD", "A LOT", "Blackout.", "Executive Producer: Joss Whedon." ]

[ "Buffy is dead, and the Scooby Gang must do the best they can without her. But concern about the way she died leads Willow to believe that she may have been pulled into a hell dimension. Unable to bear the thought of their friend enduring eternal torment, Willow, Xander, Anya, and Tara decide to perform a resurrection spell that will bring Buffy back from the dead. As a gang demon bikers attack, the Scooby Gang is chased away from Buffy's grave thinking that the resurrection was a failure. They do not realize that the Slayer is alive... right where they left her. Buffy is awake but disoriented and afraid as she must claw her way out of her own grave. Buffy may be alive again, but the trauma she suffers is far from over." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy sitting on the steps of Hemery High in \"Becoming.\"", "WATCHER: You are the chosen one. Brief montage of several of the monsters Buffy has fought.", "WATCHER: You alone can stop them.", "BUFFY: Who?", "WATCHER: The vampires. Buffy timidly staking a vampire, looking shocked when it dusts.", "WATCHER: You see your power.", "BUFFY: Why can't you people just leave me alone?", "GILES: Into each generation a Slayer is born.", "WILLOW: You're the Slayer, and we're like the Slayerettes.", "XANDER: The three of us have been together from the beginning. We've always gone on patrols, and, uh, done demon research with her and everything.", "BUFFY: We're talking about two very powerful witches (shot of Willow and Tara doing a spell) and a thousand-year-old ex-demon (shot of Anya)", "XANDER: Anya, you wanna marry me? Willow and Tara slow-dancing at the Bronze. Buffy and Angel sitting on Angel's bed in \"Becoming\"", "BUFFY: Angel.", "ANGEL: I love you. Buffy and Angel kissing.", "BUFFY: So don't go. Angel walking away at the end of \"Graduation Day\" Spike driving his car over the \"Welcome to Sunnydale\" sign.", "SPIKE: Home sweet home.", "DOCTOR: That chip was deeply imbedded in your cerebral cortex. Spike trying to bite Willow, yelling in pain.", "SPIKE: I can't bite anything. I can't even hit people.", "GILES: What are you saying?", "SPIKE: Spike had a little trip to the vet, and now he doesn't chase the other puppies any more. Spike talking to Buffy in \"The Gift\"", "SPIKE: I know you'll never love me. I know that I'm a monster, but you treat me like a man. Spike reading a book to Dawn.", "SPIKE: They had to be certain the Slayer would protect it with her life, so they sent the key to her in the form of a sister.", "GREGOR: You were created to open the gates that separate dimensions. Various shots of Dawn.", "GREGOR: The little girl. The key. Dawn crying out as Doc cuts her in \"The Gift\"", "GREGOR: Destroy it, and the will of the beast will be broken. Spike attacking Doc. Doc stabbing Spike, throwing him off the tower.", "DAWN: No! Spike hitting the ground.", "DAWN: I have to jump.", "BUFFY: It'll kill you.", "DAWN: Look at what's happening! Lightning destroying downtown Sunnydale. Buffy doing her determined expression.", "DAWN: Buffy, no.", "BUFFY: Dawnie, I have to. Buffy swan-diving into the vortex. The Scoobies gathering around Buffy's dead body.", "BUFFY VOICEOVER: You have to take care of each other. You have to be strong. Be brave. Live. Long shot of Buffy's gravestone.", "BUFFY VOICEOVER: For me.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "We see a very large (both tall and chubby) vampire running steadily between the headstones. Then we see Spike running after him. Then we see Tara running after them, and Giles behind her, carrying an axe. They come up to a fence and the vampire is gone. Spike yells in frustration.", "SPIKE: I'm never gonna get anything killed with you lot holding me back.", "TARA: (panting) I thought the big ones were supposed to tire more easily.", "SPIKE: No, that's over-the-hill shopkeepers.", "GILES: (leaning against a gravestone, panting) I'm fine. I just need to ... to die for a minute.", "SPIKE: (to Tara) It was that powder you blew at him made him rabbit off.", "TARA: It's sorbis root, it was supposed to confuse him, but ... it just kinda made him peppy. Spike rolls his eyes.", "TARA: It's not supposed to mix with anything, you think he might be taking prescription medication?", "SPIKE: (sarcastic) Yeah, that must be it.", "GILES: Good god, I hope he doesn't try to operate heavy machinery. Giles and Spike laugh.", "SPIKE: Yeah, we could all be in real-", "WILLOW: (telepathically) Guys, heads up. They all look up.", "Cut to a large crypt. Zoom up and we see Willow standing on top of it. Zoom in on her.", "WILLOW: (telepathically) The vampire's circling back towards you, six o'clock. Cut back to the other three looking around for the vamp.", "WILLOW: (telepathically) Try to drive him back towards the Van Elton crypt.", "SPIKE: (telepathically) Van Elton.", "TARA: (aloud) Is that the one with the cute little gargoyles? The vampire runs back across their field of vision, sees them, turns and starts back the way he came.", "WILLOW: (telepathically) Left, make him go left! Giles throws his axe. It thuds into a tree right by the vampire's face. The vamp turns and heads left. Tara and Spike look at Giles, then they all run after the vampire. The vampire winds up at a dead-end, turns to go back. Suddenly a fist comes out and punches him in the face. He falls down. A pair of feet walk over and stand by the prone vampire's feet. He stares up at the person. Pan up to reveal Buffy.", "BUFFY: Big, fast, and dumb. Just the way I like 'em. The vampire sits up and she kicks him in the face, thrusts out with her stake, but he grabs her arm, hits her with his other arm, and gets up. Tara and Giles appear, grab the vamp's arms and hold him while Spike punches him in the face twice. Then Spike moves for another punch but the vampire head-butts Spike and he staggers back.", "Cut to Xander and Anya running through another part of the graveyard.", "XANDER: Sounds like the other units are engaged.", "WILLOW: (telepathically) Xander, Anya, stop! Xander and Anya stop running, look startled.", "XANDER: Great googly-moogly, Willow, would you quit doing that?", "WILLOW: (telepathically) I told you I was going to get the lay of the land.", "XANDER: But not the lay of my brain.", "ANYA: It's kind of intrusive. You could knock first or something.", "WILLOW: (telepathically) Xander-", "XANDER: I know, I know, I don't have to talk when I answer you. But I saw \"The Fury,\" and that way lies spooky carnival death. We see a vampire hiding behind a tombstone a few feet away from Xander and Anya.", "WILLOW: (telepathically) Xander! Vampire! Other side of that tomb. You can get the jump on him if you go the other way.", "XANDER: Why didn't you just say so? Xander and Anya head around the side of the tomb. Cut back to the other battle. The big vampire throws both Tara and Giles off him. Buffy runs at him, tries to punch but he blocks, picks her up over his shoulders, swings her around so that her feet kick Spike in the face. Then he throws her toward Tara.", "WILLOW: (telepathically) Tara, down! Tara ducks and Buffy goes flying over her, lands against a wall. Giles grabs the axe, gets up and swings at the vampire, who grabs it and spins Giles around, pins him against the iron fence with the axe handle on his throat.", "GILES: (choking) Spike! Spike jumps on the vamp's back but he's so big he barely notices. He shrugs Spike off a couple of times. Spike steps back, sighs.", "GILES: Spike!", "WILLOW: (telepathically) What are you doing? Help him!", "SPIKE: (lighting a cigarette) I did. We see that the back of the vampire's shirt is on fire. The fire spreads up to the rest of his shirt. He lets go of Giles and staggers back, bursts completely into flame and dusts. Giles puts his arm over his face as the dust showers over him. Spike takes a drag on his cigarette, saunters over to Giles and holds out his hand. Giles takes it and Spike helps him up.", "GILES: You might have let me in on your plan while he throttled me.", "SPIKE: Oh, poor Watcher. Did your life pass before your eyes? Cuppa tea, cuppa tea, almost got shagged, cuppa tea?", "WILLOW: (telepathically) Guys, help Xander and Anya over by the Anderson tomb. They head off.", "Cut to Xander being held in a headlock by the other vampire.", "ANYA: Xander! Anya lunges with a stake but the vamp merely steps aside. She swings again, misses. The vamp hits her and she falls down. The vampire continues growling and struggling with Xander.", "BUFFY: I got it! Buffy kicks the vampire, and he goes down, letting go of Xander who lands on the grass beside Anya. The vamp gets up, blocks a kick, punches Buffy, they exchange a few more punches and kicks. He gets her on the ground, picks her up over his head, and Spike comes in and punches him in the stomach. The vampire drops Buffy, and Spike kicks him. He shoves Spike away, and Spike lands beside Xander and Anya. Buffy kicks the vamp onto the ground, then stakes him as he starts to sit up.", "BUFFY: (triumphantly) That'll put marzipan in your pie plate, bingo! Shot of the entire gang (Spike, Tara, Xander, Anya, Willow, Giles) staring at her as they help each other up. She smiles and walks over to them.", "SPIKE: (to Willow) What's with the Dadaism, Red?", "TARA: Yeah, she says that pie thing every time she stakes a vamp now.", "WILLOW: I-I don't know, I was trying to program in some new puns and I kinda ended up with word salad.", "BUFFYBOT: (brightly) I think it's funny. They all roll their eyes and start walking.", "WILLOW: It's a glitch, I'll fix it.", "GILES: We just can't have her messing up in front of the wrong person. Or the wrong thing. We, we need the, the world and the underworld to believe that Buffy is alive and well.", "WILLOW: And I will therefore fix it. I got her head back on, didn't I? And I got her off those knock-knock jokes.", "BUFFYBOT: Ooh, who's there?", "XANDER: You know, if we want her to be exactly-", "SPIKE: She'll never be exactly.", "XANDER: I know.", "TARA: The only really real Buffy is really Buffy.", "GILES: And she's gone. They all walk on, leaving the Buffy Bot behind as she has stopped walking.", "BUFFYBOT: 'If we want her to be exactly she'll never be exactly I know the only really real Buffy is really Buffy and she's gone' who? She continues walking after them. Wolf howl. Opening credits. Anthony Stewart Head is no longer shown in the opening credits. Special Guest Star Anthony Stewart Head. Guest starring Franc Ross and Amber Benson as Tara. \"Bargaining Part 1\" written by Marti Noxon, \"Bargaining Part 2\" written by David Fury, both parts directed by David Grossman.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on exterior shot of the Summers house, day.", "WILLOW VOICEOVER: Where's my clog?", "Cut to inside. Willow is in Joyce's room, crouched on the floor looking under the bed.", "WILLOW: I think there's a clog-eating monster under the bed. (gets up) It's really those lesser-known monsters that make living in Sunnydale so hard. We see Tara looking in the closet. She turns to watch Willow. Willow goes around to look under the other side of the bed.", "TARA: I believe that that is a Dawn monster. She borrowed them yesterday.", "WILLOW: Dawnie? (knocks on Dawn's door, which is ajar) Hey, you up? Dawn's bed is piled with clothes but she's not there. Willow turns away with a sigh.", "TARA: You okay? (They walk out into the hall)", "WILLOW: (nods) Besides terror about today and a general feeling of impending doom, swell.", "TARA: Breakfast will make all things better. They stop walking and Tara puts hands on Willow's shoulders.", "WILLOW: (smiles, takes Tara's hands) Ooh, pancakes could go in bellies. They kiss, then Tara goes back down the hall and Willow knock on the bathroom door, which is also ajar.", "WILLOW: Dawnie? The door swings open more and we see Dawn brushing her teeth.", "WILLOW: Hey, you! Today's the big day, huh? Kinda day that makes you wanna return clogs, don't you think?", "DAWN: (very garbled through her toothbrush) I didn't take your clogs. Willow sighs, rolls her eyes, turns away.", "Cut to the kitchen. BuffyBot is making peanut-butter and jelly sandwiches. Tara is in the background by the stove. Willow enters.", "WILLOW: Morning.", "BUFFYBOT: (cheery) Morning!", "WILLOW: I was thinking we could go over your programming again.", "TARA: Again? You've done enough, sweetie. She's either ready to face this thing or she's not. Dawn enters, sits at the counter with a small smile.", "TARA: Oh, um, here's some juice, and... (gives Dawn a glass of orange juice) pancakes are on the way. Funny shapes or rounds?", "DAWN: Rounds are fine. Uh, what's up with the mega-witches?", "TARA: Oh, I don't know if you can call us mega, Willow maybe-", "DAWN: No, I mean ... who's gonna eat all that? We see that BuffyBot has made a huge pile of sandwiches. Actually, several huge piles. Tara grabs the bot's hands.", "TARA: Oh! Oops, um ... she wanted to help, and I got her started, but then I forgot to un-start. The bot nods understanding. Xander enters.", "XANDER: House of chicks, relax. I am a man, and I have a tool. They all look at him. He holds up his toolbox.", "XANDER: Tools. Lots of plural tools. (Dawn grins) In my, uh ... (pats toolbox) toolbox. (sees the sandwiches) Ah! Sandwiches. Excellent. Men like sandwiches. BuffyBot smiles and gives him a stack of sandwiches.", "WILLOW: Help yourself. Really. (Xander eating a sandwich) So what brings you so early, your macho-ness?", "XANDER: I brought that soldering wire you wanted for BuffyBot's tune-up.", "TARA: (serving pancakes to Dawn) You got funny shapes anyway, sorry. The phone rings. BuffyBot looks excited.", "BUFFYBOT: I'll get it!", "WILLOW/TARA/DAWN: No! (all move to intercept her)", "DAWN: Um ... it could be my dad. (to Willow) He said he'd call today.", "BUFFYBOT: I'll just say hello. He's my biological ancestor.", "WILLOW: (into phone) Hello? Hey, Anya. (The bot looks disappointed, goes back over toward Xander) Really? That's fantastic! (to others) Uh, Anya found that thing, for tonight.", "XANDER: (looks nervously at BuffyBot) Yeah? Great.", "WILLOW: (listens) And you're her sweet cookie-face.", "XANDER: I go by many names. (The bot looks at him in confusion)", "DAWN: Well, what's tonight?", "TARA: Oh, just a Scooby meeting. Spike'll be here with you.", "WILLOW: You know, Buffy ... bot ... maybe you should let the machine - uh, the other machine, answer the phone from now on. Okay?", "BUFFYBOT: Is my phone manner not correct?", "TARA: It's perfect. It's just ... we can't take the chance that Mr. Summers might talk to you and know something's wrong.", "XANDER: See, if he thought the real Buffy was gone, he could take Dawn away.", "DAWN: And I wanna stay here, with you and Willow and Tara. Understand?", "BUFFYBOT: (big smile) I do! I want you to stay here as well. You're my sister! The bot goes around the counter and hugs Dawn, a little too hard. Dawn looks surprised, but pleased. Xander and Tara watch with concern. Willow looks uncomfortable.", "XANDER: So. Excellent. We're agreed. Sit your robo-self down so we can get to work. (The bot sits next to Dawn) We gotta fix up those fighting skills pronto.", "WILLOW: Actually, we have bigger worries than her fighting skills today.", "TARA: Way bigger.", "XANDER: I guess. Depends on how highly you prize punning.", "WILLOW: I'm serious, Xander. Buffybot is about to face her most dangerous challenge ever.", "Cut to: exterior of the Sunnydale Junior High. A big sign reads, \"Welcome to Parent Teacher Day.\" Various tables are set up with displays, people walking around. Dawn and BuffyBot walk among the crowd. BuffyBot looks around at everything with great interest. Dawn just looks nervous.", "DAWN: Okay. So we'll make a quick lap so people can see you're here. The bot stops to look at a display. It's a table-top model of a city, made with paper cups and cardboard and such.", "DAWN: Then we'll-", "BUFFYBOT: What is this? We see a young male teacher sitting behind the display. He looks up.", "DAWN: Oh, um, this is our city of the future. (We see a boy Dawn's age on the other side, listening in) I made the hover-cars. They're orange-juice cans, see?", "BUFFYBOT: They're very nice. (frowns) But I-I still don't understand.", "TEACHER: We're reading Walden. This is, uh ... a kid's version of a utopian society. You'll notice there are no schools but an extraordinary number of pizza parlors. (Dawn grins)", "BUFFYBOT: I don't think I know of a breed of humans this small. Who's going to live here? The boy gives Dawn and BuffyBot a scornful look. Dawn gives a fake laugh. The teacher looks uncertain, but he laughs too.", "DAWN: Ha ha ha! Oh ... god, she's always like this. Ha ha! Come on, wacky Buffy. (takes the bot's arm) See ya, Mr. Davis. The teacher watches them go with some confusion. Sound of a school bell ringing.", "Cut to a classroom. A bunch of parents and kids sit in chairs while a woman stands at the front talking to them.", "MS. LEFCORT: As you can see, we've provided the best in progressive learning. But we can't teach your children unless you do. As parents, you have a responsibility to create the right attitude. To teach your child what school can mean. BuffyBot raises her hand.", "MS. LEFCORT: Ms. Summers. The bot stands up. Dawn looks very nervous.", "BUFFYBOT: School is where you learn. Beat. Dawn continues looking anxious.", "MS. LEFCORT: Exactly. Dawn is very relieved. BuffyBot sits.", "MS. LEFCORT: Parents let kids focus on school as a social experience rather than a learning experience. We want you to get your kids just as excited about education as they are about the lunch hour.", "BUFFYBOT: I helped make lunch today.", "MS. LEFCORT: (uncertain) Oh.", "BUFFYBOT: (cheery) Yes, before school. Peanut butter and jelly. I don't eat, but Dawn takes one every day. A father in the back row speaks up.", "DAD: Tell me about it. (Everyone turns to look at him) My kid's been brown-bagging it even though I pay for the lunch program. A mother on the other side joins in.", "MOM: It's true. Something has to be done about the quality of the food. All the people in the room murmur and chatter in agreement. BuffyBot smiles happily. Dawn looks at her and can't help smiling a little too.", "Cut to: overhead shot of downtown Sunnydale. Cars and people go by.", "Cut to closer shot of the front of the magic shop.", "Cut to inside. The camera follows Xander as he carries a large box into the back office area. Anya is dusting merchandise while Giles sits in the background doing paperwork.", "GILES: Anya, this register report for January looks a bit off. (Anya turns to him) Pull the files again. Anya puts down her duster and walks quickly over to him, frowning anxiously.", "ANYA: Are you mad at me?", "GILES: (confused) Mad? No, I'm-I'm-", "ANYA: Well then why are you torturing me? You know, I used to punish people like this when I was a demon. (Giles rolls his eyes) I made them double-check spreadsheets for all eternity.", "GILES: I'm sorry if you resent my authority, but I won't feel comfortable leaving here until I know that absolutely everything-", "ANYA: (grabs a small statue from the desk) You're taking the Ramadan effigy?!", "GILES: (rolls his eyes again) It's not inventory, it's my personal collection. (takes the statue)", "ANYA: (indignant) Oh, huh. Aren't you Mister Dicey Semantics. So, what, you think you can just take anything you want? She grabs the statue back from Giles. He looks angry, tries to grab it back, and they both pull at it.", "ANYA: Give it!", "GILES: No, you give it! Anya begins smacking his hand with her free hand.", "GILES: Ow! Ow! He tries to fend off her smacking hand with his other hand. In the other room, Xander hears them fighting and comes to look.", "GILES: Ow!", "XANDER: Okay, when *I'm* marveling at the immaturity ... (they pause and look at him) be scared. They stop fighting but both still hold the statue.", "XANDER: Anya, Giles is gonna leave the store to you when he goes. What more do you want?", "GILES: I'm not *leaving* the store to anyone. I'm going to England. I'm not dead, I'm still a partner. (yanks the statue away from Anya)", "ANYA: (sullen) Silent oversees partner.", "XANDER: Who you should be very nice to, unless you want to end up working at Video Hut. Giles gives Anya a tentative smile. She gives him a big fake smile and turns away. As soon as her back is to Giles she drops the smile and scowls, walking to the other room. Xander follows, grabs her arm.", "XANDER: What are you doing? What kind of gratitude is that?", "ANYA: (quietly) I know, I know. It's just ... he keeps saying he's going, and then he doesn't. And I keep almost being in charge, but then I'm not. And maybe he shouldn't be going at all, but we can't talk about that. (agitated) And it all just leaves me with this stress and bossiness stored up, and it just ... leaks out.", "XANDER: Just give it time, Ahn. This is hard for all of us. Just ... be patient.", "ANYA: I *was* being patient, but it took too long. I mean, I-I miss Buffy. I do. But life shouldn't just stop because she's gone. I'm sick of waiting to take over here, and I'm sick of waiting to tell everyone about us. Xander looks nervously over his shoulder, lowers his voice.", "XANDER: We've talked about this. We can't announce our engagement while things are so up in the air.", "ANYA: Why not? It's happy news. Happy news in hard times is a good thing.", "XANDER: It is, but ... if things go as planned, everything could be different. (Anya sighs) Let's just hold on.", "ANYA: You've been saying that all summer.", "XANDER: Please, Anya. We'll know more after we talk to Willow and Tara tonight.", "ANYA: Fine, whatever. Just remember that this whole marriage thing was your stupid idea. I didn't ask to be all crazy. She walks off. Xander watches her go.", "Cut to: exterior of the Summers house, night.", "Cut to inside. Dawn comes out of the kitchen holding a cup and walks down the hall.", "DAWN: So my homeroom teacher, Ms. Lefcort, was like, \"Your sister's an example to us all.\" Hmm! She wanted to make it National Buffy Day. She puts the glass on the coffee-table and sits on the sofa next to Spike. There's a pizza box on the coffee-table, and a plate with a half-eaten slice of pizza.", "SPIKE: Makes sense.", "DAWN: It does?", "SPIKE: Yeah, she responded to BuffyBot because a robot is predictable. Boring. Perfect teacher's pet. That's all schools are, you know. Just factories, spewing out mindless little automatons. He sees Dawn's raised eyebrows.", "SPIKE: (quickly) Who go on to be ... very ... valuable and productive members of society, and you should go. (quieter) Because Buffy would want you to. Beat. They both look pensive.", "DAWN: Check. One mindless automaton coming up. They sit quietly on the sofa for a moment.", "SPIKE: So, uh, what do you fancy, bit, uh, game of rummy? (gets up)", "DAWN: Well, uh, Willow and Tara said they'd be back early. (Spike goes to a side table, opens a drawer) You don't really have to hang. I mean, if you're bored.", "SPIKE: I'm not, and yeah, I do. Spike gets a pack of cards out of the drawer, pulls a chair over to the coffee table opposite Dawn.", "DAWN: But I'm fine alone. It's not like anyone's coming after me. I'm not the key. (Spike sets the chair down) Or if I am, I don't open anything any more. It's over. Remember?", "SPIKE: (softly) I'm not leaving you here by yourself, so forget it. He sits in the chair.", "DAWN: Well, I'm just saying- Spike slams the cards down hard on the table. Dawn jumps.", "SPIKE: (not looking at her) No. I'm not leaving you ... to get hurt. (softly) Not again. They look at each other. Spike points to the cards.", "SPIKE: Now deal. Dawn picks up the cards.", "Cut to: the street, night. A young woman closes up a shop and turns to walk down the street, putting keys in her purse. It's dark and very quiet. She pauses, looks behind her, walks on. She pauses again, looks back again, resumes walking very quickly. She enters an alley and a vampire grabs her from behind. She screams. The vampire pulls her back against him and prepares to bite.", "BUFFYBOT: (OS) Don't be scared. The vampire looks up in surprise.", "BUFFYBOT: I'm going to kill him.", "VAMP: Slayer!", "BUFFYBOT: You can run away now. The girl does just that. The vamp tries to edge away too. Buffybot rolls her eyes.", "BUFFYBOT: Not you! She runs after him. He pushes a Dumpster into her path. She vaults over it and lands on top of him, knocking him down. They both get up and she brings him down again with a circle-kick. He gets up and she punches him, kicks him down again. He crawls toward an empty glass bottle, grabs it and hits BuffyBot in the face with it. She stumbles back and the vamp gets up. The broken glass has torn a hole in the bot's forehead and we can see sparks flying around it.", "VAMP: You're ... you're ... you're, you're a machine!", "BUFFYBOT: (smiles) Thank you! He scrambles to his feet and begins backing away.", "BUFFYBOT: Stop! She walks forward, directly into a stack of large kegs. She backs up a few steps and walks into them again. The vamp watches, begins to smile. She continues walking into the kegs again and again.", "BUFFYBOT: Vampires ... beware. Grinning, the vamp turns and runs off. The bot continues walking into the kegs.", "Cut to: overhead shot of Sunnydale, night.", "Cut to: exterior shot of Xander's apartment building.", "Cut to inside. Willow is holding a small urn and gazing at it. Tara sits beside her.", "TARA: The urn of Osiris.", "WILLOW: (looks up) You really found it.", "ANYA: (sits opposite Willow) Yeah. It wasn't easy. I went through every supplier the Magic Box has.", "WILLOW: (alarmed) You used a Magic Box supplier? What if Giles finds out?", "ANYA: He's too busy not leaving to pay attention to me. (We see Xander standing beside Anya) Besides, I ended up getting it on eBay.", "TARA: You found the last known urn of Osiris on eBay?", "ANYA: Yeah, from this desert gnome in Cairo. He drove a really hard bargain, but I finally got him to throw in a limited edition Backstreet Boys lunchbox for a - Xander coughs. Anya pauses. Xander looks nervous.", "ANYA: ...a friend. Tara looks at Xander with a little smile.", "XANDER: So you got your somber on, Will, is the urn not up to spec? Willow studies the urn with a frown, doesn't seem to have heard. She looks at Tara.", "WILLOW: It's the one. (puts it down) Which means it's time.", "XANDER: (anxious) It's time? (sits) Like, *time* time? With the... (vague hand gestures) timeliness?", "ANYA: (quietly) Are you sure?", "WILLOW: I am.", "TARA: Mercury's in retrograde, and we have... (to Willow) Do we have everything?", "WILLOW: (nods) Just about. Willow gets up, goes over to another table and begins putting things in a bag.", "XANDER: But why the sudden rushy-rush? I mean, did the bot blow our cover at school?", "TARA: No, she did great, she impressed all the teachers.", "XANDER: And they still thought it was Buffy?", "WILLOW: (turns back to them) Tomorrow night, we'll meet back here.", "XANDER: (jumps up) Whoa! Let's apply the brakes and check the rear- and side-view mirrors here. They all look at him.", "XANDER: (more calmly) This is deep stuff, Willow. We're talking about raising the dead.", "WILLOW: It's time we stop talking. Tomorrow night ... we're bringing Buffy back. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Fade back in on the same scene.", "XANDER: (nervous) Tomorrow? I don't know.", "ANYA: (gets up to stand beside him) Um, Di-Discovery Channel has monkeys. And our tape machine's all wonky.", "WILLOW: Guys, I need you on board here.", "XANDER: It's just ... (fidgets nervously) It feels wrong.", "TARA: It is wrong. (Willow looks surprised) It's against all the laws of nature, and practically impossible to do, but it's what we agreed to. If-if you guys are changing your minds-", "WILLOW: Nobody's changing their minds. Period.", "XANDER: Excuse me? Who made you the boss of the group?", "ANYA: You did.", "TARA: You said Willow should be boss. (Willow moves away)", "ANYA: And then you said \"let's vote,\" and it was unanimous...", "TARA: ...and then you made her this little plaque, that said \"Boss of Us,\" you put little sparkles on it...", "XANDER: Valid points, all. But we ... I mean... Xander comes out from behind the coffee-table, goes over to Willow who is again at the other table putting stuff in a bag.", "XANDER: We were just talking then.", "WILLOW: Xander, I can do this, I promise. But not without you.", "ANYA: Should we maybe tell Giles? You know, now that we're really ready? It's not like he's going anywhere. Ever.", "WILLOW: No. No one else can know. Not Giles, not Spike, not Dawn. (quietly) They might not understand.", "TARA: What if something does go wrong?", "WILLOW: I'm telling you it won't.", "XANDER: Scenario -- We raise Buffy from the grave, she tries to eat our brains. Do we, a) congratulate ourselves on a job well done-", "WILLOW: Xander, this isn't zombies.", "ANYA: Zombies don't eat brains anyway unless instructed to by their zombie masters. A lot of people get that wrong.", "WILLOW: This isn't like Dawn trying to bring Mrs. Summers back, or anything we've dealt with before. Buffy didn't die a natural death. She was killed by mystical energy.", "TARA: Which means we do have a shot.", "WILLOW: It means more than that. (to Xander) It means we don't know ... where she really is.", "XANDER: We saw her body, Will. We buried it.", "WILLOW: Her body, yeah. But her soul ... her essence ... I mean, that could be somewhere else. She could be trapped, in-in some sort of hell dimension like Angel was. (tearfully) Suffering eternal torment, just because she saved us, and I'm not gonna let ... I'm not gonna leave her there. (intensely) It's Buffy. Xander looks at her for a long moment.", "XANDER: What time do we meet?", "Cut to Willow entering the Summers house. She sees Spike and the BuffyBot in the living room.", "BUFFYBOT: (shouts) Willow! The bot walks toward Willow, knocking over a side table with a vase on it. Spike catches the vase. Willow comes into the room as the bot walks into a wall.", "WILLOW: What happened, where's Dawn? Willow grabs the bot and pulls her away from the wall, giving Spike a questioning look.", "SPIKE: Upstairs, in bed. But the bot here seems to have got into a scrape while she was on patrol. Willow positions the bot in front of her and looks at the cut on her forehead.", "BUFFYBOT: I think my feet are broken.", "WILLOW: Eh, looks more like a short in the navigational system. She steers the bot over to the sofa and sits her down while talking to Spike.", "WILLOW: Can you get me a flashlight? It's in the, uh, kitchen.", "SPIKE: (heads for the kitchen) She wanted to go out and look for you again, but I figured there are enough things in Sunnydale that go bump in the night. (exits)", "WILLOW: (sits facing the bot) Good thinking.", "BUFFYBOT: But my homing device locates you when I am injured. I am programmed to go to you.", "WILLOW: (nods) Right, I know. Still, I think just this once, it was a good idea to stay put. Willow lifts the bot's shirt and peels back the skin over her stomach, revealing various wires and circuitry.", "WILLOW: Spike was right. (pokes at the bot's innards) The bot looks up and smiles at Spike as he comes back in with the flashlight.", "BUFFYBOT: Sorry I questioned you, Spike. (Spike looks surprised) You know I admire your brain almost as much as your washboard abs. (big smile) Spike looks pained.", "SPIKE: (quietly to Willow) I told you to make her stop doing that.", "WILLOW: I did. I mean, I thought I got all that stuff out of the program. We see that Willow has the bot hooked up to a laptop computer.", "SPIKE: Well, you've got her opened up, fix it.", "WILLOW: (typing) Sure. I mean, I have a lot of work here, but I'll see what I can do. Focus on the bot's face watching with interest as Spike crosses into the frame and off to the left. Willow doesn't see him moving.", "WILLOW: Can you shine the flashlight right here? Willow turns but Spike is gone.", "WILLOW: Spike! We see Spike opening the front door. He grabs his coat and leaves.", "BUFFYBOT: Did I say something wrong?", "WILLOW: (typing) No, it's not your fault.", "BUFFYBOT: (pensive) I think Spike stopped liking me.", "WILLOW: That's not true, he-he thinks you're swell.", "BUFFYBOT: Then how come he never looks at me any more? Even when he's talking to me. Beat. The bot seems anxious for Willow to explain.", "WILLOW: (nervous) He just gets cranky, the way vampires do. Now, just relax. I am gonna make you good as new. The bot continues to stare at Willow with a small frown. Willow continues typing.", "WILLOW: I promise.", "Fade to: exterior of the house, night.", "Cut to Willow and Tara asleep in Joyce's bed, snuggled up together.", "Cut to Dawn in bed, wide awake, staring at the ceiling. After a long moment, she gets up.", "Cut to Dawn walking down the hall, pushing open the door to Buffy's room. The bot lies on Buffy's bed, eyes open, with some wires coming out of her body and some equipment blinking and beeping steadily. Dawn walks farther into the room. Pan across what looks like a battery or electric generator on the floor at the foot of the bed. Wires extend out of it and into the bot's stomach. She lies on her back with her shirt pushed up. Her eyes are open. Dawn goes over and lies down on the bed beside the BuffyBot, cuddling up against her. The bot doesn't move, just lies there. Dawn closes her eyes.", "Cut to: aerial shot of Sunnydale, day.", "Cut to the workout room. Buffybot is practicing with Giles. He has padded targets on both hands and she punches them in a rapid sequence.", "GILES: That was splendid. (she stops hitting) Now ... try it again ... (panting) only this time, remember your breathing. The bot looks confused for a moment, then takes a deep breath and blows it out through her lips in one long breath as she hits the targets again and again.", "GILES: No, uh, that's good, but, uh ... (We see Anya come in and stop in the doorway, watching) ...think of the breath as chi. Air as a, a life source.", "BUFFYBOT: I don't require oxygen to live.", "GILES: Of course, strictly speaking, but-", "ANYA: Um ... (walks into the room) Maybe you should stick to the standard drill. You know, you don't want her to blow another gasket.", "GILES: I'm testing her responses after her injury. I see no harm in imparting a little Eastern philosophy.", "ANYA: Well, I just think that, the concept of chi might be a little, you know, hard for her to grasp. Giles drops his arms, in exasperation, then puts hands on hips.", "ANYA: You know, she's not the descendant of a long line of mystical warriors. She's the descendant of a toaster oven.", "GILES: Yes, well, I appreciate your input, Anya, but I think Buffybot has responded nicely to our sessions. Buffybot smiles happily. Giles lifts his hands and she prepares to resume.", "ANYA: Well, you're the boss. (to herself) Still. Anya turns and walks out. Giles drops his hands again, annoyed.", "BUFFYBOT: Would you like to test me again?", "GILES: No, perhaps we should call it a day. Your ... your responses are fine. He takes off the targets, puts them down, picks up a bottle of water. The bot stands in place and watches him. Giles turns back and sees her looking at him.", "GILES: Perhaps Anya's right. Perhaps I am trying to teach you as if you were...", "BUFFYBOT: Human?", "GILES: (uncomfortable) Yes.", "BUFFYBOT: I like your teachings. Every Slayer needs her Watcher.", "GILES: I'm not so sure about that.", "BUFFYBOT: (frowns) What do you mean?", "GILES: Nothing. Giles wipes his face with a towel, looks at the bot again, sighs.", "GILES: (looking away) I just can't help but wonder if ... she would have been better off without me. Buffy.", "BUFFYBOT: I don't think that's true. You were very helpful to her.", "GILES: (laughs) Right. Yes, I was a perfect Watcher. I did what any good Watcher would do. Got my Slayer killed in the line of duty.", "BUFFYBOT: Oh, that wasn't your fault.", "GILES: Of course not. That's how all Slayer/Watcher relationships end, isn't it? He puts his glasses on, turns to face the bot again, calmer now.", "GILES: She's gone. I did my job.", "BUFFYBOT: (frowns innocently) Well, then why are you still here? Giles looks at her sadly.", "Cut to: demons on motorcycles. They drive up to a large building with a lot of other motorcycles parked outside. Loud rock music.", "Cut to inside. It's a bar. Many large, muscular, leather-clad demons are walking around, drinking beer, etc. Several of them wear leather jackets with the word \"Hellion\" on the back. There are also some humans. Pan across to the bar.", "VAMP: So I got her cornered in this alley, see... We see the vamp who injured the BuffyBot. He sits at the bar talking to one of the leather demons (Mag).", "MAG: (skeptical) You get the Slayer cornered.", "VAMP: Yeah. I figured it's my duty. She's a menace to our society. So we fight, and I'm like, pow pow pow! (makes punching gestures) And I got her on the ropes. Mag turns and grabs him by the throat, growling.", "MAG: You're lying to me.", "VAMP: (high, choked voice) I swear on all that's unholy! You haven't even heard the best part. I cut her, right? And she's -- I don't know, some kind of machine. She's not human! Mag looks into his eyes for a moment, lets him go.", "MAG: You're high.", "VAMP: I'm tellin' you, it wasn't even the Slayer, man. It was like a trick. (Mag looks at him) A robot. The vamp starts to drink his beer, but Mag grabs him again and hustles him across the room. He pushes through the crowd of demons to where the head demon, Razor, is sitting in a booth, surrounded by his cronies. Razor is very large and ugly.", "RAZOR: What's with the blood rat?", "MAG: (to the vampire) Talk!", "VAMP: (nervous) Okay, uh, so, I was over in Sunnydale, minding my own beeswax, when I see the Slayer-", "MAG: (shakes him) The part about the robot.", "VAMP: We fought, right? And I was like all over her, (punching gestures) boom boom boom...", "MAG: He says the Slayer's been replaced by some kind of machine. The vamp stops making punch noises. Razor looks interested.", "VAMP: A robot, yeah! And I kicked her synthetic ass. You shoulda seen the sparks- Razor gets up, towers over the vamp.", "RAZOR: You tellin' me there's no Slayer in Sunnydale? Longer shot of them from across the room, other demons watching.", "VAMP: That's what I'm saying, they got some kind of decoy standing in for her. (false bravado) Town is wide open.", "MAG: Nowhere like the Hellmouth for a party. There's all kinds of bad in that place. Razor nods thoughtfully. He and his cronies all laugh. The vamp laughs too, pats Razor on the chest.", "VAMP: I guess with your muscle, uh, you could own it in no time. (nervous chuckle) Hey look, I know you guys don't usually let vampires join the gang, and I got the whole (air quotes) sunlight issue. But I was thinking, you know, as thanks for the 4-1-1, you could let me go- Razor grabs him by the neck. Shot of the vamp's headless body hitting the floor and dusting. Razor brushes dust off his hands.", "RAZOR: I'll think it over. He looks around. All his demon buddies are watching.", "RAZOR: Let's ride! They all cheer and turn to go.", "Cut to the demons getting on their bikes and riding off in a cloud of dust. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on a peaceful pond surrounded by grass and trees. It's a bright sunny day. Soft meditative music.", "WILLOW: Adonai, Helomi, Pine. Pan across to discover Willow kneeling on a blanket on the grass. She pours something from a small pot onto the ground.", "WILLOW: Adonai, Helomi, Pine. The gods do command thee from thy majesty. (puts the lid on the jar, puts it down) O Mappa Laman, Adonai, Helomi. Come forward, blessed one. Know your calling. She looks around. A young deer comes around a tree and toward her.", "WILLOW: Come forward, blessed one. The fawn walks over to her. Willow pets it gently, puts her arm around its back. Shot of a large knife lying on the blanket. Willow's hand grabs it and thrusts. Intercut shots of the fawn's legs struggling with shots of Willow's distressed face. After a moment the struggling stops. We don't see the dead fawn but we see the blood all over Willow's hands. She looks ready to cry.", "WILLOW: (panting) Accept our humble gratitude for your offering. (puts knife down) In death ... you give life. (voice breaking) May you find wings to the kingdom. She looks around, breathing raggedly.", "Cut to the magic shop. Xander and Tara sit at the round table reading. The door jingles as Willow enters, wearing different clothing. Anya appears from the side.", "TARA: Hey. You're late.", "WILLOW: Oh. (too casual) I, uh, had to get that thing. Willow goes to the counter, holding a small leather bag.", "XANDER: Giles isn't around, you can dump the cryptic.", "WILLOW: (nervous) The last spell ingredient.", "XANDER: Okay, right. What is vino de madre anyway?", "WILLOW: (walks over to them) Wine of the mother. Kind of ... black market stuff.", "TARA: Black market, you-you didn't tell me that. You shouldn't have gone alone, it could have been dangerous.", "WILLOW: Sorry. I didn't ... I was careful.", "ANYA: Well, it must be something pretty intense. The black market's all baby teeth and spooky fluids. (moves toward counter)", "WILLOW: (moves toward bookshelves) All I know is we have to have it to finish the spell, so, it's good stuff in my book. (takes a book from the shelf, returns to sit at the table) How come you guys are here anyway? I thought we weren't gonna meet till later.", "XANDER: Oh, we were. It just felt weird hanging out on our own.", "TARA: It's better if we stay together.", "WILLOW: (takes Tara's hand) Aw, you got butterflies, baby?", "TARA: More like bats.", "ANYA: Y-you wanna look at the money? I find it always calms me. Xander smiles fondly.", "TARA: That's okay, thanks.", "WILLOW: You tell those bats that everything is gonna be all right. I promise. We couldn't be more prepared.", "TARA: I know, I just wish it was time, I- We see Anya behind the counter picking up a piece of paper, reading it with a frown, coming out from behind the counter.", "TARA: (OS) -I can't stand worrying about it anymore.", "ANYA: Um ... well, it's your lucky day then. I have something that will distract you. Everyone looks up. Anya gives the paper to Xander.", "WILLOW: What?", "XANDER: (reads) \"I've gone. Not one for long good-byes.\" (Shot of Willow and Tara looking dismayed) \"I thought it best to slip out quietly. Love to you all, Giles.\"", "Cut to the airport. Giles sits in the terminal, reading a book, with a small bag on the floor beside him. He stops reading, looks off into space.", "WILLOW: (OS) You really think we'd let you get away with that? The gang, plus Dawn, walks up to him.", "GILES: (smiles) I was trying to avoid a scene, really. We see that Dawn is holding a greeting card. Willow produces a large sign with the words \"BON VOYAGE GILES!\" inside a heart, with balloons attached to the corners.", "WILLOW: Like we'd make a scene.", "GILES: (quietly) Not you. Me. They all look like they don't know what to say. Anya steps forward.", "ANYA: Um, we, uh, brought you some lovely parting gifts. (holds something out) It's American. Get it? Apple pie? It's a packaged snack pie such as you might get at McDonald's. Giles takes it with a smile.", "ANYA: To remind you of all the good food you won't be eating.", "TARA: A-and a monster, sort of a Sunnydale souvenir we thought. Tara has a small rubber monster attached to her finger. Basically a thimble with arms and a scary face. She bounces it up and down.", "TARA: Grr! Argh!", "GILES: (smiles) Thank you. Giles takes the monster.", "XANDER: And I wanted to buy you a can of Old English 800, 'cause, you know, England, and you, and ... because at the time it sounded really funny. But the guy who lives in the box in front of the store, he, uh, wouldn't buy it for us. Xander smiles nervously. Dawn steps forward.", "DAWN: We got your presents at the gas station. (sits beside Giles) We were kind of in a hurry. Giles continues smiling nervously. Dawn looks uncertain, then hands him the card.", "DAWN: Um, we made this in the car. That's why the letters are all shaky. They all look on anxiously as Giles opens the card and reads it.", "GILES: (touched) This is, uh ... impossible, really.", "WILLOW: We just wanted you to know that ... we'll miss you. Uh, but we'll be okay. (softly) We'll miss you, but, (very softly) we'll be okay.", "ANYA: I'll take really good care of your money.", "GILES: (laughs) Yes, I have no doubt.", "P.A. ANNOUNCER: ...passengers, Flight 3982, leaving for Los Angeles, and continuing to London. Rows 20 through 30... Giles gets up, gathers his stuff.", "GILES: That's me.", "WILLOW: Now? We just made it.", "GILES: Just, yes. They all look at each other.", "GILES: Well, if we're going to do this, let's do it properly. He puts down his bag, goes over to Xander. They hold out hands toward each other, look awkward for a moment, then hug. Giles turns away from Xander, and Anya grabs Giles tightly. He hugs her back. Then he hugs Tara, then Dawn.", "GILES: I'm just a phone call away ... if you need anything. (holds Dawn's face in his hands) You must promise me.", "DAWN: I do. I promise. Giles turns to Willow. She smiles nervously.", "GILES: Willow. I don't know where to start. (they hug)", "WILLOW: (tearful) Well, maybe you shouldn't. (lets him go) I'm trying to be stiff-upper-lippy.", "GILES: Right, right. (removes his glasses)", "WILLOW: Well, you should get going. (taps him on the shoulder) Don't you have a life or something?", "GILES: (replaces glasses) Um, well, I suppose that's the question really. Tara puts her arm around Willow as Giles gathers his stuff up again.", "GILES: Just, uh ... be careful. Please. He gives them a last look, turns toward the gate. Pan across the Scoobies standing in a row watching him go. Giles gives his ticket to the flight attendant and goes through the door.", "Cut to a shot of a plane flying overhead.", "WILLOW: (OS) There he goes. We see the Scoobies standing on the sidewalk looking up. Willow still holds the big sign. Tara and Dawn have their arms linked.", "XANDER: It's a good thing. My face was getting sore from all that faux smiling.", "WILLOW: It was right, though, wasn't it? Giving him the no-tears sendoff? I mean, we don't want him goin' off all worried about us.", "ANYA: He'd still be all worried, just ... eight hours ahead.", "WILLOW: What's he gonna do over there by himself? (they all start walking) I mean, he never talks about people from England. What if he's lonely?", "TARA: He won't be lonely. He used to live there before, remember?", "DAWN: And I'm sure we'll talk to him, right? It's not like he's-", "TARA: We'll call him tomorrow, how 'bout that? (puts arm around Dawn's shoulder) See how his flight was? Yeah? Tara and Dawn walk on ahead as the other three pause.", "XANDER: (to Willow) Can you believe the timing? I mean, he's leaving right when we're ready to... (Willow glances nervously toward Dawn) ...do the thing tonight.", "WILLOW: (still looking at the sky) I know, I had hoped we'd figure it out before he, uh ... before he left.", "ANYA: Maybe we should have told him. I mean, what if it works?", "WILLOW: (still looking at the sky) He'll come back. Beat. Xander fidgets.", "XANDER: It'll be dark soon.", "WILLOW: Yeah, we should get Dawn home. I want to go over everything one more time. Nothing can go wrong tonight. She walks on. Xander and Anya follow. Lingering shot of the front of the airport building.", "Fade to aerial shot of Sunnydale, twilight. The sun is just setting.", "Fade to a curvy two-lane highway on a hill. The demons on motorcycles come roaring around a bend and down the road. They go past a sign reading \"Welcome to Sunnydale\" as we see the town spread out below.", "Fade to the forest, night. Tara, Willow, Xander, and Anya are standing in a semicircle beside Buffy's grave. Willow is directly at the foot of the grave. Xander and Tara hold lit candles.", "WILLOW: Does everybody have their candles?", "ANYA: I'm trying, my lighter won't stay lit. (flicking lighter continuously)", "WILLOW: Well, hurry, it has to-", "TARA: What time is it?", "XANDER: (checks watch) A minute till midnight.", "WILLOW: C'mon, Anya, do you have it?", "ANYA: (gets the lighter lit, lights her candle) I got it, I got it. I got it.", "WILLOW: Okay. Start the circle. Now. They all kneel, holding their candles, except Willow who holds the Urn of Osiris. Lingering shot of the headstone. Willow produces a small jar containing (presumably) the fawn's blood, and pours it into the urn. Tara and Xander look nervous.", "WILLOW: Osiris, keeper of the gate, master of all fate, hear us. She dips her finger into the urn and marks her forehead and both cheeks with the blood.", "WILLOW: Before time, and after. Before knowing and nothing. She pours the contents of the urn onto the earth.", "WILLOW: Accept our offering. Know our prayer. Suddenly she jerks backward, panting, and her arms go out at her sides. Deep ugly gashes appear on her arms.", "XANDER: Willow! (reaches for her)", "TARA: No! (stuttering) She t - she told me ... she'd be tested. This is supposed to happen.", "WILLOW: (louder) Osiris! Here lies the warrior of the people. Let her cross over. Willow winces in pain. We see blood running from the cuts on her arms, and round shapes moving under her skin. She gives a little moan of pain. The round things move up her arms and over her chest toward her neck.", "XANDER: She needs help!", "TARA: Xander, she's strong! She said not to stop, no matter what. If we break the cycle now, it's over. They all watch anxiously. Willow continues breathing heavily. Suddenly they hear a loud rumbling and they all look around nervously.", "ANYA: Oh god, what is that noise?", "Cut to Main Street Sunnydale. People scream in fear as the demons on motorcycles roar through the downtown area. The rumbling noise (motorcycle engines) continues. The demons drive over cars, through curbside restaurant tables, between pedestrians. At least one demon grabs a woman and pulls her onto his bike. We see them throwing garbage cans through windows, hitting cars with baseball bats, etc. A demon lights a Molotov cocktail and throws it through a store window. Pedestrians continue screaming and running away. Another demon throws another flaming bottle directly at the camera. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Fade in on the scene by the grave. Willow still kneels with her arms held out, panting. The others watch with concern.", "WILLOW: (yelling) Osiris, let her cross over! Aah... Willow makes choking noises as we see the round things under her skin moving up her neck.", "TARA: Oh my god, oh my god. Willow leans forward putting her hands on the ground, gagging. A snake head appears in her open mouth. Shot of her fingers clutching the grass. The snake slithers out her mouth and onto the ground. The others look horrified.", "TARA: (anxious) It's a test. It's a test. Willow... Linger on Willow leaning over the ground with her mouth still open.", "Cut to Spike sitting in the Summers living room, in the dark in front of a television. He looks across at the sofa. Shot of Dawn asleep on the sofa. Spike looks back at the TV. Sound of motorcycle engines rumbling, tires screeching, crashing noises. Spike jumps up and goes to the window, looks out. We see the demons riding on people's front yards, throwing trash around, etc. Dawn comes up behind Spike, peers out the window.", "DAWN: What's going on?", "SPIKE: (whispers) Stay away from the window. Spike takes Dawn's shoulders and moves her away from the window. He walks toward the foyer. Dawn follows.", "DAWN: What is it, what's happening?", "SPIKE: Just do as I say. He checks to make sure the front door is locked, takes Dawn's shoulders again.", "SPIKE: I'm going to check the rest of the house. He moves off.", "SPIKE: (OS) Don't move! Dawn stands where he placed her, looking around nervously.", "Cut to downtown Sunnydale. The demons are still running rampant, and various things are burning. A demon is smashing the windows of a car with the logo \"Espresso2U.com\" on it. He turns and goes off, waving his weapon. Sounds of demons yelling, people screaming. We see a couple of demons looking through a woman's purse. Mag is taking stuff out of a store window display where the glass has all been smashed.", "BUFFYBOT: (OS) That doesn't belong to you. Mag turns and sees BuffyBot standing there with hands on hips.", "BUFFYBOT: Put it back. Mag opens his mouth and lets out a high-pitched squeal. All the other demons turn to look. BuffyBot looks around nervously as the demons begin to converge on her. Razor comes right up to her as the others form a circle around them.", "RAZOR: Slayer. I've been hearing interesting things about you.", "BUFFYBOT: Yes. I am interesting. (looks around) These your friends?", "RAZOR: They're my boys, yeah.", "BUFFYBOT: Good. Now tell them to get back on their loud bicycles and go back wherever they came from.", "RAZOR: Or what? You'll electrocute us? He punches her in the face. She staggers back into a couple of other demons, who catch her and hold her arms.", "RAZOR: Hold her. The bot struggles as Razor comes forward and lifts his hand, revealing a set of ugly claws. Then an even uglier set of serrated metal claws pop out at the ends of his fingers. He reaches out and swipes at the BuffyBot. The claws rip slashes in her shirt and shoulder. Blue sparks sizzle from the wound.", "RAZOR: You're nothing but a toy. A pretty toy. Wanna play? He moves a little closer and the bot knees him in the groin. As he doubles over, she goes into a backflip, kicking him in the face with both feet and breaking free from her captors.", "BUFFYBOT: I would, but you've injured me. I have to return to Willow. She turns and delivers spin-kicks to two of the demons, lays out four or five more of them in quick succession with mostly kicks and a few punches. She leaps over the prone bodies and runs off. Razor lifts up onto an elbow.", "RAZOR: Get her! A few more demons try to stop BuffyBot but she punches them out of the way. The rest of the demons that she already fought all get up and get on their bikes, and tear off after her. Cut back to the grave. Anya, Xander, and Tara continue staring as orange light swirls around Willow, who is kneeling up again, panting loudly.", "WILLOW: Osiris, release her! BuffyBot runs up behind Tara.", "BUFFYBOT: Willow! I need service! Sound of motorcycles revving. The bot looks behind her and runs off as the motorcycle demons ride up. The demons ride around the bot, trapping her. They also ride around the others. Anya yelps. Anya, Xander, and Tara get up and clutch each other, looking around at the demons. Willow is still encased in a tube of reddish-orange light, panting. The demons ride around and around.", "TARA: Willow! One of the demons runs his bike over the Urn of Osiris, shattering it.", "WILLOW: (screams) No! The red light dissipates and Willow falls to the ground.", "TARA: Willow! Tara runs forward but Mag rides in front of her, cutting her off. She screams and moves back", "MAG: Look what I found! The demons continue riding circles around BuffyBot. Xander sees an opening and dashes forward, grabs Willow and pulls her out of the way just as Mag rides his bike through the spot where Willow was lying.", "XANDER: (yells to Anya and Tara) Take off! Go! Go! Tara and Anya run off. Xander lifts Willow by the shoulders and pulls/shoves her into the underbrush. Tara and Anya run through the forest together with Mag pursuing them. He grabs Anya as he rides by, pulls her onto his bike.", "TARA: Anya! Tara stops running.", "TARA: Dissolvo! A ball of blue light flashes from Tara to the motorcycle, knocking Anya free. She hits the ground and rolls as the motorcycle continues on. Tara runs to Anya, helps her up and they continue running.", "Cut to Xander in a different part of the forest, carrying Willow. He stops, puts her down with her back against a tree. She begins to regain consciousness.", "XANDER: Willow. Willow, are you okay?", "WILLOW: (weakly) Did it work?", "XANDER: (shakes head) I'm sorry. Willow passes out again. Xander kneels there on the ground with Willow lying across his lap. He looks around nervously. We can still hear the motorcycles all around. Pan down to the ground, into blackness. Fade in on a wrinkled, desiccated hand. Pan up across a body encased in black clothing. The orange mist from before swirls around the head, which is a skull with much of the skin rotting off and the hair decaying. As the mist moves around the body, the eyeballs reappear, the skin and hair repair themselves, and it resolves into Buffy, wide-eyed and gasping. She's inside her coffin. She looks around, panting, with an expression of extreme fear. Blackout.", "Note: This point marks the end of \"Bargaining Part 1.\"", "[SCENE_BREAK]", "\"Bargaining Part 2,\" Act I", "[SCENE_BREAK]", "Open on the BuffyBot with the demons still riding in circles around her. Every now and then they hit her as they pass.", "BUFFYBOT: Oh, I'm dangerously close to- (a demon hits her in the face) -systems failure! Must - oh! - disengage from combat - so - oh! - Willow can service me.", "RAZOR: (swinging a length of chain) I'll service ya, girl toy! He throws the chain and the bot goes down. He stops his bike beside her and gets off.", "Cut to Xander and Willow. Xander seems about to pick her up again when Anya and Tara come running up.", "TARA: Willow! Tara goes to her knees and takes Willow's head on her lap.", "XANDER: I'm pretty sure she's okay. (gets up and goes to Anya) Or as okay as someone who's just had snakes coming out of their mouth. What the hell was that all about, Tara? (Tara looks up at him)", "ANYA: Less talk, more running away.", "XANDER: I'm sure the woods'll give us cover. Their motorcycles can't follow us in here. The motorcycles noises get closer, and we see the light from their headlights.", "ANYA: Someone should tell them that.", "XANDER: New plan. (goes to Willow, kneels and starts lifting her) Let's split up.", "ANYA: No, bad plan. Xander and Tara have the unconscious Willow upright, each supporting one side of her.", "TARA: I'll take her.", "XANDER: No, I can carry her. (Tara looks anxious) I'll keep her safe.", "TARA: (nods reluctantly) We should meet up somewhere.", "XANDER: The Magic Box. Whoever gets there first, call Dawn and Spike. Tara and Anya start off, but Anya pauses.", "ANYA: Wait. What about the Buffybot?", "XANDER: (indecisive for a moment) We can't. It's lost. (lifts Willow) Go! Xander picks Willow up and heads off. Tara and Anya go off together in another direction. Cut back to the grave. The bot is on the ground and the demons surround her, kicking her and yelling happily. Pan down across Buffy's headstone, to the grass.", "Cut to inside the coffin. Buffy pounds frantically on the sides, tries to scream but no sound comes out. She looks terrified. She continues pounding, bangs on the inner lid just inches from her face. She begins to rip away the cloth that covers the inside of the lid. She grunts with exertion as the cloth rips.", "Cut to the forest. Xander walks along carrying Willow, moving at a fast walk. He pauses, puts her down on the ground. Willow comes to again.", "WILLOW: (loudly) Xan ... Xander, where - where-", "XANDER: Shh! We're using our quiet voice, Will.", "WILLOW: (whispers) Wh-wh-where's Tara?", "XANDER: (panting) Off and running. Like we need to be. We gotta keep moving.", "WILLOW: (panting) Oh ... right. Demons ... on bikes.", "XANDER: Yeah. We got trouble. Right here in Hellmouth City. And our very own robo-Buffy led them right to us.", "WILLOW: Buffy! The ritual! We have to go back. (sits up)", "XANDER: (pushes her back) Will. I told you.", "WILLOW: We have to try again.", "XANDER: No, we can't.", "WILLOW: We have to, Xander! I - she - she's waiting! She's counting on us, on, on me! I can't leave her there any more, I won't. We have to finish.", "XANDER: Shh! They both hush and look around nervously as a motorcycle goes by near them.", "XANDER: (whispers) Will .. .the urn of cirrhosis...", "WILLOW: Osiris?", "XANDER: Yeah. It got kind of...", "WILLOW: (remembers) Broken. It's broken. I remember.", "XANDER: So we'll find another one. Better made. Anya and I will jump back on the web-", "WILLOW: There is no other one. (closes her eyes)", "XANDER: Okay, we'll fix this one. A little tape, a dab of Crazy Glue.", "WILLOW: No. It's no use. (tearful) The urn's defiled. It's gone. Nothing, it was all for nothing. Buffy's gone. She's really gone. Willow begins to cry, buries her face in Xander's chest.", "Cut to Buffy still ripping the cloth from the coffin. She bangs her hands against the lid, punches it and her fist goes through the wood. Dirt begins to rain down on her as she pulls at the wood, widening the hole.", "Cut to Anya running through the woods, looking around.", "MAG: (OS) Over here! Stop your moanin'. Anya suddenly falls down as Tara pulls at her from behind a rock.", "ANYA: (annoyed) Was that really necessary? A simple \"psst\"- Tara puts her hand over Anya's mouth. They both fall silent as two demons walk up near them.", "CLYED: I'm just saying it's rank.", "MAG: Get off it, Clyed.", "CLYED: Razor and the others head back to town, leave us here to hunt down strays. It's bullsh-", "MAG: Hey! (grabs Clyed) You got a bug up your crack, you take it up with Razor. The two girls huddle behind their rock listening.", "MAG: Until then you do as he says, and shut your hole, before I rip you a new one. Mag lets go of Clyed and looks around, snarling.", "MAG: Ah, screw this, let's get out of here. (they both turn away) Let's go hit some stores. Tara and Anya relax a little as the demons move away.", "TARA: Doesn't sound like they found Willow and Xander.", "ANYA: Did he say stores? Hitting stores? Does that mean looting?", "TARA: I think, I think the woods let out over this way (points) We should keep off the streets, take alleys if we can.", "ANYA: They can't loot the magic shop, not now! I just got it.", "TARA: (puts hand on Anya's shoulder) Let's go. They get up and start to walk.", "ANYA: You don't think they'll cause a lot of damage, do you?", "Cut to the demons still wrecking houses and cars on residential street. One demon throws a Molotov cocktail at a front door, jumps up and down triumphantly as the porch bursts into flame. Shot of a wooden mailbox labeled \"Summers.\" A demon rides past and smashes it with a baseball bat.", "Cut to exterior shot of the Summers house. The demons have not yet ventured onto its lawn", "Cut to inside the house. Dawn is looking out the front window.", "SPIKE: (OS) A couple of stakes... We see Spike looking through Buffy's weapon chest.", "SPIKE: ...holy water, one cross - (reaches in to grab the cross) Ow! (stumbles back, shaking his hand in pain) Brilliant. He looks at his injured hand, then over at the window, notices Dawn.", "SPIKE: Here! (starts toward her) You want me to bloody thump you? I told you to stay away from the window. (pulls her away)", "DAWN: Who are they?", "SPIKE: (peers out) Hellions. Road pirates. (shot of a demon throwing rocks through a house's windows) They raid towns ... use 'em up, burn 'em down. It's usually backwaters, any place... (looks back at Dawn, realizing) Any place they think is vulnerable.", "DAWN: They know. The Slayer's gone. Spike looks back out the window. The demons continue to ride up and down the street, setting various things on fire.", "SPIKE: Can't stay here. (gets up, grabs Dawn by the hand)", "DAWN: W-well, I'm not going out there!", "SPIKE: (pulling her toward the door) Got no choice, bit, I can't protect you here.", "DAWN: (stops) Well, we can lock the doors, turn out the lights.", "SPIKE: And what, hide under the bed linen? Not really my style.", "DAWN: But we need to wait for the others, and Buffy. Spike frowns at her, confused.", "DAWN: ...bot. You know, the-the Buffybot. Spike sighs in frustration, looks around.", "DAWN: (agitated) We-we have to wait for the others-", "SPIKE: (grabs her roughly by the shoulders) Look! (pauses, more quietly) Dawn, I get that you're scared. But I'm your sitter, so mind me. (lets go her shoulders) I'm not gonna let any of those buggers lay so much as a warty digit on you. Right?", "DAWN: (whispers) Right.", "SPIKE: Right, then. We can't wait around to see if the others will pop in. We're on our own. No one's coming to our rescue. He takes Dawn's hands and leads her toward the back door.", "Cut to Buffy's grave. Zoom in on the ground, which is already churned up from the motorcycles riding over it. Suddenly a hand bursts out from below, then another hand, then Buffy's head and shoulders. She gasps for air, pulls herself up onto the grass, lies there panting. She looks around at the dark forest, very fearfully. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Sunnydale is invaded by a gang of biker demons who, having learned that the Slayer is a robot, wreak havoc on the town. Meanwhile, the Scoobies attempt to flee from the demons while the real Buffy, having been resurrected from the dead, returns to the place of her death for an emotional confrontation with her younger sister." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy sitting on the steps of Hemery High in \"Becoming.\"", "WATCHER: You are the chosen one. Brief montage of several of the monsters Buffy has fought.", "WATCHER: You alone can stop them.", "BUFFY: Who?", "WATCHER: The vampires. Buffy timidly staking a vampire, looking shocked when it dusts.", "WATCHER: You see your power.", "BUFFY: Why can't you people just leave me alone?", "GILES: Into each generation a Slayer is born.", "WILLOW: You're the Slayer, and we're like the Slayerettes.", "XANDER: The three of us have been together from the beginning. We've always gone on patrols, and, uh, done demon research with her and everything.", "BUFFY: We're talking about two very powerful witches (shot of Willow and Tara doing a spell) and a thousand-year-old ex-demon (shot of Anya)", "XANDER: Anya, you wanna marry me? Willow and Tara slow-dancing at the Bronze. Buffy and Angel sitting on Angel's bed in \"Becoming\"", "BUFFY: Angel.", "ANGEL: I love you. Buffy and Angel kissing.", "BUFFY: So don't go. Angel walking away at the end of \"Graduation Day\" Spike driving his car over the \"Welcome to Sunnydale\" sign.", "SPIKE: Home sweet home.", "DOCTOR: That chip was deeply imbedded in your cerebral cortex. Spike trying to bite Willow, yelling in pain.", "SPIKE: I can't bite anything. I can't even hit people.", "GILES: What are you saying?", "SPIKE: Spike had a little trip to the vet, and now he doesn't chase the other puppies any more. Spike talking to Buffy in \"The Gift\"", "SPIKE: I know you'll never love me. I know that I'm a monster, but you treat me like a man. Spike reading a book to Dawn.", "SPIKE: They had to be certain the Slayer would protect it with her life, so they sent the key to her in the form of a sister.", "GREGOR: You were created to open the gates that separate dimensions. Various shots of Dawn.", "GREGOR: The little girl. The key. Dawn crying out as Doc cuts her in \"The Gift\"", "GREGOR: Destroy it, and the will of the beast will be broken. Spike attacking Doc. Doc stabbing Spike, throwing him off the tower.", "DAWN: No! Spike hitting the ground.", "DAWN: I have to jump.", "BUFFY: It'll kill you.", "DAWN: Look at what's happening! Lightning destroying downtown Sunnydale. Buffy doing her determined expression.", "DAWN: Buffy, no.", "BUFFY: Dawnie, I have to. Buffy swan-diving into the vortex. The Scoobies gathering around Buffy's dead body.", "BUFFY VOICEOVER: You have to take care of each other. You have to be strong. Be brave. Live. Long shot of Buffy's gravestone.", "BUFFY VOICEOVER: For me.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Continuation from Bargaining Part 1... Open on the same scene. Buffy slowly gets to her feet, turns and stares at the headstone with her name on it. She frowns in confusion, then her eyes widen in shock as she gets it.", "Cut to downtown. A car sits there burning, half burnt away. Buffy walks up, stares. Pan to a wider shot and we see her walking down a street that's littered with debris. Buffy wears a black dress with dark hose and black heeled shoes. Her hair is shaggy and mostly covers her face.", "Cut to a shot from Buffy's point of view. Everything is blurry and indistinct. She continues walking, squinting and frowning at the burning cars. She stops walking to stare at a car. A demon on his motorcycle goes roaring past, throws something as he goes by. Buffy watches him go, backs away.", "Cut to interior of the magic shop. The door opens and Tara and Anya run in. They go down the steps into the main room.", "TARA: Willow, Xander! Tara goes to look in the back room, comes back. Anya looks around the store.", "TARA: They're not here.", "ANYA: Thank god. (Tara looks confused) No, I mean, my store hasn't been looted. Loud banging noise from outside. They both turn to look.", "TARA: Yet. They go to the window, peek out. Shot of a bunch of demons looting a store across the street.", "ANYA: (softly) Xander.", "TARA: They're all right.", "ANYA: Then where are they? Why aren't they here?", "TARA: I don't know. Anya turns away from the window, walks into the store. Tara follows.", "ANYA: (getting agitated) They could be hurt. Xander could be lying somewhere broken and bleeding, calling out my name.", "TARA: Anya.", "ANYA: Like that, oh god! (walks on) What if, what if they're really hurt, what if they're dead?", "TARA: (firmly) They're not.", "ANYA: How do you know?", "TARA: Because he's with Willow. And if something ... happened, I'd know. (softly) And so would you.", "ANYA: (calmer) You think?", "TARA: I'm sure of it. (hugs her) They're fine. Shot of Tara over Anya's shoulder as they hug. She strokes Anya's hair.", "TARA: (trying to convince herself) They're both fine. Tara pulls back to look at Anya.", "TARA: Maybe they got lost, in the woods.", "ANYA: The woods? Are we going back to the woods? I hate the woods. All those woodsy trees.", "TARA: (excited) No, it's okay. Lost is good. Willow and I always know how to find each other! She runs to the round table, shoves all the stuff off of it and climbs up on it, sits cross-legged and puts her hands on her knees. (See episode \"Fear Itself\")", "ANYA: With yoga?", "TARA: Ssh! (eyes closed) Aradia, hear my words.", "Cut to the forest. Xander and Willow are walking along. Willow is panting, leans on Xander for support.", "XANDER: Okay, this is really starting to grate my cheese. These woods aren't that big. Now, I know we've been going straight because I've been following the North Star.", "WILLOW: (looks up) Xander. (they stop) That's not the North Star. It's an airplane. Willow makes a pained face, staggers over to a tree and leans against it.", "XANDER: Nah, that's not an airplane, it's definitely ... (looks harder) ...a blimp! (embarrassed) But I can see how one ... could make that airplane mistake.", "WILLOW: (panting) I, I can't walk any more. I need to rest.", "XANDER: It can't be much further.", "WILLOW: You said that an hour ago. I just ... that spell took a lot out of me.", "XANDER: As for example, snakes? How come you didn't tell us how much-", "WILLOW: No. Not now.", "XANDER: What were we into back there, Will?", "WILLOW: It doesn't matter anyway.", "XANDER: Do not get all avoidy on me.", "WILLOW: I'm not avoidy, I just ... we have bigger problems. Demons?", "XANDER: Demons! Ah. There's something you don't see every day. (sarcastic chuckle) Unless you're us.", "WILLOW: (annoyed) Yeah, and now we're lost, so can we - (sees something ahead) What's that?", "XANDER: See? Avoidy.", "WILLOW: (points) Over there, that-that light.", "XANDER: (looks) That one moving towards us? We see a blue light in the distance.", "XANDER: Incredibly fast?", "WILLOW: (calls) Hello?", "XANDER: \"Hello\"? We're being hunted, and you're hello-ing a strange fast-moving light in the dark? It could be anything. The light comes closer but is still hard to see through the trees.", "XANDER: It's a motorcycle headlight.", "WILLOW: (smiling) No, too small.", "XANDER: Stay behind me. (picks up a stick from the ground, moves forward)", "WILLOW: Xander, I don't-", "XANDER: Stay down. I'll take care of this. The light flies right up to Xander and circles his head. It's a small blue ball of light.", "WILLOW: Xander, it's-", "XANDER: A bug! A big fiery bug! (trying to shoo it away)", "WILLOW: Xander-", "XANDER: Get off! Do fireflies bite? No, they probably burn, don't they? They - yaa!", "WILLOW: (smiling) Xander, it's not a bug. (as it flies around her face) It's Tara. Willow pushes away from the tree and follows the light as it moves off.", "WILLOW: Come on. She moves past Xander and on through the trees. Xander follows.", "XANDER: And how long have you known that your girlfriend's Tinkerbell?", "Cut to Buffy walking down residential streets. A siren wails in the background. Buffy goes to a car that's parked on a driveway, leans against it. The car's lights come on and its security system begins to wail and honk. Buffy presses her hands over her ears in pain. The house lights come on. The front door opens and a man comes out.", "HOMEOWNER: What are you doing? Buffy peers at him through her fingers. Her vision is still very blurry. The man is holding a shotgun.", "HOMEOWNER: Get away from there! Buffy squints at him.", "HOMEOWNER: Do you hear me? (walks onto the porch) I said get off my property! Buffy continues frowning and squinting.", "HOMEOWNER: Leave us alone. (yells) Get outta here! He fires into the air. Buffy turns and runs off.", "Cut to Dawn and Spike running around the side of the Summers house, crouching down behind a bush against the wall. Spike looks out at the street. Dawn tries to move forward to look too, but he shoves her behind him.", "SPIKE: Get back. We see some demons riding their bikes up onto the porch of a house across the street. Spike gets up a little so he can see better. The demons break some windows and go into the house. We can see people inside. Spike continues watching as we hear a woman screaming. A small smile flicks across Spike's face. Dawn peers over his shoulder.", "DAWN: I-it looks like they're just ... wrecking stuff. No thought other than just destruct-o-rama. The demons throw some chairs out through the windows. Spike grins. Dawn notices it.", "DAWN: What?", "SPIKE: Uh, oh, nothing, just, uh ... (nods toward the action) looked like fun. (Dawn gives him a look) I'm just sayin'. Yeah, it's just ... (looks around) with this kind of frolicking going on all around town, we're not gonna get very far without... Spike spies something, moves away from the wall. Dawn watches. There's a kid-sized football helmet and a baseball bat lying on the ground. Spike picks up the helmet, tosses it to Dawn. She catches it, looks confused. Spike points at her, walks away.", "Cut to a demon on motorcycle coming around a corner at a high rate of speed. The tires screech. In the foreground we can see Spike's hand twitching as the demon rides toward him. Long shot of Spike standing in the middle of the street. The demon keeps coming. Spike doesn't move. At the last second, Spike leaps up into the air, kicking the demon off the bike. The demon lands hard. Spike runs over to the crashed bike, picks it up and gets on it.", "SPIKE: Let's fly, pigeon!", "Cut to Dawn beside the house. She puts the helmet on and runs off. The demons come running out of the house just in time to see Spike and Dawn go roaring away on the motorcycle.", "Cut to the magic shop. Frantic knocking on the door. Anya and Tara go to it.", "ANYA: (calls) Already been looted, sorry! Uh, try the appliance store down the block, they've got great toasters.", "XANDER: (OS) Anya!", "ANYA: Xander? Anya opens the door. Willow and Xander come in. Willow hugs Tara. Xander closes and locks the door.", "ANYA: I knew you weren't dead. (hugs him)", "XANDER: Wow, then why was I so worried?", "TARA: (leading Willow to a chair) Are you-", "WILLOW: Uh, not yet. But, but I will be. Willow eases into the chair with a pained expression. Tara stands behind her stroking her hair.", "WILLOW: Where's Dawn and Spike?", "TARA: We've been calling the house, but-", "XANDER: Maybe they're on their way here. I mean, this place is NORAD, and we are at DefCon One. The women all look at him in confusion.", "XANDER: Okay, I so need male friends.", "WILLOW: We have to go out and look for them. (tries to get up but Tara pushes her back down)", "XANDER: There's this guy at work I kind of hit it off with. Tito. I mean, he seems like a good... Once again they all give him a look.", "XANDER: (embarrassed) You were talking about Dawn and Spike, of course.", "ANYA: Um, question. (to Willow) You want us to go back out there?", "WILLOW: Well, yeah. Uh, unless somebody's got a better idea.", "ANYA: Well, um, it's just ... we're minus a Buffybot. And, uh, Spike is missing in action somewhere with Dawn, and Giles flew away, and, uh, well you, you're looking a little magicked-out.", "XANDER: Ahn honey, we're nearing your point, right?", "ANYA: It's just, how are we supposed to fight these guys? (Everyone looks at her) I mean, we can take a vampire or two, sure, but there's a whole cavalcade of demons out there ... (uncertainly) I mean, I think this, you know ... it, it takes, um ... I mean, I ... we need...", "XANDER: Buffy.", "ANYA: (softly) Buffy.", "WILLOW: (harshly) Buffy... They nod expectantly.", "WILLOW: ...is not coming back. (sadly) We failed. Anya looks dismayed. The others look sad.", "WILLOW: So ... we're it, gang. (gets painfully to her feet) Xander, grab the weapons. We're gonna look for Dawn and Spike. Sound of glass breaking. They all turn to look.", "TARA: If we're gonna go, we should go now, they're just getting more and more worked up by the moment.", "XANDER: Well, they can't keep it up forever. I mean, maybe they'll party themselves out, you know, tire of this place and move on.", "Cut to Razor addressing his minions.", "RAZOR: Say hello to your new home, boys. The demons cheer. Several of them have bottles of beer. One of them takes a mouthful of beer and blows it at his torch, creating a huge flame. We see that they're gathered in an open space (parking lot?) with a few barrels full of fire. A burning pile of trash in the background.", "RAZOR: This here is a momentous occasion, the beginning of a new era. We see Buffy walking slowly toward them, looking around.", "RAZOR: Now, no question, the open backroads and highways have been good to us. But we've got ourselves a juicy little burg here, just ripe for the picking. And I ain't in no hurry to leave it, you? The demons all yell \"no\" as Buffy walks closer. We see them from her point of view, about a hundred feet away and still blurry.", "RAZOR: So I figure, what better way to kick off our ... semi-settling-down, than with a little christening? The demons cheer. We see a couple of demons attaching chains to their motorcycles. They grin at each other as the cheering continues. Buffy walks closer.", "RAZOR: A symbolic act commemorating the new order around here ... and ridding ourselves of any not-so-pleasant reminders of the old. Razor is holding a gun. He holds it up and theatrically puts a bullet in.", "RAZOR: All in one quick, really, *really* violent fell swoop. Buffy comes right up behind a couple of the demons. She still looks very muddled. They don't notice her.", "RAZOR: (holds up the gun) Gentlemen, start your engines. The demons start up their bikes. We get a very quick look at the bikes with chains attached, and the BuffyBot among them. The demons sit still on their bikes, engines rumbling. We see the bot standing there with chains attached to both her arms. The real Buffy catches sight of the bot, and her eyes widen in shock. The bot sees Buffy and also looks surprised.", "RAZOR: Bye-bye, slayer! Buffy takes a step closer. We see the bot's mouth say \"Buffy\" but we can't hear her over the engines. Razor fires into the air. The bikes begin to move.", "BUFFY: (screams) No! The demons nearest Buffy hear her scream and turn around. The four motorcycles all move off in four different directions. Each bike is attached to one of the bot's limbs. Her arms and legs are ripped from her body and her torso goes flying. Razor grins. Buffy looks around anxiously. The demons near her move aside so that all the demons can see her.", "RAZOR: (looking at Buffy) Another one for the fire, boys. Buffy looks alarmed.", "RAZOR: Tear it up. Buffy backs away, turns and begins to run. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on Buffy running down the street. A demon on a motorcycle comes from behind and cuts in front of her, cutting her off. She turns to see another one coming at her, swinging a chain over his head. Buffy runs toward that demon as the first one follows. She ducks, and the chain hits the first demon, knocking him off his bike.", "DEMON: Sorry. Sorry. Buffy gets up and runs off.", "Cut to Xander and Anya walking down the street. Xander has an axe over his shoulder. Pan forward to reveal Tara and Willow walking ahead of them. Willow carries a crossbow.", "TARA: It wasn't your fault. We, we don't know if the spell would have worked, even if the demons hadn't-", "WILLOW: It would have worked.", "TARA: Well ... maybe...", "WILLOW: What?", "TARA: Maybe it wasn't supposed to. I mean, those demons showing up at the exact wrong time? Maybe we really were in over our heads. Invoking forces that we have no right to. Maybe the fates sent down all that destruction on us to stop us. I mean...", "WILLOW: You mean, maybe it was my fault.", "TARA: No. No. They put their arms around each other, continue walking.", "Cut to Buffy leaping over a pile of stuff and flinging herself over a fence. A motorcycle screeches to a stop behind her. The demon growls angrily. Cut back to the Scoobies still walking.", "ANYA: (softly to Xander) I'm not saying we announce it this second.", "XANDER: (whispers) Anya!", "ANYA: Well, I think it would please them to know we're engaged. And I think Willow in particular could use a real morale-booster right now.", "XANDER: Can we talk about this later?", "ANYA: Well, but it's just all the excuses for not telling everyone we're engaged are gone now. I mean, aside from hell bikers, there's nothing standing in our way. This is it. No more surprises. Suddenly they all stop walking as something drops to the ground in front of them.", "XANDER: Watch it! It's Buffy. She crouches there staring at them through her hair. She rises to her feet.", "ANYA: It ... it's the Buffy Bot.", "XANDER: Ah, peachy. No doubt to lead the wild bunch right to us again. Hey Will, next time this thing's damaged, couldn't ya program it to find the nearest Radio Shack, or... Xander breaks off when he sees the look on Willow's face. Zoom in slowly on Willow, staring at Buffy in wonder.", "WILLOW: Buffy? Buffy stares fearfully, then turns and runs away.", "WILLOW: Buffy!", "XANDER: Buffy! The gang runs after her.", "WILLOW: Buffy!", "Cut to the Scoobies coming around a corner into another alley.", "ANYA: Where is she? Willow stops. We see Buffy crouched in a corner between a wall and some random junk.", "WILLOW: Buffy? (moves toward her) Buffy, are you... Buffy sits huddled in on herself with her hair obscuring her face. The Scoobies walk toward her.", "WILLOW: It's Willow. Can you hear me? Buffy looks up, back, and all around, very nervously.", "ANYA: (whispers) What's wrong with her?", "WILLOW: Nothing! She - she's ... she's in shock.", "TARA: Her hands are bleeding. Her fingers. Close-up of Buffy's hands, which are covered with blood.", "ANYA: (OS) Oh, she's filthy. Xander shakes his head in dismay.", "XANDER: Oh no.", "WILLOW: (OS) What?", "XANDER: No. How could we ... so stupid!", "WILLOW: Xander!", "XANDER: Our spell. Our resurrection spell worked like a magic charm. We brought you back to life, Buffy. (looks at Willow) Right where we left her. Willow and Tara look shocked.", "WILLOW: Oh god.", "XANDER: In her coffin. Willow turns in anguish to Tara, who hugs her.", "TARA: She had to ... dig out of her own grave. Buffy continues crouching there fearfully. Shot of the group from Buffy's POV, still blurry. Xander bends over to look in her face.", "XANDER: (muffled) Buffy. Shot of Buffy from their POV.", "XANDER: (loudly) Buffy, it's Xander. Back to Buffy's POV.", "XANDER: (muffled) We're sorry. We didn't know. Buffy turns her head away, letting her hair cover her face again.", "XANDER: Buffy.", "TARA: You aren't reaching her, she's too traumatized. Anya touches Xander on the back, and he moves aside so Anya can take his place.", "ANYA: Hey, Buffy. Uh, here's some good news that might perk you right up. Uh, Xander and I have an announcement.", "XANDER: Anya! Xander grabs her arm, pulls her away.", "ANYA: What? Just trying to help. Xander bends over in front of Buffy again.", "XANDER: Buffy ... it's gonna be all right. We brought you back. You're home now. Buffy slowly raises her head, looks at him. Shot of Xander from Buffy's POV.", "XANDER: (muffled) Yeah, that's it. You're home.", "RAZOR: Yeah, welcome home, Slayer. The Scoobies turn to see several demons behind them.", "RAZOR: Alive and kickin' after all! The Scoobies look alarmed. So does Buffy.", "RAZOR: Well, alive, anyway. Shot of the demons from Buffy's POV.", "RAZOR: (muffled) Not looking too good, though, is she?", "XANDER: (muffled) I don't see you winning too many beauty contests.", "Cut to front view of Xander with the axe over his shoulder.", "XANDER: ...unless the Miss \"My Face Fell Off\" pageant gets going.", "RAZOR: Big axe you got there.", "XANDER: The better to cut you down to size, grandma. The other Scoobies look nervous. Razor grins, takes a step forward.", "TARA: Incindere. A gout of flame spurts up from the ground between Razor and Xander. Razor steps back.", "RAZOR: Ah. So you got a witch in the mix.", "TARA: More than one.", "XANDER: I happen to be a very powerful man-witch myself. (Razor looks amused) Or ... male... (over his shoulder to Willow) Is it a warlock? Willow nods. Xander turns back to Razor.", "XANDER: Warlock.", "ANYA: Plus, we have a Slayer here, uh, who might actually be looking to eat some brains, so, I think a little quiet moseying, no hard feelings, and I'm sure your demon horde won't think any the less of you.", "RAZOR: (shakes head) Now, my boys, see, that's tricky. They came looking for a massacre... We see Buffy looking a bit more aware, starting to rise.", "RAZOR: (Buffy's POV, muffled) ...and I think you got exactly enough magic between you for a kiddie birthday party. Willow steps forward.", "WILLOW: Then you'd be wrong.", "RAZOR: Whoa. Well, I better back off, or you might, what? Pull a rabbit out of a hat?", "ANYA: (horrified) Don't, don't do that! (to Tara) Why would she do that? (Tara shakes her head)", "WILLOW: We don't want trouble ... you don't want trouble.", "RAZOR: Of course we want trouble, we're demons. We're really all about trouble.", "WILLOW: Not this kind.", "RAZOR: Oh. I get your point. He backhands Willow, who flies backward and lands on top of some boxes. Xander charges but Razor shoves him aside and he falls to the ground. Anya and Tara each go to their respective partners.", "RAZOR: Now let me tell you something, children. We're not gonna fight you. We're just gonna hold you down and enjoy ourselves for a few hours. Shot of Tara gently turning over an unconscious Willow. In the background, Buffy rises to her feet, looking at Willow.", "RAZOR: (OS) You might even live through it. (Buffy walks forward) Except that certain of my boys got some... Shot of Razor grinning evilly.", "RAZOR: ...anatomical incompatibilities that, uh, tend to tear up little girls. (grins) So, who wants to go first? Buffy comes over to stand directly in front of him.", "RAZOR: I was really hoping it'd be you. He hits her in the face. Her head whips to the side but she doesn't otherwise move. Razor looks a little uncertain. Slowly, she turns her head back to face him again. There's blood on her lip. Her face hardens into her famous \"I'm gonna kick your ass\" expression. Razor throws another punch but Buffy stops it, grabbing his fist and holding it immobile. With her other hand she punches him in the face twice, then she kicks him. He falls to the ground unconscious. The other demons look on nervously. Willow sits up, stares. Pan across Razor's inert body to Buffy standing over it looking confused. Xander and Anya stare.", "ANYA: Does this mean we win? The other demons yell and attack Buffy. She kicks one of them back. Xander and Anya get up. Buffy blocks another demon's weapon and kicks him in the stomach. Another demon attacks Xander who blocks with his axe, then punches the demon. Buffy blocks a punch and punches the demon in the face, then punches another one. Willow loads her crossbow and fires, hitting a demon in the middle of the chest. A demon attacks Buffy with a knife and she grabs his arm in both hands, pauses to kick another demon away behind her, swings the one with the knife around and throws him into another demon, shoves another one away, ducks and punches, ducks and punches again. Then Buffy is surrounded by demons hitting her with various weapons, and she huddles down on the ground under their blows. Suddenly she springs back up again, throwing them off her. She kicks one in the groin and he takes two more down with him. Another demon thrusts a baseball bat at Buffy and she grabs it, uses one end to hit a demon behind her, then uses the other end to hit the first demon.", "Cut to Main Street. It's deserted but littered with debris, some of which is on fire. A motorcycle comes roaring down the street. Cut closer and we see that it's Spike and Dawn. Dawn sees something up ahead.", "DAWN: There. What's that? Spike looks, turns toward it. They pass a flaming barrel, then drive into the open space where the demons were partying. It's deserted now too. Spike brings the bike to a stop next to the pile of flaming rubble. They both dismount, staring at something on the ground. Dawn takes the helmet off and tosses it aside as they move forward. Shot of Buffybot's torso lying on the ground, wires dangling everywhere from her arm and leg sockets.", "SPIKE: It's just a machine, Dawn.", "DAWN: I know. Dawn kneels beside the bot. Spike turns, walks away a bit. Dawn reaches out to close the bot's eyes, but suddenly the head turns and looks at her. Dawn gasps.", "BUFFYBOT: Dawn. You're my sister Dawn. Dawn doesn't know what to say. She gives a tentative smile.", "BUFFYBOT: (looks around in confusion) Where did I go?", "DAWN: What?", "BUFFYBOT: Where did I go? I was here. Here. But then I ran away.", "DAWN: (confused) I-I don't...", "BUFFYBOT: No. Not me. The other Buffy. Dawn's eyes widen in shock.", "BUFFYBOT: Yes. The other Buffy.", "DAWN: Buffy?", "BUFFYBOT: I don't ... I don't ... know where she ran off to. Maybe- She freezes in mid-word, staring blankly. Dawn backs away, gets up, still shocked. She stares at the lifeless bot, turns and runs away.", "Cut to Spike picking up a piece of twisted metal from the scrap pile. It's one of the bot's legs.", "SPIKE: Tsk. Look what those filthy buggers done to you. (loudly, to Dawn) Willow's slap-and-paste job's not gonna do the trick this time. Robot's done. He looks up, notices Dawn is gone.", "SPIKE: Hey. (looks all around, alarmed) Little bit? (yells) Dawn!", "Cut to Dawn running down the street.", "SPIKE: (OS) Dawn!", "Cut to Tara being held against the wall by a demon who has her by the throat. Willow hits him in the head with her crossbow and he falls back. Another demon has Xander down on a pile of wood but he manages to get his feet up and kick the demon away. Xander leaps to his feet and slams his axe down into the demon. Buffy turns from fighting one demon with the baseball bat and another one flings a length of chain, which wraps around the bat. The demon uses it to pull the bat out of Buffy's hand. Then he attacks her with a knife. She blocks, grabs the knife-wielding arm, and uses it to stab another demon as he charges. Then Buffy kicks out behind her, kicking away another demon, and as for the one she's holding, she twists his head around, breaking his neck. Buffy stops, looking around. All the demons are defeated. The Scoobies approach from their various places.", "TARA: Well, they wanted a massacre. They stand in a row staring at Buffy.", "XANDER: She's Buffy. She's herself again. (She looks at him) You're back, Buffy, you really are. Xander moves as if to hug her, but she takes a quick step back, looking fearful.", "XANDER: Whoa. (gently) Whoa. Buffy looks around in anguish. She lifts her bloody hand to her mouth, wipes the blood from her lip, looks at her hand. She looks about to cry. She walks forward. The others watch uncertainly. Buffy goes past Xander and breaks into a run, taking off around the corner.", "WILLOW: Buffy! The Scoobies watch her go.", "ANYA: Where's she going?", "TARA: Should we follow her?", "WILLOW: I don't know.", "XANDER: She just ... needs some time is all. Shot of Razor lying on the ground, apparently dead. Suddenly his eyes open.", "XANDER: (OS) The important thing is that she's back. She'll be fine. Shot of Razor's hand. The metal claws shoot out of his fingers. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on Razor getting to his feet with a snarl. We see that he's standing behind Xander.", "ANYA: Xander, look out! Anya shoves Xander to the ground as Razor attacks. The blow misses as Xander hits the ground butt-first. The others watch fearfully as Razor advances on Xander, who scrambles backward on his butt.", "RAZOR: Now what kind of Slayer is it runs out on her buddies just when they need her the most? Xander grabs a trash-can lid and holds it up as a shield as Razor attacks again. The metal claws slice right through the shield. Xander looks scared.", "Cut to Buffy walking quickly down an alley. Suddenly she stops, turns as a demon swings a piece of metal at her. She ducks and hits him, kicks him in the groin, grabs him and throws him against a wall where another piece of metal impales him. He falls dead. Buffy stares at him, then looks up. Above the roof of the nearest building we see the tower that Glory's minions built. Buffy runs off. Cut back to Razor about to strike Xander again. Suddenly he's struck from behind. He turns and all three women attack him -- Willow and Anya with sticks, Tara with a piece of chain. He covers his head with his hands as they beat on him. Then Razor does the same move that Buffy did earlier, straightening up and flinging them off of him. They all fall back. Willow holds up her hand.", "WILLOW: Obfuscate. A gray ball appears in her hand and she throws it at Razor. It covers his face with some kind of goo, so he can't see. He roars and pulls at it with his hands.", "Cut to Dawn running around a corner, hearing Razor yell in the background. She sees the impaled demon and comes to a stop, staring in disgust. She edges around him, looks up and sees the tower. She starts forward with determination.", "Cut to Buffy at the foot of the tower, looking up. Shot from her POV of the tower with the narrow walkway extending out. Cut back to Razor still trying to pry the stuff off his face as the others resume hitting him. Xander sits up. Razor finally pulls the stuff off, grabs Anya by the shoulders and shoves her away. She lands on the ground. Xander gets up and rushes Razor, gets elbowed in the face and falls back. Tara rushes Razor and he grabs her by the throat.", "WILLOW: Fragilis. Another ball of light appears in Willow's hand and shoots over to Tara. Razor swipes his claws across Tara's chest but the metal claws break off and fall away without harming her. Razor stares at his fingers, thrusts Tara away. She falls among some trash. Razor grabs Willow by the throat and lifts her up.", "RAZOR: So, witch, got a little power after all. Well, let's see what tricks you can manage while I choke the life outta- Suddenly he gasps and lets Willow go. She falls to the ground. Razor falls face-first beside her, with the axe buried in his back. Willow looks up to see Tara standing there. Tara bends over and helps Willow up.", "WILLOW: Tara!", "TARA: Nobody messes with my girl. Xander and Anya come over.", "XANDER: Tara, nice axing.", "TARA: My first. They all look at the dead demon.", "WILLOW: Buffy. They all turn and walk off.", "Cut to: Shot of the tower from afar.", "Cut to the top. Buffy stands at the end of the platform looking down. We hear creaking noises. Shot of the view from the platform. The ground below is just an open space. Buffy frowns slightly. Flashback of Dawn's blood dripping, opening the hole in midair, lightning flashing. Flashback of Buffy running down the platform, swan-diving into the thing. Cut back to now. Buffy stands staring, presses her eyes shut tightly. Flashback of Buffy standing on the tower with Dawn, turning away from Dawn to look at holes opening in the sky. Buffy turning back to Dawn. Cut back to now. Buffy still has her eyes closed.", "DAWN: (flashback) Buffy, no.", "BUFFY: (now) Dawnie, I have to.", "DAWN: (now) Buffy? Buffy frowns, opens her eyes, turns. Dawn is standing at the other end of the platform, in the little arch at the top of the tower.", "DAWN: Buffy... Buffy looks apprehensively at her.", "DAWN: Buffy ... (amazed) how... Buffy frowns at her in confusion.", "DAWN: Is it you? I mean really? Dawn smiles tentatively, starts to take a step forward.", "DAWN: What are you do- The tower creaks and shudders under Dawn's feet. She grabs the pole beside her for support, looks down fearfully. Shot from below as the whole tower shakes. Cut back to above. Buffy turns back to the end of the platform.", "DAWN: (shrieks) No! Buffy looks down at the ground below.", "DAWN: Don't! Buffy turns back to Dawn.", "DAWN: Don't jump, Buffy, don't move! Just walk to me. Please! Buffy looks uncertain, turns away again.", "DAWN: Please? Buffy continues staring down. The tower continues to creak.", "DAWN: I'm your sister. Dawn. We were up here ... together, and then ... you went away. And you don't wanna do that again. I don't know how you're back, but you are, and please, just stay still. The tower shakes again, making Dawn shriek and fight for balance.", "DAWN: Or-or move. But-but towards me. Because the tower was built by crazy people and I don't think it's holding up very well. Beat. Buffy continues staring down.", "DANW: Talk to me. Say something! The tower creaks.", "BUFFY: (quietly) Is ... this hell?", "DAWN: (confused) What? Buffy turns to face Dawn with an anguished frown.", "BUFFY: Is this hell?", "DAWN: No! Buffy, no! (taking a tiny step closer) You're here ... with me. (another tiny step) Whatever happened to you, whatever you've been through, it's ... it's over now. You're- The tower shakes again. Dawn shrieks", "DAWN: We have to get off this tower! Buffy turns to look down again.", "BUFFY: (quietly) It was so ... clear ... on this spot. I remember ... how ... shiny ... and clear everything was. (shakes her head) But ... now ... now...", "DAWN: Buffy ... please ... listen to me. Buffy closes her eyes, doesn't turn around.", "DAWN: You told me I had to be strong ... and I've tried. (tearful) But it's been so hard without you. Buffy still has eyes closed, frowning.", "DAWN: I'm sorry. I promise I'll do better, I will! (still tearful) If you're with me. Stay with me ... please. I need you to live. Live! For- The tower shakes again, hard. Dawn screams and crouches down. Piece of the tower fall off.", "DAWN: Buffy! Buffy whirls around.", "BUFFY: (softly) Dawn.", "DAWN: Buffy!", "BUFFY: (louder) Dawn! Buffy runs across the platform to Dawn, pulls her up and into the body of the tower. They run around one bend, pause and look around. Shot of a pulley with a rope going through it. Buffy holds onto Dawn, leaps off the tower and grabs the rope. They hang there for a moment, then the rope begins to move and they plummet downward. Dawn screams. Shot of the pulley with the rope zooming through it, sending up smoke. Shot of a bolt working its way loose. They fall for a while and then something catches and they stop. They both look toward the ground, still a long ways off. The bolt holding the pulley secure breaks off, and they fall the rest of the way, Dawn screaming the whole time. They land on some cardboard on the ground. They both lie on their backs gasping. Buffy looks up and sees the entire platform break off the tower and fall toward them. Buffy grabs Dawn, they both get up and run off an instant before the platform falls on the cardboard. Long shot of the entire tower crumbling and falling to the ground. It makes a huge sustained noise. Buffy and Dawn go around a corner and collapse on the ground, panting. Dawn winces in pain, looks up at Buffy's face. The noise dies away.", "DAWN: (tentatively) Buffy? Buffy looks at her apprehensively. Dawn smiles in disbelief.", "DAWN: Buffy. You ... you ... (touches Buffy's cheek) ...you're really here. Dawn hugs Buffy.", "DAWN: (crying) You're alive, and you're home. You're home. Shot of Buffy's face over Dawn's shoulder. She doesn't look very happy. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon. THE END" ]

[ "Spike warns that the resurrection spell could have serious consequences, and his assessment proves to be correct as members of the gang are possessed by an unseen force." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer...", "SPIKE: I love you.", "BUFFY: The only chance you had with me was when I was unconscious. Buffy running down the walkway atop the tower.", "DAWN: Buffy, no. Buffy jumping into the wormhole. The Scooby gang gathered around Buffy's dead body.", "DAWN: No!", "XANDER: You're talking about raising the dead. It feels wrong.", "TARA: It is wrong.", "WILLOW: She could be trapped! The foursome doing their resurrection spell.", "WILLOW: I'm not gonna leave her there. Willow pouring blood out of the jug, putting it on her face.", "WILLOW: Osiris, master of all fate, let her cross over. Buffy's corpse reviving. Shot of Buffy's gravestone. Buffy digging her way out of her grave.", "WILLOW: Buffy?", "ANYA: What's wrong with her?", "WILLOW: She's in shock. The Hellions destroying Sunnydale.", "DAWN: Who are they?", "SPIKE: Road pirates. They raid towns, use 'em up, burn 'em down. Buffy beating up demons. Dawn hugging Buffy.", "DAWN: You're alive, and you're home. You're home.", "WILLOW: She's at home. She has to be. We're, we just need to get there, and she'll be there.", "TARA: This is the fastest way?", "XANDER: Absolutely.", "TARA: You sure?", "XANDER: Hey, I've done a lot of fleeing on these mean streets. I know all the shortcuts.", "ANYA: I don't like this. (points to something they pass that's on fire) Look, fire. Fire is rarely a sign of imminent safety.", "WILLOW: I wish we were there already.", "XANDER: Hey, hey, don't worry, ladies, I'll get us there just fine. My senses are primed for danger, and nothing's gonna- Xander yells in surprise as three demons on motorcycles come roaring up behind them. The demons ignore them, just ride around them and on down the alley. Xander stumbles back, rattled. The girls steady him.", "XANDER: (shaky) I'm okay. (pats himself) Four. Four limbs.", "ANYA: Well, at least the demons almost hit you on the way *out* of town.", "XANDER: Yeah, now that their leader's gone they seem to be making with the big skedaddle.", "WILLOW: (looks around nervously) I-it was Buffy, right? We, we saw her and it was really Buffy? They resume walking.", "ANYA: I think we screwed it up. She's broken.", "WILLOW: No! She's not broken! She's just ... disoriented from being ... tormented in some hell dimension. Probably tortured and ... It's like, we don't even know how much time has passed there for her, uh, possibly years. That's not something you just get over. Oh my God. What if she never gets over it?", "ANYA: And you think of this now?", "TARA: What are you thinking, Willow? That-that she's ... that she's not right, or, or maybe like, dangerous?", "Cut to Buffy and Dawn standing on a sidewalk. The street behind them is littered with debris from the demons' attack.", "DAWN: (nervous) Home! See? We see they're standing in front of their house, looking at it.", "DAWN: You're back home. We're all okay now. Buffy just stares, looking disheveled and unhappy. Wolf howl. Opening credits. Guest starring Amber Benson as Tara. Written by Jane Espenson, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on Buffy in the foyer as Dawn closes the front door behind them. Buffy moves toward the living room. Dawn turns on a light and Buffy winces in pain.", "BUFFY: Ow. Dawn watches anxiously as Buffy surveys the living room.", "BUFFY: It's different.", "DAWN: A little. Uh, Willow and Tara live here now, and, uh, we ... Shot of a photo of Joyce, in a frame on a table.", "DAWN: ...we didn't do much... Buffy stares at the photo.", "DAWN: We moved some of the chairs, and took out some of the little tables, but... Dawn trails off as Buffy turns and heads toward the dining room. Dawn turns and follows, turns on the light in the dining room.", "DAWN: This is the same. Except the computer stuff. Shot of a laptop computer set up at one end of the dining-room table.", "DAWN: That's Willow's, obviously. We eat at the other end... Buffy has already turned and walked off. Dawn turns and notices.", "DAWN: (softly, with self-disgust) Obviously. Dawn looks up the stairs after Buffy for a moment, then follows.", "Cut to a sink with faucet running, hands squeezing out a face-cloth. Pan up to reveal it's Dawn. She turns off the faucet and turns to Buffy, who stands staring at her reflection in the mirror. Buffy no longer wears her black coffin dress, but a loose white button-down shirt that is unbuttoned with a camisole underneath. Her hair is pulled back neatly. Dawn very carefully begins wiping Buffy's neck with the cloth.", "DAWN: There you are. Knew you were under that dirt somewhere. (nervous laugh) Buffy doesn't react, just stares at her reflection. Dawn looks nervous, turns back to the sink, then back to Buffy.", "DAWN: (false cheer) You remember what Mom used to say? \"Either wash that neck or plant potatoes.\" (Buffy still doesn't react) Yeah, I never thought it was funny either. Dawn indicates Buffy's shirt.", "DAWN: You want to button that, or, um... Buffy looks down. Shot of her hands, which are still bloody. Dawn notices them for the first time.", "DAWN: Ohh ... ow. Dawn gently lifts Buffy's hands to look at them. Buffy jerks them back.", "DAWN: Um, we'll ... take care of that after.", "BUFFY: Okay.", "DAWN: Here, I'll do the shirt. (begins buttoning the shirt) And then, then we'll do your hands. Buffy frowns, looks around.", "DAWN: See how nice you look... Buffy walks away before Dawn can finish buttoning. Dawn watches her go, looks upset.", "Cut to Buffy walking into Willow and Tara's room. Dawn enters behind her, turns on the light. Again Buffy winces.", "DAWN: Mom's room. (walks closer to Buffy) I know it's really different now.", "BUFFY: Willow and Tara. This is their room.", "DAWN: Yeah, well, it seemed to make the most sense. No one was using it, and it's the biggest. But, you know, now that you're here, we'll have to figure out something to do. Buffy has turned to leave again. Dawn sighs, moves to block her way.", "DAWN: (frustrated) Buffy? You wanna, like, stop? (hopeful) We can ... we can sit down and talk.", "BUFFY: What else is different?", "DAWN: (sighs) Do you mean about the house, or... Buffy kind of shrugs, doesn't look at her.", "DAWN: Um. Let's see ... Giles. It's so weird. He, he left today. Because you were ... (Buffy doesn't appear to react) He, he'll come right back, I'll call him. Someone'll call him.", "BUFFY: What...", "DAWN: What what? Buffy seems to be drifting in and out of attention. She snaps out of it again.", "BUFFY: Uh ... What, um ... will you say to him? Sound of a door opening downstairs. Buffy goes on full alert, looks around anxiously.", "BUFFY: What's that?", "DAWN: It's okay. It's okay. SPIKE:(O.S.) Dawn! Dawn! Are you there?", "DAWN: (to Buffy) It, it's just Spike. (calls) I'm here! Dawn gives Buffy a look, heads out. Buffy follows.", "Cut to the foyer. Shot from above as Spike slams the door angrily, looking up the stairs at the camera.", "SPIKE: Thank God. You scared me half to death ... or more to death. You - I could kill you. Dawn walks slowly down the stairs, giving Spike a look, trying to clue him in.", "DAWN: Spike.", "SPIKE: I mean it. I could rip your head off one-handed and drink from your brain stem. Dawn reaches the bottom of the stairs. Spike finally realizes something is up.", "DAWN: Look. Dawn turns back and we see Buffy coming down the stairs behind her.", "SPIKE: Yeah? I've seen the bloody bot before. Didn't think she'd patch up so- He breaks off, staring at Buffy. She continues down the stairs, returning his gaze.", "DAWN: She's kind of, um ... She's been through a lot ... with the ... death. But I think she's okay. Buffy suddenly notices her shirt is still unbuttoned, begins buttoning it. Dawn looks at Spike, who continues staring in disbelief.", "DAWN: Spike? Are *you* okay?", "SPIKE: I'm ... what did you do?", "DAWN: Me? Nothing. Buffy clutches the top of her shirt closed, looks up at Spike a little fearfully.", "SPIKE: Her hands. Buffy lowers her hands, puts them behind her back, looks uncomfortable.", "DAWN: Um, I was gonna fix 'em. I don't know how they got like that.", "SPIKE: I do. Clawed her way out of a coffin, that's how. (to Buffy) Isn't that right?", "BUFFY: (quietly) Yeah. That's ... what I had to do.", "SPIKE: Done it myself. Throughout this, Spike continues staring at her as if he thinks he's dreaming. Now he snaps out of it.", "SPIKE: Um ... We'll take care of you. Come here. He puts out his arm and guides Buffy into the living room.", "SPIKE: (to Dawn) Get some stuff, uh, mercurochrome, bandages.", "DAWN: Okay. Dawn goes off. Spike follows Buffy into the living room. She sits on the sofa and he sits on the coffee-table facing her. He takes her hands in his and looks at them. Then he looks up at her face and their eyes meet.", "BUFFY: How long was I gone?", "SPIKE: Hundred forty-seven days yesterday. Uh ... hundred forty-eight today. (smiles a little) 'Cept today doesn't count, does it? Buffy doesn't respond. He looks at her hands again, then back at her face.", "SPIKE: How long was it for you ... where you were?", "BUFFY: (pause) Longer. Dawn reappears from the kitchen carrying medical supplies.", "DAWN: Got the stuff. As she enters the living room, the front door bursts open and the others rush in.", "WILLOW: Is she here?", "ANYA: She's here!", "WILLOW: You're here.", "XANDER: We didn't know where you were.", "ANYA: You ran away.", "WILLOW: Buffy!", "TARA: Are you okay? The above goes by very fast as Buffy and Spike are standing up. Spike moves aside with a disgusted expression.", "DAWN: (shocked)You knew she was back? In the background we see Spike exit out the front door, but no one notices.", "DAWN: How did you know?", "ANYA: (to Buffy) You're not a zombie, are you?", "XANDER: Anya!", "WILLOW: Are you in pain?", "XANDER: What do you remember?", "TARA: What do you know about what happened? Buffy sits back down, looks like she can't handle the barrage of questions.", "DAWN: Hey! Back off! The Scoobies look at Dawn in surprise.", "DAWN: You did this. What did you do?", "WILLOW: A spell. We, we did a spell.", "ANYA: We didn't think it worked, but-", "DAWN: Is she going to be okay?", "BUFFY: I'm okay. Everyone looks at Buffy. Shot of the Scoobies from her perspective: towering over her, looking a little menacing.", "BUFFY: I'm gonna be fine. I remember. You brought me back.", "ANYA: What was it like?", "BUFFY: I, I can't...", "XANDER: It's okay. You don't have to talk about this, Buff. Hey, do you want something? Anything. Pizza. I'll get you pizza.", "ANYA: Buffy likes pizza.", "TARA: Yeah, something to eat-", "WILLOW: She doesn't want pizza.", "TARA: I just meant-", "DAWN: (sharply) Guys! Back off. Beat.", "WILLOW: Right, uh, Dawn's right. We should just be quiet, and let Buffy tell us what she needs. Another shot from Buffy's POV of the foursome staring down at her. She looks uncomfortable, gets up.", "BUFFY: I, I think I ... just wanna go to sleep.", "TARA: That's a good idea. You, you should sleep.", "WILLOW: Right. Long day. But, Buffy ... be happy. (big smile) We got you out. We really did it. Buffy looks at them, still uncomfortable.", "BUFFY: (apologetically) Tired.", "ANYA: Well, yeah. I mean ... jet-lag from hell has gotta be, you know, jet-lag from hell.", "BUFFY: (toward Dawn) My room is still...", "DAWN: Yeah. Yes. It's your room. Buffy exits. The others watch her go, then look at each other.", "WILLOW: (defensively) Well, she, she's fine! Normal! She used to go to bed all the time!", "Cut to: exterior Summers house, night. Anya and Xander come out, cross the porch and begin down the stairs.", "ANYA: I think Willow's wrong. I don't think she's particularly normal at all.", "XANDER: Well, she just got back. Give it time. I bet in a week she'll be our little Bufferin again.", "ANYA: Oh yes, cause six or seven days, that's all you really need to get over eternal hell experiences. Xander hears something, looks off to the left.", "XANDER: Who's that? Spike? We see Spike leaning against a tree, his back to them. He lifts a hand and wipes his eyes. Xander and Anya come closer.", "XANDER: What are you doing out here? I hope you're not going to start your little obsession now that she's around again. Spike grabs Xander and spins him around, slams him up against the tree and holds him there.", "ANYA: Hey!", "SPIKE: You didn't tell me. You brought her back and you didn't tell me.", "XANDER: Well, now you know.", "SPIKE: I worked beside you all summer.", "XANDER: We didn't tell you. It was just ... we didn't, okay?", "SPIKE: Listen. I've figured it out. Spike lets go of Xander but doesn't move away, continues glaring at him.", "SPIKE: (angrily) Maybe you haven't, but I have. Spike still has tears in his eyes. He points toward the house.", "SPIKE: Willow knew there was a chance that she'd come back wrong. So wrong that you'd have ... that she would have to get rid of what came back. And I wouldn't let her. If any part of that was Buffy, I wouldn't let her. And that's why she shut me out.", "XANDER: What are you talking about? Willow wouldn't do that.", "SPIKE: (sarcastic) Oh. Is that right.", "XANDER: Look. You're just covering. Don't tell me you're not happy. (Spike scoffs) Look me in the eyes, and tell me when you saw Buffy alive, that wasn't the happiest moment of your entire existence. Spike gives Xander a \"you just don't get it\" scowl, turns and walks off.", "SPIKE: (as he walks) That's the thing about magic. There's always consequences. We see the motorcycle that Spike acquired in \"Bargaining\" sitting on the street in front of the house. Spike gets on it.", "SPIKE: Always! He starts up the bike and rides off as Xander and Anya watch.", "Cut to Buffy's room. She stands in front of the mirror, still dressed, staring blankly at her reflection. Sound of a door closing. Buffy starts, looks toward the hallway.", "Cut to the hallway. Willow, wearing pajamas, walks from the bathroom to her room.", "Cut to Willow and Tara's room. Tara is brushing her hair in front of a mirror. Willow enters.", "WILLOW: Hey.", "TARA: Did you get through to London?", "WILLOW: Yeah. He's gonna head back as soon as he can. I'm not sure, like maybe a couple days.", "TARA: (stops brushing hair, turns to Willow) How did he take it?", "WILLOW: (rubbing lotion on her arms) Um ... I'm not sure. I mean ... glad, but ... kinda weirded out, which I get, you know? Lots of \"dear lords\". And I think I actually heard him cleaning his glasses. Tara smiles, turns and takes off her robe.", "TARA: Are you worried?", "WILLOW: Worried? Tara, it worked fine. (not convincingly) It's all good.", "TARA: (gets into bed) Hey, Will, this is me. It doesn't all have to be \"good\" and \"fine.\" This is the room where you don't have to be brave. I still love you. If you're worried you can be worried.", "WILLOW: Well ... I'm not ... unworried. I mean, what, what happened, that was intense. (closes the door) That's ... gotta change you. Willow turns off the light, gets into bed with Tara.", "WILLOW: When Angel came back ... Buffy said ... he was wild. Like an animal.", "TARA: Buffy's not like that.", "WILLOW: Yeah.", "TARA: But?", "WILLOW: (points at her head) It's just kinda ... noisy up here tonight, you know?", "TARA: Yeah. Tara snuggles up to Willow, puts her face next to hers and an arm across Willow's middle.", "TARA: Is this better?", "WILLOW: (smiles) Yeah. I think it makes things quieter in here. They lie cuddled up together. Willow lightly stroking Tara's bare arm.", "TARA: You know what I think? I think we all just assumed crash positions.", "WILLOW: Huh?", "TARA: It's, it's, it's like ... we were all tensed up, like ... we were expecting it to screw up. We weren't prepared for it to ... actually go right.", "WILLOW: Yeah. Beat. Willow continues staring at the ceiling.", "WILLOW: Tara?", "TARA: Yeah?", "WILLOW: If things did go right ... wouldn't you think she'd be ... happier? Like, wouldn't you think she would be so happy that we brought her out?", "TARA: Sure she is. Willow isn't convinced.", "TARA: You thought she'd say thanks. Be more grateful.", "WILLOW: Would I be a terrible person if I said yes?", "TARA: Give her time. She'll get there.", "WILLOW: Right. No need to be in a big furry hurry.", "TARA: Exactly.", "Cut to Buffy's room. She is now sitting on the bed, still dressed.", "TARA VOICEOVER: I'm sure it's okay. Buffy gets up, picks up a picture from the bedside table. Close shot of the photo of Buffy, Xander, and Willow all smiling. She puts it back, goes over to the wall. There's a bulletin board covered with more pictures of the Scoobies in various combinations, all smiling.", "Suddenly the images change: all the flesh melts away and the smiling faces become dead skeleton faces. Buffy closes her eyes in anguish, opens them again. The photos are back to normal. Buffy stares at them. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the Summers house, night. Shot of Willow and Tara's bed. They are asleep. Suddenly something crashes against the framed picture above the bed. The glass shatters and falls on Willow and Tara. They both sit up.", "WILLOW: Buffy? We see Buffy silhouetted at the foot of the bed, lit by moonlight.", "BUFFY: (low hoarse voice) What did you do? Do you know what you did? You're like children. (Willow and Tara sitting up in bed staring in fear) Your hands smell of death. Bitches! Filthy little bitches, rattling the bones. Did you cut the throat? Did you pat its head? Buffy grabs a crystal ball off a nearby table and throws it at them. Willow and Tara shriek as it smashes on the wall above their heads.", "BUFFY: (shouts) The blood dried on your hands, didn't it?", "TARA: Oh my god, oh my god.", "BUFFY: (shouts) You were stained. You still are. I know what you did! Willow jumps out of bed and turns on the lights. Shot of the room. It's empty except for Willow and Tara. Buffy is gone. Tara looks at the bed she's lying on.", "TARA: The glass. There's no glass.", "Cut to Buffy's room. It's dark. A sliver of light appears as the door opens, revealing Buffy asleep in bed. We see Willow and Tara standing by the door. They exchange a look, then Willow pulls the door shut. Buffy doesn't wake. Cut back to Willow and Tara's room. They reenter.", "WILLOW: (quietly) Okay, what in the frilly heck is going on?", "TARA: Maybe we dreamed it.", "WILLOW: (closing the door) Right. Right. Wrong! (points at her head) Different brains.", "TARA: Oh yeah. Tara goes to the table and touches the crystal ball, which is intact.", "TARA: Well ... what was it talking about? Did you understand it?", "WILLOW: Well, I understood the words, but ... no. Suddenly Tara sees something behind Willow, gasps in fear. Willow turns to look. We see some kind of distortion on the wall, moving across the wall toward the door, and then it's gone. WILLOW:What was that?", "TARA: There's, there's something in the house.", "WILLOW: What is it after? Is it ... Buffy?", "TARA: I don't know.", "WILLOW: That's it, I'm gonna call. (grabs the phone) I hope Xander's up.", "Cut to Xander and Anya's bedroom. Anya leans over Xander in the bed.", "ANYA: Xander, are you up? I can't sleep. (pause, no response) Play a word game with me. Still no response. Pan out until we can see Xander lying there asleep beside Anya.", "ANYA: Xander, are you awake? Okay, I'm going to describe an adjective with accurate but misleading clues, and then you have to guess what it is. (pause) Xander? (pokes him) Xander? Still nothing. Then the phone rings. Xander is immediately awake.", "XANDER: Huh? What? Do what?", "ANYA: (exasperated, lies back) That oughta do it. Xander reaches across her and grabs the phone.", "XANDER: (into phone) Hello?", "WILLOW: (on phone) Xander, it's me, Willow. (Anya gets out of bed, walks off) We were just attacked.", "XANDER: Attacked? A vampire? Cut back to Summers house. We see Willow and Tara huddling over the phone.", "WILLOW: No, it was Buffy. Or something that looked like her. Cut back to Xander's bedroom. He sits up on the edge of the bed.", "TARA: (on phone) Like she was possessed. Cut back to Willow and Tara.", "WILLOW: And then she just disappeared, a-and, and we saw something... a little ... there's something in the house. Back to Xander's room. In the background we see Anya moving around in the kitchen.", "XANDER: (slurred) In the house? All right, Willow, you need to get out of there, just get everyone out. Suddenly we see Anya with her eyes glowing greyish-white. She laughs a weird laugh and moves toward Xander.", "XANDER: (into phone) Wake up Buffy and Dawn. Don't make a big deal- We see Anya still moving toward him. She has a knife and is using it to cut her face. She continues laughing. Xander looks up and sees her.", "XANDER: Gah! He jumps up, grabs the knife. Anya crumples to the floor unconscious. Her cheeks are unmarked.", "XANDER: Anya! He kneels beside her.", "XANDER: Anya! Shot of Anya's feet with Xander's foot beside them. A weird bulge appears in the carpet and moves away from them, into the kitchen.", "WILLOW: (on phone) Xander? Xander!", "Cut to the next day. Close on Xander's face.", "XANDER: Very bad. Very, very, very bad. Bad. Pan out to reveal they are sitting on lawn chairs in the Summers' backyard. Anya sits on the arm of Xander's chair, rubbing his back.", "ANYA: (to Willow and Tara) He's all traumatized.", "WILLOW: Well, whatever it is, it's not the, the traditional haunting, because i-it's not limited to one specific place, and there's not, you know, a dead person.", "TARA: Not any more.", "ANYA: I bet it's a hitchhiker.", "XANDER: A hitchhiker?", "ANYA: Um, standard way to travel through dimensions. Uh, some demon-thing sees someone moving between worlds, and grabs on for the ride.", "WILLOW: You mean like, some hell-beastie rode in with Buffy? Like ... we're responsible for this?", "TARA: Assume crash positions.", "ANYA: I think we shouldn't've brought Buffy back. I knew it was going to end badly. I should've said something.", "XANDER: Okay, fine, but ... what are we gonna do? I mean, I'm feeling the need for some vigorous doing, you know?", "WILLOW: It's okay. We, we just kill the beastie and then all is good. We're rolling in puppies! ... Right?", "XANDER: Can we do that? Kill it?", "BUFFY: (OS) We killing something? They all look up in surprise. Buffy stands there in jeans and a shirt, holding a coffee mug.", "WILLOW: Buffy! You're not supposed to be up.", "TARA: How, how are you feeling? Are you okay?", "BUFFY: So what are we killing?", "ANYA: A demon you brought back from Hell with you. (Willow gives her an angry look)", "BUFFY: Oh.", "WILLOW: It's not like she's making it sound. A little haunting-type stuff. Boo-scary, everything's normal.", "TARA: You shouldn't worry about it.", "BUFFY: Um, I remember something, last ... night, uh... She trails off, loses focus. They all stare for a moment, waiting for her to continue.", "XANDER: Buff?", "BUFFY: (snaps out of it) Um ... the photographs. O-of us. They changed.", "TARA: How did they change?", "BUFFY: They were ... dead. I-I-I mean, we were dead. Like, um ... dead bodies? But, but then they were okay. So I just, you know, figured it was me. That I was going crazy.", "ANYA: Well, maybe you are. Going crazy. From Hell. Willow gives Anya another angry look.", "ANYA: (fake scoff) No. You're fine.", "WILLOW: You are. And Buffy, we're, we're so glad.", "XANDER: Yeah. This thing, this haunting thing, we'll fix it, and then we'll still have you back, which is ... it's so important.", "WILLOW: Yes.", "TARA: It's wonderful. Buffy takes all this in stone-faced.", "BUFFY: We should get to work.", "Cut to: interior magic shop. We see Willow, Tara, Xander, and Anya sitting around the table looking at books. Willow is writing. Dawn stands behind Willow, looking over her shoulder.", "DAWN: What's the list?", "ANYA: Possible hitchhikers.", "XANDER: Demons that might have come out of Hell at the same time Buffy did.", "DAWN: (reads) \"Skaggmore demons, Trellbane demons, Skitterers, Large and Small Bone-Eaters\" ... If we get to pick, I say we go with the Small Bone-Eaters.", "ANYA: Well, that just means they prefer to eat things with small bones, like you.", "WILLOW: That's just what we have so far. Five species of demons that have been known to move transdimensionally. Two of them may be invisible in this dimension, and, uh, two others can perform spells to alter perception.", "ANYA: Well, that's four. What's the other one like?", "TARA: Uh, like the others, only dripping with viscous fluid.", "DAWN: Eww.", "XANDER: So, should we concentrate on how to kill those, or should we try to find more?", "WILLOW: I'm not sure. Maybe ... maybe some of us can, uh, keep going finding more, and the others--", "BUFFY: I miss Giles. We see Buffy sitting across the table from Willow.", "WILLOW: Oh. He's coming back, I talked to him. I know I'm a kind of poor substitute, but until then, we'll get it done. Buffy looks around at them. They all look expectantly at her.", "BUFFY: I think I should patrol. She puts her book down and stands. Willow looks hurt.", "WILLOW: Well, I know we'll find something soon.", "BUFFY: Yeah. Buffy heads out.", "XANDER: Uh, do you want us to go with you?", "ANYA: We can do that.", "BUFFY: No. I-I need to go. Sorry.", "DAWN: You should go. Buffy goes up the stairs and out.", "DAWN: (OS) I'll be safe here with the others. Don't worry about me. Close-up on Dawn's face. Her eyes glow greyish-white. She smiles evilly. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on a graveyard, night. Buffy walks slowly along, looking distracted.", "Cut to the magic shop. Anya enters, carrying cups of coffee.", "ANYA: I found one of those 24-hour places for coffee. Remember that bookstore? Well they became one of those books-and-coffee places, and now they're just coffee. It's like evolution, only without the getting-better part. She goes to the table where the others are still researching. Xander rubs his face, looking tired. Dawn stands a little ways back at the bookcase.", "ANYA: Uh, coffee, coffee, coffee, um, hot chocolate for Dawn. (to Dawn) You're too young for coffee. Dawn turns around and we see that her eyes are still white.", "DAWN: Idiot. Everyone turns to look at Dawn in surprise.", "ANYA: You can have my coffee.", "DAWN: (low hoarse voice) All of you did it. You stupid children. (the other all staring at her) Did you think the blood wouldn't reach you? I smell the death on you. Look at what you've done! Dawn opens her mouth and fire shoots out at the others. They all dive aside. The flames set some of the books on the table afire. Dawn collapses on the ground. Xander jumps up.", "XANDER: Fire! Fire! Fire!", "TARA: Dawn! Xander grabs a cushion from a chair, uses it to beat out the flames. Anya bends over Dawn.", "WILLOW: Oh my god, oh my god. Willow goes to Tara and Dawn. Xander finishes putting out the fire. Willow and Tara pull Dawn to a sitting position.", "WILLOW: That was it. Li-like Buffy, with fire. We see the bulge thing under the floor, moving away.", "XANDER: Is she okay?", "ANYA: Did I look like that? I hope I didn't look like that.", "WILLOW: No, I'm sure you looked really glamorous cutting up your face. Dawn comes to.", "DAWN: What ... what is it? What's happening?", "WILLOW: You'll be okay.", "ANYA: I bet you'll experience some dry-mouth. (they all look at her) Fire.", "DAWN: Was it ... did the demon thing have me?", "TARA: It's okay. It's okay.", "XANDER: Yeah. It's gone.", "ANYA: Yes, but where did it go? I mean, evil things have plans. They have things to do.", "Cut to: interior of Spike's crypt. We're in the lower level. Spike paces back and forth restlessly. We see that there's more furniture now: a chair, a bookcase with a lamp on it, etc. Spike paces a bit, then suddenly turns around and punches the wall. He laughs a little, looks at his bloodied hand, laughs some more, a little hysterically. A noise from upstairs. Spike looks alarmed, picks up a dagger and removes it from its sheath. He goes to the ladder and climbs up.", "Cut to above. Spike emerges, moves slowly and quietly into the crypt, holding the dagger by his side. We see a person standing by a table, looking at some magazines that are spread out.", "SPIKE: Buffy. Buffy turns around and looks at him. Her expression is still basically blank.", "SPIKE: (quietly) You should be careful. Never know what kind of villain's got a knife at your back.", "BUFFY: Your hand is hurt.", "SPIKE: Hmm. (nods toward her hands) Same with you.", "BUFFY: (looks down at her hands) Right. Buffy just stands there. Spike looks at her, seems uncomfortable, not sure what to do. He walks over to the wall and puts the knife down.", "SPIKE: Willow's getting pretty strong, isn't she? Bringing you back. It's hard to get a good night's death around here. He tries a little laugh but gets no response.", "SPIKE: You can sit down. Got furniture. Buffy sits on a chair.", "SPIKE: You should see the downstairs, too, it's quite posh. She looks at him, doesn't say anything. Spike walks over, sighs, sits on the edge of a table across from her. Buffy just stares at him.", "SPIKE: Uh ... I do remember what I said. The promise. To protect her. (pause) If I had done that ... even if I didn't make it ... you wouldn't have had to jump. Beat. Buffy still doesn't react, just sits there looking at him.", "SPIKE: But I want you to know I did save you. Not when it counted, of course, but ... after that. Every night after that. I'd see it all again ... do something different. Faster or more clever, you know? Dozens of times, lots of different ways ... (softly) Every night I save you.", "Cut to: interior magic shop. Xander stands by the window, peering through the blinds. Tara comes over.", "XANDER: It's getting light out. Buffy's probably on her way home from patrolling.", "TARA: I like sunrise better when I'm getting up early than when I'm staying up late, you know? It's like ... I'm seeing it from the wrong side.", "XANDER: (nervous) Hey, Tara, this is probably crazy ... but Spike got me to thinking. This spell we did ... it's having consequences, isn't it? I mean ... it sure seems like it. And I was just wondering ... did you know that this might happen?", "TARA: No!", "XANDER: Do you think ... could someone have known?", "TARA: Willow is a talented witch, and she would never do anything to hurt anyone.", "XANDER: I know, I know, huh? (raises his hands) Backing off quickly, hands in the air. (sighs) I just meant-", "WILLOW: Thaumogenesis! Xander and Tara look over at Willow, who is at the counter, still looking through the books. We see Anya and Dawn with their heads on the table, jerking awake at Willow's shout.", "ANYA: She's possessed!", "WILLOW: Thaumogenesis.", "DAWN: (to Anya) You're right. Xander and Tara go over to Willow.", "WILLOW: I'm not possessed. I-I think I figured it out. This demon, i-it's not a demon we let out. It's, it's a demon that we made.", "XANDER: We made a demon? Bad us.", "WILLOW: Thaumogenesis is when doing a spell actually creates a being. In this case it was like, a, a side-effect, I guess. Like a price.", "DAWN: What?", "WILLOW: Think of it like, the world doesn't like you getting something for free, and we asked for this huge gift. Buffy. A-and so the world said, 'fine, but if you have that, you have to take this too.' And it made the demon.", "ANYA: Well, technically, that's not a price. That's a gift with purchase.", "DAWN: Um, but, if we made the demon, how come we can't see it? I mean, all we see is us. Doing stuff.", "WILLOW: Well, I, I think it's out of phase with this dimension. Like, its consciousness is here, but, but its body is caught in the ether between existing and not existing.", "TARA: It doesn't have a body, so it's borrowing ours. I-it borrowed Dawn and Anya...", "WILLOW: Or, or it's manifesting copies of them, like, like it did when Buffy came at us...", "TARA: It's using them to do stuff. To scare us, attack us.", "XANDER: So we need to uncreate it, right? We need to send it the rest of the way out of our world.", "WILLOW: Uh-huh. Except that ... it's linked to the spell. So, if we sent it away ... it would be like the spell doesn't exist. Like it never happened.", "DAWN: Like it never brought Buffy back.", "WILLOW: (softly) Yes.", "DAWN: You can't do that. (stands) You can't think for a second that you're going to do that.", "TARA: Dawn- Dawn walks over to Willow.", "DAWN: If you think you can give her back to me and then take her away again? No. That's worse than if you'd never brought her back. You can't mess with people's lives this way!", "WILLOW: Dawn, we're not going to do it that way.", "DAWN: (to the others) How can you let her do this? How can you even talk about letting her go?", "TARA: Honey, you're not listening. She said we will find another way.", "XANDER: We will.", "DAWN: Then do it! Willow has turned back to her book.", "WILLOW: Wait. Wait. Dawn. Everybody hold on. (smiles)", "ANYA: What? Why are you smiling? That's inappropriate.", "WILLOW: Because it's temporary.", "XANDER: What is?", "WILLOW: The demon. I-it's gonna dissipate. The only way for it to survive on this plane is if it were to kill the subject of the original spell.", "TARA: It would live if it killed Buffy?", "WILLOW: That's not gonna- Xander lifts his head and we see that his eyes are white.", "XANDER: Thanks for the tip. He collapses to the floor. Again we see the little bulge move across the floor toward a wall.", "Cut to: interior of the Summers house, night. Buffy opens the door and comes in, puts her keys on the table, starts up the stairs. Behind her, we see a white mist. It slowly coalesces into a vaguely human shape, reaching out arms toward Buffy as it moves up the stairs after her. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on Buffy's darkened bedroom. Buffy comes in. She pauses to look at the pictures on the wall again.", "DEMON: (whispery voice) You don't belong here. Buffy turns to see the demon-mist floating in. Buffy punches at it, but her fist just goes through it. It shoots out a tendril and hits her, and she flies back against some furniture. She recovers her balance, turns back around, and looks around in confusion. The mist reappears and Buffy punches at it again. The mist swirls around her and re-forms behind her. She turns and punches again. Still nothing. The demon hits her again and she stumbles out the door into the hallway, into the opposite wall. She turns and looks back at the door into her room. The mist is gone. Buffy walks cautiously back into the room.", "DEMON: (O.S.) Did they tell you, you belonged here? The mist reappears in front of Buffy, puts out a hand. She tries to grab the wrist, seems to almost have it, but then her hand just goes through it.", "DEMON: Did they say this was your home again? It disappears again, reappears. Buffy hits at it with no effect. It swirls around behind her while she's still looking for it in front of her.", "DEMON: Were you offered pretty lies, little girl? It swirls around her and wraps around her waist. It seems to be crushing her.", "DEMON: Or did they even give you a choice?", "Cut to Xander's car driving down the dark street. Xander is driving, Anya in the passenger seat, and Dawn in the back seat.", "DAWN: Xander! Drive faster!", "XANDER: I can't!", "DAWN: I could drive faster and I can't drive!", "ANYA: She's right, you're like a snail. A snail who's driving a car very slowly. Come on, give it the lead foot! We've got to help Buffy with that demon you sent after her!", "XANDER: I did not send the demon, I was possessed. The demon used me to eavesdrop on our conversation.", "ANYA: Great, so now what? We have to talk in some sort of anti-demon secret code?", "XANDER: Ood-gay idea-yay, An-yay.", "DAWN: Stop talking wrong in Pig Latin and drive! Buffy's in trouble!", "XANDER: It's okay, Dawnie. Willow and Tara are doing a spell.", "DAWN: You sure it won't send Buffy back?", "XANDER: No, of course not. It's just that she can't fight this thing if it's all ... misty, so they make it more solid, so Buffy can kick its fully embodied ass.", "DAWN: You sure it'll work?", "Cut to the magic shop. Willow and Tara sit on the floor facing each other, holding hands. Candles are lit around them.", "WILLOW/TARA: Child of words, hear thy makers. Child of words, we entreat. With our actions did we make thee, to our voices wilt thou bend. Cut back to Buffy's room. Buffy is still struggling in the grip of the demon, squeezing her around the stomach. She curls her hands into fists and manages to break free, swings at the demon. It hits her and she falls on the bed, rolls off the side onto the floor. The demon stands still. It seems to be becoming more solid. Buffy lies on the floor, stares up at it. Cut back to the magic shop.", "WILLOW/TARA: With our potions thou took motive, with our motions came to pass. We rescind no past devotions, give thee substance, give thee mass. Cut back to Buffy's room. She reaches under the bed and produces a battle-axe, starts to get up.", "DEMON: You're the one who's barely here. Set on this earth like a bubble. Buffy swings the axe at the demon without any effect. And again. The face is a little clearer now. The demon stops swirling and confronts Buffy. For the first time we can actually see its mouth move when it talks.", "DEMON: You won't even disturb the air when you go. Xander, Anya, and Dawn rush in, see the demon and react with fear. Buffy turns and sees them.", "BUFFY: Go! Take Dawn out of here! Cut back to the magic shop. Willow has her eyes closed and her face turned upward. Tara continues chanting, not realizing that Willow has stopped.", "TARA: Child of words, hear thy makers. Child of words, we en...treat... Tara trails off as she notices Willow. A haze of golden light gathers around Willow. She pulls her hands out of Tara's. Her eyes snap open. They are completely black.", "WILLOW: Solid. Cut back to Buffy's room. The demon suddenly becomes fully solid. It looks like the rotting corpse of a woman, taller than Buffy. Buffy tries to hit it with the axe but the demon grabs the axe handle. They struggle over it for a moment, then the demon lets go and hits Buffy, making her drop the axe. She turns back and the demon hits her again. Buffy goes down. Xander, Dawn, and Anya are still in the doorway, watching fearfully, clutching each other. Buffy picks up the axe, jumps up from the floor, and swings. Shot of the demon's head bouncing across the floor. Xander, Dawn, and Anya all give little yelps of dismay. Dawn turns her face away, grabbing Xander's arms. Buffy looks down at the demon's body (which we don't see).", "DAWN: (to Xander) That's probably the sort of thing I'm not supposed to see, right? Anya pats Dawn on the shoulder.", "Cut to: overhead shot of Sunnydale, day.", "Cut to: exterior shot of the Summers house. It's a bright sunny day, birds chirping, etc. Dawn comes out the front door, dressed for school. She walks down the steps, starts down the walk. Buffy opens the door.", "BUFFY: Dawn! Dawn turns back.", "DAWN: (alarmed) What's wrong? Buffy comes down the stairs, holding a brown paper bag.", "BUFFY: Lunch.", "DAWN: (smiling happily) You made me lunch? (takes the lunchbag) Wow. Thanks.", "BUFFY: (solemn) You better go. You've been out since ... I got back. And you know what they say. Those of us who fail history? Doomed to repeat it in summer school. They both give small smiles. Dawn hugs Buffy.", "DAWN: (whispers) Thank you. Dawn pulls out of the hug.", "DAWN: Are you okay?", "BUFFY: I'm going to start charging money for every person that asks me that.", "DAWN: Everyone's been doing that, huh?", "BUFFY: A little bit.", "DAWN: It's because they care about you a lot. When you were gone ... it was bad when you were gone. But it'll be better now. Now that they can see you being happy. (pause) That's all they want. Dawn turns and walks off. Buffy watches, thoughtful.", "Cut to: interior magic shop. Tara is sitting on a chair and Willow standing, both putting books on shelves. The door bell jingles. Willow turns and smiles.", "WILLOW: Buffy! Hey! Buffy enters, walks in. We see Xander and Anya there as well.", "XANDER: Hey, you get Dawn off to school all right? 'Cause I was thinking, if you need help picking her up, I...", "BUFFY: It's okay. I got it. (nervous) Look, you guys, um, there's this thing ... so I'm just gonna say it. They all look expectantly at her.", "BUFFY: You brought me back. I was in a ... I was in hell. I, um ... I can't think too much about what it was like. But it felt like the world abandoned me there. And then suddenly ... you guys did what you did.", "TARA: It was Willow. She knew what to do. (Willow looks embarrassed)", "BUFFY: Okay. So you did that. And the world came rushing back. Thank you. You guys gave me the world. I can't tell you what it means to me. Willow has tears in her eyes.", "BUFFY: And I should have said it before.", "WILLOW: (tearful) You're welcome. Willow hugs Buffy.", "XANDER: Welcome home, Buffy. Xander puts his arms around the two of them. They all hug. Buffy's expression is still less than thrilled.", "Cut to the back alley behind the magic shop. Buffy comes out, closes the door behind her, slowly walks a few steps, thinking.", "SPIKE: Buffy. Buffy looks up, sees Spike standing in the alley.", "BUFFY: (frowns) Spike, it's daylight and you're-", "SPIKE: Not on fire? (looks at the sky) Sun's low enough, shady enough here. Buffy folds her arms around her middle.", "SPIKE: I was gonna go inside, but I overheard you and the Super-friends exchanging a special moment and I came over a bit queasy. Buffy wipes hair out of her face, doesn't seem to be listening.", "SPIKE: Say, aren't you leaving a hole in the middle of some soggy group hug?", "BUFFY: Just wanted a little time alone. She walks over, sits on a packing crate a few feet away from Spike.", "SPIKE: Oh, uh, right then. He gets up, starts to walk away, reaches the line of shadow, realizes he can't leave the alley without going into the sunlight. He stops, squints at the sky.", "BUFFY: That's okay. I can be alone with you here.", "SPIKE: Thanks ever so. He gives a rueful smile, looks back at her.", "BUFFY: Right. Beat.", "SPIKE: Buff? ... Slayer? Are you okay? She isn't, but she composes herself and nods at him.", "BUFFY: I'm here. I'm good.", "SPIKE: (walks back to her) Buffy, if you're in ... if you're in pain ... or if you need anything... or if I can do anything for you...", "BUFFY: (looks down at her lap) You can't.", "SPIKE: Well, I haven't been to a hell dimension just of late, but I do know a thing or two about torment. He sits beside her.", "BUFFY: (still looking down) I was happy. Spike looks at her in confusion.", "BUFFY: Wherever I ... was ... I was happy. At peace. Spike stares, shocked.", "BUFFY: I knew that everyone I cared about was all right. I knew it. Time ... didn't mean anything ... nothing had form ... but I was still me, you know? (glances at him, then away) And I was warm ... and I was loved ... and I was finished. Complete. I don't understand about theology or dimensions, or ... any of it, really ... but I think I was in heaven. Spike continues to stare at her in dismay.", "BUFFY: And now I'm not. (almost tearful) I was torn out of there. Pulled out ... by my friends. (Spike continues staring, listening) Everything here is ... hard, and bright, and violent. Everything I feel, everything I touch ... this is Hell. Just getting through the next moment, and the one after that ... (softly) knowing what I've lost... She looks up, realizes Spike is still there. She looks uncomfortable, gets up. She walks just to the line where the shadows become sunlight, and pauses, but doesn't turn back to face Spike.", "BUFFY: They can never know. Never. She still doesn't look back at him, just continues walking into the sunlight. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon. THE END" ]

[ "Buffy faces financial problems while Warren, Andrew, and Jonathan team up in order to take over Sunnydale. They send a M'Fashnik demon to kill Buffy, whom they believe to be their biggest threat." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy entering the living room.", "BUFFY: Mom? Joyce lying on the sofa. Paramedics working on Joyce.", "PARAMEDIC: I'm sorry, your mother's dead. Buffy reacting.", "XANDER: Anya, you wanna marry me? Anya staring at Xander as he holds out the ring. Buffy running across the platform on the tower, jumping into the wormhole. The gang gathering around Buffy's dead body. Xander reading from Giles's note.", "XANDER: 'I've gone. Not one for long goodbyes, I thought it best to slip out quietly. Love to you all, Giles.' Giles at the airport, turning away.", "WILLOW: There he goes. Giles's plane taking off.", "WILLOW: Guys, I need you on board here.", "XANDER: This is deep stuff, Willow. We're talking about raising the dead.", "WILLOW: It's time we stop talking.", "TARA: What if something does go wrong?", "WILLOW: I can do this. I promise. But not without you. The ritual at Buffy's grave.", "WILLOW: Osiris, here lies the warrior of the people. Let her cross over! Willow surrounded by orange light.", "WILLOW: Release her! Buffy's corpse regenerating itself. Scruffy Buffy in an alley, backing away from the Scoobies.", "WILLOW: It was Buffy, right? We saw her, and it was really Buffy.", "ANYA: I think we screwed it up.", "WILLOW: No! She's just disoriented from being tormented in some hell dimension. Dawn, Buffy, and Spike in the house.", "DAWN: She's been through a lot.", "SPIKE: What did you do? Spike and Buffy in the alley.", "SPIKE: I haven't been to a hell dimension just of late, but I do know a thing or two about torment.", "BUFFY: Wherever I ... was ... I was happy. I think I was in heaven. I was torn out of there ... by my friends. Everything here is hard ... and violent. This is hell. She notices something, looks satisfied, walks over and stares upward. We see she's holding a wrench.", "BUFFY: So. We meet at last, Mister Drippy. Pan wider to reveal a pipe that's dripping water. Stairs to above are in the background. Buffy raises the wrench, climbs up on something and begins fitting the wrench to the pipe. Dawn appears from above, comes halfway down the stairs and sits on them.", "DAWN: Want me to call a plumber?", "BUFFY: (turning wrench with great effort) No.", "DAWN: You sure?", "BUFFY: Yes.", "DAWN: (holds up cordless phone) Got the number. Buffy turns to face Dawn, exasperated.", "BUFFY: Dawn, I'm on it, okay? Dawn shrugs skeptically. Buffy gives the pipe one last twist. The dripping stops. Buffy smiles with satisfaction.", "BUFFY: Ah. A beat. Groaning noises. Suddenly water begins to spray from a dozen different places all over the basement. Several jets of water spray directly on Dawn, soaking her. Dawn shrieks and runs up the stairs. Buffy stands still, sighs.", "BUFFY: There. All better. Wolf howl. Opening credits.", "Special Guest Star: Anthony Stewart Head. Guest starring Danny Strong, Adam Busch, Tom Lenk, Todd Stashwick, and Amber Benson as Tara. Written by Douglas Petrie and Jane Espenson, directed by Douglas Petrie.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on the kitchen, day. Dawn stands at the door to the basement, looking down. Sound of running water.", "DAWN: Man. How much water can they fit in one set of pipes?", "Cut to wider shot. We see Willow at the center island pouring a bowl of cereal, Tara moving around the kitchen. In the foreground we see Buffy staring at the sink as if mesmerized.", "TARA: If I understand right? The entire city water supply.", "WILLOW: It's like little clown cars in the circus.", "DAWN: (sitting at the island) Told you we should have called the plumber.", "BUFFY: (still staring) You were right. The plumber will make everything good. Close shot of what Buffy's staring at. It's the kitchen sink. The faucet is running. The water drains out normally. Buffy continues to watch the water flow.", "TARA: Dawnie, you're not eating breakfast? Dawn looks around at the food, makes a face.", "BUFFY: (still mesmerized by the faucet) Dawn, breakfast is the most important meal of the day. Dawn looks over at Buffy. Shot of Buffy's back (Dawn POV).", "BUFFY: (still distractedly) It's unbelievably important. You should eat breakfast at least three times a day. Another shot of the running water. Willow comes over and turns off the faucet, gives Buffy a concerned look. Buffy looks at her.", "DAWN: I'll, um, grab something before school. (Tara nods) Xander and another guy emerge from the basement. All the women turn to look at them.", "XANDER: And a big Sunnydale round of applause for Tito the Amazing, plumber extraordinaire.", "TARA: So how's everything looking down there?", "XANDER: Like we should start gathering up two of every animal.", "TITO: Basically, your pipes are shot. I mean, the whole system's gonna have to be replaced. What you need is a full copper re-pipe job. Willow comes over and Tito gives her a piece of paper.", "WILLOW: Full copper re-pipe? That sounds potentially pricey.", "TITO: Well, if you have any questions, our number's on the invoice. Tito pats Xander on the shoulder and exits. Dawn goes over to Willow, looks at the invoice before Willow pulls it away.", "DAWN: That's a weird phone number. Oh, wait. (to Xander) Is that the bill?", "XANDER: Hey. Tito cut you a good deal down there. Those are his bargain prices. I did a little haggling for you.", "BUFFY: Thank you. So we'll pay him, what's the big deal? The others exchange looks.", "WILLOW: Um ... Buffy, I-I know you're still getting back on your feet after...", "BUFFY: Lying flat on my back?", "WILLOW: Yeah. Uh, but there's some money stuff we're gonna have to talk to you about.", "Cut to the living room. Buffy sits on the sofa looking at piles of paper all over the coffee-table. She has some more paper in her hands. She gives a disbelieving laugh and throws the papers down.", "BUFFY: Okay ... so you're telling me I'm broke? We see Tara and Willow sitting across from Buffy, with Dawn in the background.", "WILLOW: Not yet, but ...", "TARA: Money's definitely becoming an issue.", "XANDER: As in your being almost out of it. We see Xander sitting beside Willow and Tara. Anya sits at a desk off to the side, writing something.", "BUFFY: But I haven't spent any money. I was all ... dead and frugal.", "WILLOW: I-I know, this comes as a bit of a shock after ... a bit of a shock, but ... it took us by surprise too.", "TARA: Your mother prepared everything really well. She had insurance ... (nervously) life insurance.", "XANDER: Which should have left you covered, but ... hospital bills.", "WILLOW: Pretty much sucked up all the money.", "ANYA: Which you're still hemorrhaging, by the way.", "BUFFY: (confused) How am I doing that?", "ANYA: No, not you, the house. Uh, see, this house, just sitting here, doing nothing, um, by itself costs money.", "DAWN: (worried) So, what do we do?", "BUFFY: Easy. We burn the house to the ground and collect the insurance. (Dawn continues looking worried) Plus, fire? Pretty. Everyone stares at her.", "BUFFY: You guys, I'm kidding. Okay, it's, it's bills, it's money. It's pieces of paper sent by bureaucrats that we've never even met. It's not like it's the end of the world. She thinks about that for a moment.", "BUFFY: Which is too bad, you know, 'cause that, I'm really good at. Dawn still looks worried.", "BUFFY: (to Dawn) I'll take care of this. I promise. I ... just don't know how yet. Anya looks like she really wants to say something. She pauses, takes a deep breath, speaks too loudly.", "ANYA: I know how. Everyone looks at her.", "ANYA: Um ... i-i-if you wanna pay every bill here, and every bill coming, and ... have enough to start a nice college fund for Dawn? (big smile) Start charging.", "BUFFY: (irritated) For what?", "ANYA: Slaying vampires! (Xander looks embarrassed) Well, you're providing a valuable service to the whole community. I say cash in. Awkward pause. Xander still looks uncomfortable. Anya doesn't pick up on it.", "BUFFY: (carefully) Well, that's an idea ... you would have. Any other suggestions?", "ANYA: (softly) Well, I mean, it's, it's not *so* crazy.", "DAWN: Yes it is! You can't charge innocent people for saving their lives.", "ANYA: Spiderman does.", "DAWN: He does not!", "ANYA: Does too.", "DAWN: Does no- Dawn stops herself, calms down a little.", "DAWN: Xander? Anya looks at Xander. He continues looking uncomfortable.", "XANDER: (reluctantly) Action is his reward. Dawn gives Anya a \"told you so\" look. Anya looks annoyed, stands up.", "ANYA: (angrily) Why don't you ever take my side? She exits.", "XANDER: What are you talking about, taking your side? Anya, I *am* your side! Xander runs out after Anya. Willow watches them go with a small smile, then turns to Buffy.", "WILLOW: You're throwin' away a gold mine.", "Cut to the street. Anya strides angrily down the sidewalk. Xander comes down the steps and hurries after her.", "XANDER: Come on! Wait up. Anya! He runs in front of her.", "XANDER: What's wrong with you?", "ANYA: Why don't you ask your best friend Spiderman? You know, if you're not going to support me-", "XANDER: I'm supportive! I'm totally supportive! I'm a flying buttress of support!", "ANYA: No you're not. She looks down. Xander sighs.", "XANDER: This is because I haven't told them yet about the engagement, isn't it?", "ANYA: (scoffs) No. Maybe. Yes! (whines) It's painful and confusing! I mean, first you, you give me this beautiful ring (holds up the box with the ring in it) ...and then I can't even wear it in public. I mean, do you know how depressing that is?", "XANDER: Anya, I promise, your waiting days are almost over. I, I know it's frustrating ... but the way I understand this marriage thing, it's kind of a forever deal.", "ANYA: Not if you never get started. (softly) I mean, don't you want to get married?", "XANDER: Yes.", "ANYA: So then why won't you tell them?", "XANDER: (sighs, gestures) Because ... I'm still getting used to the miracle of a steady paycheck. And getting out of my parents' house. And this ... this husband thing ... it's a big step. Or ... a lot of little ones. And ... and I love you so much ... I just want ... every step to be just right.", "ANYA: (hopefully) Really? He nods. Anya walks up close to him and kisses him. They put arms around each other and continue kissing for a long moment. Suddenly Anya pulls away.", "ANYA: (yells) Hey! You tricked me! Just now, w-with your fancy talk and, and lips! You keep doing this, and I keep forgetting, and you keep stalling! She turns and stalks off angrily.", "XANDER: Anya!", "ANYA: (continues walking) When are you going to grow up, Xander? Xander stares after her.", "BUFFY VOICEOVER: There's a first time for everything is my philosophy.", "Cut to Buffy sitting in an office. There are glass windows through which we can see people moving around. Buffy wears a conservative skirt-suit and her hair is pulled back in a neat bun. She smiles widely. The next series of sentences are intercut together in separate takes.", "BUFFY: This is my first big loan.", "(cut)", "Collateral? No problem.", "(cut)", "No problem.", "(cut)", "No problem.", "(cut)", "I love that tie.", "(cut)", "I'm a problem solver.", "(cut)", "Let's crunch those numbers! The final cut finds her staring down at herself looking annoyed.", "BUFFY: (mutters) Stupid skirt. She turns as a man enters the office. Buffy puts on her biggest smile, stands.", "BUFFY: Hello.", "MR. SAVITSKY: Sorry to keep you waiting. Carl Savitsky. Loan Officer. He sits behind the desk across from Buffy. She sits also.", "BUFFY: Buffy Summers. Loan applier-for. He smiles but doesn't seem amused. Buffy plunges on.", "BUFFY: I, I didn't know exactly what you would need, so, um, I brought everything. (hands him a thick folder) I'm very responsible in that way. He begins looking through the papers in the folder.", "MR. SAVITSKY: Okay. I don't think I'll need this ... or these. Old report cards, definitely not. Buffy smiles nervously. He continues looking at the papers, putting most of them aside.", "BUFFY: So ... about my getting a loan.", "MR. SAVITSKY: Yes, well, uh, it looks as if, financially, uh, we have a bit of a tangle.", "BUFFY: I know. And I figured you could just, you know, cut through that tangle with scissors. You know, where the loan is the scissors? (makes scissors motion with her hand)", "MR. SAVITSKY: (still not amused) Ms. Summers, the only collateral you have is your house, which was never fully leveraged, and has been losing equity over the last several years. For some reason, Sunnydale property values have never been competitive, and ... re-financing's out of the question... Buffy's face falls as she realizes the news is bad. He gives her a little sympathetic smile.", "BUFFY: Are you saying you won't give me my loan?", "MR. SAVITSKY: Well, the problem is, you have no income. No job. Suddenly the body of another man crashes through the glass window and lands on the desk. Sounds of screaming. Broken glass everywhere. Buffy jumps up, looks out at the main bank area. People are running around screaming. A large demon stands in the middle of the room. He gives a loud roar.", "BUFFY: (to herself) No job? (pouts) I wish. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the same scene. The demon is roaring and throwing people around.", "BUFFY: (OS) Hey! The demon turns around to find Buffy behind him.", "BUFFY: Are you in the wrong line? (points) That's for deposits, (points) that's for withdrawals, and this one ... is for getting kicked in the face. She goes to kick the demon but can't move her legs. Pan down and we see that her long, tight skirt is restricting her movements.", "BUFFY: (worried) Stupid skirt. The demon hits her, hard. She goes flying back through the glass-less window and lands on Mr. Savitsky's desk. Mr. Savitsky pokes his head up from hiding behind the desk. Buffy sees a pencil-holder on the desk with only one thing left in it.", "BUFFY: May I? Mr. Savitsky nods. Buffy takes out the letter-opener. She uses it to cut a slit in her skirt, freeing her legs. Puts the letter opener back and gets up. The demon comes forward and Buffy kicks him back. She blocks a couple of punches, kicks him again. He surges right back and she blocks a couple more punches, ducks another punch, punches him in the face. Fight noises continue as we see a close-up of someone's hands grabbing the money out of the teller drawers and putting it in a bag. We don't see the person's face, just the hands. Cut back to the fight. Buffy raises her hands to swing, and the demon grabs her, lifts her up onto his shoulder. She kicks and hits his back as he carries her. Suddenly we hear a gunshot. Both Buffy and the demon look over to a bank security guard standing there pointing his gun at them. He looks very nervous.", "GUARD: Put the girl down. The demon throws Buffy at the guard. She crashes into him and they both fall to the ground. As Buffy gets up to a sitting position, we see a couple of other male customers attacking the demon and getting quickly beaten up. Buffy picks up the gun.", "BUFFY: (to guard) These things? Never helpful. She tosses the gun away. In the background the demon is still fighting off various other people. The gun hits the floor and goes off. Buffy and the guard duck. The demon runs for the door, shoving another guy into Buffy's path as she tries to pursue him. By the time she gets the guy out of her way, the demon has escaped. Buffy stares after him in frustration. Then she gives a determined frown.", "Cut to Mr. Savitsky's office. Buffy storms in, puts her hands on the desk which is still covered with broken glass.", "BUFFY: (panting) Now, about my loan. Mr. Savitsky slowly raises his head to look at her. He's still hiding behind the desk.", "BUFFY: I'm not saying I'm charging you for saving your life or anything, but ... let's talk rates. Mr. Savitsky looks at her.", "Cut to: exterior shot of the Magic Box, night.", "WILLOW: (O.S.) He still turned you down?! That's crazy!", "Cut to inside. Buffy is punching the punching bag while Willow sits nearby talking.", "WILLOW: I mean, even if the bank did get robbed, which, you battling demons couldn't possibly know ... you would think there would be some kind of reward. Buffy continues hitting the bag hard and fast.", "WILLOW: But no, they're like, \"Oh, we're not gonna give you money unless you prove you don't need it.\" I mean, what kind of system is that?", "BUFFY: (pauses) You're asking the wrong gal. She resumes punching.", "WILLOW: (surprised) Hey. (gets down, goes over to her) Buffy, you're mad.", "BUFFY: (stops punching) You noticed. (shrugs) It'll pass. (resumes punching)", "WILLOW: No! Anger ... is a big, powerful emotion you should feel.", "BUFFY: (stops punching) Well ... that's good then. Buffy stands there, steadying the punching bag with her hands. She shrugs.", "BUFFY: It's gone now.", "WILLOW: Okay ... uh, let me make you mad again. Uh ... ready? Um ... (thinks, gets an idea) Last semester, I slept with Riley. Buffy gives her a dubious look.", "BUFFY: And you know I really doubt it.", "WILLOW: Caught me. Big fib. To ... cover up the sleazy affair I had with Angel. (smiles proudly)", "BUFFY: (frowning) Will ... what the hell are you doing?", "WILLOW: Pissing you off.", "BUFFY: Yes, true. Why?", "WILLOW: Well, 'cause, you know, since you've ... been back, you haven't exactly been big with ... the whole range of human emotions thing.", "BUFFY: (blankly) What do you mean?", "WILLOW: (fidgets) Well, you haven't ... no, I mean it's just, um ... (Buffy still looks blank. Willow gives up) You know, this is really ... my problem. (backing away) I'm just, I'm all over the place and, you should just, uh, forget I even said anything, cause, cause, (sits back down) well, 'cause you know... banks, man. Willow nods agreement with herself, looks at Buffy for agreement. Buffy just returns to punching.", "ANYA: (O.S.) Don't be such a wiener dog.", "Cut to the main magic shop room. Anya and Xander sit at a table with books open in front of them.", "ANYA: Look at them. (Shot of Tara and Dawn at the other side of the room, making a pile of books) Researching demons for the billionth time. They could use a ... peppy boost of happy news.", "XANDER: (nods, nervously) You're right. I'll tell them. He stands up halfway, reconsiders, sits back down with a glance toward the back.", "XANDER: As soon as Buffy and Willow come in.", "ANYA: (exasperated) Chicken.", "XANDER: Would you stop?", "ANYA: Dare you.", "XANDER: Anya. If I tell them we're engaged right after you dared me to ... wouldn't you always wonder if that's the only reason I did it? Anya thinks about this, realizes he's right.", "ANYA: Oh.", "XANDER: Score one for Captain Logic.", "ANYA: No, no. Captain Logic is not steering this tugboat. I smell Captain Fear at the wheel! (lowers her voice as Tara and Dawn move toward them) God, I hate this. This tone in my voice? I dislike it more than you do, and I'm closer to it! Tara and Dawn come over to the table and put down some more books. Tara sits.", "DAWN: Oh come on, Tara. I am so old enough to do research. Do you really think I'm not mature enough?", "TARA: I think you're very mature for your age ... but you're still only fifteen.", "DAWN: Right, fifteen. As in *teen*ager. You know, if you don't let me look at the pictures, I'm gonna learn everything I know about demons on the street. Tara sighs, hands her a book.", "TARA: Knock yourself out.", "DAWN: Thank you. See? (sits) No biggie. I can totally handle it. She opens the book and checks out the first page.", "DAWN: That's a weird place for a horn. She looks again, slowly closes the book.", "DAWN: (quietly) That's not a horn.", "XANDER: (quickly) You know, I still don't get it. I mean, what kind of a demon would rob a bank?", "ANYA: The kind that wants money.", "XANDER: What do you even call that?", "DAWN: This? She holds up a book, turned to a picture of a demon.", "DAWN: I'm guessing on how you say it. It's got an apostrophe. I think it's MmmFashnik. Like \"Mmm, cookies.\"", "XANDER: Or maybe, Muh-Fashnik. Like Muh...(lamely) Fashnik. Buffy and Willow emerge from the back room. Dawn holds up the book toward Buffy.", "DAWN: This your guy?", "BUFFY: (to Dawn) You do research now? Want a cappuccino and a pack of cigarettes to go with it?", "DAWN: Would you just look at the picture?", "XANDER: Doesn't exactly fit the profile for your typical bank robber.", "BUFFY: Maybe they turned down his loan application. (smiles at Willow, then looks at Dawn's book) That's him. Big bad. This thing was strong, guys. No weapons that I could see, but ... Buffy notices something across the room, stares that way as her mouth finishes the sentence on its own.", "BUFFY: ... still ... real ... dangerous. The others turn to see what she's looking at. Reveal Giles standing by the door, holding a couple of suitcases, staring at Buffy. Buffy stares back. Giles puts down his bags, comes forward. Buffy walks forward until they are face-to-face.", "GILES: (smiling) Oh God, Buffy. He hugs her. She hugs him back, closes her eyes.", "GILES: You're alive. You're here. And you're still ... (strained) ...remarkably strong.", "BUFFY: Huh? Oh. (lets him go) Sorry.", "GILES: Willow told me, but I didn't really let myself believe ...", "BUFFY: I take a little getting used to. I'm still getting used to me.", "GILES: It's, uh ... you're ...", "BUFFY: A miracle?", "GILES: Yes. But then, I always thought so. Giles puts his hand on Buffy's cheek and looks at her fondly. The others watch, smiling.", "Cut to: the street, night. The M'Fashnik demon walks along, growling softly.", "Cut to the workout room. Giles and Buffy stand facing each other, a little awkward.", "GILES: So ... (punches the punching bag lightly)", "BUFFY: I can start. How was England? (sits) How was ... life?", "GILES: Uh, I'm not really sure how to answer that. Um, well, I arrived home, I, uh, met with the Council.", "BUFFY: Always a good time.", "GILES: Yes. Otherwise, there's, uh, nothing really to report. I, um, I keep a flat in Bath. I, I, uh, met with a few old friends. Almost made a new one, which I think is ... statistically impossible for a man of my age. He takes off his jacket, tosses it onto the sofa.", "BUFFY: And now you're back.", "GILES: Yes.", "BUFFY: Wow. Giles, are you miserable about it, or just really British?", "GILES: (smiles, takes off his glasses) I can't lie to you, Buffy. (sits beside her) Um ... leaving Sunnydale was, uh, was difficult. And, uh, coming back was...", "BUFFY: I'm guessing the word is \"inconvenient\"?", "GILES: No. Bewildering. Buffy looks down. Giles puts a hand on her shoulder.", "GILES: And how are you? Really? You look tired.", "BUFFY: Me? Nah. Fine. Giles gives her a look and she drops the act.", "BUFFY: I mean, yeah, you know, sleeping's hard, but ... just because of the whole waking up in a box thing. So maybe waking up's the problem. You know, but just for a second. I sleep okay. Great even. Except, you know, for the dreams ... She trails off, looks away again.", "GILES: You seem to be doing remarkably well under extreme circumstances. I'm proud of you.", "BUFFY: Well, actually, it wasn't me. Willow brought me back. I just lay there.", "GILES: You-you know -- I meant -", "BUFFY: I know what you meant. It was just a little post-post-mortem comedy. Giles smiles a little. Buffy gets up.", "BUFFY: Well, I, I, uh, better start prepping. The slayage. She begins wrapping protective bandages on her hands. Giles stands up too.", "GILES: Yes, there is always that, isn't there? (picks up his jacket)", "BUFFY: Seems that way. Giles looks at her, leaves.", "Cut to the main magic shop room. Giles emerges from the back. The others are still sitting around the table, except Anya, who is standing.", "ANYA: Giles! Anya goes to Giles and gives him a big hug. He smiles.", "ANYA: We're so glad to see you. We missed you. (pulls back to look at him) You can't have the store back.", "GILES: I know.", "ANYA: You signed papers.", "GILES: I did. And, do we have information on this new demon that I suddenly find so desperately interesting? Giles gently moves Anya aside and goes over to the table.", "XANDER: That we do.", "WILLOW: This one robs banks.", "GILES: Oh.", "DAWN: I found him. (gives Giles the book)", "GILES: (looks at book) M'Fashnik. Oh.", "DAWN: Aha! Like Mmm, cookies.", "GILES: Uh, no, quite different, actually.", "TARA: You know it?", "GILES: By reputation, yes. They, they come from a long line of mercenary demons that perform acts of slaughter and mayhem for the highest bidder.", "XANDER: Well, it is the American way.", "GILES: Yes, but, uh, the question now becomes, what's out there powerful enough to control one of these things?", "Cut to: a basement somewhere. The M'Fashnik demon angrily shoves over a pile of boxes that look like they recently held computer or electronics equipment. He points a finger and speaks to someone we don't see.", "DEMON: We had a deal. You got what you wanted. Now give me what I want. The head of the Slayer. Now we do see who he's talking to: the Geek Trio. They are Jonathan (see episodes \"Earshot,\" \"Superstar,\" and others), Warren (\"I Was Made To Love You\"), and Andrew. They sit on beanbag chairs, each holding a stack of money. Behind them is a large TV. They look up at the demon in surprise.", "WARREN: Okay.", "JONATHAN: Sure.", "ANDREW: We can do that. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the same scene. The demon paces back and forth in front of the Geek Trio.", "DEMON: You hired me to create chaos and carnage for you. Told me you were powerful men, commanding machines, magicks, the demon realms below.", "WARREN: We are.", "ANDREW: Yuh-huh.", "JONATHAN: We're like, Super Villains. They all laugh dorky super-villain laughs.", "DEMON: Which of you is the leader?", "ANDREW/JONATHAN/WARREN: (unison) I am.", "DEMON: I will kill the leader.", "ANDREW/JONATHAN/WARREN: (unison, pointing at each other) He is.", "DEMON: I will kill you all.", "JONATHAN: Wait! Uh! No fair! Jonathan gets up, goes over to confront the demon.", "JONATHAN: It's not our fault the Slayer was there. We said we'd pay you, and we're gonna. Jonathan waves money in the demon's face. Warren jumps up, comes over and goes to his knees beside Jonathan. Andrew does the same.", "WARREN: Yes! Truly, Lord Jonathan is the wisest of us all.", "ANDREW: Uh, yeah, long live our noble lord and master.", "JONATHAN: You guys suck. The demon grabs Jonathan by the throat and lifts him off his feet.", "DEMON: You can't pay me with paper, tiny king. You pitted me against the Slayer. For that, I must kill you. Andrew and Warren snicker and grin at each other.", "DEMON: Then I will suck dry your bones and use them to beat your subjects to death. Andrew and Warren look alarmed, jump to their feet.", "WARREN: Whoa, whoa whoa whoa, big guy, hey, let's back things up a parsec, okay. You kill us ... everybody loses. You let us live, we give you...", "DEMON: Give me what?", "JONATHAN: (choking) Name it! The demon drops Jonathan, who falls to the floor choking and gasping. He slowly straightens up.", "WARREN: Well, between the three of us, we can pretty much do anything.", "JONATHAN: Like, you want a spell to make you look super-cool to the other demons? (grins) I'm all over that action, my friend.", "WARREN: Or, just throwing it out there, robot girlfriend. Huh? For those long, lonely nights after a hard day's slaughter?", "DEMON: (interested) You can do this? Jonathan and Warren nod.", "ANDREW: Don't trust him. Robo-pimp daddy's all mouth.", "WARREN: Shut up, Andrew! You're just mad I wouldn't build you Christina Ricci.", "ANDREW: You owe me, man.", "WARREN: Oh, or else what? You'll train another pack of devil-dogs to ruin my prom? Ha! Graduated!", "ANDREW: That wasn't me! How many times do I have to say it? The prom thing was my lame-o brother, Tucker.", "JONATHAN: Yeah, well tell him I was at that prom.", "ANDREW: Hello! Screen-wipe, new scene. (makes screen-wipe gesture) I had nothing to do with the devil dogs. I trained flying demon monkeys to attack the school play. School play, dude! Beat. Warren and Jonathan hold their angry looks for a moment, then break and grin at each other, nodding.", "WARREN: (grinning) That was cool. That was kinda cool.", "JONATHAN: (laughs) Remember, everyone was like, \"Run, Juliet!\" They all grin, nod at each other, laugh their dorky laughs again.", "DEMON: (roars) ENOUGH! The three geeks shut up, look scared. He advances on them, and they back up.", "DEMON: Nothing you can offer me will satisfy your debt to me. I don't want your toys, or your spells, flying monkey-demons. (yelling) I want the Slayer dead!", "ANDREW: (nervous) Okay.", "JONATHAN: (nervous) Done.", "WARREN: (nervous) One dead Slayer, coming up. Um, could you just give us a minute?", "DEMON: For what?", "WARREN: Well ... we just really wanna nail down the optimum method for us to wipe out the Slayer for you. The geeks turn away to confer together.", "DEMON: Make sure it involves ... pain. The demon grins evilly.", "BUFFY: (O.S.) I know they're ... so cute you could die, but...", "Cut to the Summers living room. Buffy stands holding up a pillow to Giles. The pillow case is decorated in bright kiddie patterns. On the coffee-table is a pile of similar sheets.", "BUFFY: ...it's all I got.", "GILES: (laughs) Think nothing of it. It's, it's, uh, whimsical. Giles takes the pillow, tosses it onto the sofa. Buffy begins unfolding a sheet.", "BUFFY: They were mine when I was little. Couldn't find the guest sheets. (quietly) Mom always did this stuff. Buffy kneels, tries to fit the sheet onto the sofa.", "BUFFY: They don't actually fit. Giles leans over, helps to make the bed.", "BUFFY: I blame the sofa. (stands) We need one of those pull-out kinds. The kind with no payments 'til two-thousand-and-infinity.", "GILES: What?", "BUFFY: Oh, it's ... just money stuff. (sits on coffee table) It turns out ... Mom left me some, and while I was dead, it got squandered on luxuries like ... food and clothing.", "GILES: (sits on sofa) How bad is it?", "BUFFY: Anya says pretty bad. I'm kinda taking her word for it. Actually, I'm kinda trying to not think about it.", "GILES: Sound policy. At least for tonight.", "BUFFY: Figured I'd put it out of my mind. You know, take a break. Get some perspective ... and then wake up at four a.m. terrified. Buffy moves to sit on the sofa beside Giles, holding the top-sheet against her chest. She sighs.", "GILES: Buffy, perhaps you're putting too much pressure on yourself. I mean, to return from some ... unknown level of Hell ... it's only natural that coming back ... will be a process.", "BUFFY: In the meantime, I'm scaring people.", "GILES: Well, that can take time, too. Buffy stares into the distance as Giles looks at her with concern.", "GILES: Well, if it's any consolation, life can be ... pretty overwhelming even for people who haven't been ... where you have.", "BUFFY: (softly) I guess.", "GILES: Look, tomorrow morning, you and I will sit down together and we'll go through everything. Every bill, one by one. We'll work it out together. Buffy looks at him. They gaze at each other.", "BUFFY: I'm glad you're back.", "GILES: Well, I'm glad you are too. Giles reaches out to put a hand on her shoulder, but she stands up and walks off before he can touch her. Giles sits there looking concerned, watching her go.", "JONATHAN: (O.S.) Are we really gonna kill her? Cut back to the Geek Trio conferring in their basement lair.", "JONATHAN: That's so sad.", "WARREN: (scornfully) Shut up, Whine-athan.", "ANDREW: But ... I, I don't want to kill Buffy either.", "JONATHAN: Yeah, she saved my life a bunch of times! Plus, she's hot.", "WARREN: It's her or us. I mean, we have to do it.", "ANDREW: We're talking about murder.", "WARREN: No, we're talking about staying alive, and since this is my mom's house, I think what I say goes.", "ANDREW: But aside from the moral issues, and the mess, we can get in trouble for murder.", "WARREN: Duh! You know, the last I checked, the authorities also frowned on bank robbery too. Genius!", "JONATHAN: I don't even know if we could kill Buffy. She's got super-strength.", "ANDREW: And, you know, killing people, this is not why we got together in the first place.", "JONATHAN: Yeah. We teamed up with one clear, super-cool mission statement. Remember? Flash-cut to the three of them in the basement, sitting around a table with cans of soda, playing a board game.", "WARREN: So ... you guys wanna team up and take over Sunnydale? Andrew and Jonathan look at each other, shrug.", "ANDREW/JONATHAN: (unison) Okay. Flash back to the present.", "WARREN: Of course I remember. It was last month.", "JONATHAN: Then you know we have a mission! (points) Shrink rays... We see what he's pointing at. It's a whiteboard labeled at the top \"TO DO\" and including the following items: •Control The Weather •Miniaturize Fort Knox •Conjure Fake I.D.s •Shrink Ray •Girls •Girls •The Gorilla Thing", "JONATHAN: ...trained gorillas. Workable prototype jetpacks ... and chicks, chicks, chicks. I know that's the action I signed on for.", "ANDREW: Me too. Ixnay on the urder-may.", "WARREN: (frustrated) Vote.", "JONATHAN: Okay. Who's for not killing Buffy? Andrew and Jonathan hold up their hands, making the Star Trek \"vulcan salute.\" They both look at Warren. Long shot of the three of them. We see the demon in the background still pacing and waiting for them to finish. Finally Warren gives in and holds up his hand too.", "ANDREW: Agreed. They all look relieved, give each other nervous looks.", "JONATHAN: So what are we gonna do about this Mm'Fashnik guy?", "WARREN: Ah, wait here. Okay, I got an idea. Warren goes over to the demon, puts his arm around the demon's shoulders turning him away from the other two. He reaches his other hand in his pocket and pulls out a piece of paper.", "WARREN: (whispers) Here's the Slayer's name, address, and telephone number. You wanna kill her? Make it so. The demon takes the paper with a low growl, leaves. Warren pats him on the back, turns around and sees the others watching him. Warren swaggers back over to them as they stare, impressed.", "JONATHAN: (awed) How'd you make him do that?", "ANDREW: What are you, some kind of ... Jedi?", "WARREN: (casual) The Force can sometimes have great power on the weak-minded. Andrew and Jonathan nod and go \"Hmm\" in awe.", "Cut to: Summers house, night. Giles comes into the darkened kitchen with a towel over his shoulder.", "WILLOW: Hey Giles. Giles comes in, not smiling.", "WILLOW: (oblivious) You have a good talk with Buffy? Willow takes a box of cookies or something from the cupboard, goes to sit by the island.", "GILES: (closes the door behind him) Yes, now that she's back.", "WILLOW: (smiling) Isn't it awesome?", "GILES: (goes over to the sink) Mmm. (removes his glasses) Tell me about this spell you performed.", "WILLOW: (excited) Oh, okay, first of all? So scary. Like, the Blair Witch would have had to watch like this. She covers her eyes with one hand, peeks through parted fingers. Then drops the hand and grins. Giles looks grim. Willow continues, not noticing his expression.", "WILLOW: And, and, and this giant snake came out my mouth and there was all this energy crackling, and this pack of demons interrupted, but I totally kept it together. And then, the next thing you know? (triumphant) Buffy. She smiles proudly, takes out a cookie from the box and takes a bite. Giles has his back to her, doing something in the sink.", "GILES: (over his shoulder) You're a very stupid girl. Willow pauses chewing, slowly stops smiling and frowns.", "WILLOW: What? Giles...", "GILES: (turns to face her) Do you have any idea what you've done? The forces you've harnessed, the lines you've crossed?", "WILLOW: I thought you'd be ... impressed, or, or something.", "GILES: Oh, don't worry, you've ... made a very deep impression. Of everyone here ... you were the one I trusted most to respect the forces of nature.", "WILLOW: Are you saying you don't trust me?", "GILES: (intensely) Think what you've done to Buffy.", "WILLOW: I brought her back!", "GILES: At incredible risk!", "WILLOW: Risk? Of what? Making her deader?", "GILES: Of killing us all. Unleashing hell on Earth, I mean, shall I go on?", "WILLOW: No! (stands) Giles, I did what I had to do. I did what nobody else could do.", "GILES: Oh, there are others in this world who can do what you did. You just don't want to meet them. (turns away again)", "WILLOW: No, probably not, but ... well, they're the bad guys. I'm not a bad guy. (upset) I brought Buffy back into this world, a-and maybe the word you should be looking for is \"congratulations.\"", "GILES: Having Buffy back in the world makes me feel ... indescribably wonderful, but I wouldn't congratulate you if you jumped off a cliff and happened to survive.", "WILLOW: That's not what I did, Giles.", "GILES: (angry) You were lucky.", "WILLOW: I wasn't lucky. I was amazing. And how would you know? You weren't even there.", "GILES: If I had been, I'd have bloody well stopped you. The magicks you channeled are more ferocious and primal than anything you can hope to understand, (even more angry) and you are lucky to be alive, you rank, arrogant amateur! Giles angrily grabs his towel and turns to leave.", "WILLOW: You're right. He pauses by the door, looks back at her.", "WILLOW: The magicks I used are very powerful. I'm very powerful. And maybe it's not such a good idea for you to piss me off. Giles stares at her, then looks away. After a moment, Willow relents.", "WILLOW: Come on, Giles, I-I don't want to fight. I ... Let's not, okay? I'll think about what you said, and you ... try to be happy Buffy's back.", "GILES: (quietly) We still don't know where she was ... or what happened to her.", "Cut to the back porch. Buffy stands there, hugging herself. We see her from the back.", "GILES: (O.S.) And I'm far from convinced she's come out of all this undamaged. Pan around to Buffy's front. She just stands there, looking blank. Suddenly a cigarette butt lands on the porch by Buffy's feet. She looks down, puts out her foot and grinds it out.", "BUFFY: (not looking up) Hello, Spike. We see Spike standing on the lawn.", "SPIKE: You hear all that noise? (looks toward the kitchen door)", "BUFFY: (nods) Just enough to make me feel crappy.", "SPIKE: You know watcher-boy doesn't mean anything by it. Spike comes closer, steps onto the first stair. Buffy shrugs.", "BUFFY: I guess. Everyone ... (long pause) they all care. They all care so much, it ... makes it all harder.", "SPIKE: I'm not sure I followed you around that bend, luv. (steps onto second stair)", "BUFFY: I don't know. I just, I feel like I'm spending all of my time trying to be okay, so they don't worry. It's exhausting. And then, I... She trails off, makes a frustrated gesture and then clenches her hand into a fist.", "SPIKE: And that makes 'em worry even more. Buffy looks at him, doesn't reply. Spike walks the rest of the way up onto the porch, comes to stand next to her.", "SPIKE: You want me to take them out? Give me a hell of a headache, but I could probably thin the herd a little. After a moment Buffy smiles a little. Spike looks pleased.", "SPIKE: Knew I could get a grin. They exchange a look. Buffy moves forward, sits on the top stair, sighs deeply. Spike sits beside her.", "BUFFY: Why are you always around when I'm miserable?", "SPIKE: 'Cause that's when you're alone, I reckon. I'm not one for crowds myself these days. They look at each other again.", "BUFFY: Me neither.", "SPIKE: That works out nicely then. They sit there quietly, staring out at the night. Long shot of the two of them on the porch.", "BUFFY: So what do you know about finances? Spike looks at her.", "Cut to: exterior shot of the front of the house, night. The front porch light is on, and one light upstairs.", "Cut to inside. Dawn comes down the stairs, wearing pajamas.", "GILES: (O.S.) Dawn? We see Giles in the living room, sitting on the sofa/bed, reading a book. He gets up.", "GILES: Couldn't sleep?", "DAWN: Not really. You?", "GILES: (smiles, indicating his book) Evidently not. (puts the book down)", "DAWN: You ever try mixing parts of every cereal you got in one bowl?", "GILES: (yawning) Does it work?", "DAWN: (shrugs) Gonna find out. Wanna come join the experiment?", "GILES: I'm an ideal control group. (walks closer to her) I find as you get older, that you lose patience with... (looks at something in the foyer) ...throwing up. Dawn turns to see what he's looking at. Shot of the inside of the front door. The doorknob is rattling and turning.", "GILES: (quietly) Is that locked?", "DAWN: (nervous) It should be. Suddenly the door smashes in, hitting Dawn. She screams as she goes flying back into the dining room. The M'Fashnik demon comes in, sees Giles, backhands him. Giles crashes into the stairs, smashing the banister, then falls to the floor. The demon turns, sees Dawn, who is still lying on the floor, looking fearfully at him.", "DEMON: You're not the Slayer. Dawn sits up and stares at him.", "DEMON: But you'll do for a start. He lunges for her. Close shot on Dawn screaming. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. Dawn continues screaming as the demon rushes at her. Before he reaches her, Buffy grabs him from behind and pulls him back to face her.", "BUFFY: You're payin' for that door, buddy. She flings him into the living room. He lands on his back on the coffee-table, smashing it to pieces.", "BUFFY: Ooh! (winces) Table! The demon gets up, holding a piece of the table. He looks at it, tosses it aside. It smashes a lamp on a side table.", "DEMON: You have cost me, Slayer.", "BUFFY: I cost *you*? That's a designer lamp, ya mook! The demon charges her, grabs her around the waist and brings her to the floor in the dining room. She hits him, then kicks him off of her. He lands on the dining-room table, smashing some dishes. Buffy gets up and the demon kicks her, she stumbles backward and knocks into a side table. A glass vase falls, and Buffy catches it with both hands, looks at it in relief. The demon charges her again and she kicks him back while still holding the vase, then puts the vase carefully back on the table. She kicks the demon again and he falls back against the wall, smashing some picture-frames. Spike appears and grabs the demon from behind, wrestles him back.", "BUFFY: Spike, no! I want him in the kitchen! Spike holds the demon in the doorway and steps aside. Buffy gives the demon a serious kick in the chest and he flies backward through the door into the kitchen, flies across the room and bangs into the door leading to the back porch. The glass part of the door shatters. The demon growls, swipes at Buffy but she ducks and punches him. Spike follows them into the kitchen and watches Buffy hitting the demon. Buffy gets the demon in a head-lock.", "BUFFY: Open the door! (Spike looks confused) The basement! I'm taking him down. Spike opens the door to the basement and Buffy wrestles the demon through it. They both topple down the stairs, but Buffy manages to grab the banister and stop her fall as the demon continues falling, landing with a splash. The demon gets up and we see that the basement is still flooded ankle-deep with water. Buffy comes down the stairs and grapples with the demon again. They exchange a few punches. Buffy grabs a pipe for support, then kicks the demon back. The demon looks up, grabs a piece of pipe along the ceiling and breaks it off.", "BUFFY: (angrily) No! Water begins spraying again from the broken pipe. The demon tries to attack Buffy with the pipe but she grabs it, kicks him in the groin and then hits him with the pipe. He goes down with a big splash. Buffy begins hitting him with the piece of pipe, one stroke for each word.", "BUFFY: Full... copper... re-pipe! No... more... full... copper... re-pipe! Finally she stops. The demon is floating face-down in the water. Buffy drops the pipe into the water, looks up, sighs and pouts. Walks over to where the pipe attached to the ceiling is still emitting a steady trickle of water. She stares at it unhappily.", "SPIKE: (OS) Whoa. We see Spike standing at the top of the stairs staring down.", "SPIKE: Did you know this place was flooded? Buffy closes her eyes in frustration.", "WARREN: (O.S.) I think we have a lot to feel good about.", "Cut to the Three Geeks' basement lair. The bank money bags are lying empty on the floor. The lair has been fully furnished with chairs, rugs, etc. It looks very posh. We see Andrew setting up a periscope viewer, Jonathan doing something at a display case, and Warren fiddling with a piece of equipment that looks like a gun. Electronics equipment everywhere.", "WARREN: We got the money. We got the lair. And our one loose end has been taken care of ... (lifts his weapon) by the Slayer. He pushes a button and flame shoots out of the thing he's holding.", "WARREN: Flamethrower's up. Andrew manipulates the periscope controls. Behind him, on the TV, we see the periscope image. It pans across grass to reveal a woman kneeling on the lawn.", "ANDREW: Periscope's working. Jonathan closes the glass doors of the display case. A bunch of action figures are set up inside it.", "ANDREW: It looks like your mom's weeding tulips again. Jonathan turns away from the display case and folds his arms triumphantly.", "JONATHAN: Action figures? Fully deployed. Warren goes to sit in a chair, smiling.", "ANDREW: I still can't believe it. We did it! We can do anything. We could stay up all night if we wanna.", "WARREN: (sarcastic) Whoa, whoa, whoa don't get all crazy on us, Andrew.", "ANDREW: (pouty) I was only saying.", "JONATHAN: What are we gonna do about Buffy? You know sooner or later, the Slayer's gotta come after us.", "ANDREW: Bring her on.", "WARREN: We could, uh, we could hypnotize her.", "ANDREW: Make her our willing s*x bunny. They all laugh their dorky laughs again.", "JONATHAN: I'm putting that on the list! Jonathan goes over to the white-board.", "ANDREW: Is this the life or what?", "WARREN: Mm.", "ANDREW: I mean, here we got all the stuff we ever wanted... (we see Jonathan writing \"Hypnotize Buffy\" on the To Do list) and we didn't even have to...", "WARREN: Earn it?", "ANDREW: Exactamundo.", "JONATHAN: (turns away from whiteboard to face them) It's true, my friends. The way I see it ... life is like an interstellar journey. Some people go into hypersleep and travel at sub-light speeds... (the others nodding agreement) ...only to get where they're going after years of struggle, toil and hard, hard work. We, on the other hand ...", "ANDREW: Blast through the space-time continuum in a wormhole? They all nod and smile happily.", "JONATHAN: Gentlemen ... crime is our wormhole. Jonathan lifts a cigar to his mouth with one hand, with the other hand a flaming piece of paper money. He lights the cigar and takes a triumphant puff.", "ANDREW: But ... everyone knows... (Jonathan frantically blowing out the fire on the bill) if the width of a wormhole cavity is a whole number of wavelengths, plus a fraction of that wavelength? The coinciding particle activity collapses the infrastructure. Warren turns to face Andrew. Warren is wearing a virtual-reality headset that covers the whole top half of his face.", "WARREN: Dude. Don't be a geek.", "Cut to: interior Summers house, day. Dawn and Willow sitting on the sofa trying to fit together the pieces of the broken lamp. Pan across to show the destruction: front door standing open with a big hole in it, banister on the stairs broken, pieces of coffee table on the floor. Xander sits across from the sofa, trying to fix the coffee table. In the background Anya and Buffy sit by a desk looking at papers. Buffy's chair is held together with duct tape.", "BUFFY: This is going to take forever, isn't it?", "ANYA: Not forever. Just a very long time. Uh, here it is. (shows Buffy some papers) Your first approximation of your spanking new debt.", "BUFFY: (stares at the paper in dismay) I've trashed this house so many times. How did Mom pay for this?", "XANDER: For starters, she saved money with this crappy-ass coffee table.", "ANYA: Well, there's always that charging option.", "BUFFY: No! I will definitely ... probably not be doing that. Giles and Tara enter from the kitchen.", "GILES: Well, I know I'm back in America now I've been knocked unconscious. (Tara hands him an ice-pack) Thank you.", "BUFFY: Aw. Poor lumpy Giles.", "TARA: What do you think the demon wanted, anyway? Dawn jumps as the piece of lamp in her hands crumbles.", "TARA: I mean, aside from costing you a bundle.", "BUFFY: Don't know. Now he's way too dead to answer that question. Wish I knew who hired him.", "WILLOW: Ooh, I could do a locator spell... Giles looks up from holding the ice pack against his head, gives Willow a look.", "WILLOW: (stops smiling) Or not.", "XANDER: That's it. (drops the table leg) Four hours. I'm calling it, people. This coffee-table is gone. (melodramatically) Damn it!", "DAWN: Also, this lamp's in critical condition. (shot of Buffy looking worried)", "WILLOW: Well, uh, let's take these things out to the trash and give 'em a decent throwin' out. Willow, Tara, Xander, and Anya pick up the various pieces of lamp and coffee-table, and exit. Giles walks over to Buffy, looking concerned. Dawn watches them anxiously.", "GILES: (sits next to Buffy) Buffy?", "BUFFY: (quietly) I don't think I can do this.", "GILES: Yes you can. Your mother dealt with this sort of thing all the time. (Buffy looks up) She took ... one crisis at a time ... without the aid of any superpowers ... and got through it all. So can you.", "BUFFY: You sure?", "GILES: I'm positive. Buffy looks slightly reassured. The phone rings.", "BUFFY: (gets up) Who's calling me? Everybody I know lives here. (walks toward kitchen) I'll be back. Buffy exits into the kitchen.", "DAWN: (to Giles) I bet it's creditors. The hounding's begun. I read about it. So you think we'll starve?", "GILES: I very much doubt it.", "DAWN: No chance I'd have to quit school to work assembling cheap toys in a poorly-ventilated sweatshop?", "GILES: Poorly-ventilated ... What have you been reading? Buffy returns, walking quickly and purposefully toward the front.", "GILES: Buffy, what is it? She turns back to face them, pauses for a moment before speaking.", "BUFFY: Angel.", "GILES: Is he in trouble?", "BUFFY: He knows that I'm ... (trails off. Shot of Dawn watching with concern) He, he needs to see me. I have to see him.", "GILES: Yes, of course. You'll leave for L.A. tomorrow.", "BUFFY: (shakes her head) Not L.A. And not here. Somewhere in the middle. There's a, a place.", "GILES: I see. Well, we should get all these ... bills and things out of the way before-", "BUFFY: I gotta go now. She starts to leave, pauses and turns back again.", "BUFFY: Um, thanks for taking care of this for me. She exits, leaving Dawn and Giles staring at each other in dismay in the trashed living room. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon. THE END" ]

[ "Buffy is in serious need of money to support herself and Dawn, and she tries to focus on bringing in some money. However, her attempts fail as Jonathan, Warren, and Andrew create a number of obstacles to test her ability." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy entering the house.", "BUFFY: Hey Mom. Joyce lying on the sofa.", "BUFFY: Mom? Mommy?", "WILLOW: There's some money stuff we're gonna have to talk to you about.", "BUFFY: So you're telling me I'm broke?", "XANDER: Hospital bills.", "WILLOW: Pretty much sucked up all the money.", "BUFFY: I don't think I can do this.", "GILES: Yes you can. The Geek Trio in flashback.", "WARREN: So ... you guys wanna team up and take over Sunnydale?", "JONATHAN/ANDREW: Okay. The Geeks in their lair.", "JONATHAN: We're like super-villains. The geeks laughing their lame villain laughs. Buffy and Spike sitting on the back porch.", "BUFFY: Why are you always around when I'm miserable?", "SPIKE: That's when you're alone, I reckon. I'm not one for crowds myself these days. Spike and Buffy exchanging a look.", "BUFFY: Me neither.", "SPIKE: That works out nicely then. Buffy walking through the living room toward the front.", "GILES: Buffy, what is it?", "BUFFY: Angel. He, he needs to see me. I have to see him.", "GILES: Y-you'll leave for L.A. tomorrow.", "BUFFY: I have to go now.", "BUFFY: (calls) Hello?", "WILLOW: Buffy? Willow's voice comes from the dining room. Buffy turns in that direction.", "BUFFY: Oh. Yep, it's me, and I brought dinner. (walks into dining room) Deep fried chicken parts. Hope you're... We see Tara, Giles, and Dawn sitting around the table, and Willow standing with a dish of food in her hands. They're clearly just finishing a meal. Giles holds a half-full wine glass.", "BUFFY: ...hungry. (disappointed) You already ate.", "GILES: No! (embarrassed) Well, uh, yes, obviously.", "DAWN: Uh, we didn't know when you'd be coming back.", "BUFFY: (shrugs) It's okay. More for me. Buffy puts the bucket of chicken on the table and sits. Willow sits also.", "TARA: I don't know about everybody else, but ... I would love some chicken.", "GILES: Yes. As would I.", "DAWN: I'll take a drumstick.", "WILLOW: I'm a breast girl myself. (quietly, to Tara) But, then again, you knew that. Willow and Tara exchange a smile. Giles makes an \"ew\" face. They pass the bucket of chicken around the table.", "DAWN: (awkwardly) So.", "BUFFY: What so?", "DAWN: So ... how was it? (nervous) Seeing Angel ... him seeing you. (Giles stands up) Was it weird? Buffy looks uncomfortable. Dawn, Tara, and Willow look expectantly at her.", "BUFFY: Um ... it was ... intense. Giles goes to the back of the room to do something at a side table.", "WILLOW: Well, i-if you wanna talk about it...", "BUFFY: I don't. I-it's ... not important. Past. I'd just ... rather keep this one to myself, if that's okay.", "DAWN: Sure, whatever.", "GILES: Buffy, um, there was... (sits back down) some discussion in, uh, your absence a-about, um ... w-what you're gonna do now. Giles has a pile of paper napkins, gives one to Dawn.", "GILES: You know, um ... your plans.", "BUFFY: Oh, um, I've been giving that a lot of thought actually. I think I've figured it out, what I should do.", "WILLOW: (smiling) That's good, that's good!", "BUFFY: Yeah. I figure, if I hold off paying the plumber, I can pay the utility bill. (Willow and Tara stop smiling) And then I can wait to re-shingle the roof until we get the refund back-", "GILES: Um, I meant... (Buffy stops) ...with your life.", "BUFFY: Oh. Life plans. Um ... well... The others continue to watch her.", "BUFFY: I have no idea. Dawn looks surprised.", "BUFFY: I guess, um ... well, I, I left school, you know, when Mom got sick, but I always figured I'd go back ... and then she... Buffy trails off. Willow and Giles look sympathetic.", "BUFFY: Um, so I-I was thinking about re-enrolling, but I missed the registration cutoff. Busy being dead and all. Giles winces.", "WILLOW: Well, if it's too late for late registration and too early for early, you can always come to classes with Tara and me.", "TARA: Right. Y-you can audit for the rest of the semester until registration.", "BUFFY: (uncertainly) Audit. I-I guess I could do that. Willow and Tara smile tentatively.", "BUFFY: Yeah, that ... sounds like a good plan. (looks across the table) What do you think, Giles? Giles nods and looks as if he's searching for words.", "JONATHAN VOICEOVER: The Slayer always knows what she's doing.", "Cut to: exterior driveway, day. Jonathan paces around in front of a one-car garage. The area is fenced in with a garbage cans and other various backyard paraphernalia. Jonathan frowns sternly as he walks and talks.", "JONATHAN: Sharp. Decisive. Always with a plan. (louder) We're never gonna become the crime lords of Sunnydale with her always one step ahead of us.", "WARREN: (OS) Well, that's why we're throwing these tests at her, seeing which one of us can shake her up the most, maybe find a weakness or two. Jonathan walks forward. Warren is on the ground, lying on his back on a rolling platform such as mechanics use when working underneath a car. He rolls out backwards and looks up at Jonathan.", "WARREN: She's ready. We see that he's just emerged from underneath a large black van.", "JONATHAN: Sweet. Run me through it.", "WARREN: Ah. Warren gets up, opens the van's side door.", "WARREN: We got nine high-resolution surveillance cameras hooked in (points), super-wide angle, infrared, auto-iris, plus six types of audio matrix monitoring... Pan across the interior of the van. It's completely filled with electronics equipment on both sides. Also a bean-bag chair or two, and a couple of wheeled computer chairs.", "WARREN: that's filtered through a dual quad DVS system, and a...", "JONATHAN: Yeah, yeah, fine, just tell me. (They start walking around toward the front of the van) Are you sure with all of this stuff that we'll be able to watch Buffy without her noticing us?", "WARREN: Absolutely. I mean, she'll never even know- They come around to the other side and find Andrew spray-painting a huge Death Star on the side of the van.", "WARREN: W-what the hell is that?", "ANDREW: Death Star, dude! Wicked, huh?", "JONATHAN: (scornfully) Thermal exhaust port's *above* the main port, numb-nuts.", "ANDREW: For your information, I'm using the Empire's revised designs from Return of the Jedi.", "JONATHAN: That's a flawed design!", "WARREN: Guys! (they shut up) Okay, the thing is, since we're messing with the Slayer, who could pummel the three of us into a sludgy substance, it might be a good idea for us to (yelling) NOT draw attention to ourselves! Jonathan nods smugly at Andrew.", "ANDREW: (uncertain) I could paint over it if you want.", "WARREN: Yeah, well, do that! Because this time tomorrow, the games begin. (Zoom in on his face) And the Slayer ... will never even know what hit her. Wolf howl. Opening credits. Special Guest Star Anthony Stewart Head. Guest starring Danny Strong, Adam Busch, Tom Lenk, and Amber Benson as Tara. Written by David Fury and Jane Espenson, directed by Nick Marck.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on the hallways of UC Sunnydale. Various students walking around.", "BUFFY VOICEOVER: This is gonna be great.", "Cut to Buffy and Willow entering a classroom.", "BUFFY: I thought it might be a little weird being back, I mean, it is weird, but like a good kind of weird. Instead of desks the classroom has long tables set up in a rectangle. They walk around the perimeter to find empty seats.", "WILLOW: There's the teacher, Mike. Shot of the teacher dressed casually, writing on the blackboard the words \"Social Construction of...\"", "WILLOW: You'll like Mike. (sits)", "BUFFY: You call your teacher Mike? Boy, school sure has changed since my day. (sits) Mike turns from the blackboard. The final word he wrote was \"reality.\"", "MIKE: Social Construction of Reality. Who can tell me what that is? (many students raise their hands including Willow) Rachel.", "RACHEL: A concept involving a couple of opposing theories, one stressing the externality and independence of social reality from individuals. (Buffy looks confused)", "MIKE: And the flip side? (many hands raised) Steve?", "STEVE: That each individual participates fully in the construction of his or her own life.", "MIKE: Good, and who can expand on that? (hands) Chuck?", "CHUCK: Well, those on the latter side of the theoretical divide stress...", "BUFFY: (leans toward Willow and whispers) Will, I'm not following this too well.", "WILLOW: Oh. The trick is to get in the rhythm, kinda go with the flow. (raises her hand)", "BUFFY: Flow-going would be a lot easier if your classmates weren't such big brains.", "WILLOW: (hand still raised) Buffy, that's ridiculous! They are no smarter than you or me.", "MIKE: (O.S.) Willow.", "WILLOW: (lowers hand, speaks to Mike) Because social phenomena don't have unproblematic objective existences. They have to be interpreted and given meanings by those who encounter them. (Buffy stares at Willow)", "MIKE: (O.S.) Nicely put. So, Ruby, does that mean there are countless realities?", "WILLOW: (notices Buffy's look) What?", "Cut to Buffy and Willow walking through the hallways.", "WILLOW: You're not dumb. Just rusty.", "BUFFY: Maybe I should ease back in with some non-taxing classes, like, introduction to pies, or maybe advanced walking. Tara hurries up to join them.", "TARA: Hey! How'd it go?", "WILLOW: She did fine! Sociology, not a big fave.", "TARA: She didn't like Mike?", "BUFFY: No, look, it's fine. I just need to spend a little more time re-acclimating. You know, to get back into the swing of things. A guy bumps Buffy as he walks past them. Close shot of a hand touching her clothing, moving away to reveal a tiny metal object. Cut back to wider shot. Buffy almost falls over but Willow and Tara catch her.", "WILLOW: (yells after the guy) Hey! You could at least say sorry, rude-o!", "TARA: Everybody's in a hurry. The girls exchange an annoyed look and continue walking.", "Cut to the guy coming around a corner. We see that it's Warren. He looks up and sees a surveillance camera on the ceiling, turns away from it and speaks into the collar of his sweatshirt.", "WARREN: Francis 7, this is Logan 5. I'm in position, do you copy?", "Cut to interior of the van. A bank of computer screens show various images. Jonathan sits in front of them with a microphone ear-piece headset on. Andrew stands behind him.", "JONATHAN: Yeah, Warren, we copy that. And you're up on the monitor.", "ANDREW: Hey Warren, this is working great. The monitors show Warren as he smiles and waves at the camera.", "WARREN: Runner is tagged, inhibitor is on. Repeat, inhibitor is on. Initiate omega pulse sequence.", "Cut to exterior of the college campus. The black van sits in a parking spot. Various people walking around. A small satellite transmitter emerges from the top of the van and swivels, making whirring noises.", "Cut to Buffy and Tara walking through the halls together.", "TARA: My art appreciation class doesn't start for another twenty minutes, so we've got some time to kill. Um, here. (takes a large book from her bag and gives it to Buffy) You'll like it, it's very mellow. Buffy opens the book and looks at a picture of a painting. Weird buzzing noise, like static on a TV. Buffy frowns, looks up.", "TARA: ...didn't think she liked my cooking (we see Tara sitting on a bench nearby) until I realized that that was her yummy face. (smiling) You know how her nose-", "BUFFY: What was that?", "TARA: What was what?", "BUFFY: (confused) Uh ... that, that noise, wh-what was that about, about cooking? Whose yummy face?", "TARA: Willow. Wow, you ... really got engrossed in that Renaissance book. (stands up)", "BUFFY: I guess. I ... must have spaced out. Buffy gives the book back to Tara and goes over to a drinking fountain.", "TARA: Oh, I-I do that sometimes. Once, Willow and I were watching \"Spongebob Squarepants\"... Buffy bends toward the fountain to drink. The buzzing noise again.", "TARA: (calling) Buffy? A-are you coming? We see Tara all the way down the hall by a set of double doors.", "TARA: (calling) We're gonna be late for class. Buffy looks extremely confused and a little angry.", "BUFFY: What the f-", "Cut to interior of the van. Warren opens the door from outside and quickly climbs in, shutting the door behind him.", "WARREN: (excited) Is it working? Is it doing it?", "JONATHAN: Dude, it's doing it.", "ANDREW: And it's wicked cool. Cut back to inside. Tara walks into a crowded classroom, pauses just inside the door and turns. Buffy comes running around the corner.", "BUFFY: Tara! Tara! The classroom doors close in her face. The halls are now empty as all the students have gone to class. Buffy looks around in dismay. The buzzing noise again. Students begin pouring out of the classrooms into the hallways. Tara walks up behind Buffy.", "TARA: Buffy, where have you been? You missed art class.", "BUFFY: Missed? Uh, Tara, something freaky's going on, it's like I'm- Buffy looks over at a wall clock. The hands on the clock move quickly. They start at about 11:50 and stop again at about 12:10.", "BUFFY: Look, there! There! (pointing) Uh, did you see- She looks around and sees that Tara is gone. The halls are deserted again. Buffy makes a frustrated face.", "BUFFY: Crap! She runs off.", "Cut to Buffy coming out of the building. A lot of students are walking around in various directions. Buffy rushes down the stairs.", "BUFFY: Tara! We see Tara a little way off, walking away.", "BUFFY: Tara, wait! Shot of the campus from Buffy's POV. We're in a little courtyard with a grassy lawn. In the middle of the lawn is a stone table with a stone bench circling it. All the people move faster and faster until they're just blurs. Buffy stands still looking around as the blurs move past her. One of them bumps into her and knocks her down. The blurs continue to move across the lawn as Buffy starts crawling toward the stone table. Another one hits her and she falls down on her back, groans in pain. She gets to her hands and knees and crawls the rest of the way, crawls under the table. The blurs continue to move by.", "Cut to the van. The Geeks are watching Buffy on their monitors and can apparently also hear what she's saying.", "BUFFY: That noise. There's something on me. Cut back to Buffy. She begins examining her clothing. She takes off her sweater. Cut back to the van. On the monitors, the view swings around to show Buffy's face.", "WARREN: Oh no.", "ANDREW: Uh-oh.", "JONATHAN: She found it. The image of Buffy tilts from side to side as she looks at her sweater. Cut back to Buffy. She finds the tiny metal device attached to her sweater and removes it, holds it in the palm of her hand and stares at it in confusion. Cut back to the van.", "ANDREW: Oh, this is bad, this is bad.", "JONATHAN: Self-destruct! Self-destruct!", "ANDREW: I, I don't know, I-", "WARREN: No! Warren reaches over and flips up the plastic casing that covers a large red button. He puts his finger over it, pauses. On the screen, Buffy reaches out her finger toward the device. Warren pushes the button. Cut back to Buffy. The device disintegrates in her hand. She looks up. All the people resume walking at normal speed. Buffy frowns, gathers up her stuff and comes out from under the table. She stands there looking around, a little scared.", "Cut to the van. Warren plops down in a bean-bag chair on the floor.", "WARREN: Okay, score me. Andrew and Jonathan sit in computer chairs above him in \"judge\" positions.", "JONATHAN: Rrrright. (ponders) Fifty points for ingenuity, another thirty since it involved actual contact.", "ANDREW: Very smooth, by the way. (Warren smiles)", "JONATHAN: On the freak-o-meter I'd say she was at a six.", "WARREN: Oh come, it's an eight, easy! Jonathan and Andrew lean their heads together to confer. Then pull back to their original postures.", "JONATHAN: We'll split the diff, call it a seven. Which is good for a hundred and forty, giving you a grand total of...", "ANDREW: Two hundred and twenty.", "WARREN: (claps triumphantly, points at Andrew) Beat that!", "ANDREW: Oh, I will. Cut back to Buffy still standing on the grass looking around in extreme confusion.", "ANDREW VOICEOVER: I will. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on a construction site, day. Pan across various machinery and men in hard-hats.", "BUFFY VOICEOVER: This is gonna be great. Reveal Buffy and Xander, also wearing hard-hats, walking through the site. They wear toolbelts and Buffy carries a lunchbox. Her hair is in two pigtails.", "BUFFY: Diving into the workforce. Being a bread-winner, building things with my hands.", "XANDER: Uh, actually, you won't be building so much as lifting and toting.", "BUFFY: Toting?", "XANDER: It's just a temp gig, Buff. You know, unless it tanks. Since you're not union, I had to call in a few favors to get you on a crew.", "BUFFY: Well, I appreciate it. Muchly. You saved me from having to accept Giles' offer to work at the Magic Box. I mean, retail? Yeee. (shudders) I'd rather be dead. Again.", "XANDER: (not really listening) Uh-huh. So, Giles have any thoughts about your little fast-forward freak-out at school?", "BUFFY: No. Oh, well, he implied that maybe it was stress-related. Like I was imagining it or something. I don't know. Maybe. I guess I, I ... could have been blacking out, but ... there was this thing on my sweater, you know? (Xander nods, not really listening) And then it just, blew away, or went poof. Maybe it was lint. (excited) Maybe it was evil lint.", "XANDER: Okay, first tip of the day. When I introduce you to Tony the foreman? You might wanna leave out stuff about blacking out and evil lint. They walk on. They approach a spot where a couple of guys are standing around looking at blueprints.", "XANDER: Hey. Tony. (Tony turns) This is Buffy. You know, that friend I told you about.", "BUFFY: (sticks out her hand) Nice to meet you, Tony. Tony just scowls at Xander. Buffy pulls her hand back, looks around at the other men.", "BUFFY: Guys. The other guys just stare.", "TONY: You gotta be kiddin' me. We're a week behind, I got two men out on the DL, and now you want us to baby-sit some little girl?", "BUFFY: Uh, excuse me, but I-", "TONY: Hang on, Gidget! (to Xander) This stinks, Harris. What am I supposed to do with her?", "XANDER: Give her a chance. She's stronger than she looks. Tony just sneers and turns back to the blueprints.", "XANDER: That's the spirit! (aside to Buffy) Don't mind him, he may seem pig-ignorant, rude, and a little hostile... (pauses) Have fun! (pats Buffy on the shoulder and starts to leave)", "BUFFY: Whoa, where are you going?", "XANDER: Upstairs. I need to supervise the sheet rock hangers. Don't sweat it! I'll be back to check on you later. Xander leaves.", "TONY: Okay, Danny, finish puttin' in those J-boxes, Vince, Marco, I need you to haul the steel inside.", "MARCO: Gee, I don't know, Tone. I don't wanna get in trouble with those affirmative action lawyers, you know what I'm sayin'? Why don't you put, uh, little Britney here on hauling duty?", "BUFFY: It's Buffy.", "TONY: Okay, princess, you're on it. Try not to break a nail. The guys laugh nastily. Buffy makes a face, mimicking Tony, and walks toward the pile of large steel girders. One of the other guys, Vince, joins her.", "VINCE: Don't worry about it. And don't let them hassle you into doing something stupid and hurting yourself. These beams weigh quite a few hundred pounds. Buffy picks up a beam easily and puts it on her shoulder.", "BUFFY: Which way? All the men pause to stare. Vince points his thumb toward the half-finished building.", "BUFFY: Thanks! She carries the beam off as Vince stares at the remaining pile in surprise.", "Cut to inside the site, later. Someone is welding. Buffy comes in carrying another girder, and addresses another man, Danny, who's crouched over doing something.", "BUFFY: So basically I'm just trying to learn everything I can, you know? 'Cause I don't want just a job, you know? I want a career, you know, something I can grow into. She goes over to Danny who is trying to move a girder. Buffy easily helps him lift it into position.", "BUFFY: I mean, I never thought I'd be working in construction ... but when you think about it kinda makes sense-", "DANNY: Hey. We get paid by the hour. (Buffy looks surprised) You wanna ruin it for the rest of us? Slow down. He walks off leaving Buffy standing there uncertainly. In the background we see Tony watching.", "Cut to: a view of the construction site as seen through binoculars. The lens follows a worker along until we see Buffy in the background. The lens stops and focuses in on her.", "WARREN: Ah! Got visual of subject, four o'clock. We see Warren and Jonathan sitting in the passenger seat of the van, looking out the window. Warren holds the binoculars up to his face.", "JONATHAN: That's not four o'clock.", "WARREN: (lowers the binocs) Well, it is if you're facing the front of the van.", "JONATHAN: But we're not facing the front of the van, we're facing out that way. (gestures) That's twelve, so she's at two o'clock.", "WARREN: (annoyed) Look, she's over there, okay?", "JONATHAN: (annoyed) Okay. Warren lifts the binocs to look again. Jonathan turns, parts a bead curtain that separates the \"cab\" of the van from the rear. He peeks through to the back. We see Andrew sitting on the floor reading a comic.", "JONATHAN: You're up. Andrew tosses the comic down, picks up a set of wooden pipes and begins to play by blowing air across the tops of them. The music continues as we cut to Buffy approaching a water cooler on the site. She leans over to take a cup. She hears something and straightens up, looks around in confusion. The music continues and melds into the background music of the scene. Buffy shrugs, turns back to the cooler to fill her cup. Shot of Buffy from someone else's POV, approaching her. A wrench sits on a nearby stand. The person picks it up and carries it toward Buffy. She sees the person approaching and stands up too quickly, spilling water on herself.", "BUFFY: Ooh! Oh. It's Tony the foreman.", "TONY: Jumpy? What's the matter? I scare ya? Suddenly Buffy pushes him aside to reveal a green demon behind him. Tony hits the wall as Buffy hits the demon. Buffy takes off her hard-hat and throws it aside as she faces the demon. Two more demons drop down from above to surround Buffy. They are all green-skinned and wear long trenchcoats. Buffy kicks one demon, punches the other two, kicks, goes to her knees and sweeps the feet out from under one. She gets in a couple more kicks before one of them grabs her around the waist from behind, dragging her backward. She finally gets loose, holds the demon's arm with one of hers while backhanding it with the other. The demon tosses her backward, grabs her and pins her against a wall. She kicks it back and another demon takes its place. Buffy punches it a few times, turns and leaps up to grab an overhead bar. Swinging from it, she kicks a demon in front and one behind, does a somersaulting dismount and kicks two demons with both feet. They crash into a partially built wall, bringing it down. Buffy picks up a shovel from the floor and uses it to hit the other demon a few times. He goes down and she stabs the shovel into him, then drops it. The demon lies on the floor dead. Then his whole body turns into a pile of goo which evaporates completely, leaving just an oily stain. The other two demons get up, pushing pieces of wall off them. There are also two men there, scrambling to get away. The demons pursue them.", "MEN: No, don't hurt me! Please! Help me! (etc.)", "BUFFY: (OS) Hey! The demons turn and see Buffy behind them. They attack her. She punches them both, wraps some wire around one demon's neck and strangles it. It falls to the ground and disintegrates as the previous one did. Buffy ducks a punch from the other demon, kicks it back against a piece of machinery, picks it up and shoves its head into the machine. She pulls out a cable and the pneumatic machinery begins to compress, crushing the demon's head. The demon also dissolves.", "Cut to the van. The Geeks are watching through the window. Jonathan sits in the driver's seat (background), Warren in the passenger seat, and Andrew perched on the dashboard. Andrew has the binoculars.", "ANDREW: Oh, man. She took 'em out.", "WARREN: Lemme see. (grabs the binoculars and looks)", "ANDREW: Okay, give it back now.", "WARREN: No, I'm still looking.", "ANDREW: No, y-you had your turn, now gimme-", "WARREN: No, I'm still-", "ANDREW: Gimme- Andrew grabs for the binoculars and Warren shoves him away. Andrew falls halfway onto Jonathan's lap. His elbow hits the steering wheel and activates the horn, which plays the Star Wars theme song.", "Cut to the construction site. Buffy hears the honking and peers curiously out of the building. She sees the black van sitting on the street beyond the fence. The Star Wars music continues. Cut back to the van. The geeks yell \"Duck!\" and all dive for the floor. Andrew jumps through the bead curtain into the back while the other two just lower their heads. Cut back to the site. Buffy continues looking toward the van as a couple of construction workers approach. We see another guy is pinned under some wreckage. Cut back to the van. Jonathan and Warren part the bead curtain and glare angrily at Andrew in the back.", "ANDREW: (defensive) Hey. All you said was lose the mural. The other two make annoyed faces. Cut back to the site. Two men are helping the third get up. Xander comes running over.", "XANDER: Oh my god. Buffy, what ... what happened? How ... Aw, Buffy, I know these guys can be jerks, but was it really necessary-", "BUFFY: I didn't do this! Tony comes around the corner holding a cloth to his bleeding forehead.", "TONY: I'll tell you what she did. I came over to tell your friend I was impressed by the job she was doing, liking the way she handles herself, and all of a sudden she goes berserk and attacks me.", "BUFFY: (outraged) Wh - I saved you from the... She pauses, pulls Xander aside.", "BUFFY: The demons! They were these three big apey things!", "XANDER: No. No, not here. Not at my job. That's your job.", "BUFFY: I can't help where the forces of darkness attack me, Xander.", "XANDER: Buffy, would you look at this mess? (gestures) Do you have any idea how much it's gonna cost to repair this? And what am I supposed to say to the clients, should I just show them the demon bodies and say it's all their fault?", "BUFFY: (pouts) You can't. They melted. (sees his reaction) But ... uh ... (whines) There, there are witnesses! (turns to the other members of the crew) Vince! Vince! You'll tell him, right, how I jumped in and protected you from those ... things?", "VINCE: Hey, I don't know what you're talking about. All I know is you were losin' it or something. (Buffy stares in shock) That time of the month, huh?", "BUFFY: What?! You were huddled in a corner! Crying! Like a baby!", "VINCE: Hey, hey. No way. Me, crying? Buffy gives Xander an angry look and stalks off past Vince and Tony.", "VINCE: You're trippin', sweetie. (to Tony) What's her problem? Xander shakes his head, gives the guys a nervous smile and follows Buffy.", "Cut to outside the building frame. Buffy and Xander walk along. Buffy has her hard-hat on again.", "BUFFY: I didn't imagine this, Xander.", "XANDER: I know. I believe you. In fact, I'm starting to think between this attack and the school thing that somebody's messin' with you.", "BUFFY: Really? You think they're connected?", "XANDER: Well, there's something going on. I think it's worth checking out, and I don't mean later. You need to see Giles and get on it right away. I'd start with ID'ing those demons.", "BUFFY: You're firing me, aren't you.", "XANDER: Big time. The whole melty thing oughta help narrow it down. Buffy takes off her hard-hat and gives it to him. Long shot of the two of them from the back.", "XANDER: Uh, try sketching them. That always helps, and then maybe, when I get off work I'll help you go through the mug shots. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on exterior shot of the magic shop, day.", "BUFFY VOICEOVER: This is gonna be great.", "Cut to inside. Buffy and Anya walk through the store together.", "BUFFY: You know, I've always been interested in, um, interested in retail. They descend the stairs and Anya heads toward the counter. In foreground we see Giles carrying a large stack of books toward the round table. Buffy approaches him. We see that the table is already piled high with a huge number of books.", "BUFFY: Uh ... is this all research, or just some kind of stress test for the table?", "GILES: (puts books on table, picks up a mug) I just want to be thorough. This ... time anomaly, and then the, the demon attacks could be completely unrelated events, but if they're not ... you might be in some danger. (drinking from mug)", "BUFFY: So, situation normal then. Giles sits down and opens a book. Anya comes over with a three-ring binder.", "ANYA: (to Buffy) Let's review. (opens binder) Um, you record returns here. Um, these are the slips for special orders, you ship them wherever the customer wants. And, uh, these are the hold slips.", "GILES: Fill out two hold slips for each item. (gets up and moves away)", "ANYA: Oh, and uh, be sure to remove the items from the shelf. As Anya speaks, we zoom in on a shelf behind the table. There are a couple of items on the shelf, the major one being a human skull with a candle in its top.", "ANYA: (OS) Um, I can illustrate with an amusing story about a crystal. We see that there's a tiny camera mounted in one of the skull's eyes.", "Cut to the interior of the van. A monitor shows the view from the skull-camera of Anya and Buffy in the store. Giles moves around them and out of frame.", "ANYA: (on screen) Uh, see, there was this certain customer who wanted to purchase a sapphire. Uh, sapphire ... well ... ding-dong. Right? And so anyway, I... Pan across the monitors to find Warren yawning in boredom as he watches. He reaches out to turn down the volume.", "WARREN: This is so dull I might actually have fallen asleep and be dreaming you guys. Andrew slides into view, rolling on his wheeled chair.", "ANDREW: Why is the Slayer here anyway? She's a student, she's a construction worker, and ... now she's some kind of ... selling stuff person?", "WARREN: (shakes head) It's like she's completely without focus. (pause) Should we check the other channels for free cable p0rn? Andrew seems to like the idea.", "JONATHAN: (OS) Guys, I'm ready. We see Jonathan sitting on the floor. The other guys look over, then get out of their chairs and sit on the floor as well, forming a triangle. Jonathan's holding a piece of paper in one hand and a cigarette lighter in the other.", "JONATHAN: I need you to hold hands. Warren holds out his hand to Andrew, who recoils.", "ANDREW: With each other?", "WARREN: Well, you know what homophobia really means about you, don't you? Warren picks up a piece of bone and points it at Andrew.", "JONATHAN: Stop touching my magic bone! Warren puts the bone down as he and Andrew burst out giggling.", "JONATHAN: (annoyed) Shut up. The others stop laughing but still look amused.", "JONATHAN: Okay. Jonathan begins flicking the lighter as he holds the piece of paper over the floor in between them. Warren grabs Andrew's hand. Jonathan gets the lighter lit and sets the paper on fire.", "JONATHAN: Okay, it's in Latin, so don't laugh. It's supposed to sound like this. He turns off the lighter and sets it aside, puts the burning paper down, picks up the bone. Shot from above. We see that there's a triangle drawn in red on the floor, and a bowl in the middle of the triangle, with the burning paper in the bowl. Jonathan waves the bone over it while making gestures with his other hand.", "JONATHAN: Opus orbit est, et ea in medio, tempus ad calcem intendit. [Approx. translation: \"The work is a circle, and she is in the middle, the time stretches out.\"] Clouds of smoke begin to rise from the bowl. Jonathan grins at the other guys. The smoke engulfs them and they all begin to cough.", "Cut to inside the magic shop. Buffy walks along looking bored. Behind her, we can see out the window. We see the van parked across the street with smoke coming out of it as its rear door pops open to release the smoke. Faintly, we can hear the Geeks coughing. We also see a woman walk past the windows toward the magic shop door. The camera follows her. She opens the door, making the bell above it jingle. Buffy turns to look as the customer enters. Giles comes up behind Buffy.", "GILES: Buffy, a word in your ear. The woman closes the door behind her and comes into the store. Buffy turns to Giles.", "GILES: While I was running the store, I found it useful to imagine myself back in the library. Um, (removes glasses and begins cleaning them) you know, if you concentrate on service and, and not on making a sale, you're more likely to have a satisfied customer. Giles nods, examines his glasses.", "BUFFY: Guess I'll have to find my own style.", "GILES: (not listening) Yes, uh, quite, quite, quite. Giles puts his glasses back on and moves away. Buffy turns away as Anya comes up to her. They both look toward the woman customer.", "ANYA: That woman. Go sell her something. Anya smiles, pats Buffy on the back and walks off. Buffy looks skeptical, begins walking toward the woman. As she climbs the stairs, a male customer stops her. He's looking at a display of scented candles.", "MALE CUSTOMER: Miss? Which candle creates a more, you know, romantic atmosphere? Buffy picks up a candle, sniffs it, looks at the sticker on the bottom.", "BUFFY: Hmm. \"Lemon Seduction.\" She puts it down, picks up another and sniffs it, makes a face.", "BUFFY: Ew! (looks at sticker) \"Essence of Slug.\" (puts it down, picks up the first candle and hands it to the customer) Here you go.", "MALE CUSTOMER: (smiling) Thank you. Buffy turns away.", "BUFFY: (to herself) Yeah. (walks over to woman) May I help you?", "FEMALE CUSTOMER: (conspiratorially) I need something for a prosperity spell. I heard you have it. The mummy hand?", "BUFFY: Uh, yeah, actually, I saw one downstairs. It's kinda hairy, though. Maybe it was a daddy hand. She smiles, but the customer doesn't get the joke.", "BUFFY: I'll just get it. She turns and walks to the door leading to the basement, opens it.", "Cut to basement. Buffy walks around holding a paper bag, looking for the mummy hand. She puts the bag down as she examines the jars lining the shelves.", "BUFFY: (reads) 'Petrified hamster' ... uch! Eyeballs and honey. Dagger of Lex... She turns and sees the mummy hand sitting atop a wooden crate.", "BUFFY: Hmm. Ancient mummy hand. She reaches out to pick it up but stops when the mummy hand springs to life. It leaps at her and grabs her by the throat. Buffy grabs it by the throat and wrestles with it for a moment, finally pulls it off her and tosses it back onto the crate. She turns, grabs the dagger of Lex from the shelf, stabs it into the back of the mummy hand. The hand continues moving for a moment and then stops. Buffy stares at it, panting slightly.", "Cut to above. The woman customer stares in dismay as Buffy holds up the dagger with the mummy hand still impaled on it.", "BUFFY: And you get the dagger of Lex for free with it! See the inlaid mother-of-pearl ... underneath the black oozing goo?", "FEMALE CUSTOMER: This hand is dead. The power is gone, I'm not giving you money for this!", "BUFFY: Oh, it's just playing dead. (swats the mummy hand) Little scamp. She gives the woman a hopeful look. Close shot of the bell above the door. It jingles as the door opens. Buffy turns around. She no longer holds the dagger and hand. She's back where she was when the customer first entered the store. Giles comes up behind her.", "GILES: Buffy, a word in your ear. The woman customer comes in, shuts the door. Buffy frowns in confusion, turns to Giles.", "GILES: Uh, while I was running the store, I found it was useful to, uh...", "BUFFY: Huh? What? Huh?", "GILES: (cleaning glasses) ...imagine myself back in the library, uh, to, uh-", "BUFFY: We did this just now. Giles, something is happening.", "GILES: (not listening) Yes, uh, quite right.", "Cut to a view of Buffy and Giles on the monitors inside the van.", "WARREN: Aw, you did it! Dude, she's looping! The Geek Trio watch the monitors, grinning.", "WARREN: Wha, uh, what'd you do, enchant the hand thing?", "JONATHAN: Uh, well, not exactly. I made it so she had to satisfy a customer with a task that resists solving. (stops smiling) Maybe I shoulda done more.", "ANDREW: Like what?", "JONATHAN: I don't know. (looks at monitor) Like make her kind of itchy? On the monitor, Giles walks away as Buffy turns toward the customer and Anya walks up to Buffy. Cut back to the store.", "ANYA: Go help the lady who just came in.", "BUFFY: Wait-", "ANYA: Don't worry, don't be nervous. Do what I do, just picture yourself naked. Buffy makes an \"ew\" face as Anya pushes her toward the customer. Again the man by the candles stops her.", "MALE CUSTOMER: Uh, miss-", "BUFFY: Here. Buffy grabs the lemon candle and gives it to him, continues on her way.", "FEMALE CUSTOMER: Hi. I'm looking for something really specific. I heard you carry it.", "BUFFY: A mummy hand. The customer looks quite surprised.", "BUFFY: You look like the mummy hand type. Sorry, I can't get that for you.", "FEMALE CUSTOMER: I called here twenty minutes ago, and someone said you had one.", "BUFFY: Y-yeah, um ... but ... there's a thing happening.", "FEMALE CUSTOMER: You have one, and, and I was told I could buy it, and I'm sorry, but I'm really gonna have to hold you to that. I'm not leaving until I get a mummy hand.", "BUFFY: (reluctantly) Okay ... I guess ... I'll have to get it for you. Cut back to the van. On the screen, Buffy turns away from the customer and heads for the basement.", "WARREN: Smart. She's figuring out the game. Satisfy the customer. (leans forward) Well, she might just have you beat there, Stretch. (shoves Jonathan)", "JONATHAN: No way. It hasn't even started yet.", "ANDREW: I just hope she solves it faster than Data did on the ep of TNG where the Enterprise kept blowing up.", "WARREN: Or Mulder, in that X-Files where the bank kept exploding.", "ANDREW: Scully wants me so bad. The others give Andrew skeptical looks.", "Cut to the magic shop basement. The mummy hand dances around on the crate tapping its fingers. Buffy approaches with a knife in one hand and a set of tongs in the other. The hand pauses, seems to be breathing(?). Buffy comes closer. The hand moves across the crate, climbs up onto a skull. Buffy prepares to attack it. Suddenly it jumps down from the skull, startling her. It perches on the edge of the crate. Buffy reaches out with the tongs and grabs.", "Cut to above. The woman customer looks into a paper bag with a disgusted expression as Buffy watches. Then the woman looks up at Buffy.", "BUFFY: Fingers sold separately. The woman scowls. Sound of the door jingling. Cut back to the beginning of the scene again. Buffy turns around to see the woman entering. Buffy sighs in annoyance, starts forward. Anya stops her.", "ANYA: Where are you going?", "BUFFY: (points) Lady needs a mummy hand.", "ANYA: What? You haven't even talked to her yet.", "BUFFY: I could explain, but you would just forget it.", "ANYA: I'm worried about you. Um, retail is a, is a fast-paced and exciting world. I mean, this whole day, has it gone by too quickly for you?", "BUFFY: No. No, I don't think that's exactly the problem. Buffy starts toward the customer again as Giles comes up.", "GILES: Buffy, a word in your ear. Um, if you, uh, think of the store as a, as a library, (cleaning glasses) it'll help you to, to, uh, concentrate on, on ... service rather than selling.", "BUFFY: Yes. And then I'm going to marry Bob Dole and raise penguins in Guam.", "GILES: (not listening) Yes, uh, quite, quite, yes. Giles puts his glasses back on and turns away. Buffy rolls her eyes, starts toward the customers. She grabs the lemon candle.", "MALE CUSTOMER: Miss, I- Buffy shoves the candle into his hand and continues toward the woman.", "BUFFY: Mummy hand, right? You got it, lady. The female customer looks bemused as Buffy just walks on toward the basement.", "Cut to a little later. Buffy pulls at the mummy hand which is trying to strangle the woman customer. She gets it loose, only to have it latch onto the woman's throat again. We see that Buffy is behind the counter by the cash register, with the customer on the other side of the counter. The woman's eyes bulge as the hand strangles her.", "Cut to: the bell jingling again. Buffy turns around, very annoyed. She stalks toward the front, totally ignores the male customer.", "MALE CUSTOMER: Miss... Buffy strides over to the front door, pulls it open with a jingle and steps outside... ...only to emerge in the store again, at the rear. As if she just came in through the back door. Giles, Anya, and the two customers turn to stare at her. Buffy stares back, dismayed.", "MALE CUSTOMER: Miss?", "FEMALE CUSTOMER: Hi.", "Cut to Buffy in the basement with her chin resting on her hand, watching idly as the mummy hand plays with the tongs. The bell jingles and she looks up.", "Cut to upstairs. Buffy goes over to the front door and, with a grimace, pulls the bell down, ripping it from the wall. She gives a satisfied smile.", "Cut to close-up of the bell, still attached, jingling as the door opens again. Buffy strides toward the front, passing the male customer as he examines the candles. Buffy grabs the slug-scented candle.", "BUFFY: Ya like slug? (tosses it to him without slowing down) Go with slug. She's not gonna sleep with you anyway.", "Cut to the van. The geeks are still watching.", "WARREN: (fake angry voice) This mummy hand has ceased to be! (on screen we see the woman customer shaking the mummy hand at Buffy)", "ANDREW: It is an ex-mummy hand! Warren smacks Andrew in the face with a rubber hand. Cut back to the store. The door opens. Giles comes up to Buffy, cleaning his glasses.", "GILES: Buffy, a word in your ear. Buffy grabs Giles's glasses, throws them to the floor and stomps on them again and again. Giles watches in surprise. The door jingles. Buffy turns, looking a little desperate. Shot of the woman customer looking at the merchandise.", "BUFFY: It's you. (runs over to the woman, grabs her by the front of her jacket) You, you're doing this!", "FEMALE CUSTOMER: Oh! Oh! Buffy hustles her toward the door.", "Cut to the bell jingling. Buffy stands with Giles, turns around toward the door. Shot of the male customer as the candle hits him in the stomach and he doubles over. The bell jingles.", "Cut to Buffy standing there with Giles and Anya behind her. Buffy sobs in frustration.", "Cut to the bell jingling.", "Cut to Buffy talking to the woman.", "BUFFY: I know we promised you a mummy hand, it's just ... (apologetic) I-I can't get it for you. Um ... (gets an idea) There's something wrong with it. It's defective.", "FEMALE CUSTOMER: Defective? Are you sure? I - there must be something you can do.", "BUFFY: But there's no way to get- Buffy suddenly stops as she realizes the solution to the problem. A slow smile comes over her face.", "BUFFY: ...to get *that* hand. But I can special-order one. We can deliver it anywhere you want.", "FEMALE CUSTOMER: (smiling happily) Really?", "Cut to Buffy at the cash register with the customer on the other side of the counter. The cash register rings as Buffy closes the sale.", "BUFFY: (smiling) Thank you for shopping at the Magic Box. The woman hands Buffy the special-order slip and leaves.", "Cut to the van.", "JONATHAN: Oh ho! Yes! The Geeks laugh and give each other high-fives.", "ANDREW: So ... (doing calculations on a piece of paper) Warren had 220 ... and I had that bonus for getting her fired...", "JONATHAN: But the biggest component has to be how long it took to finish. Mine took the longest.", "ANDREW: Only from a perspective external to the time-loops. From Mr. Giles' perspective, it was shortest of all.", "JONATHAN: (disappointed) So what do we do?", "WARREN: Oh, it's obvious. I mean, it's not over. Cut back to the magic shop. Buffy is finishing up the paperwork. Anya and Giles come toward her, smiling.", "GILES: Buffy, your first sale! (applauds) Congratulations. Buffy smiles. Anya takes the invoice and examines it.", "ANYA: You, you didn't charge for delivery.", "GILES: Oh. Well, your first day, you know, these things happen.", "ANYA: (smiling) Yeah, I'll just take it out of your pay. Buffy gives her a sour look.", "GILES: Yes, um, I'm sure B-Buffy would understand that. Buffy walks around Anya to get out from behind the counter. She slaps something down on the counter and keeps walking.", "BUFFY: Absolutely. Close-up on the counter. The thing Buffy put down was her name tag. It reads, \"Hello! My name is,\" then a white space with \"BUFFY\" written in it, and then, \"Ask me about curses!\" Giles looks at it, looks at Anya. Anya looks toward the door. Long shot of Buffy going to the front door and opening it. Close-up on the bell jingling. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on close shot of Spike looking to his left with a small smile. It's dark.", "BUFFY: (OS) This is gonna be great. We see Buffy holding up a shot-glass full of liquor. She pours the shot down her throat, swallows it and makes a horrible face.", "BUFFY: Blaaah! (shakes head) We see that Buffy and Spike are sitting on a coffin in Spike's crypt. Spike lifts his own shot-glass to his mouth and slams it down.", "BUFFY: Life is stupid.", "SPIKE: I have a dim memory of that, yeah. (puts glass down) And I didn't figure you were here cadging my whiskey 'cause life's all full of blood and peaches.", "BUFFY: No. There's this thing ... someone's doing stuff to me. Messing up my life. Except that it was kind of pre-messed already. You know, with school, and jobs ... pretty bad even without the evil.", "SPIKE: So you, uh, just what? Gonna let this whoever play you till it figures out what kills you?", "BUFFY: (shrugs, puts down her glass) Giles is working on it.", "SPIKE: (laughs) Oh, good, 'cause Giles wields the mighty force of library books.", "BUFFY: You'd do better?", "SPIKE: Damn right! I'd hit the demon world. Buffy has Spike's whiskey flask in her hand. She begins refilling the two glasses as Spike brings one leg over the coffin so he's straddling it.", "SPIKE: Ask questions, throw punches, find out what's in the air. Hmm? It's fun too.", "BUFFY: (slurred) It's not my kind of fun. (screwing cap back onto the flask)", "SPIKE: Yeah. It is. She looks at him.", "SPIKE: (quietly) And your life's gonna get a lot less confusing when you figure that out.", "BUFFY: (slurred) You have had *so* too much to drink at this point, I am cuttin' you off. They both empty their glasses again. Buffy again makes her alcohol face.", "BUFFY: Blaaah! (shakes head) Spike watches this with a smile.", "SPIKE: You're not a schoolgirl. You're not a shop girl. Buffy pours from the flask into her glass again, emptying the flask.", "SPIKE: You're a creature of the darkness. Like me. (Buffy looks at him) Try on my world. See how good it feels.", "BUFFY: Are there drinks in your world? Spike grins.", "Cut to a seedy bar. Loud rock music, people drinking. Pan across to the door. Spike enters, followed by Buffy. She grimaces.", "BUFFY: Your motorcycle is loud.", "BARTENDER: Sssspike. We see that the bartender has a forked tongue. Spike nods a greeting to him.", "SPIKE: (counting out money) The usual, Dave, and one for the lady. (to Buffy) We're heading for the back room, pet. The bartender has set out two shot glasses and begins to fill them, but Buffy grabs the bottle out of his hand, removes the pour-spout and drinks straight from the bottle. Spike sighs, peels off a few more bills and gives the money to the bartender.", "SPIKE: It's where the real action is. Spike takes the two shot-glasses and heads toward the back. Buffy follows, making her alcohol face.", "Cut to Spike and Buffy entering the back room. Lots of shelves filled with liquor boxes. Sound of voices.", "SPIKE: (to Buffy) These lowlifes know everything happens in this town.", "BUFFY: (too loudly) Oh, good. These are the lowlifes. We see four demons sitting around a green-felt-covered table, playing cards. They all turn to look.", "SPIKE: Fine. A little louder. Spike walks over to the table.", "SPIKE: Boys, what's the game? We see one demon with many eyes, one with scaly skin and a bunch of tentacles that look like dreadlocks, one with a green face and horns, and one with very loose skin.", "GREEN DEMON: You know the game, Spike. You in?", "MANY-EYED DEMON: He kills our kind. Don't let him in. Spike grabs the many-eyed demon by the front of his jacket, pulls him up out of his chair.", "BUFFY: Ooh, ask him if he's heard-", "SPIKE: Later. Spike shoves the demon toward the door, sits down in his seat and picks up his cards.", "BUFFY: (disbelieving) You're gonna play cards? Spike looks exasperated, gives the demons a fake smile.", "SPIKE: I need a moment with my lady. The demons shrug. Spike gets up, goes to Buffy and puts his hand on her arm to turn her away. She shoves him off, but moves away with him anyway. The demons continue talking in the background.", "BUFFY: You wanna play, that's fine. Okay? I am sticking to the original plan. (gestures at demons) Which one do I kill for information?", "SPIKE: Listen. These guys talk while they play. We'll get more information out of their mouths than out of gaping holes in their corpses. Buffy frowns, looks from Spike to the demons and back again, finally rolls her eyes in agreement. Spike returns to his seat. Buffy takes a chair a little bit away from the table, removes her jacket and sits with the bottle of whiskey.", "SPIKE: I'm in. Everybody okay with that?", "LOOSE-SKINNED DEMON: (shrugs) Ante up. The three demons all turn to reach under their chairs. Each demon produces a small kitten. They put the kittens in a basket on the table. The kittens mew.", "BUFFY: You play for kittens?!", "SPIKE: So, who's gonna advance me a tiny tabby, get me started? The demons all look away casually.", "SPIKE: Come on, someone's gotta stake me.", "BUFFY: (grinning) I'll do it! Spike turns to give her a look.", "BUFFY: What, you thought I was just gonna let that lie there? She takes a swig from the bottle. Spike looks like he's having second thoughts about bringing Buffy here.", "BUFFY: (OS) Blaaah!", "Cut to the black van moving down the street. It's night, the headlights are on.", "Cut to inside. Jonathan sits in the passenger seat and Andrew in the middle while Warren drives.", "JONATHAN: Where're we going?", "WARREN: To Final Jeopardy. Where Buffy's the one in jeopardy.", "ANDREW: We are really super-villains now, like ... like Dr. No. (Jonathan grins)", "WARREN: Yeah, back when Bond was Connery, and movies were decent.", "JONATHAN: (scornful) Who remembers Connery? I mean, Roger Moore was smooth.", "WARREN: You're insane. You're short, and you're insane.", "ANDREW: I like Timothy Dalton! Warren smacks Andrew upside the head.", "ANDREW: Hey!", "WARREN: Don't make me pull over, okay?", "Cut to the back room of the bar. Kitten mewing noises continue. Spike looks at his cards, grins, puts them down on the table. We see that he has a straight, 4-5-6-7-8 of clubs. The other demons groan and throw down their cards. Spike smiles, stands up. We see that the table is now covered with kittens. Spike opens the lid of a basket and begins trying to put the kittens in the basket.", "GREEN DEMON: You're lucky today, Spike.", "SPIKE: Got my good-luck charm with me. (gestures with a kitten toward Buffy, who's making her alcohol face)", "SCALY DEMON: You cleaned us out. No-one's that lucky.", "LOOSE-SKINNED DEMON: Yeah. I'm starting to think you cheat.", "SPIKE: (sits) Me? I cheat? He's got X-ray vision! (points to scaly demon)", "SCALY DEMON: I'm not using it.", "LOOSE-SKINNED DEMON: (stands up angrily) *We* are not the ones who are cheating! Spike looks at him. Close shot of the demon's arm. An ace of spades is stuck in the folds of skin. He pulls it free as the others watch.", "LOOSE-SKINNED DEMON: I, I had no idea that was there. I could have leaned on that days ago.", "GREEN DEMON: You better go, Spike. Things could get ugly.", "SCALY DEMON: Got ugly the second he walked in. (disgusted) Him and his human.", "LOOSE-SKINNED DEMON: Her skin's so tight, I don't even know how you can look at her. Spike stands up angrily and confronts the demon. The green demon gets up too.", "GREEN DEMON: Leave your winnings and get out. (Spike looks at him in surprise) We'll forget this whole thing.", "SPIKE: Ah, so it's a setup, isn't it? Squeeze a few quid outta the vamp. Well, I'll tell you what you didn't count on. (indicates Buffy) Me and the bird.", "BUFFY: (O.S.) Blaaah.", "SPIKE: You wanna fight? You face the two of us.", "BUFFY: What? I'm not getting into a bar fight! (very drunk) I'll beat 'em up for information, great, but not to defend your right to gamble for kittens! Which, by the way, is stupid currency.", "GREEN DEMON: They're delicious! (other demons nod)", "SPIKE: (wheedling) Come on, Slayer, a big fight's just what you need.", "BUFFY: Forget it. I'm not playing by anyone else's rules any more. (gets up) I'm done. She staggers drunkenly over to the table, opens the basket and tips it over, setting the kittens free. All the demons yell in protest.", "DEMON: Hey, I won those two!", "BUFFY: Be free, kittens!", "DEMON: They're getting away! Buffy turns and leaves as the demons frantically try to re-capture the kittens. The kittens run around under the table, meowing. Spike hurries off after Buffy.", "Cut to the main bar room. Buffy walks quickly through, putting her jacket on. Spike grabs her shoulder, turns her around.", "SPIKE: What's wrong, luv?", "BUFFY: What's wrong?! You were gonna help me! You, you were gonna beat heads and, and, and fix my life! But you're completely lame! She gestures wildly with her arm. Her jacket falls down her arm and dangles from one hand. Spike simply listens to her tirade, looking surprised.", "BUFFY: Tonight sucks! And, and look at me! Look at, look at stupid Buffy! (pulls jacket back up her arm) Too dumb for college, and, and, and freak Buffy, too strong for construction work. (finishes putting on jacket) And, and my job at the magic shop? I was bored to tears even *before* the hour that wouldn't end! And the only person I can even stand to be around is a ... neutered vampire who cheats at kitten poker.", "SPIKE: (embarrassed) Oh, you saw the cheating, did you.", "BUFFY: Also? I think you're drunk. She whirls around and storms out of the bar. Spike stands there, makes an expression of extreme frustration.", "Cut to the interior of the van, rear. Andrew emerges from the front into the rear, followed by Warren. Jonathan comes last.", "WARREN: (to Andrew) Connery is Bond. He had style.", "JONATHAN: Yeah, but Roger Moore was funny.", "WARREN: Moonraker? The gondola turns into a hovercraft? It's retarded. Besides, the guy had, like, no edge.", "ANDREW: Dalton had edge. In Licence to Kill he was a rogue agent. That's edgy. (Warren and Jonathan give him looks of disbelief) And he was amazing in The Living Daylights.", "JONATHAN: Yeah, which was written for Roger Moore, not Timothy Dalton!", "WARREN: (annoyed) Okay, this is stupid! We're wasting time. End of discussion. The other two nod and turn to their consoles, begin typing. Beat.", "WARREN: (very angry) I mean, there's a shot of like *pigeons*, doing double-takes when the gondola blasted by! Moonraker ... is inexcusable. The others just look at him.", "Cut to Spike coming out of the bar, walking quickly, waving his hands in annoyance. He's looking at the ground, so he nearly bumps into Buffy who's standing on the street, arms crossed, staring at something down the street. Spike sighs and rolls his eyes.", "BUFFY: That van. Spike looks where she's looking. Shot of the black van parked by the sidewalk.", "SPIKE: You wanna steal a van, I'm with you, luv, but we have got the motorcycle. (gestures behind them)", "BUFFY: (shakes head) I've seen it before. At the construction site. She takes a couple of steps forward.", "Cut to inside the van. Warren is in foreground with his back to Andrew in background.", "WARREN: Connery is the only actor of the bunch.", "ANDREW: Timothy Dalton should get an Oscar and (yells) beat Sean Connery over the head with it!", "WARREN: (grimly) Okay, that's it. Warren spins around, grabs Andrew, gets him in a headlock. They struggle.", "JONATHAN: Hey! Stop it! Guys! Jonathan tries to break them up, looks up at the monitors, gasps.", "JONATHAN: Look! They all look. The monitors show Buffy walking toward the van.", "ANDREW: Oh, she's coming over here! What do we do?", "WARREN: Jonathan, grab your magic bone. Warren and Andrew burst into giggles again. Jonathan looks at them in annoyance.", "Cut to outside. Buffy approaches the van, frowning. Spike stays where he is several yards back. Suddenly a large demon comes around the van and growls at Buffy. He has red skin, curved horns and wings, and wears only a loincloth.", "DEMON: Rrrah! You have discovered me! (puts hands on hips) But do not try to defeat me, for I have been testing you and I know your weaknesses. Ha ha ha! The demon suddenly looks over in dismay as the van starts up and begins to drive off. Buffy goes over to the demon, tries to punch it, but being drunk she misses the first time. She kicks out and gets the demon square in the groin.", "DEMON: Ooh! Oh! The demon doubles over in pain. Buffy falls backward onto her butt. Spike runs over and helps Buffy up.", "BUFFY: I'm okay! I'm fine! Get off me! (Spike makes a \"okay, okay\" gesture)", "DEMON: I am well struck! (voice breaking) I call on the misty portal to my demon dimension, where I will lay my head and gently die. The demon throws something on the ground which causes a shower of sparks and a cloud of smoke. Then he turns and runs away. Buffy and Spike cough and wave the smoke away.", "BUFFY: He blew up. Did you see that?", "SPIKE: (looks around in confusion) Yeah, I saw. He's gone.", "BUFFY: (shrugs) Gotta love it, you know. (Spike looks at her with a smile) It makes you feel all powerful. (uncertainly) Strong. Beat. She looks a little ill. Spike continues looking at her.", "BUFFY: Kinda sick.", "Cut to the van parked on a dark side street. Warren's at the wheel. Andrew in the passenger seat. The demon comes up on the driver's side, panting.", "DEMON: She hurt me all over.", "WARREN: Someone'll see you! Get in the back.", "DEMON: I won't fit.", "ANDREW: Well, do the ... thing.", "DEMON: Oh, right. Let the spell be ended! The demon shrinks and turns back into Jonathan, holding the loincloth around his waist (as it is now much too big for him). He groans in pain, hobbles over to the back of the van. The other two go through the bead curtain. Jonathan opens the back door and climbs into the van.", "JONATHAN: Ahh! Ow. Warren wraps a blanket around Jonathan.", "JONATHAN: (plops into a chair still groaning) Ohh, next time I do that spell, one of you guys has to look like the demon.", "ANDREW: (awed) The Slayer touched you.", "JONATHAN: (sourly) Yeah, it was sexy the way she touched me real hard with her fists. I only looked big. I actually had the proportional strength of ... uh ... me.", "WARREN: Guys, think about this. We took on the Slayer. I mean, we've got all kinds of stuff in the computer now ... speed, strength, reaction time ... we're getting what we need to really become a threat to her. We tested her, faced her ... and we survived.", "JONATHAN: Unless I have internal injuries that will eventually kill me.", "ANDREW: Oh, of course, but barring that, Warren's right. We did good!", "WARREN: (nods) The Trio ... versus the Slayer. It's not over. They all nod and smile.", "ANDREW: Plus, look what Warren and me discovered by accident before we drove away! Andrew jumps up and gets into one of the chairs, fiddling with the equipment. The other two come to look over his shoulder.", "JONATHAN: What? They all stare at the screens.", "ANDREW/WARREN/JONATHAN: (unison) Free cable p0rn!", "Cut to: interior Summers house, night. Giles stands in the hallway outside the bathroom holding a glass of water. The bathroom door opens and Buffy comes out, walking slowly. Giles gives her the glass.", "GILES: Feel any better?", "BUFFY: I think at one point, I actually turned completely inside out. (walks into her room) But yeah, better. (drinks)", "GILES: I'm sorry I didn't, uh, find this demon with my research.", "BUFFY: (sits on floor next to the bed) Aw, it's okay. I-it wasn't much of a fight. She pulls a fringed blanket off the bed, bunches it up and holds it against her middle.", "BUFFY: I got lucky. She puts her elbow on the bed and rests her forehead on her hand.", "BUFFY: (quietly) I'm really screwing up, Giles.", "GILES: What? Come on. (sits on the bed) You were being tested ... sequentially, by some ... unknown demon. I don't call that screwing up.", "BUFFY: No, it completely is. I let the demon set the rules.", "GILES: Go easy on yourself, will you? I mean, you don't have to figure the whole thing out at once, you know, job and everything. You're pushing yourself too hard.", "BUFFY: The nice people at the phone company? Seem to think it's not hard enough.", "GILES: Well, maybe there's something I can do about that. (takes something from his pocket) This is, um ... I... It's a folded piece of paper. Giles turns it over and over in his hands, then holds it out to Buffy.", "GILES: It's for you.", "BUFFY: (takes it) A check? She unfolds the check, looks at the amount, looks stunned.", "BUFFY: This is, is too much, I can't take it.", "GILES: Well, tear it up then. (reaches for it)", "BUFFY: (snatches it away from him) No! I was just being polite. (smiles) I'm taking the money. Giles smiles, leans on the bed. Buffy looks at the check again.", "BUFFY: This is, this is great. This is more than great. Giles puts his hand on her shoulder. She looks up at him.", "BUFFY: I don't ... really know how to say this ... (softly) but it's a little like having Mom back.", "GILES: In this scenario, I am your mother?", "BUFFY: Wanna be my shiftless absentee father? Giles grins a little, then pulls a serious face.", "GILES: Is there some sort of, um, rakish uncle?", "BUFFY: (smiles) I'm just saying ... (seriously) Thank you. So much. Buffy tries to get up, groans in pain. Giles gets up, helps her stand.", "BUFFY: I'm gonna ... show this to Dawn. She loves it when things get easy. She walks to the door, looking at the check. Pauses in the doorway, turns back to Giles.", "BUFFY: I just ... wanna tell you ... that, um ... this ... makes me feel safe. Knowing you're always gonna be here. Giles gives her a smile and a nod. But as soon as Buffy turns to leave the room, his smile turns to a worried frown and he sighs. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon. THE END" ]

[ "Sunnydale is alive with the sound of music as a mysterious force causes everyone in town to burst into full musical numbers, revealing their innermost secrets as they do. But some townsfolk are dancing so much that they simply burst into flames, and it becomes clear that maybe living in a musical isn't so great after all." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Anya walking away from the house. Xander intercepting her.", "XANDER: Anya! What's wrong with you?", "ANYA: First you, you give me this beautiful ring, and then I can't wear it in public. I mean, don't you wanna get married?", "XANDER: Yes. Dawn and Tara in the magic shop.", "DAWN: Come on, Tara. I am so old enough to do research.", "BUFFY: You do research now? Want a cappuccino and a pack of cigarettes to go with it? Dawn and Buffy in their house.", "DAWN: Why should I care about any of this?", "BUFFY: Because they'll take you away! If I can't make you go to school ... then I won't be found fit to be your legal guardian. Willow and Buffy in the workout room.", "WILLOW: Since you've ... been back, you haven't exactly been big with the whole range of human emotions thing. Spike and Buffy in the house.", "SPIKE: I know you'll never love me. But you treat me like a man. Open on the magic shop, day. It's Halloween and the shop is filled with customers, including many laughing children. Pan across a large banner reading \"Halloween Bone-Anza\" with the letters spelled out in paper bones (the O in \"Bone\" is a paper skull). Anya moves through the store on roller-skates. She wears very short candy-striped shorts, a red blouse, and Farrah Fawcett hair.", "ANYA: (to customer) Um, everything on this table's half off. Including the table. She skates on.", "ANYA: (to second customer) Buy one eyeball, get the second one free! In the background we see Giles working the cash register, wearing a wizard robe. In foreground is Xander, dressed as a pirate, talking to some children. He holds a jar.", "XANDER: Arrr! Careful, me mateys! These be fireflies spat from a volcano off the coast of Katmandu. Arr!", "LITTLE BOY: (dressed as a fireman) You're not a real pirate! Real pirates live on boats and don't look stupid!", "XANDER: (fake laugh) Oh, a salty swabbie! Maybe you be fishin' for the taste ... of me hook! He shakes his hook-hand in the boy's face. The boy is unimpressed.", "GILES: (calls) Uh, hello, Ahab, a little help please?", "XANDER: Arr, and help ye shall have, arr! Xander gives the boy a menacing look and goes off, scratching his neck with the hook. Dawn walks across the store, dressed normally. She puts something down on the table next to Anya.", "DAWN: So what are you supposed to be?", "ANYA: An angel.", "DAWN: Oh. Shouldn't you have wings?", "ANYA: Oh no, this is a special kind of angel called a Charlie. We don't have wings, we just skate around with perfect hair fighting crime. Where's your costume? (skates away)", "DAWN: (follows) Like I'm six years old? Halloween's so lame.", "ANYA: But you get to dress up, and play games! Xander's gonna teach me a new one after work called Shiver Me Timbers. Ever play? Tara appears just in time to hear this and intervene.", "TARA: Uh, Dawn, Willow could use some help in magical texts.", "DAWN: (grins) I'm all over it. (walks away)", "ANYA: (to Tara) How 'bout you, ever play Shiver Me Timbers?", "TARA: I'm not really much for the timber.", "Cut to Willow on the other side of the room holding up a book on witchcraft.", "WILLOW: (angrily) I'm just saying you might wanna rethink the stereotype before someone turns *you* into a toad. We see that she's talking to a woman in traditional Halloween witch costume (hooked nose, pointy black hat, warts, etc.). The woman looks annoyed, grabs the book and walks away.", "WILLOW: And while you're at it, why don't you try removing that broomstick from your- Dawn appears behind the witch, approaching Willow.", "WILLOW: (catches herself) Dawn!", "DAWN: Hey. Don't stop the invective on account of me.", "WILLOW: If I see one more idiot that thinks witches are all hairy moles and rotted teeth-", "WITCHY-POO: Excuse me, do you have any candy corn? Willow and Dawn look down to see a tiny little girl dressed in a similar witch costume.", "WILLOW: Oh, look at you! (kneels by the girl) You are just the cutest thing!", "DAWN: I-I thought you said-", "WILLOW: I know, but look, with the hat, and the, the wart! (smiles) Oh! Let's go fill your tummy up with sugary niblets, okay? Willow leads the cute little witch away. Dawn watches with a smile. Then Dawn looks down at a nearby display table. Shot of a large gold coin with a picture of a dragon on it. Dawn looks around furtively, picks up the coin and slips it in her pocket.", "ANYA: (OS) Buffy! Dawn tries to look casual, walks off.", "Cut to Anya skating over to Buffy. Buffy carries a large cardboard box.", "ANYA: We're running low on mandrake root. Check the basement. (skates off)", "BUFFY: (to herself) Don't blame me if we have this conversation over and over... (walks off)", "Cut to the basement. Buffy comes down the stairs still holding the box.", "BUFFY: ...and over ... and over, and over. She reaches the bottom of the stairs and turns to go around them, just as Spike emerges from underneath them.", "BUFFY: Oh! Both jump in surprise, then sigh.", "BUFFY: Bell. Neck. Look into it.", "SPIKE: Come with a nice leather collar, does it?", "BUFFY: What are you doing lurking down here?", "SPIKE: (sighs) Came through the tunnels. (holds up a handful of vines) Running low on burba weed. Stir it in with the blood. Makes it all hot 'n spicy. Buffy makes a very \"ew\" face, turns away to put the box down.", "SPIKE: What? I was gonna pay for it. Buffy gives him a skeptical look as she comes back toward him.", "SPIKE: I mean, no. I was gonna nick it, 'cause that's what I do. (sighs) I go where I please and I take what I want, and what's your excuse anyway? (nods toward upstairs) I thought you'd had it to the brim with customer disservice.", "BUFFY: One-time deal to help out. And I mean straight time. No loop-de-loop mummy hand repeat-o-vision. Spike nods understanding. Buffy looks around, looks embarrassed.", "BUFFY: Where's the mandrake root? Spike looks around, moves toward a shelf covered with jars.", "SPIKE: Um ... here. (takes down a jar) Only three to a jar. (gives her the jar) Tend to ... go a bit wonky if you cram them too close.", "BUFFY: Thanks.", "SPIKE: Feel like a bit of the rough and tumble?", "BUFFY: (shocked) What?", "SPIKE: Me ... you... She stares at him, still shocked.", "SPIKE: Patrolling? Hello?", "BUFFY: Oh. Uh ... I ... should stay. Maybe tomorrow. It's a little awkward. They both turn away, Buffy toward the stairs and Spike toward the direction he came from.", "SPIKE: It's not like I don't already have plans. Great Pumpkin's on in twenty. He turns and leaves. Buffy shakes her head.", "BUFFY: (to herself) So much easier to talk to when he wanted to kill me. She heads up the stairs.", "Cut to above. Buffy emerges from the basement, still carrying the jar of mandrake root. She closes the door, takes a few steps forward and is intercepted by Anya, who takes the jar.", "ANYA: Ooh! Go help Giles. (skates away) Buffy turns and goes through the swing-door that separates the area behind the cash register from the rest of the store. Giles is busily ringing up a customer at the cash register. There's a long line of other customers waiting.", "BUFFY: What happened to Xander?", "GILES: He kept poking me with his hook. (Buffy picks up an item from the counter) I sent him over to charmed objects. With any luck he'll poke the wrong one and end up in an alternative dimension inhabited by a 50-foot Giles that squishes annoying teeny pirates. While speaking the previous line Giles rings up a sale and packs several items into a bag. Now he takes the item Buffy is holding, puts it in the bag and gives it to a customer.", "GILES: We've got a ton of bagging to do here.", "BUFFY: Actually, Spike had a really good idea. You know, maybe I should (quietly) patrol.", "GILES: Buffy, you've been patrolling every night this week. (takes an item from a customer, rings it up) Besides, it's Halloween, it's the one time of the year that supernatural threats give it a well-deserved rest. As should you.", "BUFFY: Yeah, what about costumes that take over your personality? Or, wee little Irish fear-demon-y thingies?", "GILES: Yes, well, if anything calamitous should happen, history suggests it'll happen to one of us. (hands a customer some change)", "BUFFY: Right, exactly, so I should patrol to avoid any of that- (Giles shoves the item in her hand) and I'm bagging.", "Cut to the street, day. Children in costume run around, shouting. An elderly man in a brown suit and hat walks down the street, carrying a large paper bag, humming \"Pop Goes The Weasel.\" He walks up the stairs to a house.", "Cut to inside. The old man enters, still humming. He puts his hat on a hook and walks through the house. We see toys everywhere on shelves and tables, many of them carved out of wood. The old man continues humming as he goes into the kitchen. A large pot is on the stove, steaming. He sniffs it briefly, puts the bag down on the counter.", "KALTENBACH: (sings to the same tune) Da da da da da-da da da, happy Halloween. He looks out the window at the street. Shot of a bunch of kids on the sidewalk talking.", "KALTENBACH: Ha ha! Give you ... something ... special this year. He turns and opens a drawer, takes out a large knife. He tests the blade with his thumb while humming the final notes of the tune. Wolf howl. Opening credits. Special Guest Star Anthony Stewart Head. Guest Starring John O'Leary, Kavan Reece, Amber Tamblyn, Dave Power, and Amber Benson as Tara. Written by Stephen S. DeKnight, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on exterior shot of the magic shop, night. A few people exit.", "Cut to inside. Dawn stands at the door waving the last customers out.", "DAWN: Come again! (weak laugh) She closes the door and leans against it with a grimace.", "DAWN: Uhh! In a zillion years. We see Xander lying on his back on the floor.", "XANDER: Store go boom. (waves his hook hand weakly) Arr. Wider shot of the others sitting around looking very tired. Giles and Buffy sit on the steps beside Xander; Willow and Tara in chairs nearby. We see Anya behind the counter.", "ANYA: That was the most incredible thing I have ever experienced. Xander lifts his head to look over at her.", "ANYA: Except for that. Dawn walks across the room to join Anya behind the counter.", "ANYA: What you all did for me tonight ... the astounding heaps of money you helped me- (Xander clears his throat) ...us acquire. All I can say is, I hope we make as much tomorrow.", "BUFFY: (in dismay) Tomorrow?", "ANYA: Oh, post-holiday clearance. (smiles) The cornerstone of retail. Everyone groans. Giles gets to his feet with a grimace.", "GILES: Brooms all around, then.", "WILLOW: Or I could whip up a jaunty self-cleaning incantation, it'll be like Fantasia.", "GILES: We all know how splendidly that turned out for Mickey. (gives Willow a broom and dustpan)", "WILLOW: I think I'm a little more adept than a cartoon mouse.", "TARA: And you have more fingers, which is good, 'cause... (shot of Anya counting her money) ...there's no need to wear those big white gloves to overcompensate.", "BUFFY: (to Xander) You know, if you had a real peg leg, you wouldn't just have a lame costume, you'd actually be lame. Which is completely different. Xander isn't listening; he's staring at Anya. Anya and Dawn are behind the counter, doing a little dance.", "DAWN: (smiling) You do this every night?", "ANYA: Every time I close out the cash register. The dance of capitalist superiority. Anya continues dancing, and Dawn copies her movement. Xander continues watching.", "XANDER: (softly) I'm gonna marry that girl.", "BUFFY: What?! She's fifteen and my sister, so don't ev- (gets it) Oh.", "XANDER: Hey, everybody. (stands up) Can I, um ... uh ... there's something Anya and I ... wanna tell you. He walks over to the counter. Anya comes to his side, holding a stack of paper money.", "ANYA: (quietly) Now?", "XANDER: Now. Xander puts his arm around Anya's shoulders, turns to face the rest of the gang.", "XANDER: We're getting married.", "DAWN: (smiling) Oh my god.", "TARA: Congratulations! Buffy and Giles walk closer.", "WILLOW: (not smiling) That ... that's ... wow.", "XANDER: It's a big wow.", "ANYA: (to Xander) I ... I thought you were waiting for the right moment. Xander gazes fondly at her.", "XANDER: I did. They kiss. Dawn watches intently. Anya giggles as the kiss ends.", "ANYA: Here, have some money! Anya tosses money at Dawn, who catches some of it, smiling. Anya and Xander resume kissing.", "BUFFY: (quietly to Giles) Did you know about this?", "GILES: No. Unless I blocked it from my memory, (glancing at Xander and Anya) much as I will Xander's vigorous use of his tongue. Giles removes his glasses and begins to clean them. Buffy watches this with an expression of outrage.", "BUFFY: (shocked) Is that why you're always cleaning your glasses? So you don't have to see what we're doing?", "GILES: Tell no one. (puts glasses on) Buffy looks back over at Anya and Xander. They are still kissing.", "BUFFY: Giles, this is... Shot of Dawn watching the kissing with a wistful smile. Cut back to Buffy and Giles.", "BUFFY: ...we have to do something.", "Cut to a close-up of Anya's hand, wearing the engagement ring. Another hand is holding hers.", "ANYA: And he said he couldn't imagine the rest of his life without me, and then he gave me this! Pull out to reveal Xander standing beside her. It's Dawn holding Anya's hand to look at the ring. We're in the Summers living room. Music in the background.", "XANDER: Which I'll be paying for the rest of my life.", "DAWN: Can I try it on?", "ANYA: (big smile) Oh, absolutely not. Giles and Buffy appear from the kitchen, carrying cups.", "GILES: Where I come from, this sort of thing requires much in the way of libation. Everyone takes a cup.", "XANDER: God save the queen!", "BUFFY: Sorry we couldn't do the big fancy. You kinda caught us with our parties down.", "ANYA: Oh, that's okay. This is just the first premarital celebration. There'll be lots more. With gifts. Tara and Willow appear with bowls of snacks.", "TARA: Sure, maybe we'll even have time to decorate for the next one.", "WILLOW: Why wait? Willow speaks a few words of Japanese(?) and a shimmer goes through the room. When it passes, the room is decorated with paper lanterns and streamers. Dawn laughs with pleasure. The others look around. Tara looks unhappy.", "ANYA: This is so much better than the way it usually looks. Thank you. Anya hugs Willow. Giles gives a disapproving look, which he shares with Tara.", "Cut to the kitchen. Willow pours snacks from a bag into a large bowl. Tara sits by the island.", "TARA: The grocery store's still open, we ... could've bought decorations there.", "WILLOW: Why bother? These are perfect. And extra biodegradable-y. In a couple of hours, poof!", "TARA: No, they're, they're great, it's just ... why use magic when you can do something naturally?", "WILLOW: Well, you can fight monsters naturally, with sticks and stones. Don't recommend it though. (drinking from a cup)", "TARA: It's different.", "WILLOW: How?", "TARA: Becau- (sighs) Because you're protecting people. Keeping them from being hurt.", "WILLOW: Which makes them happy. Like pretty decorations made Anya happy.", "TARA: (sighs) That's not the point, Will.", "WILLOW: Why are you being like this?", "TARA: This isn't about me!", "WILLOW: This is so about you. You're always coming down on me for, for doing magic that couldn't harm a fly. What's your problem?", "TARA: Willow, I j-just wish that you would stop and think about what you're- Tara stops as she sees Willow looking toward the door. Dawn is standing there.", "DAWN: (nervous) Sorry. Just checkin' on the chips.", "WILLOW: It's okay. We're done. Willow takes the bowl of chips and walks out. Dawn gives Tara an anxious look, then follows Willow.", "Cut to the living room. Buffy and Xander are hugging.", "BUFFY: You're getting married! You!", "XANDER: (hoarsely) Me. Choking.", "BUFFY: Oh, sorry. (lets him go) I just, I can't believe it. Seems like only yesterday you had to pay a girl to date you.", "XANDER: Like I'd ever pay. (snickers nervously) Define 'date.' Willow and Dawn approach carrying the bowl of snacks.", "BUFFY: I was only out of commission for three months. (to Willow) How many other things have changed since I've been away?", "DAWN: (smiling) Ooh, I got a tattoo!", "BUFFY: (shocked) What?!", "WILLOW: Which is why we told her no.", "DAWN: (wheedling) Just a little one?", "BUFFY: Over my dead body. (Willow sits on sofa) The kind that doesn't come back. Anya enters.", "DAWN: (pouty) Fine. (sees Anya) Congratulations. Dawn hugs Anya briefly.", "DAWN: You're very lucky. Finding a guy like him.", "XANDER: Not as lucky as me. Xander kisses Anya on the cheek. Buffy watches with a smile.", "DAWN: See you guys tomorrow? (starts to leave)", "BUFFY: Whoa! (grabs Dawn's arm) Tomorrow?", "DAWN: Yeah. I'm sleeping over at Janice's, remember?", "BUFFY: That's tonight?", "DAWN: No. It's on the other Halloween. (Giles enters with more snacks) Come on, you said I could.", "BUFFY: Uh ... (glances at Willow) Well ... I know I did, it's just, you know, now with Xander's party, I-", "XANDER: Ah, we're good. But you have to get us some extra gifts for our reception.", "ANYA: Yes please.", "BUFFY: I-I don't know. Giles?", "GILES: Uh, it's really not up to me.", "DAWN: Come on. It's four blocks away, I'll walk straight over. Not like I'm gonna be roaming the streets. (cajoling) Please?", "Cut to Dawn walking down a residential street. It's very busy with parents and costumed kids walking around, sound of kids yelling and laughing. Dawn pauses, looks around, grins slightly and moves to her left.", "Cut to Dawn walking down a dark alley. The sound of children is gone; distant police sirens instead. Dawn hears a banging noise and slows.", "DAWN: Hello? She walks forward slowly, picking up a piece of wood and holding it like a club. We can vaguely see the shapes of two people through the slats of a large wooden box. Dawn walks up to the box's opening and sees that it's two young people kissing.", "GUY: Hey!", "DAWN: Ooh!", "GIRL: Perv.", "DAWN: Sorry. I thought- Dawn backs away, bumping into someone behind her. She turns around with a gasp of fear, then smiles in relief as she sees the other girl.", "JANICE: Hey Summers. Did you get over the wall okay?", "DAWN: Yeah. My sister thinks I'm staying at your house.", "JANICE: Ahh. The Mominator thinks I'm staying at yours. (laughs) Can't believe they fell for that one, like, own a TV. She and Dawn both laugh.", "DAWN: So where're we meeting?", "JANICE: (proudly) The park. (fake spooky voice) That's where all the monsters gather on Halloween. The two girls smile, turn and walk away together.", "Cut to the park. A teenage boy (Zack) is standing on a swing.", "ZACK: Woohoo! We see two other boys and two girls sitting on a nearby bench with a stereo blaring. One of the boys (Justin) throws something at Zack.", "ZACK: To infinity and- (the thrown object hits him) ow!", "JUSTIN: (sarcastic) Oops.", "JANICE: Nice shot. Janice and Dawn walk up. Zack jumps down from the swing. He and Justin walk over to the girls.", "ZACK: Hey baby. (hugs Janice)", "JANICE: Hey.", "ZACK: What took you so long?", "JANICE: Ah, we stopped for crimes and misdemeanors. Zack, this is my friend Dawn I was telling you about.", "ZACK: (to Dawn) Hel-loooo. Zack leers at Dawn. Janice shoves him.", "ZACK: Ow.", "JUSTIN: (to Dawn) Hey. (sticks out his hand) Justin.", "DAWN: (shakes his hand) I know. I've seen you around at a couple of parties.", "JUSTIN: I've seen you too. Dawn looks very pleased to hear this. The other boy and the two girls walk by.", "BOY: Hey, we'll catch you guys later. They leave.", "ZACK: Alone at last.", "JANICE: So! What do you guys wanna do? Zack and Justin exchange a suggestive look, then look at the girls. Dawn smiles bashfully.", "Cut to a house with a cardboard witch decoration in front of it. An egg smashes against the witch. We see Zack standing on the lawn having just thrown the egg. Janice in background.", "ZACK: Yeah, three points! Woo! We see Dawn and Justin nearby. Justin is crouched by a car, letting the air out of its tires.", "DAWN: (to Justin) Uh, witches don't really look like that.", "JUSTIN: You got a lot of witch friends?", "DAWN: No! I mean, from stuff ... that I've read ... and stuff. Um, some of them are supposed to be really pretty, and you don't wanna get them mad-", "ZACK: (runs past) New target, come on!", "JUSTIN: Woo-hoo! Justin jumps up and runs after Zack. Janice walks over to Dawn and they begin walking after the guys.", "JANICE: So?", "DAWN: He's okay.", "JANICE: Ho-hum okay, or like ... 'oh my god I think I'm gonna pee my pants' okay?", "DAWN: Pee. They both giggle.", "Cut to a shot of a mailbox on a wooden stand, draped with orange crepe paper. A foot appears and kicks the mailbox off its stand. Pull back to reveal Zack who puts his foot back down and continues walking. He and Justin walk side-by-side. We can see the girls walking about twenty feet behind.", "ZACK: So what's the verdict, cap'n? Is little Justin in love?", "JUSTIN: I don't know. (punches Zack on the arm) She's cute.", "ZACK: Well, congratulations for having eyeballs. But what about, uh, you know, going all the way? Do you think- The girls can be heard giggling. Zack looks back and notices that the girls have gotten closer and are now in earshot.", "ZACK: (loudly) ...that the moon and the stars look lovely tonight? The girls stop giggling. All four continue walking.", "JANICE: Hey, you think when we're done with this juvie crap maybe we can do something else? I'm gettin' kinda bored. Zack looks off to his right, smiles, stops walking.", "ZACK: Just one more. Shot of the old man's house from earlier.", "Cut to Xander sitting on the stairs inside the Summers house. A hand appears in front of him holding two plastic cups. He takes one. Giles sits beside him holding the other cup.", "GILES: Anya is a wonderful former vengeance demon, I'm sure you'll spend ... many years of ... non-hell-dimensional bliss. Xander smiles, looks a bit nervous.", "GILES: Is she moving in with you?", "XANDER: Um...", "GILES: You know, with your combined incomes, you might think about a down payment on a house.", "XANDER: Like the kind you *live* in?", "GILES: No rush. I'm sure you have plenty to think about with the arrangements for the wedding and so on. You've got the rest of your lives to plan the rest of your lives.", "XANDER: (laughs, nervously) Yeah, yeah. They sit there. Xander looks increasingly nervous. Cut back to the old man's house.", "JANICE: (OS) No way.", "Cut to the four teens standing and looking at the house.", "JANICE: You know who lives there?", "JUSTIN: Old man Kaltenbach.", "ZACK: Crusty old b*st*rd.", "DAWN: Isn't he supposed to be ... mental or something?", "ZACK: Total looney-tunes. Pumpkins... Closer shot of the house. There's a pumpkin on the front step carved into a cheery smile.", "ZACK: (OS) Very dangerous. Cut back to Zack and Janice. He nudges her.", "ZACK: You go first.", "JANICE: Wha - huh - screw that!", "ZACK: Come on, show us how brave you are. Let's see those cute little girlie guts. Janice shoves him angrily. He just laughs.", "JUSTIN: Hey, lay off, man. If she doesn't wanna-", "DAWN: I'll do it.", "ZACK: Go Dawn!", "JUSTIN: (to Dawn) Look. You don't have to do this.", "DAWN: (looks at him) It's okay. (smiles) I want to. Dawn takes a nervous step forward, walks toward the house as the others watch. Very nervously, she walks up the steps, picks up the pumpkin, raises it over her head. She turns to smile at the others. The others smile back, then look alarmed. A hand grabs one of Dawn's arms. She shrieks in fear and drops the pumpkin. It smashes on the steps. Dawn looks fearfully up at the old man as he leans toward her.", "KALTENBACH: Shouldn't oughta mess with those. Sometimes they bite. Justin runs over, following by Zack and Janice.", "JUSTIN: Get away from her!", "ZACK: Don't make me go kung-fu on you, man! (makes kung-fu movie gestures) The old man stares, then laughs.", "KALTENBACH: Come on inside, kids, got somethin' special for ya. He turns to go back inside.", "KALTENBACH: Daddy's got a treat! He pushes the door open, makes a 'come on' gesture with his head and goes inside. Janice looks very scared. Zack smiles.", "ZACK: Cool.", "JANICE: No no no. We are so not going in there. Dawn, tell them! Dawn looks nervously toward the door.", "Cut to inside. Hands playing with a toy robot that spins around and flashes lights and makes noise. We see Justin, Janice, and Dawn sitting on the sofa while Mr. Kaltenbach does something in the background. The three kids look over at Zack playing with the toy.", "ZACK: Dude, where'd you get the cool toys?", "KALTENBACH: Used to design 'em back in '58. (walks toward them) Nothing would give me more pleasure ... than to see a child's face... (Dawn and Janice exchanging an unhappy look) light up when he'd open one of mine ... on a Christmas or a birthday. I was good. Jeepers, I was the best. He continues walking slowly toward Zack.", "KALTENBACH: And then that thing happened. One little mistake ... and they took it all away from me, they... (takes the toy from Zack) they took my toys. He turns to put the toy down, turns back. Shot of the three kids on the couch looking very fearfully at him.", "KALTENBACH: (cheerfully) Time for the treats! Who wants to help Daddy in the kitchen? (to Dawn) How 'bout you, Sally? Dawn frowns.", "JUSTIN: (gets up) Uh, Sally's not much for the cookin'. Why don't I give you a hand.", "KALTENBACH: (nods) Hands are good. (moves toward the kitchen) Always use more hands. More hands. Justin follows him toward the kitchen. Mr. Kaltenbach begins humming \"Pop Goes The Weasel\" again. Zack sits on the sofa in Justin's vacated spot. He picks up a jack-in-the-box and begins turning its handle.", "JANICE: Okay, I say we get the funk out of here before Satan Claus tries to stuff us up the chimney.", "ZACK: What, and miss the big treat? That would break the old guy's little heart! Assuming it's still beating.", "DAWN: She's right, we should just get Justin and go.", "ZACK: (still turning the handle) Come on, the dude's a thousand years old. What's he gonna do, drown us in his drool cup? The jack-in-the-box pops up. It has no head. Dawn looks at it nervously.", "DAWN: Hey. Where's its head?", "Cut to the kitchen. Mr. Kaltenbach carefully closes the door leading back to the living room. He turns and walks over to the kitchen island. We see Justin looking in the cabinets. Mr. Kaltenbach goes over to the counter and we see a pan covered with aluminum foil. The large knife lies beside it. He picks up the knife. Pan up to his face as he looks at the knife. Then we see Justin is behind him, wearing vampire face. Justin puts his hand on Mr. Kaltenbach's shoulder.", "JUSTIN: Boo. Mr. Kaltenbach turns, sees Justin's face and reacts with horror. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the same scene. Justin bends down and bites Mr. Kaltenbach. The old man gasps and chokes as Justin feeds on him. As they sink toward the floor, Mr. Kaltenbach's hand holding the knife knocks over the foil-covered pan. We see that it's a pan of rice krispy treats, decorated with little candy pumpkins.", "Cut to the living room. The noise of the pan falling makes the other three teens jump up in alarm.", "JANICE: What the hell was that? Close shot of the pan of rice krispy treats lying on top of the body.", "DAWN: Justin? Dawn runs toward the kitchen, stops when she sees the closed door. She walks slowly toward it. Janice and Zack hover in the background.", "DAWN: (softly) Justin? Dawn reaches out to open the door, jumps back with a yelp of surprise as it pops open before she touches it. Justin comes out, wearing his human face, smiling.", "JUSTIN: Let's go.", "DAWN: Wh-what happened?", "JUSTIN: I swiped his wallet when he wasn't looking. Come on! They run for the door.", "Cut to the front steps. Dawn and Janice burst out.", "DAWN: (scared) Oh my god. (smiling) Oh my god, oh my god, oh my god! The girls run off down the street. The boys come out behind them, walking more slowly.", "JUSTIN: (holds his stomach) Dude, that guy was rank.", "ZACK: Bet a spritz of Dawn would wash that right out. So what do you think? Lunchables? Or should we go all the way and turn 'em? They exchange a look.", "Cut to Xander and Anya in the Summers house.", "ANYA: So I was thinking maybe a June wedding. But then I remembered that they always had the highest percentage of calls for vengeance. We see that Xander and Anya are standing in front of the couch, talking to Giles and Buffy who are sitting on the couch.", "ANYA: So now I'm leaning towards as soon as damn possible. I mean, mortal life being so short, we gotta get in as much marital bliss as we can before we wither and die. Xander nods, but he looks more and more nervous.", "ANYA: I mean, there's just so much to consider, though, I mean, planning the wedding, and, and new cars, house and babies. You *have* to plan for babies, or they just run roughshod over your entire existence.", "XANDER: (nervously) Yeah, y...you gotta know what to call 'em before they hit college.", "GILES: Ah. Rupert is an exceptionally strong name.", "ANYA: (laughs) Ha ha ha! Yeah, if we want our progeny to eat paste and have their lunch money stolen. Buffy snickers a little. Giles looks insulted. Anya stops laughing, clears her throat. Giles gives Buffy a look.", "BUFFY: (to Giles) Look, all that matters is that they're happy. (to Anya) Everything else is thick gravy goodness.", "ANYA: I know. Xander's smile looks a little glazed.", "ANYA: I mean, I am the luckiest ex-demon in the world. I mean, to be able to find the one person in all dimensions that I was meant to be with, and have everything work out exactly as I dreamed. (Xander smiles at her) I mean, how often does the universe allow that to happen? Buffy looks a little pensive.", "Cut to: exterior shot of the Summers house. The door opens revealing Xander, who holds it open for Buffy, then follows her out onto the front porch. Xander takes a deep breath, fans himself with his pirate hat.", "XANDER: Air. Sweet mother oxygen. They walk toward the edge of the porch.", "BUFFY: You okay?", "XANDER: Yeah. I just ... it's just, I didn't think it would be so much. (they sit on the railing)", "BUFFY: But this is good. I mean, this is ... love and celebration and moving forward. Anya's right. This is the way life's supposed to work out.", "XANDER: (nods) Right. Deep pools of ooey delight. I'm wallowing, not drowning.", "BUFFY: Definite wallow action.", "XANDER: Okay. (gets up) So, once more into the breach?", "BUFFY: Oh. I think my breaches are wearing a little thin. (gets up) I'm gonna take Spike up on that offer to patrol. Gotta be something out there cruisin' for a smackdown. They walk back toward the door. Buffy goes down the stairs and Xander, taking a moment to compose himself, opens the door and goes back inside.", "Cut to Justin and Dawn walking down the street together.", "JUSTIN: So you're like, what, a sophomore?", "DAWN: (laughs) I wish.", "JUSTIN: Uhhh, freshman.", "DAWN: Yep, way down there at the bottom of the rung. Actually? Kinda under those little rubber feet they use to keep the ladder steady.", "JUSTIN: Hey, those are important. (hands her some money) Here. The spoils of war. You earned it.", "DAWN: (smiles) I did?", "JUSTIN: Yeah, for keepin' me steady. They smile at each other.", "JUSTIN: And so begins your life of crime.", "DAWN: Hmm. You're a little late. I steal all the time.", "JUSTIN: (skeptical) Really.", "DAWN: Totally. I haven't paid for lipstick since ... forever.", "JUSTIN: Oh, be still my heart, cute *and* bad.", "DAWN: Yeah, (hugs herself) bad to the bone.", "JUSTIN: More like frozen! Here. He takes off his Sunnydale High School jacket and puts it around Dawn's shoulders.", "DAWN: Thanks.", "JUSTIN: My pleasure, Miss Summers. They gaze into each other's eyes. Then Janice appears behind them.", "JANICE: Hey. Where's Zack?", "JUSTIN: (a little annoyed) He went to get the car.", "DAWN: (delighted) You guys got a car?", "Cut to Zack pulling a woman out of her car. The woman drops to the pavement, unconscious, as Zack gets into the driver's seat.", "ZACK: Thanks for the ride! The tires squeal as he drives off.", "Cut to Buffy walking down the street surrounded by kids in costume. She pauses, watches a couple walking with arms around each other. Continues walking. An ambulance goes by, siren wailing. Buffy stop walking, frowns.", "Cut to Buffy walking up to the crime scene. A small crowd has gathered. Buffy sees paramedics loading the woman driver onto a gurney.", "PARAMEDIC 1: I'm losing her pulse.", "PARAMEDIC 2: Let's get her in! Buffy watches with concern. Close-up on the woman's neck. Vampire bites clearly visible. Buffy scowls, hurries away.", "Cut to the Summers kitchen. The phone rings. Giles answers it.", "GILES: Summers residence. ... Oh, (smiles) Mrs. Penshaw, yes, uh ... (stops smiling) No, Dawn said she was staying the night at your house. Well, ye-yes, I realize that now, but I don't believe that you called to check -- all right, le-let's just, um, if I, if I hear anything I'll let you know. He hangs up.", "Cut to the living room. Tara sits on the sofa watching as Xander, Anya, and Willow dance to music. Tara looks a little forlorn. Giles comes in, walks over to the stereo and turns off the music.", "WILLOW: Hey, we were just gettin' our dance on.", "GILES: That was Janice's mother on the telephone. Apparently Janice said that she was staying here tonight.", "XANDER: Ahh, they're dipping into the classics. You gotta respect that.", "GILES: Is Buffy still outside? (going toward the door)", "XANDER: Uh, no, no, she was gettin' antsy, she went to find Spike to patrol.", "GILES: Well, it's nice to be kept in the loop. Um ... Xander, Anya, you stay here in case Mrs. Penshaw calls again. Willow, Tara, you check downtown. (going toward the door) I'll, uh, swing by Spike's, see if I can catch Buffy. Giles grabs his jacket and exits.", "Cut to a dark part of the forest. The car is parked. The back door opens and Janice gets out, giggling as Zack is groping her. He gets out after her.", "ZACK: (into the car) Don't do nothing I would, dude. Zack shuts the door as Janice grabs him by the front of his shirt and kisses him.", "JANICE: You're it. She turns and runs into the forest.", "ZACK: I love it when they run. He morphs into vamp face and runs after her.", "Cut to inside the car. Dawn and Justin sit. She still wears his jacket.", "DAWN: So.", "JUSTIN: Yeah.", "DAWN: Ooh. It's cold. You okay? You want this back?", "JUSTIN: Nah. Cold doesn't really bother me.", "DAWN: (smiles) What are you, Superman?", "JUSTIN: No, but ... I do have a few special powers. He leans over as if to kiss her.", "DAWN: (nervously) Hey ... um ... does this work? (twisting the radio dial)", "JUSTIN: You gotta ... turn the ignition. He turns the key and the radio starts up. Dawn smiles, nods. Justin watches her with a smile.", "DAWN: I love this one.", "JUSTIN: (brushes hair back from her face) Another thing we have in common. Dawn doesn't reply, glances at him and then away, looking very nervous.", "JUSTIN: You're shaking.", "DAWN: It's cold.", "JUSTIN: You ... wanna go?", "DAWN: N-no. It's just, um ... what do you expect-", "JUSTIN: Shhh. I just wanna taste you. He leans toward her again. She leans in to him and they kiss. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the same scene. Dawn and Justin continue kissing for a moment, then Dawn pulls back a little, looking dazed.", "DAWN: Shiver me timbers.", "JUSTIN: What?", "DAWN: Um ... nothing. Just ... wow.", "JUSTIN: Oh, my god. That was your first.", "DAWN: What? No.", "JUSTIN: It was! That was your first kiss.", "DAWN: (nervous laugh) I've been kissed before. I, I kiss all the time. Not that I'm a kiss slut. Just, you know, with, with the lips and, and the pressing together and stuff? Big expert here. Justin just looks at her, with a little grin.", "DAWN: Okay, okay, it was my first kiss. (upset) I know, I know, I suck, my ... my lips are dry and my tongue's all horrible and sticky and I'm pretty sure I drooled on you ... so just please tell me how awful it was. Justin pulls her toward him and kisses her again briefly. She looks surprised.", "JUSTIN: It was perfect. They resume kissing.", "Cut to the Bronze. A band is on stage performing. Various people in Halloween costumes are dancing. Pan to the door. Willow and Tara enter. They see a couple dancing close together, dressed as Luke Skywalker and Princess Leia.", "WILLOW: Do they know they're brother and sister?", "TARA: (yelling over the music) Do you think she's here?", "WILLOW: (yelling) What?", "TARA: Do you think Dawn might have come here?", "WILLOW: It's where I'd be if I were fifteen and on the lam. They begin to walk around.", "TARA: Really?", "WILLOW: Well, not me at fifteen, 'cause, hello, spaz.", "TARA: You?", "WILLOW: Yeah. Hard to believe such a hot mama-yama came from humble, geek-infested roots? They begin climbing the stairs to the balcony.", "TARA: Infested roots, trying to turn me on?", "WILLOW: (smiles) I have to try now? They kiss and continue walking up the stairs. They reach the top.", "WILLOW: Come on, let's look over here.", "TARA: Do you see her?", "WILLOW: No, there's too many people.", "TARA: Maybe we can have security-", "WILLOW: No, that'll take too long. They climb another partial set of stairs to a second balcony level. Willow goes over to the railing and looks down on the people dancing.", "WILLOW: One among many, many fade to one-", "TARA: (grabs her hand) What are you doing? Will?", "WILLOW: I'm just gonna clear the crowd.", "TARA: How?", "WILLOW: I'll just shift everyone who isn't a fifteen-year-old girl into an alternate dimension. (smiling)", "TARA: (horrified) What?", "WILLOW: No, it'll be for like a fraction of a second. They won't even notice.", "TARA: Will, no, you can't!", "WILLOW: Why?", "TARA: Well, what if something went wrong?", "WILLOW: Well, it won't!", "TARA: But w-what would Giles say?", "WILLOW: (toward the crowd) Sukut! The crowd noises all go away, leaving it silent, although the people continue to dance and the band keeps playing like nothing's wrong.", "WILLOW: (to Tara) Are you taking his side now?", "TARA: This isn't about sides.", "WILLOW: You two have been talking about me behind my back.", "TARA: No! God.", "WILLOW: You know how that makes me feel?", "TARA: Willow, you are using too much magic. What do you want me to do, just, just sit back and keep my mouth shut?", "WILLOW: Well, that'd be a good start. Tara looks shocked.", "TARA: If I didn't love you so damn much I would! Tara turns and storms away.", "WILLOW: Takulum. The crowd noises resume.", "WILLOW: Tara! Willow stands there, not following after Tara. Cut back to the car. Dawn and Justin still kissing. It continues for a few moments.", "DAWN: Ow! (pulls back)", "JUSTIN: Sorry.", "DAWN: It's okay. Long as it's not bleeding. They resume kissing. Then Dawn pulls back again.", "DAWN: Justin ... could we...", "JUSTIN: It's just ... (looking at her) God, you are so beautiful. Dawn smiles. They resume kissing. Dawn's hand is on Justin's arm. It moves up his arm across his shoulder, across his neck, to rest on his cheek. We see that he's now in vampire face. Dawn realizes it and her eyes widen.", "Cut to Spike's crypt. Buffy bursts in holding her stake.", "BUFFY: Get your gear together. We need to... She stops as she realizes Spike is nowhere to be seen. The TV is on, playing a black-and-white horror movie. Buffy looks around.", "BUFFY: Spike?", "SPIKE: (OS) You know... Buffy jumps, turns to find him right behind her.", "SPIKE: ...in civilized cultures, that's called trespassing.", "BUFFY: Good thing you're uncivilized. We got trouble.", "SPIKE: Giles found you?", "BUFFY: (frowns) Giles? No. Was he looking for me?", "SPIKE: Yeah, it's Dawn.", "BUFFY: Dawn? (alarmed) Why, what happened?", "SPIKE: No, it's okay, Giles was by here earlier looking for you. Dawn and her little friend pulled a Houdini. Up to a bit of candy-corn mischief, I suspect.", "BUFFY: Wait, she's out there running around by herself?", "SPIKE: Yeah, kids these days, eh? Buffy walks quickly past him.", "SPIKE: I did a sweep of the tunnels, Giles is poking about the cemetery.", "BUFFY: We have to find her. Buffy opens a coffin(?) by the wall.", "SPIKE: I don't think she's in there. Buffy takes out some weapons, tosses Spike a crossbow. He catches it, frowns a little.", "Cut to the cemetery. It's dark and foggy. Giles walks around with a flashlight, shining it around, looking around.", "GILES: Mist ... cemetery ... Halloween. Should end well. He trips on something, falls on his face out of the shot. The camera stays where it is. After a moment Giles reappears in the shot.", "GILES: Bloody brilliant. He composes himself and resumes looking around. Sound of a girl screaming. Giles begins to run.", "Cut to the forest. Giles runs among some trees, shines his flashlight on a vampire biting a girl.", "GILES: Dawn! The vampire lifts his head and growls. Giles pushes him away and he rolls down a short hill.", "GILES: Dawn, are you all right? Giles grabs the girl, who lifts her head to reveal that she's Janice.", "GILES: Janice?", "JANICE: He bit me. That jerk bit me!", "ZACK: Like you weren't asking for it. Giles turns to see Zack behind him, still in game face.", "GILES: I feel certain she wasn't.", "ZACK: What do you know about it, grandpa? Zack swings a punch at Giles, who ducks and tackles Zack around the middle.", "GILES: Quite a bit actually. They go down and roll down the hill, entangled together. Janice watches fearfully. At the bottom of the hill Giles and Zack get up and trade blows. Zack does most of the punching, then kicks Giles and he goes down. From his knees, Giles blocks another punch and hits Zack in the stomach, then gets up and kicks him. Zack flies backward and winds up against a tree. Zack looks down to see a branch sticking out of his body.", "ZACK: Dude, that sucks. He dusts.", "GILES: (toward Janice) Dawn. Where's Dawn? Janice makes a helpless \"I don't know\" gesture, holding her neck with one hand.", "Cut to the car. Dawn scrambles out through her door.", "JUSTIN: Dawn!", "DAWN: Get off me!", "JUSTIN: Dawn, wait! Wait! Dawn runs off. Justin climbs out and runs after her. He catches up with her, stops her. He's still in game face.", "JUSTIN: I thought we could, you know, like hang out or something.", "DAWN: Hang out?", "JUSTIN: Yeah. I mean ... you're not like other girls. You're different. There's something special about you. I knew it the first time I saw you. Dawn looks like she wants to believe him.", "JUSTIN: I just wanna be close to you. He puts his hand to her face. Dawn gasps and jerks away.", "JUSTIN: Shh. It's okay. It'll only hurt for a second. Dawn closes her eyes as he bends over to bite her.", "GILES: (OS) I bet you say that to all the girls. Giles comes around a tree.", "DAWN: Giles? Dawn turns to see Giles behind her. Justin grabs her by the throat.", "GILES: (walks forward) Now, you have a choice, son. We can do this the easy way, or we can do this the ha- Giles stops as a bright light suddenly shines on him, blinding him. He puts up a hand to shield it, looks around. Sounds of car doors opening. We see that there are a number of cars parked in a circle around the clearing, all with their lights pointing inward. Vampires get out of all the cars and begin to advance on Giles. He looks around nervously. Then looks over at Justin who still holds Dawn by the throat.", "JUSTIN: (smirking) What were my choices again? Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. Giles faces off with Justin and Dawn as the other vampires advance. A hand clamps onto Giles's shoulder and he jumps, looks over to see it's Spike.", "SPIKE: So. This a private game, or, uh, can anyone join in? Buffy runs up.", "BUFFY: Dawn, are you... Buffy pauses, stares at the scene. Justin lets go of Dawn, who moves a foot or two away from him.", "BUFFY: (outraged) Were you parking?! With a vamp?", "DAWN: I-I didn't know he was dead!", "JUSTIN: Living dead.", "DAWN: Shut up!", "BUFFY: How could you not know?", "DAWN: I just met him!", "BUFFY: Oh! Oh, so you were parking in the woods with a boy you just met.", "JUSTIN: We've seen each other at parties.", "BUFFY: Shut up. (to Dawn) I don't believe you! Spike looks around with a frown.", "DAWN: Oh, like you've never fallen for a vampire?", "BUFFY: That was different.", "DAWN: It always is when it's you.", "VAMP 1: Uh, excuse me! Can we fight now?", "BUFFY: Hey, didn't anyone come here to just make out? One guy and girl in the back, not vampires, raise their hands.", "BUFFY: Aw, that's sweet. You run. The guy and girl do so.", "BUFFY: (to Vamp 1) You scream. Buffy, Spike, and Giles take off in different directions. Spike pursues the vamp who complained. The vamp kicks him and Spike punches him a few times. Giles stands by one of the cars and hits one vamp, gets kicked in the chest by another and then she pins him against the car", "VAMP 2: Die, slayer! Vamp 2 rushes at Buffy. She simply steps back and stakes him as he runs past her.", "BUFFY: Mm-hmm. He dusts.", "JUSTIN: (to Dawn) Your sister's the slayer? I totally get it! I knew there was something about you. Dawn makes an angry face, knees him in the groin and runs off. Giles continues to have difficulties with two female vamps. One is on his back and he manages to throw her onto the other.", "BUFFY: Giles! Buffy throws him a stake. He catches it, stakes one vamp, ducks a punch and stakes the second. Giles pauses, looks around. Suddenly another vamp appears and tackles him, both landing on the car's roof and sliding off the other end. Spike continues trading blows with the first vamp. Spike takes a hit and goes down.", "VAMP 1: What is your malfunction, man?! Spike makes an angry face, gets up and shoves the vamp down into the dirt.", "SPIKE: It's Halloween, you nit! We take the night off. Those are the rules.", "VAMP 1: (gets up) Me and mine don't follow no stinkin' rules! We're rebels! He takes a swing at Spike, who blocks it, head-butts him, and then kicks him in the chest. The vamp slams back against a tree trunk and slides down it to the ground.", "SPIKE: No. I'm a rebel. You're an idiot. Spike pulls out his crossbow and shoots the vamp. Vamp 1 dusts. Spike begins reloading the crossbow.", "SPIKE: Give the lot of us a bad name. He finishes reloading, looks up just as another vamp tackles him. The crossbow goes off accidentally, the arrow flying off into the woods as Spike and the vampire hit the ground. Buffy continues fighting another vamp. They trade blows and then he picks her up and slams her onto the hood of a car. Buffy rolls aside as he punches. His fist goes through the metal. While he struggles to pull it out, Buffy kicks him, flips up to stand on the car. The vamp grabs for her and she jumps out of the way. He grabs both her legs and she falls on her butt on the car, gets one leg free and kicks him away. The vamp comes back, punches Buffy, pins her against the car and pulls the antenna loose from the car. He tries to garrote her with it but she pushes him away, uses the side of the car to flip around behind him, tries to garrote him in return. He breaks free and they trade some more punches and kicks. The vamp rushes Buffy and she opens the car door to block him. He punches at her and his fist shatters the car window. He swings at Buffy and she grabs him, pulls him through the car window to the other side, kicks him back and slams the car door on his head. He dusts. Buffy turns and walks off.", "Cut to Dawn walking slowly through the forest. She hears a noise and turns, nervous. She continues to walk backward, looking around, very scared. Justin suddenly appears behind her.", "JUSTIN: Trick or treat. Dawn screams, runs off, but Justin grabs her by the back of her (his) jacket and pulls her to the ground. He lands on top of her, straddling her, holding her hands down.", "JUSTIN: Give me something good to eat.", "DAWN: I thought you really liked me. He lets go of her hands and sits up a little, still straddling her.", "JUSTIN: I do. And you like me too.", "DAWN: (sighs, nods) I do. Justin leans down to bite her. Dawn looks at the sky. Suddenly he stops, gasps, and turns to dust. We see the stake in Dawn's hand. She lies there looking upset.", "Cut to the Summers house. Xander and Anya are preparing to leave.", "BUFFY: Sorry about the party.", "XANDER: Aah, don't worry about it.", "ANYA: It gave me more time to plan the bridal shower. Where do we order obscenely muscular male strippers?", "XANDER: Anya.", "ANYA: Well, I'm kidding, geez. Xander exits. Anya mouths at Buffy, \"we'll talk,\" and exits too. Spike comes up behind Buffy.", "SPIKE: Guess I should bugger off. Something about big bads not venturing far from their crypts on Halloween.", "BUFFY: Good fight. Spike nods at her, exits. Buffy watches him go as Willow comes up behind her.", "WILLOW: So, uh, big monster mashing? Sorry we missed it. Tara comes up to them too, walks past Willow to stand beside Buffy.", "TARA: As long as Dawn's all right.", "WILLOW: Yeah, that's what's-", "TARA: (to Buffy) I, I think I'm gonna turn in. Good night. Tara goes up the stairs. Willow looks concerned.", "WILLOW: Tara ... Tara. Willow follows Tara. Buffy watches them go. In background we can see Dawn sitting by herself in the dining room. Giles comes up and watches Willow and Tara go too. He's holding an ice-pack to his mouth.", "BUFFY: How's your face?", "GILES: (takes the icepack away from his face) Oh, still ruggedly handsome. 'Grandpa,' indeed. (puts the ice back) Ow.", "BUFFY: (looking toward Dawn) She's taking it pretty hard.", "GILES: Well, it's not surprising. Still, we can't ignore this kind of behavior. Something needs to be done before it spins out of control.", "BUFFY: (nods) You're right. I'm glad you're here to take care of it. Don't ... be too hard on her, okay? Buffy goes up the stairs. Giles stares after her in surprise. Then he turns and goes reluctantly into the dining room, goes over to Dawn, takes the ice-pack off his face again.", "GILES: We need to have a conversation.", "DAWN: (quietly) This the part where you tell me you're not angry ... just disappointed? (looks anxiously at him)", "GILES: Pretty much. (tosses the ice-pack onto the table) Except for the bit about not being angry. Dawn looks scared.", "Cut to Willow and Tara's room.", "WILLOW: I, I'm sorry, okay?", "TARA: It's not that easy. We see Tara taking throw-pillows off the bed. Both she and Willow wear pajamas.", "WILLOW: Well, what do you want me to do? Reverse time and take it back? (small laugh) 'Cause I could probably- Tara gives her a grim look.", "WILLOW: Joke. I don't think I could really-", "TARA: (angrily) You know what, can, can we not do this now? I'm tired. (gets into bed)", "WILLOW: Okay. Let's just forget it ever happened. Willow goes over to a side table, picks up a small piece of herb with a couple of flowers on it. She holds it in her palm.", "WILLOW: (softly) Forget. A flash of light moves across the herb, leaving it dead and wilted. Willow turns off the light, goes over to the bed and turns off another light, gets into bed. Tara smiles, giggles.", "TARA: Ooh, your feet are cold.", "WILLOW: Better warm me up.", "TARA: Mmm. Tara snuggles up to Willow.", "TARA: This is how every day should always end ... and start. And all the stuff in the middle. (kisses Willow's cheek)", "WILLOW: (smiles) So, uh ... you're not mad?", "TARA: 'Bout what? Willow smiles to herself and closes her eyes. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "A mysterious force compels Sunnydale residents to break out into song and dance numbers that reveal their true feelings, and a new demon in town, Sweet, seems to be responsible for it. Buffy and Spike share a kiss." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... Buffy tied up in Spike's dungeon.", "SPIKE: I love you.", "BUFFY: Oh my god. Willow and the others doing the spell to revive Buffy.", "WILLOW: Here lies the warrior of the people. Let her cross over. Buffy's corpse regenerating. Buffy talking to Spike in the alley.", "BUFFY: I think I was in heaven. I was torn out of there, by my friends. They can never know.", "GILES: We can't ignore this kind of behavior. Dawn stealing a coin at the magic shop.", "GILES: Something needs to be done before it spins out of control.", "BUFFY: I'm glad you're here to take care of it.", "XANDER: We're getting married.", "TARA: Congratulations. Willow doing a spell.", "TARA: Willow, you are using too much magic. Willow and Tara in the bedroom.", "TARA: Can we not do this now?", "WILLOW: Just ... forget it ever happened. Willow picking up the forget herb.", "WILLOW: Forget. No actual teaser. Just \"Previously,\" then wolf howl and opening credits. The opening credits and music are done in the style of a 1950s musical. Special Guest Star Anthony Stewart Head. Guest Starring Hinton Battle and Amber Benson as Tara. Original songs, music and lyrics by Joss Whedon, produced and arranged by Jesse Tobias and Christophe Beck. Score by Christophe Beck. Choreography by Adam Shankman. Written and directed by Joss Whedon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open in Buffy's bedroom, morning. The words \"Once More, With Feeling\" splash across the screen in the style of an old movie musical. Pan down to reveal an old-fashioned alarm clock (the kind with actual bells). The clock hits 7:00 and the alarm goes off. Reveal Buffy in bed, rolling over to glare at the clock. She reaches over, picks it up, looks at it. Overture The overture music is a medley of the musical themes from the rest of the episode. As it plays, we see the following action: Begins with Willow walking across her bedroom, then she turns and goes back the way she came. Grabs a sweater from a chair and exits into the bathroom. As she goes, we see Tara making the bed. She finds the herb that Willow used to do the \"forget\" spell. Tara picks it up, sniffs it, smiles. Pan to the hallway. Dawn runs out of her room and over to the bathroom door. She knocks on the door while jumping from foot to foot as if she has to pee. Willow comes out of the bathroom brushing her hair. Dawn rushes into the bathroom. Pan across the hallway again to reveal Buffy still lying in bed, awake.", "Cut to the magic shop. Overture music continues. Xander and Anya are looking at a bridal magazine, smiling and talking (we don't hear their dialogue). A customer comes over and Anya escorts her toward the cash register. Pan across to Dawn standing by the bookshelves looking at a book. Giles comes over and takes the book away. Dawn looks annoyed. Giles gestures with the book and she walks off. Pan to the round table where we see Willow and Tara looking at a book together and taking notes. Pan further and we see Buffy sitting next to Tara, sketching on a pad. Giles comes over and holds a large axe in Buffy's line of sight. Then he gestures with his head toward the back and walks away. Buffy puts down her sketch pad, gets up and follows Giles toward the workout room, taking off her sweater as she goes. End Overture.", "Cut to the graveyard, night. Buffy walks along, looking around. Suddenly she begins to sing!", "Song: \"Alive\"", "BUFFY: (verse one) Every single night, the same arrangement I go out and fight the fight. Still I always feel this strange estrangement Nothing here is real, nothing here is right. A vampire appears from behind a gravestone, rushes at Buffy. She spins him around, continues singing. BUFFY: I've been making shows of [punch] trading blows Just hoping no one knows [kick, grabs vampire and throws him behind her] That I've been going through the motions Walking through the part. Buffy pulls a stake from her jacket pocket. The vamp attacks her from behind and she stakes him without looking back.", "BUFFY: Nothing seems to penetrate my heart. She resumes walking and singing.", "BUFFY: (verse two) I was always brave, and kind of righteous. Now I find I'm wavering. We see two vampires and a demon gathered near a tree. There's a person tied to the tree. The vampires see Buffy and attack. BUFFY: Crawl out of your grave, you'll find this fight just [punches a vampire] Doesn't mean a thing. [punches second vamp] VAMP 1: She ain't got that swing. The vamp punches Buffy and she goes down. A sword is stuck in the ground beside her. She lies there on her back. Sound of crickets chirping.", "BUFFY: Thanks for noticing. She continues lying there as the two vamps and the demon begin to do a dance. VAMPS AND DEMON: She does pretty well with fiends from hell But lately we can tell [Buffy gets up and grabs the sword] That she's just going through the motions DEMON: Going through the motions. Buffy pulls Vamp 1 away, cuts off his head with the sword.", "VAMP 2: Faking it somehow. [Buffy pushes him aside, stabs the demon]", "DEMON: She's not even half the girl she- [looks down at his wound] ow. The demon falls over. Buffy continues walking, holding the sword. BUFFY: Will I stay this way forever? Sleepwalk through my life's endeavor? She uses the sword to cut the ropes that are tying the person to a tree. The person comes around the tree trunk and we see it's a very good-looking man. HANDSOME GUY: How can I repay- BUFFY: Whatever. She turns away, tosses the sword aside and continues walking. BUFFY: I don't want to beeeeee...", "[walks up onto a raised platform ringed by statues, stops]", "Going through the motions Losing all my drive. I can't even see If this is really me And I just want to be- Vamp 2 attacks her and she stakes him. He explodes into dust which forms an artful cloud, obscuring Buffy from view, then clears as she sings the final word.", "BUFFY: Aliiiiiive. End of song \"Alive.\" Wide aerial shot of Buffy standing amidst the gravestones.", "Cut to magic shop, day. The bell jingles. Buffy enters.", "GILES: (O.S.) Good morning, Buffy! We see Willow and Tara standing by the counter. Giles in background.", "WILLOW: Oh, hey, did Dawn get off to school all right?", "BUFFY: (distracted) What? Oh, uh, yeah. I think so. Buffy walks farther into the store. We see Xander sitting at the round table holding a donut in each hand.", "XANDER: Respect the cruller. And tame the donut! Anya passes by en route to the counter.", "ANYA: That's still funny, sweetie. Anya goes behind the counter. Giles looks in the box of donuts, takes one out, takes a bite.", "BUFFY: So, uh, no research? Nothing going on? Monsters or whatnot? Giles and Xander shake their heads \"no,\" continue eating donuts.", "BUFFY: Good! Good. (awkwardly) Uh, so, did anybody ... uh ... last night, you know, did anybody, um ... burst into song? Giles stops chewing. Everyone stares at Buffy for a moment.", "XANDER: Merciful Zeus! Willow, Tara, and Anya rush over. Everyone talks at once.", "WILLOW: We thought it was just us!", "GILES: Well, I sang but I had my guitar at the hotel...", "TARA: It was bizarre. We were talking and then it was like-", "BUFFY: Like you were in a musical!", "TARA: Yeah!", "GILES: That would explain the huge backing orchestra I couldn't see and the synchronized dancing from the room service chaps.", "WILLOW: We did a whole duet about dish washing.", "ANYA: And we were arguing and, and then everything rhymed and there were harmonies and the dance with coconuts.", "WILLOW: There was an entire verse about the cous-cous.", "XANDER: It was very disturbing.", "[The above is everyone talking at once.]", "GILES: (to Buffy) What did you sing about?", "BUFFY: (pauses) I don't remember. But i-it seemed perfectly normal.", "XANDER: But disturbing. And not the natural order of things, and do you think it'll happen again?", "GILES: I don't know. I should look into it.", "WILLOW: With the books.", "TARA: Do we have any books on this?", "XANDER: Well, we just gotta break it down. Look at the factors before it happens again. Because I for one-", "[Giles begins to sing, interrupting Xander.]", "Song: \"I've Got A Theory\"", "GILES: I've got a theory That it's a demon A dancing demon! No, something isn't right there. WILLOW: I've got a theory Some kid is dreamin' And we're all stuck inside his wacky Broadway nightmare. [Tara doing \"jazz hands\"] XANDER: I've got a theory we should work this out. ANYA/TARA/WILLOW/XANDER: It's getting eerie, what's this cheery singing all about?", "XANDER: [jumps up] It could be witches! Some evil witches! [sees Willow's and Tara's expressions] Which is ridiculous, 'cause witches they were persecuted, Wicca good and love the earth and woman power and I'll be over here. [sits]", "ANYA: I've got a theory! It could be bunnies! Silence. The others just stare at her. Sound of crickets chirping.", "TARA: I've got a- Suddenly the tune changes to a frantic hard-rock beat with electric guitar and a roving spotlight that waves crazily over Anya.", "ANYA: (shrieking a la Alanis Morissette) Bunnies aren't just cute like everybody supposes! They've got them hoppy legs and twitchy little noses! And what's with all the carrots? What do they need such good eyesight for anyway?", "[playing air guitar]", "Bunnies! Bunnies! It must be bunnies! Fireworks go off all around her, then the smoke clears away. The others continue simply staring.", "ANYA: (back to original melody) Or maybe midgets.", "WILLOW: (quickly sits down beside Giles and opens a book) I've got a theory we should work this fast. WILLOW/GILES: Because it clearly could get serious before it's passed. Giles gets up, starts to climb the stairs to the loft.", "BUFFY: I've got a theory. It doesn't matter. Giles pauses, turns back. Everyone looks at Buffy. BUFFY: What can't we face if we're together? What's in this place that we can't weather? Apocalypse? We've all been there. The same old trips Why should we care? ALL EXCEPT GILES: What can't we do if we get in it? We'll work it through within a minute. Buffy looks at Giles throughout this. He watches her too and finally joins in. ALL: We have to try We'll pay the price It's do or die BUFFY: Hey, I've died twice. Giles smiles, comes down off the ladder.", "ALL: What can't we face if we're together?", "GILES: (descant) What can't we face...", "ALL: What's in this place that we can't weather?", "GILES: ...if we're together...", "ALL: There's nothing we can't face.", "ANYA: (sits) Except for bunnies. End of song \"I've Got A Theory.\"", "XANDER: (sits) See, okay, that was disturbing.", "WILLOW: (sits) I thought it was neat.", "BUFFY: So what is it? What's causing it?", "GILES: I thought it didn't matter.", "BUFFY: Well, I'm not exactly quaking in my stylish yet affordable boots, but there's definitely something unnatural going on here. And that doesn't usually lead to hugs and puppies.", "ANYA: Well, is it just us? I mean, is it only happening to us? (Buffy turns away) 'Cause that would probably mean a spell or- Buffy goes to the door, opens it. The bell jingles.", "Cut to the street. A man (BTVS writer/producer David Fury) stands in the street holding a shirt in a dry-cleaning bag.", "DAVID: (sings) They got ... the mustard ... out! We see a whole crowd of people standing in dance formation holding dry-cleaning bags. They do a synchronized dance, waving the clothing around.", "CROWD: (sings) They got the mustard out! Buffy turns back into the store, closes the door.", "BUFFY: It's not just us.", "Cut to later. Dawn enters the store wearing a huge smile.", "DAWN: Oh my god. You will never believe what happened at school today. Reveal the rest of the gang sitting around the table looking at books.", "BUFFY: Everybody started singing and dancing? Dawn looks disappointed.", "DAWN: I gave birth to a pterodactyl.", "ANYA: Oh my god, did it sing? Shot of Willow and Tara whispering to each other.", "DAWN: So, you guys too, huh? (walks closer)", "XANDER: So what'd you guys sing about?", "DAWN: (sighs) Math. Dawn puts down her backpack, sits on a stool by the counter. We see Willow whispering in Tara's ear.", "TARA: (loudly) Tha-That's right! The, the volume. The text.", "GILES: What text?", "WILLOW: The volume-y text. You know? The, the (mumbles) report.", "XANDER: The what now?", "TARA: Oh, there's just a few volumes back at the house that deal with mystical chants, bacchanals. Dawn glances at the counter, sees a necklace lying there.", "TARA: It might be relevant.", "WILLOW: Yeah, we could, um-", "GILES: Well, I'm a hair's breadth from investigating bunnies at the moment, so I'm open to anything. Dawn furtively picks up the necklace and puts it in her pocket.", "WILLOW: Great, we'll, uh, go check it out and uh, we'll give you a call.", "TARA: Yeah, this could blow the whole thing wide open.", "Cut to Willow and Tara walking through a park. It's sunny and beautiful. Green grass, blue sky, etc.", "TARA: Do we have any books at all at home?", "WILLOW: Well, who wants to be cooped up on a day like this? The sun is shining, there's songs going on... A couple of young men walk by and look at Willow and Tara as they pass.", "WILLOW: ...those guys are checking you out.", "TARA: What? (turns to look) Wh-What are they looking at?", "WILLOW: The hotness of you, doofus.", "TARA: Those boys really thought I was hot? (looks back at them again)", "WILLOW: Entirely.", "TARA: Oh my god. I'm cured! I want the boys! Tara makes like she's going to run after the guys. Willow grabs her and pulls her back. Tara giggles.", "WILLOW: Do I have to fight to keep you? 'Cause I'm not large with the butch. They stand underneath a tree, leaning on a wooden railing.", "TARA: I'm just ... not used to that. They-they were really looking at me?", "WILLOW: (fondly) And you can't imagine what they see in you.", "TARA: I know exactly what they see in me. You.", "Song: \"I'm Under Your Spell\"", "TARA: (verse one) I lived my life in shadow Never the sun on my face. It didn't seem so sad, though I figured that was my place Now I'm bathed in light", "[walking out from the shade, lifting her face to the sun]", "Something just isn't right I'm under your spell How else could it be Anyone would notice me? It's magic, I can tell How you set me free Brought me out so easily. Pan across a little stream with a bridge over it. Willow and Tara are on the bridge. Tara takes Willow's hand and they walk off the bridge onto a path, holding hands.", "TARA: (verse two) I saw a world enchanted Spirits and charms in the air. Tara makes a gesture with her arm and sparkles appear, following her hand with a little tinkling noise. TARA: I always took for granted I was the only one there. Willow makes some even more impressive sparkles with her hand, ending in a small shower of sparks surrounding them both. They smile at each other. TARA: But your power shone Brighter than any I've known. Tara spins away from Willow. We see a small pond at the edge of the grass. Tara begins to dance. TARA: I'm under your spell Nothing I can do You just took my soul with you A couple of young women are on the grass sunbathing in the background. They get up and begin dancing in sync with Tara. TARA: You worked your charms so well Finally, I knew Everything I dreamed was true You made me believe. SUNBATHERS: Ahhh, ahhh, ahhh (etc...) Willow and Tara spin around in each other's arms. Suddenly they are in their bedroom. They sit down on the bed and look lovingly at each other. The music and background \"ahh, ahh\" continues. TARA: The moon to the tide I can feel you inside I'm under your spell [lies down on the bed] Surging like the sea [Willow leans over her, smiles] Wanting you so helplessly I break with every swell [Willow moves downward, disappears out of shot] Lost in ecstasy Spread beneath my willow tree You make me complete! Tara's body slowly rises up and hovers over the bed. TARA: You make me complete You make me complete You make me... Cut back to the magic shop. Everyone still looking at books.", "XANDER: I bet they're not even working.", "BUFFY: Who now?", "XANDER: Willow and Tara. You see the way they were with each other? The get-a-roominess to them? I bet they're- (glances at Dawn, catches himself) Singing. They're probably singing right now.", "GILES: I'm sure Willow and Tara are making every effort.", "XANDER: Oh, yeah.", "BUFFY: Xander.", "DAWN: Buffy, it's okay. I do know about this stuff. Besides, it's all kinda romantic.", "BUFFY/XANDER: No it's not!", "DAWN: Come on! Songs, dancing around. What's gonna be wrong with that?", "Cut to the Bronze. It's dark. A man is tap-dancing across the floor. Cut closer and we see that his expression is scared and desperate. He continues dancing and suddenly bursts into flame, screaming. He falls to the floor in front of a pair of feet in red shoes and red pants. Pan up to reveal a demon in a red suit, with red skin and a pointy chin.", "SWEET: That's entertainment. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on exterior shot of Xander's apartment building.", "XANDER VOICEOVER: You want some breakfast, baby?", "Cut to the bedroom. Xander and Anya still in bed.", "ANYA: You don't have to go to work?", "XANDER: Nah, I shut the crew down for the day. My guys start dancing around me, I don't know if I can deal. It's a flab thing. So, waffles?", "ANYA: Will you still make me waffles when we're married?", "XANDER: No, I'll only make them for myself, but by California law, you will own half of them. (kisses her) Hey, how about omelettes? I could do an omelette. I've almost got that- Xander continues talking unintelligibly as Anya sits up and begins to sing to the camera.", "Song: \"I'll Never Tell\" ANYA: This is the man that I plan to entangle Isn't he fine? My claim to fame was to maim and to mangle Vengeance was mine! But I'm out of the biz The name I made, I'll trade for his The only trouble is [pauses, shakes her head] I'll never tell. Anya gets up and walks off. Xander sits up in bed and sings to the camera. XANDER: She is the one She's such wonderful fun Such passion and grace. Anya returns, sits beside him to put on her slippers. Xander fondles her knee. XANDER: Warm in the night when I'm right in her tight- [catches himself] Embrace! Tight embrace! [hugs her] I'll never let her go [Anya putting slippers on] The love we've known can only grow There's just one thing that - no. I'll never tell. BOTH: 'Cause there's nothing to tell.", "Cut to the two of them leaving the bedroom, emerging into the living room. ANYA: He snores. XANDER: She wheezes. ANYA: Say 'housework' and he freezes.", "XANDER: [opens the fridge] She eats these skeezy cheeses that I can't describe. Xander picks up a green cheese, sniffs it and makes an \"ew\" face. ANYA: I talk, he breezes. XANDER: She doesn't know what 'please' is. ANYA: His pen1s got diseases from a Chumash tribe! [Xander looks annoyed, closes fridge] BOTH: The vibe gets kind of scary XANDER: Like she thinks I'm ordinary ANYA: Like it's all just temporary XANDER: Like her toes are kind of hairy", "BOTH: [giving each other fake smiles] But it's all very well 'Cause god knows, I'll never tell! Xander opens the newspaper. The headline on the front page reads: MAYHEM CAUSED. MONSTERS CERTAINLY NOT INVOLVED, OFFICIALS SAY. ANYA: When things get rough, he Just hides behind his Buffy! [Xander gives her a look] Now look, he's getting huffy 'Cause he knows that I know.", "XANDER", "She clings She's needy She's also really greedy She nev- ANYA: His eyes are beady! XANDER: This is my verse, hello! She- Anya begins to dance in flapper style.", "ANYA: (spoken) Look at me! I'm dancing crazy! Xander joins the dance and they dance together around the apartment. BOTH: You know... XANDER: You're quite the charmer. ANYA: My knight in armor. XANDER: You're the cutest of the Scoobies With your lips as red as rubies And your firm yet supple- [catches himself] Tight embrace! They resume dancing, then go to opposite sides of the dining room table and sit. ANYA: He's swell XANDER: She's sweller ANYA: He'll always be my feller XANDER: That's why I'll never tell her that I'm petrified. ANYA: I've read this tale There's wedding, then betrayal I know there'll come the day I'll want to run and hide. They get up, crawl across the table toward each other. BOTH: I lied I said it's easy I've tried But there's these fears I've can't quell They sit with their backs pressed against each other. XANDER: Is she looking for a pot of gold? ANYA: Will I look good when I've gotten old? [stands up] XANDER: Will our lives become too stressful if I'm never that successful? ANYA: When I get so worn and wrinkly that I look like David Brinkley? They get up, resume dancing. XANDER: Am I crazy? ANYA: Am I dreamin'? XANDER: Am I marrying a demon? BOTH: We could really raise the beam in making marriage a hell! So, thank god, I'll never tell! I swear that I'll never tell! They walk around the table, toward the couches in the living-room area. XANDER: My lips are sealed ANYA: I take the Fifth XANDER: Nothing to see Move it along BOTH: I'll never Tell! They both fall back onto the sofa, clutching each other and laughing fake Hollywood-musical laughs. End of song \"I'll Never Tell.\"", "Cut to the street. Anya and Xander are on either side of Giles, all walking down the street. Anya and Xander both talking at once.", "XANDER: It's a nightmare.", "ANYA: It has to be stopped.", "XANDER: It's a plague. It's like a nightmare about a plague.", "ANYA: It was like we were being watched.", "XANDER: It's like, I didn't wanna be saying things-", "ANYA: Like there was a wall missing-", "XANDER: -but they just kept pouring out.", "ANYA: -in our apartment.", "XANDER: And they rhymed and they were mean and", "ANYA: Like there were only three walls and not a fourth wall and", "XANDER: My eyes are not beady!", "ANYA: My toes are not hairy! They stop talking over each other.", "XANDER: Giles, you've got to stop it.", "GILES: Well, I am looking into some leads, and I-", "ANYA: It's just, clearly our number is a retro pastiche that's never going to be a breakaway pop hit.", "XANDER: Work with me, British man. Give me an axe and show me where to point it. We hear a woman singing but we can't see her or make out the words yet.", "GILES: Well now, Xander, it's not quite that simple. But I have learned about some disturbing things. Basically- They continue talking in the background as we focus on a woman (BTVS executive producer Marti Noxon) who is standing by her car singing to a policeman. The cop is writing her a parking ticket and we see that her car is parked next to a fire hydrant. As she sings we can see Giles, Xander, and Anya standing and talking in background. MARTI: I'm asking you please no It isn't right, it isn't fair There was no parking anywhere I think that hydrant wasn't there", "[cop gives her the ticket]", "Why can't you let it go? I think I've paid more than my share... She continues singing in the background as Xander, Anya, and Giles resume walking and talking.", "XANDER: As in burnt up? Somebody set people on fire? That's nuts!", "ANYA: I don't know. One more verse of our little ditty and I would've been looking for a gas can.", "GILES: Well, clearly emotions are running high. (We see people in background dancing together) But as far as I can tell these people burnt up from the inside, spontaneously combusted. (Three street sweeper men in background dancing with brooms) I've only seen the one. I was able to examine the body while the police were taking witness arias.", "XANDER: Okay, but we're sure that the things are related: the singing and dancing, and burning and dying. They stop walking. The street sweepers continue their dance in background.", "GILES: We're not sure of much. Buffy's looking for leads at the local demon haunts, at least ... in theory she is, but ... she doesn't seem to-", "XANDER: She's easing back into it. We pulled her out of an untold hell dimension. Ergo the weirdness. The important thing is to be there for her.", "GILES: (shakes head) I'm helping her as much as I can, but, uh... Anya pats Giles awkwardly on the shoulder.", "Cut to Spike's crypt. Buffy enters. Spike emerges from his underground lair.", "SPIKE: The sun sets and she appears. (climbs up the rest of the way) Come to serenade me?", "BUFFY: So you know what's going on.", "SPIKE: Well, I've seen some damn funny things in the last two days. A 600 pound Chirago demon making like Yma Sumac, that one will stay with you. I remain immune, happy to say. (holds up a bottle of whiskey) Drink?", "BUFFY: A world of no. (sits) So any idea what's causing this?", "SPIKE: (disappointed) Oh. So that's all. You've just come to pump me for information.", "BUFFY: What else would I wanna pump you for? (cringes) I really just said that, didn't I?", "SPIKE: Yeah, well ... don't wanna bore you with the small talk. Spike walks to the door, opens it and turns toward Buffy.", "SPIKE: Don't know a thing.", "BUFFY: (frowns) What's up? You're all bad moody.", "SPIKE: Nothing. Glad you could stop by. He makes a gesture toward the door. Buffy stays seated, looks at him.", "SPIKE: (defensive) It's nothing.", "BUFFY: What?", "Song: \"Rest In Peace\" SPIKE:", "(verse one)", "I died So many years ago.", "[Spike looks surprised to hear himself singing. Buffy rolls her eyes]", "But you can make me feel Like it isn't so [shakes his head, closes the door] And why you come to be with me I think I finally know Mmm, mmm.", "(verse two)", "You're scared. Ashamed of what you feel", "[Buffy not looking at him]", "And you can't tell the ones you love You know they couldn't deal", "[Now she looks at him, frowns]", "Whisper in a dead man's ear, It doesn't make it real. [points to his head] Buffy looks at him, then looks away. Spike rolls his eyes in annoyance. SPIKE:", "(verse three)", "That's great. But I don't wanna play. [walks over to a coffin] 'Cause being with you touches me More than I can say. But since I'm only dead to you [jumps up to sit on the coffin] I'm saying stay away [lies down on the coffin, crosses arms over his chest] And let me rest in peace. Spike jumps up and the song takes on an angry rock beat for the refrain.", "SPIKE: (refrain) Let me rest in peace Let me get some sleep", "[grabs whiskey bottle and throws it against the wall. Buffy jumps up]", "Let me take my love and bury it In a hole six foot deep I can lay my body down [advancing on Buffy] But I can't find my sweet release", "[turns away from her with an angry gesture]", "So let me rest in peace! Buffy looks annoyed, turns toward the door, but Spike intercepts her.", "SPIKE: (verse four) You know You've got a willing slave [goes to his knees] And you just love to play the thought That you might misbehave. [Buffy rolls her eyes] But till you do I'm telling you, [stands up] Stop visiting my grave", "[angrily]", "And let me rest in peace. Spike yanks the door open again.", "Cut to the graveyard. A group of men carry a coffin along. A few dozen yards away we see Spike and Buffy walking along side-by-side.", "SPIKE: (bridge) I know I should go But I follow you like a man possessed There's a traitor here beneath my breast", "[exchanges a look with Buffy]", "And it hurts me more than you've ever guessed [looking at Buffy] If my heart could beat, it would break my chest", "[they stop walking]", "But I can see you're unimpressed [angrily] So leave me be. Spike jumps up onto the coffin being carried by the men.", "SPIKE: (refrain) And let me rest in peace Let me get some sleep The pall-bearers tip the coffin and Spike tumbles off the end of it, bounces to his feet and shifts into game face. SPIKE: Let me take my love and bury it In a hole six foot deep He rampages through the mourners, tossing their folding-chairs aside. The people scatter. SPIKE: I can lay my body down But I can't find my sweet release... He grabs the priest, stares at him. Buffy comes up behind Spike, grabs him and turns him around. Spike and Buffy tumble backward into the open grave. Spike lands on his back with Buffy on top of him. He's back in human face. SPIKE: Let me rest in peace. Why won't you Let me rest in peace? End of song \"Rest In Peace.\" They still lie in the grave with Buffy on top. She stares at Spike for a moment, then gets off him, leaps out of the grave and runs off. Spike pokes his head up out of the grave to watch her go.", "SPIKE: (spoken) So ... you're not staying then?", "Cut to Dawn's bedroom. Dawn is dumping stuff out of her schoolbag. Tara watches from the doorway. Tara has the \"forget\" herb pinned to her blouse.", "TARA: Lotta homework?", "DAWN: Ah, math. It seemed cool when we were singing about it.", "TARA: (smiles) Willow said they have a lead on the whole musical extravaganza evil. This demon that can be summoned, some sort of Lord of the Dance. (grins) Oh, but not the scary one. Just a demon.", "DAWN: Um ... do they know who summoned it?", "TARA: They don't even know its name yet. But Willow will find out. She's the brainy type. (smiles)", "DAWN: Hm. (smiles at Tara) I'm glad you guys made up.", "TARA: What?", "DAWN: That fight you guys had about magic and stuff? It gives me belly rumblings when you guys fight.", "TARA: (confused) Dawn, Willow and I never fought about-", "DAWN: It's okay. It's just ... you guys are so great together. I just hate it when you- Tara puts her hand to the herb on her blouse, removes it. Her \"I'm Under Your Spell\" melody plays in background.", "DAWN: But that was the only fight I've seen you guys have anyway. But I'm still glad it's over.", "TARA: (staring at the herb) Dawn, I, um ... there's something I need at the shop. Will you be okay for a little while?", "DAWN: Yes. The fifteen-year-old can spend a half an hour alone in her locked house.", "TARA: I-I won't be gone long. Tara leaves. Dawn goes over to a side table, opens a small wooden box. It's filled with stuff she has taken from the magic shop. She takes out the necklace from before and puts it on, looks at herself in the mirror.", "DAWN: (sings) Does anybody even notice? Does anybody even care? She turns around to find a demon (Sweet's minion) standing behind her. Its whole head is like a big mask. We see there are actually three of the minions. They throw a bag over Dawn's head. She continues screaming, muffled. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the Bronze. Pan down to reveal Dawn asleep on the pool table. She suddenly jerks awake, sits up, begins to do a ballet dance. She leaps down off the pool table and is confronted by one of the mask minions. They do a ballet-ish dance that basically represents Dawn trying to escape and the demon stopping her. The other two demons appear and join the dance. They surround Dawn as she huddles close to the floor. Then they fling her and she goes sliding across the floor, stopping beside the stage. We see Sweet's feet in red pants and black-and-white dance shoes. They begin to do a tap-dance number, dance down the stairs and toward Dawn... Meanwhile the camera moves up to reveal Sweet. He dances around to the other side of Dawn.", "Song: \"That's What It's All About.\" SWEET: Why'd you run away? Don't you like my ... style? He snaps his fingers and his red suit turns to a blue one. SWEET: Why don't you come and play? I guarantee a... He reaches up to his face, pulls off his mouth and holds the disembodied mouth in Dawn's face. She stares in shock as the mouth continues singing.", "SWEET: ...great big smile. The mouth disappears from his hand and reappears in its normal place. SWEET: I come from the Imagination And I'm here strictly by your Invocation [holds up a scroll covered with writing] So what do you say? Why don't we dance awhile? He dances over to Dawn, gestures at her, then dances away again. SWEET: I'm the hot swing I'm the twist and shout", "[tapdances]", "When you gotta sing, When you gotta ... let it out.", "[shot of the three minions dancing to the tune]", "You call me and I come a-running [dances back toward Dawn] I turn the music on I bring the fun in", "[makes a string-pulling gesture at Dawn, who gets up]", "Now we're partyin' That's what it's all about. [chuckles] He dances toward Dawn and she dances backward.", "SWEET: 'Cause I know ... what you feel, girl. He puts his arms around her and they dance together. Dawn looks scared.", "SWEET: I know just what you feel, girl. He spins Dawn away, she dances a few steps away from him.", "DAWN: (spoken, nervous) So ... you're like a good demon? Bringing the fun in? Sweet laughs, shakes his head \"no.\" SWEET: All these melodies ... [Dawn sits] They go on too long Then that energy", "[minions doing a dance-fight]", "Starts to come on way too strong All those hearts laid open, that must sting", "[a door appears beside Sweet, he reaches for the knob]", "Plus, some customers just start combusting Sweet opens the door and a charred smoking corpse falls through it. Dawn stares in horror. SWEET: That's the penalty [dances back over to her] When life is but a song.", "[dancing up very close to Dawn, she looks very nervous]", "You brought me down into this town So, when we blow this scene Back we will go to my kingdom below And you will be my queen Sweet makes a gesture and Dawn's clothing turns to a satiny ball gown. SWEET: 'Cause I know what you feel, girl [dances up onto the stage] DAWN: No, you see You and me Wouldn't be very regal SWEET: I'll make it real, girl [dancing around the stage] DAWN: What I mean I'm fifteen So this queen thing's illegal", "SWEET: [jumps back onto the floor] I can bring whole cities to ruin And still have time to get a soft-shoe in DAWN: Well, that's great But I'm late And I'd hate to delay her", "SWEET: [dancing around her] Something's cooking, I'm at the griddle I bought Nero his very first fiddle DAWN: She'll get pissed If I'm missed See, my sister's the Slayer Sweet stops in mid-kick, looks surprised, stops dancing, turns to Dawn. End of song \"That's What It's All About.\"", "SWEET: (spoken) The Slayer?", "DAWN: (nods, nervously) Yuh-huh.", "SWEET: (chuckles, turns to minions) Find her. Tell her ... tell her everything. (Dawn looks nervous) Just get her here. I want to see the Slayer burn. Dawn looks alarmed.", "SWEET: (sings) Now we're partying. That's what it's all about.", "Cut to the workout room. Giles holds a large piece of wood. Buffy kicks it in two.", "GILES: Good. Good.", "BUFFY: I feel like I should ... bow, or ... have honor or something.", "GILES: It may seem hokey, but we need to work on precision and concentration as much as power. (goes to put the wood down) We're still not sure what we're facing.", "BUFFY: (puts one leg up on the horse, stretches) Oh, you'll figure it out. I'm just worried this whole session's gonna turn into some training montage from an 80's movie.", "GILES: Ah. Well, if we hear any inspirational power chords, we'll just lie down until they go away. (picks up a towel) Anyway, I don't think we need to work that much on your strength.", "BUFFY: Yeah, I'm pretty spry for a corpse. (doing a handstand on the horse)", "GILES: (pauses) Have you spoken to Dawn about that incident at Halloween? Buffy leaps down from the horse, frowns.", "BUFFY: Oh. I thought you took care of that. (stretching her arms)", "GILES: (softly) Right.", "BUFFY: (oblivious) What would I do without you? Giles looks pensive, turns and begins to walk toward a set of weapons in a display case on the wall.", "BUFFY: Okay. I'm ready.", "Song: \"Standing In The Way\" GILES: You're not ready for the world outside You keep pretending, but you just can't hide", "[picks up something from weapons case]", "I know I said that I'd be standing by your side", "[walks toward Buffy]", "But I... Giles throws a small knife at Buffy. She leans backward, lets it fly past her. GILES: Your path's unbeaten and it's all uphill", "[throws another knife, which she deflects with one hand]", "And you can meet it, but you never will", "[walking back toward the weapons]", "And I'm the reason that you're standing still", "[looks at her as she stands waiting]", "But I...", "[walks back, throws another knife, Buffy kicks it aside in slow-motion]", "I wish I could say the right words To lead you through this land.", "[Buffy still kicking in slo-mo]", "Wish I could play the father And take you by the hand [reaching out his hand, then pulls it back] Wish I could stay here But now I understand", "[walks closer as Buffy does a handspring and then a split in slo-mo]", "I'm standing in the way. As Giles continues singing, we cut to the magic shop. Tara walks in as Willow has her back turned. Willow doesn't see Tara.", "GILES: The cries around you, you don't hear at all Tara walks quickly toward the back, crying, looking at the herb in her hand, begins to climb the steps to the loft.", "GILES: 'Cause you know I'm here to take that call Cut back to the workout room. Giles walks around the perimeter in regular speed as Buffy does flips across the center of the room in slo-mo. GILES: So you just lie there when you should be standing tall But I...", "[Buffy punching the punching bag in slo-mo as Giles walks around her]", "I wish I could lay your arms down And let you rest at last Wish I could slay your demons But now that time has passed Wish I could stay here Your stalwart, standing fast But I've been standing in the way. Buffy walks right up in front of Giles, shaking her hair out, still in slo-mo.", "GILES: I'm just standing ... in the way. End of song \"Standing In The Way.\" Buffy returns to regular speed.", "BUFFY: (spoken) Did you just say something?", "Cut to the loft. Tara looks through a book. She holds the piece of dried herb up to a picture of the same herb. Close shot on the book. The herb is labeled \"Lethe's Bramble. Used for augmenting spells of forgetting and mind control.\"", "Song: \"Wish I Could Stay\"", "TARA: (same melody from her previous song) I'm under your spell God, how can this be? Playing with my memory", "[turns, goes to the edge of the loft and looks down]", "You know I've been through hell Willow, don't you see?", "[below, we see Buffy go over to Willow and greet her]", "There'll be nothing left of me You made me believe.", "[Giles emerges from the back, overlaps with Tara's last word]", "GILES: Believe me, I don't wanna go", "GILES/TARA: And it'll grieve me 'cause I love you so", "[shot of Willow and Buffy talking, oblivious to the singing]", "GILES/TARA: But we both know", "Tara comes down the stairs and Giles sits at the table as they sing.", "GILES TARA", "Wish I could say the right words To lead you through this land Wish I could play the father And take you by the hand Wish I could trust that it was just this once But I must do what I must I can't adjust to this disgust We're done and I just GILES/TARA: Wish I could stay", "[Tara reaches the ground level, Giles stands up]", "Wish I could stay Wish I could stay", "[They both walk toward the front of the store. Another shot of Buffy and Willow talking]", "GILES/TARA: Wish I could stay... End of song \"Wish I Could Stay.\" Tara and Giles stand side-by-side as their song ends. Suddenly Spike bursts into the magic shop pulling one of Sweet's minions. Everyone turns to look.", "SPIKE: Lookie lookie what I found.", "TARA: Is-is this the demon guy?", "WILLOW: (happily) Tara! Tara ignores her. Willow looks surprised. Xander and Anya emerge from the back.", "SPIKE: Works for him. Has a nice little story for the Slayer, don't you? Come on, then. (shoves the minion forward) Sing. The music swells up dramatically as if to introduce a big musical number, but the minion simply speaks in normal voice.", "MINION: My master has the Slayer's sister hostage at the Bronze because she summoned him and at midnight he's going to take her to the underworld to be his queen.", "GILES: What does he want?", "MINION: (indicates Buffy) Her.", "SPIKE: (scoffs) If that's all you've got to say, then- Spike tries to grab the minion but he breaks free and runs off.", "SPIKE: (surprised) Strong. Someday he'll be a real boy.", "BUFFY: So. Dawn's in trouble. Must be Tuesday.", "TARA: I-I just left her for a few minutes.", "BUFFY: Oh, it's not your fault. So what's the plan?", "XANDER: Plan, schman. Let's mount up.", "GILES: No.", "ANYA: Uh, Dawn may have had the wrong idea in summoning this creature, but ... I've seen some of these underworld child bride deals and, and they never end well. Well, maybe once.", "WILLOW: We're not just gonna stay here.", "GILES: Yes we are. (looks intently at Buffy) Buffy's going alone.", "SPIKE: (disgusted laugh) Gah! Don't be a stupid git. There is no-", "GILES: If I want your opinion, Spike, I'll- (pauses to consider) I'll never want your opinion.", "WILLOW: A little confusion spell could-", "TARA: No! (Willow looks surprised) I mean, I don't think it'll help.", "SPIKE: (to Buffy) Look, forget them, Slayer. I've got your back.", "BUFFY: I thought you wanted me to stay away from you. Isn't that what you sang?", "XANDER: Spike sing a widdle song?", "ANYA: Would you say it was a breakaway pop hit or more of a book number?", "XANDER: Let it go, sweetie.", "SPIKE: (to Buffy, angrily) Fine. I hope you dance till you burn. You and the little bit. Spike exits. Buffy looks at Giles.", "BUFFY: You're really not coming.", "GILES: (walks up to her) It's up to you, Buffy.", "BUFFY: (upset) What do you expect me to do?", "GILES: Your best. Buffy stares at him.", "Cut to the street. It's dark, red lighting. Some people are doing an angry dance-fight. Pan down to focus on a garbage can with a fire burning inside it. Buffy walks up in foreground, holds her hand out to the fire.", "Song: \"Walk Through The Fire\"", "BUFFY: (verse one) I touch the fire and it freezes me I look into it and it's black Why can't I feel? [looking at her hand] My skin should crack and peel", "[turns to glare at the camera]", "I want the fire back!", "Cut to the Bronze. Smoke swirls as Sweet shoves Dawn into a chair, goes to sit in another chair beside her. Dawn looks scared.", "BUFFY: (verse two) Now through the smoke, she calls to me To make my way across the flame", "[cut back to Buffy standing on the street]", "To save the day Or maybe melt away I guess it's all the same", "(refrain)", "So I will walk [starts to walk] through the fire 'Cause where else can I turn? I will walk through the fire And let it-", "Cut to Spike sitting in an alley smoking a cigarette.", "SPIKE: (verse three) The torch I bear is scorching me Buffy's laughing, I've no doubt [takes a drag] I hope she fries I'm free if that bitch dies!", "[tosses cigarette away angrily, then jumps up]", "I better help her out. [starts walking]", "Cut to the Bronze.", "SWEET: (refrain) 'Cause she is drawn to the fire. SWEET: Some people SPIKE: She will", "SPIKE/SWEET: never learn.", "[Spike walking down the street. Sweet standing up in the Bronze]", "SPIKE/SWEET: And she will walk through the fire And let it-", "Cut to the magic shop. Willow and Tara sit at the table not looking at each other. Giles stands behind the counter.", "GILES: (bridge) Will this do a thing to change her? Am I leaving Dawn in danger? Is my slayer too far gone to care? XANDER: What if Buffy can't defeat it? ANYA: Beady Eyes is right, we're needed! Or we could just sit around and glare. [looks at Willow and Tara] Giles comes out from behind the counter, gives Willow and Tara a look. They get up, and they all start walking toward the door.", "ANYA/GILES/TARA/WILLOW/XANDER: (refrain) We'll see it through It's what we're always here to do So we will walk through the fire", "Cut to Buffy walking alone through an alley.", "BUFFY: TARA: (descant) So one by one, they turn from me I guess my friends can't face the cold But why I froze, not one among them knows And never can be told. What can't we face... If we're together? The following sequence has Sweet split-screened with the Scoobies as they walk along the street singing. Basically whoever's singing at the moment is on screen.", "SWEET: BUFFY:", "ANYA: She came from the grave much graver", "SPIKE: First he'll kill her, then I'll save her", "TARA: Everything is turning out so dark", "SPIKE: No, I'll save her, then I'll kill her", "WILLOW: I think this line's mostly filler", "GILES: What's it gonna take to strike a spark? So one by one they turn to me The distant redness as their guide That single flame Ain't what they had in mind. It's what they have inside. Going through the motions Walking through the part", "BUFFY: SWEET: These endless days are finally ending in a blaze She will come to me. BUFFY, ANYA, GILES, SPIKE, TARA, WILLOW, XANDER: And we are caught in the fire", "[Buffy walking down the street alone]", "The point of no return So we will walk through the fire", "[The Scoobies walking down the street. A fire engine goes by behind them with lights flashing]", "And let it Burn Let it burn", "[Spike jumps over a fence, is in an alley]", "Let it burn Let it burn! Buffy kicks down the door of the Bronze. It smashes to pieces. SWEET (spoken) Showtime! (chuckles) Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Buffy walks into the Bronze, looks around, sees Sweet and Dawn sitting in chairs on the stage.", "SWEET: I love a good entrance.", "BUFFY: How are you with death scenes? Sweet just chuckles. Buffy walks a little closer.", "BUFFY: You got a name?", "SWEET: I've got a hundred.", "BUFFY: Well, I ought to know what to call you if you're gonna be my brother-in-law.", "DAWN: Buffy, I swear I didn't do it.", "BUFFY: Don't worry. You're not going anywhere. (Sweet looks at her) I am.", "DAWN: What? (Sweet looks interested, sits forward)", "BUFFY: (to Sweet) Deal's this. I can't kill you? You take me to Hellsville in her place.", "SWEET: (scoffs) What if I kill you?", "BUFFY: (deadpan) Trust me. Won't help.", "SWEET: Hm, that's gloomy!", "BUFFY: That's life.", "SWEET: (chuckles) Come now, is that really what you feel? Isn't life a miraculous thing?", "BUFFY: I think you already know.", "Song: \"Life\"", "BUFFY: (verse one, ballad-like melody) Life's a show And we all play our parts And when the music starts", "[unbuttons her jacket, opens it]", "We open up our hearts.", "[drops jacket to the floor]", "It's all right If some things come out wrong", "[looks over, sees the minions holding pool cues]", "We'll sing a happy song And you can sing along. The beat changes to a harsh hard-rock tune with lots of electric guitar. The minions attack. BUFFY: Where there's life [grabs pool cue from minion, hits him] There's hope Every day's [elbows second minion] A gift Wishes can [kick] Come true Whistle while [punch] You work [blow with pool cue] So hard [blow] All day [throws pool cue, impales third minion] Back to the original ballad melody.", "BUFFY: To be like other girls. Giles, Anya, Xander, Willow, and Tara run in. BUFFY: To fit in in this glittering world. [Sweet watching, listening] Don't give me songs.", "GILES: (spoken) She needs backup. Anya, Tara.", "BUFFY: Don't give me songs. Anya and Tara take up positions behind Buffy to be her backup singers and dancers. The three of them move in sync. BUFFY: Give me something to sing about. ANYA/TARA: Ahhhhh... BUFFY: I need something to sing about. ANYA/TARA: Ahhhhh... More dancing. The hard-rock beat returns. The girls dance to it for a minute, then return to the first dance and the ballad.", "BUFFY: (verse two) Life's a song You don't get to rehearse. And every single verse Can make it that much worse.", "[Anya and Tara stop dancing, move to background]", "[Buffy puts up a hand as if to shield herself from the sight of her friends]", "Still my friends Don't know why I ignore The million things or more I should be dancing for. Back to the hard-rock tune. Buffy continues dancing alone. BUFFY: All the joy Life sends Family And friends All the twists And bends Knowing that It ends Well that Depends Back to the ballad melody. BUFFY: On if they let you go", "[looking around at the Scoobies]", "On if they know enough to know", "[walking up the steps to the stage]", "That when you've bowed You leave the crowd. She walks up onto the stage, looks back at the others, then at Sweet still sitting. He makes his string-pulling gesture. Buffy walks right up to him.", "BUFFY: (verse three, new melody) There was no pain No fear, no doubt Till they pulled me out Of Heaven.", "[looks back at the others. Giles and Xander looking surprised]", "So that's my refrain.", "[Willow looking horrified]", "I live in Hell", "[Xander looking horrified]", "'Cause I've been expelled From Heaven I think I was in Heaven", "[Willow looking horrified]", "So give me something to sing about.", "[whirls around to look at Sweet]", "Please Give me something... Sweet shakes his head. Buffy gives a desperate look, turns and flips off the stage onto the floor. The hard-rock tune returns with the electric guitars playing a wild riff. Buffy dances, faster and faster. Dawn watches in dismay. Sweet leans forward expectantly. Buffy spins wildly round and round and round, smoke begins to curl off her. Suddenly Spike appears, stops her by grabbing her upper arms. Buffy gives him a desperate unhappy look.", "SPIKE: (verse four, same melody as verse three) Life's not a song Life isn't bliss Life is just this It's living", "[brushes hair back from her face]", "You'll get along", "[Dawn stands up]", "The pain that you feel You only can heal By living", "[Buffy looks about to cry]", "You have to go one living So one of us is living. Buffy stares at Spike. Dawn walks forward to the edge of the stage.", "DAWN: (spoken) The hardest thing in this world ... is to live in it. Buffy looks at Dawn, then back at Spike. Shot of Tara trying to comfort Willow. Last few chords. End of song \"Life's A Show.\" Sweet applauds.", "SWEET: Now that was a show-stopping number. (Buffy and Spike turning to look at him) Not quite the fireworks that I was looking for.", "WILLOW: Get out of here.", "SWEET: Mm, I smell power. (stands) I guess the little missus and I should be on our way. (Dawn backing away from him in fear, sitting back down)", "GILES: That's never going to happen.", "SWEET: (chuckling) I don't make the rules. She summoned me.", "DAWN: (to Sweet) I so did not. (to others) He keeps saying that.", "SWEET: You have my talisman on, sweet thing. Sweet reaches to touch the necklace Dawn is wearing. She cringes in fear, cowers away from him.", "DAWN: (very nervous) Oh, but, no, I, I, um, uh, this, at, at the Magic Box, on the floor, I was, I was cleaning, and I ... forgot ... but ... I didn't summon anything.", "SWEET: Well now, that's a twist.", "GILES: If it was in the shop ... then one of us probably... Beat. They all look around at each other. Slowly Xander raises his hand.", "ANYA: Xander?!", "XANDER: Well, I didn't know what was gonna happen! I just thought there were gonna be dances and songs. (to Anya) I just wanted to make sure we'd... we'd work out. (nervous smile) Get a happy ending.", "SWEET: (chuckling) I think everything worked out just fine.", "XANDER: Does this mean that I have to... (gulp) be your queen? (Anya looks anxious)", "SWEET: It's tempting. (Xander looking apprehensive) But I think we'll waive that clause just this once. Xander is intensely relieved. Everyone else just continues watching Sweet.", "SWEET: Big smiles everyone! You beat the bad guy. He does a quick spin.", "Song: \"See You In Hell\"", "SWEET: (same tune as his first number) What a lot of fun You guys have been real swell", "[chuckles, begins dancing]", "And there's not a one Who can say this ended well", "[Buffy and Spike watching]", "All those secrets you've been concealing", "[Willow, Tara, Giles, and Xander watching]", "Say you're happy now, Once more with feeling. Now I gotta run See you all... He turns into a ball of light that swirls around their heads, leaving a sparkly trail. They watch it go.", "SWEET: ...in heeeeeeell! End of song \"See You In Hell.\" Everyone stands around looking kind of shell-shocked. Dawn walks across the stage in foreground with the others in background.", "Song: \"Where Do We Go From Here?\" DAWN: Where do we go ... from here? [walks to the steps and down] BUFFY/SPIKE: Where do we go ... from here? GILES: The battle's done And we kind of won GILES/TARA: So we sound our victory cheer Where do we go from here? ANYA/XANDER: Why is the path unclear When we know home is near? They all move to stand in a line side-by-side. ALL: Understand we'll go hand in hand [all join hands] But we'll walk alone in fear. [all release hands and walk off in different directions] GILES: Tell me! ALL: Where do we go from here? When does the end appear? They all make a dance gesture with their arms. Close on Spike. In the middle of singing \"appear\" he suddenly stops, scoffs, puts his arm down.", "SPIKE: (spoken) Bugger this. Spike turns and leaves. The song continues without him. ALL: When do the trumpets cheer? The curtains close on a kiss, god knows", "Cut to outside. Spike exits and begins walking down the street.", "ALL: (faintly) we can tell the end is near. Buffy comes out of the Bronze after Spike.", "BUFFY: (spoken) Hey.", "ALL: (faintly) Where do we go from here? End of song \"Where Do We Go From Here.\"", "SPIKE: (spoken) You should go back inside. Finish the big group sing. Get your kum-ba-yayas out.", "BUFFY: I don't want to.", "SPIKE: (sighs) The day you suss out what you do want, there'll probably be a parade. Seventy-six bloody trombones.", "BUFFY: Spike...", "SPIKE: Look, you don't have to say anything.", "BUFFY: (sings) I touch the fire and it freezes me. Spike looks surprised. They walk toward each other.", "SPIKE: (sings) I died...", "BUFFY: SPIKE: I look into it and it's black This isn't real But I just want to feel So many years ago. But you can make me Feel As they hold the last note on \"feel\" they walk right up to each other. They finish the song and kiss passionately.", "ALL: (singing) Where do we go from here? The words \"The End\" flash on the screen, then an image of curtains that draw closed over Buffy and Spike as they continue kissing. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon. THE END" ]

[ "When they return home from their nights out, Buffy is ashamed of having slept with Spike and Willow is exhausted from casting spells all night. Amy takes Willow to a sorcerer named Rack whose particular brand of magic quickly has Willow hooked. Later, Willow and Dawn decide to go out for a movie, but Willow's recklessness with magic puts Dawn's life in danger." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer... People setting books on fire. Amy tied to the stake in \"Gingerbread.\"", "AMY: All right! You wanna fry a witch? I'll give you a witch! Before thee let the unclean thing crawl! Amy turning into a rat. The rat running around the floor.", "WILLOW: She's a perfectly normal girl. Then, she's a rat.", "BUFFY: Maybe we should get her one of those wheel thingies. Tara and Willow in Joyce's bedroom.", "TARA: Can, can we not do this now?", "WILLOW: Forget it ever happened. Willow doing the forget spell.", "WILLOW: Forget. Tara and Willow arguing.", "TARA: What is wrong with you? I know you used that spell on me.", "WILLOW: I'll go a month without doing any magic. Willow taking the bag of herbs out of the cabinet.", "TARA: Go a week.", "WILLOW: Fine, that's easy! Willow putting the crystal in the fire.", "WILLOW: When the fire goes out, when the crystal turns black, the spell will be cast. Willow sitting and crying.", "TARA: I don't think this is gonna work. Tara packing her things.", "WILLOW: Are you saying you're gonna leave me? Spike in Warren's apartment.", "SPIKE: I'm placing an order.", "WARREN: Oh no no, I'm not making any more girls.", "SPIKE: Sure you are. Here's your specs. Warren, Jonathan, and Andrew in flashback.", "WARREN: So ... you guys wanna team up and take over Sunnydale?", "JONATHAN/ANDREW: Okay. Jonathan doing a spell.", "WARREN: The Trio versus the Slayer.", "JONATHAN: We're like supervillains. The Trio laughing their dorky super-villain laughs. Buffy talking to Giles.", "BUFFY: I can't do this without you.", "GILES: You can. That's why I'm going. Giles talking to the Scoobies.", "GILES: I'm heading back to England. Giles on the plane.", "GILES: ...and I plan to stay. Spike and Buffy in the graveyard.", "SPIKE: We have to talk.", "BUFFY: About what?", "SPIKE: We kissed, Buffy. Spike and Buffy kissing at the end of \"Tabula Rasa.\"", "HUSBAND: (nervous) I'm sure we can work something out.", "WIFE: A deal of some sort. Anything you want.", "BUFFY: (OS) I always wanted a pony. Everyone turns to see Buffy standing there.", "BUFFY: Oh. You weren't really speaking to me, were you? My bad. Well, as long as I'm here... She walks forward and kicks one of the men. He stumbles back, drops the purse. He and his cohort stare at Buffy in fear. We see that they're human, not vampires.", "BUFFY: (surprised) Wow. A mugging. Haven't gotten one of those in a while. The uninjured mugger checking to make sure the one Buffy kicked is okay.", "BUFFY: Usually it's blood, and with the horror ... just a good old-fashioned mugging. (the victims staring at her) Kinda sweet actually. Buffy bends over, picks up the woman's purse.", "BUFFY: Oh, uh, probably not for you. Here. (gives the woman her purse) Go. Now. The husband and wife run off. One of the muggers attacks Buffy and she blocks his punch, punches him, then grabs his arm and twists it around behind him. She holds him there while she kicks the other one back.", "BUFFY: Not too sweet for you either, huh? (mugger getting up) But come on, rush me. It'll be funny. The second mugger gets up and is about to rush her when Spike comes into the shot yelling.", "SPIKE: Yaah!", "BUFFY: No! Spike punches the mugger and falls into a pile of boxes. Buffy lets go of the mugger she's holding and he runs off. Spike rolls around in the pile of boxes clutching his head in pain. Boxes fall on top of him. The other mugger runs off too. Buffy watches them go and yells in frustration.", "BUFFY: Gah! Oh! Spike gets up, still holding his head.", "BUFFY: What the hell are you doing?", "SPIKE: I thought they were demons.", "BUFFY: Way to go with the keen observiness, Jessica Fletcher.", "SPIKE: (glares) Remind me not to help you.", "BUFFY: *More* often?", "SPIKE: Hey. Little sympathy for the man with the migraine here, can we?", "BUFFY: Well, that's what you get for attacking a human.", "SPIKE: Yeah. (annoyed) You'd think if the government was gonna put a chip in my head, they'd at least make it so I could attack criminals and that sort.", "BUFFY: Yes, because muggers deserve to be eaten. Spike gives her a sour look.", "BUFFY: Just have to get your rocks off fightin' demons.", "SPIKE: (suggestively) There are other ways.", "BUFFY: And to that, an extreme 'see you later.' She turns to go. Spike smirks, walks after her.", "SPIKE: Buffy. She stops, sighs, turns back.", "BUFFY: Spike ... it's late, okay, can we just finish this another time?", "SPIKE: (walks closer) Oh, so you wanna jump right to the kissing then, eh?", "BUFFY: I am not kissing you, Spike. Once was-", "SPIKE: Twice.", "BUFFY: But not again. She turns away again, begins walking.", "SPIKE: You're a tease, you know that, Slayer? (Buffy rolls her eyes, continues walking) Get a fellow's motor revving, let the tension marinate a couple-a days, then bam! Crown yourself the ice queen.", "BUFFY: (still walking away) Need a few more metaphors for that little mix? She walks off. Spike stays where he is in the alley, yelling after her.", "SPIKE: (yells) It's only a matter of time before you realize I'm the only one here for you, pet. You got no one else!", "Cut to the Summers house, night. Willow opens the door of her bedroom, peeks out, goes back inside and closes the door. She goes over to the window, looks out. Amy-Rat is in a cage on the floor, squeaking. Willow kneels down beside it.", "WILLOW: What's the matter, Amy? You lonely? (opens the cage) Oh, we need to get you a nice companion rat (takes Amy out of the cage) that you can love ... play with ... and grow attached to, until one day they leave you for no good reason. Willow carries the rat over to the bed, stroking it gently. She puts the rat down on the bed.", "WILLOW: Won't that be fun? (rat squeaking) Relax, Amy. I'm just kiddin'. I swear, if I could figure out how to turn you back... (realizes something) Any way ... Revele! A sheet of paper appears on the desk. Willow picks it up, reads.", "WILLOW: 'Cio che fu non e piu. Cio che fu fatto disfa. Passato e il pericolo, finita e la prova. Metti le cosa a posto.' Willow looks up at the bed. Red lightning flashes as the rat morphs back into Amy, sitting naked on the bed with her legs pulled up to her chest. Willow smiles. Amy lifts her head, looks around, her movements all twitchy like a rat. She screams. Wolf howl, opening credits. Guest starring Danny Strong, Adam Busch, Tom Lenk, Elizabeth Anne Allen, and Amber Benson as Tara. Written by Drew Z. Greenberg, directed by Turi Meyer.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open in a museum, night. A person dressed all in black descends from the domed ceiling on a thin wire, à la Tom Cruise in \"Mission Impossible.\" He stops, hovering beside a display case in the center of the room. Cut closer. We see that it's Andrew, wearing all black clothes and a black beret and a small microphone headset. He attaches a small metal device to the side of the display case. Warren and Jonathan walk up beside him.", "WARREN: Dude, what are you doing?", "JONATHAN: We're not breaking into Langley here. It's Sunnydale.", "ANDREW: Well, you never know what new stuff they have, better safe than-", "WARREN: Okay, the security system here is a guy named Rusty. Warren gives Andrew a shove so that he starts spinning head-over-heels in the air. He spins a few times before managing to stop himself. Warren and Jonathan grin.", "WARREN: Now get up.", "ANDREW: Whoa, head rush. Cool. Andrew grins, disconnects himself from the wires.", "WARREN: Guys, come on, quit jerking around. Warren walks over to the display case. We see that he has a small gas tank strapped to his back. He removes the device that Andrew attached to the glass, tosses it over his shoulder. Jonathan catches it. Warren produces a small blowtorch and begins cutting the glass.", "ANDREW: See, that's cool. How come he gets to play with all the cool stuff?", "JONATHAN: Because I'm allergic to methane and you're still afraid of hot things?", "ANDREW: (pouty) I know.", "JONATHAN: Besides, the tank kept making both of us tip over, remember? Warren has finished cutting a hole in the glass. He knocks out the round piece of glass, reaches in and grabs a large diamond from the case. He turns to the others.", "WARREN: Got it!", "JONATHAN: It's beautiful.", "WARREN: Boys, congratulations, Phase One of the plan is now complete. Let's get the hell outta here. They turn to go, but are confronted by an older man in a security uniform.", "RUSTY: What are you boys doing?", "WARREN: Um, we're with a tour group. (pauses) The Get-The-Freeze-Ray tour group. Musta gotten separated.", "RUSTY: Museum closed five hours ago.", "WARREN: Really?", "RUSTY: Uh-huh.", "WARREN: Huh! Guess we just lost track of time, we should probably get the *freeze ray* out of here now. Warren pauses, waiting for the others to pick up on his subtle cue, but they don't. He turns to glare at Jonathan. Jonathan and Andrew finally clue in, turn their backs to Rusty and dig in a bag that Jonathan's carrying.", "WARREN: 'Cause we love the learning, Rusty. (walking closer to Rusty) Museums, libraries, Disney Hall of Presidents ... not boring. But more to the point? Good-bye. Warren makes a kissing motion at Rusty and backs up. Jonathan points a large gun-like device at Rusty and fires. Ice shoots out of it and encases Rusty completely, immobilizing him.", "WARREN: (excited) Dude, that is so cool! (walks closer to Rusty)", "ANDREW: The freeze ray totally worked. We see that Jonathan's arm holding the freeze-ray is also encased in ice.", "JONATHAN: Yeah, uh, not exactly.", "WARREN: (still gazing at Rusty) So there's a kink or two. It's just a prototype. I mean, soon we'll have-", "JONATHAN: Hey, that's really neato and stuff, but in the meantime, you know ... ow!", "WARREN: (glances at him) Be a bigger wuss.", "JONATHAN: Can we just go back to the lair? Because ... I can't ... really feel my fingers.", "WARREN: Yeah, yeah, come on. Jonathan and Andrew walk on past Warren. Andrew pauses looking at Rusty.", "ANDREW: Is he gonna like-", "WARREN: Oh, he'll be fine. Yeah, he'll defrost in a couple of days, no harm, no foul.", "ANDREW: Won't he tell on us?", "WARREN: And say what? 'Two guys and a mime took me out with their freeze ray'? That's likely. Andrew looks uncertain.", "WARREN: Come on! They walk off, leaving Rusty standing there with bits of mist curling off him.", "Cut to the Summers house. Amy still sits on the bed in the same position, but now she is wearing clothes. She looks around, very twitchy rat-like movements. She jumps as the door opens. Willow enters holding a mug.", "WILLOW: Hey. Here's some hot chocolate, you want-", "AMY: No, thanks. (gestures at her throat) Still ... kinda queasy.", "WILLOW: Okay. Maybe later. Willow turns to put the mug down. Sound of a siren from outside. Amy starts, looks fearfully at the window. Magic sound-effect. The window slams shut.", "WILLOW: Hey, no, i-it's okay. Amy makes a gesture with one hand and the curtains pull shut over the window.", "WILLOW: (walking forward) It's, it's just a siren. It's o-it's all right. Okay? You okay? Amy peers at the window, then looks at Willow.", "AMY: (twitchy) Mm-hm. Yeah. Just ... you know. (whispers) Everything feels weird. (Willow nods) I mean, it's like ... I felt like I was in that cage for weeks. (Willow looks nervous) But it can still be okay ... right? I-I can still get into the swing of things, like ... prom's coming up. I-I'm so hoping Larry would ask me. We would make such a splash at- (sees Willow's expression) Oh. Oh god. (sighs, anxiously) He hasn't asked someone else, has he?", "WILLOW: Uh, Amy ... three things we have to talk about. One, Larry's gay. (Amy staring at her) Two, Larry's dead. (Amy still staring) And three, high school's ... kinda over. Amy frowns, stares at her.", "AMY: How long was I in the cage? Willow fidgets nervously, looks around.", "AMY: How long?!", "Cut to downstairs. Buffy enters from outside, puts her keys on the table by the door, looks around.", "BUFFY: Willow? She goes up the stairs.", "Cut to the bedroom. Willow sits on the bed, leaning against the headboard. Buffy enters.", "BUFFY: Hey. (they smile at each other) How you doin'?", "WILLOW: Oh. Uh ... okay. (sits up)", "BUFFY: Yeah? (sits on bed beside Willow)", "WILLOW: Yeah. Not parades and cotton candy, but ... okay.", "BUFFY: Will, um ... can I talk to you about something?", "WILLOW: Of course.", "BUFFY: (nervous) Right. Okay. Um ... You know how we all make choices? And sometimes they're good, and ... sometimes they're ... less good.", "WILLOW: Uh-huh...", "BUFFY: Well, lately, I, uh... The bathroom door opens. Buffy glances over as Amy comes out.", "BUFFY: Oh, Tara, hey- (pauses, stares) Amy?!", "AMY: (to Willow) The whole school? Willow nods. Buffy stares at Amy, then at Willow.", "AMY: By a giant snake thing. (nods) Okay, still adjusting. Hi Buffy.", "BUFFY: Hi. (awkwardly) How've you been?", "AMY: Rat. You?", "BUFFY: Dead.", "AMY: Oh.", "BUFFY: (looking at Willow) Well, I should ... let you guys catch up, I can-", "AMY: No no no, stay. (twitchy) Do you have any cookies?", "BUFFY: Uh, yeah, w-what kind?", "AMY: Any kind. Not cheese.", "BUFFY: Um, sure, in the, the kitchen, I'll just get 'em- (gets up)", "AMY: Oh no, I'll grab 'em. (moves toward the door)", "BUFFY: Okay, well, at least, you know, let me make up the, the couch for you? It's late, you should stay here. Everybody does.", "AMY: (distracted) Thank you. Amy exits. Buffy stares at Willow.", "BUFFY: Wow.", "WILLOW: (smiling) I know.", "BUFFY: Is ... she gonna be okay?", "WILLOW: Don't know. She's kinda freaked out. I mean, I would be too.", "BUFFY: Wow.", "WILLOW: I, I just realized I could. Thought of the right thing, and ... it's nice, having another magically-inclined friend around. Buffy looks down, pensive.", "WILLOW: So, w-what were you gonna tell me? You were sounding all serious.", "BUFFY: Huh? Oh. Uh, it's nothing. I mean, the whole Amy, rat, Amy thing ... no way I'm toppin' that. Buffy exits.", "Cut to downstairs. Amy sits on the couch eating cookies and watching TV. Buffy comes down the stairs, stands in the doorway from the foyer to the living room.", "BUFFY: Hey. (Amy mutes the TV) How you doin'? Need anything?", "AMY: No, thanks. Good cookies. Buffy smiles. Beat.", "AMY: Sorry about your mom.", "BUFFY: (softly) Thanks.", "AMY: It's crazy, all the things that've happened since I went away.", "BUFFY: No kidding.", "AMY: Snyder got eaten by a snake ... high school got destroyed...", "BUFFY: Oh, Gatorade has a new flavor. Blue.", "AMY: See? Head spinning. (shakes head) People getting frozen ... Willow's dating girls ... and did you hear about Tom and Nicole?! Buffy comes forward, frowning.", "BUFFY: (frowns) People getting frozen? Amy turns on the TV sound.", "TV REPORTER: ...in critical yet stable condition as local authorities continue their investigation into the robbery that left one man frozen solid. On the TV, behind the reporter we can see the exterior of the museum with an ambulance and a bunch of people moving around.", "REPORTER: Live from the museum, Ryan Morris, KOUS.", "AMY: Weird.", "Cut to outside the museum. Sirens, flashing lights, a crowd of people standing around. Buffy stands behind the gathered people, jumping up and down trying to see over their heads.", "BUFFY: Excuse me, excuse me, thanks. She pushes her way to the front of the crowd, stares and frowns. We see a couple of policemen wheeling out the still-frozen Rusty on a dolly. TV cameramen following them. Buffy turns and starts walking around toward the side of the museum, across the lawn. She looks back at the crowd, continues on her way, suddenly stops as she sees something in front of her.", "BUFFY: (annoyed) Great.", "SPIKE: Well, well, well. Look who decided to show up.", "BUFFY: What are you doing here, Spike?", "SPIKE: Well, you know, a man was frozen alive in there. A little compassion, luv. Buffy rolls her eyes, starts to walk past him. Spike falls into step beside her.", "SPIKE: Uh, you know, as long as we're both here, you might as well tag along. I mean, as a team we could-", "BUFFY: Yeah, that never really ends well, does it?", "SPIKE: It did the other night.", "BUFFY: You really seem awfully fixated on a couple of kisses, Spike. Spike pauses, so that she walks a few steps ahead of him.", "SPIKE: And you seem awfully quick to forget about them. Buffy stops walking, turns to him.", "BUFFY: Look. I'm sorry, okay? I'm-I'm sorry if you thought that it meant more.", "SPIKE: But...", "BUFFY: But ... when I kissed you ... you know I was thinking about Giles, right?", "SPIKE: You know, I always wondered about you two.", "BUFFY: What? (makes a face) Oh, gross, Spike! (Spike frowns) He left. I was depressed. Ergo vulnerability and, and bad kissing decisions. (Spike still frowning) Okay, but, that's all that it was. You have to let it go.", "SPIKE: (smirking) Did it work?", "BUFFY: What?", "SPIKE: You convince yourself?", "BUFFY: (seriously) Please, stop. She starts walking again. Spike follows.", "SPIKE: A man can change. She again stops walking and faces him.", "BUFFY: You're not a man. You're a thing. She turns away again. Spike frowns, grabs her shoulder.", "SPIKE: Stop walking away.", "BUFFY: Don't touch me! As Spike turns her around she punches him with her other hand. He pulls back and backhands her. Buffy falls to the ground. Spike looks surprised, puts his hand tentatively to his head with the beginning of a smile. Looks at Buffy, who is still getting to her feet and has her back to him.", "SPIKE: Ahh, ahh, ohh! (grabs his head) Buffy gets up, backhands Spike and he goes down. He gets up to a kneeling position with his back to Buffy and stays there, looking at the ground. She speaks to his back.", "BUFFY: You're a thing. An evil, disgusting, thing. She walks past him and away. Spike lifts his head to watch her go. Slowly an evil grin spreads across his face. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the street, downtown, night. People walking around, talking, etc. Spike walks out from an alley, looks around, grins. Pan across the street. Lots of people going about their business.", "SPIKE: (to himself) Look at all the goodies. He continues looking around, pauses as he spots something. Closer shot of a young blonde woman standing on the corner, looking at her watch, looking around, hugging herself as if she's cold. She turns and starts to walk away. Spike moves to follow her.", "Cut to an alley. The young woman walks along, still hugging herself, looking nervous. Suddenly Spike steps out in front of her. She screams.", "SPIKE: That's right, you should scream. She tries to get away but he moves to intercept her. She looks scared.", "SPIKE: Creature of the night here, yeah? (indicating himself) Some people forget that. He advances on the woman. She backs away, shaking her head fearfully, backs up against a wall.", "WOMAN: Please.", "SPIKE: She thinks I'm housebroken. She forgot who she's dealing with.", "WOMAN: Anything you want, please-", "SPIKE: Just 'cause she's confused about where she fits in, I'm supposed to be too? 'Cause I'm not. (pacing back and forth) I know what I am. I'm dangerous. I'm evil.", "WOMAN: (scared) I-I'm sure you're not evil.", "SPIKE: Yes, I am. I am a killer. (moves closer to her) That's what I do. I kill. And, yeah, maybe it's been a long time, but ... it's not like you forget how. He gets up very close to the woman, who is panting fearfully.", "SPIKE: You just ... do it. (nervously) And now I can, again, all right? So here goes. He morphs into vamp face. The woman screams.", "SPIKE: This might hurt a little. He bends over to bite her, then flings himself back, yelling in pain, crashes into a Dumpster. The woman runs off. Spike crouches there clutching the Dumpster, panting.", "SPIKE: What the hell is going on?", "Cut to an outdoor cafe, day. Dawn sits drinking from a very large chocolate milkshake as Tara watches.", "TARA: Good god, that's a lot of shake. (Dawn nods) I mean, I know, part of our ... big ... movie and milkshake fun day, but ... good god, that's a lot of shake.", "DAWN: (laughs) Helps to wash down the Raisinettes.", "TARA: Promise me that you will eat something green tonight. Leafy green, not ... gummi green. They both laugh. Dawn continues drinking her milkshake.", "TARA: The movie was fun.", "DAWN: Yeah. It was ironic when all those cute inner-city kids taught their coach a valuable lesson.", "TARA: You know that I will always be there for you, right? (Dawn looks at her, stops smiling) There, there was actually more of a lead-in when I practiced that at home.", "DAWN: I know.", "TARA: It's just ... I wanted you to know that ... my moving out had nothing to do with you, and I, I will never stop loving you.", "DAWN: I know. (beat) Do you think you'll ever get back together?", "TARA: I wish I knew.", "DAWN: But you still love her.", "TARA: Very much. I just ... sometimes ... other things get in the way.", "DAWN: I know. (nervously) Uh, she's been doing a lot better lately, though. Uh, she's been really good about ... being careful ... a-about stuff.", "TARA: Well, good. Great, that's ... that's great.", "Cut to the magic shop. Willow, Xander, and Buffy sit around the round table. Anya stands by the bookshelves in background.", "WILLOW: Here. Says the guard's definitely gonna live.", "XANDER: (reading newspaper) He's all thawed out, says they used hair-dryers. Huh. Shot of the newspaper with an article headline reading: Museum Guard Attacked, Frozen. Body Thawed, Remains Unconscious.", "WILLOW: Everything slowed down. His nervous system, circulatory system. He's still unconscious. Anya makes a whiny noise.", "BUFFY: Anya?", "ANYA: It's such a pain. The text I wanted, Giles took it with him. He has this thing that ... owning a book makes it like his property.", "BUFFY: What should we do, should we call him? It's like the middle of last night there. (frowns) Or maybe it's tomorrow. Anyone remember how that works?", "WILLOW: That's okay, no one freak. We'll just do it another way. (reaches for her bag)", "BUFFY: I-I don't think we need to resort to ... I mean... Willow pulls out her laptop computer and sets it on the table.", "BUFFY: Oh. Hey, cool.", "XANDER: All right, back to basics. A little old-fashioned state-of-the-art hacker action.", "BUFFY: That's great, Will, I haven't seen you do that in a long time. Willow puts her hands over the keyboard, not touching it. The keyboard glows with a pale yellow light.", "BUFFY: (to Xander) I-I don't remember that part. (Buffy and Xander staring at Willow)", "WILLOW: (staring blankly in front of her) It's quicker. It'll just take me a sec to go through the files. Okay. Internal police report. Buffy and Xander exchange a concerned look.", "WILLOW: A diamond was stolen from the museum last night. A big one. On loan from the British museum. They're withholding information to smoke out the criminals. Oh! It's pretty. (looks at Buffy, smiles) There's a picture.", "BUFFY: Well, is it a, a supernatural diamond? You know, like, healing powers, or, or good-lucky?", "ANYA: Maybe it's cursed. Diamonds are excellent for cursing.", "WILLOW: (again staring blankly) Well, we'll keep checking, shall we?", "XANDER: (awkwardly) Well, you know, I am kinda beat, and I bet you that's tiring, that ... thing you're doing there... (fake yawn) Xander gives an exaggerated stretch as if to show he's tired. Willow takes her hands off the keyboard. Sound effect to indicate the end of her spell. She looks at them.", "WILLOW: Guys, I'm fine. What's the deal with-", "ANYA: Oh, for crying out loud. This is bizarre. You're all, 'la la la!' with, with the magic, and the not talking, like everything's normal, when we all know that Tara up and left you and now everyone's scared to say anything to you. (pauses, smiles) Except me. (looks at Xander) Is this that thing I do that you were commenting- (Xander nods)", "WILLOW: Guys ... it's okay. It's hard ... but i-it's better this way. Little things just ... starting taking over, things that didn't matter, but we saw them differently, so ... they got blown out of proportion. (Shot of Buffy and Xander listening) And, this time away will help us sort through things. Really. Now, let's just keep working on this. I don't wanna leave Amy alone in the house so long.", "XANDER: Amy, is she ... how is she adjusting?", "WILLOW: It's hard to say. It's a lot to take in. I keep expecting her to do, like, ratty stuff, you know, licking her hands clean, shredding newspaper, leaving little pellets in the corner.", "BUFFY: Let's definitely not leave her alone in the house too long.", "Cut to: close shot of the diamond sitting on a piece of black velvet.", "JONATHAN: I didn't know it'd be so sparkly.", "ANDREW: It's so big.", "WARREN: Yes, gentlemen, it turns out, size is everything. (puts hand on Jonathan's leg) No offense, man. Jonathan smacks him. We see that they're in the basement lair, sitting and looking at the diamond on a card table.", "ANDREW: It makes colors with the light. The others stare at him for a moment.", "WARREN: All right, I think we've finished the first part, now it's time for Phase Two. They all get up.", "WARREN: Is the van fired up?", "JONATHAN: Check. They go to the bulkhead but it slams open before they reach it. Spike is there, glaring in at them. The Geeks stare in alarm, back away. Spike comes down into their lair with a menacing expression. The Geeks continue to back up.", "ANDREW: Hello, it's called knocking. Spike backs Warren up against a pole.", "SPIKE: Knock knock, robot boy. (knocks on Warren's head) Need you to look at my chip.", "JONATHAN: Is that like, British slang or something? 'Cause we're not-", "SPIKE: In my head, the chip in my head.", "WARREN: We're kind of in the middle of something.", "SPIKE: Well, you can play holodeck another time. Right now, I'm in charge.", "WARREN: Yeah, what are you gonna do if we don't especially feel like maybe playing your- Spike turns around, sees a display of action figures, reaches for it.", "WARREN: What are, wait, what are you doing? Spike picks up the Boba Fett action figure, removing it from its display stand.", "SPIKE: Examine my chip, or else Mister... (looks at the label on the stand) ...Fett here is the first to die. Spike holds the action figure in one hand and takes its head in the other hand as if he's going to pull the head off. The geeks are extremely nervous.", "JONATHAN: Hey, all right, let's not, let's not do anything crazy here.", "ANDREW: That's a limited edition, 1979 mint condition Boba Fett. Spike grins, pretends to pull the head off.", "WARREN: All right, dude ... chill. You can still make it right. You know you don't wanna do this.", "SPIKE: What I want ... is answers, nimrod.", "WARREN: Right. But you don't wanna hurt the Fett, 'cause man, you're *not* comin' back from that. You know, you don't just do that and walk away.", "SPIKE: That right? Let's find out. Spike fakes pulling the head off again. Warren yells in alarm.", "WARREN: Wah, uh, one second. Warren pulls the other geeks aside.", "ANDREW: Dudes, I think that's Spike.", "JONATHAN: Of course it is, and he's evil. Completely capable of removing that head.", "WARREN: I'm gonna help him out.", "JONATHAN: Are you sure we can trust him? I mean, we all have heads too.", "WARREN: See, we help him, and he owes us one. See, we get Spike on our side, we get info on Buffy. And maybe, maybe we can even find a way to keep her out of Phase Two.", "ANDREW: Jonathan's right, can we trust him?", "WARREN: 'Course not. But alliances aren't about trust. See, he needs us, we need him. (nods) Well, that's how these things work. In the background we see Spike pacing, playing with the action figure.", "WARREN: I think we're ready. Agreed?", "JONATHAN: Agreed. Andrew looks over at Spike. Shot of Spike tossing the action figure in the air and catching it.", "ANDREW: (to Warren) Do what you need to do. Warren turns back to Spike.", "WARREN: I think we can work something out. I'll take a look at your chip. It'll be a deal. We scratch your back, you scratch-", "SPIKE: I'm not scratching your anything. You do what I tell you, that's the deal. Deal?", "WARREN: (sighs) Deal.", "SPIKE: Then let's go. Spike tosses the action figure to Andrew as Spike and Warren move off. Andrew catches it, and he and Jonathan look anxiously at it.", "ANDREW: Oh! It's okay, it's okay. It'll be fine.", "Cut to the Summers house. Willow enters, looks around, goes into the living room.", "WILLOW: Amy? Amy peeks out of the kitchen.", "AMY: Oh god, you're back. (hurries over) I thought you said you wouldn't be gone that long.", "WILLOW: I wasn't. I mean, I thought it was-", "AMY: Let's go somewhere.", "WILLOW: Don't you wanna go see your dad?", "AMY: (twitchy) No. Can't. Not yet. Too many questions.", "WILLOW: (nods) About where you were.", "AMY: No, about how I got there. (pauses) I wish there was a way that I could make him forget about the last three years.", "WILLOW: Oh, well hey, I can help you with that. Only, you might wanna sew your name into your clothes first or something. (puts her bag down)", "AMY: No ... (crosses arms over her chest) I just don't wanna deal with him right now. I think I would be... (pauses, looks at Willow) ...bored.", "WILLOW: (nods) Well.", "AMY: Come on, let's get outta here.", "WILLOW: (uncertain) Oh, well, what do you wanna do?", "AMY: I don't know. Something fun. Anything ... not involving a big wheel. (Willow smiles a little) Or ... maybe ... you'd rather sit home all night, alone, like in high school.", "WILLOW: No! (stands up) No, you know what? I can have fun. Heck, I, I deserve some fun.", "AMY: Yeah you do!", "WILLOW: I can party! Not like I owe anyone anything. I am totally free. (nods) So, let's make with the fun. They turn and walk off.", "Cut to the lair. Warren fiddles with an electronic device, then turns to Spike who is lying on his back on a table. Spike has his hands behind his head and numerous wires attached to his head. Warren moves the device over Spike's head. Pan across the table to reveal a book open to a page that shows a diagram of the human brain. There's also a disconnected robot arm.", "Cut to later. Andrew, Jonathan, and Spike sit in chairs side-by-side on a slightly raised platform.", "ANDREW: You're English, right?", "SPIKE: (frowns at him suspiciously) Yeah.", "ANDREW: I've seen every episode of Doctor Who. (Spike continues frowning) Not Red Dwarf, though, 'cause, um...", "JONATHAN: 'Cause it's not out yet on DVD.", "ANDREW: Right. It's not out on ... (weakly) DVD. Spike scowls at them.", "SPIKE: (yells) Warren! Warren appears from another room holding a pile of paper.", "WARREN: Here I am, here.", "SPIKE: Bloody hell. Get on with it then. Warren hands Spike the papers. Spike looks at them.", "SPIKE: Help me out here, Spock, I don't speak loser. (gives papers back)", "WARREN: Okay, right, um ... your chip works fine, yeah.", "SPIKE: (frowns) There's gotta be something wrong-", "WARREN: No, no, listen. I don't know what that thing does ... I'd like to... (leans closer)", "SPIKE: (leans back) Hey.", "WARREN: But whatever it is, it works fine. There's no deterioration of the signal, it still is coming through on a steady pulse. Which it's supposed to. Spike stands up, gets in Warren's face, towers over him on the platform, very menacing.", "SPIKE: If you're lying to me-", "WARREN: No! It's all right here. I, I mean, it is. It's really not that hard to figure out, if you just... (sees Spike frowning) What? Spike frowns, ponders deeply. Gives a small smile. Looks at Warren.", "SPIKE: You tell anyone about this...", "WARREN: No, I promise. Who would I tell, I don't even know what this is about!", "SPIKE: It's about the rules having changed. Spike steps down from the platform and heads for the door.", "SPIKE: Everything's different now. He gets to the stairs leading out, starts up them.", "SPIKE: (to himself) Nothing wrong with me. Something wrong with her. He smirks and exits. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the foyer of the Summers house. Dawn and Tara enter.", "DAWN: (calls) Hello! We're home!", "TARA: Looks like no one's here.", "DAWN: Well, I'm sure they'll be back soon. Um, I know Willow and Buffy were meeting up with Xander to do some research. Dawn takes Tara's arm and pulls her into the living room.", "TARA: Well then I, I should really get back.", "DAWN: Or, you can stay and wait for them. (sits on couch) Then you can get a chance to catch up with ... everyone.", "TARA: Yeah, I-I don't think that's such a great idea.", "DAWN: Okay. Your call. (picks up TV remote) I have the TV to keep me company until they get back. Dawn begins channel-surfing. Tara grimaces uncertainly.", "DAWN: (innocently) You notice how it's been getting dark so much earlier these days? Dawn sneaks a sly look at Tara, who looks nervously at the windows.", "DAWN: (giggles, indicates TV) Talking cat. Tara rolls her eyes, sighs, sits beside Dawn.", "TARA: Fine. I'll stay, but just until they get back. And only to make sure that you're not alone, this ... has nothing to do with ... anyone else.", "DAWN: Sure. Cool. Up to you. Dawn snuggles up to Tara, puts her head on Tara's shoulder. They both watch TV.", "Cut to the Bronze. The group Virgil is onstage, performing their song \"Vermilion Borders.\" MALE SINGER: Low country wars Oh, there's a demon She's drinkin' and thinkin' Of runnin' away Close shot of Willow's face as she bends over. Sound of billiard balls clinking. Willow grimaces.", "WILLOW: I know. Xander engaged, I couldn't believe it either. (straightens up)", "AMY: It's just so weird. (bends over, sound of billiard balls) So what's she like?", "WILLOW: (shrugs) Thousand-year-old capitalist ex-demon with rabbit phobia. (walks around Amy)", "AMY: Well, that's so his type. Willow nods agreement, bends over. We see that neither she nor Amy is holding a pool cue. Willow uses magic to make her shot, knocking a ball into the corner pocket. She straightens up. Two guys walk over.", "GUY 1: Hey.", "WILLOW: (uninterested) Hey.", "AMY: (smiling) Hey. The first guy leans over and whispers in Amy's ear. Willow watches.", "AMY: Well, let's go then. (to Willow) We're gonna go dance. Do you wanna come?", "WILLOW: Oh, uh, no, you go. I'll keep an eye on our drinks.", "AMY: Okay. I mean, because, if you want something a little more your style... Shot of the bar area. We see a very pretty dark-haired woman chatting with a blonde woman. Willow turns around and sees them.", "AMY: I'm sure we can swing that. Amy snaps her fingers, which makes a little green sparkle. The dark-haired woman looks over at Willow. Willow turns anxiously to Amy.", "WILLOW: No, really, no. The woman gets up, walks over. The one she was talking to looks annoyed. The guys look interested.", "BREE: (to Willow, seductively) Hi. Bree.", "WILLOW: Willow. Nice ... um ... top. Willow turns to Amy again.", "WILLOW: (nervous) No. Thanks, but no.", "AMY: You sure?", "WILLOW: (nods, looks at Bree, then back at Amy) I'm not, she, I'm still-", "AMY: It's cool. Amy snaps her fingers again. Bree looks confused.", "BREE: Oh, uh, sorry. Bree walks back to where she was. The other girl looks outraged.", "GUY 1: So, uh, are we gonna go?", "AMY: (to Willow) You sure you're gonna be okay?", "WILLOW: Yeah, go. I'm all kinds of good. Amy and the two guys go off to the dance floor, begin dancing together. Willow stands watching. MALE SINGER: I'm getting caught in the corners Of her vermilion borders She's moving backwards and forwards And she's ugly when she's insecure", "Cut to later. Willow sits by herself staring at a martini glass. She lifts out the plastic stirrer with an olive speared on it. Close shot of the olive with its pimento filling.", "WILLOW: No use looking at me like that. It's the gullet for you, mister. She eats the olive. Amy comes rushing over.", "AMY: Hey! Sorry, I kinda got caught up. (drinks from another martini)", "WILLOW: No, it's okay. Amy puts down her glass, ponders.", "AMY: You know ... if rats could dance ... they probably wouldn't gnaw so much. Willow smiles and nods. The two guys walk over again.", "GUY 1: Hey, come on. We're just getting started.", "AMY: (looks at Willow) I think I'm gonna sit this one out.", "GUY 2: Nuh-uh! You can't, you can't just work us up like that and then just- The guy grabs Amy's arm and pulls her away from the bar, but she pulls free.", "AMY: Hey!", "WILLOW: I think she said no.", "GUY 2: Well, nobody asked you ... Ellen. The two guys snicker. Amy and Willow exchange a look, then look at the guys again.", "AMY: You wanna dance?", "GUY 1: That's all. Nice, slow ... relaxing dance. Amy and Willow exchange another look, shrug, and both gesture at the guys. Magical special-effect shoots from their hands to the two guys. Willow's special-effect is dark orange, Amy's green. Suddenly the two guys disappear and reappear in dance-cages above the dance floor. They each wear just a skimpy loincloth. They both begin to dance although their faces look shocked and appalled. Willow and Amy watch with small smiles.", "WILLOW: Gee.", "AMY: I think I do feel more relaxed.", "Cut to the magic shop. Buffy, Xander, and Anya sit around the table looking at books.", "XANDER: Aha! I got it! Uh, here's our villain right here! Anya and Buffy look, then both shake their heads. Buffy returns to her book.", "XANDER: What?", "ANYA: That's a D&D manual, sweetie.", "XANDER: No, but it could- (looks at the book cover, laughs weakly) Oh.", "ANYA: Let's face it, we're not gonna find this thing because it doesn't exist. There's no such thing as a frost monster who eats diamonds.", "BUFFY: Well, maybe he doesn't eat them. You know, maybe he just ... thinks they're pretty. She nods hopefully for a moment, then stops, makes a face, slams her book shut.", "BUFFY: We suck.", "XANDER: We need new brains. What's up with Willow?", "BUFFY: Out with Amy, I guess.", "ANYA: Great, someone to do more magic with.", "BUFFY: But at least she's not all cooped up and crying. That's forward momentum. Now, I know that I don't ... know everything that happened with her and Tara, but it-", "XANDER: Tara thinks Willow is doing too much magic. And she's not the only one.", "BUFFY: I know. But I-I think she'll be fine. You know, it's, it's Willow. She of the level head.", "ANYA: Well, those are the ones you have to watch out for the most. Responsible types.", "BUFFY: Right, she might go crazy and start alphabetizing everything.", "ANYA: I'm serious. Responsible people are ... always so concerned with ... being good all the time, that when they finally get a taste of being bad ... they can't get enough. It's like all (gestures) kablooey.", "BUFFY: That's not true.", "ANYA: Okay, not kablooey, more like bam.", "XANDER: It's human nature, Buff. Will's getting a taste of something powerful, way bigger than her.", "ANYA: Yeah, she was getting out of control with it before Tara left, and now that she's gone...", "XANDER: It's gotta be seductive. Buffy looks up in alarm at the word 'seductive.' Her eyes widen.", "XANDER: (OS) Just giving in to it. Going totally wild. Buffy stares at him.", "XANDER: We need to keep an eye on her.", "BUFFY: Okay. Okay, we'll, we'll keep an eye. But we can't assume that everybody's getting seduced, you know, sometimes- The phone rings. Buffy gets up to answer it. We see that she's wearing a gauzy white blouse with a long black leather skirt. She goes to the phone at the back of the room.", "BUFFY: Hello, Magic Box.", "Cut to Spike standing at a pay phone.", "SPIKE: (deep gruff voice) Slayer.", "BUFFY: (frowns) Spike?", "SPIKE: (deep voice) Meet me at the cemetery. Twenty minutes. Come alone.", "BUFFY: (still frowning) Spike?", "SPIKE: (rolls eyes, mutters) Bloody hell. (normal voice) Yes, it's me.", "BUFFY: You're ... calling me on the phone?", "SPIKE: Just be there.", "BUFFY: Why? Are you ... helping again? (shot of Xander and Anya listening. Buffy speaks louder) You have a lead on this frost monster thingie?", "SPIKE: (smirking) Something like that, yeah. Thought you might be up for a little grunt work.", "BUFFY: (shocked) What?! No, (whispers) no-no grunting!", "SPIKE: (grins) I was talking shop, luv, but if you got other ideas ... you, me, cozy little tomb with a view... Buffy makes a face, hangs up. Spike continues grinning evilly, hangs up as well. Buffy walks back over to the table.", "XANDER: So, what did Captain Peroxide want?", "BUFFY: Nothing! (nervous) You know, he just, you know, wanted to see if I-I wanted to patrol, for, for the, the monster. (sits) But I, I told him that I ... would ... not.", "Cut to the street, later. Buffy, Anya, and Xander emerge from the shop. Buffy now wears a denim jacket over her blouse and skirt. Anya locks the store. They walk down the sidewalk.", "BUFFY: I'm telling you, I, I think there's something about this thing.", "XANDER: Well, I don't know, Buff. It seems like we've been through every book.", "ANYA: Yeah, even the ones that weren't so boring you wanted to kill yourself.", "XANDER: We have those? (they stop walking)", "BUFFY: I'm just saying, all the things that have happened lately? Okay, the, the bank robbery, the jewelry heist...", "XANDER: The exploding lint.", "BUFFY: I-is it me, or do these things seem really-", "ANYA: Lame?", "BUFFY: (shrugs) Well, I was gonna go with unusual, but, yeah. They all stand there shrugging at each other.", "BUFFY: I don't know. You know, I'll do a quick patrol tonight, and after a good night's sleep, we can solve this tomorrow.", "ANYA: Optimism. I remember optimism.", "XANDER: That's because you're like a thousand.", "BUFFY: Good night, guys.", "ANYA/XANDER: Good night. Anya and Xander go off in one direction, Buffy in the other.", "Cut to Buffy walking down a dark alley. Spike steps out in front of her.", "SPIKE: (angrily) Slayer.", "BUFFY: And so my night is now complete.", "SPIKE: You never showed.", "BUFFY: (walks past him) Sorry. Little busy actually doing stuff.", "SPIKE: (walks beside her) You shouldn't be so flip, luv.", "BUFFY: What are you gonna do, walk behind me to death?", "SPIKE: I'm just saying things might be a little different. Spike walks around in front of her again. They stop walking.", "SPIKE: You oughta be careful.", "BUFFY: (shakes head) Enough. She moves to walk around him, but he shifts to block her path.", "BUFFY: (small puzzled smile) Get out of my way.", "SPIKE: Or what? Buffy shrugs, punches him in the face. Spike reels a little, catches himself, pauses. Then he hits her in the face, spinning her around. Buffy straightens up, turns back to him.", "SPIKE: (mockingly) Oh, the pain! The pain! (grimly) Is gone. Buffy stares.", "SPIKE: Guess what I just found out. Looks like I'm not as toothless as you thought, sweetheart.", "BUFFY: (alarmed) How?", "SPIKE: Don't you get it? Don't you see? (sneering) You came back wrong. Buffy stares in disbelief. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. Buffy stalks forward angrily, punches Spike in the face. He staggers back but laughs. Buffy hits him again, kicks him, driving him farther down the alley. She goes to punch him but he grabs her arm and punches her with his other hand. Buffy stumbles into a fence, turns around. Spike gets up in her face.", "BUFFY: It's a trick. You did something to the chip, it's a trick.", "SPIKE: It's no trick. It's not me, it's you. Just you, in fact, that's the funny part. (punches her in the face) 'Cause you're the one that's changed. (punches again) That's why this doesn't hurt me. He swings but Buffy blocks and shoves him back.", "SPIKE: (grins) Came back a little less human than you were.", "BUFFY: (shakes head) You're wrong. She kicks him hard. He flies back into the opposite wall, but immediately bounces back and comes back over to her.", "SPIKE: Then how come you're so spooked, luv? And why can I - (punches her) do that? Buffy slowly looks back over at him, panting.", "BUFFY: You're wrong. She hits him again, even harder. He falls down, gets up, grinning. Buffy hits him again and he goes down again, gets up again. She pushes him backward into a doorway, follows him up the stairs, grabs him. They crash through the door into the building.", "Cut to the Bronze. The two guys are still almost-naked and dancing against their will in the cages. MALE SINGER: What is wrong here? What is wrong here? What is wrong with you? We see Amy and Willow on the upper level, leaning on the railing looking down, smiling. MALE SINGER: What is wrong here? What is wrong here? Where is your head?", "WILLOW: You know, this music isn't quite... Willow gestures. The male singer of Virgil morphs into the female singer of Halo Friendlies. The other members of Virgil morph into members of Halo Friendlies too in background.", "FEMALE SINGER: I don't wanna be, I don't wanna be alone", "BACKUP SINGERS: No no no!", "FEMALE SINGER: I don't wanna go, I don't wanna go it alone Amy and Willow grin happily, look at the dancing boys.", "FEMALE SINGER: Every time I see you I can't find the words to say Amy looks down at the lower level, makes a gesture. A white-clad demon(?) appears, floating over the dancers' heads.", "FEMALE SINGER: I just wanna turn and run away Willow makes a gesture at two guys standing side-by-side. One guy begins to shrink while the other grows very large, both looking around and yelling in confusion. Amy makes a gesture and turns a bunch of dancers into sheep. Willow and Amy grin at each other. Pan across the room with various bolts of magic swirling around, people floating in the air, etc. Willow makes another gesture, grinning widely.", "Cut to the abandoned building. Spike punches Buffy in the face, hard. She punches him twice, then shoves him back. He stumbles back against the refrigerator -- we're in the kitchen of an abandoned house. Buffy kicks Spike and he flies back into the living room. It's mostly gutted with just one chair, a pile of bricks in the corner, etc. Buffy strides into the room after Spike, stands watching as he gets up.", "SPIKE: (grinning) Oh, poor little lost girl. He jumps up, grabs the chandelier. Swings forward on it and kicks Buffy in the face with both his feet. She goes down.", "SPIKE: (drops to the floor) She doesn't fit in anywhere. She's got no one to love. He walks over to Buffy, who gets up, grabs him, throws him against the staircase leading upstairs, smashing the banister to bits. Buffy walks toward him.", "BUFFY: Me? I'm lost? Look at you, you idiot! (Spike getting up) Poor Spikey. Can't be a human, can't be a vampire. Where the hell do you fit in? Spike swings at her but she ducks, punches him in the stomach, grabs him and throws him across the room again. He smashes into the fireplace. Buffy walks toward him again.", "BUFFY: Your job is to kill the slayer. But all you can do is follow me around making moon eyes.", "SPIKE: I'm in love with you.", "BUFFY: (still advancing) You're in love with pain. Admit it. (Spike gets up) You like me ... because you enjoy getting beat down. So really, who's screwed up?", "SPIKE: Hello! Vampire! He swings at her again, but she blocks and punches him. Spike grabs her, pulls her closer.", "SPIKE: I'm supposed to be treading on the dark side. He throws her against the wall. A big hole in the plaster where she hit. Spike goes over to her, throws her across the room again. She lands on her back. Spike stands over her, leans down, grabs her by the front lapels of her jacket.", "SPIKE: What's your excuse? Buffy puts her hand over his face, shoves him away. He flies backward, taking a chunk out of a wall. He staggers to his feet. Buffy leaps at him and they fly back toward the staircase.", "Cut to the Bronze. Willow and Amy still stand looking down. The music continues. Various people are floating around, bolts of magic randomly turning them into various costumes and such.", "FEMALE SINGER: I can't find the time and place to say what I need to say...", "WILLOW: So, we've kinda played this scene.", "AMY: Yeah.", "WILLOW: (gestures) Return. The band turns back into Virgil. Everything else returns to normal too.", "MALE SINGER: What is wrong with you? The two dancing guys reappear, fully clothed, by the pool tables. They stare at each other, then see some cute girls go by, and walk off in pursuit.", "WILLOW: I, I just keep thinking ... there's gotta be someplace, like, bigger than this. Overhead shot of the room, now back to normal with people dancing and such.", "AMY: Besides, it's way too early to go home yet. Willow smiles. Cut back to the abandoned house. Spike has Buffy pinned against the stairs. He chuckles. Buffy punches him. He punches her back, lifts her up to look in her face.", "SPIKE: I wasn't planning on hurting you. (smirks) Much.", "BUFFY: You haven't even come close to hurting me.", "SPIKE: Afraid to give me the chance? Buffy breaks his hold, throws him against a wall. Another big hole in the wall where he hits. Shot of cracks appearing in the wall. Buffy grabs Spike and pushes him up against the wall.", "SPIKE: You afraid I'm gonna- Buffy shuts him up by kissing him. They kiss passionately. Buffy slams her hand into the wall, creating another hole, to get her arm around Spike's neck. Shot of pieces of the ceiling separating from each other. Buffy and Spike move away from the wall, still kissing. Spike slams Buffy up against another section of wall. Above their heads, cracks appear and widen, moving up toward the ceiling. More kissing. Buffy shoves Spike away, follows him as he stumbles backward across the room. She pushes him again and continues following. Behind her, a huge piece of ceiling falls onto the spot where they were just standing. Buffy shoves Spike up against another wall, resumes kissing him. He lifts her up against him with her legs around his waist. Buffy reaches her hand down between their bodies. Sound of a zipper. More kissing. Buffy lifts herself up and thrusts her body against Spike's. Spike looks shocked. They stare at each other for a moment. Then Buffy begins to move up and down, slowly, making an expression of pleasure. [note: if you don't know what's going on here, you're probably too young to be reading this!] They resume kissing. Spike turns them around and pushes Buffy up against the wall. She reaches one arm up and grabs the wall behind her to steady herself. Long shot of the two of them. The chandelier falls from the ceiling, smashes on the floor. Pieces of the house continue to fall down, floorboards breaking apart. Buffy and Spike continue kissing and, you know, moving against each other. More stuff falls from the ceiling, walls disintegrating, etc. Buffy leans her head back against the wall, gasping and panting. Spike rests his head on her chest. Buffy leans forward to wrap her arms around Spike and they fall backward. The entire floor gives way and they fall through to the basement level, landing there in a huge cloud of debris and dust and bricks, etc. Spike lands on his back with Buffy on top of him. They stare into each other's eyes, both panting. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Buffy is shaken by her previous meeting with Spike the night before, where they slept together and caused the building around them to collapse. Amy takes Willow to a sorcerer called Rack whose power gets her hooked. However, it ends with devastating consequences." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "Teaser", "GILES VOICEOVER: Previously: Buffy punching Spike. Spike punching Buffy.", "SPIKE: Looks like I'm not as toothless as you thought, sweetheart.", "BUFFY: How?", "SPIKE: You came back wrong. Tara and Willow at the Bronze.", "TARA: Willow, you are using too much magic. What do you want me to do, just ... sit back and keep my mouth shut?", "WILLOW: Well, that'd be a good start. Willow doing the forget spell.", "WILLOW: Forget. Tara and Willow arguing.", "TARA: I know you used that spell on me. What is wrong with you?", "TARA: I don't think this is gonna work. Willow crying. Tara packing her stuff.", "WILLOW: Are you saying you're gonna leave me? Willow turning the rat back into Amy.", "BUFFY: Amy? How've you been?", "AMY: Rat. You?", "BUFFY: Dead.", "AMY: Oh.", "WILLOW: It's nice, having another magically-inclined friend around. Willow and Amy causing havoc at the Bronze.", "WILLOW: There's gotta be someplace, like, bigger than this.", "AMY: It's way too early to go home yet. Willow smiling. Warren stealing the diamond from the museum.", "JONATHAN: It's beautiful.", "WARREN: Boys, congratulations, Phase One of the plan is now complete. Spike and Buffy in the abandoned house.", "SPIKE: I'm in love with you.", "BUFFY: You're in love with pain. Buffy throwing Spike against the wall.", "SPIKE: Afraid I'm gonna- Buffy kissing Spike. The building falling apart while Spike and Buffy do their thing up against the wall. Spike and Buffy falling through the floor. A loud noise from the TV wakes Tara up. She looks around in surprise. Dawn wakes as well.", "DAWN: (yawning) What time is it?", "TARA: (looks at her watch) Almost seven. God, I just closed my eyes for a minute.", "DAWN: (squinting at the TV) Hm. And now there's cartoons. (frowns sleepily) Plus, a mother of all night-wedgies.", "TARA: (looks around) Uh-oh.", "DAWN: It's not tragic. I'm sure as soon as I stand up-", "TARA: No, Dawn ... why didn't anybody wake us up? Where is everyone?", "Cut to upstairs. Dawn opens the door to Buffy's room, revealing the neatly made bed that has clearly not been slept in. Dawn and Tara look in, look confused. Dawn walks down the hall with Tara following. Dawn opens the door to Willow's bedroom. The bed is also neatly made and not slept in.", "DAWN: Willow didn't come home either. They were out all night. Dawn fidgets nervously, turns to Tara.", "DAWN: Where are they?", "TARA: (walks closer) I'm sure they're fine, Dawnie. I'm sure they just ... lost track of time. Dawn looks uncertain.", "Cut to the abandoned house. Rubble, bits of broken wood and plaster and cardboard everywhere. Pan across to reveal a bare foot. Suddenly Buffy sits up with a gasp, naked and holding her black leather skirt over her chest. She looks around fearfully, panting, frowning. Behind her Spike begins to stir. Buffy senses he's awake and jumps to her feet, wrapping the skirt around her body. She stands a few feet away while Spike continues to lie there naked looking up at her. We see that they both have bruises and hickeys on their faces. Spike has fingernail marks on his chest, as well as another hickey.", "BUFFY: (frowning) When ... (looks down at Spike) When did the building fall down?", "SPIKE: (looks around, frowns) I don't know. (Buffy looking alarmed) Must have been sometime between the first time and the, uh... He smirks. Buffy looks disgusted.", "BUFFY: Oh. (wincing, whining) Oh my god. Wolf howl, opening credits. Guest starring Elizabeth Anne Allen, Jeff Kober, and Amber Benson as Tara. Written by Marti Noxon, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on the abandoned building. Buffy is now wearing her white blouse and black leather skirt, and is putting on a shoe.", "BUFFY: Shoe, need my shoe. (looking around)", "SPIKE: What's the hurry, luv? We see Spike still lying there naked with one hand behind his head looking very pleased with himself.", "BUFFY: The hurry is I left Dawn all night. And don't call me love. (continues looking for shoe)", "SPIKE: You didn't seem to take issue with that last night. (smirking) Or with any of the other little nasties we whispered.", "BUFFY: (stands up) Can we not? Talk? (putting on her second shoe)", "SPIKE: (sighs) I just don't see why you have to run off so quick. Thought we could- (waggling eyebrows)", "BUFFY: Not gonna happen. Last night was the end of this freak show. Buffy goes to walk past Spike but he reaches up and grabs her arm. She gives a little yelp of surprise. Spike pulls her down onto his lap. She struggles a bit.", "SPIKE: Don't say that.", "BUFFY: What did you think was gonna happen? What, we're gonna read the newspaper together, play footsie under the rubble? Spike shifts her so that he's holding her with one arm. He puts his other hand up under Buffy's skirt. She makes an expression of pleasure.", "SPIKE: (softly) Not exactly what I had in mind. Buffy pushes his hand away, struggles against him.", "BUFFY: Stop!", "SPIKE: (grinning) Make me.", "BUFFY: No! No! She continues struggling for about another half second and then grabs his face and kisses him. She puts her arms around his neck and moans. They kiss for a moment.", "BUFFY: (pulling back) No, no, I-I have to-", "SPIKE: Stay. I'm stuck here. (looks upward) Sun's up. Buffy looks at Spike for a moment, resumes kissing him. More moaning. Spike turns her around and lays her down on a conveniently placed pillow, lies on top of her. He moves down to kiss her neck. Buffy moans again. Spike lifts himself up to look at her.", "SPIKE: I knew. I knew the only thing better than killing a slayer would be f-", "BUFFY: What?! Buffy shoves him away and gets up angrily, moves a few feet away. Spike remains sprawled on the floor.", "BUFFY: Is that what this is about? Doing a slayer?", "SPIKE: (smirking) Well, I wouldn't throw stones, pet. You seem to be quite the groupie yourself.", "BUFFY: Shut up. (wiping her mouth with the back of her hand)", "SPIKE: I'm just sayin' ... vampires get you hot.", "BUFFY: *A* vampire got me hot. One. But he's gone. You're just... Beat. Spike waits to see what she'll say.", "BUFFY: You're just convenient. Spike looks hurt. He stares at her. Buffy's lip trembles like she might cry. Spike stands and begins putting on his pants.", "SPIKE: (angrily) So, what now? You go back to treating me like dirt till the next time you get an itch you can't scratch? (Buffy just looks at him) Well, forget it. (fastening his belt) Last night changed things. I'm done being your whipping boy.", "BUFFY: Nothing's changed. It was a mistake.", "SPIKE: Bollocks! It was a bloody revelation. Buffy still looks like she might cry.", "SPIKE: (walks closer to her) You can act as high and mighty as you like ... but I know where you live now, Slayer. (softly) I've tasted it. He leans in as if to kiss her but she pulls back.", "BUFFY: Get a grip. Like you're god's gift.", "SPIKE: (chuckling) Hardly. (stops smiling) Wouldn't be nearly as interesting, would it? He leans in to kiss her again. Buffy pushes him away and starts to walk off, but he moves to intercept her.", "BUFFY: No! Let me go! Spike stops her, puts his arms on her shoulders and holds her still. Buffy glares at him.", "SPIKE: I may be dirt ... but you're the one who likes to roll in it, Slayer. You never had it so good as me. Never. Buffy pushes his arms off.", "BUFFY: Uhh, you're bent. (moves past him to put on her jacket)", "SPIKE: Yeah, and it made you scream, didn't it?", "BUFFY: (very angrily) I swear to god, if you tell *anyone* about last night, I will kill you.", "SPIKE: (skeptically) Right. Spike reaches into the back pocket of his jeans and pulls something out.", "SPIKE: You're gonna want these, too. He holds up a pair of lacy white panties. Buffy scowls and punches him in the face. He staggers backward and goes down out of shot.", "Cut to the Summers kitchen. Tara is ladling pancake batter onto a pan on the stove.", "TARA: Pancakes? Dawn enters, walks toward the fridge.", "DAWN: Uh, sure. (goes to the fridge, takes out a carton of orange juice) Um, should we call Xander? What if they're all in a ditch somewhere? (closes fridge) Ditches are bad. Mom always used to talk about the ditches. Dawn takes a glass and pours orange juice. Tara takes the pancake batter bowl to the sink and adds some water.", "TARA: Nobody's in a ditch. We'll call, but ... we'll give them some time before we wake them up. Tara turns back to the stove.", "TARA: Funny shapes, or...? (sighs) Sound of the back door opening. Both Tara and Dawn turn. Willow and Amy enter, chattering.", "WILLOW: It'll wear off in a day or- Willow stops as she spots Tara. They look at each other.", "WILLOW: (nervous) Hey.", "TARA: (nervous) Hey. I just ... B-Buffy didn't come home last night ... either, so...", "WILLOW: Uh, hey, uh ... this is Amy. Amy, Tara, Tara, Amy.", "AMY: (smiles) How you doin'?", "TARA: Fine, I ... I'd b-better g-get going. (turns to go)", "WILLOW: (to Tara) Amy! Amy the rat? (to Amy) Sorry.", "AMY: No, that's fair. I was a rat.", "TARA: (confused) When...", "AMY: Last night. It's nuts, everything's different. I mean ... (grins at Willow) the Bronze, for one thing. (to Tara) And Willow! She's a freaking amazing witch now. (Tara looking upset) I couldn't even keep up with her last night.", "WILLOW: Amy.", "AMY: No, it's true! (to Tara) I mean, I can do some transmography, but she is messing with dimensions and everything, it was awesome! This blowhard dude, first she made his mouth disappear? Thank god. And then- Tara continues looking angrily at Willow.", "AMY: I'm talking too much. Sorry. It's just been ... you know ... me and a bag of pellets for the last few years, so...", "TARA: No, it's, it's fine. It's just, um, I, I re-really need to go. (turns to leave)", "WILLOW: Tara, uh, you left some stuff upstairs, it's in-", "TARA: (walking away) I'll get them later.", "WILLOW: Tara! Tara walks down the hall toward the foyer. On the way, she passes Buffy who has just come in the front door. Buffy gives Tara a confused look and continues into the kitchen. Buffy walks with a slight limp. She still has visible bruises and/or hickeys on her face.", "DAWN: Buffy! Uh, where were you, are you okay?", "BUFFY: I'm fine.", "DAWN: You're not, you're all sore and limpy.", "BUFFY: I, I'm not ... sore, I just... (sits down with a grimace of pain) ... I had a fight, you know, the ... all-nighter kind.", "DAWN: Figured. I knew that's why you didn't call. So, what's the big bad? Uh, should we be worried? Buffy looks around at Amy sitting beside her and Willow standing by the fridge.", "BUFFY: No. I mean, I, I think you guys are, are safe. (to Willow) Tara was here?", "WILLOW: I guess she stayed over with Dawn.", "BUFFY: You guess? Where were you?", "WILLOW: (indicates Amy) We went out, kinda lost track of time.", "BUFFY: Oh. Both Buffy and Willow look guilty.", "WILLOW: I never would have if I knew you weren't coming home.", "BUFFY: No, o-of course, I mean, you know, it wasn't ... intentional. (Dawn listening) And, you know, everyone's safe. (to Dawn) You are, right? You're okay?", "DAWN: Oh, yeah. I mean, um, I think my pancakes are burning, but... Willow looks over at the stove, walks slowly over and turns it off. Shot of the pan with a very burnt pancake on it.", "DAWN: (OS) Tara was making...", "WILLOW: (staring at the pancake) I've, uh ... I've gotta get some sleep.", "BUFFY: Me too. (gets up painfully)", "AMY: Yeah. (gets up) I should go home. Dad's expecting me.", "WILLOW: Okay. I'll call you later.", "AMY: (going to the door) Yeah, good. Amy leaves. Buffy looks at Dawn.", "BUFFY: You sure you're all right? I'm sorry about everything.", "DAWN: It's okay. You should rest. You're beat from monster-wrestling all night.", "BUFFY: (quietly) Yeah. Right. (very quietly) Thanks. Buffy goes toward the front.", "WILLOW: Yeah, I'm gonna crash too. Night Dawnie. Willow follows Buffy. Dawn remains standing in the kitchen.", "DAWN: No problem. I'll just ... (to herself) go find some awake people.", "Cut to upstairs. Willow walks into her room, closes the door, lies down on the bed fully dressed. She closes her eyes for a moment, opens them again. Shot of the window with lots of light streaming in through the open curtains.", "WILLOW: Claudete. She gestures at the window. Nothing happens. She lifts her head and looks at the window.", "WILLOW: (louder) Claudete! (gestures) Still nothing. Willow frowns, gets up tiredly, walks over and closes the curtains with her hands. Goes back to the bed still frowning, lies down and closes her eyes.", "Cut to the magic shop. Anya and Xander sit at the round table looking at books.", "XANDER: All these demons are starting to look alike. You got reptiles ... reptiles with horns ... reptiles with gills. Shot of Buffy standing by the counter looking at books, glancing over at Xander.", "XANDER: And I'm still finding nothing of the 'steal a diamond, freeze a guy' variety. Shot of Anya looking very interested in her book.", "XANDER: Ahn, would you hand me that one next to you? Anya doesn't respond.", "XANDER: Great, we're not even married yet and already you've stopped listening to me. He reaches across her to get a book. As he picks it up, something falls out of it and onto the table. Close shot of it. It's a magazine called \"Bride & Joy.\" Xander looks at it, puts his hand on the book Anya's reading and tips it down. Reveal that she's actually reading a bridal magazine hidden in the demon book.", "XANDER: Anya!", "ANYA: I'm sorry, but this is pointless! (Buffy coming over) We've been researching forever, and we're not even close to finding out who robbed that museum.", "BUFFY: What's up?", "XANDER: Anya has a theory. She thinks that Martha Stewart froze that guy.", "ANYA: Don't be ridiculous. Martha Stewart isn't a demon. (to Buffy) She's a witch.", "XANDER: Please, she- (pauses) Really?", "ANYA: Of course. Nobody could do that much decoupage without calling on the powers of darkness.", "BUFFY: Guys, while this is fascinating, we still have work to do.", "ANYA: I know I do! (looking at bridal magazine) I can't decide whether to put my bridesmaids in cocktail dresses ... (Buffy and Xander rolling their eyes) ...or the traditional burlap with blood larva.", "XANDER: The traditional what?", "ANYA: Well, I was a demon for a thousand years, you don't expect me to turn my back on all the ways of my people.", "BUFFY: Uh, can I weigh in on this whole me wearing larva-", "ANYA/XANDER: No. Buffy sighs in irritation, sits.", "ANYA: (to Xander) At least I'm not asking you to perform the groom's rite of self-flagellation. Xander is about to reply but Buffy interrupts.", "BUFFY: Uh, guys! There's something out there? (Anya and Xander looking embarrassed)", "XANDER: There is. And as much as I hate to admit that my ... bizarre bride-to-be has a point ... we're gettin' nowhere here, Buff. Maybe it's time to try something new. You know? Hit the streets, get Spike on it.", "BUFFY: No! No, no Spike. And no hit the streets, we, we, we stay put, you know? Away from distractions. We'll figure this out.", "ANYA: What about Willow, can't she do something?", "BUFFY: Maybe. But she's home sleeping.", "XANDER: Sleeping? She sick?", "BUFFY: No, she was out late. With Amy. (Xander looks annoyed)", "ANYA: And I'm bizarre. At least I didn't dump you to hang out with an ex-rat.", "BUFFY: No, it's not like that, you know, she's just ... helping Amy through a transition.", "XANDER: And making herself a playmate to do magic with. Someone who won't monitor her like Tara.", "BUFFY: No, Willow's a grownup. You know, maybe she doesn't need to be monitored. Xander stares at her.", "BUFFY: You know, she's going through something, but we're not her. I mean ... m-maybe she has reasons for acting this way. (Anya staring at her) And, so what if she crossed a line? You know, we all do stuff. Stupid stuff. But, then we learn. And, and we learn, and, and we don't do it again. Okay, so, you know, who are we to get all judgey?", "XANDER: Not judgey, Buff. Just, observey.", "ANYA: Yeah, all we're saying is, she's acting different. You know, she's not herself. Anya and Xander return to looking at books. Buffy stares at them, looks contemplative.", "Cut to the street. Amy and Willow walk along, past the coffee shop. It's night. Various people walking around, sitting and drinking coffee, etc.", "AMY: So what do you wanna do? It's gonna be hard to top last night.", "WILLOW: Yeah, I don't know if I can. I felt awful today, and I couldn't do magic. Took me all day to get my powers back. I think we should just take it easy.", "AMY: (steps in front of her and stops) I have a better idea.", "WILLOW: What?", "AMY: I know this guy ... and he knows spells that last for days. And the burnout factor is like, nothing.", "WILLOW: Really? He's a warlock?", "AMY: I guess. Look, I am not kidding you. This guy ... will blow your mind. He will take you to places that you can't even imagine. Willow looks uncertain. She turns and resumes walking. Amy falls into step beside her.", "WILLOW: Is it dangerous?", "AMY: Would that stop you? They walk on, out of shot.", "Cut to an alley. Amy and Willow walk out from between two buildings and turn toward an open space. They walk forward slowly.", "AMY: This is it.", "WILLOW: Where? I thought you said the guy lived around here.", "AMY: He does. (stops walking) You can't feel it? We see a long stretch of alley in front of them, apparently empty.", "WILLOW: What do you- Amy takes Willow's hand and holds it up to the air, moves it horizontally.", "AMY: Here.", "WILLOW: It's hot. Amy grins excitedly, turns toward Willow and walks backward into the open space.", "AMY: Come on. The air ripples around her as she walks backward, and then she disappears. Willow stares, puts out her hand and walks forward. Her hand and arm, and then her whole body, ripple and disappear.", "Cut to inside a building. Amy stands there smiling. She turns to look at the closed door. Willow appears, coming through the door (the still closed door) still with her hand in front of her. The door ripples as she walks through it. She looks around wide-eyed. Pan across the room. It's fairly run-down with some old chairs and sofas, old lamps, etc. We see a bunch of young people sitting on the sofas looking strung out.", "AMY: It's cool, isn't it? The place is cloaked.", "WILLOW: Yeah.", "AMY: Moves around a lot too. Keeps Rack out of trouble.", "WILLOW: Rack, who's- They both turn as another door opens and a man comes out. He gives them a look and walks forward.", "GIRL: (anxious) Rack, Rack, it's my turn.", "GUY: No, man, you said I was up.", "GIRL: Bull, I've been here for hours! Rack ignores them, walks toward Amy and Willow. He has long stringy hair, an amulet around his neck, a scar on his face, and his eyes point in different directions.", "RACK: I believe these two are next. Amy and Willow exchange a look. Amy looks pleased, Willow nervous. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the inner room of Rack's place. Willow, Amy, and Rack enter. Willow still looks nervous. Amy is removing her jacket. She wears a sleeveless top.", "AMY: Thanks, Rack, for taking us. (puts her jacket down) I know it's been a while. You'll never believe-", "RACK: You were a rat.", "AMY: How did you know?", "RACK: (chuckling) I hope that taught you not to mess with spells you can't handle. You should leave that in the hands of a professional. He rubs his hands together. Little sparks of magic fly off them. Willow watches with interest. Rack continues to rub his hands together with magic effects. He stares at Willow.", "RACK: Oh. This one's givin' off vibes. (walks closer)", "WILLOW: (nervous) I don't mean to ... vibe at you, I, if it's in a negative way.", "RACK: (walks around behind her) No, no, I-I mean you ... have power, girl, it's just (waving his hands around her body) coming off you in waves.", "WILLOW: (embarrassed) Not so much. Rack walks around in front of her, stares at her. It's creepy.", "WILLOW: I mean, I-I can do stuff, but, I get tapped out quick, and I've used practically every spell I know.", "RACK: And what do you want me to do about that?", "WILLOW: (uncertain) I-I don't know, I, I thought- (looks back at Amy) Amy said-", "RACK: Amy said. Amy said I could help you. But did Amy say how you could help me?", "WILLOW: No, I-I have some money, a-a bit-", "RACK: (shakes head) Not money.", "WILLOW: (nervous) Well, I could help you with your computer, I'm really handy- Rack walks forward, holding out his hand toward her chest.", "RACK: Just relax, I'm not gonna hurt you. You gotta give a little to get a little, right? Willow looks very nervous, looks at Amy.", "AMY: (whispers) It's okay. It's over fast. Willow nods hesitantly, turns back to Rack.", "RACK: That's right. I'm just gonna take a little tour. He puts his hand over Willow's chest, not actually touching her. Suddenly a bolt of magic goes from his hand into her body. Willow gasps and closes her eyes. Rack closes his eyes too. Magic sparks and red light continue swirling around his hand and Willow's body. Both panting. Amy watches intently. After a moment the magic breaks off and Rack takes his hand back, opens his eyes, looks at Willow, grins a little. He leans forward, puts his fingers on Willow's chin and puts his face next to her, whispers in her ear.", "RACK: You taste ... like strawberries. He pulls back. Willow still has her eyes closed with an expression of ecstasy.", "Cut to later. Amy stands in the middle of the room spinning around and around with her arms held out at her sides. Dreamy music. Shot of Rack reclining on a sofa nearby, holding in his hands what looks like a glass ball with a reflection of Amy spinning around inside it. Amy continues to spin faster and faster until she's a blur. Rack looks upward. Pan slowly up to reveal Willow on the ceiling. She lies there with her shirt almost completely unbuttoned, her hair spread out across the ceiling. She writhes slowly, a small smile on her face. Willow opens her eyes, looks down. Shot of the room from her perspective with sofas around the perimeter and a round table in the middle of the room surrounded by cushions. Bright green grass begins to sprout, covering the entire floor and all the furniture. Willow closes her eyes again, rolls over onto her stomach on the ceiling. Blurry motion suggesting the passing of time. She rolls back over onto her back. The grass and bright green trees and bushes continue to grow on the floor. Willow continues to writhe in ecstasy on the ceiling. We see a figure of a person moving in the foliage but can't make it out. Willow opens her eyes and looks. We see what looks like the bare legs of a person being dragged under a bush. Willow frowns a little. Then a red-skinned demon comes out from under the bush and snarls up at Willow. Willow gives a short scream and falls from the ceiling. She lands on her stomach on the floor. All the grass and greenery is gone -- it was a hallucination. Willow just lies there on the floor. Zoom in on her face. Her eyes are closed. Suddenly she blurs into motion. She's standing up, in a room full of people (the Bronze?). Her eyes are completely black. Another blur of motion and suddenly she's standing on the street in front of the Magic Box, the store all lit up behind her. Zoom in on Willow. She pants and looks around, her eyes still black. Another blur and she's back on the floor. She slowly opens her eyes, which are now normal. She frowns, gets up to a kneeling position. We see that she's in her bedroom. She kneels there panting and looking around with a frown.", "Cut to the bathroom. The shower is running. A pair of hands press against the wall underneath the showerhead. Pan over to reveal Willow standing with her face under the water, crying.", "Cut to the bedroom. Willow walks out of the bathroom, wearing a red robe. She walks slowly into the room. We see a box of clothing with the word \"TARA\" on it. Willow slowly takes a sweater and skirt from the box, takes the clothing over to the bed and lays it out, sits on the bed beside it. She waves her hand over the clothing. Slowly the fabric begins to billow up and fill out. The clothing animates and sits up. There's no head or hands, just the clothing filled with air. Willow leans over and lays her head against the sweater's chest. The sleeves wrap around her like arms hugging.", "Cut to: overhead shot of Sunnydale. The sun is setting.", "Cut to: external shot of the Summers house.", "Cut to the kitchen. Dawn stands at the stove with a pan. She uses her fingers to flip over a flat piece of bread on the pan.", "DAWN: Ow. Willow walks in.", "DAWN: Ow, ow! Ow. (sucks on her fingers)", "WILLOW: Or you could do it the hard way.", "DAWN: Spatulas are for wimps. I'm making peanut-butter-and-banana quesadillas. You want?", "WILLOW: (opens fridge) No thanks. I'm, uh, more in water mode. Willow takes out a bottle of water, walks over to the island and sits. Dawn removes her food from the pan and puts it on a plate.", "DAWN: Ow. Ow. Ow. You sure? It's my own brand-new invention.", "WILLOW: I'm sure. No, my ... tummy's feeling kinda rumbly. Willow drinks water. Dawn takes a bite of her creation.", "DAWN: (mouth full) Your loss. Very delicious. Dawn takes her plate and goes to sit beside Willow.", "DAWN: Buffy called. She said she was going straight from the Magic Box to do some patrolling.", "WILLOW: Oh, did she need help?", "DAWN: No, she was just calling to check in. For like the tenth time today. I think she's feeling all Joan Crawford 'cause of the other night.", "WILLOW: Yeah, about that, I'm ... I'm really sorry. I shouldn't have assumed Buffy would be here.", "DAWN: (smiling) Right. Assume would make you an ass out of me. Heh, um, or, uh, something. Anyway, please, it's cool. I mean, it's not like I even needed Tara to stay over. I'm so totally fine on my own. Willow nods and smiles.", "DAWN: (anxiously) But, you are gonna be around tonight, right? (eating)", "WILLOW: (earnestly) Right, totally! Uh, we can do something if you want. A movie maybe?", "DAWN: (smiling) Really? But I thought you weren't feeling so good.", "WILLOW: Well ... nothing a little Dawnie time won't fix. (Dawn smiles) If you feel like baggin' the peanut butter, I'll even buy you dinner. Dawn smiles with extreme relief.", "DAWN: Thank god! (picks up her plate) Remind me never to invent that again. Yecch. She takes her plate to the trash and throws away her creation. Willow drinks more water.", "WILLOW: Great, this'll be great. I'll just grab the paper and see what's playing.", "DAWN: I'll leave a note for Buffy on the refrigerator. That's the first place she goes after patrolling. She's such a pig after she kills things. Willow goes off. Dawn turns to write on a pad of paper attached to the fridge with a magnet.", "Cut to later. Buffy enters the house. It's dark and quiet. She starts toward the kitchen, hears a noise from upstairs, pauses and frowns, looking up.", "BUFFY: (calls) Hello? She starts up the stairs, her shoes making a lot of noise.", "BUFFY: Willow? She reaches the top, looks around the hall.", "BUFFY: Dawn? She starts into Dawn's room, pauses, looks toward Willow's room, moves in that direction.", "Cut to Willow's room. The chest of magic supplies sits on the floor, its lid open, magic supplies strewn randomly around the floor. Buffy walks over to it, squats down to look at it. We see a person sneaking out from behind the door. Buffy whirls around, jumps up and grabs the person, pinning her against the wall. It's Amy. She gasps. She's holding something against her chest with both hands.", "BUFFY: What's going on?", "AMY: (nervous) Uh-oh. (nervous chuckle) Busted.", "BUFFY: (shakes her) Where's Willow?", "AMY: (talking too fast, twitchy) She said - she said I, I-I could- (Buffy grabbing the thing she's holding) -wait!", "BUFFY: What is this? It's a plastic baggie with some herbs in it. Buffy tries to wrestle it out of Amy's hand.", "AMY: It's not what you think it is, it's sage! Buffy finally gets it free, sniffs it.", "BUFFY: That is what I think it is. (tosses it aside, grabs Amy again) What's going on? Where's Willow and Dawn? Amy rubs her arm nervously.", "AMY: I ... I saw - I saw her, but that was - I like your coat. When does the slayer find time to shop?", "BUFFY: (shakes her again, slamming her against the wall) So they didn't let you in?", "AMY: (smiles nervously) Not that they know of.", "BUFFY: What else did you take?", "AMY: (shakes her head quickly) Nothing. (Buffy slams her against the wall again) Ow!", "BUFFY: What else?! Buffy lets go Amy's arms and begins searching Amy's pockets.", "AMY: Please! Please, I need this stuff. Willow wants me to have it, she understands. Buffy removes several plastic bags and glass vials from Amy's pockets.", "BUFFY: Understands what? Breaking into someone's house for kitchen spices? (tosses the stuff aside) No, I don't think so.", "AMY: You should. She's as bad as I am, worse. (Buffy frowns) Bet she's at Rack's right now.", "BUFFY: Rack's?", "AMY: A place. He does spells, heavy stuff. (resentfully) Willow's his new favorite.", "BUFFY: She's there? (slams Amy against the wall again) With Dawn? (shakes Amy)", "AMY: (sickly) Ohh, don't shake me again, super strength. I think I'm gonna boot.", "BUFFY: Then tell me where this place is, and I won't.", "AMY: Well, it's downtown, but it moves.", "BUFFY: What do you mean, it moves?", "AMY: It's downtown, I'm, I'm not sure where it would be tonight exactly-", "BUFFY: (shakes her) Tell me how to find it.", "AMY: You just kinda have to feel it out ... oh god, I think I'm gonna- Amy puts her hand over her mouth and rushes toward the bathroom. Buffy looks disgusted, turns to leave.", "Cut to the street. Willow and Dawn walk along together.", "WILLOW: So, uh, the burger was good? You liked it?", "DAWN: (smiling) Are you kidding? It was like a meat party in my mouth. (pauses) Okay, now I'm just a kid, and even *I* know that came out wrong. (Willow gives a small smile) Uh, it was good. But you should have had something.", "WILLOW: I will. I'll eat. I'm ... saving myself for popcorn. (pauses) The other day, you had fun?", "DAWN: (frowns) Mm, what other day? Give me a Mon or a Fri here, something to work with.", "WILLOW: The other day with Tara.", "DAWN: Oh! Uh, yeah. I-I mean, it was, it was nice. Uh, but it wasn't a laugh riot. She's sad and everything.", "WILLOW: Did she say something?", "DAWN: Uh, not exactly. I can just tell, by the way she was acting.", "WILLOW: Oh. Willow seems distracted. Dawn looks anxious.", "DAWN: Uh, are you sure you're okay? You look a little-", "WILLOW: No, I'm fine. And Tara's in her new place and everything, she's all settled in?", "DAWN: Um ... we really didn't get into ... well... (looking around) Is this right? I-is this the way to the movies?", "WILLOW: Oh yeah, I'm, uh, I just, uh, took you the long way around. But we're almost there. I, uh, just have to make one quick stop first. Willow walks into an alley. Dawn frowns, follows.", "Cut to Rack's place. Willow and Dawn come rippling through the wall and door. Dawn looks around nervously.", "DAWN: What is this place? Why is it hidden?", "WILLOW: I don't know, it's cool, isn't it? Okay, you just hang here for a minute ... and I'll, I'll be back. (starts to go, pauses) You want me to conjure you a magazine or something?", "DAWN: Well, what about the movie? It starts at nine.", "WILLOW: (nodding, twitchy) We'll make it. I, I'll just be a minute. And it doesn't matter if we miss the trailers. Willow stumbles to the other door, opens it, goes in, closes it. Dawn stares after her.", "DAWN: (to herself) I like the trailers. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on Dawn sitting on one of the sofas in Rack's waiting room. She rubs her thighs nervously, looks up at the clock. Close shot of the clock, which reads 10:05. Dawn stares in front of her, fidgeting a little. A sleazy-looking guy comes and sits down next to her, putting his pack of cigarettes on the coffee table and one lit cigarette in his mouth. Dawn looks disgusted, gets up and moves away. She walks over to a corner and stands there, hugging herself nervously.", "Cut to Rack reclining on a sofa.", "RACK: What do you think, strawberry? (magic sparkles on his hand) Can you handle some more? He shoots a bolt of magic upward. Peppy rock music begins. Pan along the stream of magic light to reveal Willow hovering in midair, surrounded by a bubble of magic. The stream coming from Rack's hand adds to the bubble. Close shot of Willow's face with her eyes closed.", "Cut to a view of outer space. Blackness and stars all around, stars moving past. The music changes to something dreamy and futuristic. Willow's erratic breathing is very loud. Willow floats in the starscape, dreamily. She reaches out her hand to touch some of the stars. Suddenly a bright red rift appears ahead of her. Willow frowns, her eyes still closed. The same demon from her other hallucination walks through the rift, holding a woman in his arms. The woman dangles limply as if dead. Willow screams. Cut back to Rack lying there watching her. He smiles as Willow's scream continues.", "Cut to Spike's crypt. Spike lies in bed sleeping. A large pillar candle suddenly flies over and hits him in the stomach. He sits up, startled. Reveal Buffy standing at the foot of the bed holding another candle. There are a few more candles on the table by the bed.", "BUFFY: God, do you sleep through anything? I was like yelling, and nothing. (puts candle down) Spike sits up on the edge of the bed. He's completely naked.", "SPIKE: I'm a bit knackered. Had a long night. (leers) Buffy scowls, turns to grab something.", "SPIKE: Someone should teach you how to use candles in foreplay, luv. Buffy throws his pants at him.", "BUFFY: Get dressed. Dawn's missing.", "SPIKE: Again? Ever think about a Lojack for the girl? (Buffy just looks at him) What's the story?", "BUFFY: She went out with Willow.", "SPIKE: Willow? (grinning) That's kind of a sorry excuse to come by. If you want the touch all you need to do is-", "BUFFY: Spike. Willow's into something. Okay, her and Dawn have been missing for hours. There, there's some guy named Rack.", "SPIKE: (frowns) Rack?", "BUFFY: Yeah, he's, uh, some sort of-", "SPIKE: I know who he is, he deals in magic. Black stuff, dangerous.", "BUFFY: I've been all over downtown and I can't find his place.", "SPIKE: Because he cloaks it. You can't feel it unless you're into the big bad - a witch or a vampire or-", "BUFFY: So let's go! Spike stands up, still naked. Buffy quickly turns her back.", "SPIKE: (scoffs) Oh, that's right. Hide your blushing eyes.", "Cut to Rack's place. Dawn still stands there fidgeting. She looks up at the clock. It now shows almost 11:00. Dawn sighs, fidgets, looks around. Starts walking toward the rear door.", "SLEAZY CIGARETTE GUY: Hey, wait your turn. As Dawn approaches the door, it suddenly opens and Willow comes out, smiling.", "WILLOW: Hey Dawnie. It's movie time.", "DAWN: (angrily) Do you know how long I've been out here? It's too late for the movie. And that guy smells like- Dawn notices that Willow's eyes are completely black.", "DAWN: (nervous) Are-are you, are you okay?", "WILLOW: Fine. Let's get outta here. Willow turns to leave. Dawn looks anxious, follows.", "Cut to the two of them walking down the alley. Willow walks unsteadily, occasionally bumping into Dawn.", "WILLOW: So, what do you wanna do, cutie? (smiling)", "DAWN: (sullen) It's late. I just wanna go home.", "WILLOW: Uch! No way! I said we were gonna have fun, and we're gonna have fun. Shot of the two of them from the back, POV of someone watching and following them. Cut back to the front view.", "DAWN: (nervous) I'm serious, I think we should just get out of here.", "WILLOW: (mocking) ' I think we should just get out of here.' (another shot from behind) Come on, Dawnie, it's grownup time, do you wanna play with the grownups or not? Dawn looks upset. Another shot from behind as whatever's following them gets closer.", "DAWN: Why are you acting this way?", "WILLOW: Oh, don't get all weird on me, we're fine. Everything's fine. Another shot from behind. Now we see the thing following them, although it's hidden by shadows. It's definitely demon-shaped. It snarls and continues following.", "Cut to a different street. Buffy and Spike walk along, peering into alleys.", "BUFFY: Anything?", "SPIKE: Not yet. I might pick up on it if you stop asking me about every two seconds.", "BUFFY: Spike, if you're dragging this out... Spike rolls his eyes and stops walking. Buffy walks around in front of him, turns to face him.", "SPIKE: What, so I can linger near your precious self? Get a grip.", "BUFFY: Like you've never drawn things out before.", "SPIKE: Maybe, but we've been through this, haven't we? Things have changed.", "BUFFY: Will you quit that? The only thing that's different is that I'm disgusted with myself. That's the power of your charms. Last night ... was the most perverse ... degrading experience of my life.", "SPIKE: (smiles fondly) Yeah. Me too. (resumes walking)", "BUFFY: (walks alongside him) That might be how you get off, but it's not my style.", "SPIKE: (scoffs) No, it's your calling. Gave me a run for my money, Slayer. They walk in silence for a moment.", "SPIKE: Now, I admit it. You've had me by the short hairs. (softly) I love you. (glances at her) You know it. But I got my rocks back. You felt something last night.", "BUFFY: Not love.", "SPIKE: Not yet. But I'm in your system now. You're gonna crave me, like I crave blood. And the next time you come crawling, if you don't stop being such a bitch, maybe I will bite you.", "BUFFY: (stares, stops walking) That, that's it! I want you out of my life! Out of my work, out of my home-", "SPIKE: Too late for that. You invited me in already. (Buffy scowls) And as for your work, you need me. Like tonight.", "BUFFY: I'll find Dawn myself.", "SPIKE: (rolls eyes) You really gonna put your little sis in danger just to spite me? Buffy glares.", "Cut to Dawn and Willow still walking. Dawn looks extremely nervous.", "DAWN: Willow. (shot of Willow staggering along) I'm serious. I'm going home.", "WILLOW: Uch, then go! God, I thought we were gonna hang.", "DAWN: (alarmed) Well, you're not coming with me?", "WILLOW: Well, I don't know. (smiling) Maybe I could just, uh, pop you back!", "DAWN: With magic? (shakes head in disgust) Suddenly Dawn hears a noise. She stops, looking very fearful.", "DAWN: What's that?", "WILLOW: What? I didn't-", "DAWN: Uh ... I'm getting out of here. Dawn begins to walk, very fast.", "WILLOW: Aw, Dawnie, don't. It was probably a cat or something like that. Dawn turns to look back at Willow, turns back again and the demon steps out in front of her. It's the same demon from Willow's two hallucinations earlier. Dawn moves back, staring in horror. Willow looks alarmed, comes up to her.", "WILLOW: Oh, it's okay, he's not real.", "DAWN: (scared) Seems real! Very! Real!", "DEMON: You summoned me, witch.", "WILLOW: (nervous, moving back) I, I didn't-", "DEMON: Did. You raised hell with your magicks. The demon growls, reaches out with a clawed hand and slashes Dawn's cheek. She shrieks. Willow moves in front of her. The demon holds his bloody finger up to his face.", "DEMON: Fresh.", "WILLOW: Don't! She has nothing to do with it, it was me!", "DEMON: Yessss. Dawn cowers behind Willow as the demon approaches. Suddenly Dawn kicks out her foot, catching the demon square in the middle. He flies back into a pile of garbage. Dawn and Willow run off. The demon gets up and runs after them.", "Cut to another street. Dawn and Willow come running around the corner.", "DAWN: He's coming! He's too fast!", "WILLOW: Open! We see a parked car. The doors swing open.", "WILLOW: Get in! Willow and Dawn jump into the car, Willow in the driver's seat, Dawn in the passenger seat.", "WILLOW: Close! The doors close. The demon comes running around the corner.", "WILLOW: Drive! The car starts up and takes off with an extended screech of tires. The demon continues running after the car. Willow sits in the driver's seat laughing. Dawn stares at her in horror.", "DAWN: What are you doing?! We see Willow moving her hand in front of the steering wheel. The wheel turns in the direction she moves her hand, making the car veer crazily from side to side. Dawn holds onto the sides of the car and screams. The demon continues pursuing.", "WILLOW: Woo! (laughing) Dawn stares at Willow, terrified. The car zooms down the street and into an alley. Dawn continues screaming.", "WILLOW: (looking back over her shoulder) Take that, scuz- The car goes into an alley, through an arched entrance, and slams into a concrete pillar. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. The car sits with its entire front end smashed in, smoke curling up from it. Pan in closer and we can see Dawn still in her seat. No sign of Willow. Dawn lifts her head and groans.", "DAWN: Oh god. She gets her door open and climbs out, clutching her left arm with an expression of pain. There's blood on her face. She limps slowly around the front of the car, looks over at the car and rushes over to the driver's-side door. We get a quick glimpse of Willow slumped over the steering wheel. The demon appears, leaping down right in front of Dawn. She screams and pushes him away. She drops to the ground and begins crawling underneath the car. The demon crawls over and grabs Dawn's leg.", "Cut to Buffy and Spike walking along. Sound of Dawn screaming. They both look to their right, exchange a quick look and rush off toward the sound. Cut back to the alley. Dawn screams and kicks as the demon drags her out from under the car. Her fists clutch at the ground. The demon pulls her all the way out and she throws a handful of dirt in his face. He lets her go and rubs at his eyes. Dawn gets up and tries to run away, but he grabs her. Dawn shrieks and hits at him with her fists. The demon backhands her and she flies quite a way down the alley, lands on the ground. She gets up on all fours and tries to crawl toward the stone wall. The demon comes over with one leap and snarls at her.", "BUFFY: Dawn! Buffy tackles the demon, carrying him away from Dawn. They both roll, get up. Buffy punches him and they both go down again. Lying on the ground, she tries to kick him but he grabs her leg and shoves it away, gets up. Buffy gets up too, kicks the demon. Spike crouches next to Dawn to look at her injuries. Buffy ducks a couple of swings and then punches the demon. He punches her, then she kicks him and uses her leg to sweep his feet out from under him. He goes down. Buffy tries to grab him but he flings her off. She flies a few feet backward, lands in a crouch. She gets up and does a flying kick, then the demon grabs her shoulders but she breaks free and punches him. He punches her in the face, picks her up and throws her at the stone ceiling. She hits the ceiling and falls to the ground, gets up and faces off with the demon again. The demon growls and snarls, but as he advances, he begins to tremble all over.", "BUFFY: (bemused) *Now* you're scared? (shrugs) Better late than never. Buffy frowns as the demon begins to scream and steam comes off of him. He dissolves into a shower of sparks and smoke. Reveal Willow standing behind where the demon was. Magic sparks still crackle around her fingers. She walks forward and leans heavily against the wall. Her eyes are completely black and there's blood on her face. Buffy stares at her. Willow stands there panting.", "DAWN: (OS) No, no!", "BUFFY: Dawn. Buffy rushes over. Dawn still sits on the ground cradling her arm against her stomach, crying, with Spike hovering beside her.", "BUFFY: What happened? Are you okay?", "DAWN: (crying) Uh ... He was after Willow, she made the car drive, don't! (Buffy tries to look at her injured arm) No, don't!", "BUFFY: I need to see, okay, let me see your arm. Buffy murmurs reassuringly and tries to pull Dawn's arm gently away from her body. Willow rushes up.", "WILLOW: Dawn? Oh god, there's blood. (Dawn crying)", "BUFFY: (to Spike) Okay, we need to get her to a doctor.", "WILLOW: Is she okay? Is she okay? Buffy and Spike help Dawn stand up.", "BUFFY: Back off, Will, I got her. Buffy, Dawn, and Spike begin walking. Willow watches anxiously.", "WILLOW: No, Dawnie!", "BUFFY: I mean it, stay away from her! Willow runs around in front of them.", "WILLOW: (crying) Dawnie! Dawnie, I'm so sorry! (Dawn glaring at her) I'm so sorry, it was an accident! I didn't see, I'm so, so sorry. Beat. Dawn glares angrily at Willow. Then Dawn slaps her across the face.", "WILLOW: (shocked) Dawnie! Dawnie, don't! The others resume walking as Willow continues to cry and beg.", "WILLOW: Dawnie, I'm sorry, I'm sorry, I'm sorry... Willow falls to the ground crying hysterically.", "WILLOW: I'm sorry! I'm sorry... (crying) The others pause. Spike looks at Buffy, gives a slight nod, leads Dawn away. Buffy turns to look at Willow, walks slowly over to her with a stern expression.", "BUFFY: (harshly) Get up.", "WILLOW: (crying) I screwed it up, everything, Tara...", "BUFFY: (grabs Willow's arm, pulls her to her feet) Yeah, you know what, you did screw up, okay? You could have killed her! You almost did!", "WILLOW: (crying) I know! I know! I can't stop, Buffy! I tried and I can't.", "BUFFY: You can.", "WILLOW: (shakes head) I can't! I can't, I ju ... god, I need help. Please! (sobbing) Please help me, please. Willow puts her arms around Buffy and continues crying.", "WILLOW: Please. Buffy slowly lifts her arms and hugs Willow back. Willow continues crying.", "Cut to the Summers house. Willow sits on her bed, a blanket wrapped around her, her eyes closed. Zoom in slowly on her. Buffy appears in background, in the doorway, leans against the wall with her arms crossed. Willow opens her eyes, looks over.", "WILLOW: Is she okay?", "BUFFY: She's sleeping. The E.R. doc gave her something for the pain, it knocked her out.", "WILLOW: (anxious) But she's gonna be all right?", "BUFFY: It's a fracture. You know, it's gonna take some time.", "WILLOW: (looks away, whispers) God, I'm ... sorry. I'm so...", "BUFFY: I just don't understand. I don't understand why you'd go to see somebody like Rack, and I certainly don't understand why you'd drag Dawn into it.", "WILLOW: I don't know. The magic, I ... I thought I had it under control, and then ... I didn't.", "BUFFY: Because of Tara?", "WILLOW: No. It started before she left. (pauses) It's why she left.", "BUFFY: (pauses) Seemed like things were going so well.", "WILLOW: It was. But I mean ... if you could be ... you know, plain old Willow or super Willow, who would you be? (looks at Buffy) I guess you don't actually have an option on the whole super thing.", "BUFFY: Will, there's nothing wrong with you. You don't need magic to be special.", "WILLOW: Don't I? I mean, Buffy, who was I? Just ... some girl. Tara didn't even know that girl.", "BUFFY: You are more than some girl. (walks into the room) And Tara wants you to stop. She loves you.", "WILLOW: We don't know that.", "BUFFY: I know that. I promise you.", "WILLOW: I just ... it took me away from myself, I was ... free.", "BUFFY: (looks down, pensive) I get that. More than you- (breaks off) But it's wrong. People get hurt. Buffy goes to sit beside Willow on the bed.", "WILLOW: If something had happened to Dawn tonight ... something worse...", "BUFFY: I know.", "WILLOW: No, I don't think you do. I-I ... I was out of my mind, I ... I did things I can't even... Buffy continues looking pensive.", "WILLOW: It won't happen again, I promise. No more spells. I'm finished.", "BUFFY: (frowns) Good. I think it's right. To give it up. (pensive) No matter how good it feels.", "WILLOW: It's not worth it. Not if it messes with the people I love. Buffy still has her pensive expression, not exactly thinking about Willow's issues.", "WILLOW: The magic wasn't all great. I won't miss the nosebleeds and the headaches and stuff.", "BUFFY: There you go.", "WILLOW: Or ... keeping stinky yak cheese in my bra. (Buffy frowns) Don't ask.", "BUFFY: Now I don't have to.", "WILLOW: 'Cause it's over.", "BUFFY: Exactly. It's over. They both nod and give each other nervous looks, tentative smiles. Then both look away and stop smiling.", "Cut to later. Willow lies in bed panting and sweaty, staring at the ceiling, one hand clutching her stomach, the other clenched into a fist on the pillow.", "Cut to Buffy's room. Pan across the windows. On each window several strings of garlic cloves are hanging. Pan down to reveal Buffy sitting on her bed, knees drawn up to her chest, twirling a cross in her hands. There's garlic festooning the bedframe as well. Buffy hugs her knees, looks around nervously. Blackout. In Loving Memory Of J.D. Peralta.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Buffy gets a job at the Doublemeat Palace, but soon becomes paranoid about the mysterious secret ingredient in the food. Anya is visited by her old friend, Halfrek , who questions her relationship with Xander." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously...", "Buffy and Spike up against the wall in \"Smashed.\"", "SPIKE: You never had it so good as me. Buffy and Spike in the wrecked building", "BUFFY: If you tell anyone about last night, I will kill you. Buffy and Willow in the arcade in \"Gone\"", "BUFFY: So you three have, what, banded together to be pains in my ass?", "WARREN: We're your arch-nemesises ... ses. You may have beaten us this time, Slayer, but next time... JONATHAN: Maybe not! Jonathan throwing down the smoke-bomb. The Geek Trio escaping. Willow de-ratting Amy.", "BUFFY: Amy? How've you been?", "AMY: Rat. You?", "BUFFY: Dead.", "AMY: Oh.", "WILLOW: It's nice, having another magically-inclined friend around. Willow and Amy on the Bronze balcony in \"Smashed\"", "AMY: It's way too early to go home yet. Willow and Amy walking down the street.", "AMY: So what do you wanna do? I have a better idea.", "WILLOW: Is it dangerous? Willow and Dawn in Rack's place.", "WILLOW: Let's get outta here. Dawn in the car screaming. The car crashing. Spike and Buffy leading Dawn away.", "WILLOW: Dawnie, I'm sorry, I'm so- Dawn slapping Willow.", "BUFFY: You could have killed her.", "WILLOW: I need help! Willow and Buffy in the bedroom.", "WILLOW: No more spells. I'm finished. The Scooby gang in the kitchen.", "WILLOW: There's some money stuff we're gonna have to talk to you about.", "BUFFY: So you're telling me I'm broke?", "GILES: How bad is it?", "BUFFY: Anya says pretty bad.", "GILES: Buffy ... some discussion, about, um ... wha-what you're going to do now.", "BUFFY: Oh. I've been giving that a lot of thought actually. And I think I've figured it out.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open on exterior shot of the Summers house, day.", "Cut to the living room. Xander walks in from the kitchen, carrying a bowl of popcorn.", "XANDER: Now I get Warren being the supervillainy type, but I thought Jonathan completely learned that lesson. I never even heard of this other guy. Xander sits on the sofa beside Anya, puts the popcorn on the coffee table. Willow is sitting in a chair opposite the sofa.", "WILLOW: You should have seen their headquarters. It was like the nerd natural habitat.", "ANYA: Well, if we know where they are, shouldn't we do something?", "WILLOW: We tried. Buffy was gonna go in there and bust them on the spot.", "XANDER: I'm sensing a 'not so completely.'", "WILLOW: Yeah, well, she went in, and then-", "ANYA: Speaking of Buffy, isn't she ready? She's gonna be late for her first day.", "WILLOW: Hey, respect the narrative flow much?", "ANYA: Please continue the story of failure.", "WILLOW: So, Buffy went in, but they'd cleared out. And she brought back the stuff that they left... (Xander listening, eating popcorn) ... spell books, some parchments, (smiling) a couple of rare things, charmed objects, and a conjurer's harp... Willow trails off, looking a little wistful. Xander and Anya look at her with concern.", "WILLOW: (snaps out of it) A-and they had other stuff, you know, Razor scooters, and pictures of the Vulcan woman on \"Enterprise.\"", "XANDER: Ooh! (chuckles, rubs his hands together, then sees Anya's expression) I mean ... nerds.", "ANYA: Okay. See, this is why demons are better than people.", "WILLOW: Interesting turn.", "ANYA: When I was a vengeance demon, I caused pain and mayhem, certainly. But I put in a full day's work doing it, and I got compensated appropriately.", "XANDER: Welcome to today's episode of 'Go Money Go!' I hear it daily.", "WILLOW: Yep, for the rest of your life. Xander looks dismayed, continues to contemplate that as Anya continues talking.", "ANYA: But supervillains ... want reward without labor, to make things come easy. (lecturing) It's wrong. Without labor there can be no payment, and vice versa. (Shot of Willow listening intently) The country cannot progress. The workers are the tools that shape America.", "BUFFY: (OS) Good to know. The others look over. Reveal Buffy standing in the doorway, wearing red pants, a red-and-white striped shirt, and a hat with a stuffed animal head on top.", "BUFFY: I was kinda feelin' like a tool. The others stare.", "BUFFY: And now I know why. Wolf howl. Opening credits. Guest starring Elizabeth Anne Allen, Pat Crawford Brown, Brent Hinkley, Kirsten Nelson, and Kali Rocha. Written by Jane Espenson, directed by Nick Marck.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on a 1950s-style commercial. Sepia-toned picture of the exterior of a fast-food restaurant with cars driving past.", "NARRATOR: You've seen us in your city or small town across the American West... Picture of the interior of the restaurant with booths and hanging plants.", "NARRATOR: ...you've ordered our delicious food... Sepia picture of a smiling man in a white shirt and black bowtie, giving a thumbs-up.", "NARRATOR: ...from our happy employees! Reveal Buffy sitting in a small room watching this on a television. She wears a small blue pin reading \"Buffy Summers, trainee.\"", "NARRATOR: But now you're seeing it all from a different way, you're seeing it from behind the counter! Picture of a smiling woman ordering food from a smiling employee. This picture starts off sepia-toned and then fades to natural color.", "NARRATOR: ...because you've just become part of the DoubleMeat experience! Shot of a geeky teenage boy in the red-and-white striped uniform, holding a tray covered with paper-wrapped burgers.", "BOY: I'm part of it! Shot of a young woman wearing the uniform, holding a tray.", "WOMAN: I'm part of it! Shot of an older man wearing the uniform.", "MAN: I'm a part of it too! Star-cut to a shot of a farm. A picture of a cow appears in front of it.", "NARRATOR: This cow... (cow moos) and this chicken... (chicken appears beside the cow, and squawks) ...don't know it yet, but they're destined to become part of it as well! So what happens when a cow and a chicken come together? The pictures of the cow and the chicken swirl together and become a sandwich.", "NARRATOR: Why, that's a DoubleMeat Medley! Let's take a look now at the process of harvesting these two special meats. Close shot of a row of cows' rear ends.", "Cut to shot of Buffy watching. Sounds of frantic mooing and squawking, as well as thumping noises. Buffy makes a disgusted face.", "BUFFY: Holy crap!", "Fade to later. The video is still going. Now it shows a man in the uniform washing his hands.", "NARRATOR: ...washing your hands thoroughly after each visit to the restroom. The man takes a paper towel to dry his hands. Zoom in on the paper-towel dispenser bearing the words, \"NOTICE: Employees must wash hands with soap before returning to work.\"", "NARRATOR: Follow these rules and you'll be a happy part of the DoubleMeat family for a long time! The picture changes to the DoubleMeat Palace logo, which is a creature that looks like a cross between a cow and a chicken. Buffy stares at the screen, looking dismayed. Behind her, a man in the red-striped uniform goes over to the wall and turns on the light. He turns to Buffy. He wears thick glasses with ugly black frames. He is Manny The Manager and this is his office.", "MANNY: Interesting, isn't it?", "BUFFY: (fake smile) Oh yes! Like how the cow and the chicken come together even though they've never met. It's like Sleepless in Seattle if, (Manny turning off the TV) if Meg and Tom were, like, minced. Buffy smiles at Manny. He is completely humorless.", "MANNY: I'm Manny the manager. It's not a joke, it's just my name.", "BUFFY: Right. Y-you mentioned that a couple of times when I filled out the application.", "MANNY: Why do you want to work here, Buffy? You seem like a sharp young woman, and there are a lot of other jobs.", "BUFFY: Well, I-I kinda need money pretty quickly, like, today, and, and so I didn't want to go through a lengthy interview process, and I figured this was probably the fastest... way... to... She pauses as she catches sight of Manny's stern face.", "BUFFY: Be...cause I ... wanted to be part of the DoubleMeat experience? Manny smiles and nods.", "MANNY: Come on, let's take a tour.", "Cut to the adjoining employee lounge. Manny leads Buffy over to a table where two men sit staring at nothing. A row of lockers is in the background.", "MANNY: Philip, Timothy, this is Buffy. She's going to work the counter.", "BUFFY: Hi.", "PHILIP: (to Manny) What happened to the other one? Catherine?", "MANNY: Emily?", "PHILIP: Yeah.", "TIMOTHY: She's gone. Weird horror-movie shot of Timothy from above, with Buffy in the background. Timothy continues staring blankly in front of him.", "BUFFY: What happened?", "TIMOTHY: Whatever always happens. Manny opens a locker labeled \"Vacant.\" It's full of clothing.", "MANNY: (turns) You can use this one.", "BUFFY: Uh ... there's, there's someone's stuff in there.", "MANNY: They must have left it. You can toss it, or keep what you want.", "BUFFY: Sure they're not coming back?", "MANNY: We have a lot of turnover here. Manny starts to walk away as Buffy follows. He pauses, points at Philip and Timothy who are still staring vacantly.", "MANNY: Watch these two. (continues walking)", "BUFFY: (follows) Are they gonna do something?", "MANNY: They're solid. Follow their example and you won't go wrong. He stops walking next to a wall.", "MANNY: They're lifers.", "BUFFY: Lifers?", "MANNY: In it for life. Like me. You wanna get something out of this, Buffy? You'll do the same. You put the work in, and ten years from now, you'll be where I am. He points at his chest. Close shot on a round blue button pinned to his shirt with \"10 Years\" on it.", "MANNY: I promise you. Buffy doesn't look excited by the idea. Manny turns to the wall where a time clock is mounted next to a rack full of cards. He removes a card and inserts it into the clock, then removes it and hands it to Buffy.", "MANNY: Congratulations. You're on the clock. Buffy looks at her time-card, still not thrilled.", "Cut to the kitchen. Various employees wearing the red-and-white striped uniform are moving around preparing food. Manny and Buffy enter.", "MANNY: This is the kitchen. The beating heart of the DoubleMeat Palace. Buffy looks around, spots a young woman using a Hobart to slice some sort of meat. The round slices fall into the hopper below. The woman stares vacantly ahead of her. Buffy walks closer.", "BUFFY: Wow. They're all so ... identical.", "MANNY: Yeah. They all start to look the same to me too.", "BUFFY: Oh, no, not the employees, the, the chicken slices. Zoom in slowly on the bottom of the Hobart as the chicken slices continue to fall out, one by one. Zoom in slowly on Buffy's face as she stares at it, mesmerized. Zoom in closer on the chicken slices. Buffy snaps out of it as we hear a man's voice in the background.", "MAN: Uh yeah, Medley meal number 2, uh, double-size it...", "MANNY: (pointing) Drive-through station's over there. High pressure job, you won't need to go in there. (pointing around) Over there's the grills, the fryers, the walk-in freezer... Buffy looks in the direction he indicated the freezer. She begins to walk that way.", "MANNY: (alarmed) You don't need to go in there either! (follows her) Buffy goes over to a filing cabinet. On top of it is a large plastic jug marked \"Dehydrated Pickles.\"", "MANNY: That's the dehydrated pickle storage. (Buffy trying to open the filing cabinet) Those are locked! Buffy looks at him.", "MANNY: Now I want to show you this. He turns and walks off. Buffy follows. Manny leads her to a rack where a lot of paper-wrapped sandwiches are sitting. He picks one up and begins to unwrap it.", "MANNY: Look. The DoubleMeat Medley. He unwraps it with a flourish, revealing a perfect-looking sandwich in a hamburger bun with lettuce, tomato, etc.", "BUFFY: Oh, I know the Medley! It's just, uh, the video was ... kind of graphic, with the slaughter. (wrinkling her nose)", "MANNY: (gesturing at the sandwich with his other hand) The classic double-decker with a twist. A pure beefy patty above the mid-bun ... and a slice of processed chicken product below the mid-bun. Plus pickles, and the secret ingredient. (holds it out toward Buffy) Eat it.", "BUFFY: Oh, you know, I had a-a big breakfast. I'll just wait for... Manny holds it out and gives her a look. Buffy inhales deeply and gives a fake smile.", "BUFFY: Uh ... but it smells so good. She takes the sandwich in both hands and takes a bite.", "BUFFY: Mm. (mouth full) So, what *is* your secret ingredient?", "MANNY: It's a meat process. Buffy looks uncertain, swallows hard.", "MANNY: Now I think it's time to start earning your money, don't you, Buffy?", "BUFFY: (smiling nervously) Mm-hmm.", "Cut to the counter. Buffy stands beside a tall young man who is working the cash register.", "BUFFY: So ... what's the deal with Manny the manager? If I ask him really nice can I write a children's book called that?", "GARY: (hands her an empty paper cup) Fill this while I get the fries. (turns away)", "BUFFY: (looking at cup) Fill this? I didn't know there was gonna be drug testing on this job.", "GARY: (laughs) You're funny. (stops smiling) You better stop that.", "BUFFY: (filling the cup at a soda dispenser) Why?", "GARY: Productivity. One of Manny's watch-words. 'Levity is the time-thief that picks the pocket of the company.'", "BUFFY: I prefer the one that goes, 'Manny's a humorless dolt who picks the pocket of he-should-bite-me.'", "GARY: (sighs) You really need to be quiet with that. Gary picks up the tray with the fries and soda and hands it to the customer.", "GARY: Here you go.", "CUSTOMER: Thanks. The customer leaves and another customer comes up, an elderly lady wearing a bushy gray wig.", "WIG LADY: I'd like a small coffee, and cherry pie. Shot of the cash register as Gary pushes buttons. The buttons all have pictures of food on them.", "GARY: That's a dollar ninety-two, ma'am.", "BUFFY: (staring) You hit so many buttons, it's like, button-palooza.", "GARY: No, it's easy, I - look. The old lady is digging money out of her purse as Gary shows Buffy the buttons.", "GARY: There are little pictures of the food on the buttons. (shot of his finger pointing at the buttons) I hit the coffee button, then I hit the small button. And then cherry pie. There's a picture of a little fried pie.", "BUFFY: Uh-huh. The old lady hands over her money.", "GARY: Then, I hit the total button... (putting the money away) I put the money in the drawer, I close it, and it resets the system. A cocker spaniel could do it. (looks at the customers) Here, why don't you take the next one, the family? They're regulars. Gary moves away. Buffy moves behind the cash register.", "BUFFY: (to wig lady) Hi. I'm new.", "WIG LADY: (smiling) I come here every day.", "BUFFY: (smiling) That's nice.", "WIG LADY: Oh, you really might make it, dear. Not like some of them, where suddenly you never see them again. I can see you here a long time.", "BUFFY: (fake smile) That's great. Gary returns with the food.", "WIG LADY: Thank you. She takes it and moves away. The family moves up: father, mother, and three kids.", "BUFFY: Hi. Welcome to the DoubleMeat Palace, may I help you?", "FATHER: Yeah. We need two Number Four Medley Meals, a junior Medley, a Fisherman's Medley with bacon, and a kid's meal. Plus three fries, a chocolatey shake, and extra pickles on one of the Medleys. Spooky music. Buffy looks at the cash register in alarm. Zoom in on the cash register with its bewildering array of buttons. Zoom in on Buffy's anxious face. Pan across the row of buttons. Buffy stares at the buttons, then looks at the customer.", "BUFFY: Excuse me. Um, this button. (pointing) Does it look chocolatey to you?", "Cut to later. Pan across the interior of the restaurant with various people sitting in the plastic booths eating. Buffy sits at one of the booths, alone, eating a Medley. She sighs.", "Fade to later. Buffy walks slowly through the kitchen area and over to the freezer door, looking around. No one else is visible. She opens the freezer door. Inside the walk-in freezer we see a tall rack of shelves laden with boxes of frozen meat(?). Buffy closes the door, revealing Manny watching her. She jumps.", "MANNY: You don't need to be in there.", "BUFFY: (nervous) Sorry. I was just curious.", "MANNY: Curiosity killed the cat. (moves away)", "BUFFY: (to herself) Theory number five. Cat burgers.", "Cut to later. Pan across several employees mechanically doing their jobs. Buffy is working the counter. A couple of customers move aside, revealing Anya and Dawn.", "DAWN: (smiling) Hey Buffy!", "ANYA: We're here to support your subsistence-level employment. Bravo. We see Xander and Willow are there as well.", "BUFFY: (smiling) Thank you. This is cool of you guys.", "XANDER: So, Buff, how's it going?", "BUFFY: I don't know. I-I've waitressed before, but ... this is different.", "DAWN: (frowns) Uh, when have you waitressed?", "BUFFY: That summer in L.A. It was a diner, and ... we had, you know, lots of people who didn't tip, (Willow playing with the straws in the straw dispenser) and funny funny health code violations ... but ... it, it wasn't like it is here. (quietly) I think there's something wrong, here. W-Will, are you okay?", "WILLOW: Uh, sorry, I, uh... (puts the straws back) Yeah, uh ... something's wrong? The Scoobies lean closer to hear Buffy.", "BUFFY: There's, there's this manager, right, and he's all scary and mysterious, you know? And then there's the secret ingredient. And, (even quieter) and the people that work here? They're, they're kind of strange, you know? They just ... just stare into space ... plus they disappear.", "ANYA: Disappear poof?", "BUFFY: No, not poof. Well, I don't think so.", "XANDER: It's fast food. I have swum these murky waters, my friend. There's the assorted creepiness, there's staring, there's the enthusiastic not showing up at all. I think you're seeing demons where there's just life.", "BUFFY: I, I didn't say demons. It's just a vibe. I mean, you guys still haven't seen this manager.", "ANYA: Well, isn't that him over there, getting the pickles wet? Long shot of Manny doing something with the jug of dehydrated pickles.", "XANDER: Yeah, with the saddle shoes... (close shot on Manny's feet)", "WILLOW: ...and the glasses?", "BUFFY: I don't know. Maybe it's just the video that's freakin' me out. (wrinkling her nose) With the cow, and the chicken, all swirly together. (Willow making an \"ew\" face)", "XANDER: Mm, make me hungry, why don't you? (looking up at the menu board) How's about one of those delicious Medley Meals?", "BUFFY: Okay, you got it. On me. (moves away)", "XANDER: Hey, thanks! (to the others) See, I think she'll be fine once she settles into the routine. And by ordering, I'm helping.", "DAWN: And getting a free meal?", "XANDER: Well, yeah.", "ANYA: Well, if you like the food here, honey, maybe we should get it for the reception.", "DAWN: You're serving burgers? (Anya nods) Cool!", "ANYA: Well, time is running very short. After Willow gave us the 'whoosh' engagement party, I got slack on the planning 'cause I figured she'd help, but, well, now that's all been blown to hell.", "WILLOW: Hey, standing right here! Standing right exactly here.", "ANYA: Sorry. Didn't mean to tempt you. Willow and Xander roll their eyes.", "ANYA: (whispers to Dawn) Everyone's so delicate. (normal voice) Anyway, I still have to select the bridesmaids' dresses, and, well, then there are the guests from out of town and the ones from the demon realm -- you wouldn't believe how many of them have yet to let us know either way. Buffy returns with a tray.", "BUFFY: There you go, and I double-sized it for ya.", "XANDER: Oh, thank you! Xander unwraps the burger and takes a big bite.", "BUFFY: And cut way back on the cat.", "XANDER: (mouth full) Cat?!", "BUFFY: Just kidding. (Xander gives a sarcastic laugh) Probably.", "Cut to later. Exterior shot of the DoubleMeat Palace, night.", "Cut to inside. There are a few customers sitting and eating. Gary is clearing trash off the tables. Buffy is leaning on the cash register looking bored. Behind her we see an older woman employee just standing and staring into space.", "BUFFY: (to herself) Sloooow night. Buffy looks over at the woman, sighs, walks over and tugs the woman's sleeve.", "BUFFY: Gina. Gina slowly turns to Buffy -- not her head, but her entire body turns. Her expression is still blank. Buffy waves a hand in front of her face.", "BUFFY: (taking off her cap) Since it's slow, do you think they'll mind if I take another break?", "GINA: We're not allowed. Downtime robs us all.", "BUFFY: Mm, thus quoth Manny. There's no one here.", "GINA: Sure there is. (indicating the counter) Look. Buffy frowns, turns. Reveal Spike standing by the counter, examining the menu board above.", "BUFFY: This'll make my day complete. (sighs, walks over to the cash register) What?", "SPIKE: What's in the DoubleMeat nuggets?", "BUFFY: I'm working. Go away.", "SPIKE: Yeah, and you chose to be in the consumer service profession, and I'm a consumer. (smirking) Service me.", "BUFFY: (not amused) Order something or go.", "SPIKE: (sighs) Give a bloke a chance for his eyes to adjust. Damn fluorescent lights. Makes me look dead. Buffy just makes an annoyed face.", "SPIKE: Some demons love 'em. The way they vibrate makes the skin twitch. That the kinda demon you are, luv?", "BUFFY: I am not a demon. I don't know why you can hit me, but (firmly) I am not a demon.", "SPIKE: Oh. I see. That why you took this job? Prove something to yourself? A normal job for a normal girl? (shakes his head) Good way to drive yourself crazy, that is.", "BUFFY: (shrugs) I'll be fine. Spike leans forward, puts his hands on the counter.", "SPIKE: Buffy. She just stares at him.", "SPIKE: You're not happy here.", "BUFFY: (quietly) Please don't make this harder.", "SPIKE: You don't belong here. You're something ... you're better than this.", "BUFFY: I need the money.", "SPIKE: I can get money. (gestures with his head) Walk with me now, come on.", "BUFFY: I ... I need to go help Gary with the fries. She turns to go but Spike grabs her arm.", "SPIKE: You gotta get outta here, this place'll do stuff to you. Buffy pulls free and walks away.", "SPIKE: This place'll kill you!", "Cut to the alley behind the DoubleMeat Palace. Camera angle from the point of view of someone hiding behind some trash cans. We see Gary come out the back door and begin doing something with the trash. He hears a noise, looks around, toward the camera.", "GARY: Someone there? Camera angle moves up as from the POV of someone coming out from hiding. Gary's face shows recognition.", "GARY: Oh, hi, what are you doing? What, what- Camera angle moves closer as Gary suddenly begins to scream. Close shot of his cap falling to the ground as screaming continues. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on exterior shot of the DoubleMeat Palace, day.", "Cut to inside. Close shot on the time clock reading 9:00. We see Buffy standing behind Timothy as he punches in.", "BUFFY: (sighs) Feels like I just left, you know? Timothy turns slowly to look at her.", "TIMOTHY: You came back. (punches his card)", "BUFFY: (not thrilled) I came back. Timothy moves away. Buffy takes down her time-card and punches it. She goes to walk off and finds Manny standing there. She jumps and gasps.", "MANNY: Gary's gone.", "BUFFY: Gary. Oh, the guy that helped me out at the counter yesterday?", "MANNY: He didn't show up this morning.", "BUFFY: Well, shift's just starting.", "MANNY: He was supposed to unlock early this morning. Didn't show. Pull his card.", "BUFFY: (frowns) Well, I'm, I'm sure, you know, he's just late. (removes Gary's card from the rack) He didn't seem like he was leaving.", "MANNY: I'm moving Timothy to counter. You're on grill.", "BUFFY: Me?", "MANNY: I've been watching you.", "BUFFY: B-but I-I don't know how to grill.", "MANNY: (smiling) Just think. This is the last day you'll ever be able to say that. Buffy looks displeased. She walks past him.", "Cut to the grill. Buffy stands beside it as Philip is explaining how it works.", "PHILIP: You put the beef on the grill, you hit the button, then it beeps. You flip the beef, hit the other button, then it beeps. You put it on the bun... (pauses, thinking) There's not a button for that.", "BUFFY: Repeat until insane. Close shot on the grill as Philip puts meat patties on it.", "PHILIP: It eliminates variation. (pushes button) Every burger at every DoubleMeat Palace is the same. (Buffy looking at him) People don't like variation.", "BUFFY: Got it. Variety is the spice of bad.", "PHILIP: Mm. Philip has his arms crossed, staring at the meat. Steam rises as the meat cooks.", "BUFFY: So ... what's the secret ingredient?", "PHILIP: (not taking his eyes off the grill) It's a meat process.", "BUFFY: Well, what does that mean?", "PHILIP: It's a process, they do it to the meat.", "BUFFY: But, what *is* it?", "PHILIP: It's just the name of the process.", "BUFFY: (giving up) Oh. Yeah. The grill beeps. Philip picks up a metal spatula and gives it to Buffy.", "BUFFY: So, I ... guess we're gonna get ... kinda greasy, huh?", "PHILIP: Mm. Close shot on the grill as Buffy flips the burgers over.", "PHILIP: Skin ... hair ... eyelashes ... nostrils... Buffy makes a disgusted face.", "PHILIP: ...inside your ears... (looks at Buffy) You wanna look inside my ears?", "BUFFY: (very disgusted) No. No, that's okay.", "PHILIP: Once I noticed I couldn't hear and went to the doctor. He said it was grease ... that made a plug.", "BUFFY: (ew) Ohh.", "PHILIP: Mm. They gave me a kit. Kit for cleaning my ears. (smiling) It's got this little bulb mechanism.", "BUFFY: (fake smile) Imagine that. Philip laughs, and Buffy tries to laugh too.", "MANNY: (OS) Buffy?", "BUFFY: Yay! It's Manny! Relieved, she puts down her hat and goes over to Manny.", "MANNY: You're working a double shift.", "BUFFY: What? A...nother eight hours? Right after these eight hours? But that's ... (whining) so many hours.", "MANNY: You get paid for it. Plus an extra free DoubleMeat Medley.", "BUFFY: (pouting) What happened? Why the double shiftiness?", "MANNY: Gary didn't show. And now one of my grinder guys is late too.", "BUFFY: But they could still show up, right? I mean, they could be anywhere. Suddenly a huge bag of meat is slammed down onto the table beside Buffy. She makes a face. We see it was Timothy who just arrived with the meat.", "TIMOTHY: Your meat's here.", "Cut to: Xander's apartment. Xander sits on the sofa, talking on the phone.", "XANDER: Yeah, okay, bye. (hangs up, yells) Ahn, that was Buffy, she's working late, so I might have to go- yah! Xander turns to see a woman standing in the middle of the room. She wears a long cape over a purple blouse and gray pants. Her face is all mottled and veiny (like Anya's in episode \"The Wish\"). Smoke or mist surrounds her. She holds out her arms.", "HALFREK: (deep resonant voice) I have been called, and vengeance shall I wreak. (points at Xander) Cower, masculine one ... tremble as you face my wrath! Anya enters from the other room, holding pen and paper.", "ANYA: Xander, I'm starting to think that maybe we should do a pot-luck thing.", "XANDER: Honey? Anya turns to see where he's looking. She gasps.", "HALFREK: (resonant voice) Hello. I am here to tear this man apart. (Anya smiling happily) How many pieces do you wish?", "ANYA: Halfrek!", "HALFREK: (normal woman's voice) Anyanka? Oh my god! Both women squeal and giggle and hug.", "ANYA: How are you, how are you?", "XANDER: You two ... you know each other?", "ANYA: Funny, Halfrek, I didn't summon you to kill Xander, I called to invite you to our wedding.", "HALFREK: Y- Oh my ... what an embarrassing mistake! (Anya shows her the engagement ring) Oh my god, gorgeous! They continue giggling. Xander stands up slowly.", "XANDER: Wow, um, you two clearly have some catching up to do. So I'll, uh ... (gestures) I'll not be in the apartment. They watch him leave.", "ANYA: Gosh, it's swell to see you again, Hallie, I didn't mean to have you materialize all the way here, I mean, not-not till the ceremony, I mean.", "HALFREK: I guess I got the message garbled. (laughs) You know how it is, half the time I have no idea if I'm maiming the right guy. She giggles. Anya nods. They both look in the direction Xander went.", "HALFREK: So, um ... you're marrying that man with the large upper arms?", "ANYA: (smiling) Yes.", "HALFREK: Why?", "ANYA: Well, because I love him.", "HALFREK: Hmm.", "ANYA: Oh, we're gonna be very happy together.", "HALFREK: Hmm.", "ANYA: What?", "Cut to the restaurant. Buffy lowers a basket of uncooked french fries into the vat of hot oil. It begins to bubble and sizzle. Creepy horror-movie music. Buffy looks at another basket which is sitting above the oil. The oil underneath it bubbles wildly.", "TIMOTHY: (OS) It's boiling with nothing in it. Sometimes it does that. Shot of Timothy and Buffy standing side-by-side staring mesmerized at the boiling oil.", "TIMOTHY: They say bugs fall in there. (pause) Oh, I'm back. You can go on your break now. Buffy snaps out of it, turns to walk away. She catches sight of the window and stops. Reveal Spike walking past outside the window, looking in at her. He stops walking to look at her. Buffy takes off her cap and runs her hand through her hair, looking at Spike. Spike resumes walking.", "Cut to the alley. Buffy stands leaning her back against the wall as Spike stands pressed up against her with his hands on the wall beside her shoulders. Buffy has her hands on his upper arms. Spike is moving rhythmically against her (we see them only from the waist up). He moves his head as if to kiss her but she turns her face away. Spike continues to move as Buffy stares blankly off to the side. On the wall beside them hangs a poster with the word \"Teamwork.\"", "Cut to Willow's bedroom. Willow lies on her stomach on the bed, marking a book with a yellow highlighter. The door is open. We hear knocking.", "WILLOW: Come in. Amy appears in the doorway.", "AMY: It's me. Dawn said I could come up. Willow looks surprised. Amy comes into the room.", "AMY: So, is she pissed at you too, or just me? (Willow doesn't reply) What did you tell her about me? Willow stops highlighting, takes a few deep breaths before looking up at Amy.", "WILLOW: D'you want something? (fidgeting nervously with her pen)", "AMY: Um ... yeah ... actually. I mean, I, I don't, don't know if you wanted to keep it, or... Amy looks to her left. Shot of the cage she lived in when she was a rat.", "WILLOW: You want it? Really?", "AMY: Well, yeah, you know, I mean ... it's not much, but it's home. Or it was. I don't know, I guess it's stupid, but...", "WILLOW: No, i-it's not stupid. You can have it, of course. Amy pauses, then sits down on the bed beside Willow.", "AMY: Hey. So I hear you got this whole cold-turkey thing goin' on. (Willow nods) How's that going?", "WILLOW: It's good. It's really good. I mean, i-it was hard at first ... frustrating ... doing everything the slow way. It was like, 'is everything gonna take forever, forever?'", "AMY: (sympathetically) Yeah.", "WILLOW: (still fiddling with pen) But, uh, it's better now. I'm ... getting my focus back.", "AMY: Mm. I can see that. Amy indicates Willow's book. We see that Willow has highlighted all the text on the entire page.", "WILLOW: (defensively) It's a pivotal page. (sits up, closes book)", "AMY: So this is it, huh? This is ... gonna be your life from now on?", "WILLOW: What? (uncertainly) No.", "AMY: Well, you're never gonna do it again. Ever. (gets up) You're never gonna ... feel how it made you feel. Amy kneels to look at the rat cage.", "WILLOW: Don't think that's the way to look at it.", "AMY: Hey Will? It's your birthday. (stands up, picks up the cage)", "WILLOW: Um, no it isn't. But now that you mention it, Buffy's is coming...", "AMY: Potestas. (latin translation: \"power\" or \"you have the power.\") Blue light shoots from Amy to Willow. Willow gets up quickly. Her eyes are all-black with magic, and little streams of blue magic crackle around her hands.", "WILLOW: What? (looking at her hands) Amy just watches. Willow stares at her hands, turns and touches a vase on the bedside table. The vase peels away in sections like a flower. She touches a lamp on the table and it sparkles and then disappears.", "WILLOW: (alarmed) Amy...", "AMY: (smiling) It's a gift. It's magic ... and it didn't come from you. It came from me. Completely legal. (pause) Enjoy. Amy leaves, carrying the cage. Willow stands there panting and looking anxiously at her hands.", "Cut to: exterior shot of the DoubleMeat Palace, night.", "Cut to inside. Close shot of ground meat extruding out of a grinder. Spooky hypnotic music. Close shot of Buffy watching. Overhead shot of the grinder with blades rotating and moving chunks of meat around with them. Close shot of the hopper with the ground meat oozing out into it. Suddenly Buffy crouches down and digs around in the ground meat with her hands. She finds a severed human finger, picks it up and looks at it.", "Cut to Manny's office. He is hanging up a framed poster reading \"Dedication.\" Buffy rushes in holding the finger.", "BUFFY: Look! Look what I found under the meat grinder!", "MANNY: Oh my god.", "BUFFY: Wanna tell me what's going on?", "MANNY: I'm not sure.", "BUFFY: Try again.", "MANNY: (nervous) Well... there was an accident, maybe six weeks ago, a grinder incident.", "BUFFY: Right, but see, *this* isn't six weeks old. This, is new.", "MANNY: It is? Oh... well, maybe Gary did come in this morning, or, I don't know, late last night, maybe there was an accident. Got himself to the hospital.", "BUFFY: Right. Maybe he's in the hospital. (louder) Or maybe, he's in the grinder! Huh? Huh? Meat process, secret ingredient? Maybe, Gary's on the grill! Or maybe he's under the pickle chips! She turns and runs off.", "MANNY: Buffy. Buffy! He follows her.", "Cut to the kitchen. Buffy goes running through it and into the customer area.", "BUFFY: (yells) Stop! Stop! Everyone, you have to stop! Stop eating! She shoves a customer's tray so that it spills, grabs a burger from another customer's hand. We see the family from earlier. The little boys begin to cry as Buffy grabs their food away from them.", "BUFFY: No, you can't have this! It's not beef! It's people! She continues to run through the restaurant shoving customers' trays off their tables and similar.", "BUFFY: The DoubleMeat Medley is people! Manny and Timothy run over and grab her, begin hauling her back toward the kitchen.", "BUFFY: The meat layer is definitely people! It's people! It's people! Probably not the chickeny part. But who knows? Who! Knows! The people stare at her. The old woman from before pushes to the front, holding up a half-eaten pie.", "WIG LADY: What about the cherry pie? Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the same scene as Manny and Timothy have managed to wrestle Buffy back into the kitchen area. She shoves Timothy aside with one arm.", "MANNY: What are you doing? I thought you were part of the team! Buffy backhands Manny and he flies onto a counter, slides across it and onto the floor. Philip rushes Buffy and she shoves him back with slayer-strength. He flies across the room. Manny lies on the floor glaring up at Buffy.", "MANNY: You are fired. Buffy gives him an angry look and storms out.", "Cut to Xander's apartment. Halfrek and Anya are drinking tea from delicate china cups.", "HALFREK: Tell me more about Xander.", "ANYA: You keep asking about him. Do you think I'm making a mistake?", "HALFREK: Do you?", "ANYA: Well, no! Xander, he... (ponders) He's very kind, and brave ... he has the sweetest smile and the nicest body, and ... he loves me. I mean, sometimes it isn't easy, but, he does.", "HALFREK: Who told you that it isn't easy to love you?", "ANYA: Well, you know, I'll do something, or say something, and, and then he has to say stuff like, (imitating Xander) 'it's incorrect for you to appreciate money so much,' or, or, 'Observe: here is how a real human would behave.'", "HALFREK: Oh, so he corrects you?", "ANYA: Well, no, it's just ... um ... well, no, I mean, now I'm all confused, I mean, wha, do you think there's something wrong with, with the way he treats me?", "HALFREK: (shrugs) Do you?", "ANYA: Okay, you have to stop doing that. I love Xander.", "HALFREK: Even though he thinks he knows better than you?", "ANYA: B-but he doesn't, he doesn't think that.", "HALFREK: (quickly) Okay. I'm sorry. (small laugh) I was just curious. You know, you don't have to say another thing about it if you're not comfortable.", "ANYA: B-but I am! I mean ... it's not like I'm hiding any deficiencies or anything.", "HALFREK: Hmm.", "Cut to close-up of Xander's face. He holds a bunch of playing cards and is staring at them.", "XANDER: I have absolutely no threes. Go fish. Close shot on a table with a pile of cards. A hand reaches to take a card from the pile. A paper-wrapped bundle lands on the table beside the cards.", "Cut to wider shot and we see that we're in the magic shop. Buffy stands beside the table where Dawn and Xander are playing cards.", "BUFFY: (hands on hips) I call an emergency meeting, and this is it? Where's Willow? Where's Anya?", "DAWN: I-I couldn't find Willow. I knocked and knocked on her door.", "XANDER: And Anya's entertaining a vengeance demon named Hallie. Say Buff, did you ever see Anya as a demon? 'Cause if that's it ... whoa.", "BUFFY: There's something wrong at the DoubleMeat Palace. Really wrong. She turns and walks over toward the counter. Dawn gets up and follows.", "DAWN: Have you been demon-fighting? Is that why you smell funny?", "BUFFY: No! I'm talking about... Buffy pauses, sniffs her shirt, pulls some hair in front of her face and sniffs it, makes a face.", "BUFFY: Ucch. That's great. That's, that's just great. I try to do the simplest thing in the world, get an ordinary job in a well-lit place, and look, I'm right back where I started. Blood and death and funky smells. (fiddling with something on the counter) Look. Look what I found near the grinder. Close shot of the severed finger as Buffy removes some tissue paper that she had wrapped it in.", "DAWN: (very heartfelt) Ew. (pause) Whose is it?", "BUFFY: I don't know. It might be this guy named Gary, the only one in the whole place who didn't seem all brain-dead. He didn't show up this morning. Except now I think he was there the whole time. As the secret ingredient. We need to analyze that burger. We need to find out if it used to be people. Xander turns from the table in alarm. We see that his mouth is full of burger.", "XANDER: What?! Buffy and Dawn turn to look at him. The empty burger wrapper is on the table beside him.", "XANDER: (swallows) People?", "BUFFY: Xander, you ate the burger?!", "XANDER: (stands up, yells) Well, first you say it's cat, then you come in and hand me a burger, blah blah blah, five minutes later 'oh and by the way, it happens to be hot delicious human flesh'!", "BUFFY: I needed that burger to analyze it. Now I'm gonna have to get another one.", "XANDER: *That's* your problem with this scenario? You getting seconds? The door jingles as Willow rushes in.", "WILLOW: Late! Late, sorry, I ... I was reading for school, well, highlighting anyway. (quietly) Anyway, late.", "XANDER: Yeah, you just (deep breath, gesturing at the empty wrapper) missed the Gary burger.", "WILLOW: What are we doing? Let's jump right in. Did Xander say something about food? Willow goes to put her purse on the table. She touches a pencil that's sitting on the table and it goes limp (as if the pencil had turned into rubber). Willow quickly picks it up and shoves it into her purse to hide it.", "DAWN: You wouldn't want any. Apparently the DoubleMeat Medley is people. Xander belches and puts his hand over his mouth. Willow looks at the burger wrapper in disgust.", "WILLOW: Whoa. Bad.", "BUFFY: I bet it's not even just this one time. Or even this one town. There are DoubleMeat Palaces all over California.", "DAWN: (disgusted) I've eaten there a lot.", "BUFFY: Well, everyone has! They've got the perfect deal. Everyone expects high turnover of the employees, they get the meat for nothing, and ... (pauses) And they have us disposing of the bodies! How sick is that? (Xander still looking disgusted) We need to bring down the whole corporation. Will, Xander ate the burger, is there any way for sure to figure out what it was?", "WILLOW: Well, yeah, I can start analyzing it with science, not ... I can use science. (to Xander) You ate it? Xander puts up his hand as if to say 'I don't want to talk about it.'", "DAWN: Um, we have the wrapper. There's little scribbles of meat on the wrapper. (Willow nods)", "BUFFY: (picking up her jacket) Okay, good, you guys get working on that. It's after closing, so I'm gonna go there and see what I can find out. (leaves)", "WILLOW: (breathing heavily) Cool, you go. We'll be good. Willow looks a little shaky but she goes to the table and starts setting up. Dawn walks over.", "DAWN: Are you okay?", "WILLOW: I'm just worried about Buffy.", "Cut to exterior shot of the DoubleMeat Palace, all dark for the night.", "WILLOW VOICEOVER: She could be walking into anything.", "Cut to inside. Buffy walks slowly through the dark restaurant. She opens the door to the walk-in freezer and walks in, looking around. The door begins to swing shut behind her. She grabs it just before it locks her in. She leaves the freezer.", "Cut to the meat grinder. Buffy touches one of the blades, then looks at her fingers and sniffs them. She crouches down to look at the opening where the ground meat comes out. Metallic noise from behind. Buffy turns, frowns.", "BUFFY: Manny? She gets up, starts walking in that direction. Suddenly she falls down out of shot.", "BUFFY: (OS) Ohh. Manny? She stands up again, back into the shot, holding a shoe with a severed foot in it. The ankle stump is bloody. The shoes are the style Manny was wearing earlier. Buffy wrinkles her nose.", "BUFFY: Guess you really were a lifer.", "Cut to the magic shop. Dawn and Xander sit at the counter in background. In foreground we see Willow with a microscope and a bunch of test-tubes arrayed in front of her. Several of the test tubes hold yellow or orange liquid. Willow holds a beaker of green liquid.", "WILLOW: (whispers) Don't need magic. Don't need it. Don't need it. She pours the green liquid into some of the test tubes. Pan over to Dawn and Xander.", "DAWN: My friend Janice? Her sister's a lawyer.", "XANDER: You think I should sue over the burger? That's interesting.", "DAWN: No, I just mean... (sighs) Buffy's never gonna be a lawyer, or a doctor. Anything big.", "XANDER: She's a Slayer. She saves the whole world. That's way bigger.", "DAWN: But that means she's gonna have like crap jobs her entire life, right? Minimum wage stuff. I mean, I could still grow up to be anything. But for her ... this is it.", "XANDER: Okay, but maybe you'll be a lawyer or a doctor, and you can use all your money to support your deadbeat sister.", "DAWN: (sarcastic) Oh, that's terrifically better. Thanks.", "WILLOW: Hey, guys, I-I think I've got it. Xander and Dawn get up, walk toward Willow.", "XANDER: Good job, Will. Those aren't, like, potions, are they?", "WILLOW: No, no potions. It's not magic, it's chemistry. You can tell by how damn slow it is. Xander sits beside Willow as Dawn stands on her other side.", "WILLOW: I made a solution that reacts to the proteins in human blood. So we're pretty close to knowing for certain. Anya comes rushing in.", "ANYA: (panting) I'm here! I'm here.", "DAWN: We're doing chemistry.", "ANYA: Oh. So sorry I hurried.", "XANDER: Hey, did your friend have a good time? And then leave?", "ANYA: (sullen) She's gone.", "XANDER: So, Ahn, the way she looked, with ... the face... (nervous laugh) That wasn't what you used to look like, was it?", "ANYA: Is there something wrong with that? I mean, did you think she was unattractive?", "XANDER: Okay, is there any answer to that question that won't make you nuts?", "ANYA: Halfrek was always considered to be a great beauty.", "XANDER: Well, hon, she was a little... (Anya glaring) ...there was some veinyness.", "WILLOW: Hold this. (hands something to Xander) Okay. If the solution reacts to the proteins, then I'll be able to see it. (quickly) I mean, I'll be able to look through the microscope and, and then see it. (bends over the microscope)", "ANYA: (to Xander) It's not like you're so perfect either, what with your ... strangely large upper arms and your tendency to criticize.", "XANDER: Huh?", "DAWN: (to Willow) What do you see?", "WILLOW: There's no reaction.", "XANDER: Oh god, no! No reaction!", "WILLOW: Which means it's not human.", "XANDER: (upset) It's not human! (realizing) It's not human?", "ANYA: Well, is it demony? I mean, maybe someone's ... you know, killing demons and using them as a cheap source of meat. I mean, we've all heard of that. Dawn makes a very disgusted face to show that she hasn't heard of that until now.", "ANYA: And by the way, I'm opposed to using demon meat, no matter how much money it saves. (to Xander) Does that surprise you?", "XANDER: Again, I say 'huh?'", "WILLOW: (still looking in microscope) No, I'm not sure what I'm seeing. Cellulose? Shot of the slide on the microscope. Looks like a lot of brownish cells clinging together. Willow pulls back from the eyepiece.", "WILLOW: There's something weird here. Cut back to the DoubleMeat Palace. Buffy walks slowly through the kitchen, still holding the severed foot. She sees something on a table.", "BUFFY: Scalp? She puts the foot down on the table and stares at the thing.", "BUFFY: Wig! (picks it up) Wig lady?", "WIG LADY: (OS) Oh dear. Buffy turns to find the old lady standing behind her, bald.", "WIG LADY: Wig lady, is that what they call me? Buffy stares at her, frowning.", "WIG LADY: I don't care for that. (takes a few steps closer) I mean, I have to do something to hide this. A huge snake-like thing pushes its way out of the top of her bald head. Its eyes are her eyes, so it leaves her face eye-less and sagging. It has a round bald head and a toothy mouth with the eyes underneath the mouth. It extends to at least ten feet long, still connected to the old lady, and hovers in the air in front of Buffy's face. The face on the end of it squeals and suddenly squirts a mist at Buffy. Buffy tries to get away but finds she can't move.", "WIG LADY: It's paralyzing. Don't try to move, dear. You really can't, much. The snake-head thing continues to squeal and move toward Buffy as she tries to back away. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. The Wig Lady stands there with the snake creature protruding from her head. Buffy manages to break free and jump to the side as the creature strikes out at her.", "WIG LADY: The paralysis spreads upward, by the way. You may want to flail your arms a bit while you still can. Buffy is struggling away slowly, gripping the counter for support. The Wig Lady follows.", "WIG LADY: Did I tell you? You're my favorite. We get a close shot of her face clearly showing that she has no eyes. Buffy glances back, continues trying to get away.", "WIG LADY: DoubleMeat workers. You're all so full of DoubleMeat burgers, and you just slide down so smooth. Buffy reaches the end of the counter she's leaning on, falls to the floor and tries to push herself back up.", "WIG LADY: Oh, I just love the paralysis. It means I can eat you slowly. The snake-head is right up in Buffy's face. Suddenly she hits it with something and it flies aside, squealing. Buffy begins crawling along the floor, using mainly her arms.", "Cut to outside. Willow walks up to the front door and tries to open it, but it's locked. She puts her hands against the glass and peers inside. Cut back to inside. Buffy still pulling herself along the floor. Shot of the Wig Lady's feet walking toward her. Buffy reaches the other side of a metal table/counter and sits up beside it, using her hands to pull her paralyzed legs up beside her. She grunts, then looks alarmed and tries to be quiet.", "WIG LADY: I know you're under there. The snake head squeals. Buffy cringes.", "WILLOW: (OS) Buffy? Are you in there? Buffy looks around as Willow's voice seems to come from nowhere, sounding tinny.", "Cut to outside. Willow stands beside the drive-through ordering station, talking into the microphone.", "WILLOW: I can't see you inside. Cut back to inside. We see Buffy crouching behind a metal table with the Wig Lady on the other side. Buffy looks alarmed, begins to move again, pulling herself along the floor beside the metal counter.", "WILLOW: (OS) Buffy, if you're in there, the burger isn't people. Suddenly the snake head comes between the sections of the counter and faces Buffy, squealing. She gasps and ducks down to slither underneath the bottom shelf.", "Cut to outside. Willow is still talking.", "WILLOW: They aren't even meat, it's all processed vegetables. Isn't that weird?", "Cut to inside. Buffy pulls herself along underneath the tables/counters.", "WILLOW: Buffy, there's more. Something happened today ... i-it wasn't my fault. It was Amy's fault, but I feel so bad about it. Cut back to the kitchen. Buffy pokes her head out from under the table, looking around cautiously.", "WILLOW (O.S.): It was Amy's power, but, but it felt like I was doing everything myself. And I couldn't stop. And now it's gone and I feel kinda shaky and ... like I, I need it ... Buffy? Buffy looks around, doesn't see anything, begins to crawl out. Suddenly the Wig Lady appears, the snake head in Buffy's face again. She slides back underneath but the Wig Lady bends over and grabs Buffy's shoulders, hauls her out and onto her feet. Then the lady just stands there as the snake head begins to bite at the shoulder of Buffy's jacket. Buffy gasps in pain, reaches behind her trying to find something on the counter that she can use as a weapon, but she only manages to push some stuff off onto the floor. The Wig Lady grabs Buffy again.", "Cut to outside.", "WILLOW: (alarmed) Buffy, something fell. Cut back to inside. The Wig Lady shoves Buffy across the room. She bumps up against the meat grinder and her hand hits the red button. The grinder blades begin to whirl. The snake head still has hold of Buffy's shoulder and is biting her. Buffy seems completely paralyzed. Willow runs in.", "WILLOW: Buffy! The Wig Lady and the snake head both turn to look at Willow.", "WIG LADY: Visitors! How nice. The snake head spits its paralyzing liquid at Willow. She shrieks and jumps aside. The Wig Lady and snake head turn back to Buffy. It resumes biting Buffy. Suddenly Willow appears behind the Wig Lady.", "WILLOW: Missed me. She swings something, severing the snake body right above the Wig Lady's head. The snake mouth squeals and lets go of Buffy, leaving a bloody wound on her shoulder. Buffy falls to the floor. The Wig Lady groans and sways back and forth. We get a really nice disgusting shot of the severed stump on her head, oozing yellow liquid. The lady and the severed snake creature fall to the floor beside Buffy. The creature is still wriggling and squealing.", "WILLOW: Buffy! Buffy lifts her hand, holding a plastic butter knife. She stabs the snake with it. It continues to squeal. Willow runs over and grabs the snake creature, wrestles it up and throws it into the grinder. All seems quiet for an instant, then the snake head reappears over the edge of the grinder compartment, squealing. Willow screams and shoves it back down into the grinder. Squealing noises die away, accompanied by disgusting squishy noises. Willow leans down and helps Buffy up.", "WILLOW: Buffy, are you all right?", "BUFFY: Para...lyzed, but ... I think it's wearing off.", "WILLOW: (smiling) I did it! I killed it, Buffy, look! Shot of the inside of the grinder as the blades go round and round, chopping the gray-green creature into smaller bright green pieces with lots of yellowish blood. Very icky. Buffy and Willow look, then look over to the part where the ground meat comes out. Ground-up green snake-meat starts oozing out.", "BUFFY/WILLOW: Ewwwww.", "Cut to: next day. Bright sunny morning. Amy walks down the sidewalk and up the walk to the Summers house, rings the doorbell. Willow opens the door.", "AMY: (cheerful) Hey.", "WILLOW: (not moving aside) Amy.", "AMY: Can I come in? My new place isn't set up, and I wanted to borrow some stuff like detergent.", "WILLOW: You really can't.", "AMY: I can't borrow detergent? Well, when they start calling me 'stinky Amy,' I'm just gonna say, 'hey, not my fault...'", "WILLOW: I can't spend time with you anymore.", "AMY: What?", "WILLOW: You can't come in here again.", "AMY: What's up, y-you didn't like your birthday present?", "WILLOW: That's right.", "AMY: You're telling me that you didn't have a genuine blast? Come on, that was a sweet spell. That was like a trip to Disneyland without the lines.", "WILLOW: You don't get it. What you did to me was wrong. Do you have any idea how much harder that makes, just, everything?", "AMY: You know what I notice? You're not denying that you had fun.", "WILLOW: Shut up.", "AMY: Oh, yeah. Sharp argument you got there. Were you on the debate team? I forget. I forgot a lot while you were failing to make me be not a rat.", "WILLOW: Amy. If you really are my friend ... you better stay away from me. And if you really aren't... Beat.", "WILLOW: (meaningfully) ...you *better* stay away from me. Amy looks surprised, but she turns and leaves. Willow goes back inside, closes the door.", "Cut to: interior of the DoubleMeat Palace, employee lounge. Buffy walks in holding a bundle of folded clothing, walks over to the manager's office. We see a woman taking down Manny's \"Dedication\" poster. Buffy knocks on the door.", "LORRAINE: Yeah?", "BUFFY: Hi. Uh, you must be the new manager. I-I'm Buffy Summers.", "LORRAINE: I'm Lorraine Ross. They called me in when Manny did his disappearing act. You hear about that? Guy just disappeared.", "BUFFY: Yeah. I think ... I think that used to happen a lot around here.", "LORRAINE: Buffy Summers. I heard about you. Caused a big scene.", "BUFFY: Oh, yeah. Practical jokes not really right for the workplace. I so get that now. Anyway, I just wanted to return my uniform. (hands it over)", "LORRAINE: Oh. Most people don't even bother. Buffy starts to leave, pauses and turns back.", "BUFFY: The DoubleMeat Medley ... is vegetables?", "LORRAINE: How do you know that?", "BUFFY: So I guess it's true.", "LORRAINE: Um, close the door? (Buffy does) Have a seat. Lorraine sits at her desk and Buffy sits in the chair opposite.", "LORRAINE: It's a formed and texturized vegetable-based meat-like product, suitable for grinding. It's blended with large amounts of rendered beef fat for flavor.", "BUFFY: Wait, the secret ingredient in the beef is ... beef?", "LORRAINE: Buffy. You know something powerful here, do you understand that? The DoubleMeat reputation is built on a foundation of ... well, meat. You can't spread this around.", "BUFFY: I get that. (pauses to consider) It's a valuable secret, isn't it?", "LORRAINE: Is there something you want?", "BUFFY: I really need money.", "LORRAINE: You want money?", "BUFFY: No! Well, I mean, yes, but, but no, I ... well, I, I want to work. See, I-I have zero money coming in, and there are expenses, and by the time I interview for a new job and get hired and go through a training process, it... well, I'd ... I'd really like to not be fired anymore.", "LORRAINE: (small smile) Well, I don't want any more practical jokes. I mean it.", "BUFFY: I promise.", "LORRAINE: Well, I'm a little short-handed right now, and you're already trained ... (smiles) I think you can not be fired.", "BUFFY: (relieved) Thank you. That's, that's great. And I can do the job, I promise that too.", "LORRAINE: I certainly hope so. I don't like short-timers, Buffy. I like people who *want* to be here. Maybe you didn't take this job seriously before, but from now on? She points at the \"5 years\" pin on her uniform.", "LORRAINE: See this? I want you to be shooting for this from here on out. Buffy looks a little displeased by that, but resigned.", "BUFFY: Right. Here on out. She gives a small brave smile. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Warren tries to make his ex-girlfriend Katrina his sex slave using magic, but when she fights back, he kills her. Afraid of getting caught, he convinces Jonathan and Andrew to help him use a curse to make Buffy think that she killed Katrina." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously...", "The Scoobies in \"Bargaining.\"", "ANYA: I think we screwed it up.", "WILLOW: She's just ... disoriented from being tormented in some hell dimension. Buffy digging out of her grave. Spike in the DoubleMeat Palace.", "SPIKE: That the kind of demon you are?", "BUFFY: I don't know why you can hit me, but I am not a demon. Buffy and Willow confronting the Geek Trio in \"Gone.\"", "BUFFY: So you three have, what, banded together to be pains in my ass?", "WARREN: We're your arch-nemesises. Buffy and Dawn in the kitchen.", "BUFFY: Dawn, you need to eat something.", "DAWN: Thanks for your concern. Dawn leaving.", "WILLOW: Why is she taking it out on you? Willow and Tara talking.", "TARA: I don't think this is gonna work. Tara packing her stuff.", "WILLOW: Are you saying you're gonna leave me? Willow and Rack doing magic.", "BUFFY: Willow has a problem. Willow and Buffy in the bedroom.", "WILLOW: No more spells. I'm finished. Spike and Buffy in the abandoned house in \"Smashed\"", "SPIKE: I'm in love with you.", "BUFFY: You're in love with pain.", "SPIKE: You afraid I'm gonna- Buffy kissing Spike.", "SPIKE: Things have changed.", "BUFFY: The only thing that's different is that I'm disgusted with myself.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open in Spike's crypt. Sound of thumping. Pan across the neatly made bed. Sound of panting, more thumping. Sound of Buffy moaning. Pan across the various furniture in the crypt, candles burning on many surfaces, magazines scattered across the floor. Banging and moaning noises continue, sound of crashing and breaking. Pan across Spike's leather jacket and red duster lying on the floor. Moaning noises trail off to heavy breathing. Pan more and discover Buffy and Spike lying side-by-side on top of a pile of Oriental rugs, with another rug strategically draped over their bodies.", "BUFFY: (panting) Uh ... we missed the bed again.", "SPIKE: (looks toward the bed) Lucky for the bed. Buffy continues panting, lifts herself up on her elbows and looks at the rug covering her body.", "BUFFY: Is this a new rug?", "SPIKE: Mm...no. Just looks different when you're under it. Buffy laughs a little, then looks around.", "BUFFY: You know, this place is okay for a hole in the ground. You fixed it up.", "SPIKE: Well, I ate a decorator once. Maybe something stuck.", "BUFFY: I've been thinking about doing something to my room.", "SPIKE: (moving closer to her) Yeah?", "BUFFY: Yeah, I think the New Kids On The Block posters are starting to date me.", "SPIKE: (chuckles) Well, if you want, I can... Spike stops, looks at Buffy in surprise.", "SPIKE: Are we having a conversation?", "BUFFY: What? No! No. (pause) Maybe.", "SPIKE: Hmm.", "BUFFY: What?", "SPIKE: Well, isn't this usually the part where you ... kick me in the head and run out, virtue fluttering?", "BUFFY: That's the plan ... (embarrassed) ...soon as my legs start working. Spike grins, leans his forehead against Buffy's arm, then lifts his head and begins running his finger up and down her arm.", "SPIKE: (whispers) You were amazing.", "BUFFY: (softly) You got the job done yourself.", "SPIKE: I was just trying to keep up. The things you do ... (Buffy looks embarrassed. Spike smirks) ...the way you make it hurt in all the wrong places. I've never been with such an animal. Buffy gives a little gasp, jerks her arm away. Spike looks surprised.", "BUFFY: I'm not an animal.", "SPIKE: You wanna see the bite marks?", "BUFFY: You know, it's late, I-I should ... get home before Dawn goes to sleep. Buffy starts looking around under the rug. Spike sighs and lies back.", "SPIKE: And she's off. Buffy disappears completely underneath the rug.", "BUFFY: (muffled) Have you seen my underwear?", "SPIKE: (sighs) What is this to you? This thing we have.", "BUFFY: (muffled) We don't have a ... thing, we have ... this. (head reappears) That's all. She pulls herself up on her elbows again. Spike does the same.", "SPIKE: Do you even like me? Beat. Buffy stares at Spike. He just waits.", "BUFFY: (softly) Sometimes. (looks away)", "SPIKE: But you like what I do to you. Buffy still doesn't look at him. After a moment Spike turns and reaches for something behind him. Jingling noise. Buffy looks up, and her eyes widen. Spike holds up a pair of handcuffs.", "SPIKE: Do you trust me?", "BUFFY: Never.", "Cut to a basement somewhere. Jonathan and Andrew stand looking at a bunch of boxes on a table. Jonathan pulls out a record: \"Frampton Comes Alive!\" Andrew looks over, grabs the record away from Jonathan.", "ANDREW: How can I trust you not to touch my stuff? We see Warren in the background, sitting at a desk doing something.", "ANDREW: Actually living with supervillains was not part of the deal.", "JONATHAN: (looking in the boxes) We're on the lam, moron, it's not like we have a choice.", "ANDREW: This sucks. Couldn't we have at least gotten a lair with a view?", "JONATHAN: (removes his magic bone from a box) Stop whining! Get your sissy crap out of the way. Jonathan shoves a box onto the floor.", "ANDREW: Hey, quit it! Andrew grabs at Jonathan. Jonathan points his magic bone at Andrew and makes hand-gestures.", "ANDREW: Don't you curse me! (grabs for the bone)", "JONATHAN: Hey, my bone!", "ANDREW: Ow! They grapple, hitting each other and grunting. Warren hears the commotion and rolls his eyes.", "WARREN: Hey! The others stop fighting.", "WARREN: When you girls are done touching each other, the cerebral dampener's ready to be charged.", "ANDREW: Cool. Jonathan puts down his bone, and he and Andrew walk over to the desk. We see a golf-ball-sized silvery ball on the desk. Warren has put on a pair of red-tinted glasses. The other two put on similar glasses.", "JONATHAN: Got the thing?", "ANDREW: (takes out a plastic baggie) Musk gland of a Homja-Maleev demon. Andrew opens the bag and they all react to the smell, making faces.", "ANDREW: (strained) Fresh. He coughs, takes it out of the bag and hands it to Jonathan.", "JONATHAN: All right. Stand back. Warren gets up, and the other two move back a bit. Jonathan holds the musk gland in one hand, holds a vial in the other. He uses his teeth to remove the vial's cap, then spits it at Andrew. Close on Jonathan's hands as he sprinkles yellow powder from the vial onto the musk gland.", "JONATHAN: Doma voluntatem, libera cupidinem, erumpe, ignem, excita. Light suffuses the musk gland, then transforms it into a stream of light and smoke that shoots down to the silver ball, making it glow briefly. Jonathan's hand smokes slightly.", "JONATHAN: Okay ... ow! Warren reaches over and grabs the silver ball.", "WARREN: Gentlemen, the cerebral dampener ... is online. (removes his glasses) And with this baby, we can make any woman we desire our willing s*x slave. The others smile tentatively.", "WARREN: (grinning) I know just where to start. Wolf howl. Opening credits. Guest starring Danny Strong, Adam Busch, Tom Lenk, Amelinda Embry, and Amber Benson as Tara. Written by Steven S. DeKnight, directed by James A. Contner.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Interior of the DoubleMeat Palace, day. Buffy and coworker Gina are working the counter. Buffy hands a bag of food to a customer.", "BUFFY: Double meat is double sweet. Enjoy!", "CUSTOMER: Thank you. The customer takes the food and leaves as Gina gives Buffy a strange look.", "BUFFY: (defensive) Just something I'm trying. Tara comes up to the counter.", "TARA: Hey, sorry I'm late.", "BUFFY: Oh, time has no meaning here. Gina, I'm taking a break. Buffy takes her hat off, starts to move off. Tara gives Gina a fake smile and follows Buffy.", "Cut to the employee lounge. Close on the wall bearing motivational posters reading \"Dedication\" and \"Productivity.\" Pan over to Tara sitting in a chair at a long table. Behind her we see more posters: \"Cooperation\" and \"Motivation.\" Buffy comes over with a paper cup.", "TARA: I have this sudden urge to dedicate my productive cooperation. Buffy hands her the cup of soda.", "BUFFY: Well, if you close your eyes and repeatedly smash yourself in the head with frozen meat, it'll go away. (sits) Eventually. I'm hoping. Buffy fiddles with her hands nervously, rubbing her wrists.", "BUFFY: Thanks for coming by.", "TARA: (worried) Is it bad?", "BUFFY: I was sort of hoping you could tell me.", "TARA: I knew this was gonna happen. What did Willow do now? Did she ... she hurt anyone?", "BUFFY: Wha... uh, no, no, um... Ta-Tara, this isn't about Willow.", "TARA: I-I thought that's why you didn't want to meet at the house.", "BUFFY: Uh, sorry, it's, um ... Willow's fine, uh, she, she's been doing really well. You'd be proud of her.", "TARA: Good, that's ... that's good. (pause) So, so what do you want to talk about? Buffy continues rubbing her wrists.", "BUFFY: I-it's Spike. (Tara looking confused) He can hurt me. Close shot on Buffy's hands as she continues rubbing her wrists. Suddenly she realizes it, and quickly moves her hands under the table.", "BUFFY: Without his head exploding.", "TARA: Oh my god. Hi-his chip stopped working?", "BUFFY: No, it still works. Just not on me. (nervous) I-I need to know about the spell. The one that ... brought me back. I, I'd ask Willow, but...", "TARA: (getting it) You think it's you.", "BUFFY: I don't know. I feel ... different. There are things... She seems about to make a confession. Tara looks at her, waiting. Buffy chickens out.", "BUFFY: I-I think ... maybe ... I came back wrong.", "TARA: (firmly) No, Buffy, that's n-not ... no. You didn't.", "BUFFY: Can you check out the spell? Just see if there's something that ... Could you just check? Please?", "Cut to: exterior city street, night. The Geek Trio's van is parked at the edge of an alley.", "Cut to inside the van. Close shot on a video monitor showing snow. The snow clears, revealing a bar scene.", "JONATHAN: (OS) Right there! That's got it. We see Jonathan sitting in front of the monitor, wearing a headset.", "JONATHAN: Mad Dog Two to Mad Dog One. We see Andrew sitting beside Jonathan, also wearing a headset.", "ANDREW: I thought I was Mad Dog Two. Jonathan gives him a look, rolls his eyes.", "JONATHAN: Mad Dog *Three* to Mad Dog One.", "Cut to: interior of the restaurant. Warren stands by the door, wearing a suit and tie.", "JONATHAN VOICEOVER: (over earpiece) Signal's coming in strong and clear. Over.", "WARREN: (puts a hand to his ear) Roger that. Beginning preliminary sweep. Warren looks around; we can see the tiny earpiece in his ear. He fiddles with his tie. Close shot on the tie. In the middle of it we see a tiny camera.", "Cut to the van. The monitor shows the view jiggling a little as Warren fiddles with the tie. The other two geeks watch. Cut back to the restaurant. Warren puts hands in pockets and begins strolling around. The place is full of people, some sitting in booths, some sitting at the bar, talking, drinking, etc.", "WARREN: (quietly) Keep your potatoes peeled for the Slayer. I don't want any surprises.", "Cut to the van.", "ANDREW: We can really have anyone we want.", "JONATHAN: It's like candy.", "ANDREW: Juicy, pulsating candy.", "JONATHAN: Oh! Oh, the one with the neck! Put the whammy on the neck! The screen shows a variety of women sitting and walking.", "ANDREW: No! The redhead! I want the redhead! Cut back to the restaurant as the redhead walks past Warren.", "JONATHAN: (over earpiece) The redhead's too tall.", "ANDREW: (over earpiece) So get a step ladder. No, no, ow! Sounds of scuffling. Warren ignores them, looking around, spotting something. Long shot of Katrina (Warren's ex-girlfriend from \"I Was Made To Love You\") sitting at a table, drinking wine.", "ANDREW: (over earpiece) Get off of me!", "JONATHAN: (over earpiece) Take it back!", "WARREN: (smiling) Target acquired.", "Cut to the van. Jonathan has Andrew in a head-lock. They both stop and look at the monitor.", "JONATHAN: What?", "Cut to the restaurant.", "WARREN: Initiating contact. (begins walking forward)", "Cut to the van. The other two look at the monitor and see Katrina as Warren moves toward her.", "JONATHAN: The brunette?", "ANDREW: Oh, she's kinda cute -- (Jonathan tightens his hold) Ow! (looking up at the screen) Oh, no, go for the leather skirt! On the monitor, a girl in a leather skirt walks past Warren. We get a very close look at her cleavage.", "ANDREW: Oh, bazoombas! Cut back to the restaurant. Warren checks out the cleavage as the girl walks past him.", "ANDREW: (over earpiece) Go for the one with the bazoombas!", "JONATHAN: (over earpiece) Yeah, go for the one with the bazoombas. Warren continues looking at Katrina. In the earpiece, the other two begin chanting \"Bazoomba, bazoomba.\" Warren resumes walking toward Katrina. As he walks, he removes the earpiece and drops it into a martini glass on another table. It sizzles as it shorts out.", "Cut to the van. Andrew and Jonathan scream as their headsets fill with loud feedback. They let go of each other and grab at their ears. Cut back to the restaurant. Warren slides into the chair beside Katrina, who has her head turned away from him.", "WARREN: So how did you get so beautiful? Katrina laughs sarcastically.", "KATRINA: Okay, does that line usually work...? She turns and sees Warren, stops smiling.", "KATRINA: What the hell are you doing here?", "WARREN: It's nice to see you again too, Katrina.", "KATRINA: Yeah, it's the seeing you part that's throwing me here, Warren, because I thought I was pretty clear with the never wanting that to happen again.", "WARREN: Never's a long time, baby. Warren holds up a folded bill between his fingers, gesturing to the bartender.", "KATRINA: Apparently not long enough.", "WARREN: Oh, you're not still sore about that thing, are you? The bartender tries to refill Katrina's glass from the bottle of wine, but she puts her hand over the glass to stop him.", "KATRINA: What *thing* would that be exactly? What, the wind-up slut you tinkered together? Or when Little Miss Nuts and Bolts tried to choke me to death?", "WARREN: Okay, so I've made a few mistakes.", "KATRINA: No. No, I did. For ever lowering myself to be with a jerk like you. She gets up. Warren stands too, stopping her.", "WARREN: Don't say that.", "KATRINA: Well, what did you expect, to just ... waltz in here and sweep me off my feet with your cheesy lines and fancy suit?", "WARREN: No, I ju- I just thought ... we could talk. I thought maybe we could work things out.", "KATRINA: There's nothing to work out. What you did was sick. And just looking at you makes me want to vomit. (gathering up her purse)", "WARREN: (reaching into his jacket pocket) You sure about that? (puts on his red sunglasses)", "KATRINA: Yes, god yes, I'm sure. Warren reaches into another pocket, pulls out the Cerebral Dampener and opens his hand. The device flashes with red and yellow sparkly light, then quickly subsides. Katrina looks at it in surprise. Warren puts the device back into his pocket. Katrina looks at him with an odd expression.", "KATRINA: I love you, Master. Warren grins, takes off the sunglasses.", "WARREN: I love you, too, baby.", "Cut to: interior Summers house, night. Angle on the front door from the living room. Soft music. Buffy enters from outside.", "BUFFY: (calls) I'm home! Who wants to help scrape the grease off my... She puts down her jacket and looks into the living room, looks shocked.", "BUFFY: (horrified) Is there singing?!", "Cut to wider shot. Xander and Dawn are dancing in the middle of the room, while Anya and Willow sit on the sofa watching.", "BUFFY: Are we singing again?", "XANDER: Nope, just the dancing.", "ANYA: We're teaching Dawn perfectly synchronized dance steps for the wedding reception. Xander whirls Dawn around into a dip. She giggles delightedly.", "XANDER: (to Buffy) Wanna go for a spin?", "BUFFY: Uh, think I'm heading more towards an ungainly collapse. Buffy walks over to sit between Anya and Willow.", "WILLOW: Aw, rough day?", "BUFFY: Kinda.", "XANDER: You've been going at it too hard, Buffy. We hardly ever see you, what with slinging the double meat and pounding the big evil.", "ANYA: You are looking a little pounded. (Buffy looks insulted) Just around the eyes.", "WILLOW: Hey, we're thinking of heading to the Bronze later. Wanna come, get all unwindy?", "XANDER: Tall glasses of frosty relaxation on me. Nectar of the working man.", "BUFFY: No, thanks. I think I'll stay here with Dawn. (Sound of a car horn honking outside) Curl up on the couch with a big bowl of popcorn and- Dawn moves toward the door, picks up her jacket.", "BUFFY: ...listen to the cars honk? (to Dawn) Where are you going?", "DAWN: I'm ... sleeping over at Janice's?", "BUFFY: And I'm falling for that again because of the surprise lobotomy?", "WILLOW: It's okay, I checked it out. Janice's mom is picking her up.", "BUFFY: Oh.", "DAWN: I didn't think you'd care. You're never home, so... Buffy looks contrite, gets up and goes over to Dawn.", "BUFFY: I know. I'm sorry. You know, but I, I'm here now. All visible and everything. Couldn't you just stay at Janice's another night?", "DAWN: Her mom's cooking Mexican. She's gonna teach me how to make real tortillas. (softly) Not like I knew you'd be around. The horn honks again. Dawn grabs her stuff and leaves as Buffy stands there looking unhappy. The door closes, and Buffy turns to her friends, giving a small brave smile.", "BUFFY: Frosty nectar. Now please. Sound of a champagne cork popping.", "Cut to: close shot on Warren in the new geek lair. He holds up a glass that is being filled.", "WARREN: Thank you, baby. We see Katrina, now wearing a black-and-white french-maid outfit, filling Andrew's glass from the bottle of champagne. Warren sits nearby as the others are standing.", "KATRINA: My pleasure, Master.", "ANDREW: That is so cool. Katrina finishes filling Andrew's glass and steps back, staring ahead of her with a blank expression. We see Jonathan holding his own glass, toying with the Cerebral Dampener.", "JONATHAN: I really could've used one of these in high school.", "WARREN: Gentlemen? To crime. Warren holds up his glass. The others hold theirs up too. Katrina continues staring blankly.", "ANDREW/JONATHAN: Crime! They all drink. Andrew coughs and makes a face.", "ANDREW: Crime tastes funny.", "JONATHAN: Wow. (circling around Katrina, checking her out) I still think I would have gone with the bazoombas, but... Shot of Warren watching. Jonathan goes around behind Katrina and comes around the other side, next to Andrew.", "JONATHAN: ...wow.", "ANDREW: Yeah, she's ... really cute.", "WARREN: (offended) Cute? Warren jumps up, goes to Katrina's other side, staring at her.", "WARREN: Look at her, man! The (pointing) the shape of her lips. The smooth, silky skin. The way her nose- (goofy laugh) the way her nose crinkles when she laughs... (softly) She's perfect. Andrew and Jonathan look at each other and giggle nervously.", "JONATHAN: Yeah.", "ANDREW: She's totally hot.", "KATRINA: (still staring ahead blankly) So are you, Master.", "ANDREW: (surprised) You think so?", "KATRINA: Oh yes, Master. Andrew looks taken aback, but excited. Jonathan smiles nervously.", "JONATHAN: Okay ... so ... how do we ... you know.", "ANDREW: Who gets to...", "WARREN: I do. Warren walks around to the side of Katrina closer the other two, and drapes an arm over her shoulders.", "ANDREW: That's not fair.", "JONATHAN: Dude, you didn't call it.", "WARREN: Oh, I don't have to call it, Sparky. She's mine. But don't worry. (takes the champagne bottle from Katrina and gives it to Jonathan) You can play with her all you want ... after I'm done with her. The other two look uncomfortable as Warren and Katrina walk off. Jonathan and Andrew lift their glasses simultaneously and take another sip. Sound of a door closing. Andrew coughs from the champagne.", "Cut to another room. It's very red: red sheets on the bed, red lava lamp, red wall-coverings. Katrina shoves Warren across the room and pushes him up against the wall hard, begins kissing him passionately. He kisses her back.", "WARREN: I missed you so much. You never should have left me. (kiss) Say it.", "KATRINA: (mechanically) I never should have left you, Master. (more kissing)", "WARREN: Tell me you love me.", "KATRINA: I love you, Master. More kissing. Katrina keeps her eyes open and her same blank expression while kissing.", "WARREN: Again.", "KATRINA: I love you, Master. (more kissing)", "WARREN: I love you too, baby. (shrugs) Get on your knees.", "KATRINA: Yes, Warren. She kneels down, out of shot. Warren looks excited for a moment, then pauses.", "WARREN: Wait, what'd you just say? Shot of Katrina kneeling, looking up at him. Warren's hand is on the back of her head.", "KATRINA: I said yes, War- She pauses in mid-word, looks confused. Warren looks alarmed. Katrina looks at Warren's hand on her head, shoves it away, looks down at her outfit, looks outraged.", "KATRINA: What the f-", "Cut to the other room. Jonathan and Andrew are sparring with plastic light-up Star Wars lightsabers. In background, Warren flies into shot, falling to the floor as if pushed. Katrina comes up behind him, throwing her french-maid hat at him. The others stop and stare.", "KATRINA: (furious) What did you do to me?!", "WARREN: Get the Dampener! Jonathan and Andrew quickly drop their toys and rush around looking for the Dampener.", "KATRINA: Who the hell are you?", "ANDREW: Um, your masters?", "KATRINA: My what?!", "JONATHAN: Where'd you put it?!", "ANDREW: You had it last! Sound of the other two arguing continues as Warren stands up and Katrina confronts him.", "KATRINA: Are you kidding me?!", "WARREN: Get the Dampener!", "KATRINA: You were gonna share me with these two dorks?! (Warren putting on his red sunglasses)", "ANDREW: Hey! We're supervillains! Andrew and Jonathan rush over. Andrew wears his sunglasses and holds the Dampener.", "ANDREW: Call us \"Master!\" Andrew thrusts his hand out with the Dampener on his palm. Jonathan isn't wearing his sunglasses - he puts his hands quickly over his eyes.", "JONATHAN: Wait! The Dampener flashes briefly, weakly, and nothing. Katrina just stares at it.", "ANDREW: Aw, crap.", "JONATHAN: It's out of juice!", "KATRINA: (to Warren) Is that what you used on me?! Oh my god! First the skankbot and now this?! What is wrong with you! She shoves Warren in the chest.", "WARREN: I just, I wanted us to be together!", "KATRINA: There is no us, Warren! Get that through your big meaty head! I am not your girlfriend anymore!", "JONATHAN: She's your ex?", "ANDREW: Dude, that is messed up.", "KATRINA: Oh, you think? (walking toward the other two) You bunch of little boys, playing at being men. (yelling) Well, this is not some fantasy, it's not a game, you freaks! It's rape!", "JONATHAN: (stunned) What?", "ANDREW: No ... we didn't-", "KATRINA: (crying, and still angry) You're all sick. (points at Warren) And I'm going to make sure you get locked up for this. And then we'll see how you like getting raped. She turns to walk off.", "WARREN: Stop her! Andrew and Jonathan each grab an arm. Katrina fights back.", "KATRINA: Get off me! She elbows Andrew in the face, knees Jonathan in the groin. They both go down. Warren rushes over as Katrina starts up the stairs. He grabs her shoulder but she pushes him off. He grabs her again. She rakes her fingernails down his face, drawing blood. Warren yells in pain, but knocks Katrina down, grabs the champagne bottle and hits her over the head with it. She falls down on the stairs and stops moving. Warren steps back down onto the floor.", "WARREN: Charge the Cerebral Dampener. Jonathan comes over to look. Shot of Katrina's unmoving body lying across the stairs. Andrew comes up behind Jonathan and they both stare.", "JONATHAN: (shaking his head) Warren...", "WARREN: Charge the Dampener! Andrew ... get her up. Andrew goes past Warren and up the stairs to look at Katrina.", "WARREN: We'll give her another dose. (wiping his mouth with his sleeve) A strong one. Jonathan hasn't moved, still staring.", "WARREN: Everything's all right. Everything's ... gonna be all right. Close on Katrina's head as Andrew touches it and brings his hand away, covered in blood.", "ANDREW: I don't think so. He turns to look at the others.", "ANDREW: She's dead. Jonathan looks horrified. Close on Warren as it sinks in. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the same scene. Andrew sits on the stairs holding a Kleenex to his mouth.", "ANDREW: Oh god, oh god, oh god. We see Warren bending over Katrina, examining her.", "WARREN: Her neck. It just... (looks back at Jonathan)", "JONATHAN: (shaking his head) No, that's ... not... Warren stands, goes down the stairs to where Jonathan is.", "JONATHAN: This isn't happening.", "WARREN: I just, I gotta ... I gotta, lemme think. Andrew continues whimpering softly and saying \"oh god.\"", "JONATHAN: (tearful) What did you do? What the hell did you do?! Jonathan grabs Warren by his shirt, but Warren grabs Jonathan back and shoves him up against the wall.", "WARREN: *We* did this. Me, and Andrew, and you. It's on all of us.", "ANDREW: ...oh god oh god oh god...", "WARREN: Shut up! Andrew stops talking but begins to cry quietly.", "WARREN: (lets go of Jonathan) We, uh, we have to get ... we have to get r-rid of it.", "JONATHAN: How?", "WARREN: Uh, uh, may-maybe a spell. Can you teleport it out of here?", "JONATHAN: (looking at the body) No, she's ... (upset) It's too big.", "WARREN: Andrew. Andrew doesn't respond, still staring at the body.", "WARREN: Andrew!", "ANDREW: What?", "WARREN: Is there any ... thing that you can, uh, summon, something that... (winces, wipes his mouth) something that can devour that much?", "ANDREW: Maybe a Jarvlen Flesh Eater, but ... they're hard to control. It'd go for us, too.", "JONATHAN: (upset) Oh, well that's it, man. We're screwed.", "WARREN: No, we just have to stay calm.", "JONATHAN: Tell that to your girlfriend!", "WARREN: Ex-girlfriend!", "JONATHAN: It doesn't matter! There's a link. You knew her, so there's a link. You don't think Buffy'll be able to put that together? That's what she does, she'll figure it out!", "ANDREW: It was an accident. Maybe if we turn ourselves in-", "WARREN: No.", "JONATHAN: He's right. If we go to the police now-", "WARREN: I'm not going to jail.", "JONATHAN: We can't hide this! Sooner or later, the Slayer's gonna find out she's dead.", "WARREN: (rubbing his chin, thoughtfully) Well, then maybe it should be sooner.", "JONATHAN: Are you insane?", "WARREN: Listen to me.", "JONATHAN: No!", "WARREN: Listen! (more quietly) We have two problems. The body, and the Slayer. Well, what if there was a way that we could take care of them both ... with one big stone. Andrew stares at Warren, not getting it. Jonathan stares at Katrina. Warren nods, looks from one to the other.", "WILLOW VOICEOVER: What are they doing?", "Cut to the Bronze. Willow sits beside Buffy, staring in horror. Shot of Xander and Anya on the dance floor, swing-dancing. The music is retro swing-style. Xander and Anya are really into it, having fun.", "WILLOW: We're not going to have to do that at the wedding, are we? 'Cause there's this last thread of dignity I've been desperately clinging to.", "BUFFY: You're still doing okay, right?", "WILLOW: Yeah. You know. Some days are harder than the really hard days. It's easier like this, though, when I'm not alone.", "BUFFY: (contrite) I'm sorry I haven't been around that much.", "WILLOW: No, that's not -- it's okay. We know you've been all tied up. Buffy startles at this, looking guilty.", "BUFFY: What?", "WILLOW: With your job, and the slaying. Buffy nods, relieved. Xander and Anya come over.", "XANDER: Hey, I see sitting where there should be dancing.", "ANYA: Come share in the joy of our groove thang.", "WILLOW: And despite that, I succumb to the beat. (getting up)", "BUFFY: I think I'll catch the next Soul Train out.", "XANDER: You sure?", "BUFFY: Oh, yeah, you know, (holding up her empty plastic cup) glass all the way empty. More nectar required.", "XANDER: Cool, well, shimmy on out when you're done lubricating. Buffy smiles widely and watches the others go out onto the dance floor. They begin to dance, having lots of fun. Buffy's smile slowly fades and she looks pensive.", "Cut to Buffy walking over to the bar. She puts her empty cup on the bar and waits for the bartender a moment, then changes her mind, turns and walks away, leaving the cup behind. By the way, she is wearing a white sleeveless blouse and a short lacy black skirt. Buffy goes to the stairs and begins climbing toward the balcony. The swing music fades away to a slower, sad piece. The balcony is basically deserted. Buffy leans on the railing and looks down. Shot of the dance floor full of happy dancing people, including the Scoobies. Buffy watches them, with a sad smile.", "SPIKE: (O.S.) You see ... you try to be with them... Spike walks up behind Buffy.", "SPIKE: ...but you always end up in the dark ... (whispering in her ear) ...with me. He moves up right behind Buffy, looks where she's looking. Shot of the Scoobies from Buffy's POV.", "SPIKE: What would they think of you ... if they found out ... all the things you've done? He puts his hand on her bare shoulder and strokes slowly down her arm.", "SPIKE: If they knew ... who you really were? His hand moves down to her elbow and then farther down, out of shot. Close on Buffy's face.", "BUFFY: (whispers) Don't.", "SPIKE: Stop me. Close on Spike's hand as it travels down Buffy's thigh. Close on Buffy's face as she closes her eyes. Close on Spike's hand pulling her skirt up. Close on Buffy's face as she breathes heavily in pleasure. Close on Spike's face making a similar expression of pleasure and looking at Buffy's face. Close on Buffy's face still with her eyes closed. Wider shot of the two of them from the waist up. Spike gives a strong thrust and they both gasp slightly. Buffy still has her eyes closed. Spike leans in to look at her face.", "SPIKE: No ... don't close your eyes. She opens her eyes.", "SPIKE: Look at them. Shot of the Scoobies dancing on, oblivious.", "SPIKE: That's not your world. You belong in the shadows... with me. Close shot on Spike's face as he continues moving slowly and talking into Buffy's ear.", "SPIKE: Look at your friends ... and tell me ... you don't love getting away with this... (Buffy still watching her friends) ...right under their noses. Close on Buffy's face as she looks down at her friends.", "Cut to: street scene, day. Xander and Willow walking past the coffee-shop and toward the Magic Box. Xander groans and limps.", "XANDER: Oh! I think I pulled a jive muscle last night.", "WILLOW: (chuckles) The Funky Monkey claims another victim. They reach the door to the magic shop just as Tara comes out, holding a large magical book.", "WILLOW: (surprised) Tara. What are you doing here? I mean ... uh, it's okay for you to be here if you have things that ... you have to be here for.", "XANDER: Yeah, I'm gonna go bring Anya up to speed on that monkey situation. Xander gives Tara a friendly smile as he passes her. She smiles back briefly. Xander goes into the store.", "TARA: (to Willow) There's a monkey problem?", "WILLOW: Only if you don't stretch first. (looking at Tara's book) The Brekenkrieg Grimoire? Light reading?", "TARA: Uh, yeah, I was just...", "WILLOW: No, it's okay. I, I didn't expect you to stop doing magic just because ... You don't have to hide it. I'm not - I'm, I'm doing better. No spells for thirty-two days. (Tara smiles) I can even go to the magic shop now. As long as someone's with me at all times. But, uh, but it's better now, it really is. You know, if you were checking on me.", "TARA: No, I wouldn't ... I was just looking for Buffy.", "WILLOW: Oh. Well, I-I haven't seen her since last night. She's not around much these days. We kinda miss her.", "TARA: I'm sure she feels the same way. If you see her, c-can you tell her that I need to talk to her? It's important.", "WILLOW: Yeah. Of course I will.", "TARA: Thanks. Tara starts to walk off, pauses, turns back.", "TARA: Will? I'm ... I'm glad you're doing better. They look at each other. Tara gives a little smile, turns and walks away. Willow stands there looking sad. Cue slow sad music (\"Out Of This World\" by Bush).", "Cut to: graveyard, night. Buffy walks along, holding a stake. She wears a brown turtleneck sweater, a black jacket, and black leather gloves. When we die we go into the arms of those that remember us", "Cut to Spike's crypt. Spike stands with his shirt unbuttoned, smoking a cigarette and pouring a glass of blood. He takes a pinch of some herb from a jar and sprinkles it in the blood, picks up the glass. We are home now Spike pauses as if hearing, or sensing, something. He looks toward the door, smiles. Out of our heads", "Cut to exterior shot of the crypt. Buffy walks up. Out of our minds Out of this world", "Cut to inside. Spike walks over to the door, puts his hands on it and presses his body against it. Out of our time", "Cut to outside. Buffy stands right up next to the door, lifting her gloved hand to it. Are you drowning or waving I just want you to save me", "Cut to inside. Spike runs his hand up the door as if caressing it.", "Cut to outside. Buffy has her hand on the door in the same spot as Spike's. Should we try to get along Just try to get along", "Cut to inside. Spike is still pressed up against the door, eyes closed, and breathing faster with excitement. So we move Spike pulls the door open and walks out. We change by the speed of the choices that we make No sign of Buffy. Spike frowns, looks around. Pan across the assortment of gravestones. And the barriers are all self-made Spike frowns, sighs. That's so retrograde...", "Cut to another part of the graveyard. Buffy walks along, under trees. The music fades out.", "BUFFY: (to herself) Don't think about the evil bloodsucking fiend. Focus on anything but the evil bloodsucking fiend. Sound of a woman screaming. Buffy looks upward.", "BUFFY: Thank you! She breaks into a run.", "Cut to a nearby part of the forest. Long shot of a woman running, with two figures chasing. One appears to be wearing a robe, the other dressed in regular clothes. Buffy flies into the scene and tackles the figure in the robe. She falls to the ground and the other person is gone. Not escaped, just gone. Buffy looks around, stands up. She appears to be alone in the forest.", "BUFFY: Huh? Buffy looks around. No one in evidence. Whooshing noise, sound of whimpering. Buffy whirls around. A few yards away she sees Katrina lying on the ground, crying, hands over her ears. Her back is to Buffy. Buffy takes a few steps closer.", "BUFFY: It's okay. I'm going to get you out of here. Can, can you walk? Are you hurt? Whooshing noise. Buffy looks around. Katrina is gone. Sound of weird voices whispering.", "CREEPY VOICES: What did you do? What did you do? Buffy... Buffy... Buffy puts her hands over her ears, looking around anxiously.", "SPIKE: (OS) Ow! Whooshing noise. Suddenly Spike is lying on the ground in front of Buffy, his lip bleeding.", "SPIKE: Bloody hell, what'd you do that for?", "BUFFY: (confused) Spike? Whooshing noise. Buffy looks to her right just in time to see a demon in a blue robe attacking her. He hits her in the face.", "Cut to wider shot and we see that there are three demons. Two are attacking Buffy as the third is fighting with Spike right next to her. In foreground we see Katrina lying on the ground. Spike ducks a swing and grabs his demon around the waist. Buffy hits a demon in the face, then kicks him. Spike has his demon by the head and twists, breaking its neck. We see that Spike is in vamp-face.", "SPIKE: Buffy! Buffy turns from one demon to see the other behind her. He hits her in the face. Everything goes blurry. Whooshing noise. Scene change. Buffy looks around. She's standing in an empty clearing. Spike approaches, with no bloody lip.", "BUFFY: Spike. What's happening?", "SPIKE: So you thought you could just slip away, then? Vampire, remember? He walks up close to her as she frowns in confusion.", "SPIKE: I could feel you.", "Whooshing noise. Scene change: we're back in the demon fight again. Buffy blocks a punch, punches a demon and continues fighting him.", "Cut to wider shot. The second demon is on the ground near Katrina, but now gets up to attack Buffy. Buffy turns to punch the second demon. Whooshing noise. The scene changes again mid-punch and Buffy ends up punching Spike instead. We see Katrina running past. Spike lands on his butt in front of Buffy, his lip bleeding again.", "SPIKE: Ow! Bloody hell, what'd you do that for? Katrina goes past them, crying. She stops a few feet away and lies down on the ground still crying. Buffy stares in confusion. A patch of empty air begins to shimmer and the three demons appear, charging forward. Buffy turns and begins fighting two of them as Spike takes the third. Buffy punches one demon and he goes down next to Katrina, as Buffy continues fighting the other. The second demon gets up and Buffy swings at him. Whooshing noise. The scene changes again and Buffy ends up swinging at empty air. She looks around. Whooshing noise. Something hits Buffy in the face. Whooshing noise. Buffy holds an unconscious or dead demon in her arms. Whooshing noise. Close shot on a demon's face as he punches Buffy. Buffy's head goes back, blurry. Another scene change. There's a dead demon on the ground behind her. In front of her, Spike is fighting the third demon.", "SPIKE: Buffy! Buffy whirls around, takes a punch to the face, kicks and punches the second demon until he goes down. A hand grabs Buffy's shoulder and she whirls, still in fight mode, backhanding Katrina. We see Katrina go flying back and over the edge of a hill, falling to the ground and rolling down the hill. Buffy watches this in horror. Behind her Spike is still fighting the third demon. Buffy runs down the hill after Katrina. Spike is straddling the third demon and gives it what looks like a final punch. He starts to get up.", "SPIKE: Buffy! The demon grabs Spike's jacket and pulls him back down. Now the demon is straddling Spike and trying to punch him.", "SPIKE: Do you mind? Spike punches the demon so hard his fist goes through its chest and is visible underneath the back of its robe. The demon makes a face of extreme pain. Spike shoves it off him, gets up and rushes down the hill. At the bottom of the hill Buffy is kneeling beside Katrina, staring at her. Spike reaches the bottom and goes over to them.", "SPIKE: Buffy?", "BUFFY: She's dead. Shot of Katrina's lifeless body.", "BUFFY: I killed her. Spike frowns. Long shot of the three of them in tableau, seen through some tree branches. Shot of Katrina standing beside a tree, peering through its branches at the tableau. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the same scene. Buffy stares in shock at Katrina's corpse. Spike looks around nervously.", "SPIKE: We have to go.", "BUFFY: (to herself) What happened? (Shot of Katrina's dead body)", "SPIKE: There's nothing you can do now. We have to go before someone sees you.", "BUFFY: (whispering in horror) What did I do?", "SPIKE: We have to go, now! Spike grabs Buffy by the arms and drags her to her feet and away.", "Cut to another part of the forest. Spike is pulling Buffy by one arm. She is still in shock. They go around a tree and stop.", "SPIKE: All right. Listen to me. Buffy. (shakes her) Buffy!", "BUFFY: She's dead.", "SPIKE: It was an accident.", "BUFFY: I killed her.", "SPIKE: I'm gonna get you home.", "BUFFY: No!", "SPIKE: (firmly) I'm gonna get you home, and you're gonna crawl in your warm comfy bed and stay there! (softer) We're gonna sort this out. Trust me. Buffy stares at him in anguish.", "Cut to a view of this scene on a monitor. It beeps and zooms in closer, clearly showing the upset look on Buffy's face.", "WARREN: (O.S.) Two problems...", "Cut to a shot of Warren and Andrew as they sit side-by-side in the van looking at the monitors. The scratch marks on Warren's face are still evident. Warren makes a triumphant gesture.", "WARREN: ...one stone. The door opens. They both turn to look as Katrina climbs in and leans against the counter. There's a bruise on her cheek from where Buffy hit her, and her mascara is running down her face.", "WARREN: Nice job. She totally bought it.", "KATRINA: (sarcastic) Yeah. Katrina shimmers and transforms into Jonathan.", "JONATHAN: (sarcastic) Some of my best work.", "ANDREW: What happens now? We see that Jonathan has the mascara streaks and the bruise.", "JONATHAN: (bitterly) Well, the night's young. Gotta be some more girls we could kill.", "WARREN: We stick to the plan! Buffy thinks she killed Katrina. Well, it's her problem now.", "Cut to Buffy's bedroom. Buffy lies in bed, asleep but tossing and turning.", "CREEPY VOICES: (whispering) What did you do... Buffy... What did you do... Buffy turns over restlessly, lying on her side facing the edge of the bed.", "SPIKE: (O.S.) It's all right, luv. Spike appears behind her, sliding under the covers, naked. He moves up behind her. Buffy opens her eyes, frowns.", "SPIKE: Shh, it's all right. It'll be our little secret. Spike kisses her bare shoulder. Buffy turns to face him, grabs his head and kisses him passionately. She rolls him over so that she's on top of him.", "Cut to: Spike's crypt. Shot of Buffy's head and bare shoulders, sitting up, eyes closed in pleasure, moving rhythmically. She opens her eyes and looks down. Shot of Spike lying underneath her, on the bed, looking up at her with an expression of pleasure, with his hands stretched up above him. We can see Buffy's hands resting on his chest. Buffy continues to move on top of him, leans forward. She runs her hands up Spike's arms and we see that his wrists are handcuffed together above his head. Buffy slides her hands up to just below where the cuffs are. Shot of Buffy's face as she throws her head back in pleasure. Flash-cut to Buffy in the forest throwing a punch.", "Cut to Buffy in the forest straddling Katrina, holding Katrina's hands which are cuffed together. Buffy throws Katrina's hands down onto the ground above Katrina's head. Katrina lies underneath Buffy, looking up at her.", "BUFFY: Do you trust me? Katrina suddenly smiles. Then she makes an expression of pleasure and moans, but in Buffy's voice.", "Cut to Buffy and Spike in his crypt, lying on the floor under the rugs, moving fast, with Spike on top. Buffy moans in pleasure.", "Cut to Buffy in the graveyard punching Katrina.", "Cut to the head-shot of Buffy straddling Spike on his bed. She lifts her hand, holding a stake. Shot of Spike lying underneath her, his eyes closed as if sleeping. Buffy thrusts down with the stake.", "Cut to the forest. Buffy is straddling Katrina who lies with her eyes closed and the stake protruding from her stomach. Katrina's eyes pop open. But they are the bright blue color of Spike's eyes.", "Cut to Buffy in her own bed as she wakes up from this nightmare. She is still wearing the turtleneck and is lying on top of the bed-covers. She sits up, panting and looking around.", "Cut to Dawn's bedroom. Dawn lies in bed sleeping, with a teddy bear beside her. Buffy walks in, wearing a brown leather jacket over her turtleneck. She stands and looks at Dawn. Then sits on the bed beside her, puts a hand on Dawn's arm. Dawn slowly wakes up.", "BUFFY: Hey.", "DAWN: (sleepy) What time is it?", "BUFFY: It's late. I just wanted... Beat. Dawn frowns sleepily.", "BUFFY: I love you. You know that, right? Dawn looks alarmed, sits up.", "DAWN: What's wrong?", "BUFFY: I know I haven't been everything I should be ... everything Mom was... (Dawn still looking scared) ...but I love you. (tearful) I always will.", "DAWN: Why are you talking like this? Buffy?", "BUFFY: There was an accident. In the woods. A girl ... she was hurt. I hurt someone.", "DAWN: Oh my god. Is she all right?", "BUFFY: (almost crying) No. Dawn looks shocked.", "BUFFY: I'm sorry. Dawn hugs her.", "BUFFY: There's something I have to do. I have to tell what I did. I have to go to the police.", "DAWN: (pulls back from the hug) The police?", "BUFFY: Dawnie, I have to.", "DAWN: But ... what's going to happen?", "BUFFY: I don't know.", "DAWN: (upset) They'll take you away. Won't they.", "BUFFY: I'm sorry. (looks down)", "DAWN: No, you're not. (Buffy looking surprised) You're never here. You can't even stand to be around me.", "BUFFY: That is not true.", "DAWN: (almost crying) You don't want to be here with me. You didn't want to come back. I know that. You were happier where you were. (crying) You want to go away again.", "BUFFY: Dawn...", "DAWN: Then go! You're not really here anyway. Dawn gets out of bed and runs out. Buffy sits looking upset.", "Cut to: exterior police station, night. Cop cars parked out front, various officers going in and out. Pan across the building to an alley beside it. Buffy appears in the alley mouth, walking slowly.", "SPIKE: (O.S.) What do you think you're doing?", "BUFFY: (keeps walking) The right thing. For once. Spike hurries up behind her, grabs her by the shoulders and pulls her back into the alley. Buffy struggles. He spins her around and throws her to the ground.", "SPIKE: Sorry, luv. (Buffy getting up) Can't let you do that.", "BUFFY: I have to tell them what happened.", "SPIKE: Nothing happened.", "BUFFY: (surprised) I killed that girl.", "SPIKE: Demons in the woods? Time going wonky? They won't believe you.", "BUFFY: I'll show them.", "SPIKE: (coolly) Show them what? Buffy's expression turns to anger as she realizes what he's saying.", "BUFFY: What did you do?", "SPIKE: I took care of it.", "BUFFY: (very angry) What ... did you do?!", "SPIKE: (firmly) What I had to. I went back and I took care of it. It doesn't matter now. No one will ever find her.", "COP #1: (O.S.) Where'd they find her? Cut back to front of the police station. Two cops emerge and rush toward a car.", "COP #2: The river. She washed up half a mile from the cemetery. Cut back to the alley. Spike and Buffy have heard this. Spike rolls his eyes in disgust.", "SPIKE: Oh ... balls. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. The police car zooms past the alley mouth, lights flashing, siren wailing. Both Buffy and Spike speak with urgency.", "SPIKE: There still isn't anything to connect this to you.", "BUFFY: It doesn't matter.", "SPIKE: It wasn't your fault!", "BUFFY: I killed her!", "SPIKE: It was an accident. It just happened.", "BUFFY: Nothing just happens. Buffy starts to walk toward the alley mouth. Spike grabs her arm.", "SPIKE: You're not going in there.", "BUFFY: I have to do this. Just let me go.", "SPIKE: I can't. I love you.", "BUFFY: (upset) No, you don't.", "SPIKE: (harshly) You think I haven't tried not to? Buffy hauls off and punches him in the face. Spike goes flying back into a couple of garbage cans, against the wall of the next building.", "BUFFY: Try harder. She starts to leave again but Spike is suddenly behind her, in vamp-face. He grabs her and again throws her to the ground farther up the alley.", "SPIKE: You are not throwing your life away over this.", "BUFFY: It's not your choice.", "SPIKE: Why are you doing this to yourself?", "BUFFY: (tearful) A girl is dead because of me.", "SPIKE: And how many people are alive because of you? How many have you saved? One dead girl doesn't tip the scale.", "BUFFY: That's all it is to you, isn't it? Just another body!", "SPIKE: (sighing) Buffy- She attacks him. He blocks a couple of punches but then she gets in and hits him in the stomach.", "BUFFY: You can't understand why this is killing me, can you?", "SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back.", "SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl.", "BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over.", "BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.", "SPIKE: (slurred) You always hurt ... the one you love, pet. Buffy gets up, stares at him, looking dismayed.", "SPIKE: Buffy? She looks around, then her expression turns to determination. She starts to walk toward the mouth of the alley. Close on Spike lying on the ground as Buffy's legs move past him. He tries to reach for her but can't.", "SPIKE: Buffy...", "Cut to: interior police station. Buffy walks in, looks around. Various officers and other people walking around, sitting, etc. Buffy pauses, sees the front desk, walks toward it. We see the desk sergeant talking on the phone.", "DESK SERGEANT: (into phone) No, no statements. Not until I get confirmation.", "BUFFY: (timidly) Excuse me. I-I need to...", "DESK SERGEANT: Uh, I'll be with you in a sec. He pushes a button for another phone line.", "DESK SERGEANT: (into phone) Sunnydale PD. Yeah, the phone's ringing off the hook here. Buffy turns away, uncertain. She takes a few steps away, as we can still see the desk sergeant in the background.", "DESK SERGEANT: Listen, you got an ID on that body yet? (Buffy closes her eyes in pain) Yeah? Okay, shoot. Close on the cop as he grabs a pen and writes.", "DESK SERGEANT: Katrina ... Silber. S-i-l-b-e-r. Back to Buffy whose expression changes to a frown as the name triggers recognition.", "KATRINA VOICEOVER: Warren, just tell her to go away.", "WARREN VOICEOVER: I can't. Flashback to \"I was Made to Love You.\" Katrina and Warren stand in the doorway of the apartment while Buffy stands on the front step.", "KATRINA: You're keeping secrets from me. Other girls, and who knows what else!", "WARREN: Trina ... shut up. Flash to present.", "BUFFY: (to herself) Warren. Close on the desk sergeant.", "DESK SERGEANT: (into phone) Thanks. (hangs up) Now what's the problem, Miss... He trails off in confusion. Long shot of Buffy's back as she disappears through the door. The cop shrugs.", "Cut to: magic shop, day. Close on an open book showing a drawing of one of the demons from the forest.", "ANYA: (OS) Is this what you saw? We see Buffy sitting at the table. In background, we see Dawn sitting on the stairs that lead to the loft.", "BUFFY: Yeah, that's it. We see Xander and Willow sitting at the table as well, and Anya standing beside it.", "ANYA: Mm. The Rwasundi. Very rare. Um, its presence in our dimension causes a sort of ... localized temporal disturbance.", "BUFFY: So that's why time went all David Lynch?", "ANYA: Right. Uh, human perception is based on a linear chronology. Being exposed to the Rwasundi for more than a few seconds can cause, uh, vivid hallucinations. And a slight tingly scalp. (sits)", "WILLOW: So that's it. These things just made you think you killed her.", "XANDER: She was probably dead long before you stumbled across her.", "BUFFY: It wasn't the demons. It was Warren. He knew Katrina. He had something to do with it, I know it.", "WILLOW: How can you be sure?", "BUFFY: You always hurt the one you love. Buffy pauses, contemplating this.", "DAWN: (sullen, not looking at Buffy) Does this mean you're not going away? Buffy gets up and walks toward Dawn.", "BUFFY: Yeah. I'm not going anywhere. Dawn quickly gets to her feet and exits before Buffy can reach her. Buffy looks upset. She turns back to the Scoobies as the door to the back room closes behind Dawn.", "BUFFY: We need to find Warren, and the others. Whatever they've done, they're not gonna get away with it.", "Cut to the Geeks' new lair. They are gathered around a computer with Warren in the middle, working the keyboard.", "WARREN: We're gonna get away with it. (pointing at screen) \"Injuries consistent with a fall.\" Close on the screen. It reads in part:", "CONFIDENTIAL FILES", "Coroners Summary Report", "Ruling: SUICIDE", "Coroner: Willard Batts February 01, 2002 @ 0127 hrs. Victim sustained injuries consistent with a fall. Twenty-one year old Katrina Silber's death appears to have been caused by an accidental drowning or suicide. Cut back to shot of the three geeks looking at the screen.", "WARREN: The coroner's ruling it a suicide.", "JONATHAN: What about Buffy?", "WARREN: Well, it wasn't that hard messing her game up. If she figures it out ... we'll take care of her.", "ANDREW: We really got away with murder. Warren looks at Andrew, smirking. We see that the scratches on Warren's face are healing.", "ANDREW: That's ... kinda cool. Andrew grins a little. Jonathan looks at the other two, looks uncomfortable. Warren turns his smirk to Jonathan.", "JONATHAN: (weakly) Yeah. Cool.", "BUFFY VOICEOVER: Are you sure?", "Cut to Buffy's house, living room. Buffy sits on the coffee-table facing Tara, who sits on the sofa.", "TARA: I-I've double checked everything. (smiling) There's nothing wrong with you.", "BUFFY: Then why can Spike hurt me?", "TARA: Well, I said that there was nothing wrong with you, but ... you are different. Shifting you out of ... f-f-from where you were ... funneling your essence back into your body ... i-it, it altered you on a basic molecular level. Probably just enough to confuse the sensors or whatever in Spike's chip. But it's all just surfacey physical stuff. It wouldn't have any more effect than ... a bad sunburn. Buffy looks close to tears as she contemplates this.", "BUFFY: I didn't come back wrong?", "TARA: No, you're the same Buffy. (lightly) With a deep tropical cellular tan.", "BUFFY: You must have missed something. Will you check again?", "TARA: (concerned) Buffy, I-I promise, there's nothing wrong with you.", "BUFFY: There has to be! This just can't be me, it isn't me. (starting to cry) Why do I feel like this? Why do I let Spike do those things to me?", "TARA: You mean hit you. Buffy meets Tara's eyes, but only for a moment, then looks away. Tara frowns as she begins to get it.", "TARA: Oh. Longer shot of the two of them. Tara rubs her knees nervously.", "TARA: Oh, huh. Really.", "BUFFY: He's everything I hate. He's everything that ... I'm supposed to be against. But the only time that I ever feel anything is when ... Don't tell anyone, please.", "TARA: I won't.", "BUFFY: (crying) The way they would look at me ... I just couldn't...", "TARA: I won't tell anyone. I wouldn't do that.", "BUFFY: (whispers) Why can't I stop? Why do I keep letting him in?", "TARA: (concerned) Do you love him? Buffy just stares at her tearfully.", "TARA: I-It's okay if you do. He's done a lot of good, and, and he does love you. A-and Buffy, it's okay if you don't. You're going through a really hard time, and you're...", "BUFFY: (still tearful) What? Using him? What's okay about that?", "TARA: It's not that simple.", "BUFFY: It is! It's wrong. I'm wrong. Tell me that I'm wrong, please... Buffy starts to cry for real now.", "BUFFY: Please don't forgive me, please... (sobbing) Please don't... She slides off the table onto the floor, kneeling, putting her head in Tara's lap. Tara looks uncertain, puts her hands comfortingly on Buffy's head.", "BUFFY: (sobbing, muffled) Please don't forgive me... Tara strokes her hair gently as she continues crying. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "It's the day of Xander and Anya's wedding. Emotions are running high with Xander's disfunctional family clashing with Anya's demon friends. The ceremony is disrupted when an old man claiming to be the future Xander shows up." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously...", "Riley and Buffy in \"Into the Woods\"", "RILEY: They want me back, Buffy. The military.", "BUFFY: This is good-bye?", "RILEY: Unless you give me a reason to stay, I'm leaving tonight. Buffy walking away from Riley. Buffy running up to the helipad.", "BUFFY: Riley! Riley in the helicopter flying away as Buffy stands on the ground underneath. Spike and Buffy in the crypt.", "SPIKE: Are we having a conversation?", "BUFFY: What? No! ...Maybe. Xander and Anya in the magic shop.", "XANDER: We're getting married.", "BUFFY: Congratulations. Xander and Anya kissing. Buffy in the Double Meat Palace.", "BUFFY: Double meat is double sweet. Enjoy.", "DAWN: Hey Buffy!", "ANYA: We're here to support your subsistence-level employment. Bravo.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open on exterior shot of the Double Meat Palace, night.", "TODD VOICEOVER: You see, Buffy...", "Cut to inside. Close shot of the grill.", "TODD VOICEOVER: ...the thing you gotta learn about the Palace, and this takes a while... Pan over to where a scraper is scraping the grease from the top of the grill. A bucket of grease sits beside it. Todd, a young man about Buffy's age, is leaning against the wall nearby.", "TODD: ...is that job security all boils down to one simple thing. Reveal Buffy, doing the scraping. She looks over at Todd expectantly.", "TODD: Politics. Beat. Buffy resumes scraping.", "TODD: Now, I'm not a political animal, but you learn fast around here or it's wham! Hello glass ceiling. Buffy makes a face as she lifts a spatula-ful of grease. Todd tips the bucket so she can dump the grease into it. She resumes scraping.", "TODD: I mean, it's not like we work at Burger World, or the Happy Bun, where the power structure is simple. No, here at the Palace, you gotta keep your friends close, but your enemies? Closer. (Buffy nodding, rolling her eyes) It's like Machiavelli says. (Buffy looks confused) You know Machiavelli, right?", "BUFFY: Tall guy, bleached mullet, works day shifts?", "TODD: (laughs) I'm sorry. My bad. I keep forgetting you dropped out of college.", "BUFFY: I'm reapplying.", "TODD: (patronizing) Good luck with that. Well, gotta motor! (picks up a backpack) Don't wanna be late for night school.", "BUFFY: You go to night school?", "TODD: I'm working on my MBA. Think I wanna spend the rest of my life cleaning grease traps? (shakes head) Ooh, don't forget to lock up before you go, and the gum under the tables? Be sure to give it a good scrape before you leave.", "BUFFY: (sarcastic) May I?", "TODD: (leaving) See you tomorrow!", "BUFFY: (to herself) Yes, you will. And the day after that, (sighs) and the day after that, and the day after that...", "Cut to the graveyard, later. Buffy walks along holding a small paper bag with the Double Meat logo. She wears a long caramel-colored coat over her clothes.", "BUFFY: (sings) 'Get the double treat, that's the double sweet, oh it's hard to beat, when the meat meets-' Oh, why can't I get this stupid jingle out of my head? A vampire jumps out in front of her.", "VAMP: Least of your problems now, little girl.", "BUFFY: Wait. She turns to put the bag down carefully on a nearby headstone.", "VAMP: Ooookay.", "BUFFY: (turns back) Okay, let's do this. (points at him) Quickly. The vamp swings at her. She ducks, then punches him. He reels aside and kicks her. He grabs her by the upper arms and pulls her toward him, moving to bite her neck as she struggles to shove him away. Then the vampire pulls back, still holding her.", "VAMP: What's that smell? (sniffing) Geez, Slayer, is that you?", "BUFFY: I've been working!", "VAMP: Where, in a slaughterhouse?!", "BUFFY: (pouts) Double Meat Palace.", "VAMP: Ohhh. He lets go and backs away.", "VAMP: You know what? Let's just call it a night. (Buffy looking surprised) If it's all the same to you, and you've been eating that stuff, I'm not so sure I wanna bite you.", "BUFFY: You're dead! You smell like it! (vamp shrugging and nodding) How do you get to say I'm the one who's stinky? (pouting)", "VAMP: Really, it's, it's cool, I'll just catch you next time. A stake flies into the shot and into his heart. He groans and dusts. Buffy looks triumphant for a moment, then lowers her head to sniff herself. She makes a face, picks up her take-out bag and walks off. Wolf howl. Opening credits. Special Guest Star Marc Blucas. Guest starring Ivana Milicevic. Written and directed by Douglas Petrie.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on exterior of the Summers house, night. Buffy walks up the walkway holding her paper bag, sighing. She pauses right before the stairs.", "BUFFY: Oh, for pete's sake. Spike? She turns. Spike appears from behind a nearby tree.", "SPIKE: Ah, it's a fair cop, you caught me, Slayer. However, in all honesty, I think we have to say this one doesn't count. After all, I wasn't exactly hiding. (walks toward her)", "BUFFY: No, Spike.", "SPIKE: No? What kind of answer is that, you haven't even heard the question yet.", "BUFFY: I don't have to. We both know what you're thinking.", "SPIKE: (grins) And we both know ... that I'm not the only one thinking it. He puts his hand out as if to grab her coat collar, and leans in as if to kiss her. Buffy slaps his hand away.", "BUFFY: No! Not here.", "SPIKE: Why not? (pouting)", "BUFFY: Dawn. (looks toward the house) She's inside waiting for dinner, she's counting on me. I'm not letting her down by letting you in.", "SPIKE: So it's the fear of getting caught, then, is it?", "BUFFY: Reason number one on a very long list. (turns to go)", "SPIKE: Needn't be an obstacle. He takes her hand and pulls her toward the tree. Longer shot of the two of them moving along the side of the building.", "BUFFY: (sighs) Spike, I mean it. Come on.", "SPIKE: I hear you're serious. So am I. I want you ... you want me...", "Cut to a closer shot as Buffy has her back up against the tree and Spike is right in her face.", "SPIKE: ...I can't go inside, so ... maybe the time is right ... for you to come outside. Buffy sighs, looks at the house, then back at Spike. He slowly leans in to kiss her.", "Cut to a long shot again. They kiss, Buffy drops the paper bag on the ground, and Spike pulls her around so that the tree obscures them from our view.", "Cut to inside. Buffy comes into the kitchen, holding the paper bag and putting her other hand to her forehead. She stops and looks surprised.", "BUFFY: Dawn. We see Dawn by the refrigerator, looking in. She closes it and turns to Buffy.", "BUFFY: Hey, hi.", "DAWN: Rough night?", "BUFFY: The usual. I-I brought you dinner. Buffy hands the paper bag to Dawn across the kitchen island, which is otherwise bare. Buffy sits.", "DAWN: Oh, great. (opening bag) Oh. Dawn takes out a paper-wrapped sandwich and smiles bravely.", "BUFFY: I-I know it's not the most original these days, but ... I made it myself. I-I made hundreds, actually, but this is the, the very best one.", "DAWN: It ... looks kinda squished.", "BUFFY: Oh, well just, you know, just... (takes the sandwich and slaps it lightly a few times) give it a sec. (Dawn looking disgusted) Yeah, these babies really bounce back. Literally. She gives the sandwich back. Dawn looks at it, then at her.", "DAWN: Buffy ... it's not like I don't appreciate it, I do. It's just that ... (softly) I can't eat this stuff another night. I'm sorry.", "BUFFY: (fake cheer) Oh! No, it, it's all good. I get it. (taking the sandwich back) Tell you what, tomorrow night, I'll, uh, I'll bring home the fisherman's nuggets with cheese. Dawn looks less than thrilled. Willow enters.", "WILLOW: Hey, workin' lady. Rough night?", "BUFFY: Why does everybody keep asking me that?", "WILLOW: Uh, no reason, I just ... thought you were busy with the slayage 'cause of that grass stain. (pointing to Buffy's jacket) Buffy tries to look at the back of her jacket, looks upset, takes it off to look at it.", "DAWN: Some vamp get rough with you?", "BUFFY: (examining coat, muttering) He's not getting any gentler.", "WILLOW: He?", "BUFFY: (quickly) They. Them. You know. (Willow and Dawn looking at her) Vampires in the, in the ... general population sense. (looks at jacket, sighs) Now I'm gonna have to wash this.", "WILLOW: (smiling) Ready for a bold suggestion? (smiling at Dawn, then at Buffy) Blow it off! Dawnie and I are headed out to the Bronze.", "DAWN: Um, do I have your permission and wanna come along? (grinning) You like how I slipped in that permission request like that?", "WILLOW: Very smooth.", "BUFFY: You guys go.", "DAWN: Really?", "WILLOW: Buffy, are you sure? I-it might do you good to get away from the Double Meat lifestyle for a night. See your friends.", "DAWN: Who'd love to see you.", "BUFFY: I'm sure. I've seen enough action for one night. (to Dawn) Home by eleven?", "DAWN: (smiles) On the dot.", "BUFFY: Have a good time. Dawn smiles, and she and Willow exit. Buffy picks up the still-wrapped sandwich and stares at it.", "BUFFY: (to herself) Somebody should. She sighs, puts the sandwich back in the bag.", "Cut to the Bronze. Pan across various people drinking and dancing, bartender serving. Reveal Xander and Anya sitting at the bar eating chips from several bags. A notebook sits in front of them bearing the wedding seating chart.", "ANYA: See ... this seating chart makes no sense. We have to do it again. (Xander nodding) We can't do it again. You do it.", "XANDER: The seating chart's fine. Let's get back to the table arrangements. I'm starting to have dreams of gardenia bouquets. (winces) I am so glad my manly coworkers didn't just hear me say that. (eating chips)", "ANYA: Will you stop wolfing down those chips? One more bag and you'll pop right out of your cummerbund. She grabs the bag of chips away from him, looks in it and sticks her hand in. Xander looks upset.", "ANYA: You're not even hungry, you're just nervous.", "XANDER: (smacking the bar-top) Yeah! Wedding, one week! We have friends, family, demons flying in, a to-do list getting no shorter, and do NOT- (grabs the bag back) -take my chips. They stare at each other angrily. Dawn comes over, holding two plastic cups.", "DAWN: Hey guys! How's the soon-to-be-newlyweds? Nervous?", "ANYA/XANDER: No!", "DAWN: (dubious) Okay. I'll just be over here then. Dawn goes over to where Willow is fiddling with pool cues.", "DAWN: Your Arnold Palmer, milady. (gives Willow a drink)", "WILLOW: Thanks. So how are Mr. and Mrs. High-Strung?", "DAWN: I'm betting they explode.", "WILLOW: You know, when I was little, I used to spend hours imagining what my wedding to Xander would be like. And now I look at them... (shot of Anya and Xander at the bar) I just think... (mocking laugh) \"Nee-hee-hee!\"", "DAWN: (giggles) You're awfully chipper tonight.", "WILLOW: (smiling) Can't hide it.", "DAWN: Hmm. Big wedding coming up ... lots of date possibilities ... you and Tara are speaking again. You wanna call her? Invite her over?", "WILLOW: Oh, no. Too soon for so bold a maneuver. (smiles) But if I did call? She wouldn't hang up on me.", "DAWN: That's progress!", "WILLOW: (smiling) Hence the happy.", "Cut to: Buffy's basement. An old boom-box is playing a sad country song. Buffy is wearing an old t-shirt and has her coat on the ironing board, rubbing it with a rag. She pauses, looks at the grass stain, resumes rubbing.", "Cut to upstairs. Buffy is asleep on the sofa, with the coat covering her. It's daylight. Sound of a noisy truck engine from outside. Buffy slowly wakes up.", "BUFFY: Garbage! Uhh... She leaps up, pulling the jacket on.", "Cut to the street. The garbage truck is pulling away.", "BUFFY: (OS) Wait! Wait up, guys! The truck drives off, revealing Buffy behind it, running down the walk with a garbage bag in each hand.", "BUFFY: Wait! She stands there panting, watching the truck turn a corner.", "BUFFY: (whining) Don't you want your garbage? She sighs, pouts, turns and walks back toward the house.", "Cut to the kitchen. Buffy enters through the back door, holding a pile of mail. She begins looking through it. We see Dawn standing by the island.", "DAWN: Hey Buffy. Oh, don't forget, today's trash day.", "BUFFY: (sourly) Thanks. Dawn piles her books into her school bag. Buffy opens a letter. Close shot of the letter. Dear Ms. Summers, We are sorry to reject your application for re-admittance to UCSD. Our guidelines dictate that re-admission forms must be processed on or before January 15, 2002. If you have any questions, please feel free to call my office during regular business hours, Monday through Friday. Surrinda Blackmaster Assistant to the Dean", "BUFFY: (OS) 'Dear Ms. Summers, we are sorry to reject...'", "DAWN: What's that?", "BUFFY: (folding the letter) Nothing.", "DAWN: Huh. Bronze was fun last night. In a total home-by-eleven-ish way. You should have come.", "BUFFY: Well, next time. (looks at Dawn) Where are you going?", "DAWN: School?", "BUFFY: (duh) Oh. That's good. Uh, don't you want breakfast first?", "DAWN: Already made it. See you this afternoon? Unless you're working. (coming around the island toward Buffy) Tonight then. Or, you know, tomorrow's cool. Don't work too hard. Dawn kisses Buffy on the cheek. Buffy smiles.", "BUFFY: Bye. Dawn exits. Buffy looks at the kitchen sink, piled high with dirty dishes. She stops smiling, makes a face, sighs. Removes her jacket and turns to the sink.", "Cut to: close shot of the Double Meat grill with nine burgers cooking. A spatula flipping them over.", "TODD: (OS) And that's where even your best political minds can drop the ball. Reveal Buffy flipping the burgers, wearing the uniform, while Todd stands behind her eating one.", "TODD: Zeitgeist! You're not taking the pulse of the public, the next thing you know you're LBJ handing the house keys over to Nixon. (turns to his work) Heard back from your college yet?", "BUFFY: Yeah.", "TODD: All right. You know, we're out of special sauce.", "BUFFY: I'll get it.", "TODD: No no. Your turn up front. I'll deal back here. You take the customers. Buffy looks less than thrilled. She turns and walks off.", "Cut to the counter. Buffy walks up to the cash register.", "BUFFY: Welcome to the Double Meat Palace, how may I help... She pauses as she sees who it is. Reveal Riley, standing there dressed all in black with a bulletproof vest on.", "BUFFY: You. Closer shot on Riley. We see that he has a long scar running from his forehead across one eye and down his cheek. His expression is grim.", "RILEY: Hey.", "BUFFY: Huh? Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Same scene. Buffy stares up at Riley.", "BUFFY: Riley.", "RILEY: Sorry to just drop in on you like this, Buffy.", "BUFFY: It's you.", "RILEY: It's me.", "BUFFY: You're here.", "RILEY: I know.", "BUFFY: And ... were you always this tall?", "RILEY: (leans closer) Look, this isn't the way I wanted it. But something's come up, something big. We don't have much time. You understand?", "BUFFY: (nodding) Not a work you've said so far.", "RILEY: Right. I should have known, anticipated. You're working. Longer shot of the restaurant interior. There are a few customers waiting in line behind Riley. Buffy is the only person working the counter. Cut back to close shot.", "BUFFY: Well, just counter, not grill any more.", "RILEY: I want to explain, I just don't have time. I've been up for 48 hours straight tracking something bad, and now it's come to Sunnydale.", "BUFFY: My hat has a cow.", "RILEY: (sighs) I know that I'm putting you on the spot, showing up like this, but ... but you know, here we are. I need the best. I need you, Buffy. (Buffy staring at him) Can you help me? Todd appears, sticks his face next to Buffy's.", "TODD: Hellooo, Buffy? People are waiting. Buffy and Riley stare at each other, oblivious to Todd. Buffy takes off her Double Meat hat, puts it down, grabs a black coat from under the counter, and comes out from behind the counter to join Riley.", "TODD: Buffy, uh ... Buffy! Wait! Buffy! Buffy follows Riley out.", "Cut to the street. Buffy (wearing her black coat over her uniform) and Riley walk along.", "RILEY: Look, I'm sorry this is all so sudden. You know, if we get a minute, I'd really like to sit down... He stops as something on his belt begins to beep. He grabs it and looks at it.", "BUFFY: What is it?", "RILEY: Suvolte demon. Rare, lethal ... nearly extinct, but not nearly enough. (Buffy grinning) It's close. Buffy starts to laugh.", "RILEY: What?", "BUFFY: Sorry. It's just ... you still carry around all that James Bond stuff. Close shot on the device in Riley's hand. It looks like a flip-open cell phone except that instead of a digital display it has a red radar screen. Two large blinking red dots show the movement of the demon.", "BUFFY: It's so cute! I forgot. Riley puts the device away, gives Buffy a look.", "BUFFY: Sorry. (fake-military) Carry on.", "RILEY: (resumes walking) We've been tear-assing through every jungle from Paraguay up, taking out nests. As soon as we put one Suvolte down, a dozen take its place. They're breeders, Buffy. One turns into ten, ten becomes a hundred. This gets out of hand and there's a war with humans? Humans are gonna lose.", "BUFFY: So they're like really mean tribbles. (Riley gives her another look) Sorry, I've been dealing with these, these geeks, it's, it's a whole thing. Sound of demon growling. They both look up. The demon, which looks like a cross between a Teenage Mutant Ninja Turtle and the alien from \"Alien,\" is across the street knocking over some newspaper vending machines. People scream and run away.", "RILEY: You ready for this?", "BUFFY: Yes please. They both start forward. Riley holds up a badge.", "RILEY: (yelling) National Forestry Service, we got a wild bear! Everybody stand back! (pushes a pedestrian aside) Look out! People run away as Riley approaches the demon. It hits him, slashing his arm with a claw, and he reels back clutching his arm. Buffy jumps up onto the demon's back and it flings her off against a wall, then it retreats into an alley. A gun falls to the ground beside Buffy. She gets to her knees and picks it up. Riley comes over and grabs her arm to help her up. They look at each other. Buffy turns and heads toward the alley with Riley right behind. They walk cautiously down the alley, looking around. They reach a point where the alley widens.", "RILEY: Split. Buffy nods. They move off in different directions. Suddenly a garbage can flies into the shot, toward Riley, but he deflects it. Sound of the demon growling.", "BUFFY: Riley! Buffy tosses him the gun. He takes aim at the demon, shoots it. The gun shoots darts rather than bullets. The dart sticks in the demon's chest. It roars and flails its arms around. Buffy runs at it and one of its arms hits her. She reels back against Riley, who catches her. The demon leaps up to the roof of the building and is gone.", "RILEY: You all right?", "BUFFY: I'll feel better when we catch it. But it's too fast.", "RILEY: I wouldn't necessarily say that.", "Cut to the street. A very large SUV comes screeching around the corner. It is black, of course.", "Cut to inside. Riley is driving while Buffy sits in the passenger seat.", "BUFFY: Nice wheels.", "RILEY: Came with the car.", "BUFFY: (smiles) Know where we're goin'?", "RILEY: Got an idea. The tag's on-line. We'll find it. Shot of a GPS screen on the car's dashboard. It shows a blip for the demon and another one for the car.", "BUFFY: How's your arm?", "RILEY: It'll heal. How you doin'?", "BUFFY: Complicated question.", "RILEY: I just meant-", "BUFFY: I know.", "RILEY: I hear ya. Got some, uh ... big stories to tell you to. If we ever get half a second.", "BUFFY: Did you die?", "RILEY: No.", "BUFFY: I'm gonna win. Riley looks surprised. Buffy takes off her coat, revealing the bright red-and-white DoubleMeat uniform.", "RILEY: Here. (grabs something from behind the seat and gives it to her) No offense, but this is black ops, and you look like a pylon.", "BUFFY: (looks at it) Ninja wear?", "RILEY: Battle gear. Lightweight Kevlar, state of the art.", "BUFFY: What a surprise.", "RILEY: Boys like toys. Put it on, thank me later.", "BUFFY: (smiling) You won't look?", "RILEY: (staring at the road ahead) I'm a gentleman.", "BUFFY: Okay. (begins unfolding the clothes) So ... the black-ops life, it's workin' out for ya?", "RILEY: Don't suck.", "BUFFY: They got dental?", "RILEY: (smiles) Yeah, we're covered. Beat. They both look pensive.", "RILEY: You know, there's not many people I'd ask to risk their life for me, Buffy. It's really good to see you.", "BUFFY: Thanks.", "RILEY: You're welcome. And Buffy ... love the hair. Buffy smirks a little. Exterior shot of the car speeding down an otherwise empty highway.", "Cut to exterior shot of a different highway, this one covered with cars bumper-to-bumper, barely moving. Horns honking.", "ANYA VOICEOVER: I think we died in this car on the way to the airport, and now we're stuck in hell.", "Cut to the interior of Xander's car. Xander is driving while Anya sits in the passenger seat. Numerous bags of chips are on the dashboard.", "XANDER: The radio said no traffic. (reaching for chips)", "ANYA: It's a hell radio, of course it said that. We'll never get to the airport in time to pick up your stupid uncle.", "XANDER: It just gives my uncle Rory more time at the bar. Trust me, he'll be happy.", "ANYA: (mouth full) Great. So he can sleep off his drunken stupor on our newly re-upholstered couch.", "XANDER: He can't afford a hotel.", "ANYA: Why are you defending him?", "XANDER: I'm not. I hate my uncle. I hate my whole family. That's why I'm marrying you, to start a new family. Have children, make them hate us, then one day they'll get married, we'll sleep on their couch. It's the circle of life. (smiling)", "ANYA: Well, the Gnarals are teleporting in in twenty minutes. If I'm not there to greet them? Somebody's getting incinerated.", "XANDER: Why did we ever agree to have your friends, who are demons, and my family, who are monsters, stay at our place?", "ANYA: Well, I can only do so much, Xander. Planning this marriage is like staging the invasion of Normandy.", "XANDER: Without the laughs. We should have eloped.", "ANYA: No! I've been through too much planning this wedding, and it is *going* to happen. It is going to be our perfect, perfect day if I have to kill every one of our guests and half this town to do it.", "XANDER: Mm. (looks at her bag of chips) Cool Ranch?", "ANYA: Cajun Fiesta. Xander grabs the bag.", "Cut to Riley's SUV screeching to a halt on a side road. It's mostly rock, a few scraggly trees. Riley and Buffy get out, come around to the front of the car and start walking. Buffy is wearing the black \"ninja wear.\" Black long-sleeved turtleneck, black bulletproof vest, black pants, black tool-belt. Her hair is pulled back into a neat ponytail.", "BUFFY: End of the line? (Riley shrugs) I don't see our demon.", "RILEY: It's not here.", "BUFFY: Let me guess. They walk between some low stone buildings. Riley grins. They walk over to a fence and look down. We see that they're standing at the top of a huge dam. Far below, we can see the water. Rough uncut stone walls surround the platform at the bottom.", "BUFFY: Down we go?", "RILEY: Looks that way. (doing something with equipment)", "BUFFY: That's a big first step. So, Mr. Finn, got an extra jet-pack for a girl like me?", "RILEY: Sorry, fresh out of jet-packs. Looks like we'll have to share. Riley attaches one end of a rappelling line to the fence.", "RILEY: This test line's built for one, so if we go together, we're not hauling any gear. Just be you and me.", "BUFFY: I was never big on the hardware anyway.", "RILEY: You hold onto me?", "BUFFY: (flirty) If that's what it takes.", "RILEY: Come on. Riley lifts her up onto the fence. She looks into his eyes.", "BUFFY: Ready when you are, Agent Finn. She puts her arms around his shoulders and they start down. Long shot of the two of them descending along the side of the dam. They reach the bottom and stand on a stone platform with a low stone wall at the edge. Riley detaches the line from his belt. They both start looking around. They duck past a large pipe with a small trickle of water coming out. Past it, the stone ledge opens out into a wider space with a ladder at one wall. Riley walks past a door and the demon comes out of it, tackling him from behind. He throws it off and ducks a swing of its arm. Buffy attacks the demon and gets thrown aside. She leans against the stone wall and looks over her shoulder at Riley grappling with the demon. Buffy kicks back at the demon and gets it off Riley. He punches it, it hits him. Buffy kicks it again. It hits Riley and then Buffy, sending them both reeling back. Riley attacks again and gets hit in the stomach. He leans over in pain.", "BUFFY: Riley! Buffy grabs him and uses him as leverage to lift both feet off the ground and kick the demon back. It falls to the ground. Riley turns Buffy around and pushes her up against the wall. They both pant and stare deeply at each other. Behind them, another black-clad figure rappels down from above, landing on the stone floor nearby. It's a woman with long dark hair in a ponytail similar to Buffy's. She looks over at them.", "WOMAN: Hey. Buffy and Riley break out of their moment, look at her as she approaches.", "WOMAN: (to Riley) Hey there. (to Buffy) What exactly are you doing with my husband? Buffy stares at Riley in surprise. He looks a little embarrassed. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Same scene. Buffy stares at Riley.", "BUFFY: Husband? Riley nods. Buffy looks at the woman.", "BUFFY: Wife. The woman nods.", "BUFFY: And ... those aren't code names like Big Dog or Falcon or... (the others looking dubious) I didn't think so.", "RILEY: Buffy, meet Sam. Sam, Buffy.", "SAM: (sincerely) Pleasure.", "BUFFY: Demon. They all turn to see the demon behind Sam. It has gotten back up again. It snarls at them.", "SAM: (grins) Mine. Sam approaches the demon and grabs both of its arms, kicks it, takes one arm and hits it. Angle on Buffy and Riley watching, as fighting noises and demon growls continue off-screen.", "BUFFY: She's good.", "RILEY: She's a special one. (shot of Sam punching the demon furiously)", "BUFFY: How long have you been married?", "RILEY: Four months almost.", "BUFFY: Mazel tov. Any children?", "RILEY: Buffy, I meant to tell you. When the time was right. She caught up to us a hell of a lot faster than I would've guessed possible. She does that. (shot of Sam kicking and punching the demon)", "BUFFY: So, you-you guys do this often, you know, the whole ... husband-and-wife tag-team demon fighting thing?", "RILEY: Yeah, it's what brought us together. I almost feel sorry for the Suvolte. The demon hits Sam across the face and she goes down.", "RILEY: But not quite. Riley moves forward, picking up a taser(?) from the ground. He catches the demon's arm as it prepares to hit Sam, hits it in the stomach with the taser. Sam crouches on the ground, kicks the demon back. Buffy stands there looking pensive as the other two continue fighting the demon. The demon flings them both off and Buffy wakes up, rejoins the fight. Sam is holding the demon's arm and kicking it. Buffy grabs the demon by its head.", "BUFFY: Call this your wedding gift. She twists the head, snapping the demon's neck. It falls to the ground. Riley moves forward as if to stop her but sees it's too late. Sam looks shocked.", "BUFFY: (panting) So, guess that's mission accomplished. (turns away)", "RILEY: (kneels by the demon) She killed it.", "SAM: Oh, honey ... (putting a hand on his back, panting) That's okay.", "BUFFY: (turns back) Okay? Wait ... you guys have been tracking this thing as a couple for two days straight, and you ... did want it dead, right? Riley stands up again next to Sam. They look at each other nervously.", "BUFFY: Oh.", "SAM: Let me guess. Captain Can-Do over here (pointing her thumb at Riley) forgot to mention that this was a homing operation. (Riley looking embarrassed, getting something from his belt) But it's nice to finally meet you, by the way. Knife. Sam puts out her hand without looking, and Riley gives her a large knife. She kneels beside the demon.", "BUFFY: What is a homing operation?", "RILEY: It's my fault. I should have explained.", "BUFFY: That would have saved me some ... trouble. Sam slices open the demon's stomach with the knife. Thick yellow blood oozes out.", "SAM: Damn. Buffy makes a disgusted face. Sam stands up.", "SAM: We're too late. Finn ... how could you recruit the Slayer without filling her in on the objective?", "BUFFY: That'd be my question.", "SAM: (teasing) If we weren't under severe time constraints I'd seriously think about ripping you a new one.", "RILEY: (smirking) Stand down, soldier.", "BUFFY: He's your boss, too?", "SAM: (smirking) Oh, he wishes. We better regroup. Buffy, I hate to impose further, but ... you got a safe house?", "BUFFY: I, I have a house. I-I think it's safe. Sometimes you can't even leave. Buffy grins. The others look confused.", "RILEY: (to Sam) I know the way. (to Buffy) And I'll fill you in. On everything. Buffy nods.", "Cut to the Summers house, foyer, night. Buffy enters through the front door, followed by Sam and Riley.", "BUFFY: Sorry the place is such a mess. I haven't had a chance to give it a good cleaning. Reveal Dawn standing in the living-room doorway, arms folded.", "RILEY: Hey.", "DAWN: Agent Finn returns.", "RILEY: Dawn. Geez, look at you. I think you grew a foot and a half.", "DAWN: (sullen) A lot can happen in a year.", "RILEY: (chastised) Well, it's good to see you. Willow and Xander appear from the kitchen.", "XANDER: Hey, there's the man! Life taker, heartbreaker. (shakes Riley's hand) You know, figuratively speaking.", "RILEY: Xander, Sam. Willow...", "SAM: Hi. (all waving at each other)", "RILEY: Hi. (hugs Willow)", "WILLOW: We got your call.", "XANDER: We're here to help. Just like old times. Except, with you being all big with the married life.", "RILEY: Hear you're getting hitched yourself. Believe me, you're gonna love it. (Sam smiling at him)", "WILLOW: Congratulations, really, both of you. They all move into the living room. Buffy hangs back, and Willow goes to her.", "WILLOW: (softly) Just so you know? I'm prepared to hate this woman any way you want. (shot of Riley and Sam talking closely)", "BUFFY: Thanks, but no. I don't wanna seem all petty.", "WILLOW: Well, that's the beauty! You can't, but I can. Please. Let me carry the hate for the both of us. Another shot of the Finns. They are laughing together, touching each other lightly.", "BUFFY: Go nuts. Buffy and Willow exchange a nod, proceed into the living room. Dawn and Xander remain standing by the doorway. Dawn still has her arms crossed and her expression says that she is still mad at Riley.", "DAWN: So. What brings you back to town after you left suddenly with no word? Riley, Sam, Buffy, and Willow sit.", "RILEY: Sam and I have been tracking a Suvolte demon through Central America. Killing machine. Nearly mature.", "SAM: Yeah, three months old and growing fast.", "RILEY: These things start to kill the minute they're hatched. And leave a real clear trail.", "SAM: Yeah. Just follow the villages with nothing in them but body parts.", "RILEY: Uh ... Dawn, are you sure you wanna be around hearing all this?", "SAM: Oh, come on, Finn, she looks all grown-up to me. (to Buffy) That is, if it's all right with you.", "BUFFY: Uh, sure, yeah, it's fine.", "DAWN: So, this demon shredded your guys, and now you're looking for a little payback?", "SAM: (shakes head) No. It came here to the Hellmouth to, to spawn. (sighs) But we think it already hatched its eggs somewhere.", "RILEY: And the plan was to track it. Let the demon take us to its nest.", "DAWN: And ... now they're gonna hatch a bunch of ... baby demon things?", "SAM: Unless we stop it.", "BUFFY: Which means we have to find the nest, and fast, before Sunnydale turns into the Trouble Meat Palace. Beat. Everyone looks at Buffy.", "BUFFY: I wish I'd said something else.", "XANDER: Okay, so we track down the demon, find the nest, Mr. and Mrs. Finn here make with the killin', and everyone goes home happy. (sits on the sofa beside Sam) But seriously, married man. If forced to choose between a photographer and place settings-", "BUFFY: We can't track the demon. (they look at her) I killed it. (chipper) So! Who's hungry? We got, uh-", "DAWN: Ice cubes.", "BUFFY: All you can eat.", "SAM: Buffy? It's good that you killed the Suvolte before it killed us. (to Xander) Disposable cameras.", "XANDER: Di - wah?", "SAM: Yeah, you, you know, little plastic ones, ten bucks a pop. You arrange them like table settings, guests snap photos... Buffy looks at them. Close shot on Riley's hand resting on Sam's knee. She puts her own hand over Riley's, lacing their fingers together.", "SAM: ...breaks the ice, and when the wedding's over, you get to take home the pictures.", "XANDER: (grinning) I like it! Shot of Willow and Buffy. Buffy stares at the floor while Willow makes snide faces at Sam. Riley and Sam smile at Xander, turn back to Buffy. Willow makes an innocent face.", "BUFFY: So, demon eggs. Any timetable on when they're gonna hatch?", "RILEY: Hatching's not the problem.", "SAM: We think they're gonna be sold on the black market. There are some foreign military powers that would love to have their own Suvolte. You could never train it, but drop it on an urban population...", "RILEY: And it cleanses the area.", "DAWN: Is that a nice way of saying it kills people?", "SAM: Lots of 'em. Money's been exchanged. There's a dealer in town, calls himself the, The Doctor. Willow, you think you can help with a little locating spell?", "WILLOW: (quietly) I can't do the magicks.", "SAM: Oh, Riley says you're comin' on as one major-league Wicca.", "WILLOW: I got addicted. The way addicts do. Willow exits toward the kitchen. Sam looks upset.", "RILEY: Two teams. No civilians. I'll, uh ... I'll go out and look for our Doctor. You two find that nest.", "BUFFY: Me and Sam together?", "RILEY: You come across a Suvolte nest, you're gonna want backup.", "SAM: You know, I don't wanna be dragging down the Slayer. (to Buffy) You've got speed, and power I can't even-", "BUFFY: Let's go. Xander, are you okay to stay with Dawn?", "XANDER: Yeah.", "RILEY: I'll check out some bars. Willy's, some, uh, crypts that I know. Everyone gets up.", "Cut to the kitchen. Willow sits by the island looking pensive. Sam enters.", "SAM: Hey Willow. I'm sorry, I think I really ... stepped in it in there. (Willow not looking at her) You know, back in the jungle ... we had not one, but two hard-core shamans working for us ... they were working the dark magicks, and ... got addicted. And now they're gone. (Willow turns to look at her) Gone ... as in ... there's nothing left. I've never met anyone with enough strength to quit before. Willow continues looking at her, says nothing.", "SAM: I'm just saying. Sam turns and leaves. Willow watches her go, smiles a little.", "SAM VOICEOVER: Thanks for letting me tag along.", "Cut to the graveyard, night. Sam and Buffy walk along, still wearing their all-black outfits.", "BUFFY: No problem.", "SAM: Maybe not for you. I gotta tell you, Buffy, I'm a little bit intimidated. I mean, patrolling with the real live Slayer, you're like ... Santa Claus, or Buddha, or something.", "BUFFY: Fat and jolly?", "SAM: Legendary. And it's not just slayer status I'm talking about. It's you.", "BUFFY: Riley talks about me?", "SAM: He didn't say anything for a long time, but I could tell. He was ripped up inside.", "BUFFY: Good thing he has you.", "SAM: More like miraculous. I went down to Central America with the Peace Corps. One night, my entire infirmary got slaughtered by... (shakes her head) I didn't know what they were. I got saved, quit the Corps, joined the squad. My first firefight, I met Riley. (smiling) We started talking, you know, first about tactics, missions, stuff like that. And then about you.", "BUFFY: He thinks ... I let him go.", "SAM: (stops) Do you wish you hadn't.", "BUFFY: (softly) I wish things were different. I-I'm not trying to ... I don't ... uh, you know. (resumes walking)", "SAM: I didn't mean to put you on the spot, Buffy. There's no bad guys in this one. The only thing that could ... help Riley work it out was time. Lots of time. Took him a year to get over you.", "BUFFY: I'm glad he's over me.", "SAM: So, you seeing anyone new? Someone special?", "BUFFY: You know, I just take my time, you know, I don't ... I don't wanna jump right into anything, don't wanna ... you know ... be defined by who I'm with.", "SAM: Yeah, better no guy than the wrong guy, that's for sure.", "BUFFY: (suddenly) Sam. You know what? Um, I think we should split up.", "SAM: (upset) Oh, I'm slowing you down. I knew I would, this was just selfish of me.", "BUFFY: No, it's not, uh ... there's this guy, uh, an informant, but he's twitchy. I show up with company, and, and we get nothing.", "SAM: Cool. I'm guessing Finn needs me about now. (looking around) He's probably off somewhere gettin' his ass kicked. (grinning) You know how wild he gets. (backing away) Don't worry about Rye and me, we're good. Sam turns and walks off.", "BUFFY: (to herself) I noticed. Buffy walks off in the other direction.", "Cut to Spike's crypt. Spike sits on top of a coffin reading a book. The coffin is made up as a couch, has a blanket covering it and a throw-pillow on it. Sound of the door slamming open. Buffy strides in.", "SPIKE: Buffy. Hey now. (puts the book down, stands) If I'd-a known you were coming, I'd-a baked a cake. Buffy walks over to stand in front of him, pulling off her black gloves.", "BUFFY: I need information.", "SPIKE: Well, suppose I could be helpful. If the price is right. (Buffy putting gloves down) I'm not sure I'm selling out at Double Meat Palace wages, though.", "BUFFY: I need to find a guy. Dealer. Calls himself The Doctor.", "SPIKE: Human?", "BUFFY: His traffic isn't.", "SPIKE: Clock ticking?", "BUFFY: Whatever he's doing, he's doing it soon.", "SPIKE: (looking her up and down) Soon but not now? Beat. Buffy just looks at him.", "BUFFY: (quietly) Tell me you love me.", "SPIKE: (surprised) I love you. You know I do. She takes a couple of steps closer.", "BUFFY: Tell me you want me.", "SPIKE: (whispers) I always want you. In point of fact-", "BUFFY: Shut up. Buffy moves as if to kiss him, but instead she hooks her hand around his neck and pulls him down onto the coffin-couch. Buffy lies down on her back with Spike on top of her. She begins unbuttoning his shirt. Spike pulls at the fastenings on Buffy's bulletproof vest. She stares at his face, pushes the partially unbuttoned shirt down on his shoulders, then uses it to pull him down for a kiss.", "Fade to later. Buffy and Spike lie on the crypt sleeping with some blankets covering them, not touching each other. One of Buffy's bare legs is exposed. Sound of the door bursting open again. Spike stirs, lifts his head to look. Buffy looks too, gasps and sits up, holding a blanket over her breasts, pulling it over to cover her bare leg. Spike chuckles, props himself up on his elbows.", "SPIKE: Well, looky here. I don't usually use the word delicious... Shot of Riley standing there looking at them, large gun in hand.", "SPIKE: ...but I've gotta wager this little tableau must sting a bit, eh? Me and your former? Must kill. What can I say? Girl just needs a little monster in her man. Buffy stares at the ground looking upset.", "RILEY: That's not why I'm here ... Doctor. Buffy looks shocked, turns to stare at Spike, then back to stare at Riley. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Same scene. Buffy looks from one man to the other, still holding the blanket against her body.", "BUFFY: Oh god. She gets up. Spike sighs.", "SPIKE: Here I thought we'd run you out of town, mate. Buffy crouches down, scooping up her clothing, scowling at Spike. She goes off somewhere to get dressed.", "SPIKE: Last time I saw you, if memory serves, you were getting the juice sucked out of you by some undead ladies of very questionable reputation. Spike sits up on the coffin, naked with his knees pulled up and open. Riley averts his eyes.", "SPIKE: Now, be a good tin soldier and, uh... (makes a \"go-away\" gesture)", "RILEY: Where are they ... Doctor?", "SPIKE: Where are what, and why do you keep calling me that? (begins putting on pants)", "RILEY: Glad to be back in Sunnydale. The locals all speak English, and I know who to beat for information. It's all brought me here.", "SPIKE: Look, crew cut. (fastening his belt) She's not your bint any more. And if I can speak frankly, she always had a little thing for me, even when she was shagging you.", "RILEY: Nice. That's very distracting. (walks closer) Now tell me, before I get unprofessional... (pointing his gun at Spike) ...where are the eggs, Spike?", "SPIKE: Eggs? (scoffs) You're off your nut. It must be those drugs they were keeping you on. I did warn you.", "RILEY: Okay. We can do this the hard way, or we can do this the fatal way. Riley punches Spike in the face, just as Buffy reappears, fully dressed.", "RILEY: Where are the eggs?", "BUFFY: Look, the Doctor, it can't be Spike.", "SPIKE: No need to defend me, luv. Buffy punches him in the face as well.", "BUFFY: Look, i-it can't be, okay? He-he's too incompetent. (Spike glaring at her) It's just Spike, Riley.", "RILEY: Right. Deadly ... amoral ... (Spike smirking) opportunistic. (quietly) Or have you forgotten? Buffy glares, but has no answer to that. She turns away.", "RILEY: I'm taking this place apart until I find that nest.", "SPIKE: Over my dead body.", "RILEY: I've seen enough of your dead body for one night, thanks. Riley uses the barrel of his shotgun to shove Spike aside. As he passes, Spike grabs his shoulder.", "SPIKE: Well, you're not gonna- Riley shoves him back. Spike stumbles back against a pillar. Riley starts down the ladder to the underground part of the crypt.", "RILEY: (OS) You coming? Buffy looks up, looks at Spike. He stares back at her. She follows Riley.", "SPIKE: (angry) Oh, this is ... unconstitutional, is what it is! (grabbing a shirt, putting it on) Here!", "Cut to below. Riley and Buffy reach the ground.", "SPIKE: (OS) There's nothin' to see down there! Buffy hurries after Riley as he moves through the underground rooms.", "BUFFY: Riley, look, I'm not saying that he's good, okay, I'm just saying that he's not capable of something as- She stops as they round a corner and come upon the demon eggs. The eggs are about the size of beach-balls but brownish-grey and scaly. There are at least ten, possibly more. Riley cocks his gun. Closer shot of the eggs, surrounded by yellowish goo the same color as the demon's blood. Spike runs in, wearing the shirt (unbuttoned).", "SPIKE: I can explain.", "RILEY: We're gonna need more weapons. Spike screwed up. You didn't keep 'em frozen, did you ... Doctor?", "SPIKE: You can stop calling me that any time. If I may, the thing of it is, I'm holding these for a friend, who- Buffy punches him in the nose again. He falls down on his butt, his nose bloody.", "BUFFY: No more games. Spike gets to his feet, angry.", "SPIKE: Well, that's bloody funny coming from you! No more games? (Buffy rolling her eyes) That's all you've ever done is play me. You keep playing with rules you make up as you like. You know what I am. You've always known. You come to me all the same.", "RILEY: Can you shut him up?", "BUFFY: Not so far. Spike exits.", "RILEY: You better get outta here. Buffy backs away. Riley stands staring at the eggs. Suddenly one of the eggs bursts open and a baby demon pops out, screeching. It looks a bit like a crab or a very large cockroach.", "RILEY: On second thought, stick around. Riley tosses his gun to Buffy and pulls out the taser. More baby demons pop out of the eggs and move toward them, fast. Riley and Buffy back away.", "BUFFY: Riley, I-", "RILEY: Aim high, plenty of lead.", "BUFFY: I'm not exactly gun girl.", "RILEY: You wanna live, learn fast. Buffy fires the gun randomly. It hits a stack of LP records, shattering them. Another shot hits a pillow on the bed; feathers fly. A third shot destroys a lamp.", "BUFFY: These things? (uses the gun to club a demon as it flies at her) Never useful. She tosses the gun away. She and Riley look around. Several of the babies are scurrying across the ceiling.", "RILEY: We have to pull out. One demon falls onto Riley's shoulder. He grabs at it, pries it off. He and Buffy begin to run for the exit. The baby demons pursue. Buffy looks around. The baby demons are crawling across every bit of ceiling and wall. She runs for the ladder.", "Cut to above. Buffy emerges as Riley is lying on the floor just next to the opening to below.", "RILEY: We need a way to contain these things-", "BUFFY: Riley! Buffy grabs Riley's belt, detaches it. There are several grenades on it. She pulls the pin on one, and drops the entire belt down into the hole.", "RILEY: Get down! Buffy lies down on top of Riley, shielding him. Shot of the belt lying by the base of the ladder as the baby demons move around and past it. Wide shot of the underground part of the crypt as the grenades go off. Fire bursts across the cavern and engulfs the eggs. Wide shot of the above as a fireball shoots up from the opening, while Buffy and Riley lie on the floor cringing. The fire subsides and Buffy lifts her head. She and Riley are both panting. She lies fully on top of him.", "ANYA VOICEOVER: You know, if you love Riley Finn so much, maybe you should just marry him.", "Cut to close shot of Xander.", "XANDER: He's taken. And that's not the point.", "Cut to wider shot. We see Xander sitting on the edge of the bathtub and Anya sitting beside him on the closed toilet. Faint sounds of angry voices in background.", "ANYA: So you think that their marriage is better than ours, is that it?", "XANDER: No! But granted, I have a hard time imagining Nick and Nora Fury hiding out from their own relatives in the bathroom. Sound of crashing and banging from outside. They both look toward the door in alarm.", "XANDER: (sighs) And I have no idea what Riley and Mrs. Riley's wedding was like.", "ANYA: Well, you haven't shut up about them.", "XANDER: Well, they have a great marriage! And it bummed Buffy out, but I can see it. And Anya ... I really have no clue what their wedding was like.", "ANYA: So our wedding... (Xander nodding) ...is not our marriage. (smiles)", "XANDER: Separate things. One fills me with a dread akin to public speaking engagements.", "ANYA: And that would be the wedding.", "XANDER: Which will be over soon.", "ANYA: But our marriage...", "XANDER: That lasts forever. Anya smiles, looking relieved.", "ANYA: Ah, well. That works out nicely, then. She leans over to kiss Xander. Another loud crash from the apartment. They both listen, looking unperturbed.", "Cut to: exterior of the magic shop, night. Buffy and Riley emerge onto the street, walk along the sidewalk.", "BUFFY: So, are you and Sam headed back to Central America? Or, is that classified?", "RILEY: Nepal.", "BUFFY: Sounds fun.", "RILEY: I'll send you a postcard. They both stop walking and speak at the same time.", "RILEY: Buffy-", "BUFFY: Riley-", "RILEY: By mission parameters I'm done here. But I have authorization to take the Doctor out. (pause) Do you want me to do that?", "BUFFY: (shocked) Do I want you to... (looks away) How can you ask me ... I'm sleeping with hi-him. (carefully) I'm sleeping with Spike.", "RILEY: I had actually noticed that.", "BUFFY: And then you come back ... and did you wait until your life was absolutely perfect and then send that demon here so you could throw it in my face?", "RILEY: Look ... you think this was easy for me?", "BUFFY: Yeah! I think it was a rollicking adventure, fun for the whole family.", "RILEY: I was terrified about seeing you again.", "BUFFY: Well, I'm sure my incredible patheticness softened the blow for you. Riley looks annoyed, fidgets a bit.", "RILEY: I don't know what you're talking about.", "BUFFY: Riley, please don't patronize-", "RILEY: Hey! You want me to say that I liked seeing you in bed with that idiot? Or that blinding orange is your very best color? Or that that ... burger smell is appealing?", "BUFFY: (upset) You smelled the smell?", "RILEY: Buffy, none of that means anything. It doesn't touch you. You're still the first woman I ever loved ... and the strongest woman I've ever known. And I'm not advertising this to the missus ... but you're still quite the hottie.", "BUFFY: You know, it goes away after many bathings.", "RILEY: (laughs) This isn't about who's on top. I know how lucky I am right now. I love my work, and I love my wife.", "BUFFY: I know. And I kinda love her too.", "RILEY: So you're not in the greatest place right now. And maybe I made it worse. BUFFY: No.", "RILEY: Wheel never stops turning, Buffy. You're up, you're down ... it doesn't change what you are. And you are a hell of a woman.", "BUFFY: (deep breath) Riley, that night... (Riley just looking at her) I never got the chance ... to tell you ... how sorry I was. About what happened between us.", "RILEY: And you never have to. The door to the magic shop opens again and Sam and Xander emerge, followed by Dawn and Willow.", "SAM: Well, the wedding itself was held in a military chopper just before a hairy night drop into hostile territory.", "XANDER: Huh! And just curious, what's a chopper rental run these days? Riley and Buffy exchange an amused look.", "SAM: Oh, well, actually, we commandeered it from a local guerilla squad, so ... cheap!", "XANDER: Oh!", "SAM: Yeah. The others join Riley and Buffy where they're standing.", "SAM: (to Willow) You have my email, you promise you'll keep in touch?", "WILLOW: You won't get traced? I don't wanna lead the bad guys to your location by mistake. Sam and Riley smile at each other.", "SAM: Our line's secure.", "WILLOW: (smiling) Oh, huh, duh, of course it is! I keep thinking of you like regular people, but no, you're not.", "SAM: Oh, right, like demon-hunting is all exotic to a girl from Sunnydale. Dawn confronts Riley as we see Sam hugging Willow and Xander in background.", "DAWN: So you gonna say goodbye this time, or just ... split all secret-agenty like last time? (sound of a helicopter)", "RILEY: Depends. I warrant a hug? Dawn doesn't smile, but she steps forward and hugs Riley. Then he pulls back to look at her face.", "RILEY: Goodbye, Dawn.", "DAWN: I thought it would suck less this time. It doesn't. Riley smiles fondly at her.", "SAM: It was really nice meeting you all. (taps Riley on the shoulder, moves away) You ready for Nepal, agent?", "RILEY: (to Xander) Soldier. Riley follows Sam onto the street. The helicopter noise is louder and we see its lights shining on the group. Riley and Sam move a bit away from the others.", "RILEY: (to Sam) Fire-fights, bug hunts, big body counts ... yeah, I could use a break. A thin wire drops down from the copter. Riley attaches it to his belt. He and Sam put their arms around each other, and Riley tugs on the line to signal the copter. Long shot of the two of them rising into the air as the others stand watching. Buffy stands a little ways off from the others. Willow waves.", "WILLOW: Bye!", "XANDER: Bye! Bye Riley! Bye Sam! The helicopter moves away with Riley and Sam still dangling from it. Angle on the others watching. Dawn and Xander turn and walk off left, out of shot. Willow moves right, over to Buffy, still waving.", "WILLOW: What a bitch. Willow turns and follows Xander and Dawn away. Buffy watches her go, then looks back up at the departing helicopter, pensive.", "Fade to Spike's crypt. Spike stands there looking at the mess. His furniture and possessions, bits of demon, all scattered around everywhere, burnt and charred. He nudges a bit of rubble with his foot, sighs, stares at the floor. Buffy appears, stops a little ways off. Spike doesn't look at her.", "SPIKE: So she's back. Thought you'd be off snogging with soldier-boy.", "BUFFY: He's gone.", "SPIKE: (looks at her) So, you come for a bit of cold comfort? (sighs, gestures) The bed's a bit blown up, but then, that was never our-", "BUFFY: I'm not here to- She breaks off. Spike just looks at her.", "BUFFY: And I'm not here to bust your chops about your stupid scheme, either. That's just you. I should have remembered.", "SPIKE: So this is worse then, is it, this is you telling me-", "BUFFY: It's over.", "SPIKE: (smiles, moves closer to her) I've memorized this tune, luv. Think I have the sheet music. Doesn't change what you want.", "BUFFY: I know that. (pauses) I do want you. (Spike looking surprised) Being with you ... makes things ... simpler. For a little while.", "SPIKE: I don't call five hours straight a little while.", "BUFFY: I'm using you. He stares at her.", "BUFFY: I can't love you. I'm just ... being weak, and selfish...", "SPIKE: (moves even closer) Really not complaining here.", "BUFFY: ...and it's killing me. Spike frowns.", "BUFFY: I have to be strong about this. He continues staring at her.", "BUFFY: I'm sorry ... William. She turns and walks off, leaving Spike looking stricken.", "Cut to above. Buffy walks out of the crypt into sunlight. Blackout." ]

[ "Before Xander and Anya's wedding, Xander's future self suddenly appears, and warns him that his marriage to Anya will be the beginning of a life of disgrace and pain. Xander is shown flashes of the future, convincing him to call it off, but later it is discovered it is only a demon taking revenge on Anyanka from her demon days. Nevertheless, the wedding doesn't go ahead and Anya and Xander break up." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously:", "Buffy in ninja-wear busting into Spike's crypt.", "SPIKE: Buffy. If I'd-a known you were coming, I'd-a baked a cake.", "BUFFY: Tell me you love me.", "SPIKE: I love you.", "BUFFY: Tell me you want me.", "SPIKE: I always want you. Buffy and Spike lying on the coffin, kissing. Xander and Anya in the magic shop.", "XANDER: Anya, you wanna marry me?", "ANYA: Yes. Xander and Anya announcing their engagement.", "XANDER: We're getting married.", "BUFFY: Congratulations. Xander and Anya in the Bronze.", "XANDER: Wedding. One week. We have friends, family, demons flying in, a to-do list getting no shorter. Tara in the bedroom.", "TARA: Can, can we not do this now? Willow crying.", "TARA: I don't think this is gonna work.", "WILLOW: Are you saying you're gonna leave me? Tara packing her things. Dawn and Willow in the Bronze.", "DAWN: Big wedding coming up ... you and Tara are speaking again. You wanna call her? Invite her over? WILLOW: Oh, no. Too soon for so bold a maneuver. Buffy and Spike in the crypt.", "BUFFY: It's over.", "SPIKE: I've memorized this tune, luv.", "BUFFY: I'm using you. And it's killing me. I'm sorry, William. Buffy walking away from Spike. Dawn and Halfrek in the guidance counselor office.", "HALFREK: I know there's been a lot of loss.", "DAWN: People have a tendency to go away, and sometimes I wish I could just make them stop. Dawn closing the door to the Summers house. Halfrek standing on the porch.", "HALFREK: Wish granted.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open on close shot of Buffy's and Willow's faces, in a room, staring at something offscreen. Outside the window, lightning flashes and thunder rumbles.", "WILLOW: (horrified) Buffy, it's hideous. Oh my god, Buffy. Look at its arms!", "BUFFY: (nods bravely) I know. But it's my duty.", "Cut to a longer shot. We see both Buffy and Willow reflected in the full-length mirror in Buffy's bedroom. They both wear extremely ugly dresses of some shiny teal fabric. Buffy's dress has short sleeves and Willow's has elbow-length sleeves. There are ruffles on all the sleeves and on the skirts from knee to floor. Each dress also has a large green flower over the heart. Buffy's hair is up in a bun and a large white flower is attached to one side of her head.", "BUFFY: I'm ... Buffy the bridesmaid. (flash of lightning, clap of thunder)", "WILLOW: (disgusted) Duty-schmuty. I'm supposed to be best man. Shouldn't I be all ... Marlene Dietrich-y in a dashing tuxedo number?", "BUFFY: No.", "WILLOW: Oh. (pouts)", "BUFFY: That would be totally unfair. We must share equally in the cosmic joke that is bridesmaids-dom. Buffy groans and sits down on the bed.", "WILLOW: (whining) Well, maybe ... if I ask Anya, I can still go with the traditional ... blood larva and burlap. (Buffy putting on earrings) I mean, she was a, a vengeance demon for like a thousand years, she would know all the most flattering ... larvae. (makes a face) What was she thinking?", "BUFFY: I think she's probably too stressed to be thinking right now. What with Xander's relatives and her ... demons.", "WILLOW: Oh my god, last night, that rehearsal dinner. That was like a, a zoo without the table manners. And I bet it got worse after we left.", "BUFFY: I just can't believe everyone bought that story about Anya's people being circus folk. Did you see the guy with the tentacles? What's he supposed to be? Inky the Squid Boy?", "WILLOW: And Xander's family. I haven't seen them that bad since my bat mitzvah. Ugh, did you see how much they drank?", "BUFFY: Kinda. Mr. Harris threw up in my purse. Willow makes a sympathetic face. Anya appears in the doorway, wearing a bathrobe. She sees the other two, gasps and puts her hands to her mouth.", "ANYA: Oh! Buffy and Willow exchange a look, unsure whether Anya is delighted or horrified.", "ANYA: Ohh. (sighs) You guys look so beautiful! She walks over and hugs them both at the same time.", "ANYA: This is the happiest day of my whole life! Lightning flashes again. Across Anya's back, Willow and Buffy exchange another look. Willow looks annoyed, Buffy tolerant.", "XANDER VOICEOVER: You seen my cuff-links, Uncle Rory?", "Cut to Xander's apartment. Xander stands near the kitchen nook, wearing a tuxedo shirt (only partially buttoned) and black pants. We see an older man in a purple bathrobe, red boxers, and no shirt, fiddling with the coffee machine.", "XANDER: Little metal deals, hold my sleeves together? (holds up his hands so we can see the open cuffs)", "UNCLE RORY: Ah, you don't want those. What you really want is Velcro. Did I ever tell you how that was my idea?", "KRELVIN: 'Scuse me, coming through. A demon (Krelvin) goes by, patting Xander on the back. He is almost normal-looking except for his extremely warty face. Uncle Rory opens a drawer and pokes around. In background we see a large middle-aged woman (Cousin Carol) pouring cereal into a bowl for a little girl (Karen).", "KRELVIN: (to Xander) Hey.", "XANDER: Hey!", "KRELVIN: How you doin'?", "XANDER: Good. Krelvin proceeds toward the refrigerator. Closer shot of Cousin Carol and Karen staring. Krelvin opens the fridge.", "XANDER: Rory? Whatcha doin' there?", "UNCLE RORY: (bending over, fiddling with the coffee machine) Well, I'm trying to make myself an Irish coffee, but this stupid thing is on the fritz.", "XANDER: Yeah, uh, watch it, it's still plugged in. Suddenly Uncle Rory straightens up and begins to shake as if he's electrocuting. Xander lunges forward to unplug the coffee machine. Uncle Rory stops shaking.", "UNCLE RORY: Gotcha. Xander rolls his eyes, exasperated. Little Karen takes a hit from an asthma inhaler.", "KRELVIN: (closing fridge) Oh, is, is that broken? You want me to take a look at that?", "UNCLE RORY: Knock yourself out there, Kevin. (moves the coffee maker to the edge of the counter)", "KRELVIN: Uh, it's, uh, Krelvin.", "UNCLE RORY: Right, right. Krelvin. The door opens and two more middle-aged people enter, dressed for rainy weather. The woman (Xander's Mom, Jessica Harris) has on a long coat, and a scarf tied around her head. The man (Xander's Dad, Anthony Harris) wears a tuxedo with a raincoat over it.", "MRS. HARRIS: Whoo! (waving at everyone)", "MR. HARRIS: (tapping his watch) Xander, you're not ready yet? (Xander rolling his eyes)", "MRS. HARRIS: Look at my hair. (looking at her reflection in a compact) Of course, I suppose it doesn't really matter, 'cause I won't actually be in any of the pictures.", "XANDER: (exasperated) You'll be in the pictures, Mom.", "KRELVIN: I think your hair looks lovely. (resumes examining the coffee machine)", "MRS. HARRIS: Oh. Xander's Dad looks annoyed.", "XANDER: Hey, hey, how's about some breakfast? (Uncle Rory walks by, gives Xander's Dad a coffee mug)", "MRS. HARRIS: Oh, well, I guess if I'm a little plump it doesn't matter, since I won't really be-", "XANDER: You'll be in the pictures, Mom!", "MR. HARRIS: (gestures with coffee cup toward Krelvin) That's one of hers, right? (to Krelvin) Hey. You're one of hers, right?", "XANDER: You met Krelvin already, Dad. Last night.", "KRELVIN: Yeah. Yeah, uh, we met. You, uh, you said I resembled your mother-in-law.", "MRS. HARRIS: Tony!", "MR. HARRIS: (remembering) Oh, yeah.", "KRELVIN: And then, you hit me with a cocktail wiener, and then you insulted my heritage.", "MR. HARRIS: Heritage? Being circus folks is suddenly heritage now? I mean no disrespect, of course. (shot of Xander looking resigned as his mother buttons his shirt) I'm sure you come from a long, proud line of geeks. Mr. Harris is amused. Xander isn't. He brushes past his father toward the door.", "MR. HARRIS: I'm kidding. Just kidding.", "COUSIN CAROL: Xander? Xander! Cousin Carol hurries up to Xander as he's trying to escape.", "COUSIN CAROL: (softly) You know that guy Kevin? If he could clear up the skin problem... do you think... (sighs) Do you suppose he'd date a woman with a kid? (Xander staring at her) I mean, I really can't afford to be very picky.", "XANDER: Cousin Carol? Your earrings are my cufflinks.", "COUSIN CAROL: They are? (puts hands to her ears) Oh my. Oops. She takes off the \"earrings\" and hands them over.", "XANDER: Excellent. (calls toward the others) Cufflinks: check. We're rolling. Nothing on earth can stop this wedding now.", "Cut to: exterior Sunnydale, business district. It's pouring rain. The streets are deserted. Suddenly the outline of a man appears, in red, walking. It turns into an actual man. He is elderly, wears a raincoat and holds an umbrella. He pauses, looks around, opens the umbrella and holds it over his head, resumes walking. Lightning flashes, thunder rumbles. Wolf howl. Opening credits. Guest starring Casey Sander, Kali Rocha, Andy Umberger, Lee Garlington, Jan Hoag, George D. Wallace, Amber Benson as Tara, and Steven Gilborn. Written by Rebecca Rand Kirshner, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on close shot of Xander's waist with the tuxedo shirt tucked into the pants and the cummerbund covering it.", "XANDER: (panting) Is it too small? Cut out to reveal Buffy standing behind Xander, trying to fasten the cummerbund. Buffy is wearing the tuxedo jacket over her bridesmaid dress.", "BUFFY: (unconvincingly) Nah.", "XANDER: (nervous) It fit when I picked up the tux. How could it not fit now?", "BUFFY: (pulling) It'll fit.", "XANDER: Aw, man, what if it doesn't? (looking at himself in a mirror) What if I can't wear my cummerbund, (panicking) and then the whole world can see the place where my pants meet my shirt? Buffy, that can NOT happen. I must wear das cummerbund! Sound of fabric straining as Buffy pulls hard on the cummerbund.", "BUFFY: (strained) And so... you... shall! She finishes fastening it and removes her hands, smiling triumphantly.", "XANDER: Hey, you got it! (turning to face her)", "BUFFY: (smiling) Slayer strength. Buffy takes a bow-tie from around her neck and puts it around Xander's neck, begins tying it.", "XANDER: And I've been meaning to cut back on that habit-forming oxygen.", "BUFFY: Look at you. You look great, Mr. About-To-Get-Married. (smiling) Glowing. Beat while Buffy continues trying to tie the bow-tie. Suddenly she stops smiling.", "BUFFY: Oh my god! Maybe you're pregnant!", "XANDER: (grins) Maybe. I dunno. Maybe I'm just happy. Buffy looks at him, starts to well up.", "XANDER: (concerned) Teary.", "BUFFY: Oh! (sniffles) Good. Good teary.", "XANDER: Happy teary? Not frustrated with bow-tie teary?", "BUFFY: (still fiddling with bow tie) Yes. Happy. Happy for you. That makes me happy for me. You and Anya give me hope. It's like ... you two are proof that there's light at the end of this very long, long, nasty tunnel. And, I cannot tie this tie. Isn't, where's your best man, isn't she supposed to do this?", "XANDER: Well, she said she had something important to do.", "Cut to: close shot of Anya's waist, wearing bridal gown. Hands attempting to button the tiny buttons all up the back of the gown. Pan up to reveal that it's Tara trying to button the gown while Willow stands watching.", "WILLOW: Want me to hold it shut for you?", "TARA: O-okay. They both smile nervously. Willow reaches over to hold the edges of the gown shut.", "ANYA: (OS) Are you guys even listening?", "Cut to close shot on Anya. Her shoulders are bare and she wears an eye-mask over her face. Her hair is in curlers. We still don't see the bridal gown.", "ANYA: I need feedback, people.", "TARA: Sorry. Please continue with the vows. (smiling at Willow)", "ANYA: (clears throat) 'I, Anya, promise to ... love you, to cherish you, (Willow kneeling down to work on the dress) ...to honor you, uh, but not to obey you, of course, because that's anachronistic and misogynistic and who do you think you are, like a sea captain or something?' Tara and Willow grin in amusement and giggle a little, exchanging a look behind Anya's back.", "ANYA: 'However, I do entrust you with...' (pauses, hears the others chuckling) What? Is something funny?", "TARA: No, n-nothing, sweetie, just, just keep still. (smiling at Willow)", "ANYA: (clears throat) Okay. Blah, blah, blah, misogynistic. Blah, blah, 'I do however entrust you ... um, with my heart. Take care of my heart, won't you please? Take care of it because, it's all that I have. And, if you let me, I'll take care of your heart too.' Willow and Tara exchange another look, less giggly, more moved.", "ANYA: 'I'll protect it and tend to it, like a little stray.' Wait, no. 'Like a, a little mangy stray that needs a home.' (Willow and Tara amused again) No, that's not it either.", "TARA: Um... (clears throat) I think we're all set here. Let's ... take a look at you. Anya turns around as Willow and Tara step back, standing side by side. They both gaze at Anya with open mouths.", "TARA: Oh.", "WILLOW: Wow. You look lovely. Really... lovely. Anya smiles, turns away from them again to face the mirror. We finally get a full-body shot of her in the bridal gown. It's white, strapless, fitted down to the knees then flaring out into the train. Anya is standing on a low platform in front of the mirror.", "ANYA: Thanks. It's probably the blush of imprudent spending. Do you think Xander will like it? (turns back to them, nervously) Oh, I want to see Xander now!", "WILLOW: You can't. It's bad luck for the groom to see the bride in her dress, remember?", "ANYA: Right. I can't keep all these ridiculous traditions straight. What if I'm not wearing my dress when I see him? (Willow giving her a scolding look) Okay, no s*x. Cuddling? (Willow and Tara giggling) Okay. It's just I'm so excited and I want to share it all with my best friend. (excited) I get to be with my best friend forever! (squealing) Yay!", "Cut to: exterior shot of the wedding location. The sign above the doors reads: \"Sunnydale Bison's Lodge.\" Cars are pulling up, people are walking in the two sets of double-doors. It's still raining and the guests have umbrellas, etc.", "Cut to inside the lobby. Guests arriving, ushers taking their coats, people standing around chatting, etc. Pan over to where Uncle Rory is standing with his arm around a young blonde woman, who wears a black-and-white caterer's uniform. Dawn stands there with them, wearing the ugly green bridesmaid dress.", "UNCLE RORY: Guess who agreed to be my date for tonight.", "CATERER: I'm really supposed to be working. I'm one of the caterers?", "UNCLE RORY: Oh, hush, hush. No woman of mine is gonna work. All you have to do is sit pretty, and laugh when I tell a good one. Tell her what a funny guy I am, Dawnie.", "DAWN: (quickly) Gotta go. (nervous laugh) Enjoy the wedding. Dawn makes her escape. Uncle Rory laughs, turns around. He still has his arm around the caterer's shoulders so she is forced to turn with him.", "UNCLE RORY: (noticing something) Oh. Bad head.", "CATERER: What? We see a large bison head mounted on the wall. It wears a bridal veil.", "UNCLE RORY: Well, the lip wasn't split right. (lets her go, walks over to the head) You see, what you gotta do is you gotta grab the lip between your thumb and your finger, and then you have to slice right through the center of the meat. He makes demonstrating gestures. The caterer nods politely. Then he puts his arm around her again.", "UNCLE RORY: It was my trade. (leading her away) I used to stuff things. I still do. But only for fun.", "Cut to Dawn moving through the crowd. A couple of goth-types nod politely at her. She smiles at them, then gets to the front door just as D'Hoffryn enters, carrying a bright orange box with a purple bow. He gives his umbrella to an attendant and looks at Dawn.", "D'HOFFRYN: Ah. Hymen's greetings.", "DAWN: Hy - what?", "D'HOFFRYN: Hymen, the God of Matrimony. His salutations upon you. May the love we celebrate today avoid an almost inevitable decline.", "DAWN: (shrugging) Cool.", "D'HOFFRYN: I brought a gift. I suppose there's a table. Behind him we see Halfrek entering, giving her umbrella to the attendant. She is wearing a bridesmaid's dress and her demon face.", "DAWN: Oh, uh... (noticing Halfrek) Halfrek. Hello.", "HALFREK: Oh, please! Call me Hallie, we're practically family now.", "DAWN: (displeased) Hmm. Neat. (to D'Hoffryn) I can put this on the table for you.", "D'HOFFRYN: (giving her the box) Thank you. Uh, careful, it's, uh-", "DAWN: Fragile?", "D'HOFFRYN: Squirmy. Dawn looks at the box. We see that it has numerous holes in it. A tentacle pokes out of one of them, making Dawn jump and gasp.", "DAWN: Oh. Looking a bit nervous, she turns away, carrying the box. Halfrek falls in step beside her. D'Hoffryn follows behind.", "HALFREK: So, Dawnie, how's everything? Going good? Nothing you, uh, nothing you *wish* was different...?", "D'HOFFRYN: Hallie, for Yekk's sake, take a day off. We're not here to do vengeance, we're here to mingle. Close shot on the box as Dawn puts it down on a table. The tentacles continue poking out.", "HALFREK: (OS) Oh, look. It's (unintelligible) Dawn finishes dealing with the box and turns toward the door. Long shot of Spike entering, with his arm around a Skanky Goth Girl. He looks around, super-casual. Dawn spots him and walks toward him.", "DAWN: Spike!", "SPIKE: (turns) Oh. Uh, I want you to meet my date.", "DAWN: (politely) Hi. I'm Dawn. (shaking hands)", "SKANKY GOTH GIRL: Uh-huh.", "SPIKE: (still trying to be cool) So, yeah. Anyway, that's my date. She's with me. My date for the wedding.", "DAWN: (not getting it) Yeah. Okay, well, nice meeting you. They move off in opposite directions. The camera continues following Dawn through the crowd. There's a mixture of regular people and demons. Dawn passes a small group that includes Cousin Carol, Xander's Mom, Uncle Rory, and two demons. One has tentacles on his face and huge clawed hands like lobster claws. The other is Clem.", "COUSIN CAROL: So, circus folk. What's that like?", "UNCLE RORY: Uh, your friend, uh, the, the fellow with the warts, went off on his circus 'heritage,' like you folks are all in some kind of cult or something.", "CLEM: Well, there are ancient ways. (the others staring at him) Clowning, as an occupation, grew out of the commedia del'arte, and, uh, ancient sports, of course. (Cousin Carol nodding, smiling)", "UNCLE RORY: Yeah, well, the thing is, if you expect Xander to bring up his kids in some kinda foreign-speaky bow-to-the-easty kinda cult-", "TENTACLE DEMON: So you think the children should be raised in ignorance of our ways? (Xander's Mom looking nervous)", "COUSIN CAROL: No! No, the Harrises are very broad-minded. We're Episcopalians. Shot of Xander's Mom smiling nervously. In background, we see her husband sitting at the bar holding a glass.", "MR. HARRIS: 'Til death do us part. (cut to closer shot as he laughs sourly) That's what cracks me up. He drains his glass and puts it down on the bar.", "MR. HARRIS: Hit me again, barkeep. In the crowd, we see the old man from before. He walks among the people, looking around, looking anxious.", "Cut to another room. Xander is now fully dressed with properly tied bow-tie, jacket, corsage in the jacket pocket, hair neatly combed. He finishes adjusting the jacket and takes a deep breath.", "XANDER: How do I look? Reveal Buffy sitting in a chair in front of him.", "BUFFY: Well, let's see. (looking him slowly up from feet to head) Found your shoes ... your fly's zipped. I'd say you look like you're ready to get married. Xander nods nervously. Buffy gets up and walks over to him.", "BUFFY: You're one of the decent ones, Xander. I hope I'm as lucky as you guys someday.", "XANDER: You wanna get lucky? I've still got, what, fifteen, twenty minutes? Buffy smiles, hugs him.", "BUFFY: Oh! All right. (pulls back) Into the breach with you.", "XANDER: Okay, breach me. Buffy takes his hand and they head toward the door.", "XANDER: Now, let's go over the list one more time. Number one?", "Cut to the corridor as they emerge and begin to walk.", "BUFFY: Don't let your dad near the bar.", "XANDER: Check. Number two?", "BUFFY: Don't let your mom near the bar.", "XANDER: Check.", "DAWN: (OS) Hey Buffy. Xander and Buffy turn as Dawn comes around a corner behind them. They don't stop walking. Dawn falls in with them.", "DAWN: Spike's here and he brought a total skank.", "BUFFY: (confused) A-", "DAWN: Skank! A manic-panicked freak who he's like totally macking with right in the middle of the room. (they stop walking) I saw him shove his tongue-", "BUFFY: Spike brought a date?", "DAWN: Yeah. (snickering) Wait till you see her. Buffy looks like she isn't sure how she feels about that.", "XANDER: Guys, I better go meet and greet.", "BUFFY: Uh, just go ahead. I'll be a sec. Xander walks off. Dawn and Buffy watch him go. Xander gets to the doors leading out into the main lodge area. The doors are closed. He pauses for a moment, composing himself, taking a deep breath. Then reaches for the doorknob.", "Cut to the lobby. Xander opens the door and peeks out. Then moves into the room, closing the door behind him. A guy comes up to him and shakes his hand. He smiles and nods. Other people notice Xander, turn to smile at him, pat his back, shake his hand, say \"congratulations\" etc. Xander moves through the crowd. An elderly woman starts pinching Xander's cheeks. His mom comes up.", "MRS. HARRIS: Alexander. Do you realize that the usher sat us in the third row?", "XANDER: Mom, I'm sure it was a mistake.", "MRS. HARRIS: Well, I-I don't think it was really- The creepy old man comes over, as does Uncle Rory.", "OLD MAN: Excuse me.", "UNCLE RORY: Say Neph, do you know where the photographer is? I've got a proposition for him-", "OLD MAN: (tugging Xander's arm) Please, I really need to talk to you.", "DAWN: (OS) Xander?", "MRS. HARRIS: Honey, listen to me. Xander is surrounded and looks a bit overwhelmed. Dawn comes hurrying over.", "DAWN: Xander, one of Anya's presents got loose!", "XANDER: Got loose?", "MRS. HARRIS: It's fine- (unintelligible)", "DAWN: Yeah, it's a fully live squiggily thingy (Xander's mom still talking) and hey, and why is Halfrek a bridesmaid?", "OLD MAN: Please, please, you have to listen. (pulls Xander away) You have to listen to me! Dawn, Rory, and Xander's Mom continue talking over each other as the old man pulls Xander a few feet away.", "OLD MAN: You can't get married today. It's a huge mistake.", "XANDER: Yeah right, thanks for the advice, Uncle ... help me here?", "OLD MAN: Uncle? You don't recognize me, do you?", "XANDER: I'm sorry, I don't-", "OLD MAN: It sounds crazy, I know. But you have to believe me. (Xander looking puzzled) I'm Xander Harris. I'm you. Xander stares at him. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Same scene.", "XANDER: What do you mean, you're me?", "OLD MAN: I'm you. I'm you from the future.", "XANDER: Oh, from the future! For a minute I thought you were a nutball but now that you're from the future-", "OLD MAN: (agitated) Please, listen to me. I found a way back to warn you. To tell you-", "XANDER: Hey, hey, easy, easy. Everything's going to be all right.", "MR. HARRIS: (OS) Toast!", "XANDER: (looks over his shoulder) I swear I told that guy no drinks before the ceremony.", "MR. HARRIS: (OS) Toast! We see Mr. Harris at the bar, standing up and raising his glass as the other guests look over.", "MR. HARRIS: A toast! To the Harris clan.", "OLD MAN: Look. Look! I can prove it to you.", "MR. HARRIS: (faintly in background) I know in the past we've had our problems... The old man reaches into his pants pocket and takes out a small glowing purple orb. Xander's Dad continues talking in the background.", "OLD MAN: I thought you might need convincing. Come on. Follow me. He leads Xander away. Xander looks over his shoulder at his dad, who continues talking, quite drunk.", "MR. HARRIS: ...and to my wife, Jessica. Where are you, honey? He looks around. Mrs. Harris is standing amongst the others, looking embarrassed. Uncle Rory points at her.", "MR. HARRIS: There she is. (raising glass) To my wife. What would I do without you, beautiful? Mrs. Harris looks a bit surprised, smiles.", "MR. HARRIS: Wellllllll, for starters, I probably wouldn't need to drink so much, would I. Mrs. Harris looks hurt. The other guests look uncomfortable.", "MR. HARRIS: On the brighter side, marriage has probably saved me from a nasty dose of the clap. (chuckles) Here's to ya. (drinks) We see Clem and the Tentacle Demon standing side-by-side nearby.", "CLEM: Does this jerk ever shut up?", "TENTACLE DEMON: He's starting to make my suckers twitch.", "MR. HARRIS: And a toast ... to the bride's dermatologically-challenged family shrub.", "TENTACLE DEMON: Sit down!", "MR. HARRIS: Hey, I paid for all this! You want me to sit down, you cough up a couple of grand, Squidly. The Tentacle Demon starts toward Mr. Harris, angry.", "TENTACLE DEMON: What'd you call me, you drunken piece of sh-", "BUFFY: Mazel tov! Buffy appears and grabs Mr. Harris's arm, leading him away just in time. They walk off as Clem moves to placate the tentacle demon.", "MR. HARRIS: Hey, what's this?", "BUFFY: (super-cheerful) You must be so happy for Xander on his very special, once-in-a-lifetime day, huh, Mr. Harris?", "MR. HARRIS: (ogling her) Nice chassis, what's under the hood? Rrowr!", "BUFFY: You know, I could use a strong cup of coffee. Hey, let's get you one too, what do you say?", "MR. HARRIS: Did you used to own a little square pinkish purse?", "BUFFY: (less cheerful, sighs) I did. As they pass by, we see Spike standing by a wall with his skanky date. He watches Buffy go by.", "MR. HARRIS: I thought so. Hey, what do you say we slip in the back room and I show you my-", "BUFFY: You finish that sentence and I guarantee you won't have anything to show. Mr. Harris stares at Buffy. She yanks his arm, pulling him away.", "Cut to another room. The old man enters, still holding the glass orb (no longer glowing). Xander follows. They walk into the middle of the room and face each other. The old man holds the orb in both hands.", "XANDER: What is it?", "OLD MAN: It's magic. (The orb begins to glow again) Very powerful. Look at it. You'll see what I've seen. Feel what I've felt. Xander stares at the orb. It continues to glow with a strong purple light. Suddenly the light shoots in a beam from the orb onto Xander's forehead. Then he seems to morph into the beam of light and gets sucked back into the orb.", "Cut to: a messy living room. An ironing board piled with clothes, stuff on the floor, etc. In background we see a foyer and a door to the outside. It's sunny. In foreground there's a big leather-covered armchair. The stream of light appears and resolves into Xander, sitting in the chair, holding a bottle of beer in one hand and a TV remote in the other. He still wears his tuxedo. Shot of the TV, showing a football game.", "XANDER: (calls) Anya. No reply. He sits staring at the TV for a beat.", "XANDER: Anya! Two children come running in. The boy is a little older, about ten and the girl is about eight. The girl has bright makeup on her face and large pointed ears.", "SARAH: (shrieks) Get the hell away from me! Dad, Josh is teasing me.", "JOSH: Sarah's a weirdo! Sarah's a weirdo! Sarah whines and runs off, pursued by Josh. Anya appears in the doorway, wearing a red suit, tucking her blouse into the skirt. Her expression is bored, or resigned.", "ANYA: (to Xander) What.", "XANDER: You going out again?", "ANYA: (picking up a small wastebasket) I'm doing a make-over party.", "XANDER: I thought you hated those.", "ANYA: Well, one of us has to make some money. (picking up empty beer bottles)", "XANDER: (angry) Well, what do you want me to do, Anya? Huh? I can't work. My back is shot.", "ANYA: And whose fault is that?", "XANDER: Oh, no no no. Not the Buffy thing again.", "ANYA: You had no business fighting demons with her.", "XANDER: Buffy needed me. I had to help.", "ANYA: (bitterly) Well, it didn't save her, did it? (Xander drinking beer) All it did was ruin our lives. Anya turns away, puts the wastebasket down. Xander sits staring at the TV, but not seeing it, looking hurt.", "ANYA: (OS) I'll be late. Xander continues sitting there upset. Anya leaves out the front door, slamming it.", "XANDER: (yells) I hope you crash in your stupid pink car! Flash to a restaurant, years later. Xander and Anya sit on one side of a booth, their children on the other. Now Josh is about eighteen and Sarah about sixteen. Xander still wears his tux and looks the same age, but Anya looks about fifty. Josh is staring at a Palm Pilot or similar device in his hand. Xander is drinking red wine. He pauses, looks at Anya who's looking at him.", "XANDER: What?", "SARAH: (OS) I hate this place. Anya shakes her head at Xander as if to say 'nothing'. We see that Sarah's large floppy demon ears are much bigger now, and have many piercings.", "SARAH: You guys know I don't eat wheat.", "JOSH: You don't eat anything, freak.", "SARAH: At least I'm not a mama's boy.", "JOSH: At least I'm not a demonic freak.", "SARAH: Dad, make him cut it!", "XANDER: Maybe you should talk to your mother about that.", "ANYA: You've had too much wine.", "XANDER: Have I? (angry) I'm just saying maybe you should talk to your daughter!", "SARAH: Ohh, I hate you guys! (standing up) And I know that you're not my real dad, and I hate you, I hate you both! I wish you'd die! Sarah storms off. Anya continues eating. Xander takes another sip of wine.", "JOSH: This sucks. Flash to a kitchen, even more years later. The sink is piled with dirty dishes.", "XANDER: (O.S.) If you were so unhappy, why didn't you just leave?", "ANYA: (O.S.) I wanted to. I should have! Pan over to a small table against a wall. Xander and Anya sit there, facing each other across the table. He is still in his tux and still the same age. Anya is much older.", "XANDER: Yeah, you should have. 'Cause then maybe I would have gotten some touch in the past twenty years.", "ANYA: I wasn't the one who stopped touching!", "XANDER: Oh! Maybe, but you weren't touching me! He jumps up angrily, begins to pace.", "ANYA: What did you expect me to do? You wouldn't come near me after Buffy-", "XANDER: (shouts) Don't bring her into this!", "ANYA: Fine. Forget her. Maybe you were just born to be a bitter, angry old man.", "XANDER: (quietly, very angry) Shut up.", "ANYA: No! (tearfully) I want my life back! If I hadn't married you I wouldn't have had to hate myself for the last THIRTY YEARS! Xander grabs a frying pan off the stove and lunges toward Anya, screaming.", "XANDER: SHUT UP!", "As he swings the frying pan toward her face, we flash back to the present. The purple light clears away from Xander's face. Shot of the orb in the old man's hands. The light goes back into it and it stops glowing. Xander is panting, looks shocked.", "OLD MAN: I'm so sorry. I didn't want to show you.", "XANDER: What happened? What was that?", "OLD MAN: A glimpse of your future. Harnessed ... by magic.", "XANDER: Is she okay? (panicky) Is she okay, what did I do?!", "OLD MAN: Listen. I don't have long here. The spell that brought me back, it won't last. (Xander still looking shell-shocked) But you can change things. It doesn't have to go like this. But you can't marry Anya.", "XANDER: But-", "OLD MAN: You'll hurt her less today than you will later. Believe me. Sometimes, two people ... all they bring each other ... is pain. Xander stares at him, horrified.", "Cut to the lobby. Buffy walks by. Most of the guests have taken their seats in the main room. There are short white pedestals holding vases of flowers at the entrance to the aisle. Buffy walks along the corridor, pauses as she spots something up ahead. Reveal Spike, leaning against a wall. His skanky date is nowhere to be seen. He looks up, notices Buffy, looks down at the floor. Buffy looks nervous, steels herself and walks over to him.", "SPIKE: (quietly) Hello, Buffy.", "BUFFY: Hey.", "SPIKE: It's a happy occasion. You meet my friend?", "BUFFY: No. Not yet. But she seems like a very nice attempt at making me jealous.", "SPIKE: (small smile) Is it working?", "BUFFY: (quietly) A little. It doesn't change anything ... but if you're wildly curious, yeah, it hurts.", "SPIKE: (softly) I'm sorry. (remembers himself) Or, Good! Buffy smiles a little.", "SPIKE: You want us to go?", "BUFFY: No. No, I ... you have every right to be here. I pretty much deserve-", "SPIKE: That's not true, you... (sighs, looks at the ceiling) God, this is hard.", "BUFFY: Yeah.", "SPIKE: (sighs) I think we'll go.", "BUFFY: Go where? To your place?", "SPIKE: (not thrilled) Yeah, I suppose. That was the idea.", "BUFFY: Yeah.", "SPIKE: (defensively) Evil.", "BUFFY: Of course.", "SPIKE: But I won't. Or I... (frustrated) I'll just go. Give 'em my best or whatever. The happy couple.", "BUFFY: I will.", "SPIKE: (quietly) It's nice to watch you be happy. For them, even. I don't see it a lot. You, uh... you glow.", "BUFFY: (smiles) That's because the dress is radioactive. Spike snorts. They share an amused moment.", "BUFFY: I should...", "SPIKE: Yeah. She starts to walk past him.", "SPIKE: But it hurts? She stops, turns back.", "BUFFY: Yeah.", "SPIKE: (quietly) Thanks. He turns and walks off. Buffy watches him go.", "BUFFY: (to herself) You're welcome. We see Spike a bit farther down the hall, finding his date. He grabs her hand.", "SPIKE: Let's go then.", "SKANKY GOTH GIRL: What about the wedding?", "SPIKE: Let's just piss off, all right? He pulls her out the door.", "Cut to the Bison Lodge kitchen. Xander is pacing back and forth, staring at the floor, still upset. Willow appears in the doorway, sees him and smiles. She walks toward him.", "WILLOW: I'll say this for the Y chromosome ... looks good in a tux.", "XANDER: (tries to smile) Well, your double X's don't look too bad there, either.", "WILLOW: (fiddles with his clothing) You're getting married. My little Xander.", "XANDER: All growed up.", "WILLOW: It's a good thing I realized I was gay, otherwise, hey, you, me and formal wear... Xander gives a small smile and hugs her. Over her shoulder, his face looks very conflicted.", "WILLOW: Do you know how much I love you?", "XANDER: Mmm ... 'bout half as much as I love you. Willow smiles, pulls out of the hug.", "WILLOW: (smiling) You ready for the long walk?", "XANDER: Um ... yeah, just give me a sec, I wanna work on my vows.", "WILLOW: Take your time. It's not like we can start the wedding without you. She smiles at him and leaves. Xander watches her go, dropping his brave smile.", "Cut to the bridal room. Anya has her hair out of curlers now, pulled back and covered with the veil. She also wears a thin silver necklace.", "ANYA: 'I, Anya, promise to cherish you...' Ew, no, not cherish. Uh, 'I promise...' We see Tara sitting on a sofa nearby, observing, looking a little bored.", "ANYA: '...to have s*x with you whenever ... *I* want, and, uh... (walking down off the platform) uh, pledge to be your friend, and your wife, and your confidant, and your s*x poodle...'", "TARA: Uh, s*x poodle?", "ANYA: Yeah, why?", "TARA: Um, I'm not sure you should say 's*x poodle' in your vows.", "ANYA: Huh.", "Cut to the main room. A string quartet begins to play. The guests look around, expectant. Cut back to the bridal room. Anya hears the music faintly, looks excited.", "ANYA: Music. They're playing the music! This is it. She smiles with major excitement. The door opens and Buffy pokes her head in.", "BUFFY: Are you ready to go? But before Anya can answer, something pulls Buffy back into the hall.", "Cut to the hallway. Buffy pulls the door closed as she turns to look at Willow, who had pulled her away.", "WILLOW: He's gone. Xander disappeared! Buffy stares in dismay. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Same scene.", "BUFFY: What? Xander's gone? (anxious) Wha-what should we do?", "WILLOW: I'm gonna go look for him ... I'm gonna find him. A-and you're going to stall. Willow rushes off. Buffy looks very nervous. She turns back to the door. Cut back to the bridal room. Buffy re-enters.", "BUFFY: Uh, heh, sorry about that. Um... (closes the door) there's just gonna be a little bit of a delay.", "ANYA: Why? What's wrong?", "BUFFY: Nothing! (Tara comes up beside Buffy) Nothing's wrong, it's just, um, it, the, the, minister. He had, uh ... to go ... and perform an emergency C-section.", "ANYA: A C-section? (Tara looking very dubious)", "BUFFY: Yeah! You know, he's, uh, not, not just a minister, he's also a, a doctor. You know, he's half-minister, half-doctor, he's a-a mini-tor. Not, of course, to be confused with a minotaur! Because he's all, you know, man, this doctor minister man, no, no bull parts whatsoever.", "ANYA: (turns away to primp in the mirror) Uh-huh.", "BUFFY: So it, it should just be a couple of minutes.", "ANYA: Okay. Buffy fidgets for a moment, opens the door and leaves. Tara continues standing there looking nervous.", "ANYA: (still looking in mirror, clears throat) Okay. (turns to face Tara) For the last time. 'I, Anya, want to marry you, Xander, because ... I love you and I'll always love you. And ... before I knew you, I was like a completely different person. Not even a person, really...'", "Cut to the street. Xander walks along in the rain, still wearing his tux, getting soaked.", "ANYA VOICEOVER: '...and I had seen what love could do to people, and it was ... hurt and sadness. Alone was better. And then, suddenly there was you, and ... you knew me. You saw me, and it was this ... thing. You make me feel safe and warm.' Cut back to the bridal room.", "ANYA: 'So, I get it now. I finally get love, Xander. I really do.'", "Cut to the main room. The guests are restless, fidgeting in their seats. All the demons are seated to the left of the aisle and the Harrises on the right -- except that Clem also sits on the right side.", "KAREN: I'm bored.", "COUSIN CAROL: It's a wedding, honey. We're all bored. Buffy appears at the end of the aisle, coming to tell everyone about the delay. Seeing her, the string quartet begins to play the wedding march (\"Here Comes the Bride\"). Everyone turns to look. Buffy is flustered, waves at the musicians, making throat-cutting gestures, trying to get them to stop.", "BUFFY: No! No, it isn't ... (to guests, nervously) It's not what you think. She hurries toward the altar. Cousin Carol wipes her eyes with a handkerchief.", "COUSIN CAROL: (tearfully) Beautiful. Buffy goes up onto the dais to talk to the minister, putting her hand over the microphone to muffle it. The guests observe. Close shot of Cousin Carol giving a small flirty smile across the aisle. Pan over to Krelvin, returning the smile bashfully. Buffy finishes talking to the minister, puts on a huge fake smile and goes back down the aisle. The musicians begin to play the recessional music. Buffy glares at them, and they stop. The guests get even more restless. Mr. Harris gets up and leaves. Mrs. Harris watches him angrily.", "Cut to the bridal room. Anya is pacing angrily.", "ANYA: I mean, I am sorry, but what the hell is that minister thinking?", "TARA: Uh, I don't know, he-", "ANYA: I mean, delivering a baby! On my special day! I mean, it's totally rude of him and the mother. I mean, why couldn't he have just told her to hold it? Cut back to the main room. The guests are extremely fidgety.", "Cut to the lobby. Mr. Harris sits on a bar stool, tapping his fingers on the bar. Mrs. Harris stands nearby.", "MR. HARRIS: Gimme a double Jack.", "MRS. HARRIS: This is a disaster.", "MR. HARRIS: It's that Anya, I know it. She made us pay for the whole thing and now she's going to louse it up. Women!", "MRS. HARRIS: (annoyed) I offered to help. She didn't want my help.", "Cut to the main room. Everyone fidgets. Karen is using her inhaler. Cousin Carol gets up and walks off. Angle on Halfrek in the front row, with D'Hoffryn behind her.", "HALFREK: This thing totally isn't happening. We should have known that she would never, ever-", "D'HOFFRYN: I'm worried about Anya.", "HALFREK: (bitterly) Oh, sure. Of course you are.", "D'HOFFRYN: Oh, Halfrek. (leans forward and puts hands on her shoulder) You know I love all my demons equally. Halfrek looks mollified. Cousin Carol hurries up to Buffy, who is standing at the back of the room.", "COUSIN CAROL: Buffy, you've gotta do something. Buffy looks dismayed.", "Cut to: close shot of the microphone on the stage. A hand reaches out and removes the mike from its stand. Reveal Buffy looking out at the crowd.", "BUFFY: (fake cheer) So ... who here's from out of town? The guests stare at her. Beat. Then Clem raises his hand, grinning.", "Cut to a doorway somewhere nearby. Dawn is talking to a teenage demon who has small curved horns on his forehead. They each hold a fruity drink.", "DEMON TEEN: My family is worse.", "DAWN: (scoffs) No way. Mine is so messed up you have no idea.", "DEMON TEEN: No, just wait until you see my mom dance at the reception, okay, and then tell me who's messed up.", "DAWN: (laughs) I guess they're all messed up.", "DEMON TEEN: Yeah. Everybody's pretty lame. Cut back to the main room. Buffy is still on stage, but the mike is back in its stand. Buffy holds up a finger, grinning.", "GUESTS: First word... Buffy puts her fingers up to her head like horns and moves from side to side.", "GUESTS: (guessing) Antlers? Animals? Bull! Buffy smiles, nods yes, points at the person who said \"bull.\"", "Cut to the hallway. Anya walks along. Tara runs up behind her.", "TARA: Anya, wait up!", "ANYA: This bride waits for no one. If the minister's not here yet, well then we'll just have to get married without a minister.", "Cut to the main room. Buffy and Krelvin are on-stage. Buffy is juggling three yellow apples(?). Krelvin also begins to juggle another three. The guests applaud. Buffy stops juggling but drops one of her apples. She smiles a big fake smile and takes a small bow. Krelvin hands her another apple.", "Cut to the doorway where Dawn and the demon teen are. They hear the applause, look over at the main room.", "DEMON TEEN: Geez. What is the holdup?", "DAWN: Can you keep a secret? They start walking back toward the main room.", "DAWN: Nobody knows this, but the groom? He took off and no one can find him. They have emerged into the hallway outside the main room, and Anya goes by just in time to hear this. She stops short. Tara runs up beside her.", "ANYA: (turning to Dawn) What?", "DAWN: (uh-oh) Um...", "DEMON TEEN: I'll catch you later, Dawn. He bails. Dawn looks very upset.", "ANYA: Xander's gone? Xander is missing? (loudly) What do you mean Xander's missing?! Shot of the main room. Everyone heard Anya's last shout. They all turn around in their seats to look at her. Close shot on Buffy onstage, looking dismayed. Close shot on Anya panting, looking around in extreme anxiety. She starts forward, into the room.", "UNCLE RORY: (chuckles) It's a joke. Xander's playing a joke. It's like one time, at one of Carol's weddings, I had this ape suit-", "TENTACLE DEMON: Oh, great.", "UNCLE RORY: -and I put it on-", "TENTACLE DEMON: Another Harris family joke. The Harrises look insulted.", "TENTACLE DEMON: (to Mr. Harris) Why don't *you* have another drink?", "MR. HARRIS: (slurred) Drinking ... is the only way I can dull the pain ... (stands up) of looking at your ugly face. The Tentacle Demon stands up too, and goes over to confront Mr. Harris.", "TENTACLE DEMON: You better think real hard about this, Harris. He slaps Mr. Harris in the chest with his big claw-like hands.", "MR. HARRIS: Don't touch me with those nasty circus things! The Tentacle Demon slaps him again. Mr. Harris swings at him, but he ducks.", "TENTACLE DEMON: That's it! The demon throws a punch back, and they both fall to the floor, punching and grunting, etc. Shot of Buffy onstage, rolling her eyes. Everyone gets up out of their seats, shrieking and so forth. A total brawl breaks out. Buffy watches in bemusement. Total chaos. Shot of Tara trying to make her way through the crowd, shrieking when some of the fighters bump into her. Willow appears, grabs Tara's hands and pulls her to a safer spot.", "TARA: Thanks.", "WILLOW: You okay?", "TARA: Yeah. They gaze at each other. The fight continues. Anya wanders among the brawlers, looking around.", "ANYA: Xander? (to fighters) Have you seen Xander? Has anyone seen Xander? Cousin Carol grabs Anya by the hand.", "COUSIN CAROL: Well, I saw him go in the Trophy Room with that guy! She points across the room. Long shot of the old man watching the fight. Anya looks, starts making her way toward him. She intercepts him in the corridor.", "ANYA: You. You were talking to Xander right before he left. What did he say to you? What did you say to him?", "OLD MAN: Really doesn't matter now, does it? It's done.", "ANYA: What's done? Did you... If you said something to make him leave...", "OLD MAN: You'll what? Haven't changed a bit. Still as vindictive as ever.", "ANYA: (frowns) Do I know you?", "OLD MAN: You don't recognize me, Anya? I'm not the man I used to be. I know. Anya stares at him.", "Cut to Buffy still onstage as the fight continues.", "BUFFY: (into microphone) Guys! Will you break it up? Cut back to Anya and the old man. He turns to leave, but she stops him.", "ANYA: Xander. Where is he? You tell me, old man! You tell me why he left!", "OLD MAN: He left because of you.", "ANYA: (upset) I didn't do anything.", "OLD MAN: Oh, really? What about this? Suddenly the old man begins to grow, and morphs into a huge demon with gray skin, yellow eyes, and short yellowish spikes all over his head. Anya stares up at him. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Same scene. The fighting continues in the main room as Anya confronts the demon.", "ANYA: Tell me what you did with Xander. What are you?", "DEMON: (deep demony voice) You did this. You brought this on. I've waited a long time for this, Anyanka.", "ANYA: (tearful) Who are you?", "DEMON: Remember Chicago? South Side, 1914? Anya looks blank. The demon gets annoyed.", "DEMON: Stewart Burns. Philanderer! You'd think you'd remember. I remember you. But then again, you ruined my life.", "ANYA: You were a ... I punished you.", "DEMON: That's right. Some hussy I'd been taking around summons you, next thing I know, I look like this and I'm being tortured in another dimension.", "ANYA: I forgot.", "DEMON: Well, I didn't. The demon hits Anya across the face, making her reel back. Across the room, still on the stage, Buffy sees this.", "BUFFY: Anya!", "DEMON: Every day I remembered ... and every day I thought how I would somehow get here, and ruin your life like you ruined mine. It didn't take much either. I scared off your fiance with a couple of phony visions.", "ANYA: (tearful) Visions of what?", "DEMON: Your future. Or his nightmare vision of your future.", "ANYA: (crying) That's it? That's all you did?", "DEMON: Yeah, it was easy. Look at that, you're crying. Oh, I like that. Anya wipes at her face with her hands.", "ANYA: (whispers) Stop it.", "DEMON: Oh, cry, Anyanka, cry. I love to see you cry. And now, I'd love to see you scream. He swipes at Anya with a clawed hand, growling. She shrieks and falls to the ground. The demon goes to swing at her again but is interrupted by Buffy hitting him in the face with a folding chair. He reels back. We see Anya lying on the floor with two bloody slashes on her arm. Buffy struggles to move, reaches down to rip a slit up the skirt of her bridesmaid dress to free her legs. The demon is holding Anya, who struggles against his arm.", "DEMON: Come any closer and I'll kill her. Buffy stands where she is, glaring at him. Suddenly Xander bursts in from outside.", "XANDER: Anya!", "ANYA: Xander! The demon turns to look, and Buffy takes the opportunity to kick him in the leg. He yells and lets go of Anya. Buffy punches him a couple of times, grabs him and throws him back against the wall. He punches her and she reels back. Shot of the main room as the brawling guests begin to notice the fight in the hallway and turn to look. Anya runs over to Xander.", "ANYA: I'm so ... I'm so glad you're here. It was all lies, what he showed you ... it wasn't true, he just wanted to break us up. Buffy is still fighting the demon. It grabs her by the shoulders but she breaks free and punches it in the gut.", "XANDER: It doesn't matter now.", "ANYA: So we'll be okay. Xander still looks upset, watching Buffy and the demon fight. Buffy kicks the demon, making it fall to its knees. She grabs its head and slams it on the floor. The demon lies there, groaning. Buffy rushes over to Xander and Anya, pushes between them.", "BUFFY: Excuse me. She grabs the veil off of the mounted bison head, runs back over as the demon is starting to get up. She wraps the veil around its neck and pulls. The demon struggles, gagging. Suddenly a white pedestal hits the demon in the face. He falls down unconscious. We see it was Xander wielding the pillar. Angle on Xander and Buffy looking down at the demon. Xander lifts the pedestal again and slams it down onto the demon -- camera angle stays on their faces the whole time.", "XANDER: It's dead.", "BUFFY: Yup. The whole crowd of demons and Harrises bursts into cheers and applause. Willow, Tara, and Anya walk over to Buffy and Xander. They all stand staring down at the demon corpse (which we still don't see).", "WILLOW: Is anyone else waiting for it to go poof? (they all continue staring at the corpse) Maybe we can cover it with flowers. The guests begin picking up chairs and setting them up again.", "MR. HARRIS: Look at this damage. I'm not paying for this, you freaks!", "KRELVIN: Stop calling us freaks! Krelvin goes over to Mr. Harris and shoves him in the chest. They resume fighting.", "MRS. HARRIS: Oh no! No, not again! No! Everyone begins fighting again.", "ANYA: Stop It! Everyone stops, stares at Anya.", "ANYA: (commanding) Everyone sit down! They all continue staring.", "ANYA: This wedding will go on, so get back in your seats! Everyone hastens to obey.", "Cut to a moment later. Xander and Anya stand alone by the doors, which are open, showing the street outside. They hold hands.", "ANYA: You know, it's bad luck to see me in my dress. She gives a little smile. Xander just looks at her, still looking in shock.", "ANYA: Hey. It's okay. It's all over now, he's dead, and it was just smoke and mirrors.", "XANDER: I know.", "ANYA: (smiling) So ... we're ready now. Let's get married. She tries to turn away but Xander is still holding her hands, stopping her.", "XANDER: I...", "Anya turns back.", "XANDER: I'm not. (Anya looking confused) I'm not ready. I can't, Ahn, I'm sorry.", "ANYA: But it wa - it wasn't real. What he showed you, it wasn't real.", "XANDER: I know it wasn't real. But it could be. Beat. Anya stares at him, getting teary again.", "ANYA: What was it? Was it about me? 'Cause he wanted you to hate me, Xander.", "XANDER: It wasn't you. (sighs) It wasn't you I was hating. (pauses) I had these thoughts, and ... fears before this. Another beat. Xander stares at the floor.", "XANDER: Maybe we just went too fast.", "ANYA: Look, everybody has thoughts. It's natural, it doesn't mean that, that getting married is wrong.", "XANDER: I know, I know...", "ANYA: (desperate) Look, you're just shaken up, okay? You just calm down and we'll start over, okay? Xander looks over at the main room. Shot of Xander's Parents yelling at each other. Mr. Harris is standing while Mrs. Harris sits in a chair. Shot of Xander watching. Closer shot of Xander's Dad yelling angrily. Pan down to Xander's Mom arguing back at him. It looks like he tries to hit her and she grabs his hand. Cut back to Xander still watching them.", "XANDER: (tearful) We can't start over. If this is a mistake, it's forever, and ... I don't want to hurt you. Not that way. Close shot on their hands separating, falling to their sides.", "XANDER: I'm sorry. (Anya crying) I am so sorry. Anya sniffles, wipes her eyes with her hand, continues crying. Slowly, in a daze, she turns and walks away. Xander watches her go. Then he turns and walks outside. Looks like it has stopped raining and is sunny. Anya walks to the beginning of the aisle, still holding her bouquet. The cuts on her arm are a little bloody but not serious. The string quartet begins to play the wedding march. The guests all rise. Anya starts to walk down the aisle, still looking dazed, her face streaked with tears. The guests stare in dismay. She stops at the other end of the aisle and just stands there.", "Cut to: close shot of a coffee-table with a mug on it. A hand reaches out and picks it up.", "DAWN: (OS) Should we do something for her? We see Dawn holding the mug. She's in the Summers living room, on the armchair.", "DAWN: Anything? We see Buffy sitting on the sofa, looking sad.", "WILLOW: (OS) She wants to be alone. That's what she wants. We see Willow sitting beside Buffy, holding another mug.", "WILLOW: (softly) Oh, god, it just hurts my heart to think of her.", "BUFFY: (softly) I know. The whole thing hurts my heart.", "DAWN: (softly) I thought they were happy.", "BUFFY: They were. I know they were. They were supposed to be my light at the end of the tunnel. I guess they were a train.", "DAWN: Why did this happen?", "WILLOW: I don't know. I feel like I should be hating Xander. But I can't. (sighs) I just ... I just hope he's okay.", "DAWN: I wonder where he is.", "Cut to: hallway of a crappy motel. The manager opens a door marked 7, revealing a crappy little room. He walks in, followed by Xander (still wearing his tux). The manager hands Xander the key.", "MANAGER: Not much to explain. Air conditioner's busted. Xander looks around blankly.", "MANAGER: That's it. Check-out's at eleven. The manager exits, closing the door behind him, leaving Xander just standing there blankly.", "Fade to: close shot on Anya's face, still tear-streaked, still wearing her wedding gown but not the veil. Around her it's all black, as in a featureless demon realm. A hand comes into shot, holding a handkerchief in front of Anya. She takes it but doesn't look up. Pull out to reveal D'Hoffryn, circling around behind her.", "D'HOFFRYN: Are you okay?", "ANYA: (shakes her head) I'm tired... (sniffles) of crying. (teary) I'm just so tired, D'Hoffryn.", "D'HOFFRYN: (sighs) Oh, Anyanka. I'm sorry. (pause) But you let him domesticate you. When you were a vengeance demon, you were powerful, at the top of your game. You crushed men like him. Anya doesn't react.", "D'HOFFRYN: It's time you got back to what you do best ... don't you think? Anya finally lifts her face up to look at him. Her expression is blank. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Warren, Jonathan, and Andrew unleash a demon whose powers make Buffy believe that her friends are figments of her imagination. Buffy attempts to attack her friends, locks them in her basement and unleashes the same demon on them. Tara eventually finds the trio and Buffy recovers from the demon's poison by drinking an antidote. By the end of the episode however, it is unclear which world is reality." ]

[ "•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer...", "The gang in the magic shop.", "WILLOW: Hey Dawnie.", "XANDER: So, uh, anything new about Warren and the Nerd Herd?", "DAWN: No.", "XANDER: Man, a nerd goes into hiding, he really goes into hiding. Dawn and Willow in the Bronze.", "DAWN: Big wedding coming up ... lots of date possibilities ... you and Tara are speaking again. You wanna call her?", "WILLOW: No. But if I did call? She wouldn't hang up on me. Dawn and Buffy in Dawn's bedroom.", "DAWN: You can't even stand to be around me.", "BUFFY: That is not true.", "DAWN: You didn't wanna come back. Buffy and Spike in the crypt.", "BUFFY: It's over.", "SPIKE: I've memorized this tune, luv.", "BUFFY: I'm using you. And it's killing me. I'm sorry, William. Anya in the Bison Lodge wearing her wedding gown.", "ANYA: This is it. Buffy poking her head in.", "BUFFY: Are you ready to go? Willow pulling Buffy into the hall.", "WILLOW: He's gone.", "ANYA: Xander's gone? Xander's missing? The wedding guests turning to look. Buffy looking upset. Xander walking in the rain.", "ANYA: What do you mean Xander's missing?", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open on a dark street, night. Buffy walks along, wearing a jacket, cap and gloves, holding two pieces of stapled-together paper that she studies as she walks. Zoom in closer and we see the paper is a list titled \"New Rentals.\" The first page has a series of paragraphs, each one crossed out with red pen. Buffy stops walking, frowns at the paper, looks up at a nearby house, walks toward it.", "Cut to: close shot on a computer monitor showing Buffy walking toward the camera. Pan over and we see several more monitors next to it on a desk. Pan further and we see Jonathan sitting there, leaning his head on his hand, asleep. In background we see Andrew reading something. Andrew looks up. The barrel of a gun appears, inches from Jonathan's head. Suddenly water squirts out of it and all over Jonathan's face. He wakes up and jumps up with a gasp. Andrew bursts into laughter. We see Warren holding the Super-Soaker.", "ANDREW: Oh man, your face was priceless.", "JONATHAN: (angry) Yeah, real funny.", "WARREN: It serves you right for taking Z's on lookout again.", "JONATHAN: What do you expect? I haven't had a decent night's sleep since... (Warren glaring at him) I mean, I'm going Jack Torrence in here, you know? Stuck in this basement for weeks! I mean, we rented the whole house, can't we at least sleep upstairs?", "ANDREW: We're on the lam. We have to lay low. Underground?", "JONATHAN: It's figurative, doofus! Did you even read Legion of Doom? (Andrew jumping up in outrage)", "WARREN: Okay, enough! Midgetor, get back to the monitors. The last thing we need is to be surprised by-", "ANDREW: (looking at monitors) Holy Geez Louise. Pan over to the monitors where another view reveals Buffy peering in the windows of the house.", "JONATHAN: The-the-", "WARREN: The frickin' Slayer.", "JONATHAN: She's right there!", "WARREN: All right, don't panic. Andrew ... deploy your little friend. Andrew grins and nods. He turns and picks up a very long wooden tube about three inches in diameter, painted with various abstract designs. He sits back in his chair, puts his mouth to one end of the tube and blows. It makes a low sound like a flugelhorn.", "Cut to outside. Buffy, walking around the building, hears the horn sound. She continues walking. She rounds a corner and finds an alley, dark, containing a pickup truck and a car. Buffy walks into the alley, looking from her piece of paper to the house and back. Something drops from the roof of the Nerds' house and lands behind Buffy. She turns to look at it.", "BUFFY: Oh. Hi. It's an ugly demon with waxy skin and weird marble-like eyes. It growls and advances.", "BUFFY: You didn't by chance happen to just eat a couple of nerds, did you? The demon takes a swing at her and she leans back to avoid it. It swings again and then tries a roundhouse kick, which Buffy ducks underneath. She blocks a punch and punches it in the stomach, then kicks it back. The demon hits her and she goes down. It grabs her and throws her against the car. She lands on the hood, sits up and kicks the demon with both feet. As it reels back, she stands up on the hood. The demon goes to punch her and she leaps up onto the car's roof. The demon punches the hood where she just was. It tries to hit her legs but she jumps up, crouches on the hood and kicks the demon again. She does a flip off the car onto the ground while kicking the demon again, and it goes down. Buffy picks up a metal garbage can and slams it down onto the demon. It gets up as she raises the can for another blow. The demon shoves the garbage can out of Buffy's hands, then hits her in the face. She spins around and ends up with her face pressed against the car window. The demon grabs her from behind, she spins around again and hits it. It reels backward. They trade kicks and the demon's head goes through the car window, breaking it. Close shot on the demon's hand pressed against the car door. A long thin bony spike suddenly shoots out of its knuckle. The demon struggles with its head and shoulders still inside the car. Buffy grabs it and it elbows her off, turns around, grabs her and holds her tightly against its body. The demon raises its hand with the spike still sticking out of it. Buffy sees the spike for the first time and looks alarmed. The demon stabs the spike into her shoulder. Buffy screams. Flash-cut to a room with plain white walls. Buffy is in the corner between two walls, wearing a plain gray shirt, screaming and struggling as two men try to hold her down. One man is injecting something into her arm in exactly the spot where the demon skewered her.", "MAN 1: You're gonna hurt yourself!", "MAN 2: She's gonna break the needle. (removes needle from Buffy's arm) We're gonna have to strap her down. Buffy continues struggling and gasping. Cut to a wider shot. We see a bed in the middle of the room, with leather restraints strapped to it. There are two narrow windows next to where the two men are struggling with Buffy. The men both wear plain white outfits. Slowly Buffy stops struggling and goes limp, still panting. The two men hold her upright against the wall.", "Cut to the hallway. We see a door with a small square window, through which we can see into the room where Buffy is. A young man in a gray outfit similar to Buffy's walks by, accompanied by a man in a doctor's jacket. Pan to wider shot and we can clearly see the hallway of this hospital, populated with other patients and doctors and nurses. Wolf howl. Opening credits. Guest starring Danny Strong, Adam Busch, Tom Lenk, Dean Butler, Michael Warren, Kirsten Nelson, Amber Benson as Tara, and Kristine Sutherland as Joyce. Written by Diego Gutierrez, directed by Rick Rosenthal.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on Buffy in the alley, leaning against the car, apparently unconscious. She comes to with a start, looks around, makes an expression of pain and rubs her arm. She straightens up and looks around, frowning. No sign of the demon. Buffy pushes away from the car and begins to walk off, still holding her arm.", "Cut to: UC Sunnydale campus, day. Various students walking around, etc.", "WILLOW: (OS) Hi, um, Tara, how are you? Pan across a building and we see Willow in a hallway, looking out a window, talking to herself.", "WILLOW: W-well, I-I was wondering, maybe, you would wanna go out sometime? For coffee ... food ... kisses and gay love? (sighs) Hi Tara. Guess what? Magic-free now for, insert number, days now. Among the other students walking around we see Tara approaching, walking down the hallway on the other side of the wall from Willow. Willow sees her, looks nervous, moves to intercept. Willow comes around the wall with a big nervous smile on her face. Long shot of Tara walking up to another girl. They smile at each other and the other girl kisses Tara either on the cheek or lips -- hard to tell. Willow looks shocked. Shot of Tara and the other girl laughing and talking. Willow quickly turns and starts walking away. Tara bids the other girl good-bye and continues walking. She spots Willow's back among the crowd, pauses, frowns slightly.", "Cut to: close shot on a pile of french fries sitting in a hopper a heat lamp. More fries in the boiler cooking. Pan up to reveal Buffy in Double Meat Palace uniform. The fryer beeps and she removes the basket of cooking fries from the hot oil, sets it to drain. She grimaces as if in pain, turns to walk away.", "LORRAINE: (OS) Buffy. We see Lorraine (Buffy's boss) standing a few feet away, next to a countertop.", "LORRAINE: Buffy. Buffy turns toward her. Flash-cut to the asylum. Buffy is again wearing her gray outfit and is turning. We see a woman in a doctor's coat, standing exactly as far away as Lorraine was, next to a counter.", "FEMALE DOCTOR: Come on, it's time for your drugs. Buffy begins to breathe faster, fearful. Flash back to the Double Meat Palace.", "BUFFY: (confused) What?", "LORRAINE: I said, if I didn't know any better, I'd think you were on drugs.", "BUFFY: (confused) Okay. Good. Lorraine rolls her eyes and turns away. Buffy turns and walks back to the french fries. She lifts the basket out of the fryer and dumps its contents into the hopper under the heat lamp. We see that the new batch of fries is burnt black.", "Cut to the Summers house. Buffy, wearing a turtleneck sweater, comes down the stairs and goes into the dining room.", "BUFFY: Whatcha doin'? We see Willow sitting at the table typing on her laptop computer.", "WILLOW: I'm online, checking to see if Xander emailed.", "BUFFY: (sits) Any luck?", "WILLOW: No such.", "BUFFY: (hopeful) Well, maybe Anya found him and they're trying to work it out. (Willow shrugs) How come you're all, home, hearth, and DSL anyway? I thought you were gonna go see Tara.", "WILLOW: (unhappy) Saw her. Saw her completely.", "BUFFY: Ouch. Just got a scratch from all that brittle.", "WILLOW: It's... (closing laptop) ...when I was seeing her, she was seeing someone else. A girl.", "BUFFY: You mean-", "WILLOW: I mean ... not \"seeing\" seeing. Well, maybe. I don't know, it was inconclusive, and I didn't stick around to find out. Might have magicked my fist through a wall or something,", "BUFFY: (softly) Will, I'm sorry.", "WILLOW: I mean, they're probably just friends. (pouty) I press my lips against my friends' all the time.", "BUFFY: I'm sure they're just friends. Once you fall for Willow, you stay fallen.", "WILLOW: Thanks, Buffy. The doorbell rings. They both look up.", "Cut to the front door. It opens and Xander comes in, looking toward the dining room.", "XANDER: Hi.", "WILLOW: Xander?", "XANDER: I'm back.", "BUFFY: Xander?", "WILLOW: Xander, you're here! The girls come into the foyer and they all share a group hug.", "WILLOW: We missed you, where were you?", "XANDER: I know, I tried calling, but I couldn't without...", "BUFFY: Hey. You don't need to explain to us. They all walk back into the dining room. Buffy and Willow resume their previous seats while Xander remains standing.", "XANDER: Right. Is she here?", "WILLOW: Oh ... n-no, you ... wanna find her?", "XANDER: I need to. Her suitcase is gone and some of her stuff. There's a Closed sign on the Magic Box, which, like, chills me to the bone.", "WILLOW: She left a couple days ago.", "XANDER: Was she looking for me? (Willow fidgeting) Before she left, did she say anything?", "WILLOW: You mean, between sobs? (Xander looking guilty) There was mostly just wheezing.", "BUFFY: She was a little ... she was ... kinda broken.", "XANDER: I don't know how stuff got so mixed up! (sighs) I blew it.", "BUFFY: No. Well ... maybe it wasn't the best time to break up with her, but...", "XANDER: No. It wasn't about breaking up. I love her, and god, I miss her so much.", "WILLOW: So, you left her at the altar, but you still wanna-", "BUFFY: You still wanna date?", "XANDER: I guess. I know that I'm a better person with her in my life. But things got so complicated with the wedding, and with my family, and with her ... demons, and ... what if it all goes to hell, a-and forever? (the girls looking sympathetic) But then I left ... and ever since ... I've had this painful hole inside. (Buffy looking pensive) And I'm the idiot that dug it out. Xander takes a deep breath, shakes his head sadly.", "XANDER: I screwed up real bad.", "BUFFY: Hey. We all screw up. Xander doesn't look comforted.", "Cut to the graveyard. Spike walks along carrying a paper grocery bag. As he walks, he takes out a cigarette and puts it in his mouth.", "SPIKE: You lookin' for me? We see Buffy walking away from him.", "BUFFY: Really not. The camera stays on Buffy as, in the background, Spike puts down his bag and takes out his lighter.", "SPIKE: Oh. Right then. Off you go. (lighting up) Did you cry?", "BUFFY: (stops walking) What?", "SPIKE: The wedding. Two hearts joined for eternity, great pelting showers of rice and so forth.", "BUFFY: You didn't hear. She turns and walks back toward him.", "SPIKE: What? Families get out of hand? Tear the place apart?", "BUFFY: No. Well, yes, absolutely. But ... Xander left. The wedding didn't happen.", "SPIKE: (surprised) Well. Gotta say ... I didn't see that coming. (sits on a bench)", "BUFFY: It was awful. (sits nearby) Anya was devastated.", "SPIKE: Is that right.", "BUFFY: And, Xander ... thinks maybe they can still get back together, but ... he hurt her a lot.", "SPIKE: Yeah, well ... some people can't see a good thing when they've got it. He gives Buffy a meaningful looks. Buffy glares at him. He returns to his cigarette.", "XANDER: (OS) Spike. Willow and Xander walk up, holding stakes.", "XANDER: I shoulda known you'd be tagging along.", "BUFFY: (stands) Hey, guys. I, uh ... I found Spike and was, uh, trying to figure out what kind of dangerous contraband he had.", "SPIKE: (looks disgusted, gets up) Tell you what, Slayer. (drops his cigarette and grinds it out with one foot) Let me get out of your way. (picks up grocery bag) I'll stop bothering you.", "XANDER: Yeah, maybe you should do that, Spike, just run along.", "SPIKE: You know, I guess you know all about that, don't you? (going over to Xander) The king of the big exit. (Xander lookng upset) Heard it brought the house down.", "XANDER: I don't need this crap from you.", "SPIKE: Right. Let's not listen to Spike. (turns to look at Buffy) Might get a bit of the truth on you. Spike gets in Xander's face. Willow quickly moves to separate them.", "WILLOW: Okay, okay. Heh. Calm now. (Spike and Xander glaring at each other) Let's, uh, turn around and release this very manly thing the other way.", "XANDER: I forgot. Willy Wannabite can't hurt me. (to Spike) Dumb to pick a fight, I guess.", "WILLOW: Xander. Shot of Buffy suddenly looking dizzy, falling to her knees. The others don't notice.", "BUFFY: (weakly) Guys...", "SPIKE: More than happy to beat you right through the pain, you pathetic poof. Spike tosses his bag of groceries aside. Xander punches Spike in the face. Spike goes down hard. Buffy sits back down on the stone bench, her head bent down to her chest.", "BUFFY: Guys, don't. Flash-cut to the asylum. Buffy has her head down and hands pressed to her temples.", "MAN: Buffy, can you hear me? Buffy looks up. A man in a doctor's coat sits down in front of her. She stares at him. We see that she is again pressed into the corner where two walls meet, sitting on the floor with her knees drawn up against her chest. Her hair is flat and limp and she wears bland gray hospital clothing.", "BUFFY: (panting) What is this?", "DOCTOR: Do you know where you are, Buffy?", "BUFFY: (confused) Sunnydale.", "DOCTOR: No, none of that's real, none of it. You're in a mental institution. (Buffy frowning at the floor, shaking her head) You've been with us now for six years. Do you remember? Buffy frowns in extreme confusion, lifts her head again to look at the doctor.", "Cut to longer shot of the room. The bed with the restraints is still there. Buffy is sitting in the corner and the doctor sits on a chair next to her. Close shot on Buffy's distressed face. Cut back to the cemetery. Spike goes tumbling over backward, over his bag of groceries, from Xander's punch. Willow and Xander rush over to Buffy.", "WILLOW: Buffy? Are you okay?", "XANDER: What happened? Buffy slowly lifts her head. Flash back to the asylum. The doctor reaches his hand out toward Buffy. She flinches back, trying to push herself even farther into the corner. She turns away and hits her forehead against the wall a few times.", "DOCTOR: It's okay, Buffy. Buffy, it's okay. Slowly, she turns her head to peer at him through her hair.", "DOCTOR: Look. Look who's here. The doctor looks behind him. Pan over to reveal Joyce standing by the door with Hank behind her.", "JOYCE: Buffy? Buffy stares. Joyce comes forward and crouches down to bring herself to Buffy's level. Hank stands behind her leaning down with hands on his knees.", "JOYCE: Welcome home, sweetie. Buffy stares at her mom in shock. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Same scene.", "BUFFY: (softly) Mom?", "JOYCE: (tearful) Oh, baby, you're really here.", "BUFFY: (whispers) Dad?", "DOCTOR: She's lucid. Keep talking, maybe the sound of your voice will ground her. Close on Buffy's anguished face.", "HANK: Sweetheart ... we've missed you very much. Honey, can you hear me? Buffy starts to cry, puts her hands to her head again.", "JOYCE: Oh, Buffy, stay with us, please. Flash back to the cemetery. Buffy has her hands to her head as Willow and Xander come over and take her arms.", "BUFFY: Oh ... no! She slowly lifts her head, looks around.", "SPIKE: Here, let's get her back to my crypt.", "XANDER: Spike, just go, okay? (Buffy looking confused) She's our friend, we'll take care of her. Xander and Willow help Buffy stand up.", "BUFFY: No, guys, I'm okay. I'm okay.", "WILLOW: Come on, Xander, help me get her home. They lead her off. Spike watches them go.", "SPIKE: (calls) Put a little ice on the back of her neck. He turns away, picks up his bag of groceries.", "SPIKE: (to himself) She likes that. He walks off shaking his head.", "Cut to the Summers house. Willow walks from the kitchen, holding a glass of water.", "BUFFY: (OS) I've been having these flashes. Hallucinations, I guess. Willow comes into the living room where Buffy is sitting in the armchair. Willow gives Buffy the water.", "WILLOW: Since when?", "BUFFY: Uh ... night before last. Willow sits on the sofa, where Xander and Dawn are already sitting looking at Buffy.", "BUFFY: I was, uh, checking houses on that list you gave me, and looking for Warren and his pals ... and then, bam! Some kind of gross, waxy demon-thing poked me.", "XANDER: And when you say poke...", "BUFFY: (rolling her eyes) In the arm. (Xander and Willow exchanging a look) It stung me or something, and ... then I was like ... no. It, it wasn't \"like.\" I *was* in an institution. There were, um ... doctors and ... nurses and, and other patients. They, they told me that I was sick. I guess crazy. And that, um, Sunnydale and, and all of this, it ... none of it ... was real.", "XANDER: Oh, come on, that's ridiculous! What? You think this isn't real just because of all the vampires and demons and ex-vengeance demons and the sister that used to be a big ball of universe-destroying energy? (pauses, frowns)", "BUFFY: I know how this must sound, but ... it felt so real. (softly) Mom was there.", "DAWN: She was?", "BUFFY: Dad, too. They were together ... (distantly) like they used to be ... before Sunnydale.", "WILLOW: (stands up hastily, raises her hand) Okay! All in favor of research? (Xander raises his hand) Motion passed. All right, Xander, you hit the demon bars. Dig up any info on a new player in town. Close on Buffy squinching up her face as if in pain.", "WILLOW: (OS) Dawnie, you can help me research. We'll hop on-line, check all the- Flash back to the asylum. CrazyBuffy is sitting in the chair with her face squinched up in the same way.", "DOCTOR: (OS) -possibilities for a full recovery, (shot of the doctor sitting behind a desk) but we have to proceed cautiously. If we're not careful--", "JOYCE: Wait. Reveal Joyce and Hank sitting in chairs across from the doctor. CrazyBuffy sits in another chair a little bit separated from them, with her knees drawn up again.", "JOYCE: Are you saying that Buffy could be like she was before any of this happened?", "DOCTOR: (gets up, comes around the desk) Mrs. Summers, you have to understand the severity of what's happened to your daughter. (sits on the edge of his desk) For the last six years, she's been in an undifferentiated type of schizophrenia.", "HANK: We know what her condition is. (Buffy frowning) That's not what we're asking.", "DOCTOR: Buffy's delusions are multi-layered. (Joyce and Hank listening intently) She believes she's some type of hero.", "JOYCE: The Slayer.", "DOCTOR: The Slayer, right, but that's only one level. She's also created an intricate latticework to support her primary delusion. In her mind, she's the central figure in a fantastic world beyond imagination. (Buffy staring into the distance, frowning) She's surrounded herself with friends, most with their own superpowers ... who are as real to her as you or me. More so, unfortunately. Together they face ... grand overblown conflicts against an assortment of monsters both imaginary and rooted in actual myth. Every time we think we're getting through to her, more fanciful enemies magically appear-", "BUFFY: (suddenly realizing) How did I miss-", "DOCTOR: and she's-", "BUFFY: Warren and Jonathan, they did this to me! Buffy becomes agitated, tries to get up out of her chair. The doctor reaches over to stop her.", "DOCTOR: Buffy, it's all right. They can't hurt you here. You're with your family. Buffy looks around, upset.", "BUFFY: (tearful) Dawn?", "HANK: (to doctor) That's the sister, right?", "DOCTOR: A magical key. Buffy inserted Dawn into her delusion, actually rewriting the entire history of it to accommodate a need for a familial bond. (to Buffy) Buffy, but that created inconsistencies, didn't it? (Buffy staring at him) Your sister, your friends, all of those people you created in Sunnydale, they aren't as comforting as they once were. Are they? They're coming apart. Buffy whimpers, lowers her head again.", "JOYCE: Buffy, listen to what the doctor's saying, it's important.", "DOCTOR: Buffy, you used to create these grand villains to battle against, and now what is it? Just ordinary students you went to high school with. (Buffy staring at him) No gods or monsters ... just three pathetic little men ... who like playing with toys. Buffy frowns anxiously.", "Cut to the Nerd Herd's new lair. Warren comes down the stairs from above, holding a cardboard box, Andrew behind him also carrying boxes.", "WARREN: Dude, that poison has got her drooling like a, some kind of-", "JONATHAN: (upset) Where have you guys been? Warren pauses partway down the stairs, glances up at Andrew.", "WARREN: Uh ... picking up some stuff. (continues down the stairs)", "ANDREW: (follows Warren) And checking out Buffy on the van's remote surveillance. Warren and Andrew put down their boxes. Warren sits in a chair.", "WARREN: Andrew's demon pet has done some number on the slayer. Got her tripping like a Ken Russell film festival. They both start doing stuff with the equipment.", "JONATHAN: Well, what kind of stuff?", "WARREN: What?", "JONATHAN: The packages. What's in them?", "WARREN: Well, what do you think, Spanky, you think we're plotting against you?", "JONATHAN: Better not be. (Andrew rolling his eyes)", "WARREN: It's just stuff, big man. All right, you'll be in the know just as soon as you stop being all freakazoid. Warren turns to the computers, hits some keys. Blueprints appear on the screen.", "WARREN: Ah, now, there's the vault.", "ANDREW: I still say we're gonna need eight other guys to pull this off.", "WARREN: I never should have let you see that movie. Jonathan looks angry, turns and heads for the stairs.", "WARREN: Wha, uh, where you going? (jumps up to follow Jonathan)", "JONATHAN: Out. Getting stuff I need.", "WARREN: You know, I don't really think that's such a good idea.", "JONATHAN: Why not?", "WARREN: (pauses) Well, it's... (puts arm around Jonathan's shoulders, sighs) It's just not safe out there ... alone. (leading Jonathan away from the stairs) You saw how close the slayer got. (Jonathan looking unconvinced) Look, we're, we're a team. Something happens to you, it happens to all of us. Right? (Andrew watching anxiously) Look, I know, I know you're antsy, we all are, but you see, things, they're about to pick up. Big, big time. Just gotta be careful. Right? All right? Stick together. Okay? Warren slaps Jonathan on the shoulder in friendly fashion and returns to his seat. Andrew looks relieved. Jonathan does not look reassured.", "Cut to the Summers house. Buffy sits on the sofa, staring at a photo of Joyce, Hank, and Young Buffy (from episode \"The Weight of the World\"). They are all smiling and happy together. Willow enters holding a piece of paper.", "WILLOW: (smiling) Look, Buffy, I found the demon. Fits your description and symptoms perfectly. Willow sits next to Buffy and holds out the paper. Buffy puts down the photo, still looking pensive.", "WILLOW: Look, is this it? Close shot on the paper with a picture of the demon. Buffy looks at it, nods without saying anything.", "WILLOW: (smiling) See, it's gonna be okay. Its pokey stinger carries an antidote to its own poison. Willow stops smiling as she sees that Buffy isn't cheered. Buffy resumes looking at the photo.", "BUFFY: (very quietly) I feel so lost.", "WILLOW: I know. You're confused. It's, it's that crazy juice inside you.", "BUFFY: It's more than that. (Willow frowning) Even before the demon ... I've been so detached.", "WILLOW: We've ... all been kind of slumming.", "BUFFY: Every day I try to ... snap out of it. Figure out why I'm like that.", "WILLOW: Buffy, look at me. Buffy looks at Willow, her lips quivering like she's about to cry.", "WILLOW: You are not in an institution. You have never been in an institution.", "BUFFY: (whispers) Yes, I have.", "WILLOW: What?", "BUFFY: (sighs) Back when I saw my first vampires... (shot of the photo) I got so scared. I told my parents ... and they completely freaked out. They thought there was something seriously wrong with me. So they sent me to a clinic.", "WILLOW: (shocked) You never said anything.", "BUFFY: (tearful) I was only there a couple of weeks. I stopped talking about it, and they let me go. Eventually ... my parents just ... forgot.", "WILLOW: God. That's horrible.", "BUFFY: (crying) What if I'm still there? What if I never left that clinic?", "WILLOW: Buffy ... Buffy, you're not. (Buffy sniffling) I'm ... so sorry you had to go through that. But, i-it's the past. You've got to trust me. We're gonna get you that antidote. Xander's hunting the demon right now.", "BUFFY: Alone? Will, he can't. It's too strong.", "WILLOW: Oh, it's okay. We got help.", "Cut to Xander and Spike walking through the forest together. Xander holds a flashlight.", "SPIKE: So, she's having the wiggins, is she? Thinks none of us are real. Bloody self-centered, if you ask me.", "XANDER: Spike, we need muscle, not color commentary.", "SPIKE: On the other hand, it might explain some things -- this all being in that twisted brain of hers. Yeah. Thinks up some chip in my head. Make me soft, fall in love with her, then turn me into her soddin' s*x slave-", "XANDER: What?!", "SPIKE: Nothing. Alternative realities. Where we're all little figments of Buffy's funny-farm delusion. You know, in a different reality, you might not have left your bride at the altar. You might have gone through with it like a man.", "XANDER: (annoyed) Okay, one more syllable about Anya- The demon leaps out at them, growling. Xander yelps. We see that Xander is also holding a rifle.", "SPIKE: Oh, balls. You didn't say he was a glarghk guhl kashma'nik(?)", "XANDER: 'Cause I can't say glar- The demon attacks. It knocks Xander to the ground and kicks at Spike, who ducks. Spike punches the demon a few times and then kicks it back. Xander gets up, holding the rifle. He fires a dart, which sticks in the demon's chest. The demon blocks a punch from Spike, hits him and kicks him. Spike spins around and falls down. Xander hits at the demon, goes to hit it with the rifle but it blocks. We hear a metallic clanking noise as the rifle hits the demon's hand which is wearing some sort of gauntlet. The demon shoves Xander onto the ground again. Spike exchanges a few more punches with the demon as Xander picks up the rifle again. Xander shoots another dart which sticks in the demon's chest next to the first one. The demon ducks a kick from Spike and spins around. Spike grabs the demon from behind and twists its neck, rendering it unconscious. Xander gets up and walks over. He and Spike stand there panting, staring down at the demon.", "XANDER: I altered his reality. (pause) Get it, I... (sees Spike scowling) Never mind.", "Cut to: Buffy sitting on her bed, staring blankly into space.", "DAWN: (OS) I made you some tea. Dawn enters holding a mug. Buffy doesn't look at her.", "BUFFY: (whispers) Thanks. Dawn comes over, puts the mug on a side table, sits on the bed beside Buffy.", "BUFFY: (still staring vacantly) I'm okay, Dawn.", "DAWN: The, uh, thousand-yard stare really helps sell that. Dawn look sympathetic, leans over and puts her hand on Buffy's forehead, then on her cheek.", "DAWN: You're burning up.", "BUFFY: (frowns) I should be taller than you.", "DAWN: (small smile) Maybe you're not done growing.", "BUFFY: Coming apart.", "DAWN: What's coming apart?", "BUFFY: (frowning, shaking her head) We have to try harder, make things better.", "DAWN: I'm trying.", "BUFFY: Your grades ... stealing. (Dawn looking guilty) Willow's been doing your chores, hasn't she?", "DAWN: What? No, i-it's ... it's the fever. It's cooking your brain. Suddenly Buffy leans forward and grabs Dawn's arm hard. Dawn looks alarmed.", "BUFFY: We have to deal with these things, Dawn, we-", "JOYCE VOICEOVER: You don't have a sister, Buffy. Buffy frowns in confusion. Flash-cut to the institution. Joyce sits facing Buffy, gazing at her. CrazyBuffy is still in her hospital gown.", "BUFFY: (uncertainly) Dawn?", "JOYCE: No, honey.", "Cut to a wider shot and we see Buffy sitting on the bed and Joyce sitting on it next to her, in the same positions as Buffy and Dawn were in the bedroom. Hank sits in a chair on the other side of the bed, watching.", "JOYCE: Say it. It'll help you believe it.", "BUFFY: (uncertainly) I ... don't ... have a sister. (Joyce nodding approvingly) I know I, I didn't grow up with her. These monks, they-they made her. Joyce looks uncertain, turns to look at Hank.", "HANK: It's your mind, just playing tricks on you.", "JOYCE: You're our little girl, Buffy. Our one and only. We've missed you so much. Mom and Dad just want to take you home and take care of you. Joyce puts out her hand and caresses Buffy's cheek. Buffy looks anguished, reaches out with her own hand. Flash back to the bedroom. Dawn stares in dismay as Buffy puts out her hand and touches Dawn's cheek. Buffy is startled, pulls back her hand quickly, frowning. She squeezes her eyes shut.", "DAWN: (tearful) I'm not even there, am I?", "BUFFY: What?", "DAWN: You said it a second ago. You don't have a sister. Dawn stands up. Buffy looks upset.", "DAWN: It's your ideal reality, and I'm not even a part of it.", "BUFFY: Dawn, I ... I didn't mean-", "DAWN: I have to go finish my chores. Dawn exits, leaving Buffy looking very upset.", "Cut to the basement. Spike and Xander struggling with the demon. It is conscious again, growling and fighting as they drag it toward a pillar in the middle of the basement. The demon is wrapped in chains. In background we see Willow.", "XANDER: Hold it. Hold it! Close shot on Willow putting on a pair of thick yellow rubber gloves.", "WILLOW: I'll need its arm. The demon breaks away from Spike and falls to the floor, on top of Xander. Looks like Spike maybe pushed the demon onto Xander, but hard to tell for sure.", "XANDER: Yeah, I'd like both my arms too. Spike hauls the demon back up and shoves it against the pillar.", "XANDER: (getting up) Thanks, Spike. I'll help when the ... blistering pain subsides. Close on Xander's legs as a foot kicks Xander in the shin. Can't tell whether it was the demon or Spike. Xander yells in pain and goes down again, immediately gets back up again.", "WILLOW: Ready? Willow comes forward holding a glass jar and a tool of some sort. Xander and Spike hold the struggling demon back against the pillar. Willow stabs the demon in the arm with a two-pronged fork, causing its spine to come out from its hand. She grabs the spine and breaks it off.", "WILLOW: (putting the spine in her jar) Xander, go to the magic shop. Xander and Willow walk off.", "WILLOW: I'll need alkanet root and a handful of nettle leaf. Just for the medicinal properties. No magic. Shot of Spike working on chaining the demon to the pillar. Willow and Xander start up the stairs.", "WILLOW: When you've got them, meet me at the campus lab. I'll see if I can brew up an antidote the old-fashioned way.", "SPIKE: I'll hold here, keep an eye on the wax job.", "XANDER: Make sure that's all you're ogling.", "WILLOW: Xander! Willow pulls Xander away up the stairs.", "Cut to exterior shot of the house, day.", "WILLOW: (OS) Buffy? Wake up.", "Cut to the bedroom. Willow walks in holding a mug. She wears the same clothes as in the previous scene.", "WILLOW: Got yummy antidote goodness for you. We see that Buffy is also still wearing the same clothing as the night before.", "BUFFY: What happened?", "WILLOW: (gives her the mug) It took a little longer than I'd hoped. No magic and all. Went boom twice, but then I got it. Just ... when it's cool, drink it all down, and ... everything should go back to normal.", "BUFFY: You never stop coming through. Thank you, Willow. Willow smiles. Spike appears in the doorway, looking uncertain.", "SPIKE: How is she?", "WILLOW: (goes to the door) Make sure she drinks all that. I'm gonna let Dawn know that everything's gonna be okay. Willow smiles at Buffy and leaves. Spike continues standing in the doorway.", "SPIKE: (quietly) You all right?", "BUFFY: (grimaces, not looking at him) You need to leave me alone. You're not part of my life.", "SPIKE: (annoyed) Fine, then. Spike turns to leave, then turns back, even more annoyed.", "SPIKE: You know, but I hope you don't think this an- He starts to come forward into the room, gesturing angrily, but walks into a beam of sunlight and stops, moves back with a frustrated expression.", "SPIKE: (slightly calmer) I hope you don't think this antidote's gonna rid you of that nasty martyrdom. (Buffy still not looking at him) See, I figured it out, luv. You can't help yourself. You're not drawn to the dark like I thought. Buffy looks up at him now, still frowning.", "SPIKE: You're addicted to the misery. It's why you won't tell your pals about us. Might actually have to be happy if you did. They'd either understand and help you, god forbid ... or drive you out ... where you can finally be at peace, in the dark. With me. Either way, you'd be better off for it, but you're too twisted for that. (pauses) Let yourself live, already. And stop with the bloody hero trip for a sec. We'd all be the better for it. Buffy frowns even more, looks up at Spike again.", "SPIKE: You either tell your friends about us ... or I will. He turns and leaves. Buffy makes an anguished face, holds the mug up. Pauses. Brings the mug up to her lips, pauses again. Stares off in front of her, pondering. Slowly, she turns and holds out the mug. Tips it over and lets the contents pour out into the trash basket. Close shot on her face as she stares ahead.", "DOCTOR VOICEOVER: Buffy. Flash back to the asylum.", "BUFFY: (tearful) I don't wanna go back there. We see CrazyBuffy sitting on the bed, the doctor standing on one side of the bed while Joyce and Hank stand on the other side.", "BUFFY: I wanna be healthy again. (Joyce smiling hopefully. Buffy turns to the doctor) What do I have to do? Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Same scene.", "BUFFY: (anxious) Oh ... please, help me. (to Joyce) I-I wanna go home, with you and dad.", "JOYCE: I know, Buffy. But first you've gotta get better.", "DOCTOR: It's not gonna be easy, Buffy. You have to take it one step at a time. You have to start ridding your mind of those things that support your hallucinations. (Buffy looking up at him) You understand? There are things in that world that you cling to. For your delusion, they're safe-holds, but for your mind they're traps. We have to break those down.", "BUFFY: (softly) Slaying?", "DOCTOR: Yes ... but I'm talking about those things you want there. What keeps you going back.", "BUFFY: My friends.", "DOCTOR: That's right. Last summer, when you had a momentary awakening, it was them that pulled you back in.", "JOYCE: They're not really your friends, Buffy. They're just ... tricks keeping you from getting healthy.", "DOCTOR: You have to do whatever it takes to convince yourself of that, Buffy. Whatever it takes. Buffy stares off in front of her. Flash back to the house. Buffy enters the living room and bumps into Willow:", "WILLOW: (startled, nervous) Oh, Buffy, I, I didn't see you. I was just coming to check on you. You feeling better? Did the antidote work?", "BUFFY: I'm ... still pretty dazed, but, uh, better.", "WILLOW: No more cuckoo's nest? (Buffy shakes her head) Well, we still have the big bad all tranked out down in the basement. In case it didn't work and we need more parts. Beat. Buffy looks blank. Willow looks hopeful.", "WILLOW: It'll be nice to see you all better.", "BUFFY: (small smile) Thanks.", "WILLOW: I can make you some food, something big with energy, help you clear your noggin. Come on. Willow takes Buffy's hand and they walk toward the kitchen.", "Fade to the front door (shot from inside the foyer). A knock on the door. Xander opens it, pokes his head in.", "XANDER: (calls) Hello! I'm back! Clean and with the better smell now. (comes inside, closes the door) Friends? Romans? Long shot down the hall at Xander standing there, throwing up his hands.", "XANDER: Anyone? He starts walking down the hall toward the camera. He glances into the kitchen, pauses.", "XANDER: Hey. Reveal Buffy standing by the kitchen sink, holding a frying pan. Definite horror-movie vibe here. There's no background music. Buffy looks up at Xander as he walks in.", "XANDER: Hey, there, sane girl. (taking off his jacket) So did Willow get that antidote to you all right?", "BUFFY: (curtly) Yeah. I'm better now.", "XANDER: Great. So, it's settled. (puts down his jacket) We're, uh, we're real, right? Guess we should finish off that demon and drag it out of the basement. And tell me you're up for that. (shakes his head) I so don't wanna see Spike right now. (walking closer to Buffy) I mean, talk about losing touch. Hate to say it, but I almost... (frowns) feel sorry for the guy. Almost. The things the poor guy was saying ... I mean, I get it, you know. Been a part of the Buffy obsess- Suddenly Buffy hits him in the face with the frying pan. He reels back. Fast horror-movie music begins. Buffy drops the pan, grabs Xander and throws him against the kitchen island, her hands on his neck.", "XANDER: (strained) B-Buffy- She pulls him up again and hits him a couple of times. He goes down. Fast-cut to Buffy dragging the half-conscious Xander down the basement stairs. She throws him to the floor. Xander lifts his head a little and opens his eyes. The creepy music slows down. Reveal Willow on the floor not far from him, her hands tied behind her back and a piece of duct tape over her mouth. She stares at Xander in dismay.", "XANDER: (groggy) Willow, what... He falls unconscious. Willow stares past him. Pan across their two bodies lying on the floor to reveal Buffy standing over them, staring down at them. She turns her gaze toward the stairs. Shot of the demon still chained to the post in the middle of the basement, struggling and growling. Buffy looks at the demon, back at her friends, then up the stairs. Slow creepy music continues.", "Cut to the kitchen. The faster scary music resumes. Buffy emerges from the basement, frowning slightly. She shuts the door and locks it. Slowly, she turns and walks down the hall. She pauses to grimace for a moment, continues. Reaches the bottom of the stairs, turns and looks up them.", "BUFFY: (calls) Dawn? She starts up the stairs.", "Cut to upstairs hallway. Buffy emerges from the stairs, pauses, takes a deep breath, walks forward and pushes open the door to Dawn's room. Walks in. We see Dawn with a canvas bag on the bed, putting stuff into it. She turns with a gasp to look at Buffy. Her cheeks are tear-stained.", "DAWN: Don't you knock? (resumes packing)", "BUFFY: I called for you.", "DAWN: (looks at her again) Buffy, are you okay?", "BUFFY: Where are you going?", "DAWN: (resumes packing) I'm going over to Janice's, where they actually like having me around.", "BUFFY: You're not going anywhere.", "DAWN: (scoffs) Why not? You want me gone anyway. What do you care?", "BUFFY: I care. You're going downstairs with the others. It's the only way I can get healthy. (walks toward Dawn)", "DAWN: (alarmed) What are you talking about? Buffy comes up to Dawn and stares at her.", "DAWN: (worried) Buffy, you look sick. (Buffy just staring at her) What are you doing? What's wrong with you? Suddenly Buffy tries to grab Dawn. Dawn breaks free and runs out.", "DAWN: Stay away from me! Dawn goes running down the hallway.", "DAWN: (screams) Willow, help! Dawn runs into Willow's room(?) and closes the door, leans against it.", "DAWN: Buffy, please! Buffy walks slowly down the hall toward the room.", "BUFFY: You can't hide, Dawn.", "DAWN: Talk to me. You're hallucinating.", "BUFFY: (leans against the door) I know. You're just a trap for my mind.", "DAWN: Buffy, please, listen to me. That asylum and those people, they're not real! Buffy frowns, moves back and kicks the door open. Takes a few steps inside, looks around. No sign of Dawn. Buffy goes back out and finds Dawn emerging from another door. Dawn gasps in surprise. Buffy stares at her.", "DAWN: Buffy ... look at me. (Buffy blinking slowly) I'm right here. You're my sister. (getting tearful) I need you and love you. Somewhere inside you must know that's real.", "BUFFY: (sarcastic) Sure it is. 'Cause what's more real? (starts walking toward Dawn) A sick girl in an institution...", "DAWN: Don't. Please. Listen to me.", "BUFFY: Or some kind of supergirl ... chosen to ... fight demons and... (Dawn looking around anxiously) save the world. (pauses, looks to one side, smiles a little) That's ridiculous. She does her little grimace thing again and looks at Dawn. Dawn quickly grabs the door and slams it in Buffy's face. Buffy kicks it open again. Dawn screams and jumps back.", "BUFFY: (advancing into the room as Dawn backs away) A girl who sleeps with the vampire she hates?! Yeah, that makes sense. Dawn tries to run around the bed but Buffy rolls across it and winds up in front of Dawn. She grabs Dawn by the arms and shoves her up against a dresser, then onto the floor. Dawn struggles as Buffy straddles her and pins her down.", "DAWN: No! Buffy, stop! I'm real!", "Cut to the basement.", "DAWN: Buffy, stop it. I'll be good! Buffy throws Dawn to the floor. We see that Dawn's arms are tied behind her back.", "DAWN: I promise. You're not thinking. I'll- Buffy kneels down and puts a piece of duct tape over Dawn's mouth. Dawn squeals and whines behind the gag. Pan out to reveal Willow lying beside Dawn (both of them bound hand and foot, and gagged with duct tape). Xander is a few feet away, still unconscious, with his hands tied around a pillar but his feet and mouth free. Buffy looks at them, looks at the demon, grimaces.", "DOCTOR VOICEOVER: It's okay, Buffy. Don't stress yourself. Flash to the asylum. Joyce and the doctor are close in foreground (Buffy POV) with Hank hovering in the background.", "JOYCE: Honey, take your time.", "DOCTOR: Make it as easy on yourself as possible. There's nothing wrong with that. CrazyBuffy nods, looks determined. Cut back to the basement. Xander begins to come around. Buffy sees this, walks slowly toward him.", "XANDER: Buffy ... what are you doing? She walks past him and over to the demon, walks around behind it. Close shot on the chains as Buffy reaches over and undoes them. The demon shakes itself, making the chains fall to the floor.", "XANDER: Oh my god. The demon begins to advance, growling. Buffy stands watching. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Same scene. Buffy is panting, looks a little anxious as she watches. The demon is still advancing. Xander is trying to get to his feet, sliding his bound hands up the pillar. Sound of Willow and Dawn whimpering.", "XANDER: Buffy, help me! I need my hands! Xander kicks at the demon. Buffy looks anxious, backs up into the space underneath the stairs.", "Cut to the foyer. Horror-movie music continues. Tara enters through the front door.", "TARA: (calls) Hello? She comes inside, closes the door.", "TARA: (calls) Anybody home? Cut back to the basement. Buffy presses herself fearfully back into the alcove under the stairs as Xander continues fending off the demon with kicks. The demon grabs Xander's shoulder and pulls, hard enough to break the ropes binding him. It throws Xander across the room. He slams into a refrigerator and falls down. Close on Buffy watching with increasing anxiety.", "JOYCE VOICEOVER: Buffy?", "Cut to the institution, close shot on Joyce's face, blurry and unfocused. CrazyBuffy jumps off the bed, whimpering. Runs over to the corner and presses herself into it, twitching and whimpering. Joyce looks concerned, walks toward her.", "JOYCE: I-It's gonna be okay, sweetheart. Whatever it is, it's not real, remember? (moving forward slowly) Just keep concentrating. I'm right here, sweetie. CrazyBuffy slides slowly down the wall toward a sitting position. Cut back to the basement. Buffy is similarly sliding down the wall.", "XANDER: (OS) Buffy, help me! Shot of Xander struggling to get up again.", "XANDER: Buffy, help! The demon hits him hard on the back.", "TARA: (OS) Willow? Buffy looks up in surprise. Tara comes partway down the stairs, peers down. Shot of Willow trying to call to Tara through her gag.", "TARA: (pointing) Eximete! The bonds on Willow and Dawn dissolve in a flash of magic. They sit up.", "TARA: Vis zenobia! S-solvere! A large metal shelving unit covered with paint cans suddenly flies across the room and slams into the demon. Close on Tara's feet as she descends the stairs. Buffy reaches between the steps and grabs Tara's ankle, tripping her. Tara falls down the stairs.", "WILLOW: No! Tara! Buffy looks shocked. Willow rushes over to Tara. Buffy retreats back into her alcove.", "Cut to the asylum. CrazyBuffy is sitting pressed into the corner, agitated.", "BUFFY: I don't know...", "JOYCE: (kneeling next to her) Buffy, look at me.", "BUFFY: I don't know. I don't know.", "JOYCE: I believe in you. (Buffy looking at her, whimpering) You're a survivor, you can do this. CrazyBuffy looks conflicted. Cut back to the basement. Buffy grimaces again, looks up. Xander jumps up and attacks the demon, which is attacking Dawn. Dawn screams. Xander jumps on the demon from behind. It grabs him and throws him down.", "BUFFY: Xander. No. She looks away, grimaces, looks back. The demon is again struggling with Dawn. It throws her across the room, still screaming, as Willow picks up a metal baseball bat. Willow starts hitting the demon with the bat, then it grabs the bat and shoves her down. Buffy looks anguished, starts to call Willow's name...", "BUFFY: Willow!", "Cut to the asylum in mid-word. CrazyBuffy is very agitated, banging her head against the wall.", "JOYCE: Buffy? Buffy! Buffy, fight it. You're too good to give in, you can beat this thing. Be strong, baby, ok? (Buffy crying) I know you're afraid. I know the world feels like a hard place sometimes, but you've got people who love you. (tearful) Your dad and I, we have all the faith in the world in you. We'll always be with you. CrazyBuffy calms down as these words start to sink in.", "JOYCE: You've got ... a world of strength in your heart. I know you do. You just have to find it again. (whispering) Believe in yourself. Joyce strokes her hair. CrazyBuffy sniffles, looks determined. Slowly she turns her head to look Joyce in the eye.", "BUFFY: You're right. (sad smile) Thank you. Joyce smiles.", "BUFFY: (tearful) Good-bye. Joyce looks surprised, then horrified. CrazyBuffy looks away.", "JOYCE: (anguished) Buffy. Cut back to the basement. Sounds of screaming and punching continue as Buffy slowly stands up, wearing her determined expression. She walks forward, kicks the demon in the chest, hits it, shoves it against the wall. Punches it, throws it into the washer/dryer, walks over to it and punches it so hard her hand goes into its chest. The demon falls down, dead. Buffy stands there with her hand covered in its slimy gray blood. Zoom in on her determined face. Slowly, she turns around. We see Dawn huddled by the refrigerator, Xander picking himself up, Willow and Tara helping each other up. They all stare at Buffy.", "BUFFY: (whispers) I'm so sorry.", "WILLOW: Buffy? We're okay. It's all okay. (Buffy stumbling(?)) Buffy, sit down. You'll fall over.", "BUFFY: No ... I can't. Not until I have the antidote.", "WILLOW: Okay. We-we'll make more, we'll take care of it. Close on Buffy's face.", "WILLOW: (OS) Everything's gonna be okay, Buffy. Flash to the institution. The doctor shining a flashlight at the camera (Buffy POV). He clicks the flashlight off, then on again. We see CrazyBuffy sitting there catatonic, unresponsive as the doctor shines the light in her eyes. The doctor makes an upset face, turns to speak over his shoulder.", "DOCTOR: I'm sorry, there's no reaction at all. Close on CrazyBuffy leaning in the corner of the room.", "DOCTOR: (OS) I'm afraid we lost her. Camera pulls out slowly to reveal the doctor sitting on a chair, and behind him, Buffy's parents. Joyce is sobbing. Hank puts his arm around her and she hugs him. Continue pulling out to reveal the shackled bed. Camera moves back through the closed door with its tiny window. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Anya seeks vengeance on Xander and when looking for someone who wants the same, she finds comfort with Spike. Xander sees their impulsive behavior through a camera and tries to stake Spike. Willow and Tara arrange a date, which ends with the two of them kissing." ]

[ "•I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote the episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously...", "Buffy and Spike in the crypt.", "BUFFY: I'm using you.", "SPIKE: Oh, this is worse then, is it? This is you telling me...", "BUFFY: It's over. The Geek Trio in their lair.", "JONATHAN: Where've you guys been?", "ANDREW: Checking out Buffy on the van's remote surveillance. Buffy and Willow in the Summers house.", "BUFFY: I thought you were gonna go see Tara. Tara and another girl kissing each other in the school hallway.", "WILLOW VOICEOVER: She's ... seeing someone else. They're probably just friends. Anya at the wedding that wasn't.", "ANYA: Xander's gone? Xander's missing? Xander at the house.", "XANDER: Is she here?", "WILLOW: She left a couple days ago.", "BUFFY: She was ... kinda broken.", "XANDER: I love her, and, god, I miss her so much. Dawn, Buffy, and Anya in Dawn's room.", "DAWN: No! Anya opening a box. Dawn's stolen jewelry falling out.", "ANYA: How could you do this? Buffy beating up Xander in the kitchen in \"Normal Again.\" Buffy holding Dawn down.", "DAWN: Buffy, stop! No! Dawn, Willow, and Xander tied up in the basement in \"Normal Again.\"", "BUFFY: I'm so sorry.", "XANDER: We're okay, it's all okay.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Cut out and we see it's two vampires running, looking nervously behind them. Cut out farther and we see three all-terrain vehicles chasing the vampires. Cut closer to reveal the Geek Trio on the ATVs, holding long stakes like jousting spears. Warren gives a yell or laugh of excitement as the chase continues.", "WARREN: Ha ha!", "ANDREW: They're getting to the gate!", "WARREN: I see it, I see it! The vampires continue fleeing. Now we see one of them has something in his hand: a flat round metallic disk three or four inches in diameter. The Geeks continue pursuing. One vampire grabs a branch from a passing tree. The branch breaks off and he throws it at the ATVs. The branch hits Andrew in the face and he loses control of his vehicle. He falls off as Jonathan roars up behind him. Jonathan and Warren swerve to avoid hitting Andrew. Jonathan side-swipes a gravestone, shattering it. He ends up riding head-on toward Warren. They both stop just in time but go tumbling off their vehicles and onto the ground. Andrew comes limping over.", "ANDREW: We're gonna lose 'em. We see the vampires still running. They have almost reached the wide gate that marks the exit to the cemetery. Jonathan and Warren get to their feet.", "JONATHAN: We need that disk. The vampires run through the gate and onto the street, only to be attacked by Buffy. She hits the first vamp and grabs the second, but he twists out of her grip. The disk goes clattering across the pavement. The second vamp kicks at Buffy but she blocks, hits him and throws him against the gate. He falls to the ground and Buffy turns to the other vamp. The Nerd Herd stands watching.", "WARREN: Wait. The fight continues, moves around the gate and out of the Geeks' view. Warren moves forward. The second vamp gets to his feet and prepares to rejoin the fight. But suddenly he rises up off the ground. Reveal Spike sitting atop the stone pillar of the gate, holding the vampire by the back of his shirt, calmly watching Buffy. The vamp struggles ineffectively. The Geeks walk closer, carefully. Buffy gets the first vamp in a strangle-hold, tries to stake him but he holds her arm off. Spike continues watching and holding the second vamp in the air. The first vamp gets loose from Buffy's hold and hits her. Warren crawls across the ground toward the disk. He gets to it, grabs it. Andrew and Jonathan start to run off, as Warren follows. Buffy never saw them. The first vamp throws Buffy to the ground and reaches for her throat.", "SPIKE: How you doin'?", "BUFFY: (holding the vamp off) Oh, fine. You know, same old same old.", "SPIKE: Here, I could take care of this guy if you want.", "BUFFY: Whatever. Buffy kicks the first vamp off and flips to her feet.", "BUFFY: Your call.", "SPIKE: I mean, sure he don't look like much...", "VAMP 2: Hey!", "SPIKE: ...but I'd wager he could give you a bit o' nasty. (Buffy kicking Vamp 1) Save you the staking. (Buffy throwing Vamp 1 to the ground) All you gotta do is-", "BUFFY: I am not telling my friends about us.", "SPIKE: Right, I'll just be dropping him down to you then.", "BUFFY: (still struggling with Vamp 1) You wanna tell them so badly? Go ahead. She finally manages to get a hand free and stakes the first vamp. Buffy stands up and walks over to the gate, looks up at Spike and the still dangling Vamp 2.", "BUFFY: You know why? I tried to kill my friends, my sister, last week ... and guess how much they hate me. Zero. Zero much. (shrugs) So I'm thinking, sleeping with you? (Spike looking annoyed) They'll deal. She turns to go. Spike lets Vamp 2 go. He falls to the ground and rushes at Buffy from behind.", "SPIKE: In that case, why won't you sleep with me again? Vamp 2 pauses, looks back at Spike in confusion.", "VAMP 2: Huh? Buffy turns back, stakes the vamp and glares at Spike. Turns again and resumes walking.", "BUFFY: (quietly as she walks away) Because I don't love you. Spike looks down, pouts.", "SPIKE: (to himself) Like hell.", "Cut to Xander's apartment. It's dimly lit and very red. Sad music plays -- \"Sao Paulo Rain\" by Tom McRae. And midnight graffiti appears on your door Pan across to reveal Xander sitting on the floor holding a bottle of beer. He takes a sip, stares blankly. So we all can sleep safe in our homes Xander takes another sip of beer, continues staring blankly. And the storms in the distance hold no rain... Xander picks up a remote control and pushes a button. The music stops. He looks around in the silence. Gets up. He walks over to a chair, picks up a jacket and puts it on as he leaves the apartment.", "Cut to the front of the building. Xander exits, goes down the walkway toward the street. Pan over to some bushes. We see Anya standing behind them, watching him go. Wolf howl. Opening credits. Guest starring Danny Strong, Adam Busch, Tom Lenk, Kali Rocha, and Amber Benson as Tara. Written by Drew Z. Greenberg, directed by James A. Contner.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Exterior college campus, day. Students walking around, talking, etc.", "Cut to inside hallway. Willow stands beside a classroom door holding books. Students are walking out of the classroom. Tara exits the classroom, also holding books. She doesn't see Willow, begins walking. Willow rushes to intercept her, smiling. Willow grabs Tara's shoulder.", "TARA: Hey!", "WILLOW: Hey. Look at you. All coming out of class and everything. (they continue walking)", "TARA: (smiling) I do that sometimes. Usually at the end part of the class.", "WILLOW: Right. (nervous laugh)", "TARA: So how's your, you know, after the whole basement deal? (gesturing at her neck)", "WILLOW: (puts hand to her neck) It's between a hitch and a kink, with a side of a twinge. It's okay. (smiling)", "TARA: And Buffy's okay too? Enjoying the refreshing sanity and so forth? (stops walking)", "WILLOW: (loud fake laugh) Ha, yeah! Refreshing san - that's funny. (more seriously) She's okay. A little ... freaked. I'm glad she didn't hurt you.", "TARA: You too. Pause. They resume walking.", "TARA: So, this is becoming kind of a regular thing, you and me after class.", "WILLOW: (nervous) Uh, I didn't...", "TARA: Only this time you stuck around.", "WILLOW: Uh, um ... various sounds of hesitation...", "TARA: She was just a friend.", "WILLOW: (relieved, nervous laugh) Friends are nice!", "TARA: (smiles) You rushed off before I could, you know, explain.", "WILLOW: Well, officially, I have to say I have no idea what you're talking about.", "TARA: Unofficially? Tara stop walking, gives a teasing look. Willow smiles hugely, then calms down but still looks happy.", "WILLOW: We should have some coffee some time. (nervously) Uh, maybe some day ... this week after class?", "TARA: (small smile) I'm free tomorrow.", "WILLOW: Uh, you could, you could bring your friend.", "TARA: (surprised) I wasn't gonna - I-I mean, if you have a friend-", "WILLOW: No! (quickly) I'm, oh, I-I'm friendless.", "TARA: Yeah, yeah, no friends. (quickly) I-I mean, I have friends-", "WILLOW: Right, many dear friends, yeah. They both laugh and fidget nervously.", "TARA: (sighing, smiling) Coffee.", "WILLOW: With us. Who are ... just friends. (both nodding at each other)", "Cut to: exterior street mall, day. Lots of people walking around, shopping etc.", "BUFFY: (OS) Okay, how about this store? Long shot of Buffy and Dawn walking along. Buffy points at a store window.", "DAWN: Ah. Three pairs of earrings, a coin purse and a toothbrush.", "BUFFY: (dubious) You stole a toothbrush.", "DAWN: (defensive) A mother-of-pearl handle. Very fancy.", "BUFFY: Yeah, but you stole a toothbrush. As far as rebellious teenagers go, you're kinda square.", "DAWN: (smiling) Dental hygiene is important.", "BUFFY: Guess this was kind of a lame sisters' day out, huh? I make up for trying to kill you by taking you to places you can't go in.", "DAWN: No, it's my bad. I'm the one that got caught taking stuff.", "BUFFY: (noticing something offscreen, pointing) Hey, how about the pet store? You didn't take anything from there, did you?", "DAWN: A pocketful of goldfish. It didn't work out. Beat. They continue walking as Buffy stares at Dawn.", "DAWN: (laughing) No!", "BUFFY: (smiling) Okay, good. We can go, and we can look at all the puppies.", "DAWN: (grimacing) Ehh. It's so awful! There's puppy mills, and keeping them in cages, and, and people poking at them all day.", "BUFFY: Yeah, but puppies, cute! Come on, you used to love the pet store.", "DAWN: Yes, when I was in my fives and sixes. (sees Buffy looking disappointed) Uh, come on, we'll go look. (looking around) Besides, I don't think there's another store here where I can ... show my face.", "BUFFY: It'll pass. You've returned all the stuff that you still had, and we're paying for the rest.", "DAWN: I'm paying for the rest.", "BUFFY: We'll figure it out. They look at each other.", "Cut to: close-up of the disk from earlier. We see that it has symbols drawn in concentric rings on its surface. It sits on a table leaning against a small glass jar filled with yellow liquid.", "JONATHAN: (OS) Get back. Reveal Jonathan sitting by the table holding a glass mortar and pestle. The table also holds an array of test tubes, and the requisite arrangement of curly tubes and jars filled with liquids of various colors. Warren stands by Jonathan's shoulder.", "JONATHAN: You don't want to make me rush this. (mixing stuff in the mortar)", "WARREN: I'm not impressed, padawan. When do we hit pay-dirt?", "JONATHAN: If something goes wrong, it's gonna surge... (Warren pacing to the other side) ...and we'll be deader than an ex-girlfriend.", "WARREN: (pauses, whirls to stare at Jonathan) What did you say?", "JONATHAN: (annoyed) Just let me work!", "WARREN: (playing it cool) All right. All right, you do what you need to do. You get us to the goods, and then watch out! (smiles) It'll gonna be like ... it'll be like the whole world just spread open and gave it up for you, man. Jonathan doesn't look thrilled by that. He looks up at Warren.", "JONATHAN: (quietly) And then we're done, right? We each take our share and we call it a day.", "WARREN: You that ready to get rid of us? Huh? In background Andrew appears, pretends to be doing something but really is listening in.", "WARREN: Don't worry. We pull this off, you can go buy any tropical island you want. (Jonathan still looking grim) Aw, cheer up, Short Round. You're about to get us everything we ever wanted. Jonathan still looks displeased but he nods and turns back to the chemistry set. Warren turns away, goes over to Andrew.", "WARREN: (quietly) He's almost done. (shot of Jonathan working)", "ANDREW: I sorta feel ... kinda sorry for him.", "WARREN: (glares at him) That's a weakness.", "ANDREW: (uncertain) Um ... okay.", "WARREN: Look at him. (shot of Jonathan working, frowning)", "ANDREW: He's got that same look on his face, the one he had that time I highlighted in his Babylon 5 novels. Andrew smiles at the memory, suddenly realizes something.", "ANDREW: Right before he told his mother on me! Warren! I don't think we can trust him.", "WARREN: We don't have to. Not for that much longer.", "ANDREW: Is it gonna be that soon?", "WARREN: The milk. In the fridge. How long 'til it expires?", "ANDREW: Well, we got it on Friday, and I remember noticing there wasn't a full two weeks on it, (Warren rolling his eyes) but we did get it in the fridge pretty quick, unless I'm thinking of the two-percent milk...", "WARREN: (annoyed) Forget it. It was a thing. (explaining) It's gonna be soon.", "ANDREW: (pretending to get it) Oh. Wow. They nod at each other.", "Cut to Xander's apartment, night. Xander enters from the hallway, closes the door behind him, turns around, sees something and stops. Reveal Anya sitting at the table. She stands up quickly.", "XANDER: Oh my god. He walks quickly toward her. She backs away, twisting her hands nervously.", "XANDER: How are you?", "ANYA: Ducky. You?", "XANDER: (holding out a hand toward her) Ahn. (sighs) Please. Let me, uh, explain. Anya watches him, still fidgeting with her hands and looking nervous.", "XANDER: I know there's nothing that I can say or do to make up for what I did. I can't. Sometimes when I wake up in the morning, I'm like, 'oh god, is this my life? Was that me?'", "ANYA: (softly) Me too.", "XANDER: But you gotta believe me, please. I want to make up for it. I want to take away the hurt. (small sigh) I love you so much. Anya looks touched, seems to be softening up a bit.", "XANDER: (embarrassed smile) I, I may have practiced that a couple times in front of the mirror.", "ANYA: I just ... don't understand what happened.", "XANDER: I do. I'm an idiot. All I had to do was say something earlier. (Anya looks surprised) I could have spared you from that ... that nightmare. Through this speech Anya begins to frown and look hurt again. She backs away a few steps and folds her arms.", "ANYA: Said something about what?", "XANDER: (makes \"uh-oh\" face) No, no! I mean, you know, if I were, like, more ... self-aware. Because, with the whole idiot thing.", "ANYA: (arms still folded, angrily) If you had been more self-aware, you would have what? (Xander looking alarmed) Been able to stop the wedding?", "XANDER: No no, it's not like that, that's not what... (pauses, frustrated sigh) Okay, see, I didn't practice this part.", "ANYA: (firmly) Do you still want to get married? Close on Xander's face. He hesitates, looks unsure. Anya looks upset.", "ANYA: (very quietly) Oh.", "XANDER: Ahn, it's a very complicated question.", "ANYA: (getting teary) No, actually, it's really not. It's kind of an either-or deal. Do you want to get married?", "XANDER: Someday, yes, very much. When we're ready. (Anya looking very hurt) I don't want you to take this as a bad thing. It's good. (Anya looking resigned, annoyed) I love you, I love you so much, I'm just trying to be honest with you.", "ANYA: (angry) Yes, honesty *now*. Congratulations, Xander, on being honest now. I wonder what the medal will say.", "XANDER: (confused) Okay, clearly I'm not handling this well.", "ANYA: (yelling) Well, duh! She turns away, walks a few steps away. Xander walks a few steps toward her. Shot of both with Anya in foreground, her back to Xander, arms crossed and looking angry; Xander in background.", "XANDER: All I want is for us to be together. I love you, I ... I wish we could just go back to the way things were before. Anya's face slowly morphs into her demon face.", "ANYA: (demon voice) And I wish you were never born! Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Exterior shot of Xander's apartment building, night.", "Cut to inside. Still the same scene. Anya stands with her back to Xander, her demon face on, arms folded.", "XANDER: I know this is all coming out wrong. Anya morphs back into human face, frowning in confusion. She turns around to look at Xander.", "ANYA: (angry) I wish you felt the pain of a thousand searing pokers boiling your heart in its own juices!", "XANDER: I know, honey. I totally deserve that.", "ANYA: (confused) I ... I wish you had tentacles where your beady eyes should be! I wish your intestines were tied in knots and ripped apart inside your lousy gut!", "XANDER: (sadly) They are.", "ANYA: (hopeful) Really? (Xander nods) Right now? Does it hurt?", "XANDER: God, yes. It hurts so bad it's killing me. Anya ... I love you, I want to make this work.", "ANYA: (annoyed) Those are metaphor intestines! You're not in any real pain! What's wrong with me?", "XANDER: No, honey, it's not you, it's me. That-", "ANYA: (frustrated) Ohh! She shoves past him and goes storming toward the door.", "XANDER: Ahn! Ahn! Wait. Please. Anya yanks the door open and exits. Xander goes to the door and stands in the doorway, looking down the hall at her.", "XANDER: Ahn!", "HALFREK VOICEOVER: So there was no child support in, like, eleven years...", "Cut to: a restaurant, day. Halfrek and Anya sit at a table. Halfrek holds a coffee cup. Anya is fiddling with a yellow flower, not really listening to Halfrek.", "HALFREK: ...not a single check, so now, every time he picks up a piece of paper that isn't a check for the child? Paper cut. Halfrek laughs cheerfully. Anya is oblivious.", "HALFREK: Oh, you know how I hate to toot my own horn ... but now his hands are just covered in all these tiny little bandages. (smiling) Like a quilt. (chuckles) You know, made of bandages. Halfrek looks over at Anya, finally notices that she isn't paying attention. Anya looks up.", "ANYA: Hmm?", "HALFREK: Okay, do they not teach listening skills in Human World? (puts down coffee cup)", "ANYA: I'm sorry. I know. (puts the flower back into its vase on the table) I'm just distracted.", "HALFREK: What, about this thing with Xander? Don't worry, you'll figure out a way to-", "ANYA: No, that's just it, I've tried everything. I tried every curse I knew, nothing's worked.", "HALFREK: Wait. Did you try to curse him yourself?", "ANYA: Yeah, I am the wronged party here, of course I-", "HALFREK: You can't exact justice against someone on behalf of yourself, silly! (laughs) How long have you been away?", "ANYA: I haven't been scorned by a man in, like, a thousand years. I never had to make a wish for myself. There has to be some way around that.", "HALFREK: Well ... (thinks) You could try getting someone to make the wish for you. I suppose. Anya stares at her, contemplating this. A very small smile appears on her face.", "Cut to: exterior Summers house, day.", "Cut to the kitchen. Dawn walks in and stares at the kitchen island.", "DAWN: Uh ... did we open a chain? Close shot on the island set with two place settings, bowls of fruit, four bottles of syrup. Reveal Buffy standing by the stove holding a spatula and frying pan. Several cereal boxes lined up on the counter.", "DAWN: Are we the International House of something?", "BUFFY: Nope. Got up early, and it felt like a breakfast kind of morning. (puts pancakes from the pan onto a plate) Okay, what kind of syrup do you want on your pancakes?", "DAWN: (amazed) Syrups have kinds?", "BUFFY: Oh! Also, you know, I was thinking, (turns away to put the pan in the sink) after the mall yesterday, maybe we, we shouldn't go out tonight, you know, maybe we could stay in and, uh, (taking toast from the toaster) ow ... um, you know, get a pizza, or, uh, rent a movie?", "DAWN: Um...", "BUFFY: (putting plateful of toast on the island) Also, I didn't know if, you know, if you had plans this weekend, (turns to grab the cereal boxes) but I thought, maybe we could...", "DAWN: Hey, Buffy? Buffy pauses, looking at Dawn, with a large armful of cereal boxes.", "DAWN: (quietly) I'm gonna be okay with the basement thing. Really. You weren't you.", "BUFFY: (quietly) This isn't guilt. I want us to spend time.", "DAWN: Okay. Good. I love spending time-", "BUFFY: (realizing) But I'm cramping your teenage style.", "DAWN: No-", "BUFFY: Yes, I am. (alarmed) I'm the embarrassing mom who tries too hard. When did this happen?", "DAWN: (smiling) No, you're not, it's not that, it's just ... what if, instead of you hanging out with me? Maybe I could hang out with you. Buffy stares blankly, not getting it.", "DAWN: Why don't I come patrolling with you tonight?", "BUFFY: Oh. And then? Maybe we can invite over some strangers and ask them to feed you candy.", "DAWN: Well, you guys went out patrolling every night when you were my age.", "BUFFY: True ... but technically, you're one-and-a-half. Dawn gives her patented adolescent exasperated look.", "BUFFY: See, I thought a little levity might ... but okay, also no.", "DAWN: I just ... I just think I could help.", "BUFFY: I'm sure you could. But it's a little more dangerous than I had in mind.", "DAWN: But-", "BUFFY: Dawn, I work very hard to keep you away from that stuff. Okay, I don't want you around dangerous things that can kill you.", "DAWN: Which would be a perfectly reasonable argument, if my sister was chosen to protect the world from tax audits? But, see, my sister is you, and ... dangerous things that want to kill me seem to find me.", "BUFFY: But you don't need to go looking for them. Beat. Dawn gives Buffy a pleading look.", "BUFFY: Now eat up. You're gonna be late for school. Buffy turns back to the stove. Dawn sighs quietly and sits down.", "Cut to: the Espresso Pump, day.", "TARA: (OS) Okay, wait, it was under her wig? Pan across various customers to reveal Tara and Willow sitting at a table with cups of coffee. Both smiling as Willow tells the story of the old lady in episode \"Double Meat Palace.\"", "WILLOW: Well, it was this thing, it just came out from inside her head.", "TARA: That's disgusting! What did it look like?", "WILLOW: Well, let's put it this way, if I wasn't gay before...", "TARA: (laughing) God, and this was *after* the invisible ray?", "WILLOW: Yep.", "TARA: Okay, I'm gone for a couple of months-", "WILLOW: Oh, did I tell you about the demon eggs?", "TARA: See, now, now I know you're just trying to make me jealous.", "WILLOW: (grinning) So, what, no rollicking adventures in the dorms?", "TARA: (quieter) Mm, it's not the same. It's not like living with a house full of family, or sharing a room with someone you...", "WILLOW: ...are friends with? As they gaze at each other, Anya walks up.", "ANYA: Hi.", "WILLOW: Oh my god. You're back. (hugs Anya)", "TARA: We've been so worried.", "ANYA: Yeah, sorry. I needed to, you know ... I couldn't stay here. Not after ... everything that happened.", "TARA: No, no no, we, we totally understand.", "WILLOW: But, you're back now, right?", "ANYA: It's complicated. (sits) You know, and there's a lot to deal with.", "WILLOW: Well, if there's anything we can do, just let us-", "ANYA: Actually ... um ... there is an eensy something I could use a little help with. You're lesbians, so the hating of men will come in handy. Willow and Tara look at each other in puzzlement.", "ANYA: (cheerfully) Let's talk about Xander.", "Cut to: Magic shop, day. Close on Dawn.", "DAWN: He feels awful. Reveal Anya facing Dawn.", "ANYA: You think it's anywhere close to what I feel?", "DAWN: No, but-", "ANYA: What if it were you, Dawn? What if ... all you dreamed about was that magical day? (Dawn looking chastised) The day when the one person you loved with all your soul would promise to cherish and protect your heart for the rest of his life, but instead he shatters it into a million jagged pieces? Cut back to the coffee shop.", "TARA: Well, it's, it's not really so much about hating the men.", "WILLOW: We're more centered around the ... (smirking) girl on girl action. (Tara grinning)", "ANYA: And men really like to watch that kind of stuff, don't they? Men like Xander.", "Cut to: exterior Summers house, day. Anya and Buffy stand on the front porch, leaning against the two pillars on either side of the door, facing each other.", "BUFFY: I don't think he could feel any worse.", "ANYA: Let's test that theory.", "BUFFY: Anya, Xander's my friend. I know what he did was wrong, and ... if it had happened to me, I'd-", "ANYA: (hopefully) Wish his pen1s would explode? Cut back to the magic shop.", "DAWN: I never use that word anymore.", "ANYA: Coagulate?", "DAWN: W-i-s-h.", "ANYA: Oh, wish! As in 'I wish Xander-'", "DAWN: Right! That word. There's vengeance demons out there that are still active, remember? Any 'I wish' could totally end in horrible grossness.", "ANYA: Gimme a for-instance?", "Cut to the Summers porch.", "BUFFY: I don't really think I should.", "ANYA: Did I mention the whole 'left at the altar' thing? Didn't leave that out, did I?", "BUFFY: No. (shakes head) Look, I - I know what he did was wrong. God, if it happened to me, I ... I-I, it must have been torture.", "ANYA: (excited) Okay! Let's talk about torture!", "Cut to the magic shop. Dawn looks very dubious.", "ANYA: So. Tell me more about wishing Xander's brains and guts would go blooey.", "DAWN: I didn't say that.", "ANYA: Yes you did.", "DAWN: No I didn't.", "ANYA: I heard you.", "DAWN: I swear, I didn't say that.", "ANYA: Didn't say what?", "DAWN: Um ... I just saw you were back and wanted to talk to you about working off my debt. (nervous chuckle) You know, my whole sticky-fingers, grabby-hands thing?", "ANYA: Oh, right, the mad thieving! Good, yes, there 's much to do. (mock stern) I'm gonna put you to work, missy! Anya gives a fake laugh. Dawn continues to look dubiously at her.", "ANYA: So, back to Xander's brains and guts...", "Cut to the Summers porch. Now Anya and Buffy are sitting on the step.", "ANYA: Squish squish squish! Guys have been running roughshod over you for years. (Buffy nodding, pouting, reluctantly agreeing) Torturing that perky little ticker. Aren't you sick of it? Don't you wish guys like that-", "BUFFY: Whoa. Guys? There have only been four - three! Three! Three guys. That's barely plural.", "ANYA: And didn't each of them rip your heart out? Don't men like that, as to pick an example, Xander, deserve to be punished?", "Cut to the coffee shop.", "WILLOW: Well, Xander is a guy, so ... (Tara looking confused) it's kinda not the surprise that he likes to watch ... girls ... Why are we talking about this?", "ANYA: (annoyed) We're comforting me!", "TARA: Well, I-I guess it's ... natural for guys to be interested in-", "ANYA: God! What kind of lesbians are you?! If you love men so much, go love men! Anya jumps up and grabs her to-go coffee cup, storms off.", "Cut to the Summers porch. Anya has stood up there too and started to storm off.", "BUFFY: Anya, I know you're hurting, but-", "ANYA: What? Xander doesn't deserve to suffer for what he did 'cause he's your friend, and I'm not, right? I get it.", "BUFFY: No. That's not what I'm saying at all. What he did was wrong. He knows that.", "ANYA: (upset) It just, it hurts. He hurt me so much.", "BUFFY: (gets up) He really did. (puts hand on Anya's arm) Look, I-I wish that...", "XANDER: (OS) Anya? Xander walks up. Buffy and Anya look at him.", "ANYA: (angry) Well, congratulations. They all still love you. Even after what you did to me. She starts to walk off. Xander starts to follow, but Buffy grabs him.", "XANDER: Anya, wait...", "BUFFY: Okay. Not, not crazy about that idea.", "XANDER: What are you doing? I have to go after her.", "BUFFY: Or, in the land of the sane, you could give her some space, let her cool down.", "XANDER: (frustrated) That's not Proactive Guy. (pacing) That's Sit-Around-And ... Watch-The-Rest-of-Your-Life-To-Turn-To-Crap Guy. As Xander paces, we get a shot of the tree on the front lawn. There are a few straggly plants around the tree's base, and a little ceramic garden gnome nestled among the plants.", "BUFFY: True, uh, but at least Crap Guy gets to keep all of his appendages.", "XANDER: And I'm supposed to what? Walk away? (Buffy looking sympathetic) Shouldn't be too hard. It's what I'm good at, right? Xander kicks out in frustration, smashing the garden gnome.", "BUFFY: Okay, see, that's exactly why a heart-to-heart is probably not your best course of action right now. (Xander still pacing) When you're both angry and upset and ... what the hell is that creepy little thing doing in my yard? Buffy walks forward, looking down at the bits of gnome. Xander looks at them too.", "BUFFY: Did Willow put that there when I was dead? 'Cause if I had known, I would have crawled out of the grave sooner to-", "XANDER: Buffy. They both kneel beside the gnome's head. We can clearly see a tiny camera inside it. Xander picks it up.", "BUFFY: Oh my god.", "XANDER: Looks like someone's been keeping an eye on all your ins and outs.", "BUFFY: What the who?", "XANDER: Well, now, let's see. Who's obsessed with Buffy? Who likes to hang out in her yard and keep an eye on her? Who's in love with you and not getting any? Buffy looks grim.", "Cut to: close-up of a hand holding the camera.", "SPIKE: What's this? We see that we're in Spike's crypt. Spike is holding the camera up to look at it as Buffy stands confronting him.", "BUFFY: It's a camera.", "SPIKE: Yeah, I got that part. Why am I holding it?", "BUFFY: Someone was using it to spy on me. On my house. (Spike frowning) Xander thinks it's you.", "SPIKE: Oh, the great Xander thinks so! Shudder gasp! It must be true!", "BUFFY: Spike-", "SPIKE: That ponce has always had it for me. Every chance he gets, he sticks it- He pauses, looking at Buffy.", "SPIKE: (outraged) You believe him, don't you? You think I was spying on you. Buffy doesn't answer.", "SPIKE: You think I could do that?", "BUFFY: Because you don't lie or cheat or steal or manipulate... Spike gives her back the camera.", "SPIKE: (quietly) I don't hurt you. He walks a few steps away.", "BUFFY: I know.", "SPIKE: No, you don't. I've tried to make it clear to you, but you won't see it. (pauses) Something happened to me. The way I feel ... about you ... it's different. And no matter how hard you try to convince yourself it isn't, it's real.", "BUFFY: I think it is. Beat. He looks at her.", "BUFFY: For you. She turns to walk away. Spike looks hurt. Buffy pauses by the door, turns back.", "BUFFY: I know that's not what you want to hear. I'm sorry. I really am. But, Spike, you have to move on. You have to get over-", "SPIKE: (softly) Get out. Buffy looks grim, turns and leaves.", "Cut to: magic shop. Anya stands behind the counter talking to Halfrek, who is on the other side of the counter sitting on a stool.", "ANYA: No! They're all, 'oh, poor Xander! It took so much out of him, all that running away he did.' I just don't understand what's wrong with these people.", "HALFREK: Did you really think they were the ones who would help you?", "ANYA: Well, but-", "HALFREK: Do you want retribution, Anyanka?", "ANYA: I want Xander good and cursed.", "HALFREK: Then you know what you have to do.", "ANYA: Get a wish from someone who doesn't freaking love him.", "HALFREK: Exactly.", "ANYA: Yeah, but my social circle is a little limited here. What am I supposed to do, just stumble upon someone who doesn't give a fig's ass if Xander gets hurt? The bell over the magic shop door jingles as Spike enters. He slams the door shut and strides toward Anya.", "SPIKE: Hey. I need a thing. Zoom in on Anya as she gazes speculatively at him. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Same scene. Halfrek and Anya looking at Spike.", "ANYA: So. What's your pleasure?", "SPIKE: Fresh of out of pleasure. That's why I'm here. (sighs) I need something. Numbing spell, maybe.", "ANYA: (fake smile) Uh huh. Hang on. Halfrek smiles and gets up as Anya walks to the end of the counter. Halfrek moves that way too so they can talk privately. We see that Anya is wearing a red skirt, matching red tank-top, and matching red cardigan.", "ANYA: (quietly, smiling) Oh my God. Spike *hates* Xander. Maybe I could get him to wish ... dammit, if only he were a woman. (thinks) Got it! If I can somehow get someone to wish that Spike were a woman, then I could go to him - well, he'd be a her by then - then I could go to her -", "HALFREK: Anyanka. There's an easier way. Now, I know you have this whole female-power, Take Back the Night thing, I think that's cute. But I've been telling you for decades - men need a little vengeance now and then, too.", "ANYA: Oh. (looks over at Spike)", "HALFREK: Maybe this is a good chance to try it out. Halfrek gives a cheerful little wave at Spike and heads for the door.", "HALFREK: Good luck with that. Ta-ta! She leaves. Anya smiles nervously at Spike.", "SPIKE: Sorry to bust up the little girls' night out.", "ANYA: (walking toward him) That's okay. I'm ready to do some business.", "SPIKE: Right then. Got something that'll dull the ache a bit?", "ANYA: (smiling) Actually, yes. (walks back behind the counter) Um, Giles left a couple of supplies here, and I think ... this might help. She bends over, begins rummaging in the cabinet under the cash register.", "ANYA: Eases the hurt ... makes the sun shine a little brighter, (Spike frowning) even makes boring people seem more interesting. Ah. Here. She produces a bottle of whiskey and puts it on the counter-top with a clank. Spike grins.", "Cut to: close shot on a table strewn with various colored wires. The camera from the garden gnome sits there with several wires attached. A hand attaches another wire to it. We see a laptop computer next to the camera. Pan up to reveal Buffy sitting at the other end of the table. The location is the Summers dining room.", "BUFFY: How's it coming? Can you see who's getting the camera's signal? Reveal Willow sitting in front of the computer. Xander stands beside the table.", "WILLOW: Should have something once I get tapped into the fiber-optic network. We're gonna use the feedback relay to, uh, get their signal routed into our system.", "XANDER: Okay, if it's not Spike, and I'm, I'm not saying I believe him ... but if it's not Spike, I think we already know who's behind this.", "WILLOW: (typing) Makes sense.", "BUFFY: (grimly) I want. To find. These guys.", "Cut to: the Geek Trio Lair. Green, blue, yellow liquids bubble in the chemistry set. Jonathan lights a red candle on the table next to the chemistry stuff. Warren and Andrew stand watching. We see that there's an old map spread out on the floor a few feet away. Jonathan holds a short wooden rod with the magic disk attached to the end of it. He positions it in front of the candle and sprinkles some powder over the disk. Close shot on the disk as the powder makes it glow red-hot and give off purple smoke.", "JONATHAN: Uncover. A beam of purple light shoots from the candle, through the disk, and onto the map. We see that the map is labeled \"Map of Sunnydale.\" The light lands on a single point on the map.", "JONATHAN: There. That's it. That's where we have to go.", "WARREN: Well, now that we've found out where we're supposed to go- Suddenly the map bursts into flame where the beam of light is touching it. They all yell.", "JONATHAN: Yah! Jonathan screams and runs off.", "Cut to: magic shop, night. Spike is sitting on the stool beside the counter, Anya still standing behind the counter. They both have shot glasses and are in the process of drinking the shots.", "SPIKE: (angrily) So then, this girl says, \"real for *you*.\"", "ANYA: Right. But getting back to Xander...", "SPIKE: (scornful) Xander. Let's not waste any more breath on that w*nk*r.", "ANYA: But he made a fool of me. And nobody seems to care enough to do anything!", "SPIKE: I care. What he done to you? I've never stooped that low, and I'm an 'evil, soulless thing.' (bitterly) According to some people.", "ANYA: But shouldn't he pay? Don't you wish he had to pay in some horrible way?", "SPIKE: Absolutely. Spike picks up the whiskey bottle and his shot glass, turns to walk over to the round table in the middle of the room.", "SPIKE: Take him on myself, if it wasn't for my little handicap. (gesturing at his head) Anya comes out from behind the counter, bringing her glass.", "ANYA: Right. (sits) So ... hypothetically, what do you wish you could do to him? (Spike pouring fresh shots for both of them)", "SPIKE: You name it, pet. You're the wronged party. Something, uh... (lifts his glass) gruesome, how 'bout? Spike drinks. Anya maintains her fake-cheerful smile, drinks also.", "Cut to: Geek Trio lair. Andrew and Warren are stomping on the fire trying to put it out. Jonathan runs in with a fire extinguisher. Warren grabs a blanket off the sofa and tosses it on the fire trying to smother it. He and Andrew continue stomping.", "JONATHAN: Hey! That's my blanket!", "WARREN: Well, makes sense, it was your fire. Behind Warren's head we see a red light-bulb suddenly light up.", "Cut to: Summers dining room. Willow still working on her laptop.", "WILLOW: Hey hey, I think I've got something. Buffy and Xander, now both sitting, look over at her.", "Cut to magic shop. Spike and Anya sit facing each other on the bench next to the round table. Anya gestures wildly with the bottle. She has removed her cardigan sweater and now just wears the red tank top over her red skirt.", "ANYA: (angrily) Thing about it is, none of this was my idea. (disgusted) I didn't ask to be human. (pouring)", "SPIKE: Right! And I didn't ask for this bloody chip in my head.", "ANYA: To tell you the truth ...(puts bottle down) all I wanted was to use him and lose him. I hadn't had a good tumble in a thousand years...", "SPIKE: (grinning) Me too. The using part. I just wanted to know what I was missing, move on.", "ANYA: (maudlin) Yeah ... and he was ... all bumpy ... in the right places. And nice to me... She trails off, looking wistful. Spike looks the same way.", "SPIKE: (softly) She was so raw. I've never felt anything like it.", "ANYA: Next thing you know ... I'm changing to please him. (a little more upset) I care if he cares!", "SPIKE: (nodding) Right.", "ANYA: And I'm off my guard. Happy! I'm singing in the shower and doing my sexy dance?!", "SPIKE: Exactly. (pauses) I ... have no dance. He looks sternly at Anya as if to make sure she's buying it. She nods, but frowns a little. Cut back to the dining room. Willow continues typing.", "BUFFY: Talk to me, Will.", "WILLOW: Technology's pretty sophisticated, lots of booby traps and firewall stuff... (shot of the screen showing a \"radar\" diagram of concentric circles)", "BUFFY: But can you get us a location?", "WILLOW: Well, hey, I'm still me. Just one - whoa.", "BUFFY: What?", "WILLOW: There are other cameras. Cut back to Magic Box. Anya is now sitting on the table.", "ANYA: Screw 'em!", "SPIKE: To the rafters! They clink their glasses together and drink.", "ANYA: I did everything for that man. Was it ever enough?", "SPIKE: Never! (slurred) I was always going above and beyond. I saved the Scoobies how many times? And I can't stand the lot of you.", "ANYA: Me either! I hate us! Everybody's so *nice.* Nobody says what's on their mind.", "SPIKE: You do. That's why you're the only one of them I wouldn't bite if I had the chance.", "ANYA: (giggles, pleased) Really?", "SPIKE: Absolutely. I have nothing but respect for a woman who is forthright. Drusilla was always straightforward. Didn't have a single buggering clue about what was going on in front of her, (Anya giggling) but she was straight about it. That's a virtue.", "ANYA: Mm. Xander didn't think so. He thought I was rude.", "SPIKE: (like 'duh') That's because he's one of them. Uptight. Repressed. (makes \"uptight\" gesture with one finger)", "ANYA: (frowning) You think?", "SPIKE: Please. It's no wonder they couldn't deal with the likes of you and me, luv. We should have been dead hundreds of years ago ... and we're the only ones who are really alive. Anya smiles, gazing down at him. He looks up at her. They both smile at each other.", "Cut to the dining room. On Willow's laptop screen we can see a tiny image of the exterior of the Double-Meat Palace.", "WILLOW: Oh my god, the Double Meat Palace? (image changes) The Bronze? My classes on campus... Close on the screen showing an overhead shot of a UC Sunnydale hallway. Then it changes to an image of a deserted construction site.", "WILLOW: (OS) Xander's site... (Xander looking surprised)", "BUFFY: What?!", "XANDER: They've been spying on all these places?", "WILLOW: I can tell there are more feeds, I, I'm just having a harder time pinpointing 'em. Here, lemme... (typing) Cut back to Magic Box. Anya is sitting on the bench again, closer to Spike than before. The bottle is nearly empty. Spike picks it up with a sigh, pours the last of it into one shot glass.", "SPIKE: Here. (picks up glass, holds it toward her) Ladies last.", "ANYA: (gazing sentimentally at him) Thank you.", "SPIKE: Take it quick or my chivalry'll run out.", "ANYA: No ... (puts her hand on Spike's) thank you. Spike frowns a little, puts the glass down, moves a little closer to her.", "ANYA: This is the first time since ... (shrugs) It feels good to be with someone who understands.", "SPIKE: (softly) Intimately. (sighs)", "ANYA: This whole time, I've been coming on all ... hell-bent and mad. Wanting his head, you know?", "SPIKE: Yeah.", "ANYA: When, really, I ... (tearfully) can't sleep at night, thinking it ... has to be my fault, somehow...", "SPIKE: (shakes his head) Shh...", "ANYA: (crying) What if it was just pretending? What if he never wanted me ... the way I wanted him? She snaps out of it a little, shakes her head.", "ANYA: Ohh. I'm sorry.", "SPIKE: Now now. Spike gently brushes some hair out of Anya's face, then cups her cheek in his hand.", "SPIKE: He would have to be more than just the git he is, Anya. He'd have to be deaf, dumb and blind not to want a woman like you.", "ANYA: (whispers) Then why?", "SPIKE: (looks away, sadly) The two of them ... they're weak, is all. (pauses) But, I'll tell you what, though. (continues stroking Anya's face) They'll, uh, miss the water now that the well's gone dry. Now Spike has his fingers under Anya's chin and she leans her face into his hand.", "ANYA: (quietly) Too hot to handle.", "SPIKE: Too hot... He leans forward, very close. Leans his forehead against hers.", "ANYA: Um ... just-just one more question.", "SPIKE: Hmm?", "ANYA: (very softly) Can I see your sexy dance?", "SPIKE: (small grin) I'll show you mine... He moves as if to kiss her.", "ANYA: Wait. Wait. (very soft whisper) What are we doing?", "SPIKE: Moving on. They kiss passionately.", "Cut to the dining room.", "WILLOW: Here, I think there are a couple more transmitters on the network, I just ... ucch, I've almost got a picture on 'em. Cut back to Magic Box. Spike and Anya still kissing. Then she pushes back a little.", "ANYA: You know I'm only doing this 'cause I'm ... I'm lonely and drunk and you ... smell really good.", "SPIKE: See? Forthright. She grins and nods, and they resume kissing.", "Cut to: Geek Lair. The red light continues flashing, now accompanied by a loud alarm noise. The geeks look over in alarm.", "WARREN: Ahh!", "ANDREW: It tapped into our feed, something's wrong! They all run toward the bank of computers along one wall. Cut back to Magic Box. Kissing continues as Anya climbs onto Spike's lap, straddling him. He pushes his hands up underneath her shirt and pushes the shirt up, revealing a black bra. Cut back to the Lair. The geeks still racing for the computers. Jonathan still holds the fire extinguisher. Cut back to Magic Box. Spike sweeps a pile of stuff (including the empty liquor bottle) off the table with one arm. Then retreats out of shot so all we see is the bare table. Then Spike's hands place Anya on the table, now wearing just her black bra and short red skirt. She lies back on the table panting. Then Spike moves on top of her, between her legs. They resume kissing.", "Cut to the dining room.", "WILLOW: I think I've got the Magic Box. She continues typing and looking at the screen.", "WILLOW: Whoa! She stands up quickly, staring at the screen.", "Cut to Geek Lair. Close on the multiple keyboards sitting on the table, multiple hands typing frantically.", "WARREN: (OS) Shut it down, shut it *all* down! Shot of the monitors with various windows flashing chaotically across the screens.", "ANDREW: I'm trying, I can't find --", "JONATHAN: (reaching across Warren to Andrew's keyboard) Here, dorkface-", "ANDREW: I'll get it myself-", "WARREN: Guys, we have to - oh, holy crap. They all freeze, staring at one monitor. Close on the monitor showing a full-color view of Spike and Anya having s*x on the table in the Magic Box. The geeks stare, dropping their hands from the keyboards.", "JONATHAN: Oh my god.", "WARREN: What is that, p-porn? We get another shot of the screen as the action heats up, the kissing becomes more frantic.", "JONATHAN: Oh my god.", "WARREN: Is that the cam in the Magic Box?", "JONATHAN: Oh my god.", "ANDREW: What are they ... ohh.", "WARREN: Is that-", "JONATHAN: Spike.", "ANDREW: (riveted) He is so cool. (glances at the others, self-consciously) And, I mean, the girl is hot too.", "WARREN: (shaking his head) Dude. They all continue to watch intently.", "Cut to Magic Box. The kissing and such continues. Pan over to a nearby display case where a human skull is sitting. The camera in its eye is clearly visible. (same skull-cam shown in episode \"Life Serial\")", "Cut to dining room. Buffy and Xander, alarmed by Willow's reaction, get up and come over to look at the screen.", "WILLOW: Wait, Xander, no.", "XANDER: (looks) Oh, god. Buffy stares at the screen, looks over at Xander, back to the screen. Close on the screen. It's monochrome unlike the Geeks' setup, but the image of Spike and Anya kissing and writhing on the table is quite clear. Shot of Buffy and Xander both watching in horror. Sound of a door opening. Dawn enters through the front door, closes it, sees the others in the dining room and walks that way.", "DAWN: Hey guys. What's up? Dawn walks over to them as Buffy and Xander are staring at the screen and Willow staring at them. Dawn looks at the screen and gasps. Willow quickly puts her hand over Dawn's eyes.", "WILLOW: Whoa, whoa, whoa.", "XANDER: I ... what is she... Willow looks at Xander with concern, then at Buffy. Close on Buffy looking, if anything, even more upset than Xander. Close on the screen as the action continues.", "WILLOW: Buffy? Dawn and Willow stare at Buffy.", "BUFFY: That's enough. Buffy storms out. Willow and Dawn exchange a look. Xander walks off in a daze. Willow snaps out of it, a little.", "WILLOW: (sits) Here, lemme just... (typing) Shot of Buffy's back as she heads toward the kitchen and the back door.", "WILLOW: You know, we, we aren't even really sure what we're just seeing here, there could be something- Dawn rolls her eyes, follows Buffy.", "WILLOW: There, got it. Sound of a door closing (back door) and one opening (front door). Willow looks up, realizes she's alone.", "WILLOW: Xander? She gets up and goes to the foyer, finds the front door standing wide open. Willow goes into the living room, sees something. Zoom in on her face looking upset. Zoom in on the weapons chest that Xander made for Buffy (episode \"Older and Far Away\"). Its lid is open and the weapons are in disarray.", "Cut to the street. Xander walks along, walking fast with a grim look on his face. Pan down to reveal the short-handled axe in his hand. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the Summers back yard, night. Buffy sits in one of the wooden lawn chairs, staring blankly. Dawn stands nearby, her arms folded across her chest.", "DAWN: So. This is it? This is the stuff you've been protecting me from? You and Spike?", "BUFFY: And a lot of monsters.", "DAWN: Uh-huh.", "BUFFY: But it's over. (Dawn sitting in the other chair) Spike.", "DAWN: I wish you'd told me.", "BUFFY: I kinda didn't wanna admit it to myself.", "DAWN: I get that. Buffy continues staring at the ground.", "DAWN: I know it must hurt. To feel like you have to hide, to keep secrets from everybody? Buffy looks at Dawn, pensively. Willow bursts out the back door of the house.", "WILLOW: Buffy. Xander's gone. He took your axe.", "Cut to Magic Box. Pan across the assorted stuff scattered on the floor. The bench is lying on its side. There's also a tipped-over chair with Anya's sweater hanging on it. Anya, wearing her tank top again, picks up the sweater. In background we see Spike fastening his belt. Anya has her back to him. He looks over at her. Close on Anya looking a little ashamed or embarrassed. Pan to Spike looking the same. Spike finishes with his belt and starts walking toward the door as Anya puts on her sweater, staring blankly into space. Spike pauses by the door and they both turn to face each other from across the room. Anya gives a little nod, and after a moment Spike nods back. He turns and opens the door, walks out.", "Cut to exterior of the shop. Spike exits and immediately looks shocked at something directly in front of him. He dodges to the right and the short-handled axe plunges into the wall behind where he just was. Shot of Xander struggling to pull the axe free. Spike stares at him in some alarm. Xander gives up on the axe, grabs Spike by the front of his shirt and throws him down on the sidewalk. Shot of Buffy running around a corner farther down the street, running hard toward them. Xander picks Spike up and throws him against a pillar, grabs him and turns him around, punches him in the gut. Spike doubles over.", "XANDER: Get up. Get up! Spike glares up at him but doesn't move.", "XANDER: You're just gonna sit there? Do nothing? Spike doesn't answer. Xander grabs him, pulls him to his feet and slams his head against the pillar.", "XANDER: That the kinda man you are?", "SPIKE: I'm not gonna fight you. Chip. Xander knees him in the stomach. Spike groans and doubles over again.", "XANDER: Too bad. Xander pulls a stake from his pocket, just as Anya opens the door and sees them.", "ANYA: Xander, no! Stop it! Stop it! Stop it! Anya runs over, distracting Xander. She reaches him just as Buffy does, coming up behind him and shoving him aside. Xander pants and glares at Buffy. She pants and glares back.", "ANYA: Xander, I...", "XANDER: (panting) Don't even try to deny it. 'Cause I saw it all. The whole beautiful show.", "ANYA: How...? Xander glares angrily at her.", "ANYA: It was just, it ... it was just a thing. I ... I felt bad, and he was just ... there.", "BUFFY: (to Spike) Didn't take long, did it? (Spike looking sourly at her)", "XANDER: (still yelling at Anya) Oh, oh, oh, okay! You had to do it. Because he was there. Like Mt. Everest. (upset) Like I used to be.", "ANYA: (angry) And then you weren't. You left *me,* Xander. At the altar. (yelling) I don't owe you anything.", "XANDER: So you go out and bang the first body you can find? Dead or alive?", "ANYA: Where do you get off judging me?!", "XANDER: When this is your solution to our problems. I hurt you, and you hit me back? Very mature.", "ANYA: No, the mature solution is for you to spend your whole life telling stupid, pointless jokes, so that no one will notice that you are just a scared, insecure little boy!", "XANDER: (bitterly) I'm not joking now. You let that evil, soulless thing touch you. (pointing at Spike) You wanted me to feel something? (Anya looking chagrined) Congratulations, it worked. Anya stares at him, looks like she might cry again.", "XANDER: I look at you ... and I feel sick. 'Cause you had s*x with that. (points at Spike again) Anya looks down at the ground, hurt. Buffy looks a bit ashamed too.", "SPIKE: (quietly) It's good enough for Buffy.", "XANDER: (yells) Shut up and leave her out of... Xander stops as what Spike said sinks in. He and Anya stare at Buffy. Buffy looks all upset.", "ANYA: Buffy?", "BUFFY: Xander...", "XANDER: (shaking his head, full of pain) I don't want to know this. Shot of Xander's stake clattering on the ground.", "XANDER: I don't want to know any of this. He walks off. Buffy looks very upset, watches him go for a moment, then turns to glare at Spike. Spike just looks back at her, unapologetic. Buffy looks angry but resigned. She turns and follows Xander. Spike and Anya stand side-by-side watching Buffy go. Shot of Buffy's back as she walks away.", "SPIKE: (OS) Bloody Xander, mucking(?) up everything. Spike looks sullen.", "SPIKE: You know, I wish-", "ANYA: Don't. Spike looks at her, a little surprised. Anya grimaces in self-disgust. They move off in opposite directions, Spike down the street, Anya back toward the shop. Cue sad music -- \"That Kind of Love\" by Alison Krauss. Who would sell their soul for love? Another shot of Buffy still walking away. Or waste one tear on compromise? Anya walks into the store, stares unhappily at the mess. Should be easy enough To know a heartache in disguise Anya slowly walks down the three steps into the main room, picks up the bench and rights it. Continues starting to clean the place up.", "TARA: (OS) Things fall apart. They fall apart so hard.", "Cut to the Summers house. Willow is lying on the bed with some homework, but looking in surprise at the doorway. She sits up on the edge of the bed.", "WILLOW: Tara? Reveal Tara in the doorway, leaning against the door frame.", "TARA: You can't ever ... (sighs) put them back the way they were.", "WILLOW: Are you okay?", "TARA: I'm sorry, it's just ... (deep sigh) You know, it takes time. (walking into the room) You can't just ... have coffee and expect-", "WILLOW: (guilty) I know. Long shot of the two of them -- Willow sitting, Tara standing -- with a considerable distance separating them.", "TARA: There's just so much to work through. Trust has to be built again, on both sides ... (Willow looking upset) You have to learn if ... if we're even the same people we were, if you can fit in each other's lives. Willow continues looking at Tara, sadly.", "TARA: It's a long... important process, and ... can we just skip it? Can-can you just be kissing me now? Willow looks hopeful, then delighted as the words sink in. She smiles widely, jumps up. Tara meets her halfway and they kiss passionately. There was not faith enough Still my heart held on When we find that kind of love Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Willow and Tara reconcile, and Tara tells Willow that Spike and Buffy have been sleeping together. Buffy stops The Trio when attempting a large-scale theft. Andrew and Jonathan are caught and imprisoned, but Warren escapes with a jetpack. Furious at being thwarted once again, Warren attempts to shoot Buffy, wounding her but also hitting Tara, who collapses and dies in Willow's arms." ]

[ "•I do not own the characters or situations of BTVS and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you really want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. DO NOT POST MY TRANSCRIPT ON YOUR SITE WITHOUT MY NAME ON IT! • I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer...", "Buffy and Spike in the graveyard.", "SPIKE: Why won't you sleep with me again?", "BUFFY: Because I don't love you.", "SPIKE: Like hell. Buffy and Willow at home.", "BUFFY: I thought you were gonna go see Tara.", "WILLOW: She's ... seeing someone else. Willow at school, seeing Tara kiss another girl.", "WILLOW: They're probably just friends. Willow talking to Tara.", "WILLOW: We should have some coffee some time.", "TARA: I'm free tomorrow. Spike and Anya having s*x at the Magic Box. Willow seeing Spike and Anya on her computer.", "WILLOW: Whoa. The Geeks seeing it in their lair.", "WARREN: Shut it down, shut it all down! The camera in a skull on a shelf at the shop.", "WARREN: Is that the camera in the Magic Box?", "JONATHAN: Oh my god. Buffy and Xander looking at the screen.", "XANDER: Oh god. What is she...", "BUFFY: That's enough. Buffy walking out. Anya and Xander on the street.", "ANYA: You left me, Xander. At the altar! I don't owe you anything!", "XANDER: So you go out and bang the first body you can find?", "SPIKE: It's good enough for Buffy.", "XANDER: Shut up and leave her out of- Xander and Anya staring at Buffy. Willow in her bedroom.", "WILLOW: Tara?", "TARA: You can't just ... have coffee and expect-", "WILLOW: I know.", "TARA: There's just so much to work through. Trust has to be built again on both sides. Can we just skip it? Can, can you just be kissing me now? Willow and Tara kissing.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open in Willow's bedroom, daylight. Overhead shot of the room, various items of clothing strewn across the floor. Pan across the floor. Sound of giggling. Pan further to reveal Willow and Tara snuggling together on the bed, under red sheets.", "WILLOW: When did morning happen?", "TARA: After the moon went down. Willow giggles, leans up and they kiss for a while. Then Willow lies back down with her head on Tara's stomach. Tara caresses her shoulders.", "WILLOW: Mmm, I forgot how good this could feel. Us. Together. (pause) Without the magic.", "TARA: There was plenty of magic. Willow smiles, then sighs.", "WILLOW: It's getting late.", "TARA: (small frown) Wanna get up?", "WILLOW: No! (Tara laughing) Oh god, no. (quietly) I was just thinking about Buffy.", "TARA: (frowns) Oh. She still isn't back?", "WILLOW: I didn't hear her. She wouldn't talk about what happened at the magic shop when she got home last night. She just wanted to know how close I was to tracing the camera signal back to the Empire of the Nerds. And then she left again.", "TARA: I'm sure she'll be okay.", "WILLOW: Yeah, I'm not really worried about her going up against Warren and the others. I know this is going to sound crazy, but ... I think something might be going on. With Spike and Buffy. (Pause) I mean, she looked so hurt when she saw him with Anya. I think maybe-", "TARA: They've been sleeping together.", "WILLOW: (laughs) No. I wouldn't go that far.", "TARA: No, I mean she told me they've been sleeping together. Willow sits up to stare at Tara.", "WILLOW: Sleeping together? You mean like the naked kind of together?", "TARA: (sighs) I'm sorry I didn't say anything, but I, I promised her I wouldn't.", "WILLOW: (shocked) Does everybody else know? Am I the only one she didn't-", "TARA: God, no. She, she didn't even mean to tell me, it just came out.", "WILLOW: (still shocked) How could she hide something like this from me?", "TARA: I think she was afraid of the look you'd get on your face. (Willow staring at her) Kinda like the one you're wearing now.", "WILLOW: Oh, no, I'm not ... I'm just trying to understand.", "TARA: So is she.", "WILLOW: Wow, she probably really needs someone to talk to.", "TARA: Probably. Willow continues absorbing the news as Tara strokes her hair.", "TARA: We've been kinda busy, maybe we didn't hear her come home. Willow nods uncertainly.", "Cut to the hallway. Willow, wearing a large football shirt, knocks on a closed door.", "WILLOW: Buffy? She opens the door, revealing the neatly made, not-slept-in bed. Willow frowns, closes the door and starts back toward her room. Shot of another closed door, starting to open.", "DAWN: (OS) She back yet? Willow stops, turns back. Dawn appears in the doorway.", "WILLOW: (nervously) Uh, not yet. I'm sure she'll be home soon. Everything's fine, just go back to bed.", "DAWN: It's ten o'clock.", "WILLOW: (surprised) Oh. Uh...", "DAWN: (comes closer) You don't think she's ... gonna hurt Spike, do you?", "WILLOW: She told you about Spike?", "DAWN: It was kinda obvious after last night.", "WILLOW: (covering) Yeah, I totally knew.", "DAWN: It must have hurt so much. To see him and, and, and Anya like that? And poor Xander. Everything is so screwed up.", "WILLOW: It's gonna be all right. It's just ... complicated. You know, when, when people have such strong feelings for each other, sometimes-", "TARA: Is she back yet? Tara emerges from the bedroom with the sheet wrapped around her. Dawn's face lights up. Tara sees Dawn and looks mildly alarmed/embarrassed.", "TARA: Oh. Hey.", "D: (starting to smile, delighted) Oh! You and-", "TARA: (smiling) Uh, that's my cue to put some clothes on. (turning back toward the bedroom)", "DAWN: No! No no no! I'm totally not here! You guys, you do whatever you want. Um ... I'll go watch TV. (Giggles) Downstairs, really loud! In the basement. Where I can't hear anything. (Squeals) Oh my god! Dawn rushes off giggling excitedly. Tara and Willow grin at each other, head back toward the bedroom. Dawn reappears almost immediately.", "DAWN: I love you guys! She squeals some more and dashes off again. Willow and Tara smile and continue on.", "Cut to: Some door somewhere. It explodes inward (toward the camera) and Buffy appears in the doorway, wearing a red leather jacket.", "BUFFY: (calls) All right. Let's make this quick. Reveal the interior of the Geek Trio's lair, still decorated in cheesy love-pad fashion, but empty of people. Buffy looks quite displeased. She walks down the stairs into the lair, looks around.", "BUFFY: Fine. But I'm not leaving till we have a little chat. She wanders over to a desk. There's an iMac and a bunch of papers on it. Buffy frowns, picks up some of the papers, looks around more. Pan over a variety of geek-type knick-knacks and such.", "BUFFY: Very little, considering the pummeling that needs to occur. She looks at a shelf where a bunch of action figures are set up -- mostly of women in extremely skimpy outfits. Buffy pokes one of them, makes a face, turns away.", "BUFFY: I mean, guys, helloooo. Slayer here. Did you honestly think I wouldn't find you... She gets distracted by more piles of paper and stuff on a chair. She sifts through them, picks some up. Frowns, continues walking. She discovers the white-board on which the Nerd Herd had written their evil plans. Buffy turns it on its squeaky axle to reveal the surface. All it says now is: \"TOO LATE!\"", "BUFFY: (frowns) Well, that can't be good. Suddenly a huge circular buzz-saw cuts through the white-board and comes slicing toward Buffy, cutting through everything in its path. Sawdust and debris flying everywhere. Buffy shields her face with her hands, dives to the floor just in time to avoid being sliced in two. Several more saws appear, at all angles, moving around the room, some horizontally, some vertically, some on a diagonal. Buffy does a flip to duck under one and over another. She grabs a pile of random papers and stuff, and runs for the door. One saw gets caught in the stairwell just below her feet.", "Cut to outside. Buffy bursts out of the house and falls onto the grass, papers flying everywhere. She groans and sits up. We see that she's holding a large, old book. She looks down at herself. Close shot on her stomach. Her red leather jacket has a big gash in it, just deep enough to cut the fabric but not her flesh.", "BUFFY: (annoyed) Okay. That's gonna cost ya. Wolf howl, opening credits.", "Note: Amber Benson (Tara) appears in the opening credits for the first time.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on exterior shot of the Summers house, day.", "Cut to inside. Willow and Tara come down the stairs, dressed, arms around each other, smiling. They go into the living room.", "WILLOW: Okay, we're here, ready for action! Uh, bad guy fighting action. (Giggles) Reveal Buffy sitting on the sofa holding some papers, and Dawn on the floor beside her, eating something. Willow and Tara exchange affectionate looks.", "BUFFY: Guys, you didn't have to ... You know, if you still wanna be alone-", "WILLOW: No. No, we're good. (still with the amorous looks)", "TARA: We're better than good. Buffy and Dawn smiling too.", "BUFFY: Great.", "WILLOW: (softly) Super. Willow and Tara kiss briefly, then begin kissing more intensely. Buffy and Dawn watch with \"aw\" faces. Dawn giggles.", "BUFFY: Awww.", "WILLOW: Okay, all right, we'll stop.", "DAWN: Oh, you better not!", "TARA: So, um, nerds. How are them? They?", "BUFFY: Well, I found their lair, but they obviously knew we were tracing their signal. They left in a hurry. Van was gone, but everything else was still there.", "WILLOW: We should go back, uh, Tara and I can Sherlock around-", "BUFFY: There's nothing left there now. Giant buzz saw. It was a thing. (indicating papers) This was all that I could save. I, I know it's not much, but we need to go through it and see if we can find anything that might tell us what, what they're doing, where they're going... Willow and Tara kneel on the floor. We see that the coffee table is covered with the rest of the papers and stuff that Buffy salvaged from the nerds' lair. Tara picks up a large book. It has a buzz-saw cut right across the middle, and it falls in half as she picks it up.", "TARA: Um, (chuckling) this might take a while.", "BUFFY: Anything we can do to fast forward? We really need to find Warren and the others before anyone else gets hurt.", "WILLOW: Should we call Xander?", "BUFFY: (grimaces) I don't think he's really in the Scooby space. We need to give him some time.", "DAWN: Maybe they've heard something in the demon bars about those guys. (tentatively, looking at Buffy) Spike-", "BUFFY: (quickly) Spike ... Spike's not part of the team.", "DAWN: (softly) So he's not ... going to be around anymore? (Willow and Tara looking concerned)", "BUFFY: Uh ... I don't know, Dawn. Not, not for a while. Dawn ponders this.", "TARA: What about Anya? She might be able to help with some of the demon texts.", "BUFFY: I'm guessing she's not feeling real researchy right now. Sound of sniffling, crying.", "Cut to: a restaurant, day. A blonde woman sits at the bar with a martini glass in front of her. She's crying and has her head down so we can't see her face, but her hair and build and clothing resemble Anya's. But as the camera pulls out we see that Anya is actually sitting next to the crying woman.", "ANYA: I know how you feel. Maybe I can help.", "CRYING WOMAN: How could Carl do that to me? That b*st*rd!", "ANYA: He's a man. Look no further.", "CRYING WOMAN: But with my sister? She's not even pretty.", "ANYA: (taken aback) Well ... it isn't always about looks. (Crying woman looking skeptical) Or a beating heart. Sometimes intimate sweaty relations with the wrong person just seems like a good idea at the time.", "CRYING WOMAN: (angrily) She's fat! He cheated on me with my fat ugly sister! (continues crying)", "ANYA: Likes 'em fleshy, huh? Bet you wish he'd bloat up a coupla thousand pounds and pop like a big ol' meat zeppelin, don't you?", "CRYING WOMAN: He said he loved me.", "ANYA: Oh, gee, then he must have meant it, 'cause hey, guys never say anything they don't really mean, do they?", "CRYING WOMAN: But we-", "ANYA: They say, \"I love you,\" and, and you think it's true. (crying woman staring at her) They say, \"Oh, Anya, I want to be with you for the rest of my life,\" and, and you believe them, you believe they feel the same way about you, because that's the way love's supposed to be, right?", "CRYING WOMAN: Who's Anya?", "ANYA: And then you get all excited with the tingly anticipation, but wait! Not so fast! There's the apocalypse, a-and the back from the grave, and the blah blah blah blah blah, and by the time you're finally standing there in that beautiful expensive white dress you've dreamed about ever since you became human, he's gets all heebie-jeebie and decides, \"you know, I'd rather just go steady.\" Beat. The other woman has stopped crying. Now she just looks bitter.", "CRYING WOMAN: Men suck. I wish Carl's flesh would-", "ANYA: And you know, he said it isn't me, but how can I believe him? I mean ... he knew he didn't want to get married! Deep down he knew, but he lied to me every day for months!", "CRYING WOMAN: I wish-", "ANYA: He lied and lied and then lied some more, 'cause hey , who's gonna notice with all the other lies flying around like little monkeys? And then he thinks he can just sweep the carnage underneath the rug by saying , \"oh-\"", "Cut to: some sort of underground cavern. A looming shapeless shadow moves across the wall.", "VOICE: I'm sorry. Sorry. Pan down and reveal Andrew, sitting on the floor and scooting backwards on his butt as the looming creature pursues him down the tunnel.", "ANDREW: Sorry, please! I'll never try to desecrate your chamber again! We finally get a look at the thing chasing him. It's a huge brown scaly demon with thorny things protruding from its chin, a sort of triangular head, teeth like needles.", "ANDREW: Just don't hurt me! Please! Andrew has backed into a corner. The demon continues advancing. Then we see Warren and Jonathan behind the demon. Warren zaps it with a cattle prod/taser. Blue electricity sparkles around the demon and it growls in pain.", "JONATHAN: Hit him again! Hit him again! Warren continues zapping the demon until it falls over.", "WARREN: Wow. These things are tougher than I thought. (as Andrew gets up and joins them) You know, one jolt from this should have dropped an elephant . Andrew grabs the prod from Warren.", "ANDREW: You want a piece of this? Huh? (zapping the demon repeatedly) Not so tough, are you now, Puff 'N Stuff?!", "WARREN: Hey, hey! We need him fresh, all right, not smoke house.", "ANDREW: (stops zapping) I'm done being the bait. Next time one of you can wiggle on the hook. Warren goes over to the demon and squats down to look at it.", "WARREN: If this works ... then next time we'll be the thing that everyone's afraid of.", "JONATHAN: Okay, so ... what now? Warren has a switchblade knife in his hand. He flicks open the blade.", "WARREN: Well, now it's your turn, Sparky. Warren reverses the knife so he's holding it by the blade, then tosses it to Jonathan, who catches it. He looks at it uncertainly, then makes a disgusted face.", "Cut to: Spike's crypt, night. Spike holds a glass of blood in one hand and a bottle of liquor in the other. He pours liquor into the blood, puts the bottle down, takes a slow sip.", "DAWN: (OS) Does it help? Spike looks over his shoulder. Behind him, Dawn is standing in the doorway with a white bag over her shoulder. Spike looks back at his glass.", "SPIKE: Doesn't hurt. He looks over at Dawn again. She fidgets a little.", "SPIKE: Not planning a camp-out, are we?", "DAWN: No. I'm sleeping over at Janice's. Figured Willow and Tara might want some time to, uh...", "SPIKE: (smiles slightly, staring into his glass) Oh, so the birds are flying again, eh? (bitterly) Ain't love grand. He turns to sit in his armchair, not looking at Dawn.", "DAWN: I wanted to stop by on my way and, you know. (beat) Everybody's pretty mad at you.", "SPIKE: Yeah. Kinda picked up on that.", "DAWN: (softly) You're not going to be coming aroundanymore. Are you?", "SPIKE: (staring into the distance) It's complicated, Nibblet.", "DAWN: (small laugh) Everybody's been saying that.", "SPIKE: Must be true then. (drinking)", "DAWN: Was it worth it? What you did with Anya? Spike looks over at her in surprise.", "SPIKE: Buffy told you?", "DAWN: (shrugs) Kinda caught the show. There was a camera somewhere in the Magic Box. (Spike looking shocked) Warren and Jonathan and that other guy have been watching Buffy.", "SPIKE: (sighing angrily) w*nk*rs! Dawn walks down the steps and a few feet into the room.", "DAWN: (pained) Do you love her?", "SPIKE: Oh, no. No. It was just a ... It was a bad day. For both of us. And we just had a few drinks and, things just-", "DAWN: No. Not Anya. Buffy. Close on Spike staring at his glass.", "DAWN: (OS) Do you really love her? Spike doesn't answer, just looks pained.", "DAWN: Then how could you do that to her?", "SPIKE: (still not looking at her) Oh, right , 'cause Big Sis was treating me so well up until that point. (Dawn sighing in exasperation) Must still be a bit of the evil left in me after all.", "DAWN: I don't know what happened betweenyou two. But what you did last night ... If you wanted to hurt Buffy, congratulations. (quietly) It worked. Dawn turns to leave. Close on Spike staring sadly into his drink as the door closes.", "Cut to: a different part of the underground tunnel. It's lit with candles. Across the tunnel at one point there's a shimmery magical barrier. A demon like the one that the Nerds stunned earlier comes walking down the tunnel. When it gets to the barrier it simply keeps walking. The barrier flashes with orange light and makes sizzling noises as the demon walks through it. As the demon continues on, Warren and Andrew emerge from a nook in the tunnel and go over to the barrier.", "WARREN: This is it. We found it.", "ANDREW: You sure it's in there? Andrew starts to go over to the barrier but Warren stops him.", "WARREN: Careful! Only Nezzla demons can pass through the barrier. Warren picks up a rock from the ground and tosses it at the barrier. It sizzles and burns to nothing in an instant.", "WARREN: Everything else gets curly-fried.", "JONATHAN: (OS) This sucks. Jonathan comes walking out of the nook. He is wearing the other demon's skin like a suit, covering his whole body. It's much bigger than him so it hangs loosely around him. The head-skin is hanging like a hood so that Jonathan's head is free.", "WARREN: Just make sure all your skin's covered.", "JONATHAN: (whining) Why can't I just use a glamor?", "ANDREW: You can't Siegfried and Roy the barrier. It's gotta be the real deal. Warren reaches behind Jonathan and pulls the head-hood over Jonathan's head. Jonathan yells in dismay. The other two laugh.", "JONATHAN: Ahh! (muffled, disgusted) It's still wet. (The head is also too big and Jonathan's eyes barely show through the eye-holes)", "WARREN: Good. Then it should still be fresh enough.", "JONATHAN: (muffled) Should be? Wait a minute, what do you mean, what do you mean, should be? Still laughing, Warren grabs Jonathan and shoves him into the barrier. Jonathan screams. The barrier sizzles and flashes, and lets him through. He falls to the ground on the other side.", "WARREN: (chuckling, to Andrew) Huh. Wasn't sure that would work. Andrew looks surprised and a little uncertain. On the other side of the barrier, Jonathan gets up and composes himself.", "JONATHAN: (muttering, muffled) Jackass. He shuffles off down the corridor.", "ANDREW: You think he knows?", "WARREN: Well, if he did, why would he be here?", "ANDREW: Why is he? Our mojo's tight, bro. We could've pulled this ourselves.", "WARREN: Well, somebody had to guinea pig the meat suit. Were, were you gonna volunteer? Andrew frowns, then laughs nervously and shakes his head.", "ANDREW: No. (looks nervously toward the barrier) I don't trust the leprechaun.", "WARREN: Okay, just stay frosty. This works the way we planned it, by the end of the evening Jonathan won't be a problem. As Warren is saying this, Jonathan reappears, holding something. He walks through the barrier to rejoin the others.", "WARREN: You got it?", "JONATHAN: (muffled) Yeah, I got it. He gives Warren a small wooden box.", "ANDREW: That's it?", "JONATHAN: (muffled) It better be. Jonathan pulls the hood off his head. His face and hair are covered with demon slime.", "JONATHAN: No way I'm going back through there. Thing stings like a mother.", "ANDREW: Dude, unholy hair gel. (reaching out to touch Jonathan's slimy hair)", "JONATHAN: Get off.", "ANDREW: Make me, skin job.", "WARREN: Shut up. Warren takes out a small electrical device and runs it over the surface of the wooden box. The device has a bunch of little lights that flash randomly. Warren puts it back in his pocket and opens the box.", "WARREN: Ohh. The box is divided into two equal compartments. Each one holds a small glass orb, red with white or gold symbols drawn on it.", "WARREN: Gentlemen... Warren puts the box on Andrew's outstretched hands and removes the orbs, holding one in each hand.", "WARREN: ...the Orbs of Nezzla'khan. (gazing at them) Strength. Invulnerability. The deluxe package.", "ANDREW: They're everything I've ever dreamed of.", "JONATHAN: You know, those things have been down here for like a zillion years. How do we know they still work? Suddenly a bright purple light explodes from each orb, surrounding Warren. The light begins to pulse rhythmically from each globe and through Warren's body. He gasps and his eyes glow purple. He starts to laugh.", "WARREN: Ohh, they work. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "Open on the underground tunnel. The Geek Trio are walking down the tunnel as Warren puts the glowing orbs into a small leather bag attached to his belt.", "ANDREW: You don't look any different. I thought they were supposed to make us all huge and veiny. Are you sure they're working right? Sound of growling. Warren looks around as another demon comes around a corner, growling.", "WARREN: Let's find out. Warren rushes at the demon. It hits him and he flies against a wall, turns back and grabs the demon's arm and kicks it in the back of the legs. The demon falls to its knees. Warren wraps his arms around its head and twists, breaking the demon's neck. It falls down dead. The other two stare in amazement.", "JONATHAN: Mahatma!", "WARREN: Welcome to the show, boys.", "ANDREW: That was so hot! (Warren nodding)", "JONATHAN: Lemme try 'em! Jonathan runs over and grabs for the bag holding the orbs. Warren grabs Jonathan's wrist.", "WARREN: Watch the paws, little man. (lets go)", "JONATHAN: Ow. (cradling his wrist) We're supposed to share.", "WARREN: Oh, relax. All right, you'll each get a whirl. (nodding) As soon as I'm done playing with 'em. Warren smirks evilly.", "Cut to: exterior shot of Xander's apartment building, day. Sound of knocking.", "Cut to the hallway outside Xander's apartment. Buffy stands in front of the door. It opens to reveal Xander. He doesn't look thrilled to see Buffy.", "BUFFY: Hey.", "XANDER: Hey. Xander turns away, leaving the door open. We see that he has a beer can in his hand. He walks back into the apartment. Buffy follows him in, closing the door behind her.", "XANDER: I think there's still a cold one in the fridge.", "BUFFY: Thanks, but, uh, I think it's still a little early for me. Xander just looks at her, then sits on a sofa. Buffy sits on a chair opposite.", "BUFFY: (softly) She loves you. You know that. Anya was just ... She was hurting. She was ... hurting and, and she did this really stupid thing.", "XANDER: With your boyfriend.", "BUFFY: He's not my boyfriend.", "XANDER: I know why Anya ... I understand, I do. (shaking his head) But you... Buffy looks down at her feet.", "XANDER: (still shaking head) All those times I told Spike to get lost ... that he didn't have a chance with a girl like you. (laughs bitterly)", "BUFFY: You don't know how hard it's been.", "XANDER: What, lying to me?", "BUFFY: (angrily) Being here. After I was brought back. Xander looks chastised. Buffy sighs, calms down.", "BUFFY: You have no idea how hard it is just being here.", "XANDER: You could have told me.", "BUFFY: You didn't want to know.", "XANDER: So you went to him instead?", "BUFFY: Xander, what I do with my personal life is none of your business.", "XANDER: (softly) It used to be. Buffy fidgets like she doesn't know how to answer that.", "BUFFY: It just happened, okay?", "XANDER: (chuckles bitterly) Oh, like, uh, \"Say, you're evil. Get on me\"?", "BUFFY: You fought side by side with him when I was gone. You let him take care of Dawn.", "XANDER: But I never forgot what he really is. (Buffy looking hurt) God, what were you thinking?", "BUFFY: (laughs) You're asking me that? Oh, 'cause your decision making skills have really sparkled lately.", "XANDER: I'm not saying I didn't make any mistakes. But last time I checked, slaughtering half of Europe wasn't one of them. He doesn't have a soul, Buffy. Just some leash they jammed in his head. You think he'd still be all snuggles if that chip ever stopped working? Would you still trust him with Dawn then?", "BUFFY: (resigned) It doesn't matter. I'm not seeing him anymore. It's over.", "XANDER: Yeah. There's a lot of that going around. Xander crumples up the beer can in his hand, tosses it aside, gets up and walks off. Close on Buffy looking upset as we hear the apartment door opening. The door slams and Buffy winces.", "Fade to: Sunnydale street, night. People walking around. Sad music. Xander walks down the street looking sad.", "Fade to: Magic shop, night. Anya wanders around dusting things at random.", "Cut to the street. Xander still walking. Cut back to inside. Anya dusting items on a shelf.", "Cut to the street. Xander walks up to a window and peers in through the blinds. Shot of Xander's face from inside. Shot from Xander's point of view, Anya dusting inside the shop while Xander's face is reflected in the window. Anya doesn't notice him. Xander walks on.", "Cut to: Willow and Tara's bedroom. The floor and bed are strewn with papers. Willow lies on the bed on her stomach, working on her computer. Tara reclines on the bed propped up by pillows, reading papers. Both are covered by blankets (naked underneath?).", "WILLOW: It's all a mess.", "TARA: These things take time. We'll figure it out.", "WILLOW: Sure. We'll decipher codes, foil evil schemes...", "TARA: Finally get out of bed...", "WILLOW: I was with you up until there. (Tara laughing) Whoa.", "TARA: (sitting up) What is it?", "WILLOW: Uh, one of their data CDs. It's filled with encrypted blueprints, schematics... Shot of the computer screen with various blueprints flashing by.", "TARA: To what?", "WILLOW: I'm not sure. The designations have been stripped.", "TARA: Maybe we can cross-reference them with the county clerk's office.", "WILLOW: (makes a face) Would that involve getting up?", "TARA: (smiling) Eventually.", "WILLOW: Then I'm coming out firmly against it.", "TARA: (mock-frowning) What about the Trio's evil scheme?", "WILLOW: (grinning) Well, I'm kinda busy working on my own. Willow turns away from the computer and toward Tara. Sound of giggling. Tara leans back against her pillows with a smile.", "Cut to the Bronze. Several people are sitting/standing by the bar as the bartender pours drinks. Xander is sitting at the end of the bar. The bartender pours into Xander's glass. Close shot on Xander's hand holding the shot glass as the liquor pours. Some of it misses the glass and splashes on Xander's hand. Pan up to the woman next to Xander, looking over at him.", "WOMAN: You're all wet. She pushes a cocktail napkin toward him.", "XANDER: It's a good thing I'm part fish. (wiping his hand with the napkin)", "WOMAN: (smiling) Which part?", "XANDER: The part with the hook in it.", "WOMAN: Careful. Someone might reel you in.", "XANDER: Yeah, but then there'd be the flopping and the ... gasping, and ... sure, maybe it'd work out, but chances are I'd up and leave you at the helm in your white dress. Then find you spawning with another fish who turns out to be spawning my very good friend night and day behind my back. (woman looking confused) Then comes the fighting and again with the flopping and the gasping, 'cause hey , Chicken of the Sea here's not doing too good with the women these days.", "WOMAN: Huh?", "XANDER: Sorry, I'm just looking to curl up with the quiet alone tonight. Wide shot of the two of them. The woman looks disappointed, turns away. Xander concentrates on his drink.", "Cut to the entrance. The Geeks enter, look around. Jonathan looks at his watch.", "JONATHAN: (irritated) We don't have time for this.", "ANDREW: Ease up, twitchy. Warren looks around, spots something.", "WARREN: All right. Long shot of a tall guy and a pretty girl smiling into each other's eyes, holding hands.", "WARREN: Let's make some noise. Warren walks forward. The others watch, Andrew excited, Jonathan nervous.", "Cut to: close on a vampire face. Someone punches him and he grunts.", "Cut to wider shot: the cemetery. Buffy fighting the vamp. He throws a punch which she blocks. Then he spins around, blocks her punch, kicks her in the chest. She does a spin-kick that sends him sprawling.", "BUFFY: Not bad. How hard you gonna hit when you're blowin' in the wind? She reaches into her back pocket for a stake. The vamp gets up and attacks her again. She stakes him just as he's leaping into the air for a kick. He dusts, but the kick lands anyway. Buffy gives a cry and goes flying backward. She flies into a headstone, shattering it and landing on the ground behind it. Buffy lies on the ground groaning in pain.", "BUFFY: (pouty) That was rhetorical. She goes to get up and winces.", "BUFFY: Ow.", "Cut to: exterior shot of the Summers house, night.", "Cut to the bathroom. Buffy enters, wearing a grey bathrobe and moving slowly, sighing. She goes over to the tub and starts the water running, leans over to check the temperature, putting one hand on her back as she bends over. She sighs loudly as she straightens up.", "SPIKE: (OS) You hurt? You're not moving so well. Buffy sighs and walks toward the sink. Reveal Spike standing in the doorway, wearing black shirt and jeans, no jacket.", "BUFFY: (standing by the sink, not looking at him) Get out.", "SPIKE: We have to talk. (closing the door)", "BUFFY: (turns to look at him) I really don't.", "SPIKE: Well, this isn't just about you... (pushes the door the rest of the way shut) as much you'd like it to be. Overhead shot of the two of them. Spike stands by the door and Buffy by the sink, with about four feet separating them. Buffy crosses her arms over her chest.", "BUFFY: You spoke. I listened. Now leave. Close on Spike. He sighs a little.", "SPIKE: (softly) I'm sorry. Not that it matters any more, but I needed you to know that.", "BUFFY: Why?", "SPIKE: Because I care about you.", "BUFFY: Then you might want to try the not sleeping with my friends.", "SPIKE: I didn't go to Anya for that. I was looking for a spell.", "BUFFY: (outraged) You were going to use a spell on me?", "SPIKE: (sighs, exasperated) It wasn't for you! I wanted something . (puts hand on his chest) Anything to make these feelings stop. (angrier) I just wanted it to stop! Buffy looks taken aback. Spike sighs, calms down.", "SPIKE: (softly) You should have let him kill me.", "BUFFY: (softly) I couldn't do that.", "SPIKE: Why?", "BUFFY: (moving back toward the tub) You know why.", "SPIKE: Because you love me. Buffy bends over the tub, again with one hand on her back.", "BUFFY: (annoyed) No. I don't.", "SPIKE: Why do you keep lying to yourself?", "BUFFY: (whirls around to face him again) How many times- She pauses, composes herself.", "BUFFY: (calmer) I have feelings for you. I do. But it's not love. I could never trust you enough for it to be love.", "SPIKE: (laughing) Trust is for old marrieds, Buffy. (Buffy rolling her eyes) Great love is wild ... and passionate and dangerous. It burns and consumes.", "BUFFY: Until there's nothing left. Love like that doesn't last.", "SPIKE: (pacing) I know you feel like I do. You don't have to hide it anymore.", "BUFFY: (rolling her eyes) Spike, please stop this.", "SPIKE: (whispers) Let yourself feel it. He moves forward, puts his hands on her waist, pulls her toward him. She resists.", "BUFFY: No...", "SPIKE: You love me.", "BUFFY: Ow, no, stop it. They struggle, Spike trying to kiss and grope Buffy, Buffy trying to push him away. Sound of fabric ripping. Spike's hand is inside Buffy's robe.", "BUFFY: Spike, no - ow - what are you do- She loses her balance and falls backward toward the tub. Her hand grabs the shower curtain for balance, but it rips off the shower rod and Buffy falls down, hitting her back against the side of the tub.", "BUFFY: (yelling) Ow! She falls to the floor beside the tub, groaning in pain. Spike gets on top of her, holding her down. He grabs her face and tries to kiss her as she continues trying to fight him off.", "SPIKE: Let it go. Let yourself love me. He continues saying similar things as Buffy continues saying \"no\" and \"stop\" and \"ow.\" Spike pulls at her clothing. Buffy gets onto her stomach and tries to pull herself toward the door, but Spike is on top of her, holding her down, pulling her arms away from the door as she continues yelling and protesting. Close on Spike wearing a determined and wild expression. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Open on the same scene, overhead shot of Spike straddling Buffy on the bathroom floor. Buffy continues struggling.", "BUFFY: (yelling) No, stop it!", "SPIKE: I know you felt it ... when I was inside you... Close on his hands trying to open her robe. Sound of fabric ripping. Buffy breaks partly free and starts crawling toward the door again. Spike grabs her ankle and pulls her back toward him, flips her over, pins her hands to the floor.", "BUFFY: No, ow, ow! (sobbing) Please, please, Spike, please...", "SPIKE: You'll feel it again, Buffy...", "BUFFY: Please don't do this...", "SPIKE: I'm gonna make you feel it. He rips the front of her robe open. Buffy screams and struggles against him as he tries to get her robe off.", "BUFFY: Stop! She gives him one last shove with her Slayer-strength and Spike goes flying backward, crashing into the sink and the wall. Buffy gets to her feet, holding her robe closed with one hand. It's torn so that one of her shoulders is exposed. Spike gets up, panting and staring at her. BUFFY Ask me again why I could never love you. Spike looks like he's just realizing what he was doing.", "SPIKE: Buffy, my god, I didn't-", "BUFFY: (angrily) Because I stopped you. (quieter) Something I should have done a long time ago. A tear runs down Buffy's face. Spike stares at her looking horrified.", "Cut to exterior shot of the house.", "Cut to aerial shot of Sunnydale, houses lit up in the dark of night.", "Cut to exterior shot of the Bronze.", "Cut to inside. Andrew and Jonathan walk beside the bar. Jonathan looks nervous. Andrew holds a glass of something involving fruit and a little paper umbrella.", "JONATHAN: (looks around nervously) What are we doing here? Somebody might recognize us. (spotting something, sighing in exasperation) Oh, oh, that's just great. Shot of Warren talking to the woman we saw with another guy before. JONATHAN We're risking everything so that Charles Atlas can get a date? He's going to end up getting us thrown into jail. Or worse. (urgently) Maybe you and I should think about-", "ANDREW: Warren's the boss. He's Picard, you're Deanna Troi. Get used to the feeling, Betazoid. Andrew walks off. Jonathan stares after him in dismay.", "Cut to Warren talking with the girl.", "WARREN: ...the clothes, the cars, and the money ... see, it's all just window dressing. He strokes the side of the girl's face. She doesn't look too thrilled with that.", "WARREN: Baby, this is what's really important. (holding her hand) Two souls, coming together ...", "FRANK: (OS) Hey! The girl's boyfriend returns. He gets in Warren's face. He is much larger than Warren.", "FRANK: She only comes together with me. So get lost, shrimp. (girlfriend looking amused)", "WARREN: Frankie? Oh my god, is that you? How long has it been? Frank stares down at Warren in confusion. WARREN It's Warren! Remember, Warren, gym class, fifth period? (smiling) You and your jock buddies used to give me such a hard time. (Frank starting to smile) That thing with the underwear? (laughing) God, I thought I'd never stop crying.", "FRANK: (grinning) That was you?", "WARREN: (big fake grin) Yeah, that was me! (quieter) But hey, no hard feelings. I mean, I know you were just fooling around. (Frank nodding) Like I'm gonna be with your girl in about five minutes.", "FRANK: (threateningly) What'd you say?", "WARREN: You heard me, meathead. Take a walk.", "FRANK: Oh, you're dead, you little- Frank grabs Warren by the shoulders to shove him away, but can't budge him. Frank frowns, tries several times to push Warren away, but he can't.", "WARREN: This ain't high school. Warren shoves Frank in the chest with one hand, and Frank flies backward, crashing into some people. The girlfriend looks alarmed.", "GUY: Frankie! Another large guy moves toward Warren. Warren turns to face him. As the guy throws a punch, Warren grabs his wrist, immobilizing it, then jerks it to the side, breaking the arm. The guy falls to the floor. Warren turns to find the girl, just as she starts running away. Warren sighs in annoyance. Another guy hits Warren in the back with a chair. The chair shatters. The guy stares at the pieces in surprise as Warren turns around to face him. Warren backhands the guy and he flies across the bar-top and off the other side. Andrew watches this casually, sipping his fruity drink. WARREN Let's party. In the background a couple of people go to help the injured guys. Warren strolls forward, clasps Andrew's arm briefly, walks right past Jonathan without even acknowledging him. He goes over to the bar where a bunch of pretty women are sitting, watching him.", "WARREN: Oh, don't worry about the tab, now, ladies. It's on daddy tonight. He slams his fist down on the cash register, causing the drawer to open. Warren reaches across to take out some money. Angle on the door of the men's restroom as Xander emerges, pauses when he catches sight of Warren. Warren turns away from the cash register with a handful of money.", "WARREN: Don't worry, babies. (moves toward the women) Daddy's gonna give you some too.", "XANDER: (walking up) See now, I think it's the daddy thing that's throwing her. (Jonathan hiding his face) 'Cause incest , not that sexy. Xander and Warren get in each other's faces as Andrew watches and Jonathan covers his face with his hand.", "JONATHAN: Aw, crap.", "XANDER: So, uh, why don't we leave the ladies to their impending nausea and move the freakshow outside, whaddaya say?", "WARREN: (nodding) Okay. But lemme ask you something first. (quietly) You think maybe you could put in a word for me with that Anya chick? 'Cause if she's taking it from a vamp ... (smirking) I think I might have a chance . Xander punches Warren square in the face. Warren barely even moves. Xander clutches his hand in pain.", "WARREN: No wonder she's screwing a dead guy. You hit like a girl.", "XANDER: (painfully) Well, at least I know how to get one. Warren scowls angrily, punches Xander. Xander flies backward across the room, lands on the floor on his back. People exclaiming, gasping, etc. Xander lies on the floor groaning in pain. Warren walks quickly toward him, shoving a pool table out of the way as if it were nothing. Xander is bleeding from the nose, blood running down his face.", "WARREN: Let's see how popular you are without a face. Jonathan hurries over andgrabs Warren's arm.", "JONATHAN: Warren, we have to go.", "WARREN: We go when I'm ready.", "JONATHAN: (very nervous) Hey, it's your call, but ... (showing Warren his watch) we're gonna miss that thing you wanted to do tonight (Warren sighing, exasperated) if we don't leave right now. That's all I'm saying. Warren sighs and nods reluctantly. He bends over a little to address Xander.", "WARREN: It's your lucky night, Shemp.", "ANDREW: We're just gonna leave him there? What if he sics the Slayer on us?", "WARREN: Bring her on. Warren turns and walks off. Andrew follows casually. Jonathan makes a little apologetic hand-gesture at Xander, and follows the others.", "Cut to: Summers house, foyer. The door opens and Xander enters, his face still bloody.", "XANDER: (calls) Buffy? I found Warren. He glances around. XANDER Actually, my face kinda found him- He stops as he sees Spike's leather jacket hanging on the banister. Xander strides over to it, picks it up. His expression is grim as he starts up the stairs.", "Cut to the bathroom. Xander bursts in holding the jacket.", "XANDER: This what you call not seeing Spike anymore- He pauses as he sees Buffy. She's sitting on the floor looking very upset.", "XANDER: What did he do? Close on Buffy's legs. Her robe hangs loosely and one thigh is exposed, with a big ugly bruise on the inside of the thigh.", "XANDER: Did he hurt you?", "BUFFY: (sighing, shaking her head) He tried. He didn't...", "XANDER: Son of a bitch. (turns to storm out)", "BUFFY: (softly) Don't. Xander stops in the doorway.", "BUFFY: (tearfully) Please, just ... don't. Xander stares at her in concern. A loud door-slamming noise from downstairs makes them both jump. Willow rushes in, smiling.", "WILLOW: Hey, I think we finally have something- She pauses, seeing Xander's bloody face and Buffy's bruised condition. Buffy quickly pulls her robe down to hide the bruise on her leg.", "WILLOW: What happened?", "BUFFY: Nothing. Xander looks down at Buffy as she composes herself.", "BUFFY: What'd you find out?", "Cut to the dining room, a little later. Buffy, now dressed, sits at the table with Willow and Tara. Xander stands nearby holding an ice pack against his face. The table is covered with the papers and books from the Geek lair, plus Willow's computer.", "WILLOW: We were able to decipher pretty much everything except these. Willow holds a set of papers with weird symbols on them.", "TARA: It isn't written in any ancient language we could identify.", "XANDER: (chuckling) It's Klingon. They're love poems. (catching himself, embarrassed) Which has nothing to do with the insidious scheme you're about to describe.", "BUFFY: What do you got for me that doesn't rhyme?", "TARA: Um, this. (holding up a CD-ROM)", "WILLOW: It was filled with encoded blueprints and schematics. (handing Buffy a pile of papers)", "BUFFY: To what?", "TARA: Um, banks, armored car routes, corporate vaults ... This is big.", "WILLOW: They're looking to score some serious dinero. We don't think they're planning just one job.", "XANDER: Spree, anyone?", "BUFFY: I, I can't cover all of these at once.", "WILLOW: You don't have to. We think there's one they may hit tonight.", "TARA: It's time sensitive.", "XANDER: Be careful. Warren's gone all Mighty Mouse. Emphasis on the might.", "BUFFY: Good. Then I won't have to hold back.", "Cut to Spike's crypt. The door bursts open and Spike rushes in, still without his leather coat. Flash to the earlier scene of Buffy protesting and struggling. Flash back to now. Spike closes his eyes and clenches his jaw, looking pained. The sound of Buffy crying and begging continues. Flash to the bathroom again. Buffy struggling and crying. Flash back to now. Spike strides across the room and picks up a bottle of alcohol and a glass. He pours, puts the bottle down, drinks. Flash to the bathroom. Spike on top of Buffy, pinning her down.", "SPIKE: I'm gonna make you feel it. Flash to now. The glass shatters in Spike's hand. He stares at it, lowers his hand slowly.", "CLEM (OS): Uh ... knock knock? Reveal Clem standing in the doorway holding a paper bucket of fast-food. He waves tentatively.", "CLEM: I was just in the neighborhood so I thought, you know... Clem walks into the room. Spike stares at the floor sullenly.", "CLEM: ...there's a Nightrider marathon on the TV, so, uh... (holding up bucket) I got hot wings!", "SPIKE: (shakily) What have I done? Beat. Spike frowns, looks bemused.", "SPIKE: Why *didn't* I do it? (looks up at the ceiling, sighs) What has she done to me?", "CLEM: She done who? (Spike waves his hand dismissively) Ohh. The Slayer, huh? Gosh. (shaking head) She break up with you again?", "SPIKE: We were never together. Not really. She'd never lower herself that far.", "CLEM: She's a sweet girl, Spike, but hey. Whew. Issues. (Spike giving a sarcastic grin) And no wonder, with the whole coming back from the grave and whatnot. Hey, I had this cousin, who got resurrected by some kooky shaman... (chuckles) Whoo-boy! Was that a mess.", "SPIKE: (desperate) Why do I feel this way?", "CLEM: (shrugs) Love's a funny thing.", "SPIKE: Is that what this is? (Clem looking uncertain) I can feel it. Squirming in my head. (puts hand to his head)", "CLEM: Love?", "SPIKE: The chip. Gnawing bits and chunks. Spike puts his fingers against his head as if he's trying to dig his way into his skull.", "CLEM: Uhh ... maybe a wet cloth?", "SPIKE: You know, everything used to be so clear. Slayer. Vampire. Vampire kills Slayer, sucks her dry, picks his teeth with her bones. It's always been that way. I've tasted the life of two Slayers. But with Buffy... (grimacing in anguish) It isn't supposed to be this way! He grabs a piece of furniture and shoves it over, with accompanying crashing noises.", "SPIKE: (angrily) It's the chip! Steel and wires and silicon. (sighs) It won't let me be a monster. (quietly) And I can't be a man. I'm nothing.", "CLEM: Hey. Come on now, Mr. Negative. You never know what's just around the corner. Things change.", "SPIKE: Yeah, they do. Spike gives a bitter sarcastic laugh. Clem looks at him, kind of helpless. Then something occurs to Spike. His grin turns nasty.", "SPIKE: If you make them.", "Cut to: an amusement park, shut down for the night. A banner reads \"Opening Weekend!\" Pan across closed concession stands, to a large stone gate with lettering over the archway reading \"WILD RIVER ADVENTURE.\" Pan further to reveal two men standing beside an armored truck. One man wears a security uniform, the other a dark suit. They check something on a clipboard, and then the security guard puts two bags into the back of the truck. A second guard comes around from the other side of the truck.", "GUARD #1: All right, that's the last one. Guard #1 takes the clipboard from the guy in the suit, and signs it. Guard #2 is closing the truck. GUARD #1 Quite a haul, huh? (gives back the clipboard)", "SUIT: Always the biggest gate of the year.", "GUARD #1: Yeah.", "SUIT: Don't lose any.", "GUARD #1: Yeah. The suit guy takes the clipboard and walks off.", "Cut to the front of the truck. Guard #2 is at the wheel as Guard #1 climbs into the passenger seat and shuts the door.", "GUARD #2: Wanna grab a bite after? (Guard #1 nodding) I think Ruby's is still open. Guard #2 puts his foot on the gas pedal, but nothing happens. Close on Warren at the back of the truck. Wider shot of Warren lifting one rear corner of the truck off the ground. Close shot on the right rear wheel, spinning in the air. Cut back to the cab.", "GUARD #2: What the hell? Another shot of the spinning wheel. Reveal Andrew and Jonathan, both wearing black turtlenecks with black zipper jackets over them. In the cab, the guards slide toward the side of the truck as Warren tilts it further.", "GUARD #1: There's something back there! Warren continues lifting.", "ANDREW: Man, I can't wait to get my hands on his orbs. Warren shoves the truck over onto its side.", "JONATHAN: (sarcastic) Yeah, I'm sure he'll be giving 'em up any second now. Warren rips the rear door off the truck.", "BUFFY: (OS) Hey. Reveal Buffy standing on top of the overturned truck.", "BUFFY: Is this your bank? Warren stares up at her.", "BUFFY: 'Cause if not, there's gonna be a fee for that. She starts to leap down at Warren. He reacts, puts up his arms and catches her as she falls toward him. He throws her backward over his head. She lands on the ground several yards away, and gets up again.", "WARREN: (striding toward her) I was wondering when Super Bitch would show up.", "BUFFY: You really got a problem with strong women, don't you?", "WARREN: Nothing I can't handle. Buffy ducks his first swing, the second catches her in the face. Warren blocks her punch, holds her arm and hits her with his other hand. They exchange a few blows and Buffy goes down. WARREN You seem a little off. This a bad day?", "BUFFY: (gets up) It's getting better. She lands several strong kicks in a row, grabs Warren and flips over him, kicks him from behind. He goes down and immediately rolls back to his feet. Buffy grabs the large metal door that Warren ripped off the truck, and hits him with it. He stumbles into the stone gate, hard. Bits of plaster dust fall on his head.", "WARREN: That all you got? He looks up a moment too late as the stone gate collapses, a pile of stone and rubble falling right on Warren's head, engulfing him.", "ANDREW: (screams) No! Jonathan stares in dismay. Buffy looks over at the other two geeks.", "BUFFY: There's two ways this can end. And right now? I'm thinking they're both gonna hurt. Andrew suddenly starts to smile.", "ANDREW: I think you're right. Buffy turns around to see Warren emerging from the rubble.", "WARREN: What's the matter baby? You never fight a real man before? Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Same scene. Warren lands two strong punches on Buffy before she ducks the third and kicks him. He blocks her swing, lands several more punches. Buffy grabs his hand and twists around, holding Warren's arm behind him and kicking him in the stomach. She ducks another punch and kicks him. He falls against the overturned armored truck. Buffy watches as Warren pulls himself upright again.", "WARREN: Wow. That almost hurt, kitten. Buffy kicks him and punches him several times, with little effect. Warren grabs her and slams down on her arm. Buffy makes an expression of pain. Warren kicks her backward, grabs her again.", "ANDREW: Kill her! Kill her! Jonathan stares from the fight to Andrew and back, looking alarmed. Warren continues beating on Buffy. He gets her legs out from under her and she goes down.", "WARREN: You know who I am? Huh, Slayer?", "BUFFY: You're a murderer. (getting up)", "WARREN: Well, that too, but more to the point- Buffy swings at him, he blocks the punch and backhands her. WARREN I'm the guy that beat you. Again she swings, again he blocks and hits her. Buffy reels backward, looking shocked.", "WARREN: And it's not the muscles, baby. He kicks her backward.", "WARREN: It's the brains.", "BUFFY: I'll remember that when I knock 'em clean out of your- Suddenly Jonathan leaps onto Buffy from behind, grabbing her around the neck. Buffy grunts and stumbles forward, trying to pry him off.", "WARREN: (amused) Whoa! Sparky, I didn't think you had it in you. Close on Jonathan and Buffy struggling. Jonathan mutters into Buffy's ear through gritted teeth.", "JONATHAN: (quietly to Buffy) The orbs! Smash his orbs. Buffy throws him off. He lands on the ground and rolls away as Warren attacks again. Buffy blocks a couple of punches, but then Warren lands one that sends her falling against a park bench. The bench breaks into pieces. Warren strides over as Buffy is still lying in the wreckage of the bench.", "WARREN: Say good night, bitch. Warren pulls his fist back for a final punch. This pulls his jacket back, revealing the pouch on his belt. Buffy sees it. Before Warren can move, she lunges forward, grabs the pouch, and slams it against the ground. Blue light flashes, suffusing Warren, then leaving him and shooting toward the smashed orbs. Warren looks dazed. Buffy stands up.", "BUFFY: Good night, bitch. She does a serious spin-kick that sends Warren flying back and tumbling to the ground near his comrades. He climbs slowly to his feet, looking scared.", "BUFFY: (advancing) You're nothing but a sad little boy, Warren. But it's time you grow up, and pay for what you've done.", "WARREN: (panting) Get away from me! He pulls off his jacket, revealing an apparatus strapped to his body, including a pair of silvery tanks on his back. WARREN I swear to god I'm gonna take you down. You piece of... Buffy stares in disbelief as Warren pulls a switch and the jet-pack activates, lifting him straight up into the air.", "BUFFY: (sighing, almost whining) Oh, come *on.* Shot of Warren still shooting up into the sky. Shot of the other two nerds. Jonathan is watching Warren go, shocked. Andrew stares calmly at Buffy.", "ANDREW: Well played, Slayer! Andrew pulls off his jacket, revealing an identical jet-pack. Buffy can't believe it.", "JONATHAN: (whines) Why didn't I get one of those?!", "ANDREW: (to Buffy) This round to you. But the game is far from over. Andrew activates his jet-pack and lifts off as Buffy and Jonathan stare. But Andrew was standing underneath a roof overhang. He hits it with his head, hard, and falls to the ground unconscious. Jonathan stares apprehensively at Buffy. Sound of police sirens.", "Cut to: exterior police station. A car with its siren wailing and lights flashing pulls up and stops. The driver and his partner get out, open the rear doors and take out Andrew and Jonathan, both handcuffed. The cops begin leading them inside.", "JONATHAN: (furious) Jet packs. You jerks were setting me up to take the fall.", "ANDREW: (upset) He left me. He flew away and left me. They enter the police station, go down some steps and into a lobby area. Various cops and handcuffed prisoners are moving about, etc. Andrew and Jonathan pause and stand there looking around. Andrew is crying.", "JONATHAN: Oh god. The Big House.", "AUDREW: (crying) How could he do this to me? He promised we'd be together, but ... he was just using me. He never really loved- (catching himself) ...hanging out with us. The cops lead them over to a bench and sit them down.", "ANDREW: You think he'll come back for us? I mean ... he wouldn't just take off, would he? Jonathan gives him a look of contempt.", "Cut to: a highway somewhere, night. The lights of Sunnydale are visible in the distance. Spike rides up on his motorcycle, cigarette in his mouth. He stops and looks over at the city.", "SPIKE: Get nice and comfy, Slayer. I'll be back. And when I do ... things are gonna change. He tosses his cigarette onto the ground and rides off.", "Cut to: exterior shot of the Summers house, day.", "Cut to Willow and Tara's bedroom. They are standing by the mirror as Willow finishes buttoning up her blouse. It's white and frilly. Tara is also fully dressed.", "WILLOW: Hey. Clothes.", "TARA: Better not get used to 'em.", "WILLOW: Hmm, yes ma'am. Willow grabs Tara's belt loop and pulls her in for a kiss. Then they hug. Tara smiles happily. Then spots something over Willow's shoulder.", "TARA: Mmmm... Xander!", "WILLOW: (pulling out of the hug) Okay, not quite the response I was fishing for.", "TARA: No, he's here. Tara goes to look out the window. We can see Buffy below in the backyard, and Xander walking up behind her.", "WILLOW: (opening a dresser drawer) Think they're making up?", "TARA: (turning from the window, smiling at her) I hope so, that's the best part.", "Cut to the backyard. Buffy has a stick and is using it to poke at the bushes and weeds. Xander comes up behind her, looking awkward. It's a beautiful sunny day.", "XANDER: Time for the Spring Poking already?", "BUFFY: (turns to see him) Just making sure there are no more Evil Trio cameras. Or Evil Uno.", "XANDER: The sinister yet addictive card game?", "BUFFY: Warren. Jonathan and Andrew got clinked, but ... Warren pulled a Rocket Man.", "XANDER: You'll find him. He won't be much good without his friends.", "BUFFY: (softly) No, he won't. They both move to sit side-by-side on a wooden bench. Xander fidgets uncomfortably, then takes a deep breath.", "XANDER: How did we get here?", "BUFFY: Scenic route. Long drive.", "XANDER: The past few weeks...", "BUFFY: I know.", "XANDER: I thought I hit bottom, but ... it hurt. That you didn't trust me enough to tell me about Spike. (pauses, softly) It hurt.", "BUFFY: I'm sorry. I should have told you.", "XANDER: (small smile) Maybe you would have, if I hadn't given you so many reasons to think I'd be an ass about it.", "BUFFY: Guess we've all done a lot of things lately we're not proud of.", "XANDER: (slightly larger smile) I think I've got you beat.", "BUFFY: Wanna compare?", "XANDER: Not so much. Beat. They smile tentatively at each other. XANDER I don't know what I'd do ... without you and Will.", "BUFFY: (teary) Let's not find out. Xander nods. They hug. BUFFY I love you. You know that, right? Xander spots something over Buffy's shoulder and his eyes widen in alarm.", "XANDER: Buffy! Reveal a very angry Warren striding toward them, fast. He still wears the all-black outfit from last night. Buffy and Xander jump up, turn to face him.", "WARREN: You think you can just do that to me? You think I'd let you get away with that? (laughs crazily) Think again. Suddenly he raises a gun and fires wildly at them. Buffy frantically shoves Xander down. He tumbles to the ground. Warren runs off, firing wildly into the air over his shoulder as he goes. Closeup of one bullet shattering a window. Shot of Willow still standing by the dresser, smiling. Suddenly, redness splatters across her white blouse. She looks surprised. Shot of Tara still standing with her back to the window, looking surprised. There's a large red spot on Tara's chest, right over her heart.", "TARA: (frowning) Your shirt. Tara falls forward.", "WILLOW: (shocked, rushing forward) Tara?", "Cut to the backyard. Xander gets up, brushes himself off.", "XANDER: Sweet fancy Moses! Where the hell did he- Xander stops, looking to his left. Pan quickly over to Buffy, lying on the ground on her back, staring upward.", "XANDER: Oh god!", "Cut to the bedroom. Tara lies on the floor. Willow grabs her shoulders.", "WILLOW: (desperate) Tara?! Baby? Willow rolls Tara over, pulling her onto her lap. Tara lies limp in Willow's arms.", "WILLOW: (sobbing) Baby, come on! Get up!", "Cut to the backyard. Buffy has a red spot in almost the same place as Tara's. Xander kneels over her, holding her shoulders. Her eyes close, then slowly open again.", "XANDER: (desperate) Oh god. Buffy? Buffy! Buffy! Xander presses his hands against the wound, making more blood well out.", "Cut to the bedroom. Willow cries harder as Tara continues not responding. Willow rocks back and forth holding Tara in her lap.", "WILLOW: No... no... (crying) Shot of Buffy lying on the ground staring blankly at the sky as Xander continues trying to stop the bleeding. Close shot on Tara's face and the bullet hole in her chest. Willow lifts her head and bares her teeth. Her face is wet with tears and her eyes are completely black ... then they go completely red. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Willow, after being told Tara cannot be resurrected, is pushed over the edge by her grief. After magically saving Buffy, a vengeful Willow hunts down Warren, who desperately tries to escape town. Though her friends try to stop her, Willow tracks down Mears and brutally murders him by flaying him and burning him alive with her magic." ]

[ "•I do not own the characters or situations of BTVS and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you really want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. DO NOT POST MY TRANSCRIPT ON YOUR SITE WITHOUT MY NAME ON IT! • I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.", "[SCENE_BREAK]", "GILES VOICEOVER: Previously on Buffy the Vampire Slayer...", "Spike and Buffy in the graveyard.", "SPIKE: Why won't you sleep with me again?", "BUFFY: Because I don't love you. Willow and Tara in the bedroom.", "WILLOW: See? Clothes.", "TARA: Better not get used to 'em.", "WILLOW: Yes ma'am. Willow and Tara kissing. Warren and Buffy fighting.", "WARREN: Say goodnight, bitch. Buffy smashing the orbs. Warren losing his powers.", "BUFFY: Goodnight, bitch. Buffy kicking Warren. Buffy and Spike struggling in the bathroom.", "SPIKE: I'm gonna make you feel it!", "BUFFY: Stop! Buffy kicking Spike across the room.", "BUFFY: Ask me again why I could never love you. Spike on his motorcycle.", "SPIKE: Get nice and comfy, Slayer. I'll be back. And when I do ... things are gonna change. Spike riding off into the night. Warren storming into Buffy's backyard. Buffy and Xander reacting.", "WARREN: You think you can just do that to me? You think I'd let you get away with that? Think again. Warren shooting at them. Xander falling to the ground. The window shattering. Willow with blood on her shirt. Tara falling down.", "WILLOW: Tara?! Xander looking at the injured Buffy.", "WILLOW: Tara! Baby!", "XANDER: Buffy! Willow crying over Tara's body. Willow with her eyes going black and then red.", "[SCENE_BREAK]", "Teaser", "[SCENE_BREAK]", "Open on a close shot of the flashing lights on top of an ambulance. Sound of the ambulance siren. Pan down to reveal the two male paramedics in the ambulance as it drives down the street. It slows and stops. The horn honks. The paramedics get out, run to the back of the ambulance and begin taking out equipment.", "XANDER: (OS) She's in the back. Xander comes running around from behind the house. He has the cordless phone in his hand and blood all over his shirt.", "XANDER: This way! He runs back toward the rear again, with the paramedics following.", "PARAMEDIC 1: She was shot?", "XANDER: Yeah, in the chest.", "PARAMEDIC #2: Accidental?", "XANDER: No no, it was a ... He was trying to kill her. They reach Buffy who still lies on the grass unmoving, her eyes open. The paramedics kneel on either side of her and go to work. Xander watches helplessly.", "Cut to: close shot on Tara still lying in Willow's lap. Sound of Willow crying and breathing heavily. Willow's arms have blood on them, as does her shirt. She gently shakes Tara.", "WILLOW: (crying) Oh god, oh no. Please, please, come on... (crying) She puts her hands on Tara's face.", "WILLOW: Come on, Tara! Please, come on, baby... Suddenly the lighting in the room goes dark and blue. Willow looks up, her eyes totally black. Dark blue clouds swirl around the ceiling. Lightning flashes (but only inside the room).", "WILLOW: By Osiris, I command you, bring her back! More lightning.", "Cut to close shot on Buffy's face, in profile. She closes her eyes and then slowly opens them again.", "PARAMEDIC #2: Pulse is 100 and weak. Lung sounds are wet.", "XANDER: What does that mean? Is she going to...", "PARAMEDIC #1: You need to stand back, okay? If you want us to help her out, we need some space. The paramedics continue working. There's a bandage over Buffy's wound now, soaked with blood. Xander continues watching, putting his bloody hand up to his face. Close on Buffy staring upward with the bloody bandage over her heart. She looks conscious, but just barely. Cut back to Willow's room. The blue clouds continue to swirl.", "WILLOW: Hear me! Keeper of darkness! Suddenly some of the clouds form into a huge face. It speaks in a deep raspy voice. Lightning flashes around it.", "DEMON: Witch! How dare you invoke Osiris in this task!", "WILLOW: (crying) Please. Please, bring her back.", "DEMON: You may not violate the laws of natural passing.", "WILLOW: How? How is this natural?", "DEMON: It is a human death, by human means.", "WILLOW: But I-", "DEMON: You raised one killed by mystical forces. This is not the same. She is taken by natural order. It is done.", "WILLOW: (crying) No. There has to be a way.", "DEMON: It is done.", "WILLOW: (screams) NOOOO! As she screams, a shimmery column of energy shoots out of her mouth and at the demon. The demon screams and disappears in a final flash of lightning. Wolf howl, opening credits. Amber Benson (Tara) does not appear in the opening credits; she was there for just one episode (\"Seeing Red\"). Guest Starring Danny Strong, Adam Busch, Tom Lenk, Jeff Kober, and Amelinda Embry. Written by Marti Noxon, directed by David Solomon.", "[SCENE_BREAK]", "Act I", "[SCENE_BREAK]", "Open on the front yard of the house. Buffy is on a gurney being wheeled toward the ambulance.", "PARAMEDIC #2: (into walkie-talkie) Sunnydale Memorial, do you copy? We have a caucasian female, 21, GSW to the chest.", "XANDER: Come on, Buff, hang on. We're going to get you to the hospital. Xander spots Willow coming out the front door, looking blankly at Buffy. Willow and Xander both still have blood all over their shirts.", "XANDER: Willow, god, are you okay?", "WILLOW: (quietly) How did this happen?", "XANDER: Warren. He had a gun.", "WILLOW: (with a brief flash of anger, then blank again) Warren.", "XANDER: It went down too fast, I couldn't stop him. Willow isn't listening any more. She's walking away, fast. Xander stops at the edge of the walk.", "XANDER: Hey. She just keeps walking down the sidewalk. Xander stares after her, confused and shaken.", "XANDER: Will!", "PARAMEDIC #1: Sir, we have to go, are you coming with us or not? Xander dithers for a moment, then runs over to the ambulance and climbs in the back. The paramedic closes the doors and heads toward the driver's seat.", "Cut to: exterior shot of the Sunnydale police station.", "Cut to: a holding cell. It's dark despite being daylight outside. Andrew lies on his back on the top bunk.", "ANDREW: Think they'll let my aunt bring me my Discman? Pan over to Jonathan, hanging his hands through the bars of the cell.", "JONATHAN: That's what you're worried about? In-flight entertainment? We're in jail!", "ANDREW: We're in custody. We haven't been charged yet. (rolling over onto his stomach)", "JONATHAN: Thank you, Dragnet. (walks toward Andrew, angry) It doesn't matter what they call it, they got us, okay? We're going down. Jonathan lowers his voice, nods toward the next cell.", "JONATHAN: (quietly) That guy's been looking at me. I think he wants to make me his butt monkey. Shot of the guy in the next cell, sitting on his bunk. He glances over.", "ANDREW: (rolling his eyes) Don't flatter yourself. I heard him talking to the guard. He's in here for parking tickets.", "JONATHAN: That doesn't mean anything! The joint changes you. (whispers) I hear they like the small ones, with little hands like their girlfriends.", "ANDREW: You have got to chill out. This isn't Oz, it's like, Mayberry. Besides, Warren is going to find a way to get us out of here.", "JONATHAN: (sarcastic) Yeah. I'm sure he'll be busting us out any minute.", "ANDREW: He will. He's coming up with a plan. Like, \"War Games.\" Remember that decoder that Matthew Broderick used?", "JONATHAN: (smiling) Oh, yeah. That was rad. The one he made from the scissors and the tape recorder?", "ANDREW: I miss \"Ferris\" Matthew. Broadway Matthew? I find him cold.", "JONATHAN: Really? No, I- (catches himself, exasperated) Shut up! Jonathan goes back to the bars and hangs his arms through them again.", "JONATHAN: (grimly) This is real life. And nobody's coming to get us. Not even your aunt who won't return your one phone call.", "ANDREW: (defensively) She must be out of town.", "JONATHAN: She. Doesn't. Care. And neither does your partner in crime, Warren.", "ANDREW: Don't say that. And what do you mean, my partner in crime? We're in this together.", "JONATHAN: (turns back toward Andrew, angry) What do you mean, what do I mean? You two were totally going to fly off and leave me holding the bag.", "ANDREW: No we weren't! I was going to - (lamely) carry you. (rolls over onto his back and stares at the ceiling)", "JONATHAN: No, you two were setting me up, and then Warren was going to screw you over too.", "ANDREW: (rolls over again to face Jonathan, tearful) That is so not true!", "JONATHAN: Sure. (sits on the bottom bunk) He's a nice murderer who keeps his word.", "ANDREW: (softly) You're wrong. He's coming for us. He's out there right now, devising a brilliant way to get us out of here.", "Cut to: interior of an underground bar. Warren comes down the stairs outside and enters, wearing a slick suit and dark sunglasses. He strides toward the bar.", "WARREN: Whiskey, straight up. And get a round for the house. I'm feeling expansive. We see that the bartender is a demon. He looks unimpressed by Warren. Warren sits down, removes his shades. A vampire is on the stool next to him, staring at the TV behind the bar.", "WARREN: (friendly greeting) Hey. Close on the TV, showing a crocodile in water.", "WARREN: (leaning toward the vamp) Bet you don't get a lot of humans in- The vamp, still glued to the TV, grabs Warren's shoulder and holds him off.", "VAMPIRE: I'm watching my program. Warren shrugs and straightens up as the vamp lets him go.", "WARREN: Wouldn't want to interrupt your 'me' time. (loudly) Not even to buy the guy who killed the Slayer a drink. Shot of the other vamps and demons in the bar, all looking over. The one next to Warren is also interested.", "VAMPIRE: What's that?", "WARREN: Took her out myself. I've been heading an organization. The Trio? You've heard of us.", "VAMPIRE: Uh - (exchanging a look with the demon bartender) ...no. Warren pauses briefly, surprised, but then recovers.", "WARREN: Not important. I cut them loose. I figure, now that Buffy's out of the picture, some things have got to change around here. (to bartender) I need a real gang, you know, not a, not a couple of wannabes.", "BARTENDER: And you killed the Slayer?", "WARREN: With these hands.", "BARTENDER: What are you, a warlock?", "WARREN: It's funny you mention that. You know, I've explored all the dark arts ... witchcraft, demonology. You name it, I tried it against the Slayer. But you know what I found *really* works? The vampire and bartender lean in close to hear.", "WARREN: Gun.", "VAMPIRE: (small grin) You killed the Slayer with a gun.", "WARREN: In her own backyard. Don't underestimate science, my friend. Good old-fashioned metal meets propulsion. The demon and vampire start to laugh. Warren laughs along with them.", "BARTENDER: (to vampire) Man, this is gonna be good.", "WARREN: (not getting it) Oh, the best. This town is ours.", "VAMPIRE: Ours, maybe. (everyone stops laughing) You are screwed. They laugh again, but Warren doesn't realize that the others are laughing at him, not with him. Shot of the other demons and vamps at other tables, also laughing menacingly.", "BARTENDER: Metal meets propulsion, yeah. But you still better be a good shot! More laughter. But Warren is finally cluing in.", "WARREN: This isn't the evil laugh of victory, is it.", "VAMPIRE: More like the evil laugh of \"you're a dead man.\" (more laughter)", "WARREN: (totally rattled) Okay, uh ... what, what's the joke?", "BARTENDER: (laughing) It was just on the news. Girl was shot.", "VAMPIRE: (grinning) In her back yard.", "BARTENDER: She survived. She's in the hospital Warren looks surprised and a little alarmed. The others continue laughing.", "BARTENDER: Slayers heal fast. Real fast.", "VAMPIRE: Yeah. I was gonna eat you myself during the commercial, but now I think it'll be more fun to let the Slayer de-gut you. Warren now looks pretty scared.", "VAMPIRE: Might want to get a head start, my friend. 'Cause this girl is gonna be coming for you, big time. (chuckling)", "Cut to: interior magic shop, day. The door suddenly slams open and Willow appears in the doorway. She marches inside. Lamps and light fixtures explode as she walks past them. Reveal Anya behind the counter, staring.", "ANYA: Willow.", "WILLOW: Where do you keep the black arts books?", "ANYA: Something terrible has happened, I know. But you don't have to do-", "WILLOW: (staring up at the loft bookshelves) I need power.", "ANYA: (coming out from behind the counter) Not with those books. I can't let you. Willow! Willow puts up a hand. Magic purple bolts of light shoot over to Anya and suddenly she can't move. Willow gestures with her head. All the books on the loft shelves begin to fly off the shelves and onto the table, landing heaped all over the table. The last book lands opened to a middle page. Anya stares in alarm. Willow walks over to the table and looks down. Shot of the open book with the pages covered in tiny writing. Willow lifts her hands and puts them on the open pages. Her hands sink into the book as if melding with it. The words of the book start to move off the pages and up her arms, curling and scrolling up under her sleeves. We see the words also coming up her chest, and moving up her shoulders to her face. She lifts her head and her eyes are black again. The words move to the top of her head and into her hair, turning her hair black. Willow lifts her hands off the book. We see that the pages are now blank. Anya stares. Close on Willow's face with eyes completely magic-black and her hair also dark black and moving in a nonexistent wind.", "WILLOW: That's better. Blackout.", "[SCENE_BREAK]", "Act II", "[SCENE_BREAK]", "The Summers house, foyer, day. The door is still standing open. Dawn walks up to it and goes inside, looking around a little nervously.", "DAWN: (calls) Buffy? Silence. She puts down her schoolbag and jacket, starts up the stairs.", "Cut to upstairs hallway. Dawn finishes climbing the stairs.", "DAWN: Buffy? She turns toward Willow's bedroom.", "DAWN: Hey. Hello? Uh, (pointing toward downstairs) the door was... She pauses. Shot of the bedroom from Dawn's POV. On the other side of the bed we can just barely see something (Tara's foot).", "DAWN: Tara? Pan in closer to reveal Tara's lifeless body lying there with the bullet wound in her chest. Dawn stares in complete horror.", "Fade to white.", "Fade to a door. It opens, revealing Rack (see episode \"Wrecked\").", "RACK: All right, who's next? Reveal a couple of magic \"junkies\" sitting in the waiting room. Also Warren. He leaps up out of his chair.", "WARREN: I am. One of the other junkies looks upset, like Warren is cutting in line. Warren walks quickly over to Rack, who looks him up and down.", "JUNKIE: Hey.", "RACK: You're new.", "WARREN: Yeah. (holds up a large wad of cash) And I come bearing dead presidents, so you think we can just skip the small talk? Rack smiles a little, gestures toward the room behind him. Warren walks in. Rack closes the door behind them with a loud noise that makes Warren jump.", "RACK: How'd you find me?", "WARREN: I talked to a guy. He's one of your regulars. Offered to show me the way for twenty bucks.", "RACK: Should have haggled. Most of my customers'll bring you here for five.", "WARREN: (impatiently) Great, great I'll file that away. Look, I'm in a bit of a situation here. I tried to do us all a favor, and eliminate the Slayer, but it ... I... Warren seems a little unnerved by the way Rack is just staring at him.", "WARREN: I guess it didn't take.", "RACK: (walking closer) Killing a Slayer, that's big business for a kid.", "WARREN: I'm not a kid.", "RACK: (now in Warren's personal space) Okay.", "WARREN: I had my own guys. The Trio, yeah, you've heard of us.", "RACK: Right. What were you, a band or something?", "WARREN: I thought word traveled in the underworld. You know, we were evil. Robots were my thing. (Rack looking blank) You didn't hear about the freeze ray?", "RACK: (shakes his head) Sorry. So why aren't your guys helping you?", "WARREN: Look, I thought this was a cash for service gig, not an interview process, all right? I need protection. I've got the Slayer after me.", "RACK: (moving away) Slayer is the least of your problems.", "WARREN: You're right. Let's talk about my skin troubles. You know, I'd say on the scale of problems, that she ranks!", "RACK: If I were you, I'd be worried about the witch.", "WARREN: (surprised) Witch? W-which witch?", "RACK: Willow. Slayer's pal? (walking closer again) She's the new power, man, anybody with intuition can feel it. She's going to blow this town apart . (now right in Warren's face) Starting ... with you.", "WARREN: Me? What did I, what did I do to her? O-okay, okay, I, I shot her friend... Rack isn't totally listening any more, looks like he's in pain, turns away.", "RACK: (painfully) I feel death.", "WARREN: But the Slayer's alive. And - and she heals.", "RACK: She might, but somebody's stone cold, and that ... is why the witch wants your head. She can sense your essence right now, man. It's just a matter of time before she finds you. Warren panicks, lunges forward and pushes the whole wad of money into Rack's hand.", "WARREN: All right. Take it. All right, there's that, and I can get more. Just give me something. Rack looks at the money casually.", "RACK: Hide or fight?", "WARREN: Both. All of it. I, I still have a few tricks up my sleeve, but it's not enough. I need, I need a cover, and I need lots of fire power.", "RACK: I can't guarantee anything. Not this time. (softly) The girl is running on pure fury. I've never felt anything like it. (small grin)", "WARREN: Thank you for the tip, Nostradamus. Just load me up, okay?", "Cut to: Sunnydale hospital. Xander stands in the hallway looking through a window into another room, anxious. A nurse in full scrubs goes past him, holding a small tray. The camera follows her as she goes around a corner and through a door into the room Xander is watching. We see various medical personnel working on Buffy, talking indistinctly. A machine beeps steadily.", "NURSE: ...standing by. A doctor is working on the wound in Buffy's chest.", "DOCTOR: We've got to stop that bleeding.", "NURSE #1: Where?", "DOCTOR: Over by the left ventricle.", "NURSE #2: (looking at monitors) BP is down to 80/palp. Close on Buffy as the doctor and Nurse #1 work on her.", "DOCTOR: We got more bleeding.", "NURSE #2: BP is... Suddenly all the lights flicker and the machines blink off and on again. The steady beeping begins to speed up. The doctor and nurses look up in confusion.", "NURSE #1: What's happening? Angle on the other side of the room as Willow comes into view. We see Xander through the window in background.", "WILLOW: Leave. Xander sees her, hurries toward the side and out of view. The doctor and nurses turn to look at Willow. She is now wearing all black, her hair and eyes still black too. The lights in the room continue flashing erratically and the beeping continues to speed up. Xander rushes in, looks with surprise at Willow with her newly black hair and eyes.", "XANDER: Willow.", "WILLOW: (ignoring him, speaking to the medical staff) Now. The doctor and three nurses move toward the door. The beeping gets even faster and becomes a steady whine.", "XANDER: Will, what are you doing?! She's going to die.", "WILLOW: No she isn't. Willow moves over to Buffy, stands beside her and stares down at her. The beep/whine continues. Xander stares. Close on Buffy. Suddenly the bullet lifts up out of her chest and floats up into the air, hovering at Willow's eye-level. Willow looks at it. The beeping stops.", "WILLOW: It's so small. She puts out her hand and plucks the bullet out of the air, brings her hand back toward her. When she opens her hand, the bullet is gone. Xander takes a few steps closer, staring in awe. Buffy slowly comes to, opens her eyes and lifts her head. The lights come back on.", "BUFFY: What happened?", "XANDER: Buffy! Xander rushes over to her as she sits up.", "XANDER: Oh my god, are you okay?", "BUFFY: (confused) Sure. How'd I get here? Xander hugs her in relief. Willow just watches.", "XANDER: You've got to stop doing this. This dying thing's funny once, maybe twice. Buffy looks over at Willow.", "BUFFY: Willow?", "WILLOW: (very small smile) Buffy. Hey.", "BUFFY: What's wrong?", "WILLOW: I'll explain. But we've gotta go. She starts to move toward the door. Xander and Buffy watch her, confused.", "BUFFY: Why?", "WILLOW: (not turning back) It's time to find Warren. Willow walks to the door and exits the room. Buffy and Xander exchange a look.", "Cut to: a ticket counter somewhere. Indistinct announcements over a loudspeaker. A woman in a uniform hands Warren a ticket folder.", "WARREN: This'll get me all the way to the border?", "CLERK: You'll have to change to the city bus. It's all in the folder. She turns back to her work, then gives Warren a look as if wondering why he's still there. Warren suddenly turns quickly away, walks outside.", "Cut to the street as Warren exits. A bunch of buses are lined up along the curb. Warren looks around, sees his bus, climbs on.", "Cut to: a highway, daylight. It's fairly deserted with mostly desert on each side. A single car speeds along.", "Cut to the interior of the car. Xander is driving, Buffy in the passenger seat and Willow in back. Willow's eyes are back to normal but her hair is still black.", "WILLOW: Faster.", "XANDER: I'm going as fast as I-", "WILLOW: Faster! Close on the gas pedal as it slams down under Xander's foot. The car speeds up.", "XANDER: Will, would you cut that out? If you wanted to drive...", "BUFFY: We need to stop. I don't like this.", "WILLOW: We're close. I can feel him.", "BUFFY: And we'll catch him, and he'll go to jail. Look, I'm finding the whole getting shot very motivating. But you're using magic.", "WILLOW: If I wasn't, you'd be dead. (Xander looking upset)", "BUFFY: Maybe. But this isn't right. Okay, this isn't how I want it.", "WILLOW: Sometimes you don't have a choice.", "XANDER: I think Buffy gets the tie-breaker on this one. She was the one on the ouchy end of the bullet.", "BUFFY: Will, you do have a choice. This isn't good for you.", "XANDER: You made the decision to stop for a reason. You promised us. And can I just ask, what's with the make-over of the damned? I mean, the hair...! Willow isn't really listening; she's looking around. Now she suddenly sits up.", "WILLOW: Turn right! Go! Xander looks in front of him, seeing nothing.", "XANDER: Go - where?", "WILLOW: Over there! Now!", "XANDER: (looking in confusion) Will.", "WILLOW: Turn. The wheel turns itself under Xander's hands. The car screeches off the road onto dirt, zooming between scraggly bushes and such.", "XANDER: (holding up his hands) Fine, fine! Puppetmaster wants to drive? Go right ahead! The car continues to bounce along on the uneven surface. Finally it comes to a stop, right before another stretch of paved highway. Willow jumps out of the car and begins to stride across the highway. Buffy and Xander follow more slowly, confused.", "BUFFY: Willow, wait!", "WILLOW: Stay back. Willow gestures at them and more bolts of purple-black energy shoot over to them, immobilizing them like Anya earlier. Willow keeps walking. Now we see the bus coming over a rise toward her. She stops, standing in the middle of the road, and glares at the bus. Close on the bus driver as the steering wheel suddenly starts doing its own thing. He struggles to control it but can't. The bus speeds toward Willow, who stands there calmly. Close on the bus driver's foot as the brake pedal pushes down underneath his foot. He continues wrestling with the wheel. The bus starts to slow down. All the passengers (including Warren) are thrown around in their seats. Screeching of tires. The bus slams to a stop just a foot or so in front of Willow. Willow walks around to the side. The bus door opens on its own.", "WILLOW: Get out. All the bus passengers are craning their necks, trying to see what's going on. Warren gets up, walks down the aisle and down the steps out of the bus. Willow grabs him by the neck, lifts him off the ground. Her eyes are black again.", "WARREN: Please. I'll-I'll do anything. Horrible cracking noise as Willow starts to squeeze his neck. Suddenly one of his eyes pops out, revealing metal and wiring and sparks. Willow lets go and Warren falls over motionless on the ground. Buffy and Xander come running over. They stop and stare. Shot of the eyeball rolling around on the ground.", "WILLOW: (surprised) It's a robot. They look at her.", "WILLOW: (confused) I, I could feel his essence. Buffy looks sympathetic. But then Willow turns angry again.", "WILLOW: He tricked me. (starts to walk) We'll find him another way.", "BUFFY: (turning to follow) And then what?", "WILLOW: And then we'll kill him. Buffy grabs Willow's arm and stops her, turns her around.", "BUFFY: Okay, you need to calm down.", "WILLOW: Calm down?", "BUFFY: Look, you're angry. I, I am too. There's no excuse for what Warren did, but that-", "WILLOW: He shot Tara. Buffy and Xander stare at her, speechless.", "WILLOW: When he shot you, he hit her too. Upstairs in my room.", "BUFFY: Oh my god.", "WILLOW: Guess the last shot was the charm.", "XANDER: She's dead?", "WILLOW: She's dead. Now he's dead too.", "BUFFY: (very upset) Oh my god ... (whispers) Tara...", "XANDER: Christ, Will, how come you didn't say anything?", "WILLOW: I'm busy. Willow starts toward the car again. Buffy again grabs her and stops her.", "BUFFY: W-Willow, please, just stop. Willow stares at her coldly.", "BUFFY: We love you. And Tara. But we don't kill humans. It's not the way.", "WILLOW: How can you say that? Tara is dead.", "BUFFY: I know ... I know. And I ... can't understand ... anything. Not what happened ... a-and not what you must be going through. Willow, if you do this, you let Warren destroy you too.", "XANDER: You said it yourself, Will ... the magic's too strong, there's no coming back from it.", "WILLOW: I'm not coming back. Yet again Willow starts to walk off and Buffy grabs her, stops her.", "BUFFY: Will, please. Please, we'll get through this together.", "WILLOW: We won't! Not your way.", "BUFFY: Please, just-", "WILLOW: No! No more talking. It's done! She turns away again, this time gesturing behind her. Another bolt of purple magic flies backward, knocking Buffy and Xander off their feet. They fall to the ground in a heap. Willow continues walking. Buffy and Xander sit up, brushing themselves off. They look up toward the car. Willow is gone. Just empty highway and the car. They look around, look at each other. Blackout.", "[SCENE_BREAK]", "Act III", "[SCENE_BREAK]", "Overhead shot of Sunnydale. The sun is setting and lights are coming on.", "Fade to exterior of the Summers house. The front door is still open. Buffy and Xander walk up the steps, go cautiously inside.", "BUFFY: Willow? Dawn? They move off -- Buffy left into the living room, Xander right into the dining room. The camera stays still, looking from the porch in through the door at the stairway and the hallway to the kitchen. Xander reappears, returning to the foyer.", "XANDER: Maybe she went to the hospital to find you. Buffy rejoins him.", "BUFFY: I left there hours ago. She'd be back by now. They look toward the stairs.", "Cut to upstairs. Buffy and Xander are going in and out of the various doors.", "BUFFY: Dawn? Buffy pauses at the open door to Willow's room open. Looks inside with an expression of dread. Walks inside. Reveal Tara's body, still lying there in a pool of blood, speckled with moonlight and shadows.", "BUFFY: (whispers) Oh god.", "DAWN: (O.S., softly) I didn't ... want to leave her alone. Buffy turns and finds Dawn huddled in a little ball, in a corner formed by the wall and a side-table, crying.", "BUFFY: Dawn. Sweetheart. (kneeling beside Dawn) Come on. Honey, we need to get out of here, okay? (stroking Dawn's hair) Dawn, sweetheart. Be strong for me, okay? Xander walks in, looks at Tara in dismay.", "BUFFY: Dawn, we need to go downstairs.", "DAWN: (crying) I don't understand. Buffy pulls Dawn close and hugs her. Dawn continues crying.", "BUFFY: I don't understand either. Long shot on the tableau of Xander standing in the doorway, Buffy and Dawn holding each other, and Tara lying dead on the floor.", "Cut to a little later. Two men carry a gurney down the stairs, bearing Tara's body covered with a black sheet. Xander stands at the bottom of the stairs watching. He has changed out of his bloody clothes. Buffy and Dawn sit in the living room. Buffy has also changed her clothing. Xander watches in a daze as the men wheel the gurney out the front door. One of them gives him a clipboard.", "CORONER: If you could just sign this?", "XANDER: Sure. He signs the clipboard and hands it back.", "CORONER: Call this number tomorrow, we'll have more information. (giving Xander a piece of paper)", "XANDER: Okay, thanks. Thank you.", "CORONER: I'm sorry for your loss. The coroner picks up a briefcase in one hand, takes the end of the gurney in the other, and he and the other (unseen) coroner exit. Xander closes the door, looking at the piece of paper. Goes into the living room.", "XANDER: So that's it.", "BUFFY: Are the police gone too?", "XANDER: Coming back tomorrow with more of their pretty yellow tape. He sits on the coffee table. Both he and Buffy put their faces in their hands for a moment.", "BUFFY: (sighing) We need to find Willow.", "XANDER: Yeah, she's off the wagon big-time. Warren's a dead man if she finds him.", "DAWN: (bitterly) Good.", "BUFFY: Dawn, don't say that.", "DAWN: Why not? (the others looking at her) I'd do it myself if I could.", "BUFFY: Because you don't really feel that way.", "DAWN: Yes I do. And you should too. He killed Tara, and he nearly killed you. He needs to pay.", "XANDER: Out of the mouths of babes.", "BUFFY: Xander.", "XANDER: I'm just saying he's ... he's just as bad as any vampire you've sent to dustville.", "BUFFY: Being a Slayer doesn't give me a license to kill. Warren's human.", "DAWN: (scoffs) So?", "BUFFY: So the human world has its own rules for dealing with people like him.", "XANDER: Yeah, we all know how well those rules work.", "BUFFY: Sometimes they do. Sometimes they don't. We can't control the universe. If we were supposed to ... then the magic wouldn't change Willow the way it does. And ... we'd be able to bring Tara back.", "DAWN: (very quietly) And Mom.", "BUFFY: There are limits to what we can do. There should be. Willow doesn't want to believe that. And now she's messing with forces that want to hurt her. All of us.", "XANDER: I just ... I've had blood on my hands all day. (looks Buffy in the eye) Blood from people I love.", "BUFFY: I know. And now it has to stop. Warren's going to get what he deserves. I promise . But I will *not* let Willow destroy herself. Beat. Xander nods, sighs.", "XANDER: Okay, where do we go? She could be anywhere.", "BUFFY: (sighs) I don't know, um ... Maybe the Magic Box for some kind of locating spell. (quickly, to Xander) I could go myself.", "XANDER: No no. I'm cool. I'll go.", "BUFFY: Dawn can't stay here by herself.", "DAWN: Let me go with you. I want to.", "BUFFY: No, honey, it's too dangerous.", "DAWN: But ... it's Willow. She needs us.", "BUFFY: She does. And you'll help her. Lots. Okay, but first we have to get her home in one piece.", "DAWN: But-", "BUFFY: Dawn. I'm serious. You've been through enough for more than one ... ever. You should be someplace where you feel safe.", "DAWN: (sullen) Fine. I want to go to Spike's. Beat. Buffy sighs heavily.", "BUFFY: All right.", "XANDER: What?! Not all right. Are you kidding? After what Spike did-", "BUFFY: Xander! Buffy gives Xander a meaningful look and a very small shake of the head.", "BUFFY: I'll get the coats. She gets up and moves toward the foyer. Xander follows.", "XANDER: (quietly) You're not gonna really leave Dawn with Mr. Attempted Rape.", "BUFFY: (quietly) He won't hurt Dawn. I, he-he physically can't. Besides, he wouldn't.", "XANDER: Well, after the other night, I'd say all bets are off on what he's capable of.", "BUFFY: Dawn feels safe with him. We don't have a choice. Right now, he's all we've got. Xander looks displeased.", "Cut to: exterior of a UC Sunnydale dorm building.", "Cut to Tara's room. Willow sits on the bed holding her white shirt stained with Tara's blood. She looks at it for a moment, then gets up, kneels on the floor and spreads the shirt out on the floor, bloody side down. We see that Willow's eyes are still black.", "WILLOW: Blood of the slain, hear me. Guide me to Tara's killer. Close on the shirt. The blood rises to the surface and forms a map. A glowing dot, as if the shirt were on fire just in one little spot, marks a single point on the map, moving slightly. Willow studies it grimly.", "Cut to: interior Spike's crypt. The TV is showing an old movie.", "MAN ON TV: John, why don't you forget this foolishness?", "MAN #2 ON TV: Stop right where you are, Mr. Norton.", "WOMAN ON TV: John! John! Buffy and Dawn enter the crypt, walk over toward the armchair in front of the TV.", "BUFFY: Spike. The person in the chair gives a yelp of surprise and jumps up in a shower of popcorn/chips/junk-food. It's Clem, who had been asleep.", "CLEM: Suffering cats! Buffy is startled, stares at him.", "CLEM: (puts hand on his chest) Where did you come from?", "BUFFY: Oh. Clem, I - sorry, I didn't mean to startle you.", "CLEM: It's, uh, it's okay, you just (chuckles) snuck up on me is all.", "BUFFY: (apologetic) I made you spill your snacks.", "CLEM: Nah, don't worry about it. (holds up his arm and indicates loose floppy skin) Like I need any more of this. (waves at Dawn) Oh, hi.", "DAWN: Hi.", "CLEM: Can I get you ladies something? I was just about to mix up some Country Time.", "BUFFY: We're looking for Spike, actually.", "CLEM: He didn't tell you?", "BUFFY: Tell me what?", "CLEM: He left. Town.", "BUFFY: Oh. Close on Buffy who looks like she has mixed feelings about this news.", "DAWN: He just took off?", "CLEM: That's why I'm staying here for him. Sweet pad like this goes empty for a few days, you'll lose it for sure. Plus, I ... (indicates the TV) don't have a TV. Buffy has a sour expression.", "CLEM: I'm surprised he didn't tell you. He kind of left in a hurry, I guess. (awkwardly) Sure I can't get you something? I've got Bugles and, uh, liverwurst...", "BUFFY: We're fine, thank you. Um, but you could do us a favor. Do you think maybe Dawn could hang out here with you for a while? I have some stuff that I need to do and, uh, I really don't want her to be alone.", "DAWN: I still don't see why I just can't-", "BUFFY: Dawn. We've been through this. (to Clem) What do you think?", "CLEM: No problem. I'd love the company. (to Dawn) Do you like Parcheesi?", "DAWN: (trying to be nice) Sure.", "CLEM: Or, we could rent videos. I've been dying to see \"The Wedding Planner.\"", "DAWN: Either way. I'm good.", "CLEM: Ooh, and here. (indicates the chair) You can have the comfy chair. Dawn smiles despite herself.", "BUFFY: I'll be back as soon as I can. (hugs Dawn) I promise.", "DAWN: Okay.", "BUFFY: (to Clem) Thank you. Clem nods. Buffy starts for the door, pauses, turns back.", "BUFFY: Did he say when he'd be back?", "CLEM: Spike? No. Only that he could be gone a while.", "Cut to: a view of the moon through an exotic tree. Sound of drums and African pipe music.", "Cut to a desert village made up of grass huts on sand. Some African women are sitting around a fire talking. In the background more people walking around, sitting, etc. Spike, wearing all black, strides between the huts. He passes an African man walking the other way. Spike continues walking, his face determined. Another villager tries to stop him, saying something in an African language.", "VILLAGER: Toyenza coyengara. Erio mtuwana.", "SPIKE: Not asking for permission, mate. Spike never stops walking, strides past the man and onward. The man yells after him but doesn't follow.", "VILLAGER: Ymirira! Odja kufa! Ymirira! Spike enters a dark cave. He slows down. It's almost completely black. He flicks open his lighter, revealing paintings on the cave walls. Images of people's faces in pain, bodies with blood pouring out of them, skulls. Spike looks at them, a little nervous. The music continues. More paintings. One depicts a black figure holding out an arm toward another figure, which is red and dripping blood. A breeze blows out the lighter. Spike looks at it, slowly flicks it closed and continues into the cave. Then a deep gravelly voice speaks.", "VOICE: You seek me, vampire? Spike looks nervous, but covers it.", "SPIKE: You do the finger paintings? Nice work. We see a demon in the darkness, but all we can see is an indistinct shape and a pair of green glowing eyes.", "DEMON: Answer me.", "SPIKE: Yeah. I seek you.", "DEMON: Something about a woman. The slayer.", "SPIKE: (nods, barely concealed anger) Thinks she's better than me. Ever since I got this bleeding chip in my head, things ain't been right. Everything's gone to hell.", "DEMON: And you want to return to your former self.", "SPIKE: Yeah. Close on the green glowing eyes as the demon laughs evilly.", "SPIKE: What?", "DEMON: Look what she's reduced you to.", "SPIKE: It's this bloody chip-", "DEMON: You were a legendary dark warrior, and you let yourself be castrated. (Spike looking angry) And you have the audacity to crawl in here and demand restoration?", "SPIKE: I'm still a warrior.", "DEMON: You're a pathetic excuse for a demon.", "SPIKE: (angry) Yeah? I'll show you pathetic. Give me your best shot.", "DEMON: You'd never endure the trials required to grant your request.", "SPIKE: Do your worst. But when I win ... I want what I came here for. The demon watches him, breathes loudly but says nothing.", "SPIKE: Bitch is gonna see a change.", "Cut to: interior magic shop. Close on the piles of books on the table, their pages all blank from Willow's actions earlier. Pan over to the counter where Xander is trying to lead Anya toward the table. Anya is still partly frozen from Willow's spell.", "XANDER: You feeling any change? Can you talk? Anya pulls away, not looking at him.", "ANYA: It's wearing off. She sits down on the bench.", "ANYA: Willow was here earlier. She put the whammy on me and went straight to the dark arts books. Sucked them dry.", "XANDER: (awkwardly) Look, Anya, something terrible happened.", "ANYA: I know. (softly) Tara.", "XANDER: (nods) Willow's out for blood, big time. We need to find her before she finds Warren. Is there something you can do, a, a locator spell?", "ANYA: I don't need a spell. (a bit reluctantly) I can feel her.", "XANDER: You can...?", "ANYA: Feel her. Her thirst for vengeance, it's overwhelming.", "XANDER: Is that like, left over from your vengeance demon days? You just sense her?", "ANYA: No. Not left over. She gives him a meaningful look. The clue hits.", "XANDER: Oh.", "ANYA: Yeah. (sound of the bell over the door)", "XANDER: When?", "ANYA: (sourly) When do you think? Buffy rushes over.", "BUFFY: Is everyone okay? Did Willow -", "ANYA: Got her power boost and took off.", "XANDER: Anya's ... Anya was saying she knows where Willow is.", "BUFFY: A spell?", "XANDER: (bitterly) Not exactly. Seems Anya got her vengeance on again.", "BUFFY: (stares at Anya) Oh.", "XANDER: So, Willow's all wrathy ... why don't you go to her? Isn't that your gig?", "ANYA: (defensively) Normally, I'd have to ... but she doesn't want me.", "BUFFY: She wants to do it herself.", "ANYA: Yeah.", "BUFFY: Look, Anya, we don't have much time. Which side of this are you on? Anya hesitates.", "XANDER: If you know where she is, you can help us.", "ANYA: (stands up, sighs) I'll help. But I'm helping Willow. Buffy and Xander accept this.", "ANYA: She's close to him. He's in the woods. Buffy and Xander exchange a look.", "Cut to the woods, night. Willow walks along, holding the bloody shirt. The bushes bend back out of her way as she passes. She walks slowly and calmly.", "Cut to another part of the woods. Warren is running along, shoving branches and bushes out of his way. He's wearing a backpack. Willow comes to a small clearing, looks around, smiles a little.", "WILLOW: Run all night, Warren. I'll still find- Suddenly something hits her. She falls down face-first. We see Warren standing behind her. A long-handled axe is buried in Willow's back. Warren stares down at her, looking nervous. Blackout.", "[SCENE_BREAK]", "Act IV", "[SCENE_BREAK]", "Open on the same scene. Warren stands over Willow, still nervous, but starting to smile a little. Suddenly Willow rises upward and onto her feet, lifted by magic. She turns to face Warren, reaching her arm behind her to pull the axe out of her back. Warren stares at her fearfully.", "WILLOW: Axe, not gonna cut it. She tosses the axe to the ground. Warren runs off. Willow follows. Warren runs through the forest, panting, reaching behind him to pull something out of his backpack. It's a small metal box. Warren stops running and pulls a pin on the side of the box. Little metal wings appear from holes on two sides of the box. The wings begin to flap. Warren smiles as the box lifts off his hand and up into the air. It zooms away with quick flitting movements like a bat.", "Cut to Willow walking calmly through the woods. The winged box flies up to her. She looks at it in surprise. Suddenly the box explodes. But the explosion, instead of moving continuously outward, only expands to a diameter of about ten feet. It surrounds Willow in a shimmering ball of energy like solidified air and fire, holding her motionless. But then she steps forward, and the ball shatters into large pieces like glass. Willow resumes walking.", "Cut to Warren running desperately through the woods, looking back over his shoulder. He turns to face front again and finds Willow directly in front of him. Warren stops short, gasping.", "WARREN: (nervous laugh) Cute. That's a cute trick. Willow is silent, just walks toward him. He backs away, very nervous.", "WARREN: It was an accident, you know.", "WILLOW: Oh. You mean, instead of killing my best friend, you killed my girlfriend.", "WARREN: It ... it wasn't personal, that's all. Close on Warren's hand in his pants pocket, grasping for something. He continues moving backward as Willow continues advancing on him.", "WILLOW: Well, this is. Warren turns to run away. Willow holds out both her hands and sends a huge blast of magical energy at Warren, knocking him down. He quickly pulls his arms out of his backpack straps.", "WARREN: Capture! He throws something at Willow, looks like a small ball of blue goo. It hits her in the stomach and begins to expand, first around her body pinning her arms to her sides, then up and down until her whole body and head are surrounded by shimmery transparent blue. Her mouth opens as if trying to speak, but she can't. Warren jumps up and runs off again, leaving his backpack behind. Close on Willow's eyes behind the goo. They begin to glow fiery orange. The goo in front of her eyes melts, and then the entire cocoon melts and slides down off her body.", "Cut to Warren still running.", "Cut to Willow still standing where she was. Her eyes are black again.", "WILLOW: Irretite. (latin translation: \"entangle\")", "Cut to Warren running. Suddenly vines from several nearby trees whip out and wrap around his legs, then his wrists. He's trapped, spread-eagled between two trees. He looks around, panting. Willow walks around a tree and approaches him.", "WILLOW: Cute tricks.", "WARREN: You're really asking for it, you know that?", "WILLOW: (incredulous) I'm asking for it?", "WARREN: I'm gonna walk away from this. And when I do, you're gonna beg to go join your little girlfriend. Willow frowns as if realizing something.", "WILLOW: She wasn't your first.", "WARREN: (nervous) Uh, first who?", "WILLOW: Tara. She wasn't the first girl you killed.", "WARREN: I don't know what you're talk-", "WILLOW: Reveal!", "KATRINA: (O.S.) I should have strangled you in your sleep. Warren's ex-girlfriend Katrina, whom he killed in episode \"Dead Things,\" walks around the same tree that Willow just came from. She is deathly pale.", "KATRINA: Back when we shared a bed. I should have done the world a favor.", "WARREN: (nervous laugh) It's a trick.", "KATRINA: Why, Warren? You could have just let me go. Warren is pretty freaked and can't look at Katrina, just at Willow and the surroundings. Willow watches him calmly.", "WARREN: (to Willow) Make it shut up. Make it go away.", "KATRINA: It didn't have be like that.", "WARREN: (to Willow) I'm not kidding!", "KATRINA: How could you say you loved me, and do that to me?", "WARREN: (suddenly) Because you deserved it, bitch! Warren finally turns to look at Katrina as he yells at her. But now she's gone.", "WILLOW: Because you liked it.", "WARREN: Oh, shut up!", "WILLOW: You never felt you had the power with her. Not until you killed her.", "WARREN: (nasty laugh) Women. You know, you're just like the rest of them. Mind games. Warren talks a good game, but he's trembling in fear.", "WILLOW: You get off on it. (moving closer) That's why you had a mad-on for the Slayer. She was your big O, wasn't she, Warren?", "WARREN: (still trembling) Are you done yet? Or can we talk some more about our feelings?", "Cut to another part of the forest. Anya walks along, with Buffy and Xander following.", "BUFFY: What's happening? What do you feel?", "ANYA: She's stronger now. Close.", "XANDER: What about Warren? Has she-", "ANYA: He's still alive. She's not done. Cut back to Warren and Willow. He's getting desperate now.", "WARREN: (yells) Help! (normal voice) Let me go. (yells) Somebody! Help!", "WILLOW: What's the matter? Thought you wanted to talk.", "WARREN: No.", "WILLOW: Okay. Willow opens her hand, revealing the bullet that she took from Buffy's chest earlier.", "WILLOW: I'll talk. She waves her other hand, and Warren's shirt rips open.", "WARREN: What, what are you doing?", "WILLOW: Shhh.", "WARREN: (seriously freaked) Hey, hey, I'm sorry, okay? I'm sorry. Willow holds the bullet about an inch from Warren's chest, right over his heart. She lets go, but the bullet continues to hover in place.", "WILLOW: Wanna know what a bullet feels like, Warren? A real one? (Warren looking nervously down at the bullet, then up at her) It's not like in the comics.", "WARREN: No. No.", "WILLOW: I think you need to. Feel it. The bullet slowly starts to push its way into Warren's chest.", "WARREN: Oh god! Stop it!", "WILLOW: It's not going to make a neat little hole. First, it'll obliterate your internal organs. Your lung will collapse. Feels like drowning.", "WARREN: (strained) Please! No. Warren is clearly in a lot of pain as the bullet continues penetrating his body.", "WILLOW: When it finally hits your spine, it'll blow your central nervous system.", "WARREN: Oh please, stop, god! Please-", "WILLOW: (angrily) I'm talking! Willow lifts a hand and suddenly Warren's lips are sewn shut with large stitches of thread. He can only groan and whimper.", "WILLOW: The pain will be unbearable, but you won't be able to move. Bullet usually travels faster than this, of course. But the dying? It'll seem like it takes forever. She pauses, as if affected by her own words, looking at the little wound on Warren's chest. Warren just grunts and squeezes his eyes shut in pain.", "WILLOW: Something, isn't it? (pensively) One tiny piece of metal destroys everything. (Warren groaning loudly) It ripped her insides out ... took her light away. From me. From the world. Now she looks Warren in the eye again, re-focusing. He continues trembling, groaning in pain and fear.", "WILLOW: Now the one person who should be here is gone ... and a waste like you gets to live. Another shot of the bullet hole in Warren's chest.", "WILLOW: Tiny piece of metal. Can you feel it now? Warren continues whimpering in pain.", "Cut to the others still walking.", "ANYA: Over there. She leads them off to the left. Cut back to Warren and Willow. He continues grunting through his sewn-shut mouth.", "WILLOW: I said, can you feel it? She waves her hand and the stitches disappear.", "WARREN: Please! God! I did wrong, I see that now. I need, I need jail! I need ... But you, you don't want this. You're, you're not a bad person. Not like me. Willow stares at him.", "BUFFY: (O.S.) Willow! Willow looks over. The others are visible a few hundred feet away, rushing toward her.", "WARREN: Oh, and when you get caught, you'll lose them too. Your friends. (panting) You don't want that. I know you're in pain, but-", "WILLOW: Bored now. Willow makes a casual gesture with one hand. A bolt of magic rips through Warren and tears the skin off his body in a single piece. Anya, Buffy, and Xander arrive just in time to see this.", "XANDER: Oh my god. Warren's skinless body sags against the vines that still hold him. Very icky. Willow stands looking at it.", "BUFFY: (shocked) What did you do? Willow continues looking at the lifeless body.", "BUFFY: Willow, what did you do? Willow looks over at her friends, then back at the body. Suddenly it bursts into flame and burns to nothing in an instant.", "WILLOW: (calmly) One down. Smoke begins to curl up around Willow's body as red fire flashes in her eyes again. Lightning flashes as her whole body dissipates into smoke and is gone. The others stand there staring in horror. Blackout.", "Executive Producers: Joss Whedon and Marti Noxon." ]

[ "Gil Grissom is the supervisor of the graveyard shift of Las Vegas' elite crime scene investigators. Holly Gribbs, fresh out of the academy, joins the team. Jim Brass is head of the unit and is trying to scare Gribbs from CSI. Catherine Willows, mother of a young daughter, is the number two CSI on this shift. Warrick Brown and Nick Stokes are competing to solve their 100th case to earn a promotion to CSI 3. Grissom investigates a murder staged to look like a suicide with precious little evidence. Warrick and Catherine take the case of a drunk who breaks into the house where he had been staying and is shot to death. Nick talks to a man who picked up a woman who drugged and robbed him." ]

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

[ "In the aftermath of the shooting that has left Holly Gribbs fighting for her life, there are big changes in store at the Vegas Crime Lab. Brass is sent back to Homicide while Grissom becomes the newly appointed head of the crime lab and is also in charge of the night shift. His first case is to investigate the supposed suicide of a jackpot winner with Nick. Meanwhile, Warrick has to deal with the fact that the shooting of rookie CSI Holly Gribbs was due to his failure to supervise her. Catherine decides to work Holly's shooting and is annoyed when Grissom brings in Sara Sidle to help with her investigation. Unfortunately, Holly succumbs to her injuries, leaving the team devastated." ]

[ "Narrator (William Petersen): Previously on C.S.I. ...", "[Scenes from 1X01: Pilot]", "[INT. GRISSOM'S OFFICE - NIGHT]", "(HOLLY GRIBBS gasps and jumps in surprise.)", "Gil Grissom: Hi, sorry. Welcome to Forensics. Gil Grissom, I'm your supervisor on grayayard.", "Holly Gribbs: Holly Gribbs.", "(The shake hands. She exhales with relief and smiles.)", "[SCENE_BREAK]", "[INT. JIM BRASS' OFFICE - NIGHT]", "(In CAPT JIM BRASS' office, GRISSOM takes a seat on the couch near the window, HOLLY remains standing in front of his desk.)", "Jim Brass: (angry) Well, congratulations, Gribbs. You're the fifth person I've been forced to hire.", "Holly Gribbs: Well, that's not fair.", "Jim Brass: Putting a juiced-in Lieutenant's daughter on the shift is fair?", "[SCENE_BREAK]", "[INT. COFFEE SHOP - NIGHT]", "Holly Gribbs: I'm fulfilling her dreams, not mine.", "Catherine Willows: I can sit here, and I can baby you and I can tell you to quit, but I'm not going to do that at least until you've solved your first, and if, after that, you don't feel like King Kong on cocaine, then you can quit.", "[SCENE_BREAK]", "[INT. CSI - BRASS' OFFICE - MORNING]", "Jim Brass: Grissom!", "(GRISSOM, standing out in the hallway, turns and heads for the office.)", "Jim Brass: Have Warrick shadow Gribbs for the next three weeks or until Nicky makes his 100th, whatever comes first.", "Warrick: People walk every day because of you.", "Gil Grissom: That's enough. Warrick, let's go!", "[SCENE_BREAK]", "[HALLWAY - CONTINUOUS]", "(GRISSOM talks with WARRICK", "Gil Grissom: The minute you started thinking about yourself instead of the case, you lost him.", "[SCENE_BREAK]", "[INT. PATHFINDER - MORNING]", "Warrick Brown: You be okay on your own?", "Holly Gribbs: Are you kidding? I'm fired up, ready to go. Besides, there's an officer here.", "[SCENE_BREAK]", "[EXT. JUDGE COHEN'S HOUSE - NIGHT]", "Warrick Brown: I'm sorry, Judge. Captain Brass wouldn't call you for a search warrant. I got a whopper on the line with a 100 pound test.", "Judge Cohen: You got a winner for me?", "Warrick Brown: Favre.", "Judge Cohen: You put $5,000 down on the Pack for me I'll give you a blank warrant.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM]", "Gil Grissom: Congratulations, Nicky, my boy. You are now a C.S.I. Level three.", "Nick Stokes: Woo!", "[SCENE_BREAK]", "[INT. PATHFINDER OUTSIDE THE PARLAY HUT - MORNING]", "Warrick Brown: (to radio) Woo-hoo! Yeah! I'll be right there.", "(He puts the radio down.)", "Warrick Brown: Uh, give me 'Niners for five dimes.", "(WARRICK hands the CLERK a stack of cash.)", "[SCENE_BREAK]", "[EXT. RESIDENCE - SUMMERLIN - DAY]", "(Just after they arrested the HUSBAND and while GRISSOM and WARRICK stand out in the front yard watching the arrest.)", "Gil Grissom: Weren't you supposed to be shadowing holly?", "Warrick Brown: Oh. She's cool. She's doing prints on that 4-0-7. There's an officer there.", "[SCENE_BREAK]", "[INT. MARTIN LUTHER KING RESIDENCE - MORNING]", "(HOLLY is dusting for prints.)", "Jerrod Cooper: Excuse me, miss.", "(She gasps and turns around.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - MORNING]", "Jim Brass: Holly Gribbs has been shot. They don't think she's going to make it.", "(Camera holds on GRISSOM.)", "FADE TO BLACK: END OF PREVIOUSLY ON:", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOTEL CASINO - MAIN FLOOR -- NIGHT]", "(The camera pans around the busy casino floor.)", "(A Young Man and Young Woman hesitantly walk along the casino floor. JAMIE spots the large $40 Million MegaMillion Jackpot sign.)", "Jamie: Hey, look. Oh, $40 million. Could you imagine?", "Ted Sallenger: Never happen. You got a better chance of going to the moon.", "Jamie: Oh, give me a $20. Hurry! I just got a premonition.", "Ted Sallenger: You got your own money. Go play.", "Jamie: But I left my purse in the room.", "(TED SALLENGER takes out a twenty, but doesn't give it to her.)", "Ted Sallenger: I'll play. Wait here.", "(He sighs and heads for the slot machine.)", "Clerk: (to TED) Is this your slot card?", "Ted Sallenger: No.", "(The CLERK takes the card and leaves. TED looks over at JAMIE and without looking, turns the handle to the machine. JAMIE cranes her neck from the side to see his results.)", "(TED turns the handle again.)", "Ted Sallenger: Your little premonition has cost me $20. Happy now? Here.", "(For a third time, TED turns the handle again. Without even looking or waiting for it to stop, TED leaves the machine and heads back to JAMIE.)", "Ted Sallenger: (sarcastically) Watch out. Here come the millions.", "(JAMIE watches as the machine stops on the three jackpot dollar signs. She starts screaming with excitement.)", "Jamie: (pointing and screaming) Oh, my God!", "(Sirens start blaring. JAMIE jumps into TED'S arms.)", "(The sirens continue to blare and JAMIE screams.)", "Jamie: We won!", "[SCENE_BREAK]", "[INT. HOTEL MONACO - MAIN CASINO AREA - LATER]", "(TED holds up a large check for $40,002,349.00 over his head. JAMIE stands next to TED. She's still screaming with excitement. TED shakes the Hotel Owner's hand.)", "[SCENE_BREAK]", "[INT. CORRIDOR - HOTEL MONACO -- NIGHT]", "(ELIAS leads TED SALLENGER and JAMIE down the hallway toward their room.)", "Elias Templeton: $40 million. You'll be having lobster tonight.", "(TED tries to put the card key in the lock, but can't do it.)", "Jamie: (puts her arms around TED) They gave us the presidential suite. Can you believe it?", "Elias Templeton: Here, Richard Gere, why don't you let me help you with that?", "(ELIAS chuckles, then opens the room door. The lock beeps and the door opens.)", "Ted Sallenger: Thank you.", "(JAMIE rushes into the room. TED takes the large promotional check from ELIAS and follows her inside.)", "[INT. PRESIDENTIAL SUITE - NIGHT]", "(JAMIE runs across the room for the balcony. TED puts the fake check aside and takes off his t-shirt.)", "Jamie: Oh! Look at our view!", "(JAMIE opens the balcony doors and looks outside. TED joins her and stops behind her.)", "Jamie: Wow!", "[EXT. BALCONY - PRESIDENTIAL SUITE - NIGHT]", "Ted Sallenger: (quietly) Take a hike.", "(JAMIE can't believe what she just heard.)", "Ted Sallenger: Get lost.", "(She turns around to look at TED.)", "Jamie: Excuse me?", "Ted: Come on, Jamie. I'm a millionaire now. Now, why would I want to waste anymore time with you?", "(There's a knock at the front door. They both turn to look at the door.)", "Voice Outside: (o.s.) Room service?", "WHITE FLASH TO:", "[EXT. LAS VEGAS CITY (STOCK) - MORNING]", "[SCENE_BREAK]", "[EXT. HOTEL MONACO - FRONT SIDEWALK - MORNING]", "(GRISSOM approaches the scene. He's on the phone.)", "Gil Grissom: (to phone) All right, the minute you hear anything on Holly Gribbs's condition I want you to page me.", "(He ducks under the crime scene tape.)", "Gil Grissom: (to phone) All right? Bye.", "(He hangs up.)", "Dispatcher: (from b.g. radio) ... Call back at 4-7-7 Desert Inn Road.", "Gil Grissom: So he pulled a \"Louganis\", huh?", "Detective Barns: Yeah, 150 feet. The giga-millions curse strikes again. Past four winners ended up dead or missing. What do you think, Grissom? It's a conspiracy.", "Gil Grissom: Coincidence. I worked those four cases. There was never any evidence of foul play. Was he in town with anybody?", "Detective Barns: His girlfriend. She's upstairs in police custody. Do you want to talk to her?", "Gil Grissom: Not yet. Right now, I want to talk to him.", "Detective Barns: How do you talk to a dead body?", "(GRISSOM moves in closer to the body and kneels down to look at it.)", "Gil Grissom: I let him talk to me, actually.", "(He pulls off his dark glasses and reaches out for something next to the body.)", "Gil Grissom: In fact, he just spoke. Didn't you hear him? He just told me that he didn't commit suicide.", "(GRISSOM holds up a pair of broken glasses.)", "Detective Barns: No. You-you lost me.", "Gil Grissom: This guy fell to his death wearing prescription eyeglasses. Jumpers take their glasses off. Suicide is the ultimate form of selfishness, Detective. It's unlikely that anyone cowardly enough to take his own life would be brave enough to watch his own death.", "Detective Barns: (laughs) You can tell all that just by looking at a pair of eyeglasses?", "Gil Grissom: You have no idea.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI -- RECEPTION AREA -- MORNING]", "(GRISSOM walks in past the receptionist. More out of habit, then really expecting anything, GRISSOM asks for his messages and continues walking past the receptionist.)", "Gil Grissom: Messages?", "(Without a word, The Receptionist reaches for the stack of white telephone messages slips in front of her. GRISSOM stops, surprised. He takes them and leafs through them. He heads on down the hallway.)", "(As he passes by people in the hallway and inside the labs, they look up and stare at GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - BRASS' OFFICE - DAY -- CONTINUOUS]", "(In his office, BRASS has cleared out his desk. On it is a file box. GRISSOM appears in the doorway.)", "Gil Grissom: I just got off the phone with the Sheriff. He says he wants me to run the unit.", "Jim Brass: You're the boss.", "(GRISSOM walks into the office.)", "Jim Brass: I mean, I can't say I didn't do it to myself.", "Gil Grissom: Where are they going to place you?", "Jim Brass: Homicide. Believe that?", "(He chuckles humorlessly.)", "Jim Brass: Instead of moving up, I'm moving back in a time capsule, like it's 1979 again. So, I guess, this might put you and me at odds.", "(BRASS picks up his box and starts toward the door.)", "Gil Grissom: Cop versus scientist. Interesting, huh?", "(BRASS stops and looks at GRISSOM.)", "Jim Brass: (nods quietly) Yeah.", "(BRASS continues to head toward the door carrying his file box.)", "Gil Grissom: You got any advice for me?", "Jim Brass: Yeah, cover your ass ... and hide. They're all yours, pal.", "(With his file box in his hands, JIM BRASS walks out of the office.)", "[SCENE_BREAK]", "[TELEVISION SCREEN NEWS REPORT]", "Paula Francis: (on tv) Tragedy struck early this morning when an on-duty Las Vegas Criminalist was brutally gunned down.", "[INT. CSI - BREAK ROOM - MORNING]", "(CATHERINE and NICK stand in front of the television set watching the news report.)", "Paula Francis: (on tv) It was her first night on the job. Victim Holly Gribbs was investigating a robbery/homicide in an apartment on the corner of M.L.K. and Warm Springs.", "(WARRICK sits off to the side. He's also listening to the news report.)", "Paula Francis: (on tv) The crime lab now faces the daunting task of investigating the shooting of one of their own. The wounded C.S.I. has been taken to Desert Palm where she is listed in critical condition. The suspect is still at large.", "Newscaster (male): (b.g.) In other news ...", "(CATHERINE turns around to look at WARRICK. NICK also turns around.)", "Catherine Willows: Weren't you supposed to be shadowing Holly?", "Nick Stokes: Warrick, man, what happened?", "Warrick Brown: I left her to hook up with Grissom on that toenail case ... and then, I came back here.", "Catherine Willows: You left Holly solo?", "Warrick Brown: It was just supposed to be an easy print job. Look, I feel bad enough, okay?", "(The door to the break room opens and GRISSOM walks in.)", "Gil Grissom: Here's what we know. Brass assigned Warrick to shadow Holly on a robbery.", "(GRISSOM heads for the coffee pot to pour himself a cup of coffee. In his other hand, he holds the assignment sheets.)", "Gil Grissom: He left her at the scene. The suspect returned and Holly was shot. The sheriff phoned me earlier this morning. Brass has been moved back to homicide.", "Nick Stokes: Who's going to run the unit?", "Gil Grissom: For now? Me.", "(CATHERINE looks at GRISSOM.)", "Gil Grissom: (looking at CATHERINE) I know. We'll just play it by ear, okay?", "(GRISSOM turns his head to look at WARRICK and it's the first that we notice that WARRICK is standing way on the other side of the break room, separate from the others.)", "Gil Grissom: All right. Last night, a jackpot winner took a swan dive off the Hotel Monaco about the time Holly was shot. I'm going to work the leaper. Nick?", "Nick Stokes: (stands up) Yes, sir.", "Gil Grissom: You work the Holly case.", "(GRISSOM gives the assignment sheet to NICK.)", "Catherine Willows: Wait a minute. Uh, you-you can't give him the Holly case. I mean, all due respect, Nick. I want this one.", "Gil Grissom: Nicky is the only one that didn't have any personal contact with Holly. I don't want you on this, Cath.", "Catherine Willows: Why?", "Gil Grissom: Because you're emotionally involved.", "Catherine Willows: Yeah. She was going to walk. I convinced her to stay. If anyone's to blame here, it's me, and I want this case.", "(CATHERINE grabs the assignment sheet from NICK.)", "Catherine Willows: Fire me.", "Gil Grissom: I'm not firing anybody. Look. I know we're pulling a double. We're on edge 'cause of Holly. I just want everyone to stay calm and to do their jobs for the next ten hours. And as of now we're short of help. So, I'm bringing in Sara Sidle to give us a hand.", "Catherine Willows: Sara Sidle?", "Warrick Brown: Who's that?", "Gil Grissom: She's a CSI out of San Francisco. She's a friend of mine, someone I trust. She's going to handle our internal investigation and I want to keep this in-house. I don't want I.A. Involved.", "(NICK nods his head.)", "Catherine Willows: (shakes her head) Great, that's just what we need, somebody sniffing around.", "(CATHERINE leaves the room.)", "Gil Grissom: Nicky, you can back me up on the D.B. at the Monaco.", "(GRISSOM hands the second assignment sheet to NICK.)", "Nick Stokes: You got it.", "Gil Grissom: That's it.", "(NICK glances up at WARRICK. He doesn't say anything and leaves the room.)", "Warrick Brown: That's it? What about me?", "Gil Grissom: You're on leave. You get some personal time.", "Warrick Brown: I don't want any personal time. I want to help. You're the boss now. You can reinstate me.", "Gil Grissom: Go home, Warrick. Get your story straight before Sara gets here.", "(GRISSOM turns to leave the room. Camera holds on WARRICK.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. MARTIN LUTHER KING (MLK) APARTMENTS -- DAY]", "(The OFFICER opens the apartment door. CATHERINE walks inside with her kits.)", "Catherine Willows: A little late for the brigade.", "Officer: What do you think happened here?", "(CATHERINE looks around.)", "Catherine Willows: First blush?", "(Quick flashback to: JERROD COOPER reaches for his gun tucked in the back waist band of his jeans. In front of him, HOLLY GRIBBS turns and continues to dust for prints near the window.)", "Jerrod Cooper: (muffled) Don't move.", "(HOLLY turns around at the intrusion. She puts her hands up.)", "Holly Gribbs: Hey, it's okay. I'm not a cop. I just ... I just analyze the scene.", "(JERROD COOPER raises the gun and fires. HOLLY falls down. She hits the couch and the table, bringing the phone down to the floor with her.)", "(HOLLY is on the floor. She exhales.)", "(End of flashback. Resume to present.)", "(CATHERINE picks up the gun on the floor and looks at it.)", "Catherine Willows: This is Holly's gun.", "(CATHERINE checks the bullets.)", "Catherine Willows: She shot back.", "(A pager beeps catching CATHERINE'S attention. She looks around and finds the pager under the couch.)", "(She looks at the display. It reads: LOW BATTERY.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(DR. JENNA WILLIAMS goes over the body with GRISSOM and NICK.)", "Dr. Jenna Williams: He's all rigored up. Now pull it like a slot machine. It's been three weeks since my last jumper. At least this one died a millionaire.", "(GRISSOM manages to move the arm. He looks at the markings on TED SALLENGER'S inner wrist.)", "Gil Grissom: Geez, these look like defensive wounds, maybe.", "Nick Stokes: Somebody came after this guy with something pretty sharp.", "Gil Grissom: You have any idea what it might be?", "Dr. Jenna Williams: Glass, maybe. We found tiny shards in the incised wound.", "(She comes up behind GRISSOM and takes out a piece of glass from the wound to show GRISSOM.)", "Dr. Jenna Williams: Take a look.", "Gil Grissom: Not just glass ...", "(Camera zooms in for an extreme close up of the piece of glass.)", "Gil Grissom: ... black glass.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CASINO (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. HOTEL MONACO - PRESIDENTIAL SUITE -- DAY]", "(GRISSOM and NICK walk into the Presidential Suite. GRISSOM puts his kit down. NICK looks around.)", "Nick Stokes: Broken glass.", "(GRISSOM looks down and around.)", "Gil Grissom: Blood drops, leading to ... bloody towels. No effort to hide.", "Nick Stokes: Hey!", "(NICK kneels in front of the couch and holds a broken champagne bottle neck. GRISSOM walks over to take a look.)", "Nick Stokes: Defensive wounds.", "Gil Grissom: Champagne bottle. Black glass. I missed that.", "(NICK stands up and looks at GRISSOM.)", "Nick Stokes: What do you think, boss?", "Gil Grissom: You're C.S.I. three, now. You call it.", "Nick Stokes: What? You want me to play it blind?", "Gil Grissom: You've read the woman's statement. The room is full of evidentiary clues.", "(GRISSOM backs away and takes a seat.)", "Gil Grissom: Talk it out. What does the room say?", "(NICK looks around.)", "Nick Stokes: Okay. Well, according to the girlfriend's statement they were on the balcony when they had a lovers' quarrel.", "(Quick flashback to: TED and JAMIE are on the balcony arguing.)", "Ted Sallenger: Come on, Jamie. I'm a millionaire now. Now, why would I want to waste any more time with you?", "(There's a knock at the door.)", "(The camera pans around quickly to the door and lands on ... )", "(End of flashback. Resume to ... )", "(... NICK. NICK points to the door.)", "Nick Stokes: ... room service.", "(Quick flashback to: A cart is wheeled into the room.)", "Ted Sallenger: Thank you.", "Bellboy: You're welcome.", "(TED SALLENGER calmly pours himself a glass of champagne.)", "Jamie: (crying) So what was I this whole time, huh? Just someone to bang?", "Ted Sallenger: Yeah.", "(JAMIE grabs the champagne bottle and breaks it against the cart. She attacks TED with the broken bottle.)", "Jamie: (screams) Why?", "(TED fights to defend himself. He pushes her back and she falls against the couch. TED turns to attend to his bleeding arm.)", "Ted Sallenger: Crazy broad!", "(End of flashback. Resume to present.)", "Gil Grissom: (V.O.) And then what happened?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(GRISSOM and NICK interview JAMIE.)", "Jamie: He took off. I cut him up pretty good. He probably went to the lobby to fetch some first aid.", "Gil Grissom: And he never came back to the room?", "Jamie: No.", "Gil Grissom: You sure? The Presidential Suite at the Hotel Monaco is a secured room. They keep a log. Every time someone enters with a card key ...", "Jamie: Well, if they keep a record check it for yourself. Why are you bothering me?", "Gil Grissom: Nicky, what does the log say?", "Nick Stokes: Well, she's right. The only entry I see here is when hotel security checked them in.", "Jamie: Can I go now?", "Gil Grissom: Yes, ma'am.", "(JAMIE stands up and heads for the door. She stops when NICK reaches over for the door knob to open the door for her. JAMIE leaves the interview room.)", "Gil Grissom: Her story checks out.", "(The door shuts.)", "Gil Grissom: She doesn't have any financial motive. She was his girlfriend, not his wife. Any money won by the deceased goes directly to the family estate.", "Nick Stokes: Well, if he didn't fall from his own balcony where else could it have happened?", "(They think about it. GRISSOM looks at NICK.)", "Gil Grissom: The roof.", "(NICK and GRISSOM head out of the room.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(WARRICK is on his cell phone, pacing the floor.)", "Warrick Brown: (to phone) Yeah, uh, Emergency Room, please. (pause) Patient's name is Holly Gribbs. (to phone) Thanks.", "(WARRICK hangs up.)", "Warrick Brown: (to phone) Warrick here.", "Judge Cohen: (from phone) Warrick, Judge Cohen. You bet the wrong team, you idiot.", "INTERCUT WITH:", "[EXT. FOUNTAIN - DAY]", "Judge Cohen: (to phone) I said Packers. I got the 49ers for five grand. The spot in fifteen minutes.", "(Camera holds on WARRICK.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. HOTEL MONACO - ROOFTOP-- DAY]", "(On the rooftop, GRISSOM and NICK are setting up for their experiment. NICK kneels in front of a large bag of somethings.)", "Gil Grissom: Okay, I think we're ready for Operation Norman.", "(He dusts himself off as he stands.)", "Gil Grissom: (to NICK) You'll never get that off. It's Meyer's roof dust. All the hotels use it now. It diverts the sun's rays. Keeps the utility bills down in the summer.", "Nick Stokes: Yeah? How do you know all this crap?", "Gil Grissom: It's our job to know stuff.", "[SCENE_BREAK]", "[EXT. HOTEL MONACO - FRONT SIDEWALK - DAY -- CONTINUOUS]", "(Standing down below on the sidewalk in front of the Hotel Monaco, GRISSOM looks up at the roof and speaks into the walkie-talkie. Behind him, a large crowd of spectators gather just beyond the crime scene tape.)", "Gil Grissom: (to radio) All right, Nick, standing by for Operation Norman. Let him fly.", "(The first crash dummy \"body\" flies off of the rooftop and crashes to the sidewalk in front of GRISSOM with a thud.)", "Spectator (male): Oh!", "(The large crowd of spectators applaud. GRISSOM looks up and around at them, surprised by their reaction.)", "(The second crash dummy flies off of the rooftop and onto the sidewalk below. The crowd cheers.)", "(The third and final crash dummy flies off of the rooftop and lands with a thud. The crowd applauds.)", "(GRISSOM raises his hand and acknowledges them as he walks toward the dummies.)", "Gil Grissom: Yes, yes.", "(GRISSOM raises his camera.)", "Gil Grissom: Norman \"pushed\".", "(He takes pictures of the dummy. He turns to snap photos of the second dummy.)", "Gil Grissom: Norman \"jumped\".", "(GRISSOM takes pictures of the third dummy.)", "Gil Grissom: Norman \"fell\".", "Sara Sidle: (o.s.) Wouldn't you if you were married to Mrs. Roper?", "(At the sound of her voice, GRISSOM puts the camera down. Behind him, SARA puts her bag down on the ground, a huge grin on her face.)", "Gil Grissom: I don't even have to turn around. Sara Sidle.", "Sara Sidle: That's me. Still tossing simulation dummies? There are other ways to tell, you know?", "Gil Grissom: How? Computer simulation? No thanks. I'm a scientist I like to see it. Newton dropped the apple, I drop dummies.", "Sara Sidle: You're old school.", "Gil Grissom: Exactly. And this guy was pushed.", "(SARA'S faces changes, as she as talks about more serious issues.)", "Sara Sidle: How's the girl?", "Gil Grissom: She's still in surgery. She's not doing very well.", "Sara Sidle: That's too bad.", "Gil Grissom: God, Sara, I have so many unanswered \"why\"s.", "Sara Sidle: There's only one why that matters now. Why did Warrick Brown leave that scene?", "[SCENE_BREAK]", "[EXT. \"THE SPOT\" PARKING STRUCTURE -- DAY]", "(WARRICK walks across the parking garage up to a moving car that stops in front of him.)", "Judge Cohen: What are you, dyslexic? You owe me ten grand, buddy.", "(JUDGE COHEN gives his ticket to WARRICK. He takes it.)", "Warrick Brown: All I got is four.", "(WARRICK hands the ticket back to JUDGE COHEN.)", "Judge Cohen: So what are you breathing here for? Get out there and get my money.", "Warrick Brown: Hey, look, a girl was shot on my watch 'cause I was doing you a favor.", "Judge Cohen: Hey, you came to me.", "Warrick Brown: All right, Judge, I'll get your money but I need more time. You got to give me a day.", "Judge Cohen: You got an hour.", "(JUDGE COHEN drives off, leaving WARRICK staring at his dust..)", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE ROOM -- DAY]", "(CATHERINE is working on the laptop in the room. The door opens and SARA walks in.)", "Sara Sidle: Do you know where I can find Catherine Willows?", "Catherine Willows: (without looking up) She's out in the field.", "(SARA stops and looks down at the piece of paper in her hand. CATHERINE looks up at SARA.)", "Catherine Willows: Let me guess ... Sara Sidle?", "Sara Sidle: I know who I am. I think you're a little confused.", "Catherine Willows: If you think you're taking my case ... forget it.", "(SARA shuts the door.)", "Sara Sidle: Look, we can stand here and argue ... or ... we can get out there and find out who did this to Holly Gribbs. (beat) Two sharp women are better than one.", "(CATHERINE considers it for a moment, then turns and grabs the evidence bag next to her. She holds it up.)", "Catherine Willows: Pager.", "(CATHERINE takes the pager out of the bag.)", "Catherine Willows: Found at the crime scene.", "(SARA walks around the table to look at what CATHERINE'S working on.)", "Sara Sidle: Where'd you get the pager nest?", "Catherine Willows: Grissom. He won it on e-bay.", "Sara Sidle: They're great for tracing if you can rely on the suspect's honesty.", "[FULL ON COMPUTER MONITOR]", "Catherine Willows: Uh ... Desmond Tutu.", "Sara Sidle: See what I mean? Don't feel bad. My last four traces came back Eminem, (smiles) ... so ... look, you seem to have everything under control here.", "Sara Sidle: Where can I find Warrick Brown?", "Catherine Willows: Try one of the casinos on Blue Diamond Road.", "(SARA nods and slowly heads for the door. CATHERINE stops her.)", "Catherine Willows: (holding pager up) Oh, I'll page you with any information.", "(SARA smiles and leaves the room.)", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[CLOSE UP OF POKER CHIPS]", "[SCENE_BREAK]", "[INT. HOTEL MONACO -- SURVEILLANCE ROOM -- DAY]", "(GRISSOM and NICK are in the Surveillance room looking at the video footage.)", "Gil Grissom: There's our jumper.", "Surveillance Director: So, you want to see everything one minute before and one minute after he won the jackpot, right?", "Gil Grissom: (nods) Please.", "(The SURVEILLANCE DIRECTOR clicks on the keyboard and the footage on the monitor skips. GRISSOM sees something.)", "Gil Grissom: Wait a minute. Go back.", "(Close up of the monitor shows the clerk talking with TED SALLENGER at the slot machine. The video is on pause.)", "Gil Grissom: (to NICK) There! It looks like she's offering him his slot redemption card back. (to the SURVEILLANCE DIRECTOR) Could I see the person that was sitting at this machine right before the victim?", "Surveillance Director: Sure.", "(He clicks on the keyboard and the video footage moves backward to where another man is sitting at the slot machine.)", "Gil Grissom: Is there any way of telling how long he was sitting there?", "(The keyboard clicks and the footage rewinds backward. The counter appears on the monitor and stops at the time.)", "Surveillance Director: 11 hours, 13 minutes ... 15 seconds. At three bucks a tug, hell, he could have gone through ten, 20 thou.", "(GRISSOM looks surprised by this information. He turns back to the monitor.)", "Gil Grissom: Nick, call the slot host. Get this guy's name from the slot card. I'm going to talk to this man.", "(NICK nods.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS - FIRING RANGE -- DAY]", "(CATHERINE puts on her goggles. BOBBY DAWSON walks into the room carrying the gun.)", "Bobby Dawson: All right. Here you go. Holly's weapon's already loaded. So, just point at the gun entry hole there to do your test fire.", "Catherine Willows: Okay, thanks, Bobby.", "(BOBBY gives the gun to CATHERINE. BOBBY stands behind CATHERINE and puts his ear phones on.)", "CAMERA SLOW MOTION", "(CATHERINE puts her hand and gun in the entry hole and fires.)", "(Camera close up of the bullet as it breaks through the water. Change camera angle where the bullet is in direct line with the camera.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS -- DAY]", "(BOBBY DAWSON looks through the scope to compare the two bullets.)", "Bobby Dawson: Okay, now, in order to eliminate Holly's gun as the possible weapon we start by looking for imperfections in the bullet's stria ... now, that's odd.", "Catherine Willows: What's wrong?", "Bobby Dawson: We don't have an elimination. We got a match.", "(BOBBY steps aside and CATHERINE looks through the scope. She sighs.)", "Catherine Willows: Shot her with her own gun.", "(Quick flashback to: [INT. MARTIN LUTHER KING APARTMENT - MORNING] HOLLY GRIBBS has her hands up as she talks with JERROD COOPER.)", "Holly Gribbs: It's okay, I'm not a cop. I just ... I just analyze the scene.", "(JERROD COOPER takes a step forward.)", "Jerrod Cooper: Throw the gun down!", "(HOLLY takes her gun and tosses it to the floor.)", "Jerrod Cooper: All right now, yank the phone out of the wall. I'm taking my prints with me.", "(HOLLY yanks the phone out of the wall. JERROD'S pager beeps. He looks down. HOLLY takes the opportunity to hit JERROD with the phone.)", "(They struggle. He gets free and grabs HOLLY'S gun from the floor. He fires multiple times at her.)", "(He grabs his things and runs leaving HOLLY behind.)", "(End of flashback. Resume to present.)", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[INT. HOTEL MONACO - MAIN FLOOR -- DAY]", "(The FLOOR CLERK leads GRISSOM and NICK across the main casino floor.)", "Floor Clerk (woman): I pulled the slot card for you. (pointing) That's the gentleman, right over there.", "Gil Grissom: Thank you.", "Floor Clerk (woman): Mm-hmm.", "(GRISSOM hands NICK his cell phone and tucks his ID into his shirt.)", "Gil Grissom: Hold this. I think I'll play a little.", "(GRISSOM makes his way to the man at the slot machine. He takes the empty seat two machines to the right of the man.)", "Red Carlton: Double down, always get a winner. Oh, yes, a winner. The winner. Double nine.", "Gil Grissom: (laughs) Double Jacks or better! (beat) You're under arrest.", "Red Carlton: Oh yeah? What for?", "Gil Grissom: First-degree murder.", "Red Carlton: Oh. On what grounds?", "(GRISSOM glances down at the man's pants.)", "Gil Grissom: Roof dust.", "Security Officers: Sir, would you please come with us?", "(GRISSOM turns to stand up. His machine starts to ring ... and ding and the sounds of coins falling is heard. GRISSOM turns around and hands the empty tub to NICK.)", "Gil Grissom: (smiling) Nicky, my boy, collect my winnings. It's a C.S.I. three initiation.", "(NICK takes the empty container and smiles as GRISSOM leaves.)", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CASINO - DAY]", "(WARRICK is at the blackjack table playing six hands.)", "Dealer: You're up 11 G's. Hit or stay?", "(Behind WARRICK, SARA walks up to him.)", "Sara Sidle: Stay. I want to talk to you.", "(WARRICK glances up at SARA.)", "[SCENE_BREAK]", "[INT. CASINO - COFFEE SHOP - DAY -- CONTINUOUS]", "(WARRICK is sitting at the counter nursing a cup of coffee. SARA sits next to him.)", "Sara Sidle: You were playing $100 on every spot. You have a system?", "Warrick Brown: I'm counting cards.", "Sara Sidle: Isn't that illegal?", "Warrick Brown: Not if you do the math in your head.", "Sara Sidle: You play anything else?", "Warrick Brown: I bet sports from time to time.", "Sara Sidle: So ... let me get this straight. You were assigned by Brass to shadow a trainee, a robbery comes up on M.L.K, and you go for coffee.", "Warrick Brown: An officer was there.", "Sara Sidle: So, you felt safe to leave? Do you know the policies and procedures for clearing a scene?", "Warrick Brown: Yes.", "Sara Sidle: Then, why'd you leave? I mean, what was so important that you had to rush out of there?", "Warrick Brown: I told you. I went for coffee.", "Sara Sidle: Was that before or after you made your bets? Sunday ... Vegas ... NFL football ... guy like you ... come on, you trying to tell me that you didn't make a little pit stop?", "(WARRICK doesn't say anything.)", "Sara Sidle: Look at me. Did you log on ... tell dispatch where you were going?", "Warrick Brown: Do you know how many times I've been left alone at a crime scene when I was a rookie?", "Sara Sidle: Yeah, well, this time is different.", "Warrick Brown: Yeah, why's that?", "Sara Sidle: Holly Gribbs died on the operating table twenty minutes ago.", "(WARRICK turns to look at SARA, shocked by the news. He's absolutely stunned.)", "(Cut to: CATHERINE)", "(Cut to: BRASS)", "(Cut to: NICK.)", "(Cut to: GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY DAY]", "(SARA walks into the break room. CATHERINE'S inside, leaning against the counter, her hands rubbing her temples.)", "Sara Sidle: Mind if I get a soda?", "(CATHERINE looks at SARA, puzzled by the request. SARA indicates the refrigerator behind CATHERINE.)", "Catherine Willows: Oh, yeah. Sorry.", "(CATHERINE moves.)", "Sara Sidle: You want one?", "(SARA holds out the soda can.)", "Catherine Willows: Is there anything in there with alcohol?", "Sara Sidle: Root beer.", "Catherine Willows: No.", "(A pager beeps. Both CATHERINE and SARA check their pagers. The pager continues to beep.)", "(CATHERINE grabs the bagged pager on the table, the one from the crime scene. She checks it.)", "Catherine: Oh ... god.", "(CATHERINE scrambles to get her cell phone out. SARA hands her the pager. CATHERINE dials.)", "Sara Sidle: (smiles) What are you going to say? \"Hi, I'm a Criminalist. I was in the neighborhood ... \"", "Catherine Willows: Shh. It's ringing.", "INTERCUT WITH:", "[THREE ACES MOTEL - ROOM 202]", "Jerrod Cooper: (to phone) Hello.", "Catherine Willows: (from phone) Uh, hey.", "Jerrod Cooper: Who's this? I just dialed my own damn beeper.", "Catherine Willows: Uh-uh. It's my beeper now. I found it.", "Jerrod Cooper: It ain't your beeper, girl. It's mine.", "(SARA sits down and listens intently as CATHERINE talks on the phone.)", "Jerrod Cooper: I do a lot of business on that beeper.", "Catherine Willows: What kind of business?", "Jerrod Cooper: You know -- slinging a little something-something.", "Catherine Willows: Oh, a little something-something. Or maybe a little bling-bling?", "Jerrod Cooper: So what you know about some bling-bling?", "Catherine Willows: Well, invite me over to your crib, baby and you might find out.", "Jerrod Cooper: It's on. Three Aces Motel, Room 202.", "Catherine Willows: Three Aces Motel, Room 202.", "(She sighs expectantly.)", "Jerrod Cooper: See you soon.", "(CATHERINE smiles and hangs up. She turns to SARA.)", "Catherine Willows: Did I just do that?", "Sara Sidle: What's a \"bling-bling\"?", "Catherine Willows: Got me.", "(SARA stands up.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(NICK and GRISSOM question RED CARLTON.)", "Red Carlton: Yeah, I was up on that roof. I didn't push him off. I did talk to him, though.", "Nick Stokes: We know. Hey, what did you drink? Gin and tonic or amaretto sours?", "Red Carlton: Amaretto sours. How'd you know that?", "Nick Stokes: We got a record of the victim's room charges. Chief.", "Gil Grissom: At 1:27 A.M. Our victim, Ted Sallenger, made a couple of purchases in the gift shop--", "(Quick flashback to: TED SALLENGER grabbing his package and leaving the gift shop.)", "Gil Grissom: (V.O.) ... band-aids and antiseptic. At 1:40 A.M ...", "(End of flashback. Resume to present.)", "Gil Grissom: ... we tracked a purchase at the la promenade--", "(Quick flashback to: TED SALLENGER looking into the display window of the store and smiling.)", "Gil Grissom: (V.O.) ... a $30,000 designer watch.", "(He walks into the store.)", "(End of flashback. Resume to present.)", "Gil Grissom: At 1:45 A.M., you both started knocking them back in the hotel bar.", "(Quick flashback to: TED SALLENGER at the bar admiring his new watch.)", "Ted Sallenger: Sweet.", "(RED CARLTON walks up to TED SALLENGER.)", "Red Carlton: Hey. You won my money.", "Ted Sallenger: What?", "Red Carlton: That was my machine. I put everything I had in that machine.", "Ted Sallenger: So you're a degenerate. What do you want from me?", "(RED CARLTON turns to leave. TED SALLENGER stops him.)", "Ted Sallenger: Hey, old timer, come on, sit down. I'll buy you a drink for second place. What are you having? It's on me.", "Red Carlton: It's on you? All right. In that case, I'll have a, uh ... Amaretto Sour.", "(End of flashback. Resume to present.)", "Nick Stokes: The first hour, you both drank tit for tat but by hour two, Ted started ordering doubles ... and you quit drinking.", "Gil Grissom: Drank decaf coffee instead. My guess is that you were getting him lathered up for your little elevator ride.", "(Quick flashback to: TED SALLENGER and RED CARLTON appear in the hallway.)", "Ted Sallenger: Have a nice life, huh? I know I will.", "(TED laughs. End of flashback. Resume to present.)", "Gil Grissom: And from there, you went to the roof.", "(Quick flashback to: Camera close up of a man's foot close to the roof's edge. It's RED CARLTON. He takes his glasses off and looks down. He cries. End of flashback. Resume to present.)", "Red Carlton: (cries) I couldn't go through with it. I'm a born failure. I failed at my marriage; I failed at my work. Then I couldn't even commit suicide right. One pull away ... the story of my life.", "Gil Grissom: Mr. Carlton, we're not detectives. We're crime scene analysts. We're trained to ignore verbal accounts and rely instead on the evidence a scene sets before us. But I have to be honest with you, Red ... I believe you. I do. (pause) So ... here's what we're going to do: You're going to stay here until we get back. If you pushed this guy off the roof he will, without a doubt, have roof dust on his shoes. If he does, we'll have you arrested for murder. But if dust is not present, then you'll be free to go.", "(RED CARLTON thinks about it. He smiles a bit.)", "Red Carlton: I like this guy.", "(NICK looks at GRISSOM and smiles.)", "[SCENE_BREAK]", "[INT. THREE ACES MOTEL - SECOND FLOOR - ROOM 202 -- DAY]", "(The OFFICERS clear out the motel rooms. CATHERINE is standing on the stairway. BRASS rushes up the stairs and takes out his gun. He cocks it as he passes CATHERINE.)", "Catherine Willows: What are you doing here?", "(BRASS turns around to look at CATHERINE.)", "Jim Brass: Guilt therapy.", "(BRASS leads the officers as they surround the door to room 202. He hits the door with his foot.)", "Jim Brass: Police officers! Open up!", "(The OFFICER kicks the door in.)", "(JERROD COOPER is lying on the bed. He jumps out and heads for the window when the OFFICERS burst in through the door.)", "Officer: Get down. OFFICER: Hold him down on the ground! OFFICER: Put your hands behind your back! OFFICER: Get him down!", "(The OFFICERS successfully apprehend JERROD COOPER. CATHERINE walks in through the doorway. The OFFICERS push JERROD COOPER face down into the bed. He looks up and sees CATHERINE.)", "Catherine Willows: Now that's a bling-bling.", "Jerrod Cooper: That was you on the phone?", "Catherine Willows: (nods) Yep.", "(The OFFICERS get the handcuffs on him and push him toward the door. As they pass CATHERINE, she notices something.)", "Catherine Willows: Where'd you get that scratch?", "(Camera close up of the scratch to his right eye.)", "Sara Sidle: For a conviction, we're going to need a DNA sample.", "Jim Brass: Okay, let's sit him down. Let's get a saliva sample.", "Catherine Willows: (to radio) Hey, guys, it's Catherine.", "(Cut to: WARRICK pulls out his radio and listens.)", "Catherine Willows: (to radio) For whoever is listening we got him. Repeat. Holly Gribbs' suspect is in custody.", "[SCENE_BREAK]", "[INT. \"THE SPOT\" - PARKING STRUCTURE - DAY -- CONTINUOUS]", "(WARRICK puts the radio away as he walks around the parking structure toward JUDGE COHEN who is standing next to his parked car.)", "(WARRICK hands the cash to JUDGE COHEN.)", "Warrick Brown: Ten Thousand. See you around, Judge.", "(WARRICK turns to leave. JUDGE COHEN stops him.)", "Judge Cohen: You don't leave until I tell you to leave.", "Warrick Brown: What? What are you going to do, hold me in contempt?", "Judge Cohen: You're already in contempt with me. We're in bed, pal. I own you.", "Warrick Brown: Nobody owns me.", "Judge Cohen: Yeah? Let me tell you something. You ever heard of a wolf in sheep's clothing? You and me -- we're going to do business together whether you like it or not. Keep your cell phone charged.", "(JUDGE COHEN gets into his car and leaves WARRICK standing there.)", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY - FORENSIC SCIENCE/LABORATORIES DIVISION - HALLWAY --", "[SCENE_BREAK]", "DAY]", "(GRISSOM leans against the wall. CATHERINE walks down the hallway toward him. She's carrying her kit.)", "Catherine Willows: You didn't have to come.", "Gil Grissom: I know. I wanted to. In case you need me.", "Catherine Willows: I probably do. But this is something I'd rather do alone.", "(CATHERINE walks past GRISSOM toward the door.)", "Gil Grissom: Fifteen seconds, you're in, you're out we make a DNA match and it's over, okay?", "Catherine Willows: (nods) Okay.", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY - FORENSIC SCIENCE/LABORATORIES DIVISION - DAY]", "(Camera opens on the morgue cabinet label for \"GRIBBS, HOLLY\". CATHERINE stares at the card. She closes her eyes for a brief moment.)", "(CATHERINE opens the cabinet door and pulls out the table. She unzips the bag and reaches into her kit. She takes HOLLY'S hand and gets the sample.)", "Catherine Willows: (whispers) I'm sorry.", "[SCENE_BREAK]", "[INT. CSI - TEMPORARY EVIDENCE ROOM -- DAY]", "(GRISSOM and NICK examine TED SALLENGER'S shoes.)", "Nick Stokes: Will the real Red Skelton please ... stand up?", "Gil Grissom: You're too young to remember who Red Skelton was.", "Nick Stokes: Hey, Nick at Nite. You should check it out.", "(GRISSOM looks for dust.)", "Nick Stokes: No dust. Great.", "Gil Grissom: I thought so. Turns out he's red herring. There's got to be something else.", "(GRISSOM cuts the envelope open and empties its contents on the table. He examines the watch.)", "Gil Grissom: Nice watch.", "(He sees something.)", "Gil Grissom: Look at this.", "(Camera zooms in to the fibers caught in the watch.)", "Gil Grissom: These look like fibers.", "Nick Stokes: Yeah. You think he was dragged?", "Gil Grissom: Maybe.", "Nick Stokes: Well, I'll go back to the Presidential Suite ... take a swatch of the carpet, see if we can match the fibers.", "Gil Grissom: Get a hold of the girl while you're at it.", "Nick Stokes: Why, is she a suspect?", "Gil Grissom: She is now.", "(NICK nods and leaves the room. GRISSOM continues to examine the watch.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- ROOM A -- DAY]", "(GRISSOM walks into the room.)", "Grissom: All right. What do you have?", "Dr. Jenna Williams: Hey. I thought you might like to see this.", "(She shows him the mark on TED SALLENGER'S head.)", "Gil Grissom: What the hell is that?", "Dr. Jenna Williams: I found it after I shaved his head. Something hard with a diamond insignia on the back. You find that, I bet you find your killer.", "Gil Grissom: Was this first blow?", "Dr. Jenna Williams: First and fatal. Crushed his skull. So he was killed, then he was pushed.", "Dr. Jenna Williams: Without a doubt.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM / DNA LAB -- DAY]", "(SARA and CATHERINE are sitting in the break room.)", "Sara Sidle: Nicorette?", "Catherine Willows: No, thanks. Got my own.", "(GREG SANDERS opens the door to his lab and calls out to CATHERINE.)", "Greg Sanders: Boss, your DNA results are back.", "(CATHERINE and SARA stand and rush into the DNA lab. GREG looks at the results.)", "Greg Sanders: Well, according to my DNA data the types are 814 quadrillion to one that your suspect is our killer.", "Sara Sidle: Pretty good stats! Whoo!", "Catherine: Yeah, considering there's only about six billion people in the world ... ah, thanks.", "(CATHERINE looks at the results, shakes her head and sighs.)", "Catherine Willows: She gave me just enough ... just enough to catch him.", "(Quick flashback to: JERROD COOPER advances into the room, the gun in his hand and pointed at HOLLY GRIBBS.)", "Jerrod Cooper: Don't move!", "(HOLLY turns around and raises her hands.)", "Holly Gribbs: Hey, hey, it's okay. I'm not a cop. I just ... I just analyze the scene. This is my first day. Believe me, I'm-I'm no threat.", "(Cut to: HOLLY rips the phone out of the wall. She holds it out to JERROD COOPER.)", "Holly Gribbs: Um, look ... phone with your prints on it? Here, take it. Okay? Here.", "(His pager beeps. He's distracted for a moment and looks down. HOLLY uses it and throws the phone at JERROD. She hits him and he drops his gun. He goes for her gun. They struggle.)", "Catherine Willows: (V.O.) but she held on long enough to give us a clue.", "(HOLLY reaches up and scratches him in the eyes. He yells. He manages to get her gun. He takes a couple steps back, aims and fires.)", "(JERROD drops HOLLY'S gun, he grabs his gun and runs. HOLLY looks up and pushes JERROD'S pager under the couch. Camera holds on HOLLY GRIBBS.)", "(End of flashback. Resume to present.)", "Sara Sidle: Nice work, Catherine.", "(CATHERINE turns to look at SARA and shrugs.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(NICK is in one of the labs where he compares the fibers from the watch with the fibers from the carpet.)", "(NICK looks up from the scope.)", "[SCENE_BREAK]", "[INT. HOTEL MONACO - PRESIDENTIAL SUITE -- DAY]", "(GRISSOM walks into the room and puts his kit down. He sees the large square cut out in the middle of the room.)", "Gil Grissom: Nice swatch, Nick. Pizza box-sized.", "(GRISSOM looks around and sees something. One of the candlestick holders has a card suit symbol on each of its sides. He picks it up. He smiles.)", "(GRISSOM walks over to the balcony doors and puts his kit down. He opens it and takes out the luminol. He sprays the carpet in front of the balcony and finds the blood stains.)", "(GRISSOM'S phone rings. He answers it.)", "Gil Grissom: Grissom.", "Nick Stokes: (from phone) It's Nick. I just finished the carpet swatch comparisons. Got a match.", "Gil Grissom: I'm starting to get that feeling, Nicky, my boy.", "Nick Stokes: (from phone) Yeah, so am I.", "Gil Grissom: Listen, I'll meet you at the interrogation. I still got one more thing I want to check.", "Nick Stokes: (from phone) Okay. Bye.", "(GRISSOM hands up.)", "[SCENE_BREAK]", "[INT. HOTEL MONACO - HALLWAY IN FRONT OF PRESIDENTIAL SUITE - ROOM 1227 - DAY -", "[SCENE_BREAK]", "CONTINUOUS]", "(GRISSOM opens the door and shows the card key to ELIAS.)", "Gil Grissom: Okay, I'm ready to try this now.", "Elias Templeton: (to radio) Stand by, house.", "(With the door open, GRISSOM puts the card key into the lock, then closes the door. He opens the door and removes the card key.)", "Gil Grissom: Did your security log record that?", "Elias Templeton: (to radio) You guys get that? (to GRISSOM) No. Well, I'll be damned. The curse. Hell, I ain't playing those machines no more. It's true. You win, you die.", "(GRISSOM takes his things out of the room and hands the card key to ELIAS. He walks down the hallway.)", "Gil Grissom: (under his breath) Gotcha.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(GRISSOM and NICK interview JAMIE again.)", "Jamie: Got me with what?", "Gil Grissom: Capital murder.", "Jamie: Oh, are you kidding me?", "Gil Grissom: I never kid about murder. What do you think, Nick? My turn to play it \"blind\"?", "(Quick flashback to: TED SALLENGER and RED CARLTON walk into the hallway after their drinks at the bar.)", "Ted Sallenger: Hey, Red, have a nice life, huh? (laughs) I know I will.", "(TED staggers down the hallway toward his room.)", "(Cut to: TED uses the card and tries to open the door. He's not too successful. JAMIE rushes up to the door carrying the candlestick holder. She peeks in through they peep hole.)", "Ted Sallenger: What the ... ? What the hell's with this thing?", "(TED still has problems with the card key. JAMIE jerks the door open and TED stumbles into the room. She hits him on the head with the candlestick. He falls to the floor.)", "(Quick flash to: JAMIE drags TED across the room toward the balcony.)", "Gil Grissom: (V.O.) Now, the funny thing is if Ted didn't come back to the room then why were presidential carpet fibers found in the band of his brand-new watch? 'Cause he did come back.", "(JAMIE drags TED across the room floor.)", "(Cut to: JAMIE cleans the carpet.)", "Gil Grissom: (V.O.) And you do the smart thing: After you throw him over the balcony you cleaned up the crime scene. You left blood-soaked towels in plain sight. Your alibi? The blood came from Ted's forearms.", "(End of flashback. Resume to present.)", "Gil Grissom: How am I doing so far, Nicky?", "Nick Stokes: Yeah, I'm into it.", "Gil Grissom: According to your statement, you felt slighted 'cause Ted had just won $40 million and dumped you within half an hour giving you motive enough to kill him and you exercised that motive.", "(Without saying a word, JAMIE holds out her wrists for them to cuff. GRISSOM looks at her, then heads for the door to get an OFFICER.)", "(NICK leans forward.)", "Nick Stokes: Can I ask you a question?", "Jamie: Sure.", "Nick Stokes: How are you so cool? You took someone's life. Don't you care?", "Jamie: No.", "(GRISSOM opens the door and calls out to the OFFICER outside.)", "Gil Grissom: Deputy, we're going to have her arrested.", "Jamie: (to GRISSOM) So, could I ask you a question?", "Gil Grissom: Maybe.", "Jamie: All that stuff you rattled off. How'd you know about all that?", "Gil Grissom: Your boyfriend told me.", "(The door closes behind them.)", "[SCENE_BREAK]", "[INT. HALLWAY -- DAY]", "(WARRICK sits alone in the hallway. GRISSOM and NICK walk down the hallway. GRISSOM sees WARRICK.)", "Gil Grissom: (to NICK) I'll see you outside, okay?", "(NICK leaves. GRISSOM approaches WARRICK. He sits down next to him.)", "Gil Grissom: They say I have to let you go. You violated the policies and procedures for clearing a scene. I read Sara's report.", "Warrick Brown: I know. I messed up. And Holly's dead.", "(WARRICK reaches for his gun and badge and hands them to GRISSOM.)", "Warrick Brown: I'm sorry, Gil.", "Gil Grissom: I'm sorry, too. I don't want to do this.", "Warrick Brown: You got to. You know where I was?", "Gil Grissom: I think I have a pretty good idea.", "Warrick Brown: I went to lay a bet. I didn't even think I was doing anything wrong. Never occurred to me.", "Gil Grissom: It never occurred to me, either.", "(GRISSOM stands up and stands in front of WARRICK.)", "Gil Grissom: You know what? If I let you go I got to let me go, too. (beat) And Catherine ... and Brass. We're all culpable in this. (beat) I don't care what the book says. I lost one good person today. I don't want to lose another-- here.", "(GRISSOM hands WARRICK back his gun and badge. WARRICK looks at them, takes them and stands up.)", "Warrick Brown: I won't let you down again.", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT - DAY]", "(All the CSIs are standing in the parking lot under the hot sun. NICK looks up and signals to CATHERINE.)", "(BRASS walks outside with JERROD COOPER in handcuffs. He looks up at all the CSIs standing there and walks JERROD COOPER to the vehicle where they both get inside.)", "(The Vehicle drives off, past them.)", "Gil Grissom: Let's go home.", "(One by one, they leave. Camera holds on WARRICK as he lingers.)" ]

[ "The search is on for Grissom, Nick, and Sara when an abducted woman is said to be buried underground. Meanwhile a hit and run death of a little girl is investigated by Catherine and Warrick." ]

[ "Narrator: Previously on:", "[Scenes from 1X01: Pilot]", "[INT. CSI - HALLWAY]", "(NICK moves the \"SOLVED\" magnet from the side and puts it right on top of the board on CRIME #99, UNIDENTIFIED PERSON, on his side of the board.)", "(Cut to: GRISSOM swings NICK'S new I.D. badge in front of him.)", "Grissom: Congratulations, Nicky, my boy. You are now a CSI Level Three.", "Nick: (excited) Whoo!", "[INT. CATHERINE'S SISTER'S HOUSE - BEDROOM - MORNING]", "(LINDSEY wakes up.)", "Lindsey Willows: Mommy?", "Catherine: I couldn't drive here fast enough to tell you how much I love you.", "Lindsey Willows: I love you, too.", "[Scenes from 1X02: Cool Change]", "[INT. CSI - LAB]", "Catherine: Sara Sidle?", "Sara: (smiles) I know who I am. I think you're a little confused.", "[INT. CSI - BRASS' OFFICE - DAY]", "(GRISSOM checks into BRASS' office as he clears his stuff out.)", "Grissom: I just off the phone with the Sheriff. He says he wants me to run the unit.", "Brass: You're the boss.", "[INT. CSI - HALLWAY]", "(GRISSOM and WARRICK sit on the bench in the hallway.)", "Grissom: They say I got to let you go.", "Warrick: I know.", "(GRISSOM stands and moves in front of WARRICK.)", "Grissom: I don't care what the book says. I lost one good person today, I don't want to lose another.", "(GRISSOM holds out WARRICK'S gun and badge back out to him.)", "Grissom: Here.", "(WARRICK looks up at GRISSOM.)", "CUT TO END OF \"PREVIOUSLY ON\"", "FLASH IN.", "[EXT. VARIOUS NEVADA DESERT (STOCK) - DAY]", "(Camera close up of a shovel dropping dry dirt onto the ground and patting it down. A large booted foot steps onto the spot.)", "(The MAN finishes and walks away from the spot with his shovel.)", "HARD CUT TO BLACK.", "(A lighter flame flickers on. The woman holding the lighter is lying down in the dark. She looks around at the enclosed space around her. She starts to panic and cry.)", "(She screams as she realizes that she's inside a box.)", "[SCENE_BREAK]", "[INT. GARRIS RESIDENCE -- NIGHT]", "(Scene opens on the tape machine playing the ransom note. GRISSOM, NICK and JACK GARRIS listen to the message.)", "Altered Voice: (o.s.) (from tape) Bring $2 million in hundreds to Charleston and Third in three hours or your wife dies. (beat) Stop me from taking the money -- she still dies.", "Jack Garris: This guy thinks it's some kind of joke using a voice like that.", "Nick: He's altering his voice, sir, electronically.", "Grissom: We don't consider it a joke at all.", "(GRISOM starts the tape over again.)", "Altered Voice: (from tape) Bring $2 million in hundreds ...", "Jack Garris: (irritated and impatient) You guys have listened to that tape like, twenty times. Will somebody please go out and find my wife?", "Grissom: Mr. Garris, please. Sometimes, if you listen closely you can hear a lot.", "(GRISSOM rewinds the tape again. He plays it and everyone falls silent as they listen to the low frequency buzz of the player.)", "Jack Garris: (after a moment) I don't hear anything.", "Grissom: Right. Where do you hear nothing in Las Vegas?", "(JACK GARRIS doesn't say anything as he thinks about it. GRISSOM answers his own question.)", "Grissom: The desert. (beat) And, judging by what sounds like a low frequency buzz in the background, possibly near power lines.", "Jack Garris: How'd you hear all that?", "Grissom: I listen.", "(JACK GARRIS stares at GRISSOM and nods his head slightly.)", "(In the background, we can hear someone talking on a phone.)", "Brass: (to phone) Right, okay, all right, got it.", "[INT. GARRIS RESIDENCE -- CONTINUOUS]", "(BRASS makes his way across the living room toward them. He puts his phone away.)", "Brass: (to GRISSOM) I just spoke with the FBI. They'll back us up if we need it, but we have to handle it.", "(BRASS turns to leave. JACK GARRIS stops him.)", "Jack Garris: Uh, detective, wait. What are my chances here ... of-of Laura ... f-for Laura?", "Brass: It's a three-hour window.", "Jack Garris: Will somebody just tell me the truth?", "Brass: A ransom message with a short fuse means that the victim's situation will cause her to expire by or before the deadline regardless of what we do.", "Nick: In a car trunk -- that kind of thing.", "Brass: It's a form of passive murder if you want to be, uh... 'honest' about it.", "Jack Garris: Then you guys have got to move.", "Grissom: Mr. Garris ... it's my experience that, in situations like this if you want to go fast, go slow.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. GARRIS RESIDENCE - BACK HALLWAY -- NIGHT]", "(SARA walks cautiously into the hallway. She looks at the security pad on the wall.)", "Sara: Get a picture of the security pad. Someone touches it before it's dusted, I break their fingers.", "(SARA turns her head and works her way down the hallway. The photographer/tech follows her.)", "Sara: Shoot the mirror, point of disturbance the lamp, point of disturbance ...", "(SARA puts an evidence marker on the mirror and she puts evidence marker #2 on the lamp on the floor. The tech takes pictures of the security pad on the wall, then turns to take pictures of the mirror.)", "(SARA looks up and sees something on the doorframe. As she stares at it, NICK appears behind her also staring at the doorframe. SARA turns around.)", "Sara: ... you're standing in my crime scene.", "Nick: No. (he holds up the disk) (beat) You're in mine.", "(NICK smiles and turns to walk out of the house.)", "Sara: (envious) You're doing audio? I wanted that.", "Nick: I outrank you.", "Sara: Technicality. Who did Grissom handpick to work here?", "(NICK chuckles dryly.)", "Nick: Keep telling yourself that.", "(SARA turns back to look at the doorframe)", "Sara: (to the tech) Get the lights, will you?", "Technician: Got it.", "(The TECHNICIAN turns the lights off. SARA gets out her ALS and looks at the stuff on the doorframe.)", "[SCENE_BREAK]", "[INT. GARRIS RESIDENCE - LIVING ROOM -- NIGHT]", "(BRASS talks with JACK GARRIS.)", "Jack Garris: Shady friends? No. Laura surrounds herself with quality people-- people of real substance.", "(BRASS nods.)", "Brass: Has her behavior changed recently -- drug use, alcohol, things like that?", "Jack Garris: (interrupts) No, no, no, nothing like that.", "(BRASS doesn't say anything. He stands up.)", "Jack Garris: She's a health nut -- we both are.", "Brass: Uh-huh.", "Jack Garris: Look, I'm a rich man. How do we let this guy know I'll pay?", "Brass: We don't want to go there yet.", "[SCENE_BREAK]", "[EXT. GARRIS RESIDENCE - SUV -- CURB -- NIGHT]", "(NICK starts the car's engine. GRISSOM leans in through the open passenger window to give NICK last minute instructions.)", "Grissom: Nick, tell lab to do a reverse algorithm on that tape and then get it into enhancement.", "Nick: I know what to tell the audio guy.", "Grissom: You've been a Level Three for what, two weeks?", "Nick: I got it under control.", "(GRISSOM stares at NICK and doesn't say anything. NICK smiles.)", "Nick: Swear.", "(GRISSOM moves away from the window.)", "Nick: Later.", "(NICK shifts the car into gear.)", "[SCENE_BREAK]", "[INT. GARRIS RESIDENCE - BEDROOM]", "(Camera opens on a broken picture frame on the floor next to evidence marker #6. A camera flashes.)", "(GRISSOM walks into the bedroom. SARA is standing at the dresser taking photographs. GRISSOM walks in and looks around.)", "Sara: Cursory call -- looks like a professional job.", "(GRISSOM doesn't say anything. He leans over to look at the various framed pictures on the tabletop. SARA continues to call it.)", "Sara: (continuing) Our guy bypasses the security system, surprises the wife in the back hall. Drags her in here. She grabs onto the doorway -- sign of struggle. No sign of sexual assault. He's in, they're out.", "(GRISSOM glances down and sees a smudge on the carpet. It grabs his attention and he leans in low to examine it closely.)", "Sara: (continuing) Probably ... egress through those doors. Excuse me, is my evaluation interrupting you?", "Grissom: No, no, no. I barely heard you.", "Sara: Glad I have a healthy ego. You find something interesting there?", "Grissom: Dirt.", "Sara: You're ... so ... technical ... I can hardly keep up, but ...", "GRISSOM; Oh, sorry, but, uh ... out of context, it's ... just dirt.", "[SCENE_BREAK]", "[EXT. GARRIS RESIDENCE - BACKYARD - NIGHT -- CONTINUOUS]", "(GRISSOM steps through the open balcony doors and out into the backyard patio. SARA follows him.)", "(He looks around. SARA sniffs.)", "Sara: Did you just slap on bad cologne?", "Grissom: I never wear it. It interferes with the job.", "Sara: It's almost sweet.", "(GRISSOM sees something.)", "Grissom: Hmm.", "(He finds a cloth on the ground. He picks it up and smells it. He offers it to SARA to smell.)", "Sara: Can't be chloroform.", "Grissom: Halothane, maybe.", "Sara: We'll confirm it in GC mass spec.", "(SARA reaches into her bag for an evidence bag.)", "Grissom: \"Looks like a professional job,\" I think you said.", "(SARA glances up at GRISSOM and smiles.)", "Grissom: Care to amend your evaluation? I mean, if the guy forgets the rag he used to knock her out, he can't be much of a pro.", "(He puts the cloth in the evidence bag SARA holds open for him.)", "Sara: (smiles) I keep trying to be your star pupil.", "Grissom: Sara, that was a seminar. This is real. Pebbles, tile -- the front is all concrete.", "Sara: No dirt. Context-- there is dirt on the carpeting inside.", "Grissom: In an otherwise spotless house.", "Sara: You're saying kidnapper tracked the dirt in.", "Grissom: Possible. As of now, that's about all we have, so ... I guess we follow the dirt.", "(GRISSOM walks past SARA and back into the house. SARA looks up, shakes her head and smiles.)", "[SCENE_BREAK]", "[EXT. RESIDENTIAL STREET -- NIGHT]", "(Cameras flash. The female in the body bag is covered and the bag zipped up.)", "(Cut to: The ambulance door closes and the vehicle drives off.)", "Catherine: How many hit-and-runs we had this year?", "Warrick: Too many. One thing I can't stand is a punk coward.", "(CATHERINE looks down at the roadside and stares at the scooter that the little girl was riding. It's on its side next to evidence marker #1 and a ruler.)", "Catherine: My daughter wants one of these scooters. Says she's the only kid in the world who doesn't have one.", "(CATHERINE steps up to the fallen scooter and kneels down next to it. WARRICK looks at CATHERINE'S back.)", "Warrick: You want me to take this case alone?", "(CATHERINE turns around to look back up at WARRICK.)", "Catherine: You feeling all right, Warrick?", "Warrick: Oh, I'm fine. I'm ... I'm looking after you. (He shakes his head.) It's that thing with Holly Gribbs.", "(CATHERINE stands up and looks at WARRICK.)", "Warrick: It's made me think of who I am to my partners, you know?", "Catherine: So this is what-- your new leaf?", "Warrick: (embarrassed, yet serious) You keep on busting on me, you won't see any kind of leaf.", "Catherine: (smiles) Hey, relax. I'll play nice. Thank you for the offer. I'm okay. I can handle this one.", "(CATHERINE turns back to look at the scooter. She kneels down next to it.)", "Catherine: It'd be nice if this paint transfer had just one special property. (beat) You want to call it?", "Warrick: (points) Vehicle's humming down Rochester. The vic was on her scooter, heading eastbound. Car brakes here ...", "(WARRICK points to the tire marks on the road next to evidence marker #3.)", "Warrick: ... impact here. The vic was thrown -- what-- twenty meters?", "Catherine: And all we've got is some paint that's going to match up to about 20 million other vehicles.", "Warrick: (sighs) Yeah.", "Catherine: b*st*rd.", "[SCENE_BREAK]", "[INT. GARRIS RESIDENCE - FOYER -- NIGHT]", "(JACK GARRIS heads out the front door. He turns around to look at BRASS.)", "Jack Garris: Are you ordering me not to pay the ransom?", "Brass: It's a very strong suggestion, yes.", "(Behind BRASS, GRISSOM turns the corner and heads slowly toward the men.)", "Jack Garris: After you told me she could already be dead? I don't believe you guys. This is my wife. I'm paying the ransom.", "Brass: Look, if you give up the cash the kidnapper has no reason to communicate with us.", "Jack Garris: Does anyone on your team know where Laura is right now?", "Grissom: We have an entire forensics lab working on this.", "Jack Garris: Yeah? Something tells me I'll see her before you do.", "(And with that, JACK GARRIS walks out of the house with the money in a briefcase.)", "Brass: Well, your job just got harder.", "Grissom: Yeah.", "Brass: (sighs) I'll stay close to the money.", "(BRASS heads out the front door to follow JACK GARRIS.)", "[SCENE_BREAK]", "[SCOPE VIEW OF THE DIRT]", "Grissom: (V.O.) This dirt has interesting properties.", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(SARA and GRISSOM are in the lab. SARA is looking through the scope at the dirt.)", "Grissom: The gold flecks -- that's easy -- it's gold. The little gray squiggles? Cyanide.", "(She looks up from the scope.)", "Sara: Cyanide? He poisoned her?", "Grissom: No. Did you know that Nevada produces 80% of the country's gold? Miners drop cyanide powder into the dirt and it draws the gold to the surface.", "Sara: And how does a bug specialist know so much about dirt?", "Grissom: I had a case five years ago. We found a skeleton in an abandoned gold mine. I thought it was a murder. Turned out the guy passed out drunk and the cyanide leached into his system.", "Sara: Gruesome, Grissom.", "Grissom: You know, it's funny but every case teaches me something about the next.", "Sara: So when you said, \"Follow the dirt\"...?", "Grissom: Gold mine -- it's possible that's where he's got her.", "Sara: Great. There's got to be 100 gold mines in Nevada.", "Grissom: True, but how many are near power lines within range of the drop zone? (He unrolls the map in front of him.) Three. (He points.) One ... two ... three.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DR. JENNA WILLIAMS uncovers the little girl.)", "Dr. Jenna Williams: This is your hit-and-run victim. Bad thing about this job is you stop asking yourself 'why'. Here's the bruise I was telling you about.", "(She lifts up the blanket to show CATHERINE the bruise on the little girl's thigh. CATHERINE leans in for a better look.)", "Dr. Jenna Williams: You see it?", "(WARRICK moves around to look at the bruise.)", "(Quick flashback to: The little girl screams. The car impacts her on the thigh. End of flashback. Resume to present.)", "Catherine: (straightens) Oh, my god. Plate numbers.", "Dr. Jenna Williams: From the license plate when it impacted her skin.", "Warrick: Looks like a \"four\" and a \"J.\"", "Catherine: Yeah.", "Warrick: Not like he left us any evidence.", "Catherine: Call DMV.", "Warrick: I'll get them to cross-check this partial within a five-mile radius see how many hits they come up with. You'll have those pictures for me?", "Dr. Jenna Williams: Yep.", "(WARRICK heads out of the autopsy room.)", "Catherine: I'll meet you out front.", "Warrick: All right.", "[SCENE_BREAK]", "[INT. HELICOPTER (MOVING) - OVER DESERT -- NIGHT]", "(SARA and GRISSOM are sitting in the moving helicopter looking through a heat sensor.)", "Sara: Freaky. Is that what I think it is?", "Grissom: It's a pack of coyotes. The sensor picks up any form of body heat, two-legged or four-legged.", "[SCENE_BREAK]", "[EXT. DRIVING RANGE - NIGHT]", "[SCENE_BREAK]", "[INT. BRASS' UNMARKED CAR - STREET ACROSS DROP POINT -- NIGHT - CONTINUOUS]", "(BRASS sits in his car keeping his eye on the trash can just outside the driving range grounds.)", "(He watches as a sports car drives up to the trash can. JACK GARRIS gets out of the car with the bag full of money. He looks around and walks toward the trash can. He lifts up the lid and dumps the bag inside the trash can.)", "Nick: (o.s.) Captain Brass. Hey.", "(NICK opens the car door and gets inside the passenger seat, startling BRASS.)", "Brass: Geez, you scared me.", "Nick: Sorry. Sorry. Grissom told me to hook up with you. He says the drop place will be a crime scene.", "Brass: We hope.", "(BRASS turns to look outside just as JACK GARRIS gets back into his car. He closes the door.)", "[SCENE_BREAK]", "[INT. HELICOPTER (MOVING) -OVER DESERT -- NIGHT]", "(The heat sensor tracks a coyote running across the desert.)", "Grissom: Come on, give us something two-legged.", "Sara: Last mine. We've circled it twice.", "Grissom: Yeah, well, we'll circle it again.", "(SARA leans over and taps the pilot on the shoulder. The pilot nods.)", "[SCENE_BREAK]", "[EXT. HELICOPTER (MOVING) - NIGHT]", "[SCENE_BREAK]", "[INT. BRASS' UNMARKED CAR - STREET ACROSS DROP POINT -- NIGHT]", "(A man walking his dog approaches the trash can. He leans over to tie his shoe.)", "Nick: Why don't they move in on the guy?", "Brass: Why? 'Cause he's probably just walking his dog.", "(The man pulls his dog along past the trash can.)", "Nick: Well, he's been there five minutes.", "Brass: Dogs take their time. What, do you want to be rushed?", "Man On Radio: Male in a ball cap, 10:00.", "(A man carrying a set of golf clubs approaches the trash can. The man looks around.)", "Nick: Here, kitty, kitty...", "Brass: (to mic) Nobody moves. You got that? Rock solid till my order.", "Officer: (from radio) Copy.", "(The man looks around and walks toward the trash can. NICK and BRASS watch from the car parked across the street.)", "[SCENE_BREAK]", "[EXT. HELICOPTER (MOVING) - OVER DESERT-NIGHT]", "[SCENE_BREAK]", "[INT. HELICOPTER (MOVING) - OVER DESERT -- NIGHT]", "(GRISSOM sees something on the monitor.)", "Grissom: What was that? Go back.", "Sara: Where?", "[HEAT SENSOR VIEW]", "(Traveling low across the desert floor, there's something in the middle of the screen.)", "Grissom: There.", "(They pass the heat mass.)", "Grissom: Swing around!", "(As they pass it a third time, SARA can definitely see that it's a person lying on their side with their hands tied in front of them.)", "Grissom: (realizing) My god, she's below the surface.", "Sara: (to the pilot) Okay, let's land! Take her down! Down!", "(SARA and GRISSOM take off their ear phones.)", "[EXT. HELICOPTER - DESERT - NIGHT -- CONTINUOUS]", "(The helicopter lands.)", "Grissom: Ground team is right behind us. I'll guide them in.", "(GRISSOM and SARA exit the helicopter.)", "Grissom: She's got to be right up here.", "(Searching the ground, the start yelling for LAURA GARRIS.)", "Sara: Mrs. Garris! GRISSOM: Mrs. Garris! Can you hear us? SARA: Mrs. Garris! GRISSOM: We're with the Las Vegas Police Department!", "(They hear a woman's muffled screaming coming from the ground.)", "Grissom: Here! She's here!", "(They drop their gear and start digging, pushing the dirt and rocks away with their bare hands.)", "Sara: Got something here.", "(Sirens approach and get louder as they near. They stop and emergency personnel and gear exit the vehicles.)", "Sara: Come on! GRISSOM: Get that end! SARA: Yeah, come over!", "(They all start to dig frantically for LAURA GARRIS.)", "Grissom: Got to get her air! GRISSOM: Give me a pick -- an ax-- something. GRISSOM: Get away. Let me get in there.", "(Someone hands GRISSOM a pick and he starts to dig for the edge of the box cover. He lifts it up.)", "Grissom: Pull it!", "(The OFFICERS lift the lid off of the box. Inside is LAURA GARRIS.)", "Sara: Oh, my god.", "(GRISSOM kneels to help her up from the box.)", "Grissom: Okay, we're going to pull her up.", "(With GRISSOM'S assistance, LAURA GARRIS stands up, dirt and dust all over her.)", "Grissom: Sara, get me something to cut this tape.", "(GRISSOM turns to look at LAURA GARRIS.)", "Grissom: (to LAURA GARRIS) You okay? GRISSOM: You're going to be okay now. GRISSOM: Get this off.", "(SARA hands GRISSOM the scissors and he cuts the tape off from LAURA GARRIS' wrists.)", "Grissom: Okay.", "(He hands LAURA GARRIS over to the OFFICERS, the tape still in his hand.)", "(SARA stands next to him, trying to catch her breath. GRISSOM turns to her.)", "Grissom: (to SARA) You okay?", "Sara: Never ceases to amaze me what people do to each other.", "(SARA looks at the officers and steps away from GRISSOM.)", "Sara: (yells out instructions) Transport the box to the lab for latents. Hair fibers, get soil exemplars.", "(GRISSOM turns his radio on.)", "Grissom: (to radio) Victor-18. Brass, do you hear me?", "Brass: (from radio) Copy.", "Grissom: (to radio) We got the package, and she's still alive. ...", "[SCENE_BREAK]", "[INT. BRASS' UNMARKED CAR - NIGHT]", "Grissom: (from radio) ... Brass, are you reading me? Over.", "Brass: (to radio) Victor-9, affirmative. Way to go. Major player is in our sight. Will update. Out.", "(Outside, the man with the cap returns to the trash can. He puts his golf bag down.)", "Nick: You think that's him? You think that's our guy right there?", "(BRASS keeps an eye on the man and watches as the man moves to the trash can. He lifts the lid up and reaches inside where he removes the bag full of money.)", "Brass: (to radio) Move on ball cap! Move, move, move!", "(The man grabs the bag and tries to leave. A siren blasts and a cop car rushes into his path, blocking his exit.)", "(An OFFICER gets out of the vehicle and raises his weapon at the man with the ball cap.)", "Officer: Police officers! Freeze!", "Chip Rundle: Hey, no, I wasn't stealing the bag, all right?", "Officer: Hands on your head. Down on your knees! OFFICER: Hold still.", "(CHIP RUNDLE gets down on his knees with his hands on his head. The second OFFICER hand cuffs him. BRASS and NICK make their way toward CHIP RUNDLE.)", "Chip Rundle: Hey, look at the bag. It's not even leather. Why would I want it?", "Brass: I can think of about two million reasons, Tiger.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. CHARLES MOORE'S HOUSE - FRONT PORCH -- NIGHT]", "(CATHERINE and WARRICK walk up the path to the front door. CATHERINE rings the doorbell. She knocks on the door. The door opens.)", "Catherine: Hello.", "Charles Moore: Can I help you folks?", "Catherine: Mr. Charles Moore? (He nods.) We're with the Las Vegas crime lab. We'd like to talk to you about your car.", "Warrick: We believe it may have been involved in a traffic collision earlier this evening.", "Charles Morre: I told the police when they called, my car was stolen.", "Catherine: That's why we have a search warrant, sir ...", "(CATHERINE unfolds the paper in her hand and holds it out to CHARLES MOORE.)", "Catherine: ... so that we can look in your garage.", "(He takes the warrant and looks at it.)", "[SCENE_BREAK]", "[INT. MOORE'S GARAGE - NIGHT --CONTINUOUS]", "(The garage door opens. CATHERINE and WARRICK look at the damage to the front of the car with the Nevada plates #484 JUD. CATHERINE looks at WARRICK and turns around to look at CHARLES MOORE.)", "Charles Moore: It-it was an accident. I saw the girl and I tried to brake but I accelerated by mistake. I get confused. I-I shouldn't have left. I was wrong. (pauses) Is she okay?", "Catherine: She died at the scene.", "Charles Moore: (sadly) Oh, my god.", "Warrick: You're going to be charged with manslaughter, Mr. Moore. Felony hit-and-run. Do you have a lawyer?", "[SCENE_BREAK]", "[INT. BREAK ROOM - NIGHT]", "(WARRICK walks into the break room. CATHERINE is already there. She's carrying a box.)", "Warrick: Catherine, I just got off the phone with the traffic guys. They've impounded Moore's car. Should be here any minute.", "(CATHERINE opens the box and inside is a cake with \"Happy Birthday Lindsey\" icing on it.)", "Catherine: Is it me or did he give it up too easy?", "Warrick: Old guy was scared.", "(GRISSOM rushes into the room. He's giddy with excitement.)", "Grissom: (smiling) You have to see the birthday present I got for your daughter.", "(SARA also walks into the room.)", "Sara: What's the rule? How long do I have to be here before I start kicking in for gifts?", "Catherine: When the spirit moves you, Sara. So, in your case, I guess, never.", "(GRISSOM opens the box and shows CATHERINE the \"CHEMLAB/500\" that he's holding in his hand.)", "Grissom: I got one of these chem labs when I was six. I almost blew up the whole house. (He chuckles.)", "Catherine: I hope you can return it 'cause, uh, Lindsey doesn't want a party.", "Grissom: Yeah, what kid doesn't want a party?", "Catherine: My kid.", "Nick: Hey, Catherine what time's your little girl coming by?", "Catherine: She isn't.", "(NICK holds up his own gift, a \"CHEMLAB/500\".)", "Nick: Yeah, but I got her a chem set.", "Sara: You keep that; might learn something.", "Nick: Stop flirting with me. Cath, really, when's the party?", "Catherine: (exasperated) What do I have to do -- put it on the bulletin board? There is no party. My daughter doesn't want a party. Is everybody clear on that?", "(Several pagers beep. Everyone checks their pagers.)", "Warrick: Our car's here.", "(WARRICK and CATHERINE head for the door.)", "Sara: The burial box is in.", "(SARA turns for the door.)", "Grissom: The victim's ready at Desert Palm.", "(GRISSOM turns to walk out of the room. As he passes NICK, he puts his CHEMLAB set on NICK'S CHEMLAB set.)", "Grissom: We'll play with these later.", "(NICK laughs. He's the only one left in the room. He looks down at the two boxes and shakes his head.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- NIGHT]", "(Camera opens on the box with the words, \"WINERY NEVADA\" on the bottom of the insignia on its side.)", "(The TECHS drop the box in front of SARA.)", "Sara: Thanks, guys.", "Techs: (leaving) No problem.", "Sara: \"Garris Winery.\"", "[SCENE_BREAK]", "[INT. DESERT PALM HOSPITAL -- NIGHT]", "(GRISSOM interviews LAURA GARRIS in the presence of her husband, JACK GARRIS.)", "Grissom: And you never saw the person, huh?", "(LAURA GARRIS looks at GRISSOM.)", "Laura Garris: He ... grabbed me from behind.", "(Quick flashback to: Someone grabs LAURA GARRIS from behind, clamping their gloved hand over her mouth muffling her cry. End of flashback. Resume to present.)", "Laura Garris: There was something clamped over my mouth ... (she touches her lips) ... and that's the last thing that I remember.", "Grissom: You know how you got the bruising around your eye?", "Laura Garris: (shakes her head) I have no idea. I'm sorry. I was knocked out.", "(She takes a shuddering breath and glances up at her husband JACK.)", "Laura Garris: I just don't think I can help you.", "Jack Garris: She's been through enough. Can we cut this short?", "Grissom: Sure. I'd like to get a blood sample from you, though, if I could.", "Laura Garris: What for?", "Grissom: You've got scratches on your arm. If we can find traces of your blood in Rundle's truck we can match the DNA -- make our case against him that much stronger.", "Jack Garris: Come on, Grissom, you have the guy. Isn't that enough?", "Grissom: Yeah, well, we didn't get any prints off the duct tape, our audio guys are working on stuff. Right now, we need something more concrete if we want to prove that he did it.", "Laura Garris: I want to help, jack.", "Jack Garris: Okay, all right.", "Laura Garris: Whatever it takes to put this guy behind bars I'll do.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA works on finding prints. She finds one and smiles.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS interviews CHIP RUNDLE.)", "Brass: So you want to talk to us, no lawyer?", "Chip Rundle: Why would I need a lawyer? Look, I told you I didn't know there was any money in that bag. Hit balls at that park twice a week. Ask around.", "Brass: And the fact that you're Jack Garris' trainer?", "Chip Rundle: How does that mean I kidnapped his wife? I know the dude.", "Brass: Yeah.", "(BRASS sits down.)", "Brass: And the layout of the guy's house.", "Chip Rundle: He pays extra for me to come to him.", "Brass: You want to explain why we found your fingerprints all over the crate Laura Garris was buried in?", "Chip Rundle: Look, unless it was from Jack's vineyard, I don't know. Helped him move some crates couple weeks ago up to his garage. I can't believe it. Y-y-you got nothing to hold me on. Going once, going twice ... sold ... to the man walking out the front door.", "(CHIP stands up and walks toward the door. He pauses next to BRASS and puts a business card on the table in front of him.)", "Brass: Don't go too far, pal.", "Chip Rundle: My lawyer's number. In case you'd like to communicate with me again.", "(CHIP heads for the door. GRISSOM walks into the room and they meet each other in the doorway.)", "Chip Rundle: Hey, didn't I see you on the news tonight -- the chopper-- you were digging up Jack's wife? It's amazing. Hope you catch the guy.", "Grissom: Me, too.", "(CHIP leaves the room. GRISSOM turns around to look at BRASS.)", "Grissom: So?", "Brass: Aw, kid didn't give up a thing ... except the tape that'll break the case open.", "(BRASS reaches for the tape recorder on the table and removes the disk inside. He gives it to GRISSOM.)", "Grissom: Did you let him know you were recording him?", "Brass: Yeah. The guy has no idea what you science types can do with a little audiotape.", "Grissom: Thank you.", "(GRISSOM smiles and leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(WARRICK and CATHERINE both stand outside the driver's door. WARRICK peers in to the window.)", "Warrick: How tall you do you think Mr. Moore is?", "(CATHERINE sighs.)", "Catherine: Six feet, I'd say.", "Warrick: Old people must love hugging that steering wheel 'cause this seat is pushed all the way forward.", "(WARRICK opens the door and squeezes himself into the front seat.)", "Warrick: Oh!", "(WARRICK settles in and looks at the mirror.)", "Warrick: Oh ... well, I'm six feet and this mirror isn't helping me at all.", "(CATHERINE looks around and gets a hunch.)", "Catherine: Start the car.", "Warrick: Why?", "Catherine: Just do it.", "(WARRICK starts the car and they're both startled by the loud rap music.)", "Warrick: Whoo!", "Catherine: Mr. Moore was not the last person to drive this car.", "(WARRICK starts to get into the music.)", "Catherine: (in a loud voice) Uh, turn the music off.", "Warrick: This?", "Catherine: (loud) Yeah.", "Warrick: It's good stuff.", "Catherine: (shouts) Nobody over nineteen ... (WARRICK turns off the music) (immediately in a softer voice) ... was the last person to drive this car.", "(WARRICK sighs.)", "Warrick: Yeah.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB -- DAY]", "(GRISSOM walks into the lab where NICK and THD, the lab tech, are working on the audio tape.)", "Nick: Hey, just in time. We're giving it a final run.", "(The computer beeps and the ransom note tape comes on. The monitor shows the yellow voice pattern line moving.)", "Altered Voice: (garbled, over computer) Bring $2 million in hundreds to Charleston and Third in three hours or your wife dies. Stop me from taking the money -- she still dies.", "THD: This is the end of the same tape after a reverse algorithmic.", "(THD types on the keyboard. The tape goes on a second time.)", "Chip Rundle: (clearly, over computer) Stop me from taking the money -- she still dies.", "Grissom: (smiles) Sounds like our guy to me.", "Nick: (nods) It is. Now, ransom tape against your exemplar. You got it loaded up, T.H.D.?", "THD: Right here.", "(The tape from CHIP'S interview with BRASS goes on. The monitor shows a blue voice pattern line moving.)", "Chip Rundle: (from tape) Look, unless it was from Jack's vineyard, I don't know.", "Chip Rundle: (o.s.) Helped him move some crates couple weeks ago up to his garage.", "Grissom: Survey says ... perfect match to the naked ear. Now, where's my spectrograph, so the defense attorneys can't claim that our alterations were altered?", "(THD goes to another computer.)", "THD: Right here. Uh, yellow lines are the ransom message blue's the interview.", "(On the monitor, the yellow line and the blue line combine.)", "Nick: There's something wrong. There's just a green line.", "Grissom: That's 'cause the blue line is directly on top of the yellow line which makes it green. It's a perfect match.", "Nick: We got our kidnapper.", "Grissom: What do you do now, Nick?", "Nick: I'll call Brass, tell him to go pick the guy up.", "Grissom: But you tell Brass to drag his heels 'cause you still got work to do.", "(SARA appears in the doorway.)", "Sara: Grissom, can you look at something out back? Could be big.", "Grissom: (to SARA) Yeah. (to NICK) Come see me after you raise Brass.", "(GRISSOM walks out of the room, leaving NICK standing there confused. He turns to look at THD.)", "Nick: What did I do wrong?", "THD: I'm not going to spoil Grissom's fun. This is how he teaches all you guys.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(CATHERINE and WARRICK interview CHARLES MOORE.)", "Warrick: Does anybody else drive your car, Mr. Moore?", "Charles Moore: I was driving yesterday.", "Catherine: Sir, that doesn't answer our question.", "(The door to the interview room opens and JAMES MOORE walks in.)", "James Moore: Pops ... hey, you okay?", "(CHALRES MOORE looks up at JAMES. He turns to look at CATHERINE.)", "Charles Moore: What's he doing here?", "Catherine: Your grandson is an approved driver on your insurance. We had him pulled out of school.", "Warrick: So, James you like Mos Def?", "(JAMES looks at the scene, then takes a seat at the table.)", "Catherine: Did you hit that girl with your grandfather's car?", "(JAMES MOORE doesn't say anything. He turns to look at his grandfather.)", "James Moore: Pops, let me explain to them.", "Charles Moore: No.", "James Moore: They should hear what happened.", "Charles Moore: They're going to ... from me.", "(JAMES doesn't say anything more.)", "Charles Moore: I asked James to drive with me. I don't do so good, night driving. When I hit that girl I got knocked woozy, and James switched seats and took over the wheel ... got me home.", "Charles Moore: He was worried about me, not the girl. One more moving violation and they take away my keys. I'm not saying good judgment was used but that's what happened.", "Warrick: James you want to add anything to that?", "James Moore: No. That's how it was.", "Warrick: Will you please escort Mr. Moore back to his cell?", "Officer: Sir.", "(CHARLES MOORE stands up and heads for the door with the OFFICER. JAMES also stands up.)", "James Moore: I'll come see you with a lawyer.", "Charles Moore: Just not during school hours.", "James Moore: I won't.", "(CHARLES MOORE leaves the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]", "(CHARLES MOORE exits the room and walks down the hallway with the OFFICER. JAMES walks out of the room and follows them slowly. CATHERINE exits the room and watches JAMES.)", "Catherine: James. You have family? Someone you can call?", "James Moore: There's just the two of us.", "Catherine: We can give you a lift home.", "James Moore: Thanks, no. I'll take the bus.", "(JAMES leaves.)", "Catherine: You know that James was riding solo that night.", "Warrick: Like I know my middle name. Well, let's go back to the car and find the proof.", "(WARRICK starts down the hall. CATHERINE doesn't follow him. WARRICK turns around to look at CATHERINE.)", "Warrick: What?", "Catherine: It's just that we've got so much power in this job which we use to get the bad guys. Once in a while, I'd like to use it to help the good guys like Mr. Moore and his grandson.", "Warrick: And what-- forget about little Renda Harris?", "Catherine: No ... what I'm saying is that ... putting James away isn't going to bring her back. Mr. Moore is willing to do the time and the victim's family gets closure.", "Warrick: Hey, you don't think I'm feeling this? But we got to follow the evidence even if we don't like where it takes us. (beat) It's the job.", "Catherine: (sighs) Yeah. I know it.", "Warrick: Hey, we start making deals with the devil and you don't get to walk away. You understand what I'm saying?", "Catherine: Yeah. Momentary lapse.", "(WARRICK turns and they both head out.)", "[SCENE_BREAK]", "[INT. CSI - HALWAY -- DAY]", "(GRISSOM and NICK walk through the hallway.)", "Grissom: I want you to find something new on that tape.", "Nick: Like what? We already matched the guy's voice.", "Grissom: You know what the defense attorneys will do with that? That's who you're up against, in the end.", "Nick: You think I don't know that? Aw, you been second-guessing me ever since I got on this case.", "Grissom: People leave us clues, Nick. They speak to us in thousands of different ways. It's our job to make sure that we've heard everything they've said. Anything less is reasonable doubt.", "Nick: I'll go back to the tape.", "(NICK leaves. GRISSOM turns and looks inside the Break Room where CATHERINE is pouring herself a cup of coffee.)", "[INT. CSI - BREAK ROOM - CONTINUOUS]", "Grissom: You any better?", "(CATHERINE looks up at GRISSOM.)", "Catherine: What are you talking about?", "Grissom: Your little major-minor blowup about Lindsey not wanting a party.", "Catherine: Oh, that. Yeah. (sighs) I'm just afraid that I'm making her weird, you know?", "Grissom: (looks at her) No.", "Catherine: I work 24/7. I have no time for my friends. My daughter rarely sees me having any fun. And, all of a sudden, she doesn't want a party.", "(CATHERINE grabs her cup and heads out the doorway. She and GRISSOM start down the hallway.)", "[INT. CSI - HALLWAY - CONTINUOUS]", "Grissom: And that's because of you?", "Catherine: Yes. I'm her mother. She mimics me.", "Grissom: Well, then she'll be fine. I mean, look at you.", "Catherine: You're just saying that to make me feel better.", "Grissom: Yeah.", "(Behind them, SARA steps out into the hallway from the garage carrying a roll of tape.)", "Sara: Hey, Grissom ... could you come tape me up?", "(Without waiting for an answer, SARA ducks back into the room. GRISSOM turns to look at CATHERINE.)", "Grissom: I love my work.", "Catherine: It shows.", "(GRISSOM turns and heads for the garage.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - DAY -- CONTINUOUS]", "(SARA is sitting inside the car with her hands taped together in front of her. GRISSOM stands outside the passenger seat adding the last of the tape.)", "Grissom: So, you found Laura's hairs here ... passenger side, front seat?", "Sara: Right. Not in the back. Which made me ask, what kind of a kidnapper puts a woman bound and unconscious in the front seat? The back of my arm isn't touching the sheepskin, see?", "Grissom: Yeah. So?", "Sara: But, there is sheepskin fiber on the back of Laura's sleeve. That tells us Laura sat back like a normal person would.", "(SARA holds out her taped wrists.)", "Sara: Cut me, Mack.", "(GRISSOM cuts the tape off.)", "Sara: Like this.", "(SARA pushes her arms back against the front seat to illustrate what she means.)", "Grissom: So she wasn't bound at all?", "Sara: Correct. But, would a kidnapper risk putting an unconscious woman in the front seat of his car, even unbound? Answer is usually in the question -- you taught me that. So, was she unconscious? We found halothane on the patio. Halothane knocks you out ... if you take it.", "Grissom: So, you're saying she never inhaled the halothane?", "Sara: Proof would be in her blood. Halothane stays in the system up to 48 hours.", "Grissom: How pleased am I that I got a sample of her blood?", "(GRISSOM trumps her and she sighs.)", "Grissom: So you can go check at the lab, see how it turned out.", "(SARA stands up.)", "Sara: Damn it, I wanted to carry the ball over the line.", "Grissom: I know.", "(SARA heads out of the garage. BRASS walks into the garage.)", "Brass: We just picked up our kidnapper-- Chip.", "Grissom: What's up?", "Brass: His lawyer was at his house -- wants to make a deal.", "Grissom: No deals. We know what Chip has to offer.", "Brass: Oh, yeah, Kreskin? What's that?", "Grissom: Laura Garris.", "Brass: The Victim?", "Grissom: The Accomplice.", "[SCENE_BREAK]", "[EXT. CSI - PARKING LOT -- DAY]", "(GRISSOM is out in the parking lot when NICK calls out to him and rushes to catch up with him.)", "Nick: Hey!", "Grissom: You got something that can't wait, Nick?", "Nick: Yeah, the ransom tape enhanced -- mega-enhanced.", "(NICK hands the tape to GRISSOM.)", "Grissom: Good. I'll listen to it right now.", "Nick: All right. Hey, I just ... I didn't know there was more to look for, you know?", "Grissom: You did it. It doesn't matter how we got here. Just remember this.", "[SCENE_BREAK]", "[EXT. CSI - GARAGE - DAY]", "(CATHERINE and WARRICK examine the car. CATHERINE is in the driver's seat and finds something embedded in the steering wheel cover. She sighs.)", "Catherine: When you want evidence, you can't find it. When you don't want it, it's as big as Dallas.", "Warrick: What you got?", "Catherine: Can you tell what that is?", "Warrick: My Aunt Bertha could tell, and she's legally blind.", "(WARRICK and CATHERINE look at each other.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(WARRICK and CATHERINE are back interviewing CHARLES MOORE. JAMES MOORE sits next to his grandfather -- not saying anything, not looking at them.)", "Charles Moore: (perplexed) You want to look at my teeth? What kind of investigation is this?", "Warrick: A forensic investigation, sir.", "Charles Moore: Fine. You look at my teeth.", "(CHARLES MOORE takes his false teeth out from his mouth and puts it on the interview table.)", "Charles Moore: Give them back when you're done.", "(CATHERINE clears her throat and look at JAMES. CHARLES puts his teeth back into his mouth.)", "Catherine: James ... we found a tooth chip embedded in the steering wheel of your grandfather's car. It doesn't appear to be, uh, from your grandfather's teeth.", "(JAMES looks at his grandfather.)", "Warrick: James ... you have a chipped tooth? Must be an incisor, or we would have noticed.", "James Moore: Pops, I'm sorry, but I got to.", "Charles Moore: He's a good boy. It was an accident. I make him call ... let me know where he is especially when he's out after dark.", "(Quick flashback to: JAMES MOORE is driving the car and talking to his grandfather on the cell phone. Rap music blasts on the radio.)", "James Moore: Hey, pops, it's me. Tips were good.", "(Flash cut to: Little RENDA HARRIS is moving along on her scooter.)", "James Moore: Hey, I thought I'd go check out a movie over at the plex.", "(Flash to: RENDA HARRIS on her scooter.)", "James Moore: Okay. See you later.", "(JAMES hangs up and glances away for a moment to put the phone away. At that moment, RENDA HARRIS crosses the car's path. JAMES looks up and hits the brakes, but it's too late. The car hits RENDA HARRIS. She screams. The scooter falls. JAMES lunges forward, hitting his teeth against the steering wheel.)", "(He starts to panic. He reverses the car and leaves the scene.)", "(End of flashback. Resume to present.)", "Charles Moore: He drove straight home and wanted me to go to the police station with him.", "James Moore: I didn't know that little girl was dead. I swear. I didn't know what to do. I knew Pops would know.", "Charles Moore: I wouldn't let him turn himself in. That was my decision. Boy's going places - college -- he's got a real future.", "Catherine: I'm very sorry, Mr. Moore. James, I'm afraid you're going to have to be taken into custody.", "Charles Moore: Miss, please, now, I'm willing to serve his time.", "Catherine: I know you are, Mr. Moore. We can't let you do that.", "Charles Moore: I made him cover it up. That was my decision.", "Catherine: He can explain all that to court. I'll be a witness.", "(CATHERINE looks at WARRICK who also nods his head.)", "Catherine: We both will.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]", "(JAMES MOORE walks out of the interview room with handcuffs on and escorted by two officers. CATHERINE and WARRICK follow.)", "Warrick: Hey... why don't you run on home? I'll handle this.", "Catherine: Is this more of your new leaf?", "Warrick: Your daughter gets out of school in a half hour, right? (CATHERINE nods.) On her birthday. (She nods again.) Why do you want to pick a fight with me now?", "Catherine: I owe you.", "Warrick: Don't think I won't collect.", "(WARRICK turns and walks down the hallway.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(GRISSOM sits in his office with ear phones on listening to the disk. Behind him, the door opens and SARA walks in.)", "Sara: Grateful dead CD?", "(GRISSOM takes off the ear phones.)", "Grissom: Who's dead?", "Sara: No halothane in Laura Garris' blood which proves she was never knocked out. She went willingly. She and Chip faked her kidnapping -- which, of course, makes no sense at all.", "Grissom: Because she ended up underground in a box.", "Sara: With a black eye. Any theories?", "Grissom: Greed.", "[SCENE_BREAK]", "[INT. GARRIS RESIDENCE - LIVING ROOM -- DAY]", "(GRISSOM and SARA interview LAURA GARRIS in their living room while she's sitting next to her husband.)", "Laura Garris: That's ridiculous. I don't even know Chip Rundle except that he's Jack's trainer.", "Grissom: But you became pretty good friends, didn't you?", "Laura Garris: (shakes her head) No. Jack ... no.", "Jack Garris: (looks at GRISSOM) I believe my wife.", "Grissom: Thing is, Jack, I tend not to believe people. People lie. The evidence doesn't lie.", "Sara: You and Chip made a plan to run away together with your hard-earned millions, Jack. Divorce is just too long and messy. Anyway, the plan was surprisingly well thought-out.", "(Quick flashback to: CHIP RUNDLE grabs LAURA GARRIS from behind, clamping his hand over her mouth.)", "Chip Rundle: Don't move.", "Laura Garris: Ooh ...", "(He lets her go. She turns around and jumps into his arms where they start kissing.)", "(They start making their way slowly down the hallway, LAURA GARRIS still being carried by CHIP.)", "Laura Garris: Go on, say it.", "Chip Rundle: No, no!", "(As they pass the large mirror in the hallway, LAURA tips it askew.)", "Laura Garris: Say it!", "Chip Rundle: What?", "(The lamp falls to the floor. LAURA kisses CHIP.)", "Laura Garris: Say the words.", "(LAURA reaches out for the door frame.)", "Chip Rundle: I love you.", "(As they pass through the door frame, LAURA leaves a mark there.)", "(Flash to: CHIP tracks dirt on the bedroom floor as he leaves.)", "(They pass by the dresser where LAURA knocks everything to the floor.)", "(CHIP hands LAURA a cloth.)", "Chip Rundle: Put this on.", "(LAURA puts the halothane on the cloth.)", "Chip Rundle: A lot of it.", "(CHIP carries LAURA out of the bedroom and through the patio where LAURA drops the cloth.)", "(End of flashback. Resume to present.)", "SARA You were in, you were out. And you dropped that halothane rag to make sure we'd find it and know you were unconscious -- a real victim. Jack, all due respect -- she's anything but.", "Laura Garris: Oh, really? Then how did I end up buried alive, scared to death?", "Sara: We're getting to that. You and Chip drove out of town. She sat in the front seat, unbound, fully conscious. They stopped at a roadside phone. Chipper called in the ransom message and I think you were still in the truck then, right, Laura?", "Laura Garris: Whatever. This is your thing.", "Sara: Pay attention. It's about to become yours.", "Grissom: (taking over) Then you both drove East towards Sandfill mine. He probably told you about some little line shack or something where you could stay while he picked up the ransom money. But then, all of a sudden, he pulled over -- probably made some excuse.", "(Quick flashback to: CHIP walks away from the car. LAURA GARRIS shuts the car door and hesitantly follows him.)", "Laura Garris: Chip... what are we doing?", "Chip Rundle: Switching cars -- covering our tracks. I got a jeep up over this hill.", "Laura Garris: Where?", "(End of flashback. Resume to present.)", "Grissom: I bet, right away, in your gut, you knew something was up. And then, just a few minutes later you knew for sure.", "(Quick flashback to: Over the hill, LAURA comes upon the wind box in the hole in the ground. She stops smiling. CHIP comes up behind her. LAURA turns around to look at CHIP. He swings and hits her in the eye, knocking her out.)", "(End of flashback. Resume to present.)", "Grissom: That's when, I believe, you got your black eye.", "Laura Garris: I, uh ... I don't remember.", "Grissom: And then, finally, you were unconscious. He duct-taped your hands and he buried you.", "(NICK walks in to the room.)", "Sara: Guess he figured why split $2 million when he can dump you and have it all.", "Jack Garris: Laura?", "Laura Garris: Jack, it's not true. I had no part in it.", "Nick: Audio downloaded everything. Dubs are cued up.", "(NICK starts to set up the speakers attached to the player.)", "Grissom: Let's listen to Chip's message, okay? Remember, Jack when I told you you could hear a lot if you listened?", "Jack Garris: Yeah.", "(NICK takes a seat on the couch.)", "Chip Rundle: (from tape) Bring $2 million in hundreds to Charleston and Third in three hours or your wife dies. Stop me from taking the money, she still dies.", "Nick: I'm sure you all recognize Chip's voice unaltered. Now, one more time with a slight variation.", "(NICK takes out another disk and switches it with the one in the player.)", "Grissom: It's amazing what we can do with the new forensic audio programs. Enhance sounds, isolate them.", "Nick: Heck, we can lift entire speeches just to see what's underneath.", "(NICK shuts the player and turns it on.)", "CUE SOUNDS: (from tape) CAR WHOOSING", "Grissom: A car went by when Chip was on the phone to you, Jack. Scared you, didn't it, Laura? Thought it might be the police?", "(Quick flashback to: On the side of the road, CHIP is on the phone. LAURA is hanging out the car window watching when the car on the road approaches them.)", "Chip Rundle: (from tape) Bring $2 million in hundreds to Charleston and third in three hours or your wife dies.", "(She nervously glances at the car, then quietly says something to CHIP.)", "(End of flashback. Resume to present.)", "Grissom: Let's hear it once more without that annoying car.", "(NICK turns the player on where it's clear what LAURA says to CHIP.)", "Laura Garris: (from tape) Chip, hurry up.", "(JACK gasps and turns to look at LAURA.)", "Jack Garris: You're my whole life.", "Laura Garris: Please, Jack. Your work is your life. How else do you think I started sleeping with Chip right under your nose?", "Nick: All right, let's go, Laura. Officer has a car waiting out front.", "(LAURA stands up.)", "Laura Garris: Just wait. Just wait a second. Grissom, I can help you. I can get you Chip not just on this. He was into a lot of things. Steroids. He was into credit cards. He was ...", "(The officers put the handcuffs on LAURA.)", "Grissom: We already have you both for about 25 years, minimum.", "(The OFFICERS take LAURA out of the house.)", "[EXT. GARRIS RESIDENCE - DAY]", "SLOW MOTION CAMERA: The officers lead LAURA GARRIS out of the house. GRISSOM and crew follow.", "Jack: There's one thing you didn't explain in there. As soon as you dug Laura up, why didn't she turn Chip in?", "Grissom: Self-preservation. She rats on him, she rats on herself.", "(They put LAURA GARRIS into the car. She turns and looks at JACK. JACK doesn't spare her a glance. He turns and walks back into the house.)", "[SCENE_BREAK]", "[EXT. PARK - BENCH -- DAY]", "(CATHERINE and LINDSEY sit on a bench eating popsicles.)", "Catherine: So, did you have a good day at school?", "Lindsey Willows: Yeah. Three friends made be birthday cards.", "Catherine: They did?! Well, you have got some great friends. So, Lindsey ... how come you didn't want to have a party with them?", "Lindsey Willows: I see my friends every day at school. I never get to be alone with you.", "Catherine: Oh ... wow ... well, I'm really glad to be alone with you, too. I like this more than you will ever know.", "(LINDSEY turns and sees a little boy and a little girl just about her own age riding a scooter.)", "Little Boy: Come on, man. Little Girl: I'm coming!", "(She turns to look at her mom.)", "Lindsey Willows: Are you going to get me one of those for my birthday?", "Catherine: Uh, maybe when you're older. (beat) Like 40.", "Lindsey Willows: (laughs) Mommy!", "Catherine: Whatee?", "Lindsey Willows: That's not fair.", "Catherine: I know it's not fair. Life isn't fair.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - CORRIDOR -- DAY]", "(JAMES MOORE empties his pockets. His grandfather stands on the side watching him.)", "James Moore: Don't worry, Pops. I'll be okay.", "(CHARLES MOORE sighs.)", "Charles Moore: My grandson going to jail is never okay. (beat) You stay alive in there. You hear me?", "James Moore: (nods) You, too. Don't be going downhill.", "(They hug each other.)", "(WARRICK swallows. The OFFICER step up to get JAMES. The cell door opens. WARRICK grabs a pen and stops him.)", "Warrick: Hold on. James ... the first couple days are going to be the toughest. Here.", "(On JAMES' hand, WARRICK writes down a phone number.)", "Warrick: Here's my cell number. You run into any problems you call me. I'll be right there. All right? Keep your head up.", "(The officer leads JAMES to his cell. The doors close behind him.)", "(WARRICK heads out, past CHARLES MOORE who had watched the entire exchange.. JAMES sits down in his cell.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]", "(WARRICK walks out of the room and into the hallway.)", "Charles Moore: (o.s.) You didn't have to do that -", "(WARRICK turns around to look at CHARLES MOORE.)", "Charles Moore: ... give James your number. I've seen other law enforcement people in my day ...", "Warrick: \"My day.\" (chuckles) Reminds me of my grandmother. Yeah, I gave her a lot of rough nights, too. She used to call me her \"work in progress.\"", "Charles Moore: Yeah. Well ... she did something right.", "Warrick: (nods slightly) Maybe.", "(WARRICK turns and walks away.)" ]

[ "A woman's severed leg found in Lake Mead leads Grissom and Catherine to uncover a case of adultery. Meanwhile Sara and Nick investigate a fraternity student's apparent suicide, but find out that the student's pledging has gone terribly wrong." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]", "[EXT. LAKE MEAD - NIGHT]", "WHITE FLASH TO:", "[SCENE_BREAK]", "[EXT. LAKE MEAD - NIGHT]", "(HANK and GEORGE are sitting in a boat fishing. HANK struggles to hook a worm.)", "Hank: Ah, these green worms ain't worth a damn.", "(Something thumps against the boat.)", "George: What the hell was that?", "Hank: I don't know, probably one of those eight-foot carp.", "(Something thumps against the boat again. GEORGE is spooked.)", "George: Let's get out of here.", "(GEORGE reaches for the engine pull cord and rips it. The engine sputters and dies.)", "Hank: Something probably caught on the blades. Check the prop.", "George: I'm not sticking my hand in that water.", "(HANK gets up to do it.)", "Hank: (irritated) Move. Move out of the way. Okay.", "(HANK reaches over the side of the boat and sticks his hand in the water. He feels around.)", "Hank: Yeah, I got something.", "(HANK pulls it up. He has his hand wrapped around the high heel of a woman's shoe.)", "George: Dude, throw it back.", "Hank: What the hell is it?", "(As he lifts it up, it's apparent that the woman's leg is still attached to the shoe.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. LAKE MEAD SHORELINE - NIGHT]", "(GRISSOM sets up the light to shine it on the leg.)", "(All around the lake, OFFICIALS comb the water for the rest of the body.)", "(CATHERINE puts on her gloves as she approaches GRISSOM.)", "Catherine: Femur. Strongest bone in the human body -- it's sliced clean through.", "Grissom: Like a ginsu through a banana.", "(BRASS walks up to them.)", "Brass: So, what do you think, drowning?", "Grissom: Yeah, probably, but under what circumstances? You don't wear flippers at a five-star restaurant. Why would you wear three-inch heels at a lake? (to CATHERINE) So, Watson? The game is afoot.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM -- MORNING]", "(WARRICK and NICK are in the locker room. NICK is changing his clothes and stands there shirtless; WARRICK fiddles with his tie as he prepares to go to court.)", "Nick: What do you think, bro? Breakfast on me?", "Warrick: I got a court date ... straight off of graveyard. It sucks.", "Nick: Ouch. Well, time-and-a-half. A cup of java, and you're set.", "(SARA walks into the locker room.)", "Sara: (o.s.) Fine suit.", "(WARRICK and NICK turn around to find SARA in the locker room.)", "Sara: (to NICK) And well, just fine.", "Nick: That's harassment.", "Sara: Hey, we have one locker room and it's my job to be observant.", "(NICK grabs a shirt and puts it on.)", "Warrick: Well, evidence vault opens in five. (WARRICK closes the locker door.) See you guys later.", "Nick: Later, bro.", "Sara: Easy. So, you and me, 419 Western LVU.", "Nick: I know, a dead body at a fraternity. 7:00 A.M.-Looks like we're pulling another double.", "Sara: I know, we don't have all day ... are, are you going to wear ... that?", "Nick: Yeah.", "Sara: It's that hideous ...", "Nick: Hideous. Thank you.", "(SARA leaves the locker room. NICK waits a moment, then undoes the buttons of his shirt to change it. He clears his throat and takes his shirt off.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- MORNING]", "(DR. JENNA WILLIAMS goes over the leg findings with CATHERINE.)", "Dr. Jenna Williams: Large propeller. Blade cut clean through. No epidermal bruising. The leg was severed post-mortem.", "Catherine: Well, that's good news.", "(DR. JENNA WILLIAMS covers the leg with the plastic.)", "Dr. Jenna Williams: How do you figure?", "Catherine: Well, do you want to be alive when your leg's being cut off?", "(The door bursts open and GRISSOM appears pushing a gurney with a body on it.)", "Grissom: I believe this goes with that. (beat) Divers recovered the body about a half a mile east of Calville Marina.", "Dr. Jenna Williams: Female caucasian, mid-30s. Left thighbone connected to nothing. I believe this is our victim.", "Catherine: Well, she's wearing a wedding ring.", "Grissom: Will you collect a rape kit?", "(DR. WILLIAMS looks up at GRISSOM.)", "Dr. Jenna Williams: Always do.", "(She checks out the hand.)", "Grissom: How's it look for prints?", "Dr. Jenna Williams: Her skin's shriveled like a shar-pei. No pressure, no prints.", "(GRISSOM looks expectantly at CATHERINE. CATHERINE knows that look.)", "Catherine: No. No way, use your own hand.", "Grissom: Come on, Catherine, my hand's too big.", "Catherine: (firmly) No!", "Grissom: It's the only way we can print her. Her skin on your hand should fit like a leather glove.", "(GRISSOM reaches for the hand and a knife. CATHERINE watches as GRISSOM takes the skin off of the hand. When he finishes, he looks up at CATHERINE and extends his hand to her.)", "Grissom: May I take your hand?", "(CATHERINE puts her hand in GRISSOM'S and he leads her to the table where the fingerprint kit is. Although we don't see it, GRISSOM puts the dead woman's skin on CATHERINE'S hand.)", "Grissom: On behalf of the decedent I thank you.", "(He takes the fingerprint.)", "Catherine: Umm ...", "Grissom: I think we're going to know who she is by lunchtime.", "Catherine: (shivers) Ugh!", "[SCENE_BREAK]", "[EXT. WESTER LVU CAMPUS - FRATERNITY ROW - MORNING]", "[SCENE_BREAK]", "[INT. PHI ALPHA FRATERNITY HOUSE -- MORNING]", "(NICK and SARA walk into the fraternity. NICK looks around.)", "Nick: I can't believe I used to live in a place like this. It seems like a hundred years", "Sara: And here I had all this respect for you.", "(They walk up to the group of college guys waiting for them.)", "Nick: Guys, Nick Stokes. This is Sara Sidle. We're with the crime lab.", "(MATT DANIELS stands up and extends his hand to NICK.)", "Matt Daniels: How you doing? I'm Matt Daniels.", "Nick: Hey, Matt.", "Matt Daniels: James is upstairs if you guys want to follow me.", "Nick: Okay.", "(MATT turns and heads out. NICK and SARA follow him.)", "[SCENE_BREAK]", "[INT. PHI ALPHA FRATERNITY HOUSE - SECOND FLOOR BEDROOM - DAY - CONTINUOUS]", "(SARA appears in the bedroom door. She looks inside and sees the body hanging from the ceiling. Also standing in the room is the DETECTIVE on the case. SARA walks in. NICK follows.)", "Sara: Hey.", "Detective Kane: Hey.", "(NICK sighs.)", "Nick: Good god.", "Sara: (to the DETECTIVE) You see a suicide note?", "Detective Kane: We didn't find one.", "Sara: Don't release anyone downstairs. We want to talk to them. All of them.", "(SARA puts her kit down and opens it.)", "Nick: Coroner pronounce?", "Detective Kane: Twenty minutes ago.", "(SARA takes out the camera and snaps a photo.)", "Nick: Let's get him down.", "(NICK turns away from the sight.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(CATHERINE looks a the photo of the woman who was found in the lake, WENDY BARGER. She and GRISSOM walk through the hallway.)", "Catherine: She's a floater, Wendy Barger. Thirty-four, local, Green Valley.", "Grissom: We should contact her family.", "Catherine: Already did. Talked to the husband. Never reported her missing.", "Grissom: The coroner said she'd been in the water for two days. Where's the husband now?", "Catherine: At the coroner's, I.D.-ing the body.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- FORENSIC AUTOPSY - DAY]", "(CATHERINE and GRISSOM meet up with DR. JENNA WILLIAMS who fills them in on her findings.)", "Dr. Jenna Williams: Hey. Results are back on the rape kit. Positive for semen, vaginal penetration.", "Catherine: You confirming rape?", "Dr. Jenna Williams: Well, there are signs of a struggle. The victim's right shoulder is dislocated. Her skull is fractured. (Inhales) Give me a little more time with the body.", "Grissom: Sure. Thanks, Jenna.", "(JENNA WILLIAMS leaves. CATHERINE and GRISSOM turn and enter the waiting room where WINSTON BARGER waits.)", "[SCENE_BREAK]", "[INT. CSI - WAITING ROOM - DAY - CONTINUOUS]", "(WINSTON BARGER stands up when they enter the room.)", "Grissom: Mr. Barger, my name is Gil Grissom.", "Winston Barger: Hello.", "(They shake hands.)", "Grissom: This is Catherine Willows. We're forensics investigators. Sit down.", "(They all sit down.)", "Catherine: We need to ask you a few questions.", "Winstone Barger: All right.", "Catherine: Is there anyone that you know of that might have wanted to harm your wife?", "Winston Barger: No. Everybody loved Wendy.", "Grissom: When was the last time you saw her?", "Winston Barger: Tuesday morning. She needed some time away ... to get perspective. She did that sometimes. Uh, we have a, a cabin up by Calville Bay.", "(GRISSOM looks at CATHERINE.)", "Catherine: And when was the last time you had intercourse with your wife?", "Winston Barger: Oh, that-that's personal.", "Catherine: It's part of our investigation, sir.", "Winston Barger: Uh, well, the average is only once a week. Saturdays.", "(There's an uncomfortable pause.)", "Catherine: Mr. Barger ...", "Winston Barger: (interrupts) Probably three or four months ago.", "Grissom: Would you be willing to give us a DNA sample, sir?", "Winston Barger: What's going on? I thought Wendy drowned.", "Catherine: We're still trying to piece it all together. A sample would be helpful.", "Grissom: By law, we need a warrant, unless you were willing to volunteer it.", "[SCENE_BREAK]", "[INT. PHI ALPHA HOUSE - DAY]", "(SARA and NICK interview KYLE TRAVIS and MATT DANIELS.)", "Nick: Was James depressed?", "Kyle Travis: You could say that.", "Sara: Could you say that? I mean, the kid's 18 years old, he's got his whole life in front of him and why would he want to hang himself?", "Kyle Travis: I don't know. He didn't get in?", "Sara: \"Get in\" ... ?", "Kyle Travis: The fraternity. Pledging. I mean, it's not easy.", "Sara: Apparently not.", "Nick: So, you guys let James know he wasn't getting in, right?", "Matt Daniels: Yeah. I told him last night. I'm the one in charge of dinging pledges.", "Sara: Big job? How'd he take it?", "Kyle Travis: (pointedly) I think you know.", "[SCENE_BREAK]", "[EXT. COURTHOUSE - PARKING LOT - DAY]", "(WARRICK shuts the car door. He carries a sealed plastic container with him. He walks up to the COUNTY COURTHOUSE 423 where he sees JUDGE COHEN walking out toward him.)", "Warrick: Hey, Judge. What's going on? I'm due in your court.", "Judge Cohen: Called for a continuance.", "Warrick: Well, nobody told me.", "Judge Cohen: Nobody was supposed to tell you.", "(JUDGE COHEN steps aside.)", "Judge Cohen: You're going to do something for me.", "Warrick: Judge, I thought we were even. How much longer am I under your thumb?", "Judge Cohen: You do what I ask, slate's clean. Henderson rape case. State's evidence.", "Warrick: Damn. I knew you were in tight.", "Judge Cohen: Judges aren't appointed on a whim. I owed the family. I need you to compromise the chain of custody.", "Warrick: Just like that?", "(The JUDGE nods.)", "Warrick: We got a slam dunk on a three-time rapist and he's just going to walk?", "Judge Cohen: I have to have this case kicked.", "Warrick: I'm already on probation.", "Judge Cohen: Give them an excuse. You're good at that. You worked the graveyard. You pulled a double and you're tired. It could happen to anybody. Don't worry. I've got your back.", "Warrick: Yeah, I feel you back there, believe me.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY]", "(GREG SANDERS looks through the scope, the music on his boom box playing. CATHERINE walks into the lab. GREG steps away from the scope and turns the music up.)", "(GRISSOM walks into the lab and immediately gets into the music. He calls out to GREG.)", "Grissom: (loudly) Hey, maestro, what's the deal on our floater?", "(GREG doesn't hear him. GRISSOM turns the music down.)", "Grissom: Excuse me. Professor? What's up with our floater?", "Greg Sanders: Come hither.", "(GREG puts the DNA results on the monitor. They look at it.)", "[CAMERA CLOSE UP - SAMPLE F981189]", "Catherine: DNA doesn't match.", "Greg Sanders: Thirteen markers, and not one of them matches the husband's types.", "Grissom: That's funny. I liked the husband for this.", "[SCENE_BREAK]", "[INT POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE and GRISSOM are in the interview room with WINSTON BARGER and his ATTORNEY.)", "Attorney: Well, you were wrong. My client's been through enough distress. Winston, come on.", "(The ATTORNEY stands up. WINSTON BARGER also stands up. Before he leaves the room, he looks at GRISSOM.)", "Winston Barger: When you find out what happened to my wife, I want to know everything.", "Grissom: I promise.", "(WINSTON BARGER leaves the room. GRISSOM puts the file back in his case and sighs.)", "Catherine: Let me ask you something. Would you want to know everything?", "Grissom: You're asking the wrong guy.", "(CATHERINE grabs her bag and they both head out of the room.)", "Catherine: Barger as much as told us that he and his wife were having problems. She was staying at the lake. It wasn't the first time. And what do you think the chances are she was seeing somebody else?", "[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]", "Grissom: You were married. You tell me.", "Catherine: Very good to excellent.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE VAULT - DAY]", "(WARRICK signs back in the evidence box he took with him to court.)", "Warrick: I need to see the Henderson Rape case 4217.", "Mike: Sure, in here.", "(MIKE gets the key to the cage. He unlocks the door and they both enter the room. He reaches up on the shelf to bring the box down to the table.)", "Mike: Uh, sign here.", "Warrick: Thanks, Mike.", "(WARRICK watches as MIKE leaves the cage. WARRICK hesitates and doesn't sign the sheet. Again, he puts the pen down on the sheet, but doesn't sign it. WARRICK sighs.)", "(Behind him, GRISSOM appears in the door.)", "Grissom: Hey.", "(WARRICK looks up.)", "Grissom: How's court?", "Warrick: Uh, damn case was continued. Clerk never called.", "Grissom: Look, go home. Take a day. You're been working your ass off.", "Warrick: (shakes his head) Nature of the beast.", "Grissom: I'm grateful, Warrick. I'm glad you're back. And I owe you a party.", "Warrick: Party?", "Grissom: Yeah, I made you a CSI three.", "(WARRICK chuckles.)", "Grissom: You'll see it in your next paycheck.", "Warrick: More money, more problems.", "Grissom: Mm ...", "Warrick: Thanks.", "Grissom: Yeah.", "(GRISSOM turns to leave.)", "Warrick: I appreciate it.", "(WARRICK sighs and looks back at the evidence box.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - DAY]", "(BRASS is eating lunch in the break room. CATHERINE is also there.)", "Brass: If Wendy Barger was sleeping around, none of her friends knew about it.", "Catherine: Anybody seen her since Tuesday?", "Brass: Nope. And as far as I can tell, the husband's on the level. He was happier in the marriage than she was.", "Catherine: She had something on the side. I can tell you firsthand when you don't cheat, you don't suspect.", "Brass: Oh, man. I wish I had been married to you.", "Catherine: Not a chance.", "(CATHERINE closes her lunch and stands to throw it away.)", "Brass: (exaggerated) Oh ... mm ...", "(GRISSOM appears in the doorway.)", "Grissom: Coroner just called. They're waiting for us.", "Catherine: Okay. Brass, you coming?", "Brass: (points to his food) I still got half a burger. Besides, I prefer live bodies.", "(He chuckles.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY - CONTINUOUS]", "(CATHERINE and GRISSOM head for the coroner's. WARRICK appears behind them, trying to catch up with GRISSOM.)", "Warrick: Hey, Grissom. (They turn around.) You got a second? Uh, I'm in purgatory. Need some guidance.", "Grissom: (to CATHERINE) Meet you at the car.", "(GRISSOM walks toward WARRICK.)", "[SCENE_BREAK]", "[INT. CORONER'S FFICE - FORENSIC AUTOPSY - DAY]", "(DR. CORBETT goes over JAMES JOHNSON'S findings with NICK and SARA.)", "Dr. Corbett: Okay, here's your frat boy. We have a petechial hemorrhaging which is synonymous with asphyxia.", "(Quick CGI Close up of the eye.)", "Nick: So he asphyxiated by hanging? Are you ruling suicide?", "Dr. Corbett: No, not yet. When a victim is found hung we usually find some teeth marks on the tongue.", "(DR. CORBETT reaches into the mouth and pulls out the tongue.)", "Sara: No teeth marks.", "Nick: But we found him swinging from the ceiling.", "Sara: So, the question is, how did he get there?", "Dr. Corbett: Speaking of how did he get there ...", "(DR. CORBETT lifts up the sheet. NICK turns away; SARA steps up.)", "Dr. Corbett: How did this get on his pen1s?", "Sara: Huh. Is that a tattoo?", "Dr. Corbett: No, no, it looks like ink.", "(NICK looks away. SARA looks at NICK.)", "Sara: Nick? You want to take a look at this?", "Nick: Oh, no, I ... don't have to look. I have a pretty good idea what this is all about, so ...", "Sara: (smiles) Okay.", "Nick: Knock yourself out.", "[SCENE_BREAK]", "[INT. FRAT HOUSE - CHAPTER ROOM - DAY]", "(NICK and SARA are back at the fraternity house interviewing KYLE TRAVIS and MATT DANIELS.)", "NICK Does your fraternity practice hazing?", "Kyle Travis: No.", "Matt Daniels: Yeah, I mean, it took a long time for Phi Alpha to get its charter. We have a strict no-tolerance policy and as president, I enforce that to the letter.", "Nick: (laughs) Come on, man, I was a Greek and we had all kinds of policies, too. Guys still hazed.", "Sara: We found ink on James's pen1s. Are you trying to tell us he was just practicing his penmanship?", "Matt Daniels: (insistent) State passed a law: No Hazing. It's six months in jail plus expulsion. We do not haze.", "Kyle Travis: But there is an initiation.", "(Quick flashback to: The Frat House. The new pledges and members meet.)", "(Cut to: KYLE TRAVIS.)", "Kyle Travis: Pledges, turn and face your active chapter.", "(The pledges turn around and the members shine bright powerful lights on them, blinding them. The heckling begins.)", "Kyle Travis: For the past ten weeks you guys have accumulated points. Some of you are way ahead. Some of you are way ... behind.", "(Cut to: KYLE TRAVIS holding pens in his hands.)", "Kyle Travis: (shouts) It's time ... to get signed!", "(The frat boys cheer.)", "Matt Daniels: (V.O.) I could tell right off the bat James was nervous, you know?", "(End of flashback. Resume to present.)", "Matt Daniels: He was kind of the shy guy. I mean, he ... he wanted to pledge. He wanted to belong.", "Kyle Travis: (correcting MATT) Yeah, he wanted to belong, but you know what, I questioned his chops. I think we all did.", "(NICK clears his throat.)", "Matt Daniels: So, yeah, we gave the pledges an assignment: They were to go to sorority row and, uh, get ... different parts of their bodies signed.", "Kyle Travis: I mean, the menu was pretty straightforward. Arms and legs: Five points. Ten points for your chest, 25 points for your butt cheeks and 100 points for your Johnson.", "Sara: Your Johnson?", "Nick: Yeah, you know, your, uh ...", "Sara: (to NICK) I know what it is. (to KYLE) Don't stop now.", "(Quick flashback to: Fraternity House.)", "Kyle Travis: And Johnson ... ...your sorry ass is so far behind in points that you better get your ... \"Johnson\" ... (KYLE reaches down and grabs JAMES. JAMES jumps in surprise.) ... signed a couple hundred times or you're... history.", "(The members cheer and whoop.)", "(End of flashback. Resume to present.)", "Matt Daniels: Kyle caught him cheating in the bathroom.", "(Quick flashback to: KYLE standing in the middle of the common room with his hand on JAMES' shoulder.)", "Kyle Travis: He was signing himself.", "Frat Boy: Oh, man! FRAT BOY: No!", "(KYLE turns around and pours his cup of beer over JAMES' head.)", "Frat Boy: What a fake!", "(The other members join in and throw their cups full of beer on JAMES' also.)", "(End of flashback. Resume to present.)", "Sara: You humiliate him in front of all the other actives. Poor kid was so scared, he had to sign himself. You give him a beer shower? And you don't call that hazing?", "(Neither KYLE or MATT say anything. They look at each other. NICK gets angry at them.)", "Nick: (firmly) Answer the question, guys.", "Kyle Travis: I had no choice. I had to ding him.", "Matt Daniels: I mean, come on, you're only as strong as your weakest link.", "Kyle Travis: We didn't pledge him. He pledged us. He knew what to expect if he didn't measure up.", "Nick: Humiliation, initiation ... (beat) ... appreciation.", "Kyle Travis: That's what it's all about.", "Nick: Right, right?", "Matt Daneils: We're sorry, but we didn't kill him.", "(SARA looks at them.)", "Sara: I don't buy it.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(WARRICK is on the phone in the hallway.)", "Warrick: (to phone) Judge ... Warrick. Listen, uh, I got a little problem. No, I can't talk about it over the phone. We got to meet in person. There's something in the evidence I think you should see. Good.", "(WARRICK hangs up the phone and sighs.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DR. JENNA WILLIAMS goes over her findings with CATHERINE and GRISSOM.)", "Dr. Jenna Williams: I'll start at the top. Head contusion, right temple. Imbedded with wood splinters, lime green paint.", "(Camera zooms in to show the green-colored wood splinters in the head.)", "Catherine: What does that give us?", "Dr. Jenna Williams: Nothing yet, but when you find the murder weapon it might give you something to compare it against. Moving down, three words. Write them down. Minimal pulmonary aspiration.", "Grissom: (surprised) There was no water in her lungs?", "Dr. Jenna Williams: All I'm saying is, if she died by drowning her lungs would be flooded.", "(Quick CGI to: Camera zooms down WENDY BARGER'S open mouth, down through her wind pipe and into her lungs where water fills them up.)", "Dr. Jenna Williams: (V.O.) But her lungs weren't flooded.", "(End of flashback. Resume to present.)", "Grissom: So we think she was raped killed, then dumped in the lake.", "Dr. Jenna Williams: After a very nice dinner. Which brings me to her stomach.", "(DR. WILLIAMS picks up the container of her stomach contents.)", "Dr. Jenna Williams: Fried calamari and based on the extent of the digestion she died about three hours after she ate.", "[SCENE_BREAK]", "[EXT. LAKE MEAD - LATE DAY]", "[SCENE_BREAK]", "[EXT. RESTAURANT - LATE DAY]", "(GRISSOM and CATHERINE walk along the pier toward the front of the restaurant.)", "Catherine: Now tell me, why are we here?", "Grissom: 'Cause it's the only place within ten miles of Calville Bay that serves calamari.", "Catherine: And you know this because...?", "Grissom: I come here for calamari.", "Catherine: Oh. Alone?", "Grissom: No. Sometimes I have a beer with it.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. RESTAURANT - LATE DAY -- CONTINUOUS]", "(CATHERINE and GRISSOM show the WAITRESS a photo of WENDY BARGER. She looks at it.)", "Catherine: Do you recognize this woman?", "Waitress: She might have eaten here Tuesday night right around this time.", "Catherine: Ordered the calamari.", "Waitress: Miss, everyone orders calamari.", "Catherine: Well, I don't care about everyone. I care about her.", "Waitress: Uh ... yeah. Yeah, I remember her. Um, she came in with a guy. Regulars. Good tipper.", "Grissom: Would you happen to know this \"good tipper\"'s name?", "[SCENE_BREAK]", "[INT. PHIL SWELCO'S HOUSE - LIVING ROOM -- NIGHT]", "(GRISSOM and CATHERINE interview PHIL SWELCO.)", "Catherine: Mr. Swelco, are you all right?", "Phil Swelco: (sniff) I can't believe she's dead.", "Grissom: Could you tell us about your affair with Wendy?", "Phil Swelco: Nobody knew we had one.", "Grissom: What about your wife?", "Phil Swelco: We were separated. We filed for divorce last week. I thought Wendy was going to do the same thing.", "Catherine: And... when she didn't, you got angry?", "(He turns and looks at CATHERINE.)", "Phil Swelco: No. No. That's not what I meant. I loved Wendy. She said the marriage was over. It's just that ... just ... she was scared.", "Catherine: Scared? Why?", "Phil Swelco: She didn't want to hurt Winston. She thought if she left, he'd ... break.", "Grissom: Tuesday night you and Wendy had dinner at the grille? Where'd you go after that?", "Phil Swelco: We went back to the marina in her car and then we took the outboard back here.", "Grissom: Why'd you take the boat?", "Phil Swelco: Wendy didn't want anybody to s-see her car in my driveway so we always met at the marina and then we'd take the outboard over here.", "Catherine: What happened once you got here?", "Phil Swelco: We made love. Then she left. Took the boat back.", "(CATHERINE turns to look at GRISSOM.)", "Grissom: Where is ... the boat?", "Phil Swelco: At the marina.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. PHIL SWELCO'S HOUSE - NIGHT -- CONTINUOUS]", "(CATHERINE and GRISSOM walk out of the house and head back to their car.)", "Catherine: Do you believe him?", "Grissom: I believe he had an affair.", "(GRISSOM looks out into the driveway and sees WINSTON BARGER standing in front of his car. He sees them and starts heading toward them.)", "Catherine: Is that the husband?", "(WINSTON BARGER walks up to GRISSOM and CATHERINE.)", "Grissom: Mr. Barger, what are you doing here?", "Winston Barger: You didn't call, so I was following you. Uh, this is ... Phil Swelco's house, isn't it?", "Grissom: Do you know Mr. Swelco?", "Winston Barger: Informally. Does he have something to do with Wendy's death?", "Catherine: We're interviewing a lot of people. Most of it's follow-up.", "(He nods.)", "Grissom: Mr. Barger, this is a time when you ought to let us do our job. You've been through a terrible ordeal. You've asked us to keep you posted and I promise we will keep you posted.", "Winston Barger: I just wanted to see if you guys have anything new.", "Catherine: As soon as we know, you'll know.", "Winston Barger: All right.", "(WINSTON BARGER walks back to his car and gets in.)", "Grissom: Drive safely.", "(The engine starts and he drives off.)", "(CATHERINE and GRISSOM head back to their car.)", "Catherine: You know, eventually we're going to have to tell him that his wife was having an affair with somebody he knows.", "Grissom: No, we don't, Catherine. We have to tell him how he died. Just the facts, without all the other stuff.", "Catherine: When Eddie was cheating on me I sure wish somebody would have said something.", "Grissom: You mean me.", "(beat)", "(CATHERINE opens the car door.)", "Catherine: Who else?", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM looks a the tarantula in the tank he's holding up to his eye level. CATHERINE knocks on the door. He looks up; she walks into the office.)", "Catherine: New pet?", "Grissom: The African Red Baboon Tarantula -- the most feared of all arachnids. But basically harmless.", "Catherine: Yeah, well just keep the lid on it, okay?", "Grissom: I think you scared him. All his hairs are standing up.", "Catherine: If you're through amusing yourself I have some news on the boat.", "Grissom: Was it at the Marina?", "Catherine: What do you think?", "Grissom: My spider sense says it wasn't.", "Catherine: Right. We need to find the boat.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - DAY]", "(NICK puts his food in the microwave oven. SARA walks into the break room waving a file folder.)", "Sara: The coroner's prelim on the frat hanging.", "Nick: Bust it out.", "(SARA lifts her head and sniffs.)", "Sara: What's that smell?", "Nick: I'm nuking a burrito.", "Sara: Mmm, junk food and radiation-- good combo.", "(SARA opens the file and starts reading.)", "Sara: A strip of raw calf's liver was found lodged inside the cleft of victim's throat. Cause of death: Choking.", "Nick: (nods) Mm-hmm. That's interesting.", "Sara: Microscopic threads of fabric were found embedded in the liver.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(NICK and SARA interview KYLE TRAVIS.)", "Kyle Travis: Microscopic fabric? I have no idea what you're talking about. You just lost me.", "Nick: Kyle, I'm getting that \"hazing\" feeling.", "Sara: Did you stuff him? Suffocate him? Shove towels down his throat?", "Kyle Travis: No. Look, lady, I have no idea where you're going with all this but you're way off.", "(NICK stands off to the side in the shadows.)", "Nick: Tell me about the liver.", "Kyle Travis: What about the liver?", "Nick: Kyle ... Kyle ... eleven years ago I was you, man. Smoking cigars in closets, playing tanks. I wore a trout in my jean pocket for seven days till my leg went half numb. I've been there. So, don't ... don't tell me \"what about it?\"", "Kyle Travis: (sighs) Okay. James begged us for one more shot so, we came up with a challenge.", "(Quick flashback to: Camera close up of a bloody piece of liver in a container.)", "Kyle Travis: (V.O.) Swallowing raw liver.", "(KYLE holds up the piece of liver. JAMES JOHNSON opens his mouth.)", "(Cut to: JAMES coughs. MATT DANIELS sits on the couch on the side watching. He starts to choke.)", "Kyle Travis: Oh, man. Oh, man, he's choking.", "(MATT gets off of the couch.)", "Matt Daniels: Give him the heimlich. Give him the heimlich. Give him the heimlich!", "(They grab JAMES and try to get the liver out of him.)", "Matt Daniels: He's turning blue!", "(End of flashback. Resume to present.)", "Sara: How does a kid choke to death and end up hanging from a rafter?", "(KYLE doesn't look at SARA. He looks at NICK. NICK nods his head and steps away.)", "Kyle Travis: (sighs) Okay. We freaked. I mean, we had a lot to lose here. We could lose our charter or get kicked out of school or even go to jail. So, me and Matt, we strung him up, and ... made it look like he'd committed suicide.", "(NICK looks down and nods his head.)", "Sara: You do realize you just admitted to killing him?", "Kyle Travis: We didn't kill him. It was an accident.", "Sara: It was an accident. But now it's beginning to look like Christmas.", "Kyle Travis: Look, (sighs) ... my dad's a top defense attorney so, if charges are filed ...", "(NICK grabs a chair and sits down.)", "Nick: Don't worry. They will be.", "Kyle Travis: It'll be manslaughter, not murder. And me and Matt wind up with community service.", "[SCENE_BREAK]", "[INT. POLICE DEPARMENT - HALLWAY - CONTINUOUS]", "(NICK and SARA walk out into the hallway.)", "Nick: We can hold him for manslaughter.", "Sara: Manslaughter -- are you kidding? Are you willing to settle for that? Come on, Nick, you know as well as I do there is more to this.", "Nick: You're going 80 miles an hour in second gear. Let's just slow down, all right?", "Sara: Okay.", "Nick: They said they performed the heimlich, right?", "Sara: Yeah. I don't believe them.", "Nick: Well, if they performed the heimlich, there'd be evidence of trauma.", "Sara: Yes, there would.", "(SARA nods and walks away. NICK follows her.)", "[SCENE_BREAK]", "(The camera zooms down from a top view of JAMES JOHNSON under the sheet and stops on his chest.)", "DISSOLVE INTO", "[SCENE_BREAK]", "[INT. CSI - CORONER'S OFFICE - X-RAY LAB - DAY]", "CLOSE UP: CHEST X-RAY ON A VIEWBOX", "(DR. CORBETT goes over the chest x-ray with SARA and NICK.)", "Dr. Corbett: Well, now, you're right. If they gave this frat kid the heimlich chances are we'd find a broken rib.", "Nick: Not even a fracture.", "Sara: What about abdominal or thoracic bruising?", "Dr. Corbett: Nope. Photos are all negative.", "Sara: They lied. When this kid was choking, no one tried to help him.", "Dr. Corbett: Take a look at this.", "(DR. CORBETT moves to the keyboard monitor. He works on the keyboard.)", "Dr. Corbett: Now, we magnified Mr. Johnson's privates.", "(SARA glances back at NICK and sees that he's watching the monitor. NICK glances at SARA.)", "Dr. Corbett: The ink is from a felt tip. It's a paper max thin tip to be exact.", "(SARA nods her head.)", "Sara: (reading) \"JILL W.\" Two triangles.", "Nick: (correcting) No, it's two deltas. Greek letters. She's a delt.", "(SARA closes her eyes and groans.)", "Sara: Freaks.", "[SCENE_BREAK]", "[INT. SORORITY HOUSE - COMMON ROOM -- DAY]", "(NICK and SARA interview JILL WENTWORTH. NICK takes out a photograph of the \"signature\" and shows it to JILL WENTWORTH)", "Nick: Jill, we need to ask you a question. Is this your signature?", "(She looks at it, covers her eyes and laughs.)", "Jill Wentworth: (laughing) Oh, my god. Oh, where did you get that?", "Sara: Where do you think?", "Jill Wentworth: You don't think that has something to do with what happened?", "Nick: We don't know yet. That's what we're trying to find out. How well did you know James?", "Jill Wentworth: Uh, he was pledging my boyfriend's house. We're Greek, I mean ... we sign them. They sign us. ...", "Sara: (unimpressed) Of course you do.", "Nick: Who's your boyfriend?", "Jill Wentworth: Kyle Travis.", "(SARA looks at NICK. He clears his throat and looks down.)", "[SCENE_BREAK]", "[INT CORRIDOR OUSTIDE JAMES' ROOM]", "(NICK breaks the seal to JAMES JOHNSON'S dorm room. He opens the door. He and SARA walk inside.)", "[INT JAMES' ROOM - DAY -- CONTINUOUS]", "(NICK and SARA put their kits down and start searching the room.)", "Sara: So, looking for fibers.", "Nick: Yeah, fibers liver-anything to implicate these guys.", "(NICK looks across the room and heads for the trash can. He looks inside and empties its contents on the floor. He picks up a piece of string with a bloodied loop on the end.)", "(Camera zooms in to show the bloodied string loop.)", "Sara: What the heck is that?", "Nick: The murder weapon. Dingle-dangle.", "[SCENE_BREAK]", "[INT CSI - HALLWAY - NIGHT]", "(WARRICK walks down the hallway drinking from a cup. He meets up with GREG SANDERS who is wearing head phones.)", "Warrick: Let me guess. Radiohead or Rage against the machine.", "Greg Sanders: Actually, it's an audio book on restriction enzyme analysis and DNA typing. PCR fingerprinting. Choice.", "Warrick: Right.", "(As they pass the garage, GREG looks in through the window and sees GRISSOM inside.)", "Greg Sanders: What's Grissom doing in the garage?", "Warrick: Oh, he's working that Wendy Barger case -- you know, the floater?", "Greg Sanders: Oh.", "Warrick: Only clue he's got is a missing boat which sucks, 'cause ... it's missing.", "Greg Sanders: (chuckles) He thinks he's going to find it in a bathtub?", "Warrick: It's a simulation tank. He's re-creating the conditions the night she died. Body was dumped, like, a half mile from Calville Bay. They think the boat must have drifted with the currents.", "Greg Sanders: And let me guess -- Catherine got bored.", "Warrick: Well, you know Grissom. Shortest distance between two points is science. And for Catherine, it's pounding the pavement.", "Greg Sanders: Hey, I thought Grissom gave you the night off.", "Warrick: (nods) Yeah. Something came up. See you.", "(WARRICK walks away.)", "[SCENE_BREAK]", "SCENES #33:", "[INT. CSI - GARAGE -- NIGHT]", "(GRISSOM puts a card with \"SWELCO\" on one section of the tank. GRISSOM opens the map and double checks the cards surrounding the tank. The camera pans from BARRING POINT BRIDGE to FLAMINGO REEF to MARINA / CALVILLE BAY.)", "(Once he has it, he puts the map away and picks up a small motor that he puts into the tank to simulate the currents.)", "[SCENE_BREAK]", "[EXT. LAKE MEAD SHORELINE - NIGHT]", "(Camera close up of CATHERINE'S boots trudging through the water and carrying a big flashlight.)", "[SCENE_BREAK]", "[INT. CSI GARAGE - NIGHT]", "(GRISSOM sets up a fan on the outside of the tank to simulate the wind conditions.)", "(He moves around the tank carrying a compass to double check the current and wind conditions.)", "[SCENE_BREAK]", "[EXT. LAKE MEAD SHORELINE - NIGHT]", "(Out near the water's edge, CATHERINE scans the shoreline with her flashlight.)", "[SCENE_BREAK]", "[INT. CSI GARAGE - NIGHT]", "(GRISSOM picks up a small plastic toy boat from off the table. With the compass in hand, he heads for the tank.)", "[SCENE_BREAK]", "[EXT. LAKE MEAD SHORELINE - NIGHT]", "(CATHERINE continues to walk along the shoreline, using the flashlight to look for the boat.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- NIGHT]", "(GRISSOM carries the boat to its starting point: the label marked SWELCO. He puts the boat in the tank and sets it off. He watches as the boat swings toward FLAMINGO REEF and past BARRING POINT BRIDGE.)", "[SCENE_BREAK]", "[EXT. BARRING POINT BRIDGE -- NIGHT]", "(CATHERINE walks under the bridge. She uses the flashlight and checks the shoreline for the missing boat. She sees something. She tucks the flashlight under her arm and uses the night vision binoculars.)", "NIGHT VISION GREEN: (The boat is tucked in the reeds on the water.)", "(CATHERINE puts down her binoculars and smiles.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT -- CONTINUOUS]", "(The phone rings. GRISSOM answers it.)", "Grissom: Yeah? Grissom.", "INTERCUT WITH:", "Catherine: It's me. I found it. Just South of Barring Point Bridge.", "Grissom: How?", "Catherine: I took a walk.", "(GRISSOM walks toward the water tank.)", "Grissom: Just South of Barring Point Bridge? What color is the boat?", "Catherine: It's white with lime green trim. Just like the splinters we found in Wendy Barger's head wound.", "Grissom: Well done, Catherine. Well done.", "(CATHERINE stifles a giggle.)", "Grissom: (from phone) let's get the boat back to the garage.", "(GRISSOM hangs up the phone and looks at the water tank. Inside, the toy boat stopped at BARRING POINT BRIDGE.)", "(GRISSOM looks down into the water and sighs.)", "[SCENE_BREAK]", "[EXT. PARK -- NIGHT]", "(WARRICK sits on a park bench. JUDGE COHEN approaches him. WARRICK stands up.)", "Judge Cohen: This better be good.", "Warrick: I need some assurances.", "Judge Cohen: It's a two-way street, pal. Did you do what I asked?", "Warrick: I checked out the evidence, yeah. But I'm not sure about the rest.", "Judge Cohen: What's the big deal? You break the seal on the evidence box it's over. We put it to bed, I tell Henderson \"mission accomplished.\"", "(WARRICK raises his hand and gives a thumbs up signal.)", "Warrick: Why don't you let me do that?", "(The Police Siren blare and officers arrive at the park. JUDGE COHEN looks around.)", "Judge Cohen: What's going on here?", "(BRASS walks up to WARRICK and JUDGE COHEN.)", "Brass: Judge Cohen, you're under arrest for obstruction of justice tampering with state's evidence and violating seven articles of scumbag.", "(JUDGE COHEN turns to look at WARRICK. WARRICK lifts his shirt to show him the listening device taped to his chest. The officers put the JUDGE in handcuffs.)", "Warrick: I told you ... nobody owns me.", "(WARRICK puts his shirt down. The OFFICER takes JUDGE COHEN away.)", "Officer: Move on.", "Brass: Nice work, man.", "(WARRICK sighs.)", "[SCENE_BREAK]", "[INT CSI - BREAK ROOM - NIGHT]", "(GREG walks into the break room where GRISSOM is eating.)", "Greg Sanders: Hey, Grissom. I hear Catherine beat you to the boat.", "Grissom: We work as a team. We're not competing.", "(GREG gets his yogurt out of the refrigerator and opens it.)", "Greg Sanders: Okay. But, ah, she found it first. Right?", "Grissom: \"Two roads diverged in a yellow wood and, sorry I could not travel both.\"", "Greg Sanders: Robert Frost.", "Grissom: Very good, Greg.", "Greg Sanders: Thanks.", "(GREG takes a seat opposite GRISSOM.)", "Grissom: But actually, in this case, Mr. Frost does not apply. When you have a partner you each take a road. That's how you find a missing boat.", "Greg Sanders: Come on. Level with me. Who do you think killed her -- the husband or boyfriend?", "(GRISSOM looks at GREG.)", "Grissom: And you've narrowed it down to just two suspects?", "Greg Sanders: Actually, you did. You see, my second week at CSI, you told me that when a cheating spouse is murdered there's always two suspects at the top of the list: The lover and the betrayed.", "Grissom: I told you this?", "Greg Sanders: Mm-hmm. You see, I'm thinking that the husband caught Wendy with the boyfriend and when she left his house, he killed her in a jealous rage.", "Grissom: And this theory is based on...?", "(GRISSOM stands up.)", "Greg Sanders: Nothing. I'm just trying to help.", "Grissom: I'm going to the garage to meet Catherine. (GRISSOM tosses his plate.) You keep thinking, Butch. That's what you're good at.", "(GREG stands up to follow GRISSOM to the door.)", "Greg Sanders: Hey. If this theory checks out, uh maybe we should talk about a raise.", "Grissom: Yeah.", "(GRISSOM leaves.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT]", "(Camera opens on PHIL SWELCO'S BOAT #NV355 and around the Yamaha engine.)", "(GRISSOM checks the inside of the boat. CATHERINE checks the outside edges of the boat.)", "(CATHERINE sees something.", "Catherine: I think I may have found some skin. When Wendy hit her head. Did you hear what I said?", "(GRISSOM picks up the camera and holds it.)", "Grissom: Blood.", "Catherine: Blood? Well, you were at the autopsy. The head trauma wasn't a bleeder.", "Grissom: Well, maybe she fought back. Either way, we got to call Brass. Tell them to bring the boyfriend in.", "(CATHERINE puts her things aside and walks to find a phone. GRISSOM snaps the photo.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY - NIGHT]", "(BRASS opens the door and PHIL SWELCO walks out into the hallway.)", "Brass: Could you wait right here, please? (to the OFFICER) Stay with Mr. Swelco.", "(BRASS walks up to GRISSOM. CATHERINE joins them.)", "Grissom: How's it going?", "Brass: Aah, you know, the usual beep-bap-bop, you know? The guy said he cut his hand cleaning fish. Got a tetanus shot. That's his excuse for the blood we found on the boat. But I'll call the Lake Clinic to confirm.", "Catherine: (teasing) Damn, you're good.", "(In the background, WINSTON BARGER appears in the hallway.)", "Brass: Oh, shut up. Stevie, hang with him.", "Winston Barger: (o.s.) Phil? Phil Swelco?", "(PHIL SWELCO looks up.)", "(At the sound of his voice, GRISSOM and CATHERINE straighten and look back at WINSTON BARGER.)", "Phil Swelco: Winston. (beat) I heard about your wife. I'm sorry.", "Winston Barger: What are you doing here? Why are you questioning him?", "Catherine: Mr. Barger, why don't you, um come over here with me. Just walk over ...", "(CATHERINE takes WINSTON BARGER down one end of the hallway. GRISSOM goes to PHIL SWELCO.)", "Grissom: Mr. Swelco. Why don't we go in here sit down.", "(GRISSOM takes PHIL SWELCO back into the room.)", "Catherine: Have a seat.", "(They sit down.)", "Winston Barger: I always knew she was seeing someone. I just didn't know who.", "Catherine: (sighs) Oh, I'm sorry.", "Winston Barger: She was having an affair with Phil Swelco? And you think he killed her.", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT - NIGHT]", "(GRISSOM and CATHERINE argue in the parking lot.)", "Grissom: You just compromised our investigation.", "Catherine: He deserved to know the truth.", "Grissom: Knowing how she died, yes. Knowing that she had an affair -- how does that bring closure?", "Catherine: I guess you just have to be on the wrong end of an affair to understand.", "Grissom: You can't make this about Eddie. Look, you hurt our case because your ex hurt you.", "Catherine: We bring ourselves to our cases. We can't help it. I knew how Barger felt. Would you just relax? I didn't give him chapter and verse.", "Grissom: You can't give him anything, Catherine. We're scientists. We're not psychiatrists or victims' rights advocates.", "Catherine: You right, you know. I should be just like you. Alone in my hermetically sealed condo watching discovery on the big screen working genius-level crossword puzzles, but no relationships. No chance any will slop over into a case. Right. I want to be just like you.", "Grissom: Technically, it's a townhouse. And the crosswords are advanced, not genius. But you're right. I'm deficient in a lot of ways. But I never screw up one of my cases with personal stuff.", "Catherine: Grissom ... what personal stuff?", "[SCENE_BREAK]", "[INT POLICE DEPARTMENT - INTERVIEW ROOM - CONTINUOUS]", "(NICK and SARA re-interview MATT DANIELS.)", "Nick: Matt, I got to know. How much did it tick Kyle off?", "Matt Daniels: What are you talking about?", "Nick: Jill. (laughs) Man, Kyle must've been steamed. His girlfriend signs a pledge's privates?", "Matt Daniels: Yeah, Kyle, can take a joke.", "Sara: He didn't think it was funny enough to share it with us. You know, I never met a guy who could just laugh that off.", "Nick: Hey, Matt you know why I joined a fraternity? 'Cause I wanted to belong to something -- the brotherhood. That's what it was all about for me you know what I mean? So, I'm going to cut to the chase here, bud. You come clean, you might be able to save your house ... save the brotherhood, but ... if you don't ...", "Sara: You and Kyle both get charged with murder. And the House goes dark.", "Nick: Everything you're trying to protect you'll destroy. Matty, I found the string. Now are you ready to tell us what happened after James got back to that house?", "Matt Daniels: Okay.", "(Quick flashback to: )", "Matt Daniels: Hey, let's see what Johnson came up with.", "Frat Boy: Yeah? FRAT BOY: Yeah, let's see it, dude. FRAT BOY: Show it!", "(JAMES nods and takes off his pants.)", "Matt Daniels: Dude ... that's your girlfriend. She signed it.", "(KYLE steps up. JAMES smiles smugly at KYLE. They guys hoot in the background.)", "Kyle Travis: Good.", "(JAMES puts his pants back on.)", "Kyle Travis: Meet me upstairs, pledge.", "(White flash to: KYLE and JAMES are up in the bedroom. KYLE holds onto the string with the piece of raw liver on it.)", "Kyle Travis: You're still behind in points. So this is what we're going to do. I'm going to put this down your throat you're going to swallow it and you're going to trust me to pull it back out. Okay.", "(KYLE holds out the piece of liver and JAMES swallows it. He pulls on the string and it comes loose. JAMES chokes on the piece of liver. KYLE sits in front of JAMES and watches him.)", "(Cut to: MATT sees KYLE in the doorway.)", "Matt Daniels: Dude, where's Johnson?", "(MATT walks into the room and his smile freezes when he sees JAMES dead.)", "(White flash to: MATT stares at JAMES' body.)", "Matt Daniels: Oh, oh, this is crazy.", "Kyle Travis: All right, all right, all right, listen to me. Anything goes down my father will bail out the chapter.", "(Flash to: )", "Kyle Travis: Now you're just going to follow my lead and you're going to keep your mouth shut.", "(End of flashback. Resume to present.)", "(MATT puts his head down. SARA looks over at NICK. NICK nods his head.)", "[SCENE_BREAK]", "[INT POLICE DEPARTMENT - HOLDING CELL - NIGHT]", "(Inside the cell, KYLE TRAVIS lies on the bed. The sliding door opens and closes. SARA and NICK walk in.)", "Kyle Travis: Is my dad here yet?", "Sara: No, but when he gets here, you can tell him. New charge: First degree murder.", "(KYLE sits up on the bed.)", "Kyle Travis: No way, come on. That's ridiculous.", "Nick: Your boy rolled over on you, slick.", "Sara: One thing about the fraternity upstate, the brotherhood's fantastic.", "Nick: Oh, yeah. They gonna love you.", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT]", "(GRISSOM checks the gasoline can. It clangs hollowly. He puts it down. He and CATHERINE stand outside of PHIL SWELCO'S boat.)", "Grissom: She ran out of gas.", "Catherine: Okay.", "Grissom: Get in the boat. Pull the engine cord.", "Catherine: What?", "Grissom: Get in the boat.", "Catherine: Why?", "Grissom: Just indulge me, please?", "Catherine: There's no gas. It's not gonna start.", "Grissom: That's not the point.", "Catherine: (sighs) As long as there is one.", "(She steps into the boat. She braces her foot on the edge of the boat and pulls the engine cord. Nothing happens.)", "Grissom: Pull it again.", "(CATHERINE rips the cord.)", "Grissom: Go on.", "(Again.)", "Grissom: More.", "(And again.)", "Grissom: Harder.", "(And again several more times.)", "Grissom: Go on.", "(She finally drops the cord and turns angrily to GRISSOM.)", "Catherine: That's it. What's your point?", "Grissom: How does your shoulder feel?", "Catherine: It's sore. (realizing) But you already knew that.", "Grissom: I know what happened to Wendy.", "(Quick flashback to: WENDY BARGER kisses PHIL SWELCO goodbye.)", "Grissom: (V.O.) She says good night to Swelco ...", "(Cut to: PHIL SWELCO pushes the boat away from the pier with WENDY inside.)", "Grissom: (V.O.) ... and gets in the boat. Halfway home, the boat runs out of gas.", "(Cut to: WENDY sits inside the unmoving boat.)", "Grissom: (V.O.) ... Stranded in the middle of the lake, she panics. Starts pulling on the engine cord.", "(WENDY pulls on the cord multiple times.)", "Grissom: (V.O.) ... She pulls so hard, she dislocates her shoulder and falls forward.", "(WENDY hits the edge of the boat and falls overboard. She remains floating in the water.)", "Grissom: (V.O.) ... Wendy goes under, where she remains until a barge's propeller severs her leg.", "(End of flashback. Resume to present.)", "Grissom: She died before she ever hit the water.", "Catherine: It was just an accident.", "Grissom: Well, sometimes it's about what didn't happen.", "Catherine: Well ... (sighs) ... I guess we better go talk to the husband. I mean, unless you think I'm going to compromise the integrity of the case again.", "(CATHERINE gets up.)", "Grissom: Look ... could we have a truce?", "Catherine: I would love to.", "Grissom: Good.", "(GRISSOM helps CATHERINE out of the boat.)", "Grissom: But let me do all the talking to the husband and the boyfriend.", "Catherine: (shakes her head) (quietly) He had to say it.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]", "(WARRICK spots GRISSOM in the hallway.)", "Warrick: Hey.", "(CATHERINE walks out into the hallway.)", "Grissom: I'll meet you outside, okay?", "Catherine: Okay. Hey, Warrick.", "Warrick: Hey, Cath.", "(CATHERINE puts on her jacket and heads outside.)", "Grissom: Did it go okay?", "Warrick: Yeah. Fine. Thanks for letting Brass handle it.", "Grissom: The fewer people who know about this the better.", "(WARRICK nods)", "Grissom: I'm proud of you. You know, Judge Cohen's got a lot of soldiers.", "Warrick: Yeah. That's what I'm afraid of.", "Grissom: You know, I can only help you out so much. After that, it's up to you.", "Warrick: Yeah, I know.", "(GRISSOM heads outside leaving WARRICK standing there.)", "[SCENE_BREAK]", "[EXT. LAKE MEAD - MORNING]", "Cue Sound: KNOCKING", "[SCENE_BREAK]", "[INT. PHIL SWELCO'S HOUSE - MORNING]", "(The door opens. GRISSOM and CATHERINE are standing outside on the porch.)", "Grissom: Hello?! Mr. Swelco?! Mr. Swelco?! Mr. Swelco?", "(They open the door. CATHERINE and GRISSOM walk inside.)", "(They both head upstairs.)", "(PHIL SWELCO is on the ground, dead. WINSTON BARGER sits in the nearby chair crying. The gun still in his hand.)", "Winston Barger: He killed my wife.", "Catherine: We just came from your house. We wanted to tell you that your wife's death was an accident.", "Winston Barger: What?", "(GRISSOM walks over to WINSTON BARGER. He takes a glove out of his pocket and grabs the gun from his loose grip.)", "(CATHERINE kneels down to check on PHIL SWELCO.)", "Grissom: He didn't kill her.", "(WINSTON BARGER whimpers and starts crying.)" ]

[ "Grissom and Warrick take the case of a young man who is found naked in the desert without an obvious cause of death. Sara gets to find out why the body of a woman who was buried last week is in a dumpster. Catherine and Nick investigate the killing of a school's dean by the school's founder." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. VARIOUS DESERT (STOCK)- NIGHT]", "[SCENE_BREAK]", "[EXT. DESERT - NIGHT]", "(A naked man runs in the desert. He looks desperately behind him as he runs away from something.)", "(He runs and runs and runs.)", "[SCENE_BREAK]", "[EXT. DESERT - DAY]", "(The camera shutter clicks as WARRICK takes a photo of the crime scene. In front of him, GRISSOM kneels over the body while NICK stands behind him watching.)", "Grissom: Maggots. This kid's been here awhile.", "(GRISSOM turns the body over to its side. WARRICK continues to photograph the body.)", "Grissom: No gunshot wounds. No stab marks. No signs of strangulation.", "Warrick: It's a long way out in the sticks just to drop dead.", "(GRISSOM stands up and looks around.)", "Grissom: (sighs) Not if you're being chased.", "(GRISSOM starts to walk around to look at the ground around the body.)", "Grissom: Look at the foot patterns leading up to the body. See the strides? This kid was running.", "(GRISSOM kneels down by a footprint impression in the dirt.)", "Grissom: See the left foot impression? It's straight; that's normal.", "(GRISSOM looks at the next print.)", "Grissom: But look at the right foot impression. It's turned outward. Almost 90 degrees.", "Warrick: He was looking over his shoulder when he was running. Think there was somebody else here?", "Grissom: Based on these prints, it's hard to tell.", "Warrick: (to the OFFICER) Can I get this taped off here?", "Officer: Yes, sir.", "(GRISSOM kneels down back at the body and looks at it again.)", "Warrick: So you want to call it? How do you think he died?", "Grissom: Fear. (beat) Someone chased this kid to death.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(GRISSOM'S working in his darkened office. He adjusts the overhead lamp, then writes something down. He's working on an experiment. He as a pan with a piece of paper in some kind of liquid with the different colored light above it.)", "(He again adjusts the light and checks the meter reading.)", "(GRISSOM'S phone rings. He answers it.)", "Grissom: (to phone) Grissom. (pause) No. (pause) No, yes, I did. Thank you.", "(GRISSOM hangs the phone up and puts it down on the table beside him. He goes back to his experiment.)", "(Someone knocks on the door lightly and it opens. CATHERINE and WARRICK walks in. They glance around in the darkened office looking for GRISSOM.)", "Catherine: Hey, you want to give us our assignments or do you want us to take... the night off?", "(GRISSOM adjusts the light again.)", "Grissom: (irritated) Paperwork, paper clips, paper-punchers -- all these people want me to do is push paper; nobody wants me to solve crimes.", "Catherine: Hey, (shrugs) ... you could've turned the job down.", "Grissom: Yeah, the grass is always greener, Catherine.", "(GRISSOM adjusts the light again, not making a move to get up.)", "(CATHERINE waits a moment, then reaches out to help him.)", "Catherine: Well let's just hurry this up.", "(She grabs the lamp and pulls it down into the pan below. It immediately catches fire.)", "(GRISSOM sighs.)", "Warrick: Cool.", "Catherine: You really want to see flash paper flash? Walk in on a bookie.", "Grissom: That's what this was about-- bookies.", "(GRISSOM'S phone rings again. CATHERINE turns and walks over to GRISSOM'S desk.)", "Catherine: Don't answer it.", "(She grabs the assignment sheets off of the desk and hands them to GRISSOM.)", "Catherine: We've got work to do ... boss.", "(The phone continues to ring. GRISSOM grabs the assignments from CATHERINE and follows them out of the office. He hangs the phone up and tosses it on the table as he leaves.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - NIGHT]", "(Walking through the hallway, GRISSOM hands out the assignments.)", "Grissom: Warrick, you and I are on the four-nineteen -- our dead body in the desert.", "(GRISSOM hands the assignment sheet to WARRICK. He takes it.)", "Grissom: Sara, dead body of your own. Dumpsite out near Henderson.", "(SARA takes the assignment sheet from GRISSOM and looks at it.)", "Sara: Oh, I'll dress down.", "Grissom: Catherine, Verbum Dei Charter School. Four-twenty homicide. The school dean was killed in his office. Suspect called it in; could be self-defense.", "(CATHERINE takes the sheet. She and SARA continue down one hallway, while GRISSOM stops at the intersection.)", "Catherine: Did some kid off him with a silver spoon?", "Grissom: (calls back) Suspect's not a kid. It's the woman who founded the school. Take Nicky with you.", "Catherine: Where is he?", "(NICK rushes out from the room and into the hallway. He catches up with CATHERINE and SARA.)", "Nick: Here I am.", "Catherine: You're coming with me.", "(CATHERINE holds out the assignment sheet to NICK. He grabs it and looks at it.)", "Sara: Glad you could make it.", "(NICK stares at SARA. SARA grins back at NICK.)", "Sara: I'm outta here. Good luck tonight, you guys.", "NICK See you.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(DR. JENNA WILLIAMS goes over the boy's body with GRISSOM and WARRICK.)", "Warrick: Can't make a ruling? Look at the bruise marks on John Doe here. I call that suffocation.", "Dr. Jenna Williams: Not necessarily. It could be the result of his face impacting the ground at expiration.", "Warrick: I'm going to take a mouth swab.", "Dr. Jenna Williams: Go ahead. Grissom, I have something to show you.", "(DR. WILLIAMS leads GRISSOM to the counter off to the side of the room.)", "Dr. Jenna Williams: You know, when a kid this young drops dead smart money chases anesthetics, alcohol methanol, maybe even a little freon.", "(WARRICK takes the swab sample of the mouth.)", "Dr. Jenna Williams: I got to be honest. I've had a lot of dead bodies from the desert and when they're out there too long the elements tend to eat away the evidence. My opinion is ... (she gestures down at the body) ... you are looking at the picture of health, internally. Externally, it's another matter.", "(She motions to the scope on the counter.)", "Dr. Jenna Williams: Skin sample.", "(GRISSOM looks through the scope.)", "[SCOPE VIEW of the skin.]", "Grissom: (o.s.) This kid was dry as a bone.", "(He straightens and looks at DR. WILLIAMS.)", "Grissom: From exposure?", "Dr. Jenna Williams: Skin's not consistent with elemental damage. (stumped) Warrick told me what you said about the cause of death being fear. I never read about that in any medical book.", "Grissom: Try the Forensic Medical Journal. Read the four canons on the cause of death: Homicide, suicide, natural and unexplained. Talks about fear in the last part of \"unexplained.\"", "Dr. Jenna Williams: (to WARRICK) I had to ask.", "Grissom: You want to know what killed this kid? Benihana the maggots.", "Warrick: What the maggots?", "Grissom: Tox the maggots we found on the victim. Whatever he ingested has probably evaporated from the sun. But the maggots are like little refrigerators. They preserve what we digest for longer periods of time.", "Warrick: Entomology is our friend.", "Grissom: Yes.", "[SCENE_BREAK]", "[INT. CSI - DNA/CHEM LAB - NIGHT]", "(Extreme close up of a maggot in the grip of a forceps. Camera refocuses and we see WARRICK is staring at the maggot.)", "Warrick: (to the maggot) Sorry, little buddy.", "(WARRICK puts the maggot down on the table. He holds out his hand like a surgeon about to perform surgery.)", "Warrick: Scalpel.", "(GREG sits in the chair next to him and hands WARRICK the scalpel.)", "Greg Sanders: My name is Paul and this is between y'all.", "Warrick: Talk about pulp fiction.", "(WARRICK chops the little maggot into maggot pieces and puts it in the mortar. He steps aside and motions to GREG.)", "Warrick: It's all yours, doc.", "(GREG stands and smashes the maggot pieces into maggot mush.)", "Warrick: Fire up that gas chromatograph mass spectrometer thing, will you?", "Greg Sanders: No problem, son.", "(GREG takes a sample and tests it.)", "Greg Sanders: Fifteen seconds till pay dirt.", "Warrick: Cool.", "Greg Sanders: Play any pigskin, man?", "Warrick: No, I'm off that.", "Greg Sanders: It's prime time for you.", "Warrick: I haven't made a bet in a month. I can't say I don't have that itch, though.", "(The machine beeps and the results print out. GREG grabs it and looks it over.)", "Greg Sanders: Hmm. Haven't seen this stuff for a while.", "Grissom: What's that?", "Greg Sanders: Jimsonweed.", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. ALLEY - NIGHT]", "(SARA walks up into the alley past the coroner's van. She walks up to the DETECTIVE on the case and puts her kit down on the ground.)", "Sara: (motions to the dumpster) Do you have a name?", "Det. Evans: She's not exactly carrying a purse.", "(He helps SARA step up to the dumpster. SARA looks inside and sees the woman's body wrapped in plastic. She snaps some photos.)", "Sara: Oh ... (camera shutter clicking) okay, let's take her out.", "(DETECTIVE EVANS helps SARA down.)", "Sara: Thanks.", "Officers: Sure.", "(The CORONER'S wheel in a gurney.)", "[SCENE_BREAK]", "[EXT. ALLEYWAY -- DUMPSTER - NIGHT - CONTINUOUS]", "(SARA removes the plastic from the woman's face. She presses her index finger into the woman's cheek and looks at the stuff on her finger.)", "(Camera zooms in for an extreme close up to show the clear gell-like substance.)", "Sara: That's strange.", "Det. Evans: What's that?", "Sara: Glazed like a doughnut.", "(SARA turns to look at the body.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(DAVID PHILLIPS explains the findings to SARA as they walk into the autopsy area.)", "David Phillips: Well, here's the reason the skin was funny.", "Sara: Formaldehyde, right?", "David Phillips: Close. Biotone arterial. Promotes high diffusion and fast drainage in skin tissue.", "Sara: So I was right. This woman's been embalmed.", "(SARA takes the seat in front of the monitor.)", "David Phillips: Yeah. Yeah, I already ran her prints through work here. Got an I.D. right here.", "(SARA works on the computer and the computer beeps.)", "David Phillips: (flusters) I, uh, I just want to say I-I ... well, I really admire the gusto with which you approach your job.", "(DAVID walks around and stands in front of SARA. He smiles.)", "Sara: (glances from the monitor to DAVID) Are you hitting on me, David?", "David Phillips: Uh ...", "(DAVID smiles and looks down at his shoes bashfully. SARA is flattered.)", "Sara: Let me give you some friendly advice. If you want to pull chicks, you've got to get aggressive. You've gotta drop the glasses, lose the coat grow some scruff.", "(DAVID appears quietly dejected at the advice.)", "Sara: (smiles) You do get a \"C\" for cute, though.", "(DAVID glances back up at SARA, sees her smile and smiles back at her.)", "(SARA turns back to the computer. The ID information appears on the monitor.)", "Sara: (reading) \"Stephanie Reyes was laid to rest at Desert Haven Funeral Home.\" Her funeral was last week.", "[SCENE_BREAK]", "[EXT. VERBUM DEI CHARTER SCHOOL - NIGHT]", "[SCENE_BREAK]", "[INT. VERBUM DEI CHARTER SCHOOL - DEAN'S OFFICE - NIGHT]", "(CATHERINE and NICK enter into DEAN VERNON WOOD'S office. DET. KANE stands inside the room taking notes.)", "Catherine: Hi.", "Det. Kane: Hey.", "Catherine: What do you got?", "(DET. KANE looks at his notes.)", "Det. Kane: Vernon Woods, Dean of the school. Forty-nine, single. Multiple blunt-force trauma wounds to the head.", "Catherine: With that, probably.", "(Next to the body is a bloodied object.)", "Nick: I got it. Man, check out all that blood spatter.", "(Camera pans around the room to show the bloodied walls. The camera also lingers on the blood spatter across a Teacher's award.)", "Catherine: Yeah. Blows to the head, up close and personal. A lot of passion around this one. (to the DETECTIVE) How about the suspect?", "Det. Kane: Kate Armstrong. Founded the school. She called 9-1-1 herself. She says he attacked her. She's out in the hallway.", "(CATHERINE steps out of the room. NICK continues to take pictures.)", "[SCENE_BREAK]", "[INT. VERBUM DEI CHARTER SCHOOL - HALLWAY - NIGHT - CONTINUOUS]", "(CATHERINE interviews KATE ARMSTRONG.)", "Kate Armstrong: He wouldn't let go of me. He kept pawing. I can still smell his aftershave. (sobbing) I mean ... it's all a blur. I grabbed the closest thing I could and I hit him with it.", "Catherine: A rock?", "Kate Armstrong: I don't know what it was. I didn't care. I just wanted him off of me.", "Catherine: How many times did you hit him?", "Kate Armstrong: Once.", "(Quick flashback to: Inside Dean VERNON WOODS' office, he has KATE ARMSTRONG in his arms. She struggles against him.)", "Vernon Woods: What's the matter? Come on. No one's going to hear. Everyone's in class. Where's the harm?", "(KATE looks down on the desk and grabs the rock.)", "Kate Armstrong: I said get off of me!", "(She hits him on the forehead and he lets her go.)", "(End of flashback. Resume to present.)", "Catherine: Miss Armstrong ... were you and the Dean having a personal relationship?", "Kate Armstrong: No. No. Vernon's a pig.", "Catherine: Then why did you hire him? You founded the school. It's your integrity on the line.", "Kate Armstrong: He's great at raising money. His donor list is huge. I didn't mean to kill him. (sniffling) I just wanted him to leave me alone.", "Catherine: But you hit him more than once.", "Kate Armstrong: Who knows. I ...", "Catherine: Well, you hit a man once, there's no blood. The first hit's free. You hit him more than that ... (clears throat) The walls in his office look like the Dean went a couple rounds with Mike Tyson.", "Kate Armstrong: Then I hit him more than once. Like I said, I just ... I wanted him off me.", "Catherine: Will you excuse me? Officer. Thanks.", "(CATHERINE steps away and motions for the OFFICER. She meets up with NICK at the end of the hallway.)", "Nick: What did you find out?", "Catherine: Heavy on B.S., zippo on truth.", "Nick: You don't seem too bummed about it.", "Catherine: Hell, no. I'm stoked. (sotto voce) We drew the best case, Nicky. I can feel it.", "Nick: Mm-hmm. Then there's only one thing left to do.", "Catherine: String it.", "Nick: String it.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(BOBBY TAYLOR looks from BRASS to GRISSOM.)", "Bobby Taylor: I've never filed a missing person's report before but I'm getting concerned about Eric.", "Brass: Where was the last place you saw your friend?", "Bobby Taylor: After work, we went out.", "(BOBBY absently scratches his right arm near the elbow and through his shirt.)", "Brass: You two work together?", "Bobby Taylor: No. A few blocks apart. I'm over at Voosh's, you know? Voosh's fireworks. And he's at Element Sound, the music store.", "Brass: You guys go into the desert?", "Bobby Taylor: Yeah. A party out near red rock. How did you know?", "Brass: You just told us.", "(BOBBY'S impressed. He chuckles.)", "Brass: So spill it.", "(BOBBY absently scratches his arm and tries to remember what they did.)", "Bobby Taylor: We, uh, drank a couple beers hung out, and ... then I just lost track of him around midnight and I haven't seen him since.", "Grissom: Did you guys drop anything that night? Ecstasy, crystal, \"G\"?", "Bobby Taylor: No. No way. Look, do you ... do you know where Eric is or not?", "Grissom: Bobby, we found a body that matches your description of Eric. Would you be willing to identify him?", "[SCENE_BREAK]", "[INT. MORGUE - NIGHT]", "(GRISSOM lifts the sheet off of ERIC BERKELEY'S body)", "Grissom: Is this your friend?", "(Standing quite a distance away, BOBBY glances up, recognizes his friend and starts to cry.)", "Bobby Taylor: (sniffs) Oh, god ... what happened to you, Eric? Oh, god ...", "(GRISSOM watches, not unaffected by the young man.)", "(There's a light knock at the door. WARRICK pushes the door open and signals GRISSOM with a file folder in his hand.)", "Warrick: Hey, boss, I got something for you.", "(GRISSOM walks over to the door, leaving BOBBY with ERIC.)", "Warrick: (sotto voce) I did the whole tox-the-maggots thing like you said. Found jimsonweed in their blood.", "(GRISSOM nods.)", "Grissom: Which means?", "Warrick: Jimsonweed in Eric's blood.", "Grissom: Jimson Weed. \"dry as a bone, red as a beet blind as a bat, mad as a hatter.\"", "Warrick: Really? Cite your sources.", "Grissom: (shrugs and shakes his head) Internet insomnia.", "Warrick: I thought Brass just said that they weren't doing any drugs.", "(GRISSOM gives WARRICK a look.)", "Warrick: (nods) Yeah.", "(They both turn to look back at BOBBY who's still crying over ERIC.)", "[SCENE_BREAK]", "[INT. VERBUM DEI CHARTER SCHOOL - DEAN'S OFFICE -EARLY MORNING]", "(NICK is inside DEAN VERNON WOODS' office, pulling the first string across the office from the body to the blood spatter.)", "(Dissolve to: NICK reaches the wall and has the first string completely up. He steps back away from the wall.)", "(Cut to: Several strings are completed. NICK works his way to the wall.)", "(Dissolve to: NICK crawls under the string already hanging and ties the new string to the lamp.)", "(Cut to: Camera starts on several pink colored string already up. NICK is at the wall working.)", "(Cut to: NICK continues to lay out the string. Dissolve to: NICK working his way to the wall, crawling under the string already set up.)", "(He stands up and looks around. He lifts the micro-cassette tape recorder and starts to dictate his notes.)", "Nick: (to tape) Blood spatter on northwest wall. Blood sprays northeast corner above ...", "(NICK looks around. The door opens and CATHERINE walks into the office.)", "Catherine: Wow.", "(NICK nods to CATHERINE as she closes the door.)", "Catherine: Now, there's a look I like to see-- confusion.", "(NICK chuckles.)", "Nick: No, I'm not confused. X marks the spot. A blow here ... here ... and here. Our dean received the majority of blows when he was on the ground.", "Catherine: Cast-off from the weapon against the window.", "Nick: Mm-hmm.", "Catherine: The back wall ... void... against the back wall.", "(CATHERINE points out the obvious empty spot on the wall to NICK. She looks down.)", "Catherine: The floor under the body?", "Nick: The blood spatter has a void instead of one continuous line of spray.", "Catherine: There's an interruption -- a space where something or someone comes between the blood coming off the body and the wall.", "Nick: Which means our assailant was here and ... there was somebody else in this room.", "Catherine: Kate Armstrong is lying.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - NIGHT]", "(GRISSOM and WARRICK are with BOBBY TAYLOR in the break room. WARRICK puts a glass of juice on the table in front of BOBBY TAYLOR.)", "Warrick: Fruit juice, half ice.", "Grissom: Thanks, Warrick.", "Bobby Taylor: The guy said it was natural -- that it wasn't a drug. I mean, jimsonweed is a plant.", "Grissom: Most drugs derive from plants. That doesn't make them safe.", "Warrick: Or legal, for that matter.", "Bobby Taylor: Yeah, but he said it was safe. That's why we bought it.", "(WARRICK sits down.)", "Warrick: Did you take the drug, too?", "Bobby Taylor: Yeah. We both did. You drink it. It's a tea.", "Grissom: Who sold you this \"tea\"?", "Bobby Taylor: He didn't give a name. He just ... he told us that j-weed would be a cool high. Mind-expanding. I mean, that's the whole point of a rave is to experiment.", "Warrick: Did you get a stamp when you got in?", "Bobby Taylor: Yeah. But that was, like, four days ago.", "Warrick: Well, mostly they use water-resistant pads so you don't sweat it off. Could you hit the lights, Gris?", "(WARRICK reaches for his kit and takes out a light. GRISSOM turns out the top lights.)", "Warrick: (to BOBBY) Where did they stamp you?", "(BOBBY holds out his wrist, palm up and pushes his watch further up his arm. WARRICK turns on the black light. The stamp is still visible.)", "Warrick: Yeah, that's DJ Masterband's stamp. He is the spinner in Vegas right now. Must have been playing at the rave these two were at.", "(WARRICK turns off his hand light. GRISSOM turns on the top light.)", "Grissom: Is there any way for us to track this, uh, DJ person?", "Warrick: The free papers, yeah. They have ads for all sorts of raves.", "Grissom: Bobby? Would you be able to recognize the guy who sold you the Jimson?", "Bobby Taylor: (nods) Definitely.", "[SCENE_BREAK]", "[EXT. DESERT HAVEN CEMETERY - DAY]", "(SARA walks with RANDY GESEK, the funeral director, across the lawn to Stephanie Reyes' grave.)", "Randy Gesek: No one in the mortuary business likes to discuss the issue, but it does exist: People rob graves.", "Sara: (laughs) Are you telling me that someone dug up Stephanie Reyes and stole her body?", "Randy Gesek: They do it for gold, trinkets or just kicks. You should hear what I hear at conventions.", "(She chuckles.)", "Sara: Did you report the robbery of Mrs. Reyes' remains to the police?", "Randy Gesek: As I say, we try not to discuss the issue outside of the community.", "Sara: Profits over people, is that it?", "Randy Gesek: I wouldn't put it like that.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. DESERT HAVEN CEMETERY - DAY -- CONTINUOUS]", "(The backhoe works on digging the grave. SARA looks down at the hole in the ground.)", "Sara: Eight feet. How deep do you bury these caskets?", "Randy Gesek: Well ...", "Sara: There's nothing else in there. I thought you said grave robbers only stole bodies.", "Randy Gesek: This might have been an inlaid casket -- something of value that people would steal.", "(SARA thinks about this for a moment.)", "Sara: You sell caskets, right? As part of your mortuary service? I want to see some.", "Randy Gesek: (nods) I can arrange a viewing.", "Sara: (smiles) Bonus.", "[SCENE_BREAK]", "[INT CSI - BREAK ROOM - DAY]", "(GRISSOM is in the break room busy grounding something up in a large mortar. WARRICK walks into the room carrying a file. GRISSOM pours the grounds into a glass teapot as he listens to WARRICK'S report.)", "Warrick: Gris, I got the prelims back on that swab I took off of our desert guy. Products trapped in nasal hairs.", "Grissom: And? ...", "Warrick: Products found in mouth and nose: Mentholated nose spray, patchouli and aluminum.", "Grissom: Nose spray? He had a cold.", "Warrick: Patchouli -- they burn it at music stores.", "Grissom: Aluminum's the odd man out.", "(GRISSOM pours the hot water into the tea pot.)", "Warrick: Yeah. I got trace putting together a list of products made with the stuff. Something tells me that's not lemonade.", "Grissom: Jimson tea. I like to see what I'm dealing with. (beat) Doesn't look lethal, does it?", "Warrick: Doesn't look like tea, either.", "Grissom: You know what the japanese tea ceremony signifies?", "Warrick: What's that?", "Grissom: That every human encounter is a singular occasion which can never recur again in exactly the same way.", "Warrick: Does that apply to our case?", "(GRISSOM pours some of the tea into a glass cup/container. He looks at it.)", "Grissom: Everything applies, Warrick. That's the beauty part.", "(GRISSOM smells the tea like a connoisseur.)", "Warrick: Cheers.", "[SCENE_BREAK]", "[EXT. VERBUM DEI CHARTER SCHOOL - DAY]", "(CATHERINE, NICK and DET. KANE interview KATE ARMSTRONG.)", "Kate Armstrong: All right, it's true. Someone else was there.", "Det. Kane: The name would be nice.", "Kate Armstrong: She's a friend on the faculty but she had nothing to do with this.", "Catherine: The blood evidence is telling us otherwise.", "Nick: Look, homicide will give us her name if you won't. There are detectives, and your school's not that big.", "Kate Armstrong: Julia Eastman. But she was doing me a favor. She was just at the wrong place at the wrong time.", "(KATE walks away from them.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE and NICK interview JULIA EASTMAN.)", "Julia Eastman: We kind of made a plan so that the next time Woods hit on her she'd have a witness. You know, because of the harassment.", "Catherine: And when you were playing witness where were you standing?", "Julia Eastman: At the doorway.", "Catherine: You're sure?", "Julia Eastman: (nods) Yeah.", "(Quick flashback to: Inside Dean VERNON WOODS' office, KATE ARMSTRONG struggles to get out of VERNON WOODS' embrace.)", "Vernon Woods: I know you want it, you...", "(KATE grabs the rock off of the desk and hits VERNON WOODS across the forehead. He lets her go and steps backward.)", "(Blood spatters across the window.)", "(JULIA EASTMAN opens the office door and sees KATE ARMSTRONG with the rock in her hand. VERNON WOODS is still on his feet and takes a step toward KATE.)", "Julia Eastman: Kate, no!", "Vernon Woods: Why, you ...", "(She swings again and hits VERNON WOODS. He falls to the floor with a thud. KATE continues to hit VERNON WOODS. Blood spatters across the wall and onto JULIA EASTMAN standing against the wall. She gasps and glances down at the blood on her.)", "(End of flashback. Resume to present.)", "Nick: We're forensic scientists, Julia. Blood talks to us. People exaggerate or forget. Blood's like my grandfather. Never lies.", "(NICK opens the laptop on the table. CATHERINE stands up and moves around the table to stand next to NICK.)", "Catherine: Nick reenacted the crime using blood spatter.", "Nick: No, I just strung it. (to CATHERINE) Thank you, anyway. (beat) No, the computer gizmo does all the geometry.", "(NICK starts the program. The computer beeps.)", "Nick: You factor in the location of the body in relation to the blood on the wall in order to recreate the event. Each hit that drew blood gets its own unique color as he fell. See?", "Nick: (points to screen) Dean woods was not in a standing position when he was killed. He was on the floor. (beat) So how could your friend Kate, who's roughly half his size, wrestle him to the ground and keep him there while she bludgeoned him to death? Without help?", "Julia Eastman: I don't know.", "Nick: Hmm.", "Julia Eastman: Could we take a break? I need a break.", "(JULIA turns to look at CATHERINE.)", "Catherine: Sure.", "[SCENE_BREAK]", "[EXT. BEACH - NIGHT]", "(Loud Dance Music plays. Kids dance. The party is starting and the cars are gathering.)", "(Dissolve to: A large butterfly insignia/image on the top of the dance floor. The Rave is starting to pick up.)", "(At the entrance, the group pays for their tickets.)", "Bobby Taylor: (to TICKET MAN) Three. (to WARRICK & GRISSOM) It's gonna be $20 each.", "(GRISSOM reaches into his pocket and pays the ticket price.)", "Bobby Taylor: There.", "Ticket Man: Thanks, man.", "(They each get their stamp on their hands and slowly enter the party area. The STAMP MAN waves them inside.)", "Stamp Man: Come on. STAMP MAN: Go in. You're good. STAMP MAN: Let's go.", "(BOBBY leads the CSIs into the party. He looks around for the guy who sold them the drug. GRISSOM looks around.)", "Grissom: Teenage wasteland.", "Warrick: (turns around) Who?", "Grissom: Yeah.", "(A RAVE GIRL walks up to GRISSOM.)", "Rave Girl: Hi!", "Grissom: Hi.", "(She motions him closer. She puts her arms around him and tells him.)", "Rave Girl: (smiles) I love you.", "(She gives GRISSOM a hug.)", "(GRISSOM laughs nervously.)", "Grissom: Uh, thank you. You're a total stranger to me.", "(The RAVE GIRL doesn't care, she's in her own little world. WARRICK takes pity on GRISSOM and explains.)", "Warrick: It's ecstasy. It makes everyone fall in love.", "(WARRICK pulls the RAVE GIRL off of GRISSOM.)", "Warrick: Don't take it personally, miss. He's kind of married to his job.", "(She kisses her fingertips and waves GRISSOM bye. GRISSOM grins and waves back. The RAVE GIRL sees another woman at the party and turns her attentions to her.)", "Rave Girl: (smiles) I love you.", "(The two women embrace.)", "(GRISSOM watches them with a smile on his face. The two women walk off. GRISSOM stares at the women.)", "(WARRICK watches GRISSOM for a moment, then grabs him and leads him away.)", "Warrick: Come on. Let's go.", "(BRASS walks around the party. BOBBY TAYLOR continues to scan the party area for the drug dealer.)", "(Off to the side near the cars, he spots him.)", "Bobby Taylor: That's him, there! That's the dealer!", "(BOBBY tears off toward the drug dealer. WARRICK and GRISSOM rush after him.)", "Grissom: Bobby, wait!", "(BRASS hears them.)", "(BOBBY reaches the drug dealer and tackles him to the ground.)", "Bobby Taylor: You killed my friend!", "Grissom: Break it up! Bobby, stop it!", "(GRISSOM and WARRICK pull BOBBY off of the drug dealer.)", "(BRASS and another OFFICER reach them.)", "(GRISSOM holds BOBBY off to the side. BOBBY brushes GRISSOM'S hands off of the arm that he's holding.)", "Bobby: Ow!", "(BOBBY stares at the drug dealer.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. DESERT - RAVE - NIGHT - CONTINUOUS]", "Ethan: What do you guys think you got on me?", "Grissom: Selling jimsonweed to kids.", "Ethan: Do you see any j-weed on me?", "Grissom: You sent, uh, Bobby over here and his friend on quite a trip the other night.", "Ethan: Which trip was that? The one to San Diego or the one to Mars?", "BRASS; To the impound, where your car is going. Probable cause.", "Ethan: You don't have to take my car to the impound, okay? You can search it. But I got news for you. Jimson's a schedule one controlled substance. Mandatory suspended sentence the first go-round for possession. And you can't even prove that much.", "Brass: Guy knows a lot about the Nevada State Penal Code.", "Grissom: Well, if you're gonna break the law, Jim you've gotta know the law.", "Ethan: Exactly. (He holds out the car keys to GRISSOM.) Just don't scratch my puppy.", "(GRISSOM takes the keys to search the car.)", "(Cut to: The party raves on. GRISSOM takes out his flashlight and looks around the front driver's side seat. He looks around the dash, in the cup holders. He checks out the seat cushions.)", "(He looks on the floor. There, he finds the seeds. He reaches into his kit to take a sample. GRISSOM looks pleased.)", "(Holding the sample in his hand, GRISSOM turns back to ETHAN.)", "Grissom: What do you say, Ethan? These seeds look familiar?", "Ethan: (laughs) You just fish these out of your undies? Look, man, if you want to take me in take me in. I'll be back before the party's over.", "Grissom: 'Cause you know the law, don't you, Ethan? \"Mandatory suspended sentence for first possession.\" Yeah?", "Ethan: Exactly.", "Grissom: Let me tell you something, Humbert. You're twice the age of these kids and most of them couldn't find their ass with a map. You prey on innocent children concocting god-knows-what from god-knows-where selling Russian roulette in a bottle and you think we came all the way out here to bust you for \"possession\", you dumb punk? (beat) I'm gonna get you for murder.", "(ETHAN looks back at GRISSOM, surprised.)", "Grissom: Cool.", "FADE TO BACK.", "[SCENE_BREAK]", "[INT CSI - FORENSIC AUTOPSY - NIGHT]", "(GRISSOM and WARRICK are back in the autopsy room going over new findings with DR. WILLIAMS.)", "Grissom: This Ethan was selling jimsonweed tea at the desert rave. I believe Eric drank the most toxic part -- the dregs, the bottom of the batch the part that's full of seeds.", "Dr. Jenna Williams: Well, if that's true ...", "(Quick CGI to: Camera starts traveling down ERIC'S open mouth and down his throat, all the way to the intestinal tract where it stops on two small seeds.)", "Dr. Jenna Williams: (V.O.) ... then we might be able to catch up with some of those seeds because they have a way of hanging around the lower intestinal tract.", "(End of CGI. Resume on a pair of forceps picking out the seeds.)", "Dr. Jenna Williams: And the last ones to leave the party ... would be ... right about ... here.", "(She pulls out the small seed.)", "Dr. Jenna Williams: Jimson reduced his gastric motility which kept this in his system.", "Warrick: Now we just tie that to the dealer.", "GRISSOM Well, we see if it ties to the dealer.", "Warrick: That's not what you were saying out at that rave all up in that guy's face.", "Grissom: There's three things I got a real problem with: Guys that hit their wives, sexual assault on children and the scum that deal death to kids.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - NIGHT]", "(In the lab, WARRICK, GRISSOM and GREG go over the seed analysis.)", "Warrick: The chemical compositions break down exactly the same.", "Greg Sanders: Yeah, but that doesn't necessarily prove that the seeds from the dead kid's gut came from the same place as the seeds in the dealer's car.", "Grissom: We need the pods to do a DNA match and we don't have them.", "GREG SANDERS; The truth is, it wouldn't matter. I ran the seeds Eric ingested. The toxic levels are low -- too low to have killed him.", "Warrick: Square one.", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT]", "(SARA stands in the garage next to COLLINS and in front of a bunch of caskets.)", "Sara: There is no way I'm going to end up in a dumpster wrapped in plastic. I'm going to be cremated -- dust in the wind, you know. I don't want any part of these things.", "Collins: I've already got mine paid off.", "Sara: Are you serious?", "Collins: Yeah. It looks just like this one.", "(COLLINS walks over to a particular casket.)", "Sara: How much did it run you?", "Collins: Ten thou.", "SARA; $10,000? For a box ... buried in the ground that everyone's only going to see you in once.", "Collins: I like it. It feels like a caddie.", "Sara: So when you buy one of these for $10,000, it's yours, right?", "Collins: Well, of course it is.", "Sara: No one else gets to use it.", "Collins: It's built for one.", "(SARA opens the casket and looks inside. She examines the inside and sees something. She turns around to grab a roller off of the counter. She rolls it on the inside casket lining and comes up with various hair samples.)", "(Camera zooms in for an extreme close up of the hairs stuck on the roller.)", "Sara: Then how did all these people get in here?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - NIGHT]", "(GRISSOM takes a drink of water. WARRICK sees GRISSOM and approaches him.)", "Warrick: Thought I'd find you here.", "Grissom: It's why I live.", "Warrick: Evidence ... a double-edged sword.", "Grissom: Yeah. Nobody wanted to put that pusher in jail more than I did. Evidence sets him free.", "Warrick: How do you feel about this?", "Grissom: It doesn't matter how I feel. The evidence only knows one thing: The truth. It is what it is.", "Warrick: You don't really believe that, do you?", "Grissom: I was flying to a seminar in New Hampshire a couple summers ago. I was sitting on the plane next to this philosophy professor from Harvard. He told me this story about how, every morning he takes a leak right after his three-hour philosophy class. He'd flush the toilet there'd be this tiny, brown spider fighting for its life against the swirling water. Come back the next day, flush same spider clawing its way back from oblivion. A week goes by, he decides to liberate the spider. Grabs a paper towel, scoops him up sets him on the floor in the corner of the stall. Comes back the next day ... what do you think happened to the spider?", "Warrick: Dead.", "Grissom: On his back, eight legs in the air. Why? Because one life imposed itself on another. Right then, I realized where we stand. I understood our role. We don't impose our will on a spider. We don't impose our hopes on the evidence.", "(WARRICK nods.)", "(The door opens and ETHAN walks out into the hallway. The lawyer leaves. ETHAN takes his time and gloats his release.)", "Ethan: (gloating) Twenty, ten, five, boom! Touchdown, baby. What's my name?", "(ETHAN laughs.)", "Grissom: You'll be back.", "Ethan: Oh, really? What, have you got a crystal ball in your pocket or something?", "Grissom: You're a creature of habit.", "Warrick: I'll catch you later.", "(ETHAN laughs.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - FRONT ENTRANCE - NIGHT]", "(The door opens. CATHERINE and NICK exit the building.)", "Catherine: Okay, so this is what we've got so far on our dead dean. Blood spatter and blood cast-off on the walls. Kate Armstrong's confession, her clothes. Three void areas, and that's pretty much it. Anything else?", "Nick: That's not enough. It's not enough. What's the one thing we're missing?", "(CATHERINE stops.)", "Catherine: That's it.", "Nick: What's it?", "Catherine: The one thing we're missing.", "Nick: (realizing) The blood.", "Catherine: On Julia's clothes.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(NICK closes the door to the room. CATHERINE and NICK both re-interview JULIA EASTMAN.)", "Catherine: We need the clothes that you were wearing the day that The Dean was killed.", "Julia Eastman: I burned them.", "Catherine: Why?", "Julia Eastman: The blood wouldn't come out. They were ruined.", "Catherine: Blood's funny that way. In fact, I bet there's lots of blood on Dean Woods' shirt.", "[SCENE_BREAK]", "[INT CSI EVIDENCE VAULT -- NIGHT]", "(CATHERINE and NICK examine Dean VERNON WOODS' shirt. CATHERINE notices the void.)", "Catherine: Look at that void. What a beaut.", "Nick: Oh, yeah. You don't even have to know every star and you can draw a constellation.", "(Taking a pen, NICK outlines the void.)", "Nick: And fill in the rest. Whoa, look at that last finger there.", "Catherine: Talk about your unique attributes. What do you think -- a bandage?", "Nick: We'll have to ask our ladies, but I can tell you this -- somebody's playing through the pain.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(BOBBY TAYLOR is in GRISSOM'S office again.)", "Grissom: I, uh ... just wanted you to know that Eric didn't die from Jimson tea. It didn't have the chemical toxicity to kill him. The seeds weren't strong enough.", "(BOBBY quietly listens to GRISSOM. He doesn't say anything. He starts rubbing his arm. GRISSOM notices the movement.)", "Grissom: Is your arm all right?", "Bobby Taylor: Yeah, uh, spider bite. I think it's infected.", "Grissom: May I take a look?", "Bobby Taylor: Sure. You're a doctor.", "(BOBBY undoes the cuff of his shirt.)", "Bobby Taylor: You might be able to give me something for it.", "(He pushes his shirt sleeve up above his arm.)", "Grissom: I'm a PhD, not an M.D.", "(BOBBY chuckles. GRISSOM looks at the bite on BOBBY'S arm.)", "Grissom: (grimly) Bobby ... this bite is not from an insect.", "(BOBBY looks quizzically down at his arm, then back at GRISSOM.)", "[SCENE_BREAK]", "[INT CSI - FORENSIC AUTOPSY]", "(DR. JENNA WILLIAMS puts her instruments into the cleaning machine and closes the machine door. GRISSOM walks into the room.)", "Dr. Jenna Williams: Hey.", "Grissom: Hi.", "(DR. WILLIAMS sits down at her desk. GRISSOM leans against it.)", "Grissom: I found a bite mark on Bobby's arm and I think it might be human.", "Dr. Jenna Williams: Do you feel like sharing?", "Grissom: (shakes his head) Not really.", "Dr. Jenna Williams: Just a little?", "Grissom: (sighs) I don't know, Jenna. This whole case is going from bad to worse. I mean, usually it's a body, it's a specimen, but when it involves kids, I just can't ...", "Dr. Jenna Williams: Gruesome Grissom ... Tin Man with a heart ... (beat) ... who knew?", "(WARRICK walks into the room.)", "Warrick: Hey, guys. This came back for the test on aluminum products from our kid in the desert. (pauses) Fireworks.", "Grissom: (whispers) That's where Bobby Taylor works. Jenna, I need a mold of Eric's teeth ...", "[SCENE_BREAK]", "Grissom", ": (V.O.) ... and an impression of Bobby's arm.", "(With an OFFICER and a lawyer in the room, someone takes an impression on the bite mark on BOBBY'S arm.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE and NICK re-interview both JULIA EASTMAN and KATE ARMSTRONG.)", "Catherine: Julia, make a fist for me with your right hand. I mean, count it down like so, starting with your thumb first. Five, four, three, two, one.", "(JULIA stares at them for a moment, then complies. She tries, but she can't bend her pinky finger.)", "Julia Eastman: I sprained it, at tennis.", "(NICK reaches into his shirt pocket and pulls out a finger splint. He tosses it on to the table.)", "Nick: It heals a lot faster when you wear one of these.", "(Both JULIA and KATE stares at the item on the table. CATHERINE takes out the shirt and puts it on the table.)", "Catherine: Dean woods' shirt.", "(She spreads the shirt out on the table.)", "Catherine: Now, remember we said blood tells us everything? Well ... so does the absence of blood.", "(CATHERINE takes the finger splint and puts it on. She puts her hand over the void area on the shirt. It fits in the white area on the shirt.)", "Kate Armstrong: (gasps) Oh, my god.", "(Quick flashback to: Inside Dean VERNON WOODS' office, KATE ARMSTRONG swings the rock and hits VERNON WOODS on the forehead. He goes down. She swings the rock back and splatters blood on JULIA EASTMAN. She hits him again and again. Blood spatters everywhere with each successive blow.)", "(When VERNON WOODS falls to the floor, JULIA EASTMAN puts her hand on his chest to keep him down. KATE ARMSTRONG continues to hit him with the rock.)", "(End of flashback. Resume to present.)", "Nick: You held him down ... while she killed him.", "Catherine: All because the guy was handsy? Seems a little severe.", "(Neither woman says anything.)", "Det. Kane: We're going to be placing you under arrest for murder. Is there anything you want to say?", "(He turns around and opens the door. They remain silent.)", "(Two male OFFICERS enter the room. The two women stand up and we see that they were holding each other's hands under the table in a tight grip, neither one wanting to let the other go.)", "(They look at each other.)", "(The officers take out the handcuffs and put them on.)", "Officer: Ma'am ... put your hands behind your back, please.", "(They lead the women out of the room. CATHERINE watches them leave and shakes her head.)", "Catherine: (quietly) No, no, this isn't over.", "(They start putting their things away.)", "Nick: For all forensic purposes, it is over. They're going to eat bread and bang a metal cup against some bars. That's it. It's over for us.", "Catherine: We still don't know why.", "Nick: It's not our job to know why. It's our job to know how. You heard Grissom. The more the 'why', the less the 'how', the less the 'how', the more the 'why'.", "(CATHERINE stands up and turns around to look at NICK.)", "Catherine: Hey, Nick.", "Nick: Yeah?", "Catherine: Grissom's not always right. Do yourself a favor and think for yourself. I mean that as a friend, okay? Okay, detective, we got some more homework to do.", "(CATHERINE picks up the package and puts it on the table.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(SARA opens the door and leads RANDY GESEK into the garage.)", "Sara: What are you selling-- time-share coffins?", "Randy Gesek: Uh, there's no such thing as a time-share coffin.", "Sara: Sure, there is. Once the funeral is over, you dump the body and use the same casket over and over.", "Randy Gesek: You can't prove that.", "Sara: Yes, I can. This is a set of prints on the inside of the plastic sheeting we found in the dumpster. What are the odds they belong to you?", "(RANDY GESEK steps forward, shaking his head. He's busted.)", "Sara: All you had to do was put the bodies back in the grave and no one would have been the wiser.", "Randy Gesek: You have no idea what a cut-throat business this is. The chains are moving in. I have payments to make. I see the world from a completely different perspective than most people.", "Sara: Yeah, I know. You see dead people. So do I. And when they turn up in dumpsters, I like to see they get back to where they belong.", "Randy Gesek: I'll repay the money.", "Sara: Minimum. Then, you're going to pay for Stephanie Reyes' family to have a real burial.", "Randy Gesek: Okay.", "SARA At a respectable mortuary.", "Randy Gesek: Okay.", "Sara: Then, we're going to let the D.A. run the table.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY]", "(DET. KANE fills CATHERINE in on his findings.)", "Det. Kane: Did some homework on Kate", "Catherine: Mm-hmm.", "Det. Kane: Financial records for the last year.", "Catherine: Great.", "Det. Kane: Personal checks from Kate Armstrong to Vernon Woods over the last year.", "Catherine: $5,000. Another for $5,000. $3,000. \"Memo: Loans.\" I don't think so. I think she was paying him off for something.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]", "(Inside the Interview room, DET. KANE presents his findings to KATE ARMSTRONG.)", "Kate Armstrong: Did Julia say anything?", "Det. Kate: Like what? The real reason you killed Woods?", "[OBSERVATION ROOM]", "(Inside the observation room, CATHERINE and NICK watch DET. KANE with KATE ARMSTRONG.)", "Catherine: This is where Gris and I differ. Forensics is about more than science. Human behavior. The inconsistencies of human behavior. Yes, \"how\" is crucially important, but so is \"why.\"", "[INTERVIEW ROOM]", "(KATE turns to her lawyer and whispers something to her. The LAWYER nods her head. KATE looks at DET. KANE.)", "Kate Armstrong: Okay.", "(Quick flashback to: Inside Dean VERNON WOODS' office, KATE and JULIA confront him.)", "Kate Armstrong: I'm finished paying you. We're going to live openly, honestly.", "Julie Eastman: It's a new century. Parents are \"evolved\".", "Vernon Woods: Not where their children are concerned. I'll tell everybody that I caught you two having s*x on school grounds.", "Kate Armstrong: That's a lie! JULIA EASTMAN: What?!", "Vernon Woods: Of course it's a lie. That didn't stop the McMartin school from closing down. (The two women look at VERNON WOODS like he's scum.) (He sighs.) Yeah, I think I'll make a call.", "(He turns to get the phone on the counter. JULIA turns to look at KATE. KATE reaches for the rock on the desk. She grabs it, rushes forward and hits him on the back of the head with it.)", "(End of flashback. Resume to present.)", "Kate Armstrong: Julia and I would never have survived a rumor like that. We panicked. The school is our whole life.", "(KATE starts to cry.)", "[OBSERVATION ROOM]", "Nick: Hmm. You got your \"why.\" Crime of passion.", "Catherine: (nods) Bigger \"why\": Why did it have to come down to this?", "(Inside the interview room, the officer moves to get KATE ARMSTRONG.)", "Nick: I guess they didn't feel like they had a choice.", "Catherine: Maybe they didn't.", "(Inside the room, everyone leaves.)", "Catherine: A lose-lose situation.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - DAY]", "(BRASS, WARRICK and GRISSOM talk with BOBBY TAYLOR and his LAWYER, CASSANNO.)", "Bobby Taylor: I'm telling you, I didn't kill Eric.", "Brass: Can you remember your last hours with him Saturday night?", "Cassanno (lawyer): Don't answer that.", "Bobby: I want to answer it. I just ... I can't remember anything after we took that stuff.", "Grissom: It's not about memory now, Bobby. It's about the evidence and the evidence ... sucks.", "(Quick flashback to: The night of the rave party.)", "Grissom: (V.O.) You and Eric bought Jimson tea from Ethan that night.", "Ethan: Enjoy, fellas!", "(ETHAN gives them the jimsonweed tea. He laughs.)", "(Flash to white: ERIC and BOBBY drink the tea.)", "Bobby Taylor: Cheers, man.", "(End of flashback. Resume to present.)", "Warrick: But you guys have never taken j-weed before so you weren't aware of the side effects of photophobia.", "Bobby Taylor: Ph-photo what?", "Warrick: Photophobia. It's just a big word for lights freaking you out. You guys were hallucinating and whatever Eric was seeing was scaring him, big-time.", "(Quick flashback to: Night of the rave party. The two boys, high, are running deeper into the desert. The bright lights from the cars and the vibrant colors are powerful.)", "(ERIC runs over the hill and falls. BOBBY runs after him. They're both running from the bright lights of the cars.)", "(End of flashback. Resume to present.)", "Warrick: The coroner states that Eric's dose shot his temperature through the roof. He was boiling in his own skin. So he stripped which is why we found him naked.", "(Quick flashback to: ERIC is running down the hillside and rips off his shirt.. The cars with their bright lights and vibrant colors continue to follow them along the desert. ERIC runs.)", "(End of flashback. Resume to present.)", "Brass: We just don't know if it was an act of aggression or self-defense.", "Bobby Taylor: I loved that guy.", "Grissom: That's why I tend to believe it was an act of self-protection. The lights were scaring him. At the same time, we conjecture that you were suffering auditory hallucinations. Both of these symptoms are routine with this drug.", "(Quick flashback to: ERIC is running. BOBBY is behind him, yelling at him.)", "Bobby Taylor: Shut up! Shut up!", "(Whatever BOBBY'S hearing, it's incredibly loud and annoying. He covers both ears with his hands.)", "Bobby Taylor: Shut up! Shut up! BOBBY TAYLOR: Shut up! Shut up!", "(BOBBY catches up with ERIC and grabs him from behind.)", "Bobby Taylor: Shut up! Shut... shut up!", "(He covers ERIC'S mouth ... trying to get him to shut up. ERIC struggles, but BOBBY has him firmly in his grasp.)", "Bobby Taylor: Shut up ...", "(ERIC grabs at BOBBY'S hands trying to get free.)", "(End of flashback. Resume to present.)", "Bobby Taylor: (stunned) I just ... I-I can't remember, honest.", "Cassanno (lawyer): You can \"believe\" and \"conjecture\" all you want. None of this is based on fact.", "Grissom: I'm afraid that it is. The evidence tells us that Bobby suffocated Eric.", "Warrick: We found traces of aluminum trapped in Eric's nostrils that are consistent with what we found in your client's hands and arms earlier today from his job at the fireworks plant.", "Bobby Taylor: I don't think I would do that.", "Grissom: I know, Bobby, but you did.", "(GRISSOM reaches to the side and pulls out a small plastic container. He opens it and takes out the mold.)", "Grissom: This is a mold of the bite mark that we took from your arm today.", "(He puts the mold down on the table and reaches into the plastic container.)", "Grissom: This is a mold of Eric's mouth, postmortem.", "(GRISSOM puts the teeth over the bite mark. It's a perfect match.)", "(BOBBY stares at the evidence in front of him and silent tears course down his cheeks.)", "(Quick flashback to: ERIC struggles in BOBBY'S grasp. BOBBY doesn't let ERIC go.)", "Bobby Taylor: Shut up! Shut up! BOBBY TAYLOR: Shut up! Shut up!", "(ERIC can't breath and slowly falls to the ground as he continues to struggle.)", "Bobby Taylor: Shut up. Shut up.", "(ERIC bites BOBBY'S arm. BOBBY grunts in pain. He grabs ERIC'S nose and mouth, covering them with his hand.)", "Bobby Taylor: Shut up! Shut up! Shut up!", "(End of flashback. Resume to present.)", "(BOBBY stares out in front of him, crying.)", "Grissom: You overpowered him, he suffocated ... and then, finally, the noise stopped.", "(The LAWYER shakes her head.)", "Cassanno (lawyer): I can tell you right now we're going to plead diminished capacity.", "Grissom: Good. I hope you win.", "Bobby Taylor: (shakes his head) It doesn't matter.", "Cassanno (lawyer): It's the difference between prison and a hospital, Bobby. It matters.", "Bobby Taylor: You don't understand. I don't care what happens to me. I killed my best friend.", "(He looks up at GRISSOM. Their eyes meet. GRISSOM'S eyes full of compassion for the young man.)", "[SCENE_BREAK]", "[EXT. CSI - FRONT ENTRANCE - PARKING LOT]", "(Camera opens on the front sign: LAS VEGAS POLICE DEPARTMENT / AREA COMMAND. GRISSOM and WARRICK sit side-by-side outside.)", "(They watch as the OFFICERS exit the building and lead BOBBY TAYLOR outside in handcuffs. They put him in their vehicle and drive off.)", "(Unable to watch anymore, GRISSOM stands and leaves.)", "Warrick: Where you going?", "Grissom: Away.", "[SCENE_BREAK]", "[EXT. STRATOSPHERE - DUSK]", "(GRISSOM secures himself in the roller coaster and gives his money to the attendant.)", "(Cut to: The roller coaster starts.)", "(Various cuts of GRISSOM on the roller coaster ride.)", "(Cut to: The roller coaster stops.)" ]

[ "Catherine violates department protocol when she takes the case of a rape accusation against her ex-husband. Warrick and Sara search for the missing bullet that will either exonerate or indict a cop for murder. Grissom and Nick investigate when a female skeleton is found under a house buried in cement." ]

[ "WHITE FLASH OPEN:", "[EXT. LAS VEGAS CITY (STOCK) - AFTERNOON]", "[EXT VEGAS SUBURB (STOCK) - AFTERNOON]", "[EXT. RESIDENCE -- AFTERNOON]", "[SCENE_BREAK]", "(Outside the home, PETE'S Pluming and Piping van is parked in the driveway. Camera moves downward below the ground level and under the house.)", "[INT. CRAWLSPACE UNDER THE HOUSE]", "(Under the crawlspace of the house, the plumber carries his flashlight and crawls, examining the pipes for the leak.)", "Woman's Voice: (o.s.) What's taking so long? I just wanted you to fix the leak!", "Plumber: (looks up) Look, lady, to fix the leak I need to find the leak. (distracted)", "(He continues to examine the pipes and crawls deeper under the house.)", "(He crawls against the wall where his shirt catches on something, ripping the material. He stops.)", "Plumber: Hold on.", "(He grunts as he shifts around to look at the wall. He turns up his flashlight)", "Woman's Voice: (o.s.) Did you find the leak?", "(He brings his flashlight down and finds the bony tips of a skeleton embedded inside the foundation wall sticking out. He looks at it closely.)", "Plumber: I found something.", "[SCENE_BREAK]", "[EXT. RALSTON HOUSE -- NIGHT]", "(NICK closes the car back door and carrying his kit, he heads for the house. He ducks under the crime scene tape toward the side of the house.)", "[EXT. RALSTON HOUSE - SIDE YARD - NIGHT - CONTINUOUS]", "(NICK puts his kit down.)", "Nick: Okay, I'm ready up here.", "[SCENE_BREAK]", "[INT. CRAWLSPACE UNDER RALSTON HOUSE - NIGHT -- CONTINUOUS", "(Under the house, GRISSOM makes his way to the site.)", "Grissom: Hang on a minute.", "(GRISSOM crawls up to the fingertips sticking out of the concrete.)", "Grissom: Okay, I'm there.", "Nick (over radio): Can you confirm it's human?", "Grissom: Metacarpal, phalanges ... no question about it.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. RALSTON HOUSE - SIDE YARD - NIGHT -- CONTINUOUS]", "(GRISSOM walks over to and around NICK.)", "Grissom: Hold on, Nick.", "Nick: (sighs) There's got to be an easier way.", "Grissom: When a body decomposes in concrete it leaves an air pocket, vacuum-sealed. We do this right, it'll open like a jar of pickles.", "(GRISSOM starts to work on the bricks. When he breaks through into the air pocket, we hear the seal being broken.)", "(They continue to break through the cement and finally get the hole wide enough to see the skeleton inside.)", "Nick: Ten bucks says the owner sells the house.", "Grissom: By law, you got to disclose everything -- three bedrooms, two baths, and a skeleton.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(GRISSOM walks into the room carrying the assignment sheets.)", "Grissom: Okay, I'm late again. Nick's going to work with me on that unidentified body at Summercliff.", "Sara: I hear it's just bones? What a rush.", "Grissom: O.I.S. at the jockey club.", "(GRISSOM holds out the assignment sheet. SARA stands up to get it from him.)", "Sara: Officer-involved shooting.", "Warrick: I'll take a piece of that.", "Grissom: Good, I want you to double up. Listen, these deals are never easy so keep me informed, please.", "Warrick: Will do.", "Sara: I drive.", "Warrick: Picture that.", "(SARA and WARRICK leave the room. GRISSOM looks back down at the other assignment sheet in his hand.)", "Catherine: So, what do you have for me? I could use a rush.", "(GRISSOM sits at the edge of the table.)", "Grissom: Well, this qualifies: 4-26. But I can't give you the case.", "Catherine: Because?", "Grissom: Conflict of interest. The alleged rape victim is an exotic dancer.", "Catherine: (offended) Because I used to be one, I'll be biased?", "Grissom: No. Suspect's your ex-husband. (beat) He's asking for you, but you can't take it.", "(CATHERINE stands up and looks at GRISSOM.)", "Catherine: Just let me do the prelim.", "Grissom: All right. (He gives her the assignment sheet.) Do what you can. But after the preliminary, you pass it off, okay?", "(CATHERINE doesn't say anything. She turns and leaves the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - OBSERVATION ROOM - NIGHT]", "(CATHERINE looks through the window at EDDIE WILLOWS, her ex-husband. He's sitting in front of the table, a tape recorder and microphone set up in front of him. She watches him for a long moment, then leaves the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROM - NIGHT - CONTINUOUS]", "(The door opens. CATHERINE walks inside.)", "Eddie Willows: (relieved) Thank god you're here.", "(EDDIE gets to his feet. CATHERINE closes the door behind her.)", "Catherine: Eddie.", "Eddie Willows: I didn't rape that girl.", "(CATHERINE puts the open file folder on the table. She sits down.)", "Catherine: According to the police report she's telling a different story. I wonder what the rape kit's going to say.", "Eddie Willows: We had s*x, okay? But she was there with me one hundred percent.", "(CATHERINE looks down at the file.)", "Catherine: In the parking lot behind the club.", "(She looks back at EDDIE.)", "Eddie Willows: Well, some women like the outdoors.", "Catherine: Melanie know about this?", "Eddie Willows: Mel and I split up a while ago.", "Catherine: You might want to call her anyway. She can loan you the money for an attorney.", "(CATHERINE picks up her bag, turns and heads for the door.)", "Eddie Willows: You're not going to help me? (yells) Cath, I am in a jam here!", "Catherine: A detective from s*x crimes has been assigned. I'm going to place another CSI.", "Eddie Willows: What about Lindsey?", "(CATHERINE stops.)", "Catherine: (puzzled) What about her?", "Eddie Willows: You want her spending sunday afternoons with me at Nevada State Prison ... or the mall?", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(NICK and GRISSOM stand over the skeletal remains on the table between them.)", "Grissom: Based on the auricular surface I'd say she died when she was about twenty.", "Nick: She?", "Grissom: It's in the hips. Pelvic bone is definitely female. You know, for a ladies' man you don't know much about bone structure.", "Nick: I know all I need to know. I figure she was killed before her cement bath.", "Grissom: Yeah, how?", "Nick: She was stabbed at least a dozen times -- a screwdriver, maybe ... like... a spike.", "Grissom: No. The gouges on her ribs are unusual. The instrument had to be ... slightly curved with some kind of serrated edge. Like crocodile teeth. Whatever killed this girl was not a traditional weapon.", "Nick: Well, stabbings are personal. She knew her attacker.", "Grissom: That's the rule.", "(GRISSOM leans in close to the head of the bones. He places a gentle hand on her skull.)", "Grissom: Who are you?", "[SCENE_BREAK]", "[EXT. PARKING LOT - STRIP CASINO HOTEL - NIGHT]", "(WARRICK and SARA meet up with BRASS and the OFFICER, JOE TYNER.)", "Brass: Sara Sidle, Warrick Brown? Officer Joe Tyner.", "Sara: Hi.", "(They shake hands.)", "Officer Joe Tyner: Hi.", "Warrick: Officer Tyner.", "Officer Joe Tyner: How you doing?", "Warrick: Want to tell us what happened here tonight?", "(BRASS answers the question.)", "Brass: He responded to shots fired. The suspect fled the scene.", "(WARRICK looks at OFFICER JOE TYNER.)", "Warrick: Why don't you tell us what happened here.", "(OFFICER JOE TYNER sighs.)", "(Quick flashback to: A speeding jeep, Nevada License #QLF 084, turns onto the main strip, tires screeching. The officer car right behind him.)", "Officer Joe Tyner: (to dispatch) Unit five. In pursuit of the fleeing 413 heading southbound on the strip.", "(White flash to: The jeep turns off of the road and into a parking lot. The officer car follows. The jeep stops. The officer car stops. OFFICER JOE TYNER gets out of his car and draws his weapon.", "Officer Joe Tyner: Get back in the car!", "(The SUSPECT gets back into his jeep and closes the door. OFFICER JOE TYNER takes a step toward the jeep.)", "Officer Joe Tyner: Drop your keys to the ground!", "(The SUSPECT drops the keys outside the jeep.)", "Officer Joe Tyner: Put your hands on the wheel!", "(The SUSPECT puts both of his hands on the steering wheel.)", "Suspect: I didn't do it ... whatever you think I did! I'm looking at three strikes. I'm not going back. I'll show you my registration.", "(The SUSPECT reaches for the glove compartment and opens it.)", "Officer Joe Tyner: No, put your hands on the wheel!", "(The SUSPECT grabs a gun in the glove compartment, points it at his own head and fires.)", "(End of flashback. Resume to present.)", "Officer Joe Tyner: Then he turned the weapon on himself -- one shot -- right through the forehead.", "Sara: Where's his gun?", "Officer Joe Tyner: I left it in the jeep.", "Sara: I'm going to go bag it.", "(SARA heads for the jeep.)", "Warrick: Officer, we're going to need your weapon, as well.", "Officer Joe Tyner: I never fired.", "Brass: Drawn but not fired.", "Warrick: (shakes his head) It's just standard procedure.", "(OFFICER JOE TYNER sighs.)", "Brass: It's okay. It's okay.", "(OFFICER JOE TYNER takes out his weapon and hands it to WARRICK handle first.)", "(SARA approaches the jeep and looks inside.)", "Warrick: (o.s.) Were there any witnesses?", "(She looks down at the body inside the front seat of the jeep. She takes the gun out of the SUSPECT'S hand.)", "Warrick: (o.s.) We're going to need to seal off this lot.", "(BRASS looks at WARRICK.)", "Brass: Tyner told you what happened here. Whose side are you on?", "Warrick: The officer told me a fleeing suspect committed suicide. I'm just verifying his account. You know how this works, Brass. Can we clear the jeep so I can do my job?", "Brass: Well, at least test the dead guy's hands for gun residue.", "(SARA steps up and joins them.)", "Sara: At that proximity G.S.R.'S invalid. They'd both be covered, no matter who fired.", "Warrick: Can we get back to work?", "Brass: Yeah.", "(WARRICK turns and leaves. SARA stares at BRASS.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT]", "(The lights flicker on. GRISSOM stands in the middle of the garage over the large slab of rock that the skeletal remains were entombed in.)", "(NICK walks in.)", "Nick: You brought the foundation of the house to our lab.", "Grissom: It's a six-by-three-foot section. When the concrete dried it preserved a partial impression of our Jane Doe. Did you find out anything about the house?", "Nick: I pulled the permits. Summercliff was built five years ago on nothing but desert.", "Grissom: That would explain why the body was so desiccated.", "Nick: House was sold subsequent to completion, so the homeowner isn't a suspect. Homicide is running a missing persons check.", "(NICK reaches out to touch something. GRISSOM clears his throat to stop him. NICK stops mid-reach and looks at GRISSOM. NICK smiles and withdraws.)", "Grissom: Well, if it wasn't for a leaky pipe she might have been down there forever.", "Nick: I think our killer was counting on that.", "(GRISSOM glances up at NICK, then turns back his attention to the slab in front of him.)", "[SCENE_BREAK]", "[INT. CSI - LAB - NIGHT]", "(WARRICK is sitting at the lab table. SARA walks into the room behind him.)", "Sara: Hey.", "Warrick: Why would a guy speed it all the way down the strip just to pull over and cap himself?", "Sara: What are you getting at, Warrick?", "(WARRICK puts the pen down and picks up the weapon in front of him. The one he was studying.)", "Warrick: Officer's weapon: Smith and Wesson 5906.", "Sara: Standard issue.", "(WARRICK puts the gun down and lifts up the cartridge in his other hand.)", "Warrick: One bullet missing. Nothing standard about that.", "(SARA takes it from WARRICK and looks at it. Camera close up of the bullets inside the cartridge.)", "Sara: Both gun's are nine millimeter automatics. Brass isn't going to like this.", "Warrick: I don't give a damn what Brass likes.", "Sara: Like I do? If Tyner's dirty, he goes down. I just know what happens when you piss off the P.D.", "Warrick: Yeah, it's war.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(Camera close up of GRISSOM holding a tarantula in the palm of his hand. A woman walks up to the door and knocks on the frame lightly.)", "Teri Miller: Gil Grissom?", "(GRISSOM looks up.)", "Teri Miller: Or should I call you spider-man?", "Grissom: It's harmless.", "Teri Miller: Of course it is.", "(TERI walks into the office, her eyes on the spider in GRISSOM'S hand.)", "Teri Miller: Orange-kneed tarantula. Nice specimen.", "Grissom: The tarantula's touch is very gentle.", "Teri Miller: It leaves no prints. They move without a trace. May I?", "(TER holds out her hand and to GRISSOM'S astonishment, takes the tarantula in the palm of her hand.)", "Teri Miller: Ah ...", "(TERI looks at the spider. GRISSOM stands up.)", "Teri Miller: Maybe I should introduce myself.", "(She holds out her free hand to him. They shake hands.)", "Grissom: Teri Miller does not need an introduction. (beat) I need you to make me a face.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(SARA and WARRICK interview OFFICER JOE TYNER.)", "Officer Joe Tyner: (annoyed) I didn't kill him. That's what I told I.A. It's what I told my superior. It's what I'm telling you.", "Sara: Officer Tyner, your gun -- there's a bullet missing from the magazine.", "Officer Joe Tyner: I don't top off. I know it's against regulation, but the 14th bullet puts pressure on the spring, and the gun can jam.", "Warrick: Can anyone confirm your story?", "Officer Joe Tyner: (surges to his feet) It's not a story!", "Sara: Whoa.", "Officer Joe Tyner: And no ... I don't tell people how I carry.", "Warrick: Do you?", "Officer Joe Tyner: Check the other magazines.", "(BRASS walks into the room.)", "Brass: What the hell's going on here?", "Warrick: We're just having a talk with Officer Tyner here.", "Brass: Next time, don't start without me. I'm the union rep on this one.", "Sara: Then you should know. Tyner's magazine -- one bullet shy.", "Brass: Is the expended round still missing?", "Sara: Yeah. It's not in the body, bullet's a round point wound was a through-and-through.", "Officer Joe Tyner: I did not fire a single round.", "Sara: And, with a record like yours we're supposed to just take you at your word?", "Warrick: Five civilian complaints -- three for excessive force. Two I.A. investigations.", "Officer Joe Tyner: I was cleared.", "Warrick: I'm sure you were.", "Officer Joe Tyner: What is that supposed to mean? I don't have to take this crap!", "Brass: Tyner ... sit down, sit down. What you do need is for these guys to go out and find the missing bullet.", "(BRASS turns and looks at WARRICK and SARA.)", "Brass: So what are you waiting for?", "Warrick: I guess it's a good thing I sealed off that crime scene.", "(WARRICK turns to leave the room.)", "[SCENE_BREAK]", "[INT CSI - GARAGE - NIGHT]", "(TERI works on the mold on the slab of foundation in the middle of the garage. GRISSOM watches her work.)", "Teri Miller: It's like a human jell-o mold. The impression's only a partial. It's not going to be easy.", "Grissom: They told me you were the top forensic artist in the country.", "Teri Miller: And Canada. I didn't say I couldn't do it.", "(TERI turns and brings out a pail.)", "Teri Miller: Give me your hand. You'll enjoy this. It's as much science as art.", "(Using GRISSOM'S hand, she guides him as he takes a scoop of the molding substance and puts it in the indentation in the foundation slab.)", "(He continues to work. TERI takes the pail and lifts it to pour the rest of molding substance into the foundation.)", "(Dissolve to: The molding substance solidifies and TERI removes it. She takes it over to the lamp and works on it. GRISSOM looks over her shoulder.)", "Grissom: It doesn't really look like anything.", "Teri Miller: No light, no shadows -- no shadows, no perspective.", "(She tilts the small sample and the impressions of a face can be seen.)", "Teri Miller: Now look.", "(Dissolve to: TERI is sitting at the table with the head and half mold in front of her. GRISSOM takes the seat next to her.)", "Grissom: So teach me.", "Teri Miller: Okay. First, I'm finishing off the plaster mold. We can't give her life with only half a face. Although most faces appear that way and the thin layer of slip makes the plaster and clay appear seamless.", "(TERI takes GRISSOM'S hands and guides him as he helps apply the plaster mold.)", "(Dissolve to: TERI finishes \"painting\" the face of the head in front of them.)", "Teri Miller: Her cheekbones and nasal spine indicate nordic descent. I've seen a few Norwegian brunettes but your girl's probably a blonde.", "(TERI takes a blonde-colored wig and puts it on the head in front of them.)", "(Dissolve to: TERI looks at a couple of brown eyes.)", "Grissom: Brown eyes? I thought you decided she was nordic.", "(TERI puts the eyes in the \"head\".)", "Teri Miller: But, in this country, brown is a dominant eye color. And, more importantly, brown photographs better. You want to get her face out there, don't you?", "Grissom: Yeah. I'm sure someone needs closure and somebody else needs to go to jail.", "(TERI finishes.)", "Teri Miller: There she is.", "(GRISSOM takes the camera and takes a picture of the head.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - DAY -- CONTINUOUS]", "[TELEVISION MONITOR]", "Paula Francis: (from tv) As we first reported yesterday, the remains of an unidentified caucasian female were unearthed in Summercliff. The five foot four inch woman was approximately 20 years old.", "(In the break room, GRISSOM watches the news report. NICK gets his cup and joins GRISSOM. He hands GRISSOM his cup.)", "Nick: Here you go.", "Paula Francis: (from tv) Authorities are asking for the public's help in identifying the victim.", "(On the monitor, they show a close up of the completed head. A phone number appears on screen under it: (702) 555-0199.)", "Paula Francis: (from tv) If you have any information please call the Las Vegas P.D. Hotline.", "(CATHERINE walks into the room.)", "Catherine: Hotlines ... hit or miss.", "Grissom: I don't know. In my experience people usually remember a beautiful woman.", "(CATHERINE moves to stand in front of him. She looks at him expectantly. GRISSOM glances at NICK.)", "Grissom: Uh, Nick, weren't you going to go and do the, uh...", "(NICK turns to look at CATHERINE.)", "Grissom: At the ... ?", "(NICK gets the hint.)", "Nick: Yeah. Yeah, okay, I'll do that.", "(NICK leaves the break room. GRISSOM turns to look at CATHERINE.)", "Catherine: So I saw Eddie. He actually... seemed scared.", "Grissom: Did that make you happy?", "Catherine: Um ... no. I'm not really sure what I ... feel.", "Grissom: You're not still in love with Eddie? (She sighs.) Catherine, you have to hand off the case. Warrick can just double up.", "(CATHERINE doesn't say anything.)", "(DAVID PHILLIPS walks into the room.)", "David Phillips: Uh ... Grissom, Dr. Robbins wants to see you. Something about your skeleton.", "(DAVID PHILLIPS leaves the room. GRISSOM turns to look back at CATHERINE. He stands up to head for the door, then turns around.)", "Grissom: Okay. You have to pass off the case. If you compromise the investigation there's no going back. You could hurt Eddie just as much as you could help him.", "(GRISSOM opens the door and leaves. CATHERINE leans back in her seat, staring at the door.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(GRISSOM walks into the room. DR. ROBBINS stands over the skeleton.)", "Grissom: Hey. I've already seen the marks on the ribs.", "Dr. Albert Robbins: Uh-huh, but did you see the hairline fracture on the posterior skull?", "Grissom: No.", "(GRISSOM puts on his glasses and leans in closer for a look.)", "(Camera moves into the skull to show the light from the fracture.)", "Dr. Albert Robbins: Easy to miss, but it screams blunt-force trauma. Also, the middle ear has three bones. They're dusted with sodium and lodged against the malleus. I found a tiny ball of earwax with grains of sand.", "Grissom: Salt and sand. Killed at the beach?", "Dr. Albert Robbins: Not ruling it out.", "(NICK walks into the room.)", "Nick: Grissom. Hey, doc. Hotline's lit up. Five callers all I.D.'D the same woman -- Fay Green -- and her mother just confirmed.", "(Camera pushes into GRISSOM and holds. He sighs.)", "[SCENE_BREAK]", "[INT. MRS. GREEN'S HOUSE - LIVING ROOM - DAY]", "Mrs. Green: (V.O.) I need to know what happened to my daughter.", "(GRISSOM and MRS. GREEN sit at the dining room table with open photo albums around them.)", "GRISSOM We're trying to figure that out for you.", "(GRISSOM looks down at the open album in front of him.)", "Grissom: She was quite an athlete, huh?", "Mrs. Green: Mm-hmm. Yeah.", "Grissom: Did she scuba dive?", "Mrs. Green: She had just been certified.", "Grissom: Did, uh, Fay ... before she disappeared, go on any vacation? Go diving or spend time at the beach?", "Mrs. Green: No, not that I recall. No.", "Grissom: And she, uh ... lived here with you until she disappeared?", "Mrs. Green: No, she had just moved in with her boyfriend, Jason Hendler. He still lives on Medley Place.", "Grissom: And the, uh ... police interviewed him after she disappeared?", "Mrs. Green: A couple of times. He had nothing to do with this.", "Grissom: Well, how do you know that?", "Mrs. Green: He loved my daughter. He was good to her.", "Grissom: Did they... ever fight?", "Mrs. Green: The first few months of a relationship nobody fights.", "(She starts to cry, then stops.)", "Mrs. Green: (whispers) She was crazy about him.", "(She starts to cry.)", "[SCENE_BREAK]", "[INT. HOSPITAL - EXAMINATION ROOM - DAY]", "(DET. EVANS interviews APRIL, the woman charging EDDIE WILLOWS with rape.)", "April Lewis: (o.s.) I've given Eddie Willows twenty lap dances. He never got rough till last night.", "Det. B. Evans: In the parking lot.", "April Lewis: Yeah, he asked me to go for drinks you know, but out in the parking lot he starts kissing on me and I kind of laughed it off, but ... then he grabbed me and he slams me against the wall and... that pig.", "(CATHERINE appears in the doorway. She looks into the room and sees APRIL talking. She steps forward and looks into the exam room.)", "Catherine: Hi.", "(DET. EVANS stands up.)", "Catherine: Evans, I'm sorry I'm late. I'm Catherine ... (hesitates) ... just Catherine. I'm a forensic scientist.", "April Lewis: Scientist ... wow. You look so normal.", "Catherine: Thanks.", "Det. B. Evans: (quietly) Catherine, you sure want ... ?", "Catherine: Yeah.", "(CATHERINE takes the seat in front of APRIL.)", "Catherine: Those bruises from last night?", "April Lewis: Yeah. A guy pinned me against a wall.", "Catherine: Sexual assault nurse collect a kit yet?", "Det. B. Evans: She just finished.", "Catherine: Why don't you see if you can catch her. I'd like her to get a sample from under her fingernails.", "(DET. EVANS leaves the room.)", "April Lewis: (nervously) Uh ... what kind of sample?", "Catherine: Anything that might, show up from a ... a struggle.", "April Lewis: You'd think what that nurse took down below would be enough. The weird thing is ... I liked the guy.", "[SCENE_BREAK]", "[EXT. PARKING LOT - DAY]", "(SARA and WARRICK work on looking for the bullet in the parking lot. SARA uses the metal detector and WARRICK searches the edges near the fence.)", "Sara: It's not here.", "Warrick: Bullets just don't disappear.", "(A young man wearing a red vest approaches them at the edge of the parking lot. SARA turns around and spots him.)", "Sara: Excuse me. No one's allowed inside the tape.", "Valet: I saw what happened.", "(WARRICK and SARA head for the young man.)", "Warrick: Have you talked to the police?", "Valet: (shakes his head) Police make me nervous. You guys aren't cops, are you?", "Warrick: We're Crime Scene Investigators. We need to know what you saw.", "Valet: I was kind of taking a break, hanging out at the P.T. Cruiser. I was laid back in the heated driver's seat when I heard the siren.", "(Quick flashback to: The VALET is sitting in the car. He turns his head to look when he hears the police siren.)", "Officer Joe Tyner: (o.s.) Put your hands on the wheel!", "Suspect: (o.s.) I didn't do it ...", "(JERROD leans forward to get a better look.)", "Suspect: ... whatever you think I did! Man, I'm looking at three strikes.", "(JERROD opens his car door and gets out of the car.", "Suspect: ... I'm not going back. Just let me show you my registration.", "Officer Joe Tyner: No! Hands on the wheel!", "(Watching them, The VALET hears the gunshot and sees the smoke.)", "(End of flashback. Resume to present.)", "Warrick: And, just like that, the officer fired?", "Valet: Just like that.", "Sara: Missing bullet, eyewitness ... we better tell Grissom we got a war.", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM - DAY]", "(WARRICK changes his shirt when GRISSOM walks into the locker room. He looks at WARRICK, then heads for his locker where he opens it and takes a seat on the bench.)", "Grissom: I heard about your eyewitness. A valet who joyrides. He sounds reliable. (beat) So, uh, how's the thing going on Eddie Willows?", "Warrick: What thing?", "Grissom: The thing that I told Catherine to pass off to you.", "Warrick: (realizing and trying to cover) Oh, good. Um ... we just put some stuff through the lab.", "Grissom: Get ahold of the DMV?", "Warrick: I was just about to.", "(GRISSOM slams his locker door shut and stands up. CATHERINE walks into the locker room.)", "Grissom: Warrick? Why would you call the DMV on a rape charge?", "(WARRICK sighs at being busted.)", "Catherine: Okay. I didn't hand it off.", "Grissom: Really?", "Catherine: I'm sorry, Warrick.", "Warrick: If you want me to suave anyone, I got to know the shot.", "Catherine: I know.", "(WARRICK leaves the locker room.)", "Catherine: (to WARRICK) I'm sorry.", "(CATHERINE walks up to GRISSOM, trying to explain it to him.)", "Catherine: I'm doing this for Lindsey.", "Grissom: You so much as breathe on the evidence, it's contaminated and I end up the bad guy.", "Catherine: Eyes, no hands.", "Grissom: What's the status?", "Catherine: Skin samples from under the woman's fingernails are consistent with Ed's. I saw some bruises but Eddie's style has always been very ... involved ... vigorous.", "Grissom: (puzzled) Vigorous?", "(From the other side of the shelf, apparently WARRICK didn't leave the locker room. He explains.)", "Warrick: She's trying to tell you Eddie likes it rough.", "Catherine: Thank you, Warrick. Eddie said that she was into it.", "Grissom: \"He said. She said?\" It's about the evidence, Catherine.", "(GRISSOM steps back and heads toward the door. He turns to look at CATHERINE.)", "Grissom: And you may not like where it takes you.", "(GRISSOM walks out of the locker room. CATHERINE stands there for a moment.)", "[SCENE_BREAK]", "[INT. CSI - DNA/TRACE LAB - DAY]", "[SCOPE VIEW: GRAINS OF SAND]", "(GREG is looking through the scope at the sands found in the skeleton's ear.)", "Greg Sanders: So how many grains of sand in the ocean, huh?", "Nick: I don't care about the ocean, just the sand in my skeleton. Can you pinpoint a beach?", "GREG SANDERS; I don't know. I might have to do some field research. (Looks at NICK.) Hey, you think Grissom would send me to Hawaii?", "(NICK looks up and sees GRISSOM in the doorway, GREG'S back is to the door so he doesn't see GRISSOM enter the lab.)", "Nick: Why don't you ask him yourself?", "Grissom: Ask me what?", "(GREG turns around and stands up.)", "Greg Sanders: Oh, nothing. I, uh ... I was just telling Nick about your sand. Well, it's not sand. It's not natural anyway. Here, check this out.", "(GRISSOM looks through the scope.)", "Greg Sanders: Now, if this were natural sand, the surface would be smooth.", "[SCOPE VIEW: GRAINS OF SAND]", "Greg Sanders: (o.s.) This looks more like Fremont Street on a Saturday night ... rough.", "Nick: Could the particles be sediment from the concrete where we found her?", "Greg Sanders: No. No way. I analyzed the mineral content. It's feldspar and quartz. That's crushed gray sandstone. It's man-made, in a rock crusher.", "Nick: What does that mean?", "Grissom: It means she wasn't killed in Hawaii.", "(GREG freezes at being busted and slowly turns to look at GRISSOM.", "Grissom: Other than that ... he has no idea.", "(NICK laughs, puts a friendly arm around GREG'S shoulders and pats him lightly on the chest.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(BRASS walks through the hallway just in time to see WARRICK turn the corner and head his way.)", "Brass: Is this payback, Warrick? Is that what this is? I was tough on you, so Officer Tyner takes my heat?", "Warrick: That's how you think I work?", "(SARA joins them trying to diffuse the argument building.)", "Sara: Brass, this has nothing to do with anything.", "Brass: D.A. is filing charges. On the testimony of a bleary-eyed car jockey who was 40 feet from the jeep.", "(Behind them, OFFICER JOE TYNER appears in the hallway. He's dressed down and carrying a duffle bag over his shoulder. He turns and sees them arguing.)", "Sara: Eyewitness is a bonus: Your cop's magazine was one bullet shy.", "(He drops his bag and heads for the group, gearing up for a fight.)", "Officer Joe Tyner: That's you CSIs, always counting bullets.", "(WARRICK turns around.)", "Warrick: What's he doing here?", "(BRASS moves to get between the OFFICER and the CSIs.)", "Brass: Joe, you shouldn't be here.", "Officer Joe Tyner: You show up with your latex gloves and your little fancy metal boxes ... your little powders ... you have no idea what it's like to put your life on the line every day!", "(OFFICER JOE TYNER'S voice gets louder as he finally shouts loud enough that GRISSOM stands up from the scope in one of the labs to look at what the commotion in the hallway is about.)", "Warrick: Oh, you mean dealing with punk-ass cops who hide behind their union reps?", "(OFFICER TYNER lunges for WARRICK and pushes him in the chest. WARRICK takes a step backward.)", "Sara: Wow, wow guys. Get off him. BRASS: Hey! Hey! Joe!", "(GRISSOM heads out into the hallway. NICK follows.)", "(BRASS manages to get OFFICER TYNER away from WARRICK.)", "Warrick: (egging him on) You're just a psycho! You don't deserve a badge!", "(OFFICER TYNER breaks from BRASS and heads for WARRICK. He reaches WARRICK and finds GRISSOM in his face.", "Grissom: Cut it out! Not in my lab, pal.", "Officer Tyner: Scientists! I bet you've never even drawn your weapon.", "Grissom: Yeah. I hope I never have to. Nick, walk this guy out the door.", "Nick: Now, let's go.", "(NICK walks down the hallway making sure that OFFICER TYNER leaves the building.)", "Grissom: Sara.", "Sara: Yeah. Come on, Warrick. Come on. Let's go.", "(SARA leads WARRICK away from the hallway in the other direction. GRISSOM turns around and sees BRASS walking straight for him, angrier than ever.)", "Brass: (angry) This is your fault, Gil. Your nose is so far down a microscope you have no idea what your people are doing.", "Grissom: Yeah, I know one thing: My guys will not bend and they will not be intimidated.", "Brass: Hey, I sat in your chair. Your guys have one job: To find the evidence. So where the hell is the missing bullet? Huh?", "(And with that, BRASS turns and walks away.)", "(GRISSOM watches him leave and sighs.)", "[SCENE_BREAK]", "[INT. CASINO - RESTAURANT - DAY]", "(CATHERINE sits at the table with her drink. EDDIE shows up and takes the seat on the other side of the table. CATHERINE looks up in surprise.)", "Catherine: Eddie.", "Eddie Willows: Catherine. (to the waitress) I'll take a root beer.", "Waitress: Sure.", "Catherine: What are you doing here?", "Eddie Willows: I knew you'd be here. You got a routine: Turkey club, no bacon.", "Catherine: You could be a detective. Thank you.", "Waitress: You're welcome.", "Catherine: (sighs) Well, you obviously made bail. Did you get a lawyer?", "Eddie Willows: I got you and The Truth. Who needs a lawyer?", "(CATHERINE ignores him and picks up her Turkey club sandwich.)", "Eddie Willows: (looks away and sighs) I came to tell you how great you are. It always comes out wrong. When I married you, I married up. I know that.", "Catherine: (smiles) It wasn't all bad.", "(He leans back in triumph at getting her to admit that much at least. CATHERINE smiles back at him.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - DAY]", "(SARA and WARRICK stare at the SUSPECT'S jeep, Nevada license #QLF-084.)", "Sara: You think the bullet's somewhere in the jeep.", "Warrick: It's not in the body. It's not at the crime scene. I like our odds.", "Sara: Let's do it.", "(SARA takes off her jacket. WARRICK starts unbuttoning his shirt. The two get ready to search the car for the missing bullet.)", "(Short time cut to: The jeep is being taken apart piece by piece, the seats are out on the garage floor.)", "(Short time cut to: WARRICK and SARA take off the jeep's hood.)", "(Short time cut to: SARA and WARRICK take apart the front bumper.)", "SHORT TIME CUT TO:", "(SARA and WARRICK stare at the body of the jeep with its parts removed.)", "Sara: We have searched every single piece of metal. I think hide-and-seek is over.", "(WARRICK sighs.)", "Warrick: Yeah. We've searched every piece of metal.", "(WARRICK turns and looks at the tire on the garage floor nearby.)", "Warrick: Spare tire.", "(He kneels down in front of it and checks the tire. They find the bullet.)", "Sara: You've got to be kidding me.", "Warrick: The tire sucked up the bullet and the treads covered its tracks.", "SARA; We match the bullet to the cop's gun, the case is airtight.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "[SCOPE VIEW: TWO BULLETS SIDE BY SIDE]", "Warrick: (o.s.) There's a match.", "(WARRICK steps away from the scope and let's SARA look. Standing off to the side is BOBBY DAWSON.)", "Warrick: We got Tyner. One bad cop going down.", "Bobby Dawson: Well, actually, Warrick, the evidence round wasn't from the cop's gun. It was from the suspect's.", "(SARA looks up.)", "Sara: No way.", "[SCENE_BREAK]", "[INT. STRIP BAR]", "(DET. EVANS and CATHERINE walk into the strip bar. They approach the bar owner sitting at the counter watching the girls dance.)", "Det. B. Evans: These guys never give up anything on their girls.", "Catherine: Well, let me give it a try.", "(They reach the owner, TED BENSON.)", "Catherine: Excuse me, sir.", "(He turns to look at her.)", "Catherine: Can we see your permits?", "Ted Beaton: Oh, hi, Gorgeous. How are you?", "(He grabs her hand and CATHERINE leans over so he can give her a kiss.)", "Catherine: Okay, Ted.", "Ted Beaton: How you doing?", "Catherine: I'm okay.", "(CATHERINE sits down in the empty seat next to TED.)", "Ted Beaton: Hi. You should have seen this lady dance. Oh, was she good! You still working with the cops?", "(DET. EVANS watches the two and smiles at being had by CATHERINE. He takes the empty seat next to her and sits down.)", "Catherine: Can't seem to get off the night shift.", "Det. B. Evans: You dressed like that?", "(CATHERINE turns around at his comment and laughs.)", "Catherine: If you want to call that dressed. Yeah, Evans. Hey, Ted, you heard about this thing with Eddie and April?", "Ted Beaton: Yeah, the night guy told me about it. Boy, Eddie never changes, huh?", "(As if transported to another place (another time, another life), CATHERINE stops and watches the girl up on the counter top dance around the pole. She watches the dance. DET. EVANS turns to watch CATHERINE. TED also turns to look at CATHERINE.)", "Ted Beaton: Bring back memories?", "(CATHERINE turns and looks at TED.)", "Catherine: You mind if I look around?", "Ted Beaton: Help yourself.", "Catherine: Thanks, Ted.", "(CATHERINE stands up and leaves to look around.)", "[SCENE_BREAK]", "[INT. STRIP BAR - DRESSING ROOM]", "(The door opens and CATHERINE walks in. She closes the door behind her. She looks around at the lockers and at the dressing counters.)", "(She spots the locker marked, \"APRIL\". She opens it and looks around. Inside, she finds a box of VCF, Vaginal Contraceptive Film --\"The Dissolving Contraceptive ... \" She flips the box over and reads the back.)", "Cue Sound: (PRELAP) DOORBELL", "[SCENE_BREAK]", "[EXT. HENDER HOME - FRONT PORCH]", "(The front door opens.)", "AMY HENDLER Can I help you?", "Grissom: Ma'am, my name is Gil Grissom. This is Nick Stokes.", "Nick: Hi.", "Jason Hendler: (steps out from the back of the room) Honey, who's out there?", "Grissom: Mr. Hendler, we're criminalists from the Las Vegas police department.", "Amy Hendler: What's this about?", "Grissom: We're investigating the disappearance of Fay Green. May we come in?", "(AMY HENDLER turns around to look at her husband. He motions them inside.)", "Jason Hendler: Yes.", "Nick: Thank you.", "(AMY HENDLER steps aside. GRISSOM and NICK walk into the house. She closes the door behind them.)", "[SCENE_BREAK]", "[INT. HENDLER RESIDENCE - LIVING ROOM - CONTINUOUS]", "(JASON HENDLER leads them to the living room. He turns around and looks at GRISSOM. NICK looks around the place.)", "Jason Hendler: (quietly) Did you find her?", "Grissom: Yes, I'm afraid we did. She'd been dead for quite a while.", "Jason Hendler: Hmm. (barely under his breath) You always hope ...", "(AMY doesn't say anything.)", "GRISSOM; Mr. Hendler ... would it be possible for us to look around?", "Jason Hendler: Fay only lived here for about a month, five years ago.", "(GRISSOM looks at him waiting for an answer.)", "Jason Hendler: I've got nothing to hide.", "Grissom: Thank you.", "Nick: Thanks.", "(NICK walks around the group and into the living room. GRISSOM stands in the hallway, thoughtful. He walks down the hallway and into the room. That's where he finds the large fish tank. He leans in and looks at it.)", "(AMY and JASON HENDLER follow GRISSOM. NICK enters the room also.)", "Grissom: A trigger and a lionfish.", "Jason Hendler: Yeah, that's right.", "Grissom: Interesting choices. Violent, carnivorous predators.", "(As NICK walks around the room, looking about, the floor squeaks. GRISSOM immediately notices the sound and turns to look.)", "Jason Hendler: It's just a warped floorboard.", "Amy Hendler: It's been like that forever.", "Grissom: Mr. Hendler, at any time, was your fish tank over here?", "Jason Hendler: Maybe, a while ago. Why?", "Grissom: Did it ever overflow? (beat) Break?", "Jason Hendler: Not that I recall.", "Grissom: You said I could look anywhere, right?", "Jason Hendler: Yeah.", "Grissom: (to NICK) Got a pocket knife?", "(GRISSOM kneels down and starts to pry the floorboard up and off.)", "Jason Hendler: What are you doing?", "Grissom: (to JASON HENDLER) Pops out, pops in.", "(NICK and GRISSOM look under the floorboard. He finds sand.)", "Grissom: (to NICK) What do you find inside an hourglass?", "(GRISSOM stands up.)", "Grissom: Mr. Hendler, I think the tank was over here. I think it broke. I think you got water and artificial sand all over the place.", "Jason Hendler: I'd like you fellows to leave now, please.", "Grissom: Fine, we'll go. We'll be back ... with a warrant.", "(GRISSOM turns and heads out the room. NICK looks over at the HENDLER, nods and follows.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(CATHERINE walks into the lab.)", "Catherine: So, Greg, what did the rape kit say?", "Greg Sanders: Nonoxynol-9, polyvinyl alcohol, and...", "Catherine: Glycerin?", "(GREG looks up from the results, surprised that CATHERINE got it.)", "Greg Sanders: Yeah.", "(She holds up the box.)", "Catherine: It's a contraceptive film. (She points to the mug in his hand.) What are you drinking?", "Greg Sanders: Chamomile.", "Catherine: May I?", "Greg Sanders: Sure.", "Catherine: Thank you.", "(CATHERINE takes the mug from GREG and removes the tea bag inside. She pours the liquid into a glass container.)", "Greg Sanders: So you used to work at the French Palace?", "Catherine: That's right.", "Greg Sanders: You know, my friends and I used to go there.", "Catherine: Really?", "Greg Sanders: Payday fridays.", "Catherine: Uh-huh.", "Greg Sanders: Maybe I saw you perform?", "Catherine: (sighs) Oh, I doubt it.", "Greg Sanders: Why?", "(CATHERINE looks at GREG.)", "Catherine: You would have remembered.", "(GREG looks absolutely stunned. CATHERINE turns her attention back to the experiment. She removes one of the contraceptive films and dips it into the heated liquid.)", "Catherine: So, this film-- it's kind of hard to detect because it dissolves with body heat. And, as you know, Greg, s*x can make a body pretty hot.", "(They wait for the film to dissolve.)", "Greg Sanders: This stuff has to be inserted fifteen minutes to three hours before s*x.", "Catherine: Which means that April inserted the film while she was still at work.", "Greg Sanders: But how could she have known to put the birth control in before she was raped?", "CATHERINE Exactly.", "(CATHERINE drops the film and forceps into the glass container, stands up and walks out of the lab.)", "(GREG lifts up the VCF box and looks at the back of it.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(NICK and GRISSOM walk through the hallway)", "Nick: Guess where Jason Hendler was employed five years ago.", "Grissom: Summercliff Housing Development. A plumber, perhaps?", "Nick: Close. A subcontractor. How did you know?", "Grissom: Why else would you be so excited?", "(TERI MILLER walks through the hallway pulling her bags behind her. GRISSOM looks up and sees her.)", "Grissom: Hey! You weren't going to say good-bye to me?", "Nick: I'll meet you outside. Hi, Teri.", "Teri Miller: Thought I'd let you off easy. But I did tack up my number on your big fish corkboard ... under \"cold cases.\"", "Grissom: The ones that got away.", "Teri Miller: Let's hope not.", "(TERI heads out the hallway. She glances back at GRISSOM as she turns the corner and out of his sight.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(WARRICK and SARA show BRASS what they discovered.)", "Warrick: So, check it out ... the laser is the path of the bullet. If you were Officer Tyner and you approached the suspect from the driver's side of the vehicle ...", "Sara: Vic was shot in the frontal lobe through the windshield. There's no way I could shoot the guy from here and mimic that trajectory.", "Warrick: The laws of physics trump the eye witness. There's only one way this could've gone down.", "(Quick flashback to: That night. The SUSPECT reaches for the glove compartment and opens it.)", "Suspect: I'll show you my registration!", "Officer Tyner: Put your hands on the wheel!", "(The SUSPECT reaches for the gun inside. He pulls it out and shoots himself in the forehead.)", "(End of flashback. Resume to present.)", "Warrick: Officer Tyner was telling the truth.", "(cc) BRASS: And that's a surprise?", "(cc) SARA: Ease up. Until now, none of us knew what really happened.", "Brass: So I bet you think I owe you one, huh?", "Warrick: We work. We get paid. You don't owe me anything.", "Brass: (smirks) Fine with me.", "(He turns and leaves the garage. SARA shakes her head and sighs.)", "(WARRICK doesn't look too disappointed by BRASS' reaction.)", "[SCENE_BREAK]", "[INT. STRIP BAR - DRESSING ROOM]", "(CATHERINE is with APRIL in the dressing room. APRIL is getting dressed.)", "April Lewis: He promised me a million things. I got tired of him lying.", "Catherine: Like what -- marriage, kids?", "April Lewis: Music videos. He kept telling me he'd put me in one but he never delivered.", "Catherine: And for that you set him up for rape?", "(APRIL sighs.)", "April Lewis: No, it wasn't supposed to go this far, okay? I got this friend over at the trop. She got this high roller on a rape charge. He paid a ton to make it go away.", "Catherine: Wait a minute. You think that Eddie's got money?", "April Lewis: He is in the music business.", "Catherine: He reps some bands off-strip.", "April Lewis: (disbelieving) No, I met a producer friend of his from L.A. and he's always throwing money around this place.", "(CATHERINE starts to laugh. APRIL is puzzled by CATHERINE'S behavior. She turns to look at CATHERINE.)", "April Lewis: What? What's so funny?", "Catherine: (sighs) Nothing.", "(She shakes her head.)", "[SCENE_BREAK]", "[INT. JASON HENDLER'S RESIDENCE - LIVING ROOM - NIGHT]", "(GRISSOM takes the floorboard off. The HENDLERS watch. GRISSOM looks under the floorboard and doesn't find the sand there anymore.)", "Grissom: I see you've cleaned house. I thought you might.", "Jason Hendler: I vacuumed up the sand. Big deal. Will you at least tell me what you're doing here?", "Grissom: I'm working, sir. Officer, would you hit the lights, please?", "(The top light turn off. GRISSOM sprays the floors.)", "JASON HENDLER You're getting my floor wet.", "(NICK enters the room.)", "Nick: It's luminol, sir. It dries quickly.", "Grissom: Surface is non-reactive.", "Jason Hendler: I know what you're doing. You're looking for blood.", "Amy Hendler: My husband didn't do anything. Why are you harassing him?", "Grissom: Let's try the ALS.", "Nick: Why use the Alternate Light Source if the luminol didn't pick up anything?", "Grissom: Luminol works on the surface. ALS chases the protein molecules in blood. It actually penetrates the wood. These floorboards are all made of maple -- high-end-but they've been lacquered.", "(They look at each other.)", "Nick: Who lacquers maple unless they're trying to hide something?", "Grissom: Yeah.", "(NICK turns on the ALS and sweeps the floor. They find glowing spots of blood drops and hand prints on the floorboards. GRISSOM stands up for a better look.)", "Grissom: Turn it off, Nick. Officer, hit the lights, please.", "(The top room lights turn on.)", "Grissom: Mr. Hendler let me tell you what I think happened to Fay. On the night of her disappearance, the two of you got in a heated argument.", "(Quick flashback to: JASON HENDLER and FAY GREEN arguing and fighting.)", "Fay Green: Don't you walk away from me!", "(JASON grabs FAY. She pulls away and goes head first into the large fish tank, water spills everywhere. FAY falls to the floor.)", "(End of flashback. Resume to present.)", "Grissom: Suffering a concussion, Fay falls to the floor. In the heat of the moment you decide to make it final. But Fay surprises you: She fights back. She pushes you off. She crawls a few feet away and you move in for the final attack.", "(Quick flashback to: The fish tank breaks. FAY is on the floor. JASON HENDLER is above her, hitting her with the hand tool. End of flashback. Resume to present.)", "Grissom: One thing that I don't know, though. What did you use to kill her?", "Jason Hendler: I didn't kill her.", "Grissom: Well, whatever the weapon it wasn't a knife, but it worked. You drove her body over to Summercliff where you were employed and you buried her in wet concrete.", "Jason Hendler: I worked the Summercliff job less than a week. Ask Amy. She worked for the same contractor.", "Amy Hendler: That's right. He got a better job in Reno. Jason wasn't even in Vegas when Fay disappeared.", "Nick: And you painted the floors, covered your tracks for what, aesthetic reasons?", "(AMY sighs.)", "Grissom: Five years is a long time but eventually the past catches up to everybody.", "Jason Hendler: (insistent) I didn't kill Fay! I loved her. I STILL love her.", "(JASON stops when he realizes what he just said. Everyone freezes. JASON turns around to look at AMY, who shakes her head in denial.)", "Jason Hendler: Amy, I'm sorry. I'm sorry.", "Amy Hendler: You still love her?", "(He looks at her and sighs. He doesn't deny it.)", "Nick: Officer, would you please arrest Mr. Hendler?", "(A couple of officers walk into the room to handcuff JASON HENDLER.)", "Jason Hendler: Call my father. He'll get a lawyer. I didn't do it. It's okay.", "Grissom: (to NICK) I'll ride along with the cops. Bring homicide up to speed. This is now a fresh crime scene.", "(GRISSOM heads out.)", "Nick: I'll get to work.", "(NICK looks over at AMY who stands in the room, stunned.)", "(NICK leaves the room to get his things. In the next room, NICK reaches for his gloves. As he puts them on, his eyes latch onto the framed photos hanging on the wall. He looks at them absently, but something in one of the photos catches his eyes.)", "(It's a black and white photo of a couple of people wearing mountain climbing gear. He remembers what GRISSOM told him in the autopsy room.)", "Grissom: (V.O.) \"The instrument had to be slightly curved with some kind of serrated edge like crocodile teeth...\"", "(The camera moves in slowly to the climbing picks in the mountain climbers' hands. NICK realizes what the murder weapon is.)", "Nick: (eyes glued to the photo) Mrs. Hendler, do you and your husband do much rock climbing?", "(The gun cocks.)", "Amy Hendler: (o.s.) Yes.", "(NICK turns to look at AMY and instead, finds himself staring down the barrel of a gun.)", "Amy Hendler: That's what I killed her with.", "[SCENE_BREAK]", "[EXT. HENDLER RESIDENCE - NIGHT - CONTINUOUS]", "(JASON HENDLER, the OFFICERS and GRISSOM walk out of the house.)", "Jason Hendler: I can prove I was in Reno when Fay disappeared. I've got records. You don't want to talk, fine. But I've got a question for you. Why do you care so much about the floors? I mean, Amy paints them every spring. It's no big deal.", "(JASON shakes his head as the officers put him in the back seat of the car. GRISSOM stands there, thinking.)", "[SCENE_BREAK]", "[INT. HENDLER RESIDENCE - NIGHT - CONTINUOUS]", "(Staring at the gun barrel, NICK backs away slowly from AMY HENDLER.)", "Amy Hendler: Jason was in Reno. I came here to tell Fay that we would be together again one day.", "NICK Mrs. Hendler, put the gun down.", "Amy Hendler: Do you know he was engaged to me when he met her?", "(Quick flashback to: FAY GREEN walks away from AMY. AMY grabs FAY. FAY pulls away; they struggle for a moment. FAY hits head first into the fish tank.)", "Amy Hendler: Where are you going? FAY GREEN: Stop it!", "(While FAY is on the floor, AMY reaches for the mountain climbing pick and beats FAY with it.)", "(End of flashback. Resume to present.)", "Amy Hendler: There was blood ... everywhere. No one else could see it ... but I knew it was there. A dead body is so heavy.", "(NICK nods his head, tears in his own eyes.)", "Nick: Mrs. Hendler, I'm a good listener. (swallows) You got to give me the gun.", "Amy Hendler: (cries) I can't! (whispers) I'm sorry.", "Nick: No, wait.", "Amy Hendler: But you arrested my husband.", "Nick: Wait!", "Grissom: (o.s.) Mrs. Hendler.", "(AMY HENDLER swings around to find GRISSOM pointing his own gun at her. His focus intent on her.)", "Grissom: Nick, don't move.", "(AMY HENDLER holds the shaking gun on GRISSOM.)", "Grissom: Please. I don't want to fire my gun any more than you do. For five years, you've been washing the blood off your hands. (She starts crying.) Let's put down the guns.", "(AMY slowly lowers the gun. GRISSOM slowly walks toward her. NICK sees that it's going to be all right and turns around, his back to everyone.)", "(GRISSOM takes the gun from AMY.)", "Grissom: You okay, Nick?", "(NICK turns to look at GRISSOM.)", "Nick: Yeah.", "Grissom: Come on.", "(GRISSOM leads AMY HENDLER out of the room. NICK takes off his gloves.)", "[SCENE_BREAK]", "[EXT. PARK - DAY]", "(CATHERINE sits on the park bench watching LINDSEY playing on the swings.)", "Lindsey Willows: Hey, mom!", "(EDDIE walks up from behind and stands next to CATHERINE. CATHERINE waves back to LINDSEY.)", "Eddie Willows: Morning.", "(CATHERINE looks up at EDDIE.)", "Catherine: Morning.", "(EDDIE takes the seat next to CATHERINE.)", "Catherine: Please don't tell me that you're in trouble again already.", "Eddie Willows: You weren't home. I figured you'd be here. Lindsey loves this park. So, I thought I'd take you out to breakfast. Say thank you.", "Catherine: You're welcome.", "(CATHERINE takes off her sunglasses and looks at EDDIE.)", "Catherine: I don't think that's such a good idea, though.", "(EDDIE nods.)", "Eddie Willows: Cath, when are we going to talk about what happened between us?", "Catherine: What's to talk about? You cheated on me. I caught you. I've got a new life.", "(They both turn to look at LINDSEY. He reaches for CATHERINE.)", "Eddie Willows: Cath ...", "(CATHERINE pulls away.)", "Eddie Willows: Come on. Why do you fight the one thing we're good at?", "(He reaches for her again and leans in close ... just as LINDSEY looks up from her seat on the swing and sees him. She runs over to them.)", "Lindsey Willows: Daddy! Daddy!", "Eddie Willows: Hey! There's my little girl.", "(He turns away from CATHERINE and stands to pick up LINDSEY. She jumps into his arms and hugs him. Over her shoulder, EDDIE looks at CATHERINE. She sighs.)", "(The camera pulls away from them.)" ]

[ "When a teenager and her sister are the sole survivors of the gruesome murder of four members of one family in a quiet suburban neighborhood, Grissom and his entire team investigate the crime. What initially looks like a bizarre cult murder becomes more disturbing when they discover the motive behind the massacre." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]", "WHITE FLASH TO:", "[SCENE_BREAK]", "[EXT. COLLINS' HOUSE - NIGHT]", "(Camera opens on the front of the Collins' mail box. The sprinkler system is on.)", "(Camera pushes in slowly to the bunny lawn decorations near the mail box.)", "(The sprinkler system shuts off.)", "(After a moment, the front door opens and a woman screams.)", "Tina Collins: (screaming) Help me!", "(TINA COLLINS runs out of the house.)", "Tina Collins: (screaming) Oh, god, help me! Somebody, please! Please ... oh, god! Somebody help me!", "(TINA COLLINS runs across the front lawn and out into the street, still screaming at the top of her lungs.)", "Tina Collins: Please! Help me! Help me!", "(She runs to the next door neighbor's, the lights in the house having turned on at the screams.)", "Tina Collins: Help me! Help me! Please!", "(She reaches the front door and starts pounding on it.)", "Cue Sound: (PRELAP) AMBULANCE SIREN WAILING", "[SCENE_BREAK]", "[EXT. NEIGHBORHOOLD - NIGHT -- CONTINUOUS]", "(Emergency vehicles and Officer cars surround the house. GRISSOM drives up to the scene, the dispatch radio on in his car.)", "(GRISSOM parks the car and exits the vehicle. He meets up with DET. O'RILEY. They head for the house.)", "Grissom: Hey.", "Det. O'Riley: Heads up. The press is going to be all over this one.", "Grissom: Did the count change since you called me?", "Det. O'Riley: Four dead: Mother, father, two teenage boys. The sisters were luckier.", "(He points to a girl talking with an officer off to the side. She has a blanket wrapped around her.)", "Det. O'Riley: Teen girl heard a noise, hid in the closet. Alerted the neighbors after all the shouting was done.", "(He points to a little girl sitting in the front seat of the police car.)", "Det. O'Riley: Younger sister's over there. They couldn't have killed their father tag team -- soaking wet.", "(GRISSOM looks at the house and sees an OFFICER run out of the house, a handkerchief pressed tightly to his mouth. He rushes toward the bushes at the side of the house to throw up.)", "Grissom: What's the matter with your guys?", "Det. O'Riley: They've been inside.", "(DET. O'RILEY puts his notebook into his coat pocket and walks away.)", "(Grimly, GRISSOM stares at the house. He sighs.)", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - NEAR FRONT DOOR -- NIGHT]", "(GRISSOM and SHIBLEY walk toward the open front door.)", "Grissom: Put your equipment down, son.", "(SHIBLEY puts his kit down. GRISSOM signs in and hands the board back to the officer at the door. He hands a pair of latex gloves to SHIBLEY. GRISSOM'S thoughts are at what lies beyond. GRISSOM puts his own gloves up.)", "Grissom: Put these on. I'm going to do a preliminary walk-through. You're going to take my notes.", "[SCENE_BREAK]", "[INT. COLLINS' HOUSE - FRONT DOOR - NIGHT - CONTINUOUS]", "(GRISSOM and SHIBELY walk inside.)", "(GRISSOM looks around. He sees the framed family photograph on the wall.)", "(SHIBLEY also looks around and sees the light switch. He moves to turn it on. GRISSOM stops him.)", "Grissom: Don't touch that! I want everything exactly the way it was.", "(SHIBLEY withdraws. GRISSOM looks around and sees the stairs leading up to the second floor. On the way up, they pass more framed family photographs hanging on the wall.)", "Grissom: The air smells like copper. Lots of blood. Breathe through your mouth.", "Shibley: Yes, sir.", "(On the stairway, they pass a statue of a rabbit in front of a photograph of rabbits.)", "(They reach the second floor.)", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - SECOND FLOOR - HALLWAY - NIGHT -- CONTINUOUS]", "(The first thing they see down the hallway is a pair of feet of the first dead body. There is blood spatter on the hallway walls. GRISSOM turns the corner and looks down at the body.)", "Grissom: Male caucasian approximately 40 years old lying in a pool of blood.", "(GRISSOM walks cautiously around the body. SHIBLEY appears and takes a look at the body as he writes. GRISSOM kneels down next to the body.)", "Grissom: No drag marks. Body does not appear to have been moved. Multiple stab wounds to the back and neck. Looks like a single-edged blade. Force to such a degree that the left and right internal jugular veins have been transected. Head faces west. Feet pointing east. Approximately two feet from the north wall, one foot from the south.", "Shibley: (swallows as he's getting sick) Could ... could you take your own notes? I think that I'm going to be sick.", "(Behind him, SARA appears. She looks at SHIBLEY and grabs the clipboard from him.)", "Sara: I got it. Go get some fresh air.", "(SHIBLEY leaves, coughing as he goes. GRISSOM stares at SARA.)", "Sara: I heard on the scanner. Quadruple. Figured you might need a hand.", "Grissom: You don't sleep, do you?", "Sara: (shakes her head, unoffended) No.", "(GRISSOM turns back to look around. SARA also looks around and latches on the bullseye symbol on the wall.)", "Sara: Blood swirl on the wall. Are you thinking cult? Manson?", "Grissom: (shakes his head, he doesn't know) Somebody left a message. I need to see the rest of it.", "(GRISSOM looks around.)", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - SECOND FLOOR - MASTER BEDROOM - NIGHT -- CONTINUOUS]", "(GRISSOM and SARA walk into the Master Bedroom. They walk toward the bed. On the bed, Mrs. Collins is dead.)", "(GRISSOM recites; SARA writes.)", "Grissom: Female Caucasian. Appears to be one stab wound to the throat. Transection of left and right carotid arteries with exsanguinating hemorrhage. No defense marks. Cursory opinion: She was killed in her sleep.", "(SARA looks around. Listening. GRISSOM also stops and looks around. In the silence, they can hear it. Something's dripping.)", "(They both lean in toward the body.)", "(Her blood hasn't clotted and is dripping down her fingertips to the floor.)", "Grissom: (sighs) Do you feel this?", "Sara: (nods) (quietly) Her soul's still in the room.", "Grissom: But there's something else.", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]", "(SARA takes a picture of the dead woman. GRISSOM walks out of the room and down the hall. He follows the blood spatter on the floor back to the body of MR. COLLINS.)", "(GRISSOM stops in front of the door that MR. COLLINS is in front of. It's BRENDA'S room. GRISSOM pushes the door open and walks into the room. He looks around. It appears to be a normal little girl's room.)", "(Cut to: GRISSOM pushes the door open and walks into the sons' room. One of the boys is dead on the bed. GRISSOM lifts the sheet and looks underneath.)", "(He checks the windows.)", "(He looks at the other empty bed in the room. On the mirror is another bull's eye symbol. GRISSOM walks toward it and looks at it.)", "(In the mirror's reflection, he finds the second son's body on the floor between the bed and the wall. He turns around to look at the body. The little boy was stabbed in the back. GRISSOM looks up and sees two bloodied hand prints on the wall. He closes his eyes at the sight.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. COLLINS' RESIDENCE - NIGHT -- CONTINUOUS]", "(GRISSOM walks out of the house. He walks up to DET. O'RILEY.)", "Det. O'Riley: You want a barf bag?", "Grissom: (firmly) I want the paramedics that were in this house back here immediately -- police escort. Get them on this front lawn now.", "(GRISSOM walks up to the next OFFICER.)", "DET. O'RIELY: You'd think I work for you instead of the other way around.", "Grissom: (to the OFFICER) Call dispatch. You tell my entire graveyard shift that I want them here ASAP -- all of them-- no exceptions.", "(The OFFICER leaves. GRISSOM turns to look at SARA.)", "Grissom: Sara, those photos -- blown up times ten. Tell the lab that we need every forensics tool available to us here right away. This is the only crime scene in Las Vegas tonight.", "Sara: Yes, sir.", "(GRISSOM turns and walks away.)", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]", "(A reporter standing outside the house gives her news report.)", "Reporter 1 (woman): The fear in this neighborhood just South of Las Vegas Boulevard is almost palpable. Scott Collins, his wife and two sons were brutally murdered in their beds.", "(Camera moves past the woman reporter to another woman reporter behind her ... )", "Reporter 2 (woman): ... the murder of four innocent ...", "(Camera moves past the camera view screen for the first reporter ... )", "Reporter 1 (woman): Authorities thus far have offered no comment fueling the fears of the neighbors that a killer is on the loose.", "Reporter 3 (man): (o.s.) ... A multiple murder. And we will have more on this ...", "(Camera lingers on the neighbors standing outside and watching.)", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - FRONT LAWN - NIGHT -- CONTINUOUS]", "(GRISSOM walks up to DET. O'RILEY who is talking with TINA COLLINS.)", "Det. O'Riley: It's okay. We'll give you clothes. The lab guys just want to see yours.", "Grissom: Sergeant, may I?", "(DET. O'RILEY steps aside. GRISSOM looks at TINA.)", "Grissom: Tina ... I'm very sorry about what happened to you tonight. But everything we take from your house can help us find out what happened to your family.", "Tina Collins: (crying) When can I be with my sister? She's so scared.", "(TINA looks over at BRENDA who is sitting quietly in the front of the police car.)", "Grissom: Soon. Detective?", "(A woman detective steps up to stand next to TINA COLLINS. GRISSOM turns and heads for the police car.)", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]", "(GRISSOM walks up to the police car.)", "Grissom: (to the OFFICER) Thanks.", "(The OFFICER steps aside and GRISSOM kneels down in front of BRENDA COLLINS. BRENDA doesn't look at GRISSOM.)", "Grissom: Hi. Is your name Brenda?", "(BRENDA blinks, then looks at GRISSOM.)", "Grissom: I'm trying to find out who hurt your family. Do you think you could help me? Did anyone come into your room tonight? Through the door? Through the window maybe?", "(BRENDA doesn't say anything.)", "Grissom: (nods) Okay.", "(GRISSOM stands up and turns to leave. BRENDA stops him.)", "Brenda Collins: (softly) The buffalo.", "(GRISSOM turns around to look at BRENDA. He kneels back down in front of her.)", "Grissom: The buffalo? Who's the buffalo?", "(BRENDA doesn't respond. And she doesn't look at GRISSOM.)", "Grissom: Brenda?", "(Sensing he's not going to get any more from her, he stands up and leaves. BRENDA watches him go.)", "BLUR OUT TO:", "[SCENE_BREAK]", "[EXT. COLLINS RESIDENCE - NIGHT - SHORT TIME LATER]", "(GRISSOM walks up to NICK, CATHERINE and WARRICK.)", "Grissom: First rule for this crime scene: Do not do any interviews. Second rule: Don't talk to the Sheriff either.", "Warrick: Media have it right? Four dead?", "Grissom: The killer was here not two hours ago. He left part of himself behind. Catherine, I need you inside, mapping and blood samples.", "Catherine: You got it.", "Grissom: Nick, Warrick-- the perimeter. I want to know how he got here how he got in, how he got out, and how he left.", "Nick: I'll take the back. Warrick, you get the front?", "Warrick: You got it.", "(Cut to: A blurry image of the American flag.)", "(Cut to: Various shots of the spectators standing around watching.)", "(Cut to: The media crowd out in the front lawn.)", "(GRISSOM heads back into the house.)", "(Cut to: DET. O'RILEY stands next to REPORTER 1 (WOMAN). He looks up when someone calls his name.)", "Officer: (o.s.) Hey, O'Riley, Grissom wants to see you.", "(He ducks under the crime scene tape and heads back toward the house.)", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - KITCHEN -- NIGHT]", "(GRISSOM walks cautiously in the kitchen. DET. O'RILEY walks into the kitchen.)", "Det. O'Riley: They said you were looking for me.", "Grissom: Hey, stop! Evidence!", "(DET. O'RILEY stops and changes his course, staying off of the main floor and on the sides of the room.)", "Det. O'Riley: We got to hug the wall? This is the only room with no blood in it. There's nothing to disturb.", "Grissom: You guys will never get it, will you?", "(GRISSOM continues to look around and notices the open knife drawer. He reaches over and pulls it open.", "Grissom: Knife drawer. One missing.", "Det. O'Riley: It's the only drawer open. The killer knew where they were going.", "Grissom: I think the suspect's been in this house before. And this is the first place they stopped tonight.", "(GRISSOM looks down at the floor.)", "Grissom: Good. Linoleum. The best surface.", "Det. O'Riley: Best surface for what?", "WHITE FLASH TO:", "(GRISSOM is on his hands and knees mere inches from the floor holding a special light. He finds some shoe prints.)", "(Short time cut to: GRISSOM has the print lifter on the floor.)", "Det. O'Riley: (o.s.) You guys got some toys ...", "Grissom: It's not a toy, O'Riley. It's an electrostatic dust print lifter.", "Det. O'Riley: Okay ...", "Grissom: Like a supercharged lint remover only it lifts footprints. Possibly our killer's.", "(GRISSOM flips the sheet over and on the other side is a clear image of the shoe print.)", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]", "(GRISSOM questions the paramedics.)", "EMS #1: We did everything by the book, sir.", "Grissom: Relax. I just want to know where you walked in the house and who you touched in there.", "EMS #1: Well, we did use the main entry, and up the stairs. But once we saw the husband, we grabbed the walls. I felt the pulses in each room. Once I found they were dead, we booked.", "Grissom: Show me the bottom of your shoe.", "(GRISSOM takes the shoe print and checks it against the EMS's.)", "(The first one is not a match.)", "Grissom: Now yours.", "(The second EMS's shoes match the prints found in the kitchen. He stands up.)", "Grissom: You fellows were both in the kitchen.", "EMS #1: We didn't see any bodies in there so I didn't think twice about walking on the surface.", "Grissom: All right. Yours are the only clean prints I found. Thanks. You can go back to work.", "(The paramedics leave. DET. O'RILEY walks up to GRISSOM.)", "Det. O'Riley: News bim's waiting for you. Thinks you have an \"interesting look.\"", "(GRISSOM looks over at the media hanging just outside the crime scene tape.)", "Reporter 1 (woman): Any truth to the rumor that a cult may have committed these crimes?", "Grissom: I don't know that.", "Reporter 1 (woman): But you wouldn't rule it out?", "Grissom: I don't rule anything out.", "(That small tidbid seemed to satisfy the news media. From behind him, someone calls him.)", "Sheriff Brian Mobley: Grissom.", "Grissom: Sheriff?", "Sheriff Brian Mobley: The mayor has already called. So what have you got?", "Grissom: Nothing.", "Sheriff Brian Mobley: I'm not asking you to lay out your whole case. Just give me something I can run with. I have got to feed the press and defuse the panic.", "Grissom: As soon as I have something, you'll have something.", "Sheriff Brian Mobley: Here's a thought. Why don't you try being more like Ecklie?", "Grissom: I could speak volumes about Conrad Ecklie, but I have a crime scene to process so ... you'll have to excuse me.", "Reporter 1 (woman): Sheriff, can you tell me what went on inside?", "(SHERIFF walks over to the media and talks with them.)", "Sheriff Brian Mobley: Let me assure everyone that the situation is well under control. We don't have any suspects at this time, but our forensic crew ...", "(Still sitting in the front of the police car and temporarily forgotten is BRENDA COLLINS. GRISSOM walks over to SARA.)", "Sara: You want me inside?", "Grissom: I need you to transport the little girl to the police department. Brass is waiting for you.", "Sara: You're kidding me, right? I'm a taxi service on the biggest case of the year?", "Grissom: Sara ... I need one of us with that little girl.", "(GRISSOM turns and walks back into the house leaving SARA with her mouth gaping.)", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE - YARD -- DAY]", "(WARRICK finds some tire prints in the dirt. He checks the dirt.)", "(Cut to: A bunny yard decoration.)", "(NICK stands in the entryway taking pictures of something he's found just outside the door.)", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - MASTER BEDROOM - DAY]", "(Camera opens on small framed photographs on the bedside table. Camera moves over to show the bloodstained bedsheets, the body has already been removed.)", "(CATHERINE takes a sample of the blood found on the bed.)", "(Cut to: [EXT. ENTRYWAY] NICK steps just outside the entryway and sees a bidi in the bushes. He takes a photograph of it.)", "(Cut to: [EXT. YARD] WARRICK takes photographs of the tire prints in the dirt.)", "(Cut to: [INT. SECOND FLOOR HALLWAY] CATHERINE takes another blood sample from the hallway floor.)", "(Cut to: [EXT. ENTRYWAY] NICK picks up the bidi from the bushes and looks at it. He puts it in a bindle. He looks down and finds a used match. He picks that up also.)", "(Cut to: [INT. SECOND FLOOR BOYS' BEDROOM] CATHERINE takes a blood sample from the hand prints on the wall. She turns around and watches the CORONERS' remove one of the boys' bodies.)", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - FIRST FLOOR - DAY -- CONTINUOUS]", "(GRISSOM watches as the body is brought down the stairs by the CORONERS. GRISSOM walks up to DAVID PHILLIPS.)", "Grissom: I want to see all of their personal property -- clothes, jewelry, whatever they have on.", "David Phillips: If there's something under all this blood you'll be the first to know.", "(DAVID turns to leave with the bodies. NICK stands in the doorway and lifts up the sheet to one of the little boy's bodies. He looks under it and puts it down. He looks at GRISSOM and sighs.)", "Nick: (upset) This kid should be out playing Pop Warner.", "(NICK heads back outside and hits the door with his fist in frustration. GRISSOM doesn't say anything, but watches NICK.)", "[SCENE_BREAK]", "[EXT. VARIOUS FRONT LAWN SCENES - DAY -- CONTINUOUS]", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - MASTER BEDROOM - DAY -- CONTINUOUS]", "(CATHERINE reports to GRISSOM.)", "Catherine: I got the blood samples on the way to the lab.", "Grissom: Good. You buy this cult thing?", "Catherine: You mean the blood swirls next to the father's body in the boys' room?", "(CATHERINE shakes her head.)", "Catherine: I studied pictures of the Manson Murders. This isn't butter. It's imitation.", "(GRISSOM nods in agreement.)", "Catherine: What's your take?", "Grissom: Whoever did it killed the mother first. In her sleep, quick.", "Catherine: Explains why the blood is confined to the bed and the floor under it.", "Grissom: Husband woke up. Ran to protect his kids.", "(They start walking out of the bedroom as GRISSOM narrates.)", "Grissom: The killer nicked him here. And then finished him off down the hall.", "Catherine: Gave his life for the little girl. There should be more blood.", "Grissom: Yeah. It's a hole. We need to fill it. If we start from the inside and fan out whoever's left at the scene ...", "Catherine: The first suspect.", "Grissom: The teen daughter?", "Catherine: Well, she'd need help. Maybe a boyfriend?", "Grissom: (thoughtful) I wonder if they call him \"buffalo.\"", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(Camera close up of BRENDA COLLINS drawing. She's using the black crayon and vigorously coloring.)", "Sara: (o.s.) Look, brass, I don't see why I got to take her. I'm a scientist. Catherine's the mom. Ask her.", "Brass: O'Riley was primary on this till it passed over to me. Big deal.", "Sara: What about Family Services? Can't they take her?", "Brass: They sent their caseworker over to the hospital so meet her there with the kid.", "Sara: I am not good with kids.", "Brass: Look, I'm not asking you to adopt her. Just take her over to sunrise for a Psych Eval, will you?", "(BRASS turns and walks away.)", "(SARA looks at BRENDA and walks over to her. She glances back at BRASS, then kneels and looks at what BRENDA'S coloring.)", "Sara: That's very pretty.", "(BRENDA grabs the pink crayon and starts scratching out the picture.)", "Sara: Or not.", "(BRENDA puts the crayon down.)", "Sara: Want to go for another ride?", "(Without saying anything, BRENDA pushes the paper and all the crayons off the table and onto the floor. She puts her hands flat against her ears.)", "Sara: I'll take that as a \"yes.\"", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(BRASS and GRISSOM interview TINA COLLINS.)", "Brass: Tina, do you know what time you heard those noises?", "Tina Collins: No, but they sounded like footsteps coming from the kitchen.", "Brass: And that's when you hid in the closet?", "Tina Collins: Yes.", "Brass: Does your family normally keep the doors locked at night?", "Tina Collins: I don't know. My dad checks the house at night. It's always been a safe neighborhood.", "Grissom: Tina ... do you ... go out with anyone special?", "Tina Collins: I hook up with different guys. No one special.", "Grissom: Are any of them ... called \"Buffalo\"?", "(TINA doesn't look at them. BRASS notices this immediately.)", "Tina Collins: \"Buffalo\"? No.", "(GRISSOM notices it also.)", "Brass: How about this, Tina? You live in a house with six people, right? You must be used to hearing footsteps in the kitchen late at night. Why so scared last night?", "Tina Collins: I know my brothers' footsteps. And my Dad's. These were different.", "[SCENE_BREAK]", "[EXT. COLLINS HOUSE -- DAY]", "(NICK and WARRICK kneel down looking at the tire print in the dirt.)", "Nick: How do you know it's fresh?", "Warrick: I checked the sprinkler system. It goes off every night at zero-two hundred (0200).", "Nick: (nods) And paramedics pronounced at oh-two-forty (0240).", "(WARRICK starts mixing the plaster cast.)", "Warrick: So somebody came out of the house and got on what looks to be a step down from a motorcycle and drove it across the lawn.", "Nick: And I bet he dropped the bidi I found in the back on the way out.", "Grissom: Bidi?", "Nick: Yeah. Those hand-rolled cigarettes? Probably a teenager. They're always taking shortcuts.", "Warrick: How's that hand?", "Nick: Hmm?", "Warrick: I saw you beating up the door a little while ago. You all right?", "Nick: Yeah. It's cool. I'll see you back at the lab.", "(NICK stands up and leaves. WARRICK takes the mixture and starts pouring it into the tire print.)", "[SCENE_BREAK]", "[INT. HOSPITAL - HALLWAY -- DAY]", "(BRENDA COLLINS walks out into the hallway holding onto DR. LEEVER'S hand, a pink stuffed toy in her other arm.)", "Sara: Hey, Brenda.", "(DR. LEEVER and BRENDA meet up with SARA and the FAMILY SERVICES REP, CONNIE BELLVUE. They both stand up.)", "Dr. Leever: Which one of you is with Family Services?", "Connie Bellvue: I am. Connie Bellvue.", "Dr. Leever: (to CONNIE BELLVUE) Brenda's fine but I'd like her to have a consult. I've paged the psychiatric resident. Should be here within the hour.", "(DR. LEEVER completely ignores SARA. He turns and leaves. CONNIE BELLVUE steps up next to BRENDA and puts her hand on the little girl in a possessive manner.)", "Connie Bellvue: (dismissing to SARA) Thanks. I'll take it from here.", "Sara: What ... what's the head exam for?", "(BRENDA starts playing with her hair. CONNIE BELLVUE doesn't answer SARA'S question.)", "Connie Bellvue: I said ... we'll take it from here.", "Sara: (insistent) Look, if there's any forensic evidence found during this exam, I need to be there.", "Connie Bellvue: (quietly dismissing) It's already going to be tense.", "(BRENDA quietly steps away from CONNIE BELLVUE and around to SARA'S other side, the side with her gun. She grabs the back of SARA'S jacket, which is tied around her waist, and starts tugging it to get SARA'S attention.)", "Connie Bellvue: (continuous) Go back to your crime lab. I'll keep you posted.", "(SARA looks down at BRENDA, who is now looking up directly at SARA. Her choice unmistakable. SARA puts her arm around the little girl and nods.)", "Sara: (soothing) It's okay, Brenda.", "(Though still talking to BRENDA, SARA looks at CONNIE BELLVUE.)", "Sara: (firmly) I'm not leaving you.", "(Camera holds on BRENDA as she looks at CONNIE BELLVUE.)", "[SCENE_BREAK]", "[INT. COLLINS HOUSE - MASTER BEDROOM -- DAY]", "(Camera opens on the photographs tucked into the frame of the vanity mirror. Through its reflection, we see CATHERINE back inside the master bedroom with a clipboard in her hand.)", "(Camera moves back to focus on a picture of BRENDA sitting at a soda pop counter and smiling for the camera.)", "(Cut to: [HALLWAY -- DAY] CATHERINE starts mapping the blood spatter in the hallway. She puts down evidence marker #1 and takes a photograph of it.)", "(Cut to: [DAY] She puts down evidence markers #3 and #2. She takes a photograph of evidence marker #2. She takes photos of evidence marker #3. She takes photos of evidence marker #4. She takes the photo and looks out at the hallway.)", "(Cut to: [LATE DAY] CATHERINE is still in the hallway, crouching between evidence markers #2 and #3. Down the hallway near the bullseye are evidence markers #4 and #5. CATHERINE picks up her clipboard and works on the photos. She writes on the photo with evidence marker #5, \"Spatter found opp ... \". CATHERINE looks out down the hallway.)", "(Cut to: [EVENING] CATHERINE finishes mapping out the blood on a plastic architectural layout of the second floor.)", "(Dissolve to: [NIGHT] CATHEIRNE sits on the floor in the door way to one of the bedrooms, looking out at the blood spatter in the hallway; the evidence markers are removed. She continues to work. The clock chimes. She looks around at the sound and checks her watch. She finally realizes how late it is.)", "Catherine: (grimaces) Linds.", "(CATHERINE puts her things aside and scrambles to her feet.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(GRISSOM is in the lab examining TINA'S clothes. He turns on the ALS and cuts the top lights off.)", "(Off to the side, there's a thud ... and a curse.)", "Warrick: Damn!", "Grissom: (without looking up) That you, Warrick?", "(WARRICK walks up to GRISSOM.)", "Warrick: You need to tell somebody when you're cutting the lights.", "Grissom: What, are you working for OSHA now?", "Warrick: Grissom, you remember those tire treads ... I found on the front lawn?", "Grissom: mm-hmm.", "Warrick: Well, I ran them through the FBI register and they belong to a '93 Honda scooter.", "Grissom: That's good.", "Warrick: I DMV'd it. A kid four blocks away from the scene owns the same make.", "Grissom: That's very good.", "Warrick: I might have just blown open the case and all you give me is a \"that's very good\"?", "(GRISSOM looks up at WARRICK, changing the subject completely.)", "Grissom: If your whole family was murdered, wouldn't you run to them to check to see if they were still alive?", "Warrick: Yeah.", "(GRISSOM goes back to examining the clothes. He doesn't find it and gives up.)", "Grissom: This is a Lady Macbeth.", "Warrick: Lady Macbeth?", "(GRISSOM turns the lights back on.)", "Grissom: \"Out, out, damn spot.\" There's not a trace of blood on the teen daughter's clothing. Not a spot.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. WILLOWS' HOUSE - LIVING ROOM -- NIGHT]", "(CATHERINE walks into the house.)", "Catherine: Linds? Lindsey?", "(CATHERINE walks into the house looking for her daughter.)", "Catherine: Lindsey ... Lindsey.", "(CATHERINE walks into the family room and finds LINDSEY on the floor next to EDDIE, both listening to vinyl record albums.)", "Catherine: Hi, honey!", "Lindsey Willows: Mommy, hi!", "(LINDSEY stands up and gives CATHERINE a hug.)", "Catherine: Oh, am I glad to see you.", "(EDDIE gets up and turns off the stereo.)", "Lindsey: Daddy came to ballet tonight.", "Catherine: I know. I was just there. Your teacher told me daddy came to pick you up. Oh, you feel so good.", "(CATHERINE puts LINDSEY down and turns to look at EDDIE.)", "Catherine: Ed ... I'm working this quadruple. Time got away from me. I apologize.", "Eddie Willows: I figured that's probably what it was.", "Catherine: Right.", "Eddie Willows: When they couldn't reach you, they called me.", "Catherine: Yeah. Thank you. I really, really ...", "Eddie Willows: Cath, Cath, Cath ... she's my kid too, okay? All right?", "Catherine: Yeah.", "(EDDIE moves around CATHERINE and starts massaging her shoulders.)", "Catherine: (sighs) Oh, god.", "Eddie Willows: So, the case is bad? I saw it on the news.", "Catherine: Yeah.", "Eddie Willows: Hey.", "(He stops, turns her around and looks at her.)", "Catherine: What?", "Eddie Willows: Are you hungry? I made pancakes.", "Catherine: You made pancakes?", "Eddie Willows: Mm-hmm.", "Catherine: (chuckles) For dinner?", "Eddie Willows: Yeah.", "(CATHERINE'S pager beeps. She checks it.)", "Catherine: That would be Grissom.", "Eddie Willows: How is your boyfriend?", "Catherine: (sighs, unamused) Ed.", "INTERCUT WITH:", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(The phone rings. GRISSOM answers it.)", "Grissom: (to phone) Yeah. I need you back here right away. The Collins Case is busting out.", "Catherine: Okay, I'll be right there. Just let me put on some clean clothes.", "Grissom: Please do.", "(GRISSOM hangs up.)", "(CATHERINE turns to look at EDDIE, who leans against the door frame.)", "Catherine: Eddie ...", "Eddie Willows: She's going to ask where you are.", "Catherine: (sighs) She always does.", "(CATHERINE walks away.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- NIGHT]", "(GRISSOM walks through the hallway and promptly runs into CONRAD ECKLIE.)", "Grissom: Mr. Ecklie.", "Conrad Ecklie: I just got off the phone with the Sheriff. He wants results, Gil.", "Grissom: He should go to a sports book. I hear the Stardust is good.", "Conrad Ecklie: No. What he should do is go to his first team-- my team.", "Grissom: Teams, Conrad? I didn't know this was a competition.", "Conrad Ecklie: Well, it is, and my crew usually wins.", "Grissom: Really? Didn't graveyard beat day shift in softball last summer?", "Conrad Ecklie: You know, you can joke all you want. It's your ass on the line.", "(GRISSOM heads down the hallway and turns around to glance back at ECKLIE.)", "Grissom: (rubbing it in) I think it was 14-3.", "Conrad Ecklie: Like I said, it's all about results. And, if you don't get them I will.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(WARRICK and BRASS interview OLIVER.)", "Warrick: The tire treads from the scooter place you at the scene of the murders.", "Oliver: Look, I was in Hoover visiting my father. I don't know anything about Tina's parents getting killed.", "Warrick: Tina's parents? So you know Tina Collins?", "Oliver: Yeah, I know her. A lot of guys know her. She's a freak.", "Warrick: You mean sexually?", "Oliver: Yeah.", "Warrick: Where's your scooter now?", "Oliver: I told him I don't know.", "Brass: So it just disappeared?", "Oliver: Look, it costs money, right? And my dad's been slacking on support so I bought it with three other guys. We share it.", "Brass: Here's a pen. Start writing.", "(BRASS puts the pen down on the table in front of OLIVER. OLIVER grabs the pen and pulls the paper toward him. He starts writing.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- NIGHT]", "(The door opens and SARA walks in to join the meeting.)", "Sara: Hey, heard you have a suspect.", "Warrick: We got about four just on the tire prints alone. Homicide's grabbing them up.", "Grissom: Let's talk about what else we have. Tina Collins' pajama top from the murder scene without a drop of blood on it.", "(SARA grabs a plate of food and takes a seat.)", "Sara: Hello. How does she explain that?", "Catherine: We're about to go ask her. Nick, what did you find out about that stuff that you collected at the back of the house?", "Nick: The bidi? DNA's still processing but Tina said nobody in the family smoked.", "Sara: So a non-family member was out there.", "Grissom: Bidi? Bidi? I thought you found a cigarette and a match behind the house.", "Nick: Well, it's just like a cigarette.", "Sara: Kids smoke them. They think there's less carbon monoxide.", "Grissom: What did you find out about the psych exam on the little girl?", "Sara: The shrink says the kid is in a catatonic state from a trauma. I could've told you that. But she did respond to the name \"Buffalo.\"", "Grissom: Respond how?", "Sara: She freaked out.", "(CATHERINE stares at SARA and takes a deep breath.)", "Grissom: And ... what are you doing about it now?", "(SARA nods as she looks at GRISSOM.)", "Sara: Going back to the girl.", "(beat)", "Sara: I left her in the car.", "(GRISSOM looks at her. CATHERINE can't believe what she's hearing.)", "Sara: (deadpans) The windows are cracked.", "(GRISSOM stares at SARA, absolutely no expression on his face. SARA breaks out into a smile and stands up.)", "Sara: Give me a little credit. She's at the hospital.", "(WARRICK snickers at the fast one SARA just pulled on GRISSOM and CATHERINE. NICK also smiles appreciatively.)", "(GRISSOM turns to look at CATHERINE. CATHERINE stares, then pops a piece of something in her mouth to eat.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(CATHERINE and GRISSOM re-question TINA COLLINS.)", "Tina Collins: I don't know why I didn't get blood on my pajamas. I just didn't.", "Catherine: But your statement says that you bent down and hugged your mother who was bleeding profusely. Then you ran out, tripping over your father's body in the upstairs hallway.", "Grissom: But there was no blood on you.", "Tina Collins: I saw my family dead. I was scared. I ran to the neighbors. That is the truth.", "Grissom: The evidence is telling a different story.", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(NICK and BRASS question the scooter owners.)", "Suburban Teen Guy #1: I did the nasty with her, yeah, but I didn't kill her family. Besides my dad grounded me last week.", "[SCENE_BREAK]", "Suburban Teen Guy #2: I share the scooter with Oliver but I was camping last night. Ask my mom. She made me go. Church group.", "[SCENE_BREAK]", "Jesse Overton: We had s*x. So what? I want a lawyer.", "Brass: You want a lawyer? Okay, we'll get you a lawyer. Investigator Stokes will stay with you just in case you remember where you left that scooter.", "(BRASS glances at NICK, then leaves the room. JESSE OVERTON nervously sits there for a moment, then reaches into his shirt pocket for a bidi.)", "Nick: There's no smoking in here.", "Jesse Overton: Sharon Stone -- \"Basic Instinct\", dude.", "Nick: And I'm not your dude. This ain't a movie and Sharon Stone's fine. Let's go.", "(JESSE OVERTON tosses the pack at NICK. NICK takes it and looks at the box.)", "Nick: Matches?", "(He tosses the matches to NICK.)", "(NICK opens the unmarked match pack and looks inside where there's noticeably two matches ripped out from the pack.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(BRASS walks over to GRISSOM'S office where GRISSOM still has TINA COLLINS sitting inside.)", "Brass: The kid's name is Jesse Overton. He time-shares the scooter. He admits to having s*x with your girl, and he's asking for a lawyer.", "(TINA COLLINS starts to react to what she's hearing. GRISSOM and CATHERINE both notice her reactions.)", "Brass: I want to get a warrant and search his house. I'll keep you posted.", "(BRASS leaves the room.)", "(TINA looks at GRISSOM.)", "Tina Collins: I want to see my sister.", "Grissom: It's not going to happen, Tina.", "Catherine: It's a little too late to start coaching her now.", "Tina Collins: You don't understand. I need to speak with her.", "Grissom: She won't speak.", "Catherine: The doctor says it's from trauma. What happened, Tina? Did you catch your boyfriend killing your family?", "(TINA sits back, not responding to the accusation. She glances up at GRISSOM but remains quiet.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "[SCOPE VIEW: Matches]", "(NICK attaches the match found at the scene to the match pack.)", "Nick: (o.s.) Ha-ha-ha! Houston, we have liftoff.", "Warrick: Let me take a look.", "(NICK steps aside. WARRICK looks at the scope.)", "Nick: You see how each half of the match lines up?", "Warrick: I see.", "Nick: Ah ... who broke the case?", "Warrick: Well, if you believe what you hear in the halls - Ecklie.", "Nick: Ecklie?", "Both (Nick/Warrick): (laughs) Day shift.", "[SCENE_BREAK]", "[INT. JESSE OVERTON'S RESIDENCE - GARAGE -- DAY]", "Brass: Sophisticated criminal, huh?", "(BRASS lifts up and opens the trash can. Inside are the scooter parts.)", "Grissom: Hmm?", "Brass: This is the getaway vehicle. Tossing it in his own trash? What else is new?", "(GRISSOM picks up the tire. BRASS looks inside the trash can and finds something else.)", "Brass: Whoa. Is this a pair of jeans under all that blood?", "Grissom: (sighs) \"Yet who would have thought the old man to have so much blood in him?\"", "[Note: Quote said by Lady Macbeth, from \"Macbeth\", Act 5, Scene 1, 1.36-8, William Shakespeare.]", "Brass: What was that?", "Grissom: That's Shakespeare.", "(BRASS nods and hands the bloodied jeans to GRISSOM.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- DAY]", "(GRISSOM and BRASS watch as the LIE DETECTOR OPERATOR hooks up JESSE OVERTON to the machine.)", "Grissom: The lawyer's pleading him guilty.", "Brass: Had to, once I put the murder weapon in his mug.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY -- CONTINUOUS]", "(JESSE OVERTON answers questions while hooked up to the machine.)", "Lie Detector Operator: Remember -- yes or no.", "Jesse Overton: Got it.", "Lie Detector Operator: Did Tina Collins approach you at school and ask you to kill her family?", "Jesse Overton: Yes.", "Lie Detector Operator: (o.s.) Would you lie about that to escape the death penalty?", "Jesse Overton: No.", "Lie Detector Operator: Did you kill her family?", "Jesse Overton: Yes.", "Lie Detector Operator: Did Tina let you in the front door the night of the killings?", "Jesse Overton: Two o'clock. I waited till it was straight up.", "(Quick flashback to: At the back door, JESSE OVERTON lights up a bidi with a match.)", "Lie Detector Operator: (V.O.) Yes or no?", "(End of flashback. Resume to present.)", "Jesse Overton: Sorry. (beat) Yes.", "(Quick flashback to: JESSE OVERTON selects a knife and takes the biggest one in the drawer.)", "Lie Detector Operator: (V.O.) Did she already have a knife for you?", "Jesse Overton: (V.O.) No. She let me choose.", "(He gets a grip on the knife and heads up the stairs.)", "Lie Detector Operator: (V.O.) Did you use that knife to kill Barbara Collins?", "(End of flashback. Resume to present.)", "Jesse Overton: (takes a deep breath) Yes.", "(Quick flashback to: JESSE OVERTON puts a gloved hand over BARBARA COLLINS' mouth. She wakes up, eyes wide. The bed spot next to her is empty.)", "(He stabs her. She dies. He lets go of her.)", "(End of flashback. Resume to present.)", "Lie Detector Operator: And Mr. Collins?", "Jesse Overton: (harder) Yes.", "(Quick flashback to: JESSE OVERTON attacks MR. COLLINS from behind in the hallway. He stabs him. End of flashback. Resume to present.)", "Lie Detector Operator: And both sons?", "Jesse Overton: Yes.", "Lie Detector Operator: Was Tina mad at her parents for not letting you see each other?", "Jesse Overton: Yes.", "Lie Detector Operator: Did Tina Collins tell you she wanted them dead so you could see each other?", "(JESSE pauses and looks away.)", "Jesse Overton: Yes.", "(Camera cuts to the print out that shows the lines all over the place.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- DAY]", "(BRASS walks out into the hallway carrying the print out.)", "Brass: Well, the sick b*st*rd is on the up and up. (to CATHERINE) Except your last question. Your \"Why\"?", "Catherine: That they killed the family so they could be together?", "Brass: Operator says his respiratory reactions were inconsistent. He's lying.", "Nick: We got them both. I don't much care why they did it.", "Warrick: I'm with you there.", "Grissom: I care. I don't like holes. What are they hiding?", "FADE TO BLACK", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CORONER'S OFFICE - FORENSIC AUTOPSY -- DAY]", "(GRISSOM walks into the autopsy room.)", "Grissom: Did you collect the property from the Collins family?", "Dr. Albert Robbins: Right after the autopsies. Sealed them myself. Why?", "Grissom: I told one of your assistants to make sure that I got them.", "Dr. Albert Robbins: Well, I gave them to Ecklie. He said he'd deliver them to you.", "(GRISSOM turns and leaves the room without another word. DR. ROBBINS finishes putting the body back in storage.)", "Dr. Albert Robbins: He was down here on another case.", "(He closes the door.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(GRISSOM walks angrily through the hallway looking for ... )", "Grissom: (mad as heck) Ecklie!", "(GRISSOM pushes the doors to the break room open.)", "Grissom: I want everything right now.", "Conrad Ecklie: (flippantly) I've been going over it.", "Grissom: The Collins case is my shift. You are completely off base.", "Conrad Ecklie: What, you're afraid I'll find something that might show you up?", "Grissom: Oh, I'm sure, if you could, you would have by now. Where is it?", "(ECKLIE motions with his hand. GRISSOM heads out the door. ECKLIE stops him.)", "Conrad Ecklie: I don't care that you got some pimply-faced kid to confess. You kept the Sheriff out of the loop. That's a career-killer, Gil.", "Grissom: That's what so sad, Conrad. You think of this as a career.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - LAB - DAY]", "(Piece by piece, GRISSOM goes through the evidence taken off the bodies. He compares them with the crime scene photos.)", "(He reaches for the next envelope and empties it on the table. Inside the baggie is a bloodied amulet on a chain. He cleans it up and finds ... )", "Grissom: (whispers) The buffalo.", "(Cut to: GRISSOM is on his cell phone.)", "Grissom: (to phone) Sara?", "Sara: (from phone) Yeah?", "Grissom: (to phone) Sara. When they examined the little Collins girl did they check for sexual abuse?", "Sara: (from phone) There were no overt signs. Why?", "[SCENE_BREAK]", "[INT. HOSPITAL - EXAM ROOM - DAY]", "Grissom: (V.O.) Have some ultraviolet photographs taken.", "(SARA lifts up BRENDA COLLINS onto the table. She shows BRENDA the camera.)", "Sara: This... is a very special camera. It can see deep into your skin. It can see things nobody can see. How about I take a picture of me first, okay?", "(BRENDA nods her head. SARA lifts the camera and takes a picture of her own arm. The camera clicks. SARA looks at BRENDA and smiles.)", "Sara: See? It's okay.", "(BRENDA nods her head. SARA unties BRENDA'S gown and slips it just below her shoulders. BRENDA doesn't say a word.)", "Sara: (quietly) Okay.", "(SARA attaches a ruler to the top of the gown just below her shoulders. SARA picks up the camera and checks with BRENDA again.)", "Sara: All ready?", "(BRENDA nods.)", "Sara: Okay.", "(SARA lifts the camera and takes the pictures.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(In the garage, CATHERINE speaks into a tape recorder as she takes her notes. She looks at a schematic of the crime scene, #XR-0048-096822-003.)", "(As she speaks, the camera follows on the map. It starts with the figure of the father in the hallway in front of BRENDA'S bedroom door ... )", "Catherine: Notes on mapping: Collins family murder. Case #00-398. Intruder killed mother.", "(... then moves to the photo of the mother in the bedroom, Case #00-398, Photo", "Catherine: Father went to protect the little girl. Got nicked by knife.", "(Camera moves from the boy's room on the map to the photo, Case #00-398, Photo", "Catherine: Killer subdued him as dad was entering the little girl's room to ...", "Catherine: ... save her.", "(Something doesn't click. It doesn't match the photos she's looking at. She looks at the photo of the blood drops found on floor, Case #00-398, Photo #36.)", "(From this photo, she looks at another photo, #30. And another photo, #18.)", "(CATHERINE doesn't like what she's seeing. She reaches for the magnifying glass to look again at Photo #18.)", "(Quick flashback to: Cast in red light, MR. COLLINS steps out of the bedroom and is attacked from behind. MR. COLLINS falls to the floor in front of BRENDA'S bedroom door. JESSE OVERTON stabs MR. COLLINS repeatedly.)", "(White flash to: JESSE carries the dripping knife down the hallway.)", "(End of flashback. Resume to PHOTO #18.)", "Catherine: Grissom.", "(CATHERINE drops the magnifying glass and reaches for her cell phone.)", "(There's a light knock on the door. CATHERINE looks up. A man carrying a file package walks in.)", "Ted Goggle: Catherine Willows?", "Catherine: Who's asking?", "Ted Goggle: Ted Goggle. I'm with Family Services. Were you working the Collins' case?", "Catherine: (sighs) You know, your department can't seem to get things straight. If you're looking for the little girl, she's already got a caseworker.", "Ted Goggle: Actually, I'm inquiring about your little girl.", "Catherine: My Lindsey? Why? What are you talking about?", "Ted Goggle: Your husband, Eddie, filed a report. Says you neglected to pick her up after dance class last night. That you routinely neglect her for your job.", "Catherine: (sighs) Is this Eddie's idea of a joke? What, are you in one of his bands?", "Ted Goggle: I already made a field visit to your house. Here's the form.", "(He hands her the form. She looks at it.)", "Ted Goggle: Lindsey seems okay but there is going to be an investigation as to whether there was parental neglect. You're on notice.", "(He leaves the garage.)", "[SCENE_BREAK]", "[INT. HOSPITAL - OUTSIDE X-RAY ROOM -- DAY]", "(Standing outside the X-Ray room, GRISSOM'S phone rings. He answers it.)", "Grissom: Grissom.", "INTERCUT WITH:", "Catherine: It's me. Something's off on the map.", "Grissom: (from phone) Off? How?", "Catherine: Uh ... I'm looking at dad's blood in the hall. I found an interesting drop. The droplet tells me that he wasn't running to the little girl's room.", "Grissom: He was coming out of it?", "Catherine: Yeah.", "(Quick flashback to: MR. COLLINS coming out of BRENDA'S bedroom when he's being attacked.)", "Catherine: (V.O.) I filled one of your holes, Grissom.", "(JESSE gets up from over MR. COLLINS.)", "Catherine: (V.O.) The father was killed first -- then the mother.", "(JESSE carries the dripping knife down the hallway.)", "Catherine: (V.O.) And the blood that we found in the hallway was from the knife.", "(End of flashback. Resume to GRISSOM.)", "(CATHERINE shuts her phone off and throws it on the table in front of her. She picks up the Family Services form and looks at it.)", "[SCENE_BREAK]", "[INT. CSI - BLACK ROOM -- DAY]", "(SARA develops the photos. She flips it over and hangs it up. She and GRISSOM both look at the pictures.)", "Sara: Damn it. Look at all those bruises.", "Grissom: Somebody was all over this kid.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(GRISSOM and BRASS re-interviews TINA COLLINS.)", "(Camera opens on the photos on the table in front of TINA.)", "Grissom: We have forensic evidence that your father sexually abused your sister.", "(TINA reaches out a hand and touches the photos in front of her.)", "Grissom: We also know ... that he was in her room the night of the murders.", "Tina Collins: How can you tell?", "Grissom: Blood drops. They fall a certain way depending on the motion of the victim.", "(TINA takes a deep breath, her eyes glued to the photos on the table.)", "Grissom: Something horrible happened in that house, didn't it, Tina? Long before the night of the murders.", "Tina Collins: That was the last night he was going to touch her.", "Grissom: But why your mother? And why your brothers?", "Tina Collins: (crying) Because they should have protected me.", "Grissom: You?", "Tina Collins: My father ...", "(Quick flashback to: A YOUNG TINA COLLINS sitting on her bed. She looks up at her mother standing in the doorway to \"TINA'S\" room. She leaves and shuts the door.)", "(In the mirror, we see her father in the room alone with TINA.)", "(White flash to: The buffalo medallion on a chain around his neck.)", "(End of flashback. Resume to present.)", "Tina Collins: I was young. I learned to deal. But when he went for my daughter ...", "Grissom: (realizing) Brenda is ... ? And who is ... ?", "Tina Collins: The father? I was thirteen ... and nobody noticed that my clothes were getting bigger. Nice, huh? Brenda may hate me for what I did ... but I protected her. I did that much.", "[SCENE_BREAK]", "(SARA and BRENDA sit in the chairs in the hospital hallway. BRENDA clutches her pink stuffed bear to her.)", "(After a moment, SARA reaches over, picks up BRENDA'S hand and holds it. BRENDA looks up at SARA. She gives her a small smile, then turns and looks back blankly out in front of her.)", "(SARA continues to watch BRENDA.)", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM -- NIGHT]", "(CATHERINE closes her locker and leaves.))", "Catherine: Night, guys.", "Nick: (o.s.) See you, Cath.", "Grissom: Good work.", "(GRISSOM grabs his book and heads out. He passes NICK, who is sitting on the locker bench with an ice pack on his knuckles.)", "Grissom: It'll be back to normal in 24 hours.", "Nick: Normal would be nice.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - CONTINUOUS]", "(GRISSOM walks through the hallway and glances inside the break room. He sees something, opens the door and walks in.)", "[BREAK ROOM]", "(GRISSOM picks up a red apple from the basket on the desk. He takes a bite and glances down at the table. He stops.)", "(He leans forward, picks up the pencil on top of the folded newspaper and fills out an answer in the crossword puzzle. He puts the pencil down to leave the room.)", "(He takes a bite of the apple and turns back around to glance at the newspaper. He gives up, takes out his glasses and puts them on. He sits down to finish the crossword puzzle.)", "(In the hallway, WARRICK walks by and glances up. He smile when he sees GRISSOM working on the crossword puzzle.)", "(Camera holds on GRISSOM working on the crossword puzzle.)" ]

[ "Royce Harmon was murdered 3 months ago in a scene staged to look like a suicide. Now another murder has taken place. Whoever the killer is he has a thorough knowledge of forensics, he purposefully has left evidence, and has baffled Grissom and his team. Warrick and Nick investigate the case of a man who went over a cliff in his car and is now unconscious." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOTEL MONACO - HOTEL ROOM - NIGHT]", "(Camera close up of a tumbler. Someone drops three ice cubes and pours the rest of the vodka from the bottle into the glass.)", "(He picks up the glass and walks around the room. He sits on the bed and drinks from his glass.)", "(He stands up and walks into the bathroom to stand in front of the foggy mirror. He uses the back of his hand to wipe it clear. He stares at himself and sighs.)", "(He turns around.)", "[SCENE_BREAK]", "[INT. HOTEL MONACO - HALLWAY -- NIGHT]", "(GRISSOM turns the corner to the hotel hallway and makes his way to the officer who stands just outside the hotel room door. The OFFICER signals GRISSOM inside the room.)", "[HOTEL ROOM -- CONTINUOUS]", "(GRISSOM walks into the room. BRASS is inside with two other OFFICERS. He looks at GRISSOM.)", "Brass: Oh ... you're going to love this.", "(BRASS pulls out a cloth from his pocket to open the bathroom door. They look inside.)", "[BATHROOM -- CONTINUOUS]", "(At the far end of the bathroom, is a tub ... with the dead body inside.)", "Brass: Ring any bells? Rub-a-dub-dub, dead man in a tub.", "(BRASS and GRISSOM step into the bathroom. GRISSOM puts his kit down near the door.)", "Brass: Sleeping bag for easy cleanup. Open window so the stench alerts the neighbors.", "(GRISSOM looks around.)", "Grissom: It's Royce Harmon all over again.", "(Quick flashes of: A shot of the chest bullet wound. Flash to: The revolver in the man's left hand.)", "Grissom: What do you think? \"Suicide\" note in the same place?", "(GRISSOM steps forward.)", "Brass: You tell me, Karnak.", "(GRISSOM cautiously look, reaches out and finds the tape recorder clutched in the body's right hand. He takes it and looks at it.)", "Brass: Now, that's weird.", "Grissom: Not weird. Intentional.", "(GRISSOM presses play.)", "Recorded Voice: (from tape) ... narl loop sair momoph reet reet seer pute narfenging ...", "(GRISSOM shuts it off.)", "Brass: What kind of language is that? Swedish?", "Grissom: It's backward.", "(GRISSOM thinks about it for a moment, then turns around to look at BRASS.)", "Grissom: Would you excuse me a minute?", "Brass: (nods) Sure. Okay.", "(BRASS steps out of the bathroom and closes the door behind him.)", "[INT. HOTEL MONACO - MAIN ROOM - NIGHT -- CONTINUOUS]", "(BRASS shuts the door.)", "Officer Arvington: He okay in there?", "Brass: Quincy wants to be alone. We had a case like this three months ago -- a guy found dead in his bathtub. Turned out the suicide was staged. Found a mini-recorder as a suicide note.", "(BRASS turns to look at the closed bathroom doors.)", "Brass: Killer may have struck again.", "Officer Arvington: Why does he want to be alone?", "(BRASS looks at OFFICER ARVINGTON.)", "Brass: He wants to get his mojo working.", "[SCENE_BREAK]", "[INT. HOTEL MONACO - BATHROOM - NIGHT -- CONTINUOUS]", "(GRISSOM turns the tape recorder on and plays it backward, then flips the switch to play it forward.)", "Recorded Voice: Man on mini-recorder: My name is Stuart Rampler. I reside at 818 Noeing Hill Court, Las Vegas, Nevada. I am 43 years of age, and I'm going to kill myself. I just can't do it anymore. I love you, mom.", "(He shuts the recorder off and stands there a moment. He turns to look at his reflection in the mirror.)", "Grissom: You're back.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- NIGHT]", "(GRISSOM walks into the hallway reading the assignment sheets in one hand; the bagged tape recorder in the other. He looks up and sees SHIBLEY walking toward him.)", "Grissom: Shibley, take this recorder to the print lab.", "(GRISSOM hands the tape recorder to SHIBLEY, then continues down the hallway.)", "Grissom: Have Manny dust it and run prints on it right away.", "(SHIBLEY gives GRISSOM a large envelope.)", "Shibley: Photos from tonight's suicide. Put a \"rush\" on them for you.", "Grissom: Photos. Thank you.", "(GRISSOM walks down the hallway and stops when he hears what sounds like a football game whistle coming from the break room. He looks inside.)", "[SCENE_BREAK]", "[INT. CSI -- BREAK ROOM - NIGHT -- CONTINUOUS]", "(WARRICK and NICK play a video football game.)", "Nick: Oh! Warrick: Throw the flag, ref! NICK: Uncatchable, bro.", "(GRISSOM walks into the break room.)", "Grissom: (irritated) Hey! You guys want an assignment slip or a pink slip?", "(WARRICK stands up; NICK shuts the game off and also stands up.)", "Warrick: Just taking a little coffee break.", "Nick: Is it true?", "Warrick: Same guy?", "Grissom: (calmer) I don't know. We'll see. Here. 410. Reckless driver out at Hoover Dam. Car went over a cliff. Anonymous caller. Could be foul play.", "(GRISSOM gives WARRICK the assignment sheet.)", "Warrick: Oh, me and him, working together? Oh, it's on.", "Nick: You're going down, bro.", "(WARRICK hands the sheet to NICK. The two gearing up for the challenge ahead.)", "Grissom: (irritated) Hey! Work together tonight. All right?", "(WARRICK nods demurely. GRISSOM leaves the room. Once his back is turned, NICK and WARRICK look at each other and smile ... gearing up for the challenge ahead.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- NIGHT]", "(GRISSOM walks into the office.)", "Grissom: Okay, we're going off the board tonight.", "Sara: Off the board?", "Catherine: \"The ones that got away.\" Fish.", "Sara: Ah. I missed that one.", "(GRISSOM stands in front of the large fish-shaped corkboard and takes down some photographs.)", "Grissom: First victim, Royce Harmon. About three months ago, Brass and I found this guy dead in his own bathtub, but his \"suicide\" was staged. I think the killer has killed again.", "(He hands the photos to SARA.)", "Grissom: Photos of tonight's victim: Stuart Rampler. Play the \"pick six things that are different\" game. Bet you lose.", "(CATHERINE looks at the photos.)", "Sara: This guy's good.", "Catherine: Not good. Exceptional. Print examiner lifted a thumbprint off the mini-recorder near the tub of our first victim. The print came back this.", "(CATHERINE looks around GRISSOM'S office and finds the fake hand. She shows it to SARA.)", "Grissom: The killer purchased one of these rubber hands laced the fingertips with cooking spray and proceeded to place false prints all around the crime scene.", "Sara: This guy is good. Whose prints are these?", "Grissom: Some guy who works in a warehouse making Halloween paraphernalia. Scary masks, air-brushed tombstones, rubber hands. Turns out he used his own hand for the mold.", "Catherine: So what do we do?", "Grissom: We split up. You and I go to the coroner. Sara, you go to the hotel. Dust every inch of that bathroom. Here. Use this --", "(GRISSOM reaches for a container on the shelf. He gives it to SARA.)", "Grissom: \"Red Creeper.\" My own concoction.", "Sara: (impressed) Wow.", "Grissom: Well, serious case, serious print powder. Be thorough. Don't take anything for granted.", "Sara: Yes, sir.", "(SARA leaves the office.)", "(CATHERINE and GRISSOM also leave the office.)", "[SCENE_BREAK]", "[EXT. HOOVER DAM - CRASH SITE - NIGHT]", "(NICK and WARRICK enter the crash site. Emergency crew work on the car.)", "Warrick: Everyone still breathing in that car?", "Paramedic: So far.", "Nick: Call came in blind. You see who could have made it?", "Paramedic: No. We were first on the scene. Fire department came in two minutes behind. Place was dead quiet.", "(The fire department crew cut the top off of the car. They start working on the unconscious man in the back seat of the car.)", "Warrick: Where's the driver? He get thrown?", "Officer: Didn't find anybody.", "(NICK and WARRICK look up above where the car fell.)", "Nick: I'm thinking DUI.", "Warrick: You calling it?", "(NICK looks around on the ground and finds something.)", "Nick: I'm calling that beer bottle.", "(NICK uses a pen and picks it up to look at it.)", "Warrick: How you know it's from the car?", "Nick: It's still cold. Foam in the bottle. Take it up top?", "Warrick: After you ...", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DR. ROBBINS pulls the body out of storage. He goes over the body with GRISSOM and CATHERINE.)", "Dr. Albert Robbins: I've read Klausbach's report on Royce Harmon the first staged suicide.", "Grissom: Similarities?", "Dr. Albert Robbins: Well, based on the entry wound, they were both murdered. But here's where it gets fun.", "(DR. ROBBINS shows them the wound on the back of STUART RAMPLER'S left hand.)", "Catherine: That looks like he was shot trying to protect himself.", "Grissom: What else, Doc? My mind is painting.", "Dr. Albert Robbins: He was paid a little visit from Mr. Muzzle stamp.", "(DR. ROBBINS shows them the bruise on the temple.)", "(Quick flashback to: The gun is against STUART RAMPLER'S temple. End of flashback. Resume to present.)", "Catherine: Forced into the tub at gunpoint?", "Grissom: Okay. Let's play it out.", "(GRISSOM turns around. The clock behind GRISSOM reads 4:35pm.)", "Grissom: The killer's got him at gunpoint, right? Standing over him like this.", "(Quick flashback to: STUART RAMPLER puts his hand up to block the gunshot.)", "Stuart Rampler: No!!", "(Quick CGI that follows the bullet as it pierces through flesh. End of CGI. End of flashback. Resume to present.)", "Grissom: But this time, things got messy. Royce Harmon didn't fight back. That's why there was no muzzle bruising to his temple.", "Catherine: Stuart Rampler was resistant. He didn't want to get into that tub too easily. He took a few jabs to the temple.", "Grissom: But the killer just lost round one. We know how he gets his vics into the tub and we know that both deaths were homicides.", "Catherine: Not a bad start.", "[SCENE_BREAK]", "[EXT. HOOVER DAM OVERLOOK - TOP -- DAWN]", "(WARRICK stands at the top of the overlook near the broken railing. NICK measures the tire marks on the road.)", "Nick: The skid start way up the road. I got him doing at least 70.", "Warrick: More like 80.", "Nick: These grooves are from the car's frame. It balanced before it fell.", "(NICK looks a the shoe prints in the dirt.)", "Nick: This is where he bailed. Wide spacing, slipping of the heel. He ran.", "(WARRICK takes a photo.)", "Warrick: Who?", "Nick: The phantom driver.", "(Quick flashback to: [NICK'S VERSION] Inside the moving car.)", "Walter Banglor: Hey, hand me another beer.", "Phantom Driver: No, you've had enough.", "(The car heads straight for the truck. Its horn blares. The car swerves.)", "Phantom Driver: Hey, hey...!", "(Tires squeal. The car crashes through the railing and teeters on the edge of the embankment, its engine still running. The PHANTOM DRIVER bails. The Drunk Backseat Passenger, WALTER BANGLOR, stays in the car as it topples over and off the cliff.)", "(The PHANTOM DRIVER runs away. WALTER BANGLOR screams as the car falls down the ravine.)", "(End of flashback. Resume to present.)", "Warrick: So your drunk driver just got out and ran away?", "(NICK looks at WARRICK and nods.)", "Warrick: Where to?", "Nick: I don't know. That's why we're up here. But he left his buddy hanging out to dry. I can tell you that.", "(WARRICK points to the tire marks on the roadway behind NICK.)", "Warrick: Then how do you explain car number two?", "Nick: Driver ran to this point, car picks him up. Here are your tracks ... probably took him to the hospital.", "Warrick: Not if we have these.", "(WARRICK looks down at the tracks in the dirt.)", "Warrick: They're kind of out of place. A walking stride up to the edge.", "(WARRICK takes a couple of photos.)", "Warrick: No. This is a crime, not an accident.", "Nick: You care to back that statement up? My phantom driver against your criminal?", "Warrick: How much?", "Nick: Fifty.", "Warrick: I don't get out of bed for less than a bill.", "(NICK laughs and they shake on it.)", "[SCENE_BREAK]", "[INT. HOTEL MONACO - BATHROOM -- DAY]", "(SARA walks into the hotel room bathroom carrying her kit. She meets up with DET. B. EVANS.)", "Sara: Hey, Evans.", "Det. Evans: Hi.", "(SARA puts her kit and things down.)", "Det. Evans: Victim's name is Stuart Rampler. Lives in town reserved a room for one night because his house was being fumigated.", "Sara: Hmm. Find anything unusual?", "Det. Evans: I bagged a couple of utility bills.", "(He moves to the side and picks up a bag of bills and shows it to SARA.)", "Det. Evans: Ready for mail. It's almost as if he wanted to take care of some unfinished business before he checked out.", "(SARA takes the mail out of the bag and goes through the bills.)", "Sara: Well, it's not likely. His suicide was staged.", "(She notices something.)", "Det. Evans: It's an upside-down stamp. What does that mean?", "Sara: I don't know.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[INT. HOTEL MONACO - BATHROOM - DAY]", "(SARA uses the Red Creeper on the bathroom pipes.", "Sara: (impressed) Wow. This stuff rocks. I love bathrooms. Last time I printed a hotel bathroom, I had over 1,000 prints.", "(SARA continues to dust the tub. She finishes.)", "Sara: Okay ... close the doors and hit the lights, daddy-O.", "(EVANS closes the bathroom doors and turns the lights off. SARA uses her ALS and can't believe her findings.)", "Sara: Not a single print.", "Det. Evans: He wiped it clean.", "Sara: Yeah. This guy's a real pro. Not only did he wipe it clean -- it's sterile.", "[SCENE_BREAK]", "[INT. PAIGE HARMON'S RESIDENCE - LIVING ROOM -- MORNING]", "(GRISSOM and CATHERINE interview PAIGE HARMON.)", "Paige Harmon: I thought you were going to tell me that you caught him.", "Grissom: Mrs. Harmon, we believe that the person who did this to your son may have done it to someone else and we need your help.", "Paige Harmon: Well, what can I do?", "Catherine: We talked to the second victim's girlfriend -- played his suicide recording for her. She confirmed that it was his voice.", "Paige Harmon: But I already told you that the voice on that tape was not my son's.", "Catherine: I know. We just need to be absolutely certain. Do you have a recording of your son's voice so that we could tie the killings together?", "Grissom: Anything, Mrs. Harmon -- a home movie? A recorded message off your answering machine?", "Paige Harmon: All I have are pictures.", "(She remembers something.)", "Paige Harmon: I may have something.", "(She stands up and picks up a picture frame.)", "Paige Harmon: Royce gave this to me for mother's day last year. (GRISSOM stands up.) It's a talking frame. It's all I have left.", "Royce Harmon: Hey, mom, it's Royce. I know you're always complaining you don't hear my voice in the house anymore. Well, now you can listen to it anytime you want. I love you, mom.", "Paige Harmon: (softly): I love you, too.", "[SCENE_BREAK]", "[INT. HOSPITAL - HALLWAY -- DAY]", "(WARRICK and NICK walk with DR. LEEVER down the hospital hallway.)", "Nick: Mr. Backseat going to make it?", "Dr. Leever: Name's Walter Banglor. He'll live.", "Nick: He well enough to talk?", "Dr. Leever: Subdural hematoma, compound rib fractures ...", "Nick: All right, all right, I get the picture. How long until we can see him?", "Dr. Leever: I didn't say you couldn't see him.", "(DR. LEEVER turns and leads NICK and WARRICK into the hospital room.)", "[HOSPITAL ROOM]", "(He pushes the curtain aside.)", "Dr. Leever: He's sedated. If you want to talk to him you're going to have to wait until he comes off his meds in about 12 to 24 hours.", "(NICK sighs. WARRICK looks at WALTER BANGLOR.)", "Warrick: Tan lines, no watch and no ring.", "Nick: Check his personal effects.", "(WARRICK picks up the envelope and checks its contents. He spills it out onto the table. A wallet falls out.)", "Nick: That's it?", "Warrick: Must have been one hell of a fall to knock his watch and his ring off ...", "(WARRICK shows NICK the empty wallet.)", "Warrick: ... and take his money.", "(NICK thinks about it.)", "Warrick: So what do you say? Do you want to up the stakes another hundred?", "(DR. LEEVER looks over at NICK.)", "Nick: To what, a deuce?", "Warrick: (shrugs) Say my foul play against your phantom driver?", "Nick: You bet.", "(They seal the deal with a hand \"shake\". DR. LEEVER watches and shakes his head, a half-smile on his face.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- MORNING]", "(SARA tests the \"upside-down\" stamp.)", "Greg Sanders: Okay ... I've got Stuart Rampler's DNA profile ready. All I need is something to compare it to.", "Sara: Coming right up. Let's see if we can find out who this Licker is.", "(SARA hands the sample vial to GREG. He puts it in the machine and switches it on.)", "(Short time cut later: The results print out. GREG looks at it.)", "Sara: What do you got?", "Greg Sanders: Well, according to the DNA Stuart Rampler licked the right-side-up stamps.", "Sara: What about the envelope with the upside-down stamp?", "Greg Sanders: Well, it came back unknown.", "Sara: (thoughtful) He's toying with us.", "Greg Sanders: Who?", "Sara: Anonymous.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- MORNING]", "(WARRICK walks into the garage to find NICK fuming the entire car.)", "Warrick: Supergluing the entire car? It's a little excessive, don't you think?", "Nick: Hey, man, this is war.", "Warrick: (chuckling) You know, I checked with six different medical centers, and no phantom driver at any of them.", "Nick: (waves it away) Minor setback. How about the 911 call?", "Warrick: Las Vegas cell phone. PD's putting a name to it.", "Nick: Good.", "Warrick: What's all this?", "Nick: Car was rented from the airport three days ago.", "Warrick: To ... ?", "Nick: Walter Banglor. I figure Vegas vacation; side trip to Hoover Dam.", "Warrick: Makes sense.", "Nick: Mm-hmm.", "Warrick: You find his watch and ring?", "Nick: (grudgingly admits) No.", "Warrick: (laughing) my pockets are getting fat!", "Nick: No, he travels light. There was only a change of clothes in the damn suitcase.", "Warrick: God, you see all that money in there?", "Nick: All right, the fumes have settled. Give me a hand.", "Warrick: Yeah.", "(They lift the plastic sheet off of the car. NICK sees the prints on the wheel.)", "Nick: You can run ... but you can't hide.", "(Camera cuts to the prints on the dashboard.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(CATHERINE and GRISSOM walk through the hallway.)", "Catherine: \"Disco Placid\" -- what's that?", "Grissom: He's a jazz producer. Specializes in audio. Does voice comparisons for me from time to time. He hears in perfect pitch.", "Catherine: Really?", "Grissom: He's gifted.", "[SCENE_BREAK]", "[INT. BASEMENT - AUDIO ROOM -- DAY]", "(DISCO PLACID sits behind his equipment listing to the music on the ear phones and timing it with the watch in his hand. Song overhead is \"Ain't No Sunshine When She's Gone\", by Bill Whithers.)", "(GRISSOM and CATHERINE walk up to the doorway behind him.)", "Disco Placid: (sings along) Yeah, better leave young thing alone / but ain't no sunshine when she's gone.", "(He sees them and smiles. He takes off his earphones.)", "Grissom: I'm sorry to hear that.", "Disco Placid: Oh, that's Bill Withers, man. The man cuts me up inside.", "Grissom: Catherine Willows, Disco Placid.", "Catherine: A pleasure.", "Disco Placid: A pleasure.", "Lyric: Ain't no sunshine when she's gone...", "Grissom: How are we coming with our voice comparisons?", "Disco Placid: Got it right here. All I got to do is, uh, heat this thing up. It's a mini-cassette recording of the first victim.", "Royce Harmon: (on tape) I'm going to kill myself.", "Disco Placid: Comparing the \"I love you's...\"", "Royce Harmon: (on tape) I just can't do it anymore. I love you, mom.", "Disco Placid: Now the talking frame.", "Royce Harmon: (on tape) Now you can listen to it anytime you want. I love you, mom.", "Disco Placid: Minnesota Twins.", "Catherine: The mother was wrong. That is her son's voice.", "Disco Placid: I laid in both suicide notes in the computer, stripped the tracks one by one. Picked this up in the b-ground.", "(He plays the tape for them.)", "Royce Harmon: (on tape) My name is Royce Harmon. I reside at 7642 carpenter street, Las Vegas, Nevada. I am 41 years of age.", "Grissom: What is that?", "Disco Placid: I don't know, man. It sound like a flag or a tarp or something. Give me a sec. I'll give it to you in a chinese to-go box.", "Catherine: Play the second victim's tape.", "Disco Placid: Okay.", "Stuart Rampler: (on tape) My name is Stuart Rampler. I reside at 818 Boeing Hill Court, Las Vegas ...", "(He turns the tape off. Behind them, GRISSOM pulls out a sheet of paper and waves it making the same sound as the one on the tape recordings.)", "Catherine: No. Play it through.", "Stuart Rampler: ... Nevada. I am 43 years of age, and I'm going to kill myself.", "Grissom: Play them side by side.", "Both Recordings: My name is Royce Harmon / Stuart Rampler / I reside at 818 Boeing Hill / 7642 Carpenter Street. Las Vegas, Nevada. I am 41/43 years of age.", "Grissom: It's \"fill in the blanks.\"", "Catherine: He's just reading from a suicide script.", "(Again, GRISSOM waves the sheet of paper around.)", "Catherine: What do you think?", "Disco Placid: (smiles) Disco.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- MORNING]", "(NICK and WARRICK walk into the print lab. MANDY doesn't look up from the scope.)", "Mandy: So I've got some good news and mysterious news.", "Nick: Give me the good news.", "Mandy: Well, your results are back from the prints on the car. And your vic, Walter Banglor, is top of the list.", "Nick: It's a big list.", "Mandy: You fumed the entire car. What did you expect?", "Warrick: What's the mysterious news?", "Mandy: I found some speckles of blue dust in the ridges of Banglor's print. Here. Look it.", "(She steps aside from the scope. WARRICK looks at it.)", "Nick: Let me see.", "(WARRICK moves aside and NICK looks at the scope.)", "Warrick: What do you think?", "Nick: I have no idea.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(SARA fills GRISSOM and CATHERINE in on what she's found.)", "Sara: I did some comparative digging on both victims -- Royce Harmon and Stuart Rampler. Both are white males in their 40s, single and ... both have the same birthday.", "Grissom: Royce Harmon, born August 17, 1958. Stuart Rampler, born August 17, 1957. One year apart.", "Catherine: Okay, so maybe it's some reverse or backwards pattern. August 17, 1958 ... 1957. The suicide message was recorded backwards; the postage stamp was upside-down ...", "Sara: Yeah.", "Grissom: Maybe he's telling us, in order to go forward, go back. Sara, go back one more year -- August 17, 1956. See if anything pops up with the same M.O.", "Sara: I'm gone.", "(SARA leaves the office. MANDY appears in the doorway.)", "Mandy: Mr. Grissom, the prints are back from Stuart Rampler's mini-recorder.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB - CONTINUOUS]", "(CATHERINE and GRISSOM walk into the lab where MANDY sits in front of the computer.)", "Grissom: Can we see the print?", "Mandy: Not print-- prints.", "Catherine: What do you mean? It's more than one person?", "Mandy: It's two thumbprints overlapped.", "Grissom: Can you separate them?", "Mandy: Yeah. Running both prints through AFIS.", "(The first print comes back \"UNKNOWN\". The second print comes back", "\"COMPLIANCE\".)", "Mandy: How can that be?", "(MANDY works on the keyboard and stands up to look at the printout.)", "Catherine: \"Compliance\"?", "Grissom: Someone within the department?", "(MANDY looks at the results, then glances at CATHERINE. She looks at GRISSOM.)", "Grissom: What?", "Mandy: Uh, Catherine, can you excuse us for a moment? I need to speak with Mr. Grissom in private.", "(CATHERINE glances at GRISSOM.)", "Grissom: Anything you have to say to me you can say to her.", "Mandy: Well, the top print came back Paul Millander.", "Grissom: I expected that. He's the guy who makes the rubber hands. I've already cleared him. What about the compliance -- the bottom print?", "Mandy: It came back you.", "Catherine: It's Grissom's print?", "(MANDY nods.)", "Catherine: Wait a minute. Somebody got ahold of your prints.", "Grissom: How? I wear gloves at every crime scene. I was printed for the job. We all were.", "Catherine: Well, somebody's obviously making this personal. They could've got your print from a glass that you touched at a restaurant. From a latex glove that you discarded and they turned inside out ...", "(CATHERINE sighs.)", "Catherine: Oh, god ...", "(GRISSOM thinks about it and something occurs to him. He looks at the monitor, the one print over the other.)", "Grissom: I get it. Whoever it is is telling me that he's got me under his thumb.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(NICK is in the break room reading something. WARRICK walks in.)", "Warrick: So ... who's your phantom driver?", "Nick: Possibly a cop from Philly. Or a ... a nurse from Omaha. Don't forget the mail carrier from Nashville. (NICK laughs as he looks at the list of names.)", "Warrick: Man, it's a rental. Those prints are probably older than you are.", "Nick: Well, this is going nowhere.", "Warrick: You giving up?", "Nick: No, no, no, no. We're still on. I may be stalled, but I'm not out.", "Warrick: You want to take it to three?", "Nick: You want to take it to three?", "(They agree and seal the deal by knocking knuckles.)", "Nick: You still think he was robbed?", "Warrick: Tan lines where his ring and watch used to be. On vacation in Vegas, but no money in his wallet. His face all bruised up before he took that cliffside tumble. Damn right, I think he was robbed.", "(Quick flashback to: [WARRICK'S VERSION] A man runs out into the street to flag down the moving car.", "Motorist: Hey!", "(Inside the car, WALTER BANGLOR puts the bottle down to brake.)", "Motorist: Hey!", "(The car swerves and crashes through the railing and stops halfway over the edge of the hill. WALTER BANGLOR leans back in his seat.)", "(The front door opens and the MOTORIST", "Motorist: You all right, man?", "Walter Banglor: Yeah. Yeah, I guess so.", "(The MOTORIST pulls a gun on WALTER BANGLOR.)", "Motorist: I want the ring, the watch and all your cash.", "Walter Banglor: Okay, all right.", "Motorist: Come on.", "Walter Banglor: All right, all right.", "(He hands over money, watch and ring.)", "Motorist: Now get your ass in the back.", "Walter Banglor: What?", "Motorist: I said get your ass in the back!", "(WALTER BANGLOR crawls into the back seat.)", "Motorist: Strap in.", "Walter Banglor: Okay.", "(He straps himself in. The MOTORIST runs around to the back of the car and pushes it over.)", "Walter Banglor: What are you doing?", "(End of flashback. Resume to present.)", "Nick: He lays in wait, he robs him, he tries to kill him, but he lets him buckle in?", "Warrick: I don't think the robber expected Banglor to get drunk and go crash his car. He probably freaked and put him in the back seat trying to fool me into thinking someone else was driving. But he only fooled you.", "Nick: What about the blue dust, Warrick?", "Warrick: What about it?", "Nick: Don't you think it matters?", "Warrick: Maybe. There's other questions to answer first.", "Nick: Okay, like?", "Warrick: Footprints and tire tracks.", "Nick: (nods and whispers) I hate you.", "Warrick: You love me. Who you kidding?", "[SCENE_BREAK]", "[INT. HOLLOWEIRD - MAIN WAREHOUSE -- DAY]", "(GRISSOM walks into the warehouse, looking for PAUL MILLANDER. In the back of the warehouse, PAUL MILLANDER is working on a sculture.)", "Grissom: Mr. Millander?", "Paul Millander: Hey, it's the forensics guy. I forgot your name. I-I'm sorry.", "Grissom: Gil Grissom.", "(They shake hands.)", "Paul Millander: Hi, Mr. Grissom. It's been a couple of months. How are you, sir?", "Grissom: I'm okay. What are you making?", "(He turns the head around to show GRISSOM.)", "Paul Millander: I-I-I call it ... \"Good versus Evil.\" You like it?", "Grissom: Yeah, it reminds me of our supervisor on days.", "Paul Millander: So, what brings you down to my humble abode?", "Grissom: I have a couple of questions regarding that staged suicide. Remember?", "Paul Millander: Yeah. How's that going?", "Grissom: Not too well.", "Paul Millander: Say, w-would you like a cup of coffee? I got instant.", "Grissom: Sure.", "[SCENE_BREAK]", "[INT. HOLLOWEIRD -- BACKROOM -- DAY]", "(PAUL MILLANDER walks in the back to get the coffee. GRISSOM follows him and looks around.)", "Grissom: I envy you, Mr. Millander. I do. You can work by yourself ... no one around to bother you. You just ... do what you do. I'd love to have that kind of autonomy.", "Paul Millander: It's really all I know. I ... started out doing ice carvings but the artwork never lasted.", "(GRISSOM chuckles.)", "Grissom: I know what you mean.", "(PAUL hands GRISSOM his drink.)", "Grissom: Thank you.", "Paul Millander: Let's sit.", "(They both sit down.)", "Paul Millander: How can I help you?", "Grissom: Do you remember the, uh, rubber hand mold that you made from your own hand?", "Paul Millander: How could I forget?", "Grissom: Well, whoever the perpetrator is has killed again. And again, your print came up. So I was hoping you could help me.", "Paul Millander: Sure.", "Grissom: The last time we talked, you told me that you had sold several thousand units last Halloween?", "Paul Millander: Bestseller. Yes, sir.", "Grissom: Could you provide me with a list of your distributors?", "Paul Millander: I really don't have a list. Uh ... Why?", "Grissom: I was hoping to do a credit card search ... go back ten days before the first murder occurred ... try and run some names ... see if any priors pop up.", "Paul Millander: I would really love to help you, Mr. Grissom, but ... I just don't keep track of ... of individual purchasers. I-I-I'm just a wholesaler. I don't ... I don't crunch numbers. I-I just ... spook the children.", "Grissom: Of course you do. I'm sure you do it well.", "(GRISSOM leans back in his chair and takes a sip from his cup.)", "[SCENE_BREAK]", "[INT. CSI - RESEARCH ROOM -- DAY]", "(WARRICK looks through a binder full of shoe prints. He flips the page and finds the match.)", "Warrick: Finally.", "(NICK walks into the room. He's eating an apple.)", "Nick: Hey, partner, you get a match yet? Ooh! Converse all-star.", "Warrick: Size 11.", "Nick: And you needed all the books for that?", "(NICK takes a seat.)", "Nick: Those soles have been around 20 years.", "Warrick: I needed to be sure.", "Nick: You look tired, buddy. You want me to make you a bottle, go nigh-nigh?", "Warrick: You want me to clack that jaw, make you go nigh-nigh?", "Nick: (rubbing it in) You should have worked the tire tracks. Jimmy in trace put together a digital catalog of treads ... has thousands on file. Took me three minutes.", "(NICK tosses the file folder onto the desk in front of WARRICK. WARRICK looks at the results.)", "Warrick: Pirelli low profile p-zeros. High performance.", "Nick: And standard on your alleged getaway vehicle ... the '99 Bentley Arnage, red label. It's a sweet ride, man -- handcrafted. So, how many people in Vegas you think drive that kind of price tag?", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "Brass: Three. Did a DMV search.", "Warrick: Any reported stolen?", "Brass: Yeah, one. Last week. It came in a couple of hours ago.", "(BRASS holds up the photos.)", "Brass: Take a look.", "(He gives them the photos.)", "Nick: Oh-ho! So sweet!", "(WARRICK grabs a photo and compares it to the tire marks in the folder.)", "Warrick: Check this. One-to-one says that's the car.", "Brass: Yeah, well, don't bet the sub shop, Warrick. That's about all the evidence you're going to get out of the Bentley. We found it at a car wash off of warm springs. It's been vacuumed detailed -- the whole works. It's cleaner than brand-new.", "(NICK smiles.)", "Nick: Well, I wish Banglor's rental car company were as considerate as your thief.", "(He slaps WARRICK on the back and chuckles as he leaves.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(BRASS walks into GRISSOM'S office.)", "Brass: Dr. Livingston. Your dead man is making cash withdrawals.", "Grissom: Which one? The first victim or the second?", "Brass: The second. Stuart Rampler. The bank called. His ATM card showed a couple of withdrawals after his time of death.", "Grissom: (pleased) ATM machines take photographs every three seconds. Maybe we can get a Kodak moment of this guy. I want the machine here. I want prints. I want film. I want everything.", "Brass: The whole machine?", "Grissom: Yeah, the whole machine.", "Brass: Okay.", "(BRASS turns and leaves the office.)", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE ROOM -- NIGHT]", "(NICK goes over WALTER BANGLOR'S clothing. NICK finds a blue stain near the jean's button fly. He takes a sample of it just as WARRICK walks into the room.)", "Warrick: You got his clothes?", "Nick: That's right.", "Warrick: What are you doing? His laundry?", "(NICK holds up the swab.)", "Nick: Something to compare our mystery blue dust to.", "Warrick: Ah.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- NIGHT]", "(GREG starts testing the blue substance.)", "Greg Sanders: So ... what's the pot up to?", "Nick: (flatly) We don't bet on cases.", "Greg Sanders: Ah. Of course you don't. So who's winning?", "Warrick/Nick (both): I am.", "Greg Sanders: Fiends.", "(GREG puts the sample vial in the machine and runs it.)", "(Short time cut to: The printer prints the results.)", "Greg Sanders: Your mystery dust is ... silicon blue dye.", "Warrick: What's that?", "Greg Sanders: Pool cue chalk.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- NIGHT]", "(Inside the break room, NICK and WARRICK revamp their scenarios. WARRICK sits and listens as NICK stands, pacing the floor and playing with a football in his hand.)", "Nick: Banglor's shooting stick with the phantom driver ... tosses a few back ... piles into the rental ... ...I-93, Hoover Dam. But don't drink and drive. You might spill your drink ... car skids ... bangs into the railing ...", "(Quick flash to: [NICK'S THEORY] The car going through the railing. End of flashback. Resume to present.)", "Nick: ... see-saws ...", "(Quick flash to: The car teetering over the edge. End of flashback. Resume to present.)", "Nick: ... on the edge ... what does the driver do? Man, he bails. He leaves Banglor in the back seat to take the fall.", "(Quick flashback to: The PHANTOM DRIVER leaps over the railing and runs down the road. End of flashback Resume to present.)", "Nick: Literally.", "(Quick flashback to: The car falls down the ravine, WALTER BANGLOR inside, screaming. End of flashback Resume to present.)", "Nick: Fingerprints, grooves, footprints: All the bases are covered. Victim, suspect, crime scene. Like a laxative ...", "(Done, he tosses the foot ball to WARRICK, who catches it.)", "Nick: It works.", "(NICK sits down and exhales. WARRICK thinks about it and starts his own theory.)", "Warrick: Banglor shooting stick -- I'll give you that. Burping bourbons -- I'll give you that, too. But he left solo. A few miles down the road,", "(WARRICK stands up and starts pacing the room as he goes over his scenario, evidence by evidence.)", "Warrick: ... Bentley thief flags him down ...", "(Quick flashback to: [WARRICK'S THEORY] The MOTORIST flags the car down. End of flashback Resume to present.)", "Warrick: ... spooks him into a skid ... boom, crash!", "(Quick flashback to: The car headlights. End of flashback Resume to present.)", "Warrick: He's robbed ... forced into the back ... pushed over the edge.", "(Quick flashback to: The MOTORIST pushes the car over the edge of the hill. End of flashback Resume to present.)", "Warrick: With Banglor out of the way, the thief gets in his stolen Bentley ... hightails it out of there. No watch ... no rings, no cash ... stolen Bentley tire treads, converse all-star size 11 ... all bases covered. Victim, suspect, crime scene. Like a canary ... it sings.", "(Done, WARRICK tosses the ball to NICK. He catches it. WARRICK takes a seat.)", "Nick: You know, I hate to admit it ... but I like your theory. It does work.", "Warrick: I was sitting here thinking the same thing about your phantom driver.", "Nick: So, what do you think? Can two solid theories, each backed by evidence both be correct?", "(WARRICK shrugs. NICK tosses the football to WARRICK.)", "[SCENE_BREAK]", "[INT. CSI - PHOTO LAB -- DAY]", "(Everyone watches the bank ATM machine security camera footage. On the monitor, a bum stands directly in front of the camera. A second person stands off to the side directing the bum. He hands the bum the card.)", "Grissom: (o.s.) There. There's our guy ... handing it off.", "(On screen, the man on the side hands the bum a stack of cue cards. The bum turns the cards one after the other in front of the camera.)", "Grissom: Life ... like holding a dove.", "Grissom: Hold it too hard ...", "Catherine: ... you kill it.", "Grissom: Hold it too soft ...", "Sara: ...and it'll fly away.", "(The bum continues to flip the cards. Thinking that he's done, the bum turns to the side to walk away, but the man pushes him back in front of the camera to continue flipping the cards.)", "Catherine: :Have we located this bum?", "Grissom: Brass's guys are looking for him. Okay ... significance of the flipping?", "Catherine: He's obviously making a point.", "Sara: What does the dove symbolize? Peace.", "Catherine: But I don't think it's peace in terms of ... human civility or unrest. I think maybe it's \"peace of mind.\" (beat) What do you have to attain to have peace of mind? (realizing) Justice.", "Grissom: \"I'm going to keep doing this over and over again until I get Justice.\"", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(GRISSOM opens the interview room. Inside is the bum.)", "Brass: How you doing?", "Grissom: (looking at the bum) Hmm. How'd you find him?", "Brass: We canvassed a square-mile radius of the ATM machine. Started throwing bums hamburgers out the car window in a nice tight spiral. They ratted him out in 20 minutes.", "Brass: You want to tell him how you were approached?", "Bum: You know, I think better when I eat.", "Brass: No kidding?", "Grissom: Jim, call the steak house at Circus. Get this fella a porterhouse.", "(BRASS picks up the phone.)", "Brass: How do you like it -- Medium rare? No, you look like a well-done kind of guy.", "Bum: Rare.", "[SCENE_BREAK]", "[INT. HOSPITAL - HALLWAY -- NIGHT]", "(NICK and WARRICK sit side-by-side in the hallway. NICK glances at his watch. DR. LEEVER steps out.)", "Dr. Leever: Two minutes, understand?", "Nick: That's all we'll need.", "(They head into WALTER BANGLOR'S room.)", "[SCENE_BREAK]", "[INT. HOSPITAL - ROOM - NIGHT -- CONTINUOUS]", "(The door opens. NICK and WARRICK walk into the room.)", "Nick: Hey, hey. How are you feeling, Mr. Banglor?", "Walter Banglor: Uh, better, I guess. I understand last night was exciting, though.", "Warrick: Yeah.", "Nick: I'm going to come right out and say it. What happened to you is not right. The person responsible needs to be brought to justice. You tell me who that person is. Who was driving that car?", "Walter Banglor: Who the hell are you guys?", "(WARRICK and NICK both talk at the same time.)", "Warrick: I'm Warrick ... NICK: I'm Nick ...", "(They stop and look at each other.)", "Nick: I'm Nick Stokes. This is Warrick Brown. We're with criminalistics. We've been working your accident.", "Warrick: Actually, sir, I-I don't think it was an accident. I think you were robbed and any information that you remember about your attacker would be very helpful.", "Walter Banglor: I wasn't attacked.", "(At this, WARRICK'S face falls.)", "Walter Banglor: I was drunk .. really drunk.", "(At this, NICK'S face falls.)", "Walter Banglor: No way I should've been driving that car.", "(Quick flashback to: [POOL BAR] WALTER BANGLOR looses another game and puts his pool stick down on the table. He sighs.)", "Walter Banglor: Yeah! I guess that's enough for me.", "Pool Player: Then it's time to pay up.", "(Cut to: WALTER BANGLOR looks into his wallet, then glances at the POOL PLAYER in front of him.)", "Walter Banglor: Looks like I'm a little short.", "(He chuckles. The POOL PLAYER turns to the THUG behind him and motions to WALTER.)", "Pool Player: Hit him. Take everything he's got.", "(The THUG hits WALTER in the stomach and in the face.)", "(Cut to: WALTER BANGLOR is driving home. He's drinking as he's driving. He's not paying attention to the road and is startled awake when the truck headed toward him honks his horn.)", "Walter Banglor: Jeez!", "(WALTER gets control over his car and swerves. He crashes through the railing and teeters on the edge of the cliff.)", "(To balance the car, WALTER crawls into the back seat. He fastens himself in just as the car tilts over the edge. And like a wild park ride, the car rolls down the hillside.)", "(End of flashback. Resume to present.)", "Warrick: You mean you got hustled?", "Walter Banglor: I won the first game.", "Nick: (astonished) You climbed in the back seat yourself?", "Walter Banglor: Yeah.", "Warrick: So buckling up ... really did save your life. You know that?", "Walter Banglor: Yeah, I guess it did.", "Warrick: You get well, okay?", "Nick: Glad we could help.", "(They both walk out of the room.)", "[SCENE_BREAK]", "[INT. HOSPITAL - HALLWAY - NIGHT -- CONTINUOUS]", "(NICK and WARRICK walk out of the room and into the hallway.)", "Nick: Well, the only thing we didn't factor in was his will to live.", "Warrick: And the Bentley thief, size 11-- he could've been at that crime scene anytime last week. So we push on the bet? No winner?", "Nick: (agreed) No loser.", "(NICK'S pager goes off. The wall clock reads 4:02. NICK checks his pager.)", "Nick: 406. Burglary. Double or nothing?", "Warrick: You're talking to the wrong guy.", "(They both walk out.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(The BUM finishes his meal.)", "Brass: Can we start again, please?", "Grissom: Now, how did this man approach you?", "Bum: He walked up to me. Told me he'd give me a hundred bucks if I flip some cards.", "Brass: He pay you cash?", "Bum: (nods) Mm-hmm. A hundred-dollar bill.", "Grissom: You still have it?", "(The BUM doesn't answer.)", "Grissom: How tall was this man? Was he ... shorter or taller than Mr. Brass here?", "(BRASS stands up.)", "Bum: A hair taller.", "Grissom: By a hair, do you mean the hair of a rabbit or the hair of grizzly bear?", "Bum: Somewhere in the middle.", "Grissom: Okay. Let's say he was five-ten. What else do you remember about this man?", "(BRASS takes a seat.)", "Bum: He had a narrow chin. Uh ... his eyes were blue -- deep-sea blue, you know? Uh, jet-black hair uh, Spock-like ears pointed nose, bushy eyebrows. Sunken cheeks with a bad complexion, almost pock-faced.", "(As he talks, GRISSOM puts it together.)", "Bum: Uh ... thin as a soda cracker and his clothes were wrinkled, like, uh, he slept in them. Oh ... and when he spoke, he spoke with a ...", "Grissom: (realizing) ... stutter.", "Bum: Yeah.", "Grissom: Paul Millander. He set me up. (surges to his feet, angry) Son of a bitch! I had him and I let him go!", "(Quick flashback to: [HOLLOWEIRD] GRISSOM talks with PAUL MILLANDER.)", "Grissom: You ever make any rubber hands?", "(Cut to: GRISSOM shows PAUL MILLANDER the rubber hand.)", "Paul Millander: I sold ten thousand of those units last Halloween. Even used my own hand for the mold.", "(End of flashback. Resume to present.)", "(GRISSOM is angry ... with himself. BRASS watches GRISSOM.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]", "(GRISSOM fills CATHERINE, SARA and BRASS in on his findings.)", "Grissom: So when I picked up the hand he must have lifted my print, Catherine.", "Catherine: Latex rubber surface, freshly dried paint a snip of scotch tape -", "Sara: It wouldn't be that hard to lift and replant.", "Grissom: Sara, we'll be on headsets. Run everything you can on Paul Millander. Use forenz-l use nexus, search anything and everything.", "Brass: I'll call the brigade.", "[SCENE_BREAK]", "[INT. CSI - RESEARCH ROOM -- NIGHT]", "(SARA is on the computer, running the searches.)", "Sara: Typing in search word: Paul Millander. Here it is. Paul Millander:", "INTERCUT WITH:", "[MOVING VEHICLE - NIGHT]", "Sara: (from radio) Age 42, five-eleven, male caucasian. Address not on file. No criminal record.", "Grissom: Keep looking. Listen, check the business database. Search word: \"Halloweird.\"", "(SARA does a search.)", "Sara: There's no listing, Grissom.", "Grissom: How can that be? I was just there.", "Catherine: (to radio) Change databases. Newspaper index, periodicals index -- just keep trying.", "Sara: (from radio) I got something out of the newspaper index.", "Grissom: What is it?", "Sara: (reading) \"Two hotel security guards exonerated in alleged 'staged' suicide. Boy's testimony shaky. Paul Millander, age ten, testified that he watched in the closet while his father, John, was escorted by two hotel security guards into his own bathtub at gunpoint where he was found shot to death. Official cause of death was ruled ...\"", "Grissom: (to radio) ... suicide. (from radio) Check the date.", "(SARA runs the search.)", "Sara: Catherine, you were right. August 17, 1959, it's a pattern.", "Catherine: So he was killing men who were born on the same day that his father died.", "[SCENE_BREAK]", "[EXT. HOLLOWEIRD - NIGHT]", "(The police vehicle stops. OFFICERS suited up exit the back of the van. Additional OFFICER vehicles arrive at the scene. BRASS exits his car, gun drawn. GRISSOM and CATHERINE stick their heads out of the van after all the OFFICERS exit.)", "(The OFFICERS break down the warehouse door.)", "[SCENE_BREAK]", "[INT. HOLLOWEIRD - WAREHOUSE -- NIGHT]", "(The OFFICERS search the warehouse. It's completely empty. Everything's gone.)", "Officer: All clear.", "(GRISSOM, CATHERINE and BRASS walk into the empty warehouse. In the center is a single stool with an envelope on it.)", "(GRISSOM takes out his gloves and looks at the envelope. He opens it and takes out the single piece of paper inside.)", "Catherine: Blank. What's that mean?", "Grissom: We have nothing.", "[SCENE_BREAK]", "[INT. CSI - RECEPTION -- NIGHT]", "(The RECEPTIONIST looks up from her desk at PAUL MILLANDER.)", "Paul Millander: Mr. Grissom in?", "Receptionist: No. He's out on assignment.", "(PAUL looks around and sees the security camera in the corner nearby.)", "Receptionist: Do you want to leave him a message?", "Paul Millander: No. Just tell him a friend stopped by.", "Receptionist: A friend?", "Paul Millander: (nods) A friend. He'll know.", "(PAUL steps away to leave. He walks in front of the security camera and waves. He walks out.)" ]

[ "Grissom and his team investigate the death of a first class passenger on a flight to Las Vegas. Their investigation is a race against time, because after 12 hours the F.B.I. will take over. To make matters worse, the other first class passengers are very reluctant to co-operate, leading the team to consider that they had some involvement in their fellow passenger's death." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]", "BLUR TO:", "[EXT. AIRPLANE (MOVING) - SUNSET]", "(Through various cuts and dissolve shots, the camera follows the aircraft in flight as we overhear the conversation between the PILOT and the TOWER.)", "Pilot: (V.O.) McCarren approach Las Vegas nine-zero-nine, thirty-thousand. Request emergency personnel. Over.", "Tower: (V.O.) Las vegas nine-zero-nine, McCarren tower. Specify request. Over.", "Pilot: (V.O.) Negative, McCarren. Advise on runway.", "Tower: (V.O.) Las Vegas nine-zero-nine cleared for V-O-R runway one-five approach. Over", "Pilot: (V.O.) V-O-R runway one-five approach. Roger. Request Las Vegas police.", "(The camera moves in through the clouds and pushes up close to the aircraft window. From the outside, we see darkened figures inside and a lot of movement. We hear thumping. We see the shadows of a commotion happening on the plane.)", "Tower: (V.O.) Understand \"police.\" Roger.", "Emily Berhle: (V.O.) Mommy!", "(Inside the moving aircraft, through the darkened window, we hear a little girl's screams. Something is happening inside that plane.)", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - NIGHT]", "(The plane sits on the runway surrounded by police cars and emergency personnel.)", "(BRASS instructs his officers on what to do at the scene.)", "Brass: The luggage stays in the plane. We're going to treat this like a crime scene until we're told otherwise. Tim, Sam, talk to the coach passengers. See what you can't learn.", "(GRISSOM walks up to BRASS.)", "Brass: All right, look, I'm going to talk to the first class passengers -- they're in the lounge. Let's meet back there in a half an hour, all right?", "Officer Tim: All right.", "(The officers leave. GRISSOM and BRASS walk up the stairs to check out the inside of the plane.)", "Grissom: So ... dead guy in first class?", "Brass: Las Vegas Air. (beat) Always heard it was a good time.", "[SCENE_BREAK]", "[INT. PLANE - FIRST CLASS - NIGHT - CONTINUOUS]", "(BRASS and GRISSOM walk onto the plane. BRASS clears his throat. In the aisle, is the body.)", "Grissom: Coroner pronounce?", "Brass: About thirty minutes ago.", "Grissom: Eyewitnesses?", "Brass: Everyone in first class -- nine passengers, one flight attendant.", "Grissom: Where are they now?", "Brass: Sequestered in the lounge. According to the Flight crew, the deceased had some sort of panic attack and died before they landed.", "(GRISSOM kneels down to look at the mess in the aisle above the dead body. He looks at the dead body.)", "(Cut to: GRISSOM takes the camera and looks around the plane.)", "Grissom: Point of disturbance: Cockpit door. Bloody handprint. (He snaps a picture, then kneels down.) Looks like foot impression. Ballpark shoe size ... ten to eleven maybe.", "(He snaps another picture.)", "(He and BRASS turn around back to the body.)", "Brass: Deceased found lying between rows one and two.", "(GRISSOM snaps several photos. He reaches out and picks up a disk on the floor and looks at it.)", "Brass: What is that? Blood?", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - NIGHT -- CONTINUOUS]", "(BRASS and GRISSOM exit the plane and make their way down the stairs.)", "Grissom: I want this whole plane taped off ... nose to tail and wing to wing.", "Brass: Oh, it's going to take a lot of tape.", "Grissom: I've got a dead body, a crime scene with wings. Something very wrong happened in this plane.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - NIGHT]", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "(GRISSOM walks along the tarmac, his hands in his pocket. A car pulls up behind him, flashes on its siren to get GRISSOM'S attention and stops in front of him. GRISSOM turns around. The Sheriff, Brian Mobley, gets out of the car.)", "Grissom: Sheriff?", "Sheriff Brian Mobley: We've got a whale of an opportunity here, Gil. Dead body on an airplane -- FAA has jurisdiction. But the Feds won't be here till sunrise. That gives us about twelve hours to be heroes.", "Grissom: I don't follow you.", "Sheriff Brian Mobley: Well, we either hand over the guy who did it when the Feds get here or we give them all the glory while we watch from the sidelines.", "Grissom: (shrugs) I don't even know if we have a homicide yet. First reports indicate he had some kind of an episode.", "Sheriff Brian Mobley: Give me a little credit. Even you wouldn't tape off one of these wide-bodies unless you knew you had something. (beat) Arrest would be good for you. It would be good for me, too. Good for Las Vegas.", "(GRISSOM looks carefully at the SHERIFF.)", "Grissom: You running for mayor?", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR AIRPLANE - FIRST CLASS - NIGHT]", "(The CSIs are on the plane and examine the scene in front of them.)", "Nick: (sighs) What about the passengers in coach? They see anything?", "Sara: Brass said the curtain was shut. The Flight Attendant kept them separated. They disembarked through the rear.", "Warrick: What do we know about the dead guy?", "Catherine: Tony Candlewell, age 30. Communications Company Manager from Atlanta, married ... no record.", "(GRISSOM walks onto the plane and looks at everyone.)", "Grissom: So? What do you think?", "Catherine: I don't know but this sure must have looked scary at thirty thousand feet.", "Warrick: All this damage by one guy? Had to be on drugs.", "Sara: Too much damage for one guy.", "Nick: So, more than one guy? (NICK turns to look at GRISSOM.) What do you think, Gris?", "Grissom: I think we got ten witnesses all singing the same song. Deceased went berserk. Unless we find something else in the evidence, that's what happened. Catherine ...", "Catherine: I'll start the interviews.", "Grissom: Thank you. Warrick, go with.", "Warrick: Yeah.", "Grissom: Brass has them all assembled in the lounge. Assume there's evidence on everyone. Nick, go with the coroner. Sara and I will work the plane. This is a mobile crime scene. It might not be here tomorrow.", "(With their assignments, NICK, CATHERINE and WARRICK leave the plane. GRISSOM takes out a pair of gloves to get to work.)", "[SCENE_BREAK]", "[INT. MCCARRAN INTERNATIONAL AIRPORT -- LOUNGE - NIGHT]", "(Inside the airport lounge, the disembarked first class passengers sit and wait.)", "(KIERA BERHLE stands up and catches SHANNON, the Flight Attendant's attention.)", "Kiera Berhle: (to SHANNON) Miss, my daughter has to go to the bathroom.", "Shannon (flight attendant): Okay. I'll see what I can do.", "Kiera Berhle: Thank you.", "(They sit back down. SHANNON walks off to find someone.)", "(As SHANNON walks by, VICKI MERCER grabs her arm and her attention.)", "Vicki Mercer: How are you holding up?", "Shannon (flight attendant): I'm still shaking.", "(VICKI MERCER gives her a reassuring smile; SHANNON walks away.)", "(BRASS, followed by CATHERINE and WARRICK, walk into the Airport Lounge.)", "Brass: Can I have your attention? I'm Jim Brass, from homicide. This is Catherine Willows and Warrick Brown from Las Vegas Criminalistics. They're here to gather evidence.", "Lou Everett: You know you can't keep us here.", "Catherine: (calmly and reassuring) Sir, we realize this is an imposition, and we apologize for it. Nobody wants to see you on your way more than we do. We'll make this as quick and painless as we possibly can.", "(They look at the passengers. No one else objects. WARRICK and CATHERINE turn around to get to work.)", "Warrick: (quietly) Nice snow job.", "Catherine: More flies with honey.", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR AIRPLANE - FIRST CLASS - NIGHT]", "(SARA reaches into the deceased's jacket and takes out his driver's license. It reads: )", "GEORGIA DRIVER'S LICENSE {PHOTO}", "NUMBER: 167121417", "EXPIRES: 06-18-2003", "CANDLEWELL, TONY", "8975 LOCKRIN LN.", "ATLANTA, GA 30311", "s*x: M", "BIRTHDATE: 06-18-1975", "EXAM DATE: 06-15-1998", "DOUNTY: 060", "HEIGHT: 6-02", "WEIGHT: 225", "POST: 4 49", "FEE: 8.00", "RESTRICTIONS", "CLASS: C", "ENDORSEMENTS", "TYPE: REG", "{SIGNATURE} ]", "(SARA goes through the wallet contents. DAVID PHILLIPS walks up behind her. She stands up.)", "Sara: Driver's license ... library card ... organ donor card.", "David Phillips: Stand-up guy.", "(She finds a photo.)", "Sara: He had a family.", "David Phillips: Can you imagine getting that phone call? What a shame.", "(She sighs, closes the wallet and hands it to DAVID.)", "Sara: David ... it's always a shame.", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "(The Coroners wheel out the body on a gurney across the tarmac GRISSOM interviews the PILOT and CO-PILOT.)", "Co-Captain Arrington: I saw him board. He seemed like an okay guy.", "(Quick flashback to: On board, pre-flight, TONY CANDLEWELL helps DR. KIERA BERHLE with putting her bags up on the overhead storage.)", "TONY CANDLEWELL Here, let me help you with that.", "Kiera Berhle: Oh, thank you. Thank you very much. (CO-CAPTAIN ARRINGTON watches the exchange from the front of the plane.", "Tony Candlewell: Sure. No problem.", "(End of flashback. Resume to present.)", "Grissom: When did you become aware that there was a problem in the cabin?", "Captain Murdle: Sixteen-thirty hours, about 35 minutes out. Shannon asked one of us to come out and address an issue with a passenger.", "(Quick flashback to: The cockpit door opens; CAPTAIN MURDLE sees SHANNON, the flight attendant, standing there.)", "Captain Murdle: What's the problem, Shannon?", "(Back in the cabin, there's some commotion as TONY CANDLEWELL tries to get the lavatory door open.)", "Tony Candlewell: Come on! Hello! (b.g.) Other people have to go to!", "(CAPTAIN MURDLE heads for the back of the area.)", "Shannon: (to the other flight attendant) Do me a favor: Go back to coach. Make sure no one comes forward. Thanks.", "(The other flight attendant heads for the back of the cabin. TONY CANDLEWELL continues to struggle with the lavatory door.)", "Tony Candlewell: (shouting) Come on! It's been ten minutes!", "Captain Murdle: Sir ... is there some way we can assist you?", "Tony Candlewell: Yeah. You can help me open this door.", "Captain Murdle: There are two other rest rooms towards the rear of the plane.", "Tony Candlewell: I paid $1,200 to pee here, not in coach.", "Captain Murdle: Sir? You need to take your seat.", "(End of flashback. Resume to present.)", "Grissom: How much time did you spend with him?", "Captain Murdle: Two minutes.", "Grissom: In that time did you notice anything that would explain his behavior?", "(CAPTAIN MURDLE shakes his head.)", "Grissom: Was he drunk maybe, or on drugs?", "Captain Murdle: Not as far as I could tell. A little agitated. It's not like I haven't seen this kind of behavior before. Flying just makes people react in funny ways.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(NICK watches DR. WILLIAMS puts a meat thermometer in the deceased to take a body temperature reading.)", "Nick: Is that a meat thermometer?", "Dr. Jenna Williams: Digital readout. Bigger numbers. (It beeps.) 98.1.", "Nick: Guy should be colder than that. Body temperature drops two degrees in the first hour after death then one and a half degrees for each successive hour.", "Dr. Jenna Williams: Well, he's been dead for two hours.", "Nick: That would make his temperature at the time of death ... 101.6. (realizing) This guy had a fever.", "(She looks at the body.)", "Dr. Jenna Williams: Let's see what else we got.", "(She checks his pupils.)", "Dr. Jenna Williams: Petecchial hemorrhaging behind the eyes ... suggesting suffocation of some sort. Horseshoe-shaped contusion on the left side of the neck.", "Nick: Looks like the heel of a boot.", "Dr. Jenna Williams: Oh, I'll buy that -- for now. Multiple contusions front and back. Broken hand.", "Nick: Well, this guy's a study in contradictions.", "(NICK lifts up the deceased's right hand.)", "Nick: He's got defensive wounds on his palms but the scrapes on his knuckles and the broken hand indicate aggression.", "(NICK sighs.)", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR AIRPLANE - FIRST CLASS - NIGHT]", "(As GRISSOM takes roll call, SARA puts orange cones with their names on tape on the appropriate seat.)", "Grissom: Dr. Kiera Behrle, 3-E. Emily Behrle, 3-F. Nate Metz, 2C.", "(GRISSOM puts his hand on the chair and the chair falls backward. It's broken.)", "Grissom: Nate Metz.", "Sara: Put your seat back and tray table in their upright position. I don't think so.", "Grissom: Let me guess who was sitting in 3C. (GRISSOM checks the flight list.) Tony Candlewell. The dead guy.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - EMPTY OFFICE -- NIGHT]", "(CATHERINE and BRASS interview NATE METZ.)", "Nate Metz: Look, the guy was a real ass.", "Brass: In what way?", "Nate Metz: You know why I fly first class? Other than the fact that my company pays for it? Because I can work. I have to work.", "Catherine: And he wouldn't let you?", "Nate: No, he, he, he kept kicking the back of my seat with his foot. You know, like in a movie theater when somebody's kicking your seat? Imagine that all the way from Atlanta to Las Vegas.", "Catherine: Are you telling me this guy was kicking the back of your seat the entire flight?", "Nate: Maybe not the entire flight. You know, like, like Dallas to, to Las Vegas.", "(Quick flashback to: Mid-flight, NATE METZ is working on his laptop when his seat back jostles. NATE METZ pushes back on his seat and it falls back a little bit. His seat jostles again.)", "Nate: (irritated) Hey, Pele, could you please stop kicking the back of my seat?", "Tony Candlewell: I wasn't doing anything.", "Nate: You know exactly what you're doing. Stop it.", "(With his foot resting on the back of NATE'S seat, TONY CANDLEWELL jostles the seat back.)", "(End of flashback. Resume to present.)", "Brass: What did you do?", "Nate Metz: I just ... I ignored him. You know, I punched the seat a couple times in anger and that's it.", "(He looks up at CATHERINE.)", "Nate Metz: Look, the guy set me off. It was either the seat or him.", "Catherine: May I see your hands?", "(He holds out his hands in a loose fist, knuckles up. His right knuckles are red and skinned.)", "Brass: Your knuckles are pretty banged up.", "(NATE turns to look at BRASS.)", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR AIRPLANE - FIRST CLASS CABIN - NIGHT]", "(SARA and GRISSOM are looking at the seats. GRISSOM moves aside the seat belt and finds something.)", "Grissom: Blood drops ... away from the main event.", "(GRISSOM takes a swab sample.)", "Sara: Maybe that's where the action started.", "Grissom: Could just be a bloody nose.", "Sara: Who was sitting in 4B?", "(GRISSOM grabs the cone on the seat.)", "Grissom: Lou Everett.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - NIGHT]", "(LOU EVERETT is in front of the candy machine. He puts his money in, pushes the button and waits for the OREO cookie pack to come out. It gets stuck.)", "Brass: Lou Everett?", "(LOU slams the flat of his hand on the machine glass.)", "Lou Everett: Yeah.", "Brass: How'd you get that slice around the chops?", "Lou Everett: The guy swung at me with a C.D. Put his finger in the hole and slashed me.", "Warrick: What guy?", "Lou Everett: That crazy guy-- the psycho. He was out of his mind.", "(Quick flashback to: Mid-flight, TONY CANDLEWELL has his foot up against the back of NATE METZ' seat. He pushes the seat forward. NATE METZ jerks forward into his laptop. The laptop falls into the aisle.)", "Nate Metz: (stands up angry) What the hell is wrong with you? You know, you owe me another laptop, pal.", "(NATE picks up the laptop and shoves the thing into TONY CANDLEWELL'S chest. TONY gets up and mumbles.)", "Tony Candlewell: (mumbles) Move over!", "(He pushes the laptop aside and shoves NATE METZ backward. The flight attendant and LOU EVERETT both try to break it up before it escalates.)", "Shannon: Hey!", "Lou Everett: Hey, hey. We're in mid-flight now, guys. That's enough.", "(CAMERA SLOW MOTION: TONY grabs the CD on his armrest, stands up and swings it at LOU EVERETT. LOU shouts in pain and hits his seat, spilling his drink.)", "(End of flashback. Resume to present.)", "Lou Everett: So what do you think? Bodily injury ... can I sue a dead man?", "Brass: I think you need some coffee.", "Lou Everett: What do you mean?", "Brass: A few cocktails on the plane, Lou?", "Lou Everett: (sighs) Look, I get nervous when I fly. So what?", "Warrick: Well, alcohol does different things to different people ... at different altitudes.", "Lou Everett: Hey, I was fine. He went bananas. Why don't you just ask ... ask the Flight Attendant?", "[SCENE_BREAK]", "[INT AIRPORT LOUNGE - EMPTY OFFICE -- NIGHT]", "(CATHERINE and BRASS interview SHANNON, the flight attendant.)", "Shannon: So, we were about 35 minutes out ... when he started pressing his call button over and over. He was complaining of a headache.", "Catherine: And did you give him anything?", "Shannon: Yeah, I gave him a packet of aspirin and he popped it dry, no water.", "Catherine: And, as far as you know did he complain of a headache when he boarded?", "Shannon: No.", "Catherine: So what made the worm turn?", "Shannon: Look, I've been flying for ten years. You know, I have seen it all. I've seen ferrets in suitcases, uh, fellatio in first class ... passengers stir-frying on their tray tables. I mean ... who knows why anyone does anything?", "(GRISSOM walks up to the conference room. He lingers outside. CATHERINE sees him.)", "Catherine: Right. Well, thanks for your time.", "Shannon: Thank you.", "(SHANNON and BRASS both leave the room.)", "(When they leave, GRISSOM walks into the room.)", "Grissom: So, any bites?", "(CATHERINE puts her things on the desk and starts writing notes.)", "Catherine: Nada. You?", "Grissom: If nothing criminal happened on that flight ... why isn't anybody talking to us?", "Catherine: I'm going to go out on a limb here ... and say ... they're hiding something?", "Grissom: Then we get to play hide-and-seek.", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR - FIRST CLASS - NIGHT]", "(GRISSOM hangs up the phone. SARA goes through a seat pocket as he reports what he's found to her.)", "Grissom: I just got off the phone with Nick. The coroner did some carving on our dead guy. She found intercranial bleeding, thoracic hemorrhaging a ruptured spleen. And, for what it's worth the guy also had a fever. (beat) You find anything interesting?", "Sara: Well, the guy in 4B was knocking them back pretty good.", "(GRISSOM thinks for a moment. He goes back to seat 4-B, grabs a glove and takes about three little bottles out from the front seat pocket. He holds them up.)", "(SARA, meanwhile, finds a large broken bottle in the front seat. She looks at it.)", "Sara: Could be dried blood.", "(GRISSOM puts the little bottles down and heads for SARA to look at the bottle part she's holding.)", "(Extreme camera close up to the red dried substance on the edge of the broken green glass. Resume to normal view.)", "Grissom: Victim had defensive wounds on his hand.", "(SARA glances at the seat number.)", "Sara: Marlene Valdez was sitting in 2E.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - INTERVIEW OFFICE -- NIGHT]", "(MARLENE VALDEZ points to her blouse. She sits down next to her husband, MAX.)", "Marlene Valdez: Look at me. My blouse is ruined. Just hope it washes out.", "Max Valdez: We'll get you a new one.", "Marlene Valdez: After I saved your life, you better.", "Brass: (to MAX) Mr. Valdez was your life in danger?", "Max Valdez: Well, you know ...", "Marlene Valdez: (interrupting) Of course his life was in danger. That maniac was pacing up and down the aisles ... all sweaty ... his eyes glazed. I was sure he was going to hijack that plane.", "(Quick flashback to: SHANNON tries to restore order to the cabin. TONY CANDLEWELL is up in his seat.)", "Shannon: Everyone needs to return to their seats.", "Tony Candlewell: Get out of the way!", "(He pushes her aside and heads for the front of the cabin. He bangs on the door.)", "Marlene Valdez: (whispers) Do something.", "Max Valdez: (brushes it aside) We should just mind our own business.", "Marlene Valdez: (urgently) Well, if you don't do something, I will.", "(TONY CANDLEWELL looks out of the front door window. MAX VALDEZ gets up out of his seat and approaches TONY.)", "Max Valdez: Uh... ex-excuse me, sir. Uh... why don't you just take a seat?", "(TONY puts his hand over MAX'S face and pushes him backward. MAX falls into the beverage cart behind him.)", "(End of flashback. Resume to present.)", "(GRISSOM and SARA are both kneeling in front of the beverage cart mess in the aisle. GRISSOM holds the bottom half of the wine bottle.", "Grissom: The other half of the wine bottle ... from 2E. So ... Marlene in 2E slashes the victim. He's bleeding. Where does he go?", "(GRISSOM looks at SARA.)", "Sara: The lavatory.", "(He turns his head toward the lavatory.)", "(Cut to: The lavatory door opens. GRISSOM sands in the doorway and looks inside. SARA peers over his shoulder.)", "Sara: No evidence.", "(SARA turns and heads back to her bag.)", "Grissom: No \"patent\" evidence. But if there's blood present there may be latent evidence.", "(She returns with the ALS and hands it to him.)", "Sara: One step ahead of you, every so often.", "Grissom: Thank you.", "(GRISSOM starts to check the lavatory.)", "Grissom: Well. Would you hand me the Christopher Columbus from my field kit? Thank you.", "(SARA returns and hands it to him. GRISSOM checks the bowl.)", "[SCOPE POV of \"protein\"]", "Sara: I take it that's not blood.", "Grissom: No... but there's protein in it.", "Sara: Oh, the mile-high club. That means the two passengers may have had no idea what was going on inside that cabin.", "Grissom: (rote) You know, high altitude enhances the entire sexual experience. It increases the euphoria.", "Sara: (thinks about it for a moment) Well ... it's good. I don't know if it's that good.", "(At her comment, GRISSOM slowly turns to look up at SARA. SARA sees GRISSOM'S reaction and has to ask.)", "Sara: Cite your source.", "Grissom: Hand me a swab, please.", "Sara: You're avoiding the question. \"Enhances sexual experience. Increases euphoria.\" Cite your source.", "Grissom: A magazine.", "Sara: What magazine?", "Grissom: \"Applied Psychodynamics in Forensic Science.\"", "Sara: Never heard of it.", "Grissom: I'll get you a subscription.", "(SARA doesn't say anything.)", "Grissom: (calmly) Now, cite your source.", "Sara: Oh ... now you want to go down that route?", "Grissom: Yeah.", "Sara: (smiles and shakes her head) Nah. Never mind.", "Grissom: You started it.", "Sara: Delta Airlines, Flight 1109, Boston-Miami, March '93, Ken Fuller. Hazel eyes, Organic Chem Lab TA, BMOC ... overrated ... in ... every aspect. (GRISSOM looks at SARA.) Could ... we ... get back to work, please?", "Grissom: Yeah. I think, due to your, uh ... firsthand knowledge and experience in airplane bathrooms, you should do the swab.", "(GRISSOM steps out of the lavatory and walks past SARA back into the main cabin.)", "Sara: Fine.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - NIGHT]", "(CATHERINE and WARRICK interview VICKI MERCER and CARL FINN, the two passengers in the bathroom.)", "Catherine: And where were you when this was all going on, Mrs. Finn?", "Vicki Mercer: Uh, Mercer, Vicky Mercer. Um, I was in the bathroom.", "Catherine: In the bathroom? For how long?", "Vicki Mercer: For a while. I ... I really don't fly very well.", "Warrick: And where was your husband?", "Carl Finn: We're not married. We just work together.", "Warrick: Right. Where were you?", "Carl Finn: I was in my seat.", "CATHERINE So, then you saw what happened?", "Carl Finn: I had my headphones on. I was listening to the air traffic control channel. Puts me right out.", "Catherine: (disbelieving) So, you ... slept through everything and you woke up next to a ... dead body.", "Carl Finn: (leans back and shrugs) Basically, yeah.", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR -- AIRPLANE - LAVATORY - NIGHT]", "(SARA dusts the walls.)", "(Dissolve to: SARA dusts the door frame leading into the lavatory.)", "(Dissolve to: SARA dusts the basin edge.)", "(Dissolve to: SARA dusts the underside of the ceiling where she finds something.)", "Sara: Handprints. (beat) A stallion.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - EMPTY OFFICE -- NIGHT]", "(CATHERINE takes off her jacket and throws it onto the couch.)", "Catherine: All right, we're going to have to change tack here because what I said about getting more flies with honey -- I was wrong.", "(CATHERINE flops onto the couch.)", "Warrick: This is incredible. Ten people and no one's talking. My theory: The killer is in the group and the rest of them are afraid.", "[SCENE_BREAK]", "[EXT. AIRPORT LOUNGE - NIGHT]", "(Camera lingers on the group of first class passengers sitting in the airport lounge.)", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR - AIRPLANE - FIRST CLASS CABIN - NIGHT]", "(GRISSOM and SARA are in the main aisle looking for evidence. GRISSOM sits writing in his folder. SARA is kneeling looking at something on the side of the passenger seat.)", "Sara: That guy was wearing khakis, right?", "(SARA picks some fibers off of the bottom of the seat.)", "Grissom: Yeah.", "(She holds it up and examines it with her magnifying glass. GRISSOM turns around and looks at it with his magnifying glass.)", "Grissom: Fibers drawn from his pants maybe?", "Sara: We get anything else off the clothes?", "(GRISSOM looks at SARA.)", "Grissom: Nick's working on it.", "(She puts her magnifying glass down and takes out a bindle.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - NIGHT]", "(GREG SANDERS is putting the deceased's clothes on a dummy. NICK walks into the lab.)", "Nick: What have you got?", "Greg Sanders: Well, what you got here is a nice bordeaux and a starbucks blend. No blood. No saliva.", "Nick: What about prints?", "GREG SANDERS; Well, suede leather's a tough gig. It's too porous.", "(NICK sees something.)", "Nick: Hey. Are you losing your touch there, Einstein?", "(NICK picks up the photos of the deceased's back and holds it up to the back of the suede jacket.)", "Nick: Coroner's photos of the dead guy's back. Multiple horseshoe-shaped bruises. Those are definitely shoeprints.", "Greg Sanders: Yeah. Looks like somebody stomped on your dead guy.", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "(Walking away from the plane, GRISSOM talks on his cellphone.)", "Grissom: Bring me the jacket. If I do heel impressions I'll need something to compare it to. See you in twenty.", "(He hangs up.)", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - EMPTY OFFICE - NIGHT]", "(CATHERINE is in the office going over her notes and absently eating a snack. GRISSOM lingers in the doorway.)", "Grissom: ... I need their shoes.", "Catherine: Why you telling me?", "Grissom: Because you're the \"people\" person, right?", "Catherine: Well, why don't you tell them that? They're not giving me bupkus.", "Grissom: Please?", "(CATHERINE looks up at GRISSOM and stares at his puppy-dog eyes as he gives her the Look. She gives in and gets up off of the empty office chair. She passes him on her way out the door and hands him her bag of snacks.)", "Catherine: (o.s.) Okay, people. Listen up. (beat) Shoes ... off.", "(CATHERINE, the \"people\" person, walks up to the group and looks around. Not one of them moves.)", "Catherine: Now.", "(Finally, they move to take their shoes off. GRISSOM stands off to the side and watches.)", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - EMPTY OFFICE -- NIGHT]", "(Camera slowly pans across the rows of shoes, yellow labels with the owner's name on them. At the end of the row, the camera rests on MAX VALDEZ' sneakers on the print paper.)", "(GRISSOM presses down on them to get a print.)", "Grissom: I used to have a pair of these.", "(He moves the shoes to the side.)", "Warrick: It all comes down to shoeprints.", "(WARRICK is also working on getting shoe prints. SARA walks into the room.)", "Sara: Hey.", "Catherine: Hi.", "(SARA walks further into the room where CATHERINE is labeling the prints.)", "Sara: (looking around) Looks like a shoe sale. Uh, Nick sent these photo comparisons over from the lab.", "(SARA hands the envelope to CATHERINE. She opens it and looks at the photos.)", "Catherine: Oh. Excellent.", "(GRISSOM turns and hands the shoe print to CATHERINE to compare it with the photo.)", "Grissom: Max.", "(CATHERINE compares the photo with the print.)", "Catherine: That looks good.", "Grissom: Yeah, that's a match. Okay.", "(CATHERINE moves to the next print. SARA looks over and nods.)", "Grissom: That distinctive mark on the circular tread... hmm.", "(CATHERINE straightens and sighs.)", "Catherine: Well, that's it then.", "[SCENE_BREAK]", "[EXT. AIRPORT LOUNGE - MAIN WAITING ROOM -- NIGHT]", "(CATHERINE walks out of the office and to the waiting first class passengers.)", "Catherine: Okay, folks. I've got some good news ... and I've got some bad news.", "Nate Metz: The good news?", "Catherine: Well, the good news would be that seven of you may be ... getting out of here very soon.", "Lou Everett: What's the bad news?", "Catherine: The bad news is that three of you may be staying in Vegas a lot longer than you planned. And that would be ... Mr. Lou Everett, Mr. Max Valdez ... and Dr. Kiera Behrle. Would you ... please come with me.", "(GRISSOM watches the passengers' reactions carefully. Hold on GRISSOM.)", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. AIRPORT HALLWAY - NIGHT]", "(BRASS opens the interview room door. LOU EVERETT and MAX VALDEZ walk out of the room.)", "Brass: Stevie, keep these guys on ice.", "(Coming down the hallway are CATHERINE, KIERA BERHLE and her daughter EMILY.)", "Brass: I'm sorry, ma'am. This is as far as your daughter can go but we'll have an officer stay with her.", "Kiera Berhle: Come on. It's been a rough night.", "Catherine: Dr. Behrle, we're going to be asking you some very sensitive questions -- questions that I know that I wouldn't want my daughter to hear.", "(BRASS kneels down to EMILY'S level and talks with her.)", "Brass: Hi. My name is Jim. What's your name?", "Emily Berhle: Emily.", "(They shake hands while CATHERINE and KIERA BERHLE watch.)", "Brass: Emily. Oh, that's a great name. Emily, I'm going to make you a deal, okay? We're going to borrow your mom for a little while.", "Kiera Berhle: (to EMILY) I'll be right back, sweetie, okay?", "(She kisses EMILY.)", "Kiera Berhle: Okay.", "Brass: Okay? And here's the good part. You get to borrow anything you see on me.", "Emily Berhle: Can I borrow your gun?", "(As BRASS talks with EMILY, CATHERINE and KIERA both casually walk into the interview room.)", "Brass: Well, you know, my gun ... it's kind of ... it's old, and it's heavy and ... and it's stuck there. Anything else?", "Emily Berhle: How about your badge?", "Brass: You got a deal, and you know what? This is the best thing. You know why? Because anyone gives you any trouble all you got to do is ... flash this. There you go.", "(BRASS hands the badge to EMILY. She takes it.)", "Brass: So, were you scared?", "(EMILY nods.)", "Brass: Did you see what happened?", "(EMILY shakes her head.)", "Brass: Okay. Okay. It's okay.", "(BRASS nods to the officer standing there.)", "[SCENE_BREAK]", "[INT. AIRPORT SECURITY ROOM - NIGHT - CONTINUOUS]", "(It's 11:29P. BRASS walks into the room. KIERA BERHLE and CATHERINE are there waiting for him. He closes the door and takes a seat next to CATHERINE.)", "Brass: Sweet kid -- Emily. Uh, so, er ... Behrle ... how long have you been a physician?", "Kiera Berhle: I prefer surgeon.", "Brass: Okay.", "Kiera Berhle: I've been practicing for eleven years.", "Brass: And what was the nature of your visit to, uh ... to Las Vegas?", "Kiera Berhle: Emily. She wanted to see the white tigers.", "Catherine: How did you get that black eye?", "Kiera Berhle: I caught it during the ruckus. The price you pay for being a Good Samaritan.", "Catherine: Okay.", "(CATHERINE reaches for the photo of the suede jacket and stands up. She moves in closer toward )", "Catherine: I'm, uh ... just a little confused. Your heel impressions were found on the back of the victim's suede jacket.", "(CATHERINE shows KIERA BERHLE the photo.)", "Catherine: That's a little aggressive for a Good Samaritan.", "(KIERA BERHLE looks up at CATHERINE.)", "(Quick flashback to: Mid-flight, KIERA BERHLE rushes from her seat to stop the other passengers from fighting.)", "Tony Candlewell: No! No!", "(TONY CANDLEWELL is already face down on the aisle floor.)", "Kiera Berhle: Hey, stop it!", "(She grabs LOU EVERETT's arm. He turns around and accidentally hits KIERA BERHLE on the cheek. She clutches a hand to her cheek and takes a step backward.)", "Kiera Berhle: Oh...", "(She takes a step forward and accidentally steps on TONY CANDLEWELL'S back. She pushes everyone aside to make room.)", "Kiera Berhle: Get out of the way. Get out of the way! Give him some air. Sir?", "(She flips him over and starts performing CPR.)", "Kiera Berhle: One, two, three ... one, two ...", "(End of flashback. Resume to present.)", "Kiera Berhle: If he had been in my E.R., I might have been able to save him, but at thirty thousand feet, there's only so much you can do. Look ... I did what I could.", "Catherine: And you're satisfied with that?", "Kiera Berhle: Why? Because I'm a doctor I'm responsible for what happened on that plane?", "Brass: What did happen?", "Kiera Berhle: I protected my daughter and I tried to save a guy's life. And, yes, I'm satisfied with that.", "Brass: Well, you've seen cops the tv show, so you know our game. The first one to talk gets to make a deal.", "Kiera Berhle: I don't need a deal.", "Brass: No? Well, maybe your daughter Emily needs you to take one.", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR - AIRPLANE - FIRST CLASS CABIN -- NIGHT]", "(SARA sorts through the bagged evidence. GRISSOM is on his cell phone at the back of the plane.)", "Grissom: Mm-hmm. (pause) Right. (pause) Makes sense. Okay. Thanks, Catherine.", "(GRISSOM hangs up.)", "Grissom: We have a ping-pong ball. We just need to find the paddles.", "(Without elaborating, GRISSOM looks at SARA. She catches on.)", "Sara: Where are they?", "Grissom: Probably in the first compartment.", "(SARA stands up and heads for the front seat overhead compartment.)", "Grissom: The doctor in 3E told Catherine that she performed CPR on the victim. Check the inside of the paddles. See if there's any bio gel on them.", "(SARA takes out the unit and checks the paddles.)", "Sara: These look like they weren't even used. There was more lubricant in the bathroom. It's pretty negligent for a doctor. She's got to know every commercial airline carries defib paddles.", "Grissom: Yeah, and if she didn't know, the Flight Attendant sure did.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - OFFICE -- NIGHT]", "(CATHERINE re-interviews SHANNON, the Flight Attendant.)", "Shannon: By the time I thought to grab the defibrillator he was already dead.", "Catherine: But you are trained to use the paddles in the event of an emergency and this was an emergency situation.", "Shannon: Yes, but I'm trained to use them when a man is having cardiac arrest in his seat, not flopping around in the aisle.", "Catherine: So, whatever it was he was going through it didn't look a heart attack.", "Shannon: Look, I'm going to be honest with you. I was scared. I mean ... I thought this guy was going to take us all down.", "(Quick flashback to: Mid-flight, SHANNON tries to restore order.)", "Shannon: All right, everyone needs to return to their seats.", "(TONY CANDLEWELL pushes SHANNON aside and tries to get into the cockpit. He bangs on the door with his hands, kicks at the door with his feet.)", "Tony Candlewell: Get out of the way! I got to get off!", "(End of flashback. Resume to present.)", "Catherine: All right, so let me get this straight. 2F is on the floor. His wife is in the aisle brandishing a broken wine bottle. What about 1A? He was closest to the action.", "Shannon: (shakes her head) That would be Mr. Cash. Um, he was in his seat.", "[SCENE_BREAK]", "[INT. AIRPORT LOUNGE - MAIN LOBBY AREA - NIGHT]", "(WARRICK and GRISSOM approach PRESTON CASH.)", "Warrick: Mr. Cash.", "Preston: I was wondering when you guys were going to get around to asking me some questions.", "Warrick: So, what did you see?", "Preston Cash: Not much.", "Grissom: Sir, it's been a long night, and we don't have much time before our crime scene flies away.", "Preston Cash: I was in my seat.", "Grissom: You were sitting in 1A.", "Warrick: Sitting ringside, how do you not see what happened?", "(PRESTON CASH takes out his walking stick and opens it in front of them. WARRICK and GRISSOM'S jaws drop as they realize that he's blind.)", "Grissom: The blind leading the blind.", "Preston Cash: I'm not totally blind. I'm legally blind. My central visual acuity is 20/200.", "(Quick flashback to: Mid-flight, PRESTON CASH sits up in his chair, alarmed at the commotion happening in the aisle in front of him.)", "Shannon: (o.s.) Take your seat!", "(All PRESTON CASH \"sees\" is white light with some shadow movements in front of him. He hears thumping.)", "Tony Candlewell: (o.s.) You got to land the plane! I got to get off this plane!", "(He hears a metal container hit the floor.)", "Lou Everett: (o.s.) Get him off the door! Get him down!", "(A woman screams. There are more sounds of shuffling and commotion in front of him.)", "(End of flashback. Resume to present.)", "Grissom: Can you identify the voices?", "Preston Cash: (sighs) First voice. 4B. Businessman. I could tell by the way he ordered drinks.", "Grissom: How do you mean?", "Preston Cash: JW black, triple, not double.", "Warrick: That's Lou.", "Preston Cash: Second voice, guy in 2F, kind of far away.", "(WARRICK sits down on his haunches in front of PRESTON CASH.)", "Warrick: Max.", "GRISSOM; Third voice?", "Preston Cash: Third voice, row behind me, two seats over. Mr. Dot-com. Guy must've typed 60 words a minute.", "Warrick: That's Nate.", "Grissom: Mr. Cash, you got to help me. I got eight eyewitnesses with various stories. I put them all in a mixing bowl, add eggs, milk stick it in the oven, and all I got is a limp souffle.", "Warrick: We need you to tell us everything you heard from the time the deceased banged on the cockpit door to the time he died.", "Preston Cash: Then listen up.", "(Quick flashback to: Mid-flight, the commotion begins and PRESTON CASH sits up in his seat.)", "(There's thumping in front of him as TONY CANDLEWELL hits the closed cockpit door.)", "Tony Candlewell: (o.s.) I need to get off this plane! I have to get off this plane!", "Lou Everett: Get him off the door.", "Kiera Berhle: Get out of the way! Get out of the way!", "Emily: Mom-my! Mommeee!", "Tony Candlewell: No! No! No!", "(There's more commotion in front of him. The little girl screams. Then all is quiet.)", "(PRESTON CASH gets to his feet as he listens, but there's nothing but silence.)", "(End of flashback. Resume to present.)", "Preston Cash: I never heard such silence.", "(GRISSOM'S pager beeps.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(GRISSOM walks into the autopsy room.)", "Grissom: I got two hours till I lose my crime scene to the Feds. Tell me you have something.", "Dr. Jenna Williams: I know what set this guy off.", "Grissom: That's more than I got.", "Dr. Jenna Williams: We know our victim suffered from intercranial bleeding. I had that pegged as possible cause of death so I crack his skull open, and what do I find? A cantaloupe in a soup can.", "Grissom: Tight fit.", "Dr. Jenna Williams: And not from one or two blows to the head. He was also running a high fever so I tested his spinal fluid. A normal protein level is between 15 and 45 milligrams. Candlewell's was 60. Did anybody mention this guy had a headache?", "Grissom: Flight Attendant gave him two aspirin. Why?", "Dr. Jenna Williams: He was suffering from undiagnosed encephalitis.", "(She gives GRISSOM the report. He looks at it.)", "Grissom: Swelling of the brain.", "Dr. Jenna Williams: It can manifest like a heart attack: Slurred speech delirium, loss of consciousness. You throw in the altitude and the air pressure changes in the cabin and our guy was probably out of his mind.", "Grissom: Is that what killed him -- encephalitis?", "Dr. Jenna Williams: It wasn't the one thing that killed him. Ruptured spleen, intercranial bleeding petecchial hemorrhaging. And the guy's heart just stopped beating.", "Grissom: A, B, C, D or all of the above. Standoff with the police -- guy gets shot in the chest, runs back into his burning house inhaling smoke as he goes. The roof collapses the air conditioning unit falls on his head, he dies. What killed him?", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - NIGHT]", "(The team each carries out a dummy from the cars and into the airplane.)", "[SCENE_BREAK]", "[INT. LAS VEGAS AIR - AIRPLANE - FIRST CLASS CABIN - NIGHT]", "(Inside the airplane, GRISSOM and the rest of the team re-enact the events of that night.)", "Grissom: Okay, Vicki Mercer and Carl Finn. I believe are in the bathroom.", "(WARRICK and CATHERINE carry their dummies into the plane and toward the bathroom.)", "Warrick: Mile high club.", "Catherine: If you ask me, it's their spouses that are the dummies.", "Grissom: Emily Behrle is in 3F.", "(NICK puts the dummy he's carrying into 3F.)", "Grissom: Preston Cash, 1A.", "(BRASS raises his dummy.)", "Brass: Tony Candlewell, dead guy.", "Grissom: Right there, 3C. And for now, he's alive until he's dead.", "(BRASS sets his dummy into seat 3C, then turns to GRISSOM.)", "Brass: So, you want to tell us what we're doing here?", "(Everyone gathers around to listen to the explanation.)", "Grissom: The physical evidence that Sara, Nick, and I collected is contradicting the anecdotal statements that you, Catherine, and Warrick got and my money's on the physical evidence.", "Catherine: So is mine. These passengers are lying.", "Grissom: I mean, if this was an arson case, we'd burn down an empty house to prove our theory, right? Well, in this case we're going to recreate the flight from... 1630 hours on. You are in 4B.", "(GRISSOM hands BRASS a card with a name on it.)", "Brass: (reads) Lou.", "Catherine: Lou -- the angry businessman. How about that?", "Sara: I want to be Shannon. Good.", "(GRISSOM hands SARA the card.)", "Warrick: The stewardess.", "Sara: Excuse me -- it's \"Flight Attendant\".", "Grissom: Catherine-- the doctor, 3E.", "(GRISSOM hands the card to CATHERINE.)", "Catherine: Single mom. What an imagination you have.", "Grissom: Max and Marlene, 2E and F. You two are married. Who wants to wear the pants?", "Nick: CSI-3 seniority, \"sweetie\".", "(NICK snatches the card from GRISSOM. WARRICK reaches over for his card.)", "Warrick: Yeah, whatever. You're henpecked anyway.", "Sara: Let me guess -- you're the computer geek.", "Grissom: In the interest of clarity, yes. Nate in 2C.", "(GRISSOM takes a seat. The broken seat falls backward. WARRICK snickers at the sight. GRISSOM glares at WARRICK.)", "Grissom: Okay, look, it's going to be sunrise in ten minutes. We're going to have to do a run, lola, run and play this in literal time. Up until the point that Captain Murdle escorted the dead guy back to his seat the events are substantiated by the flight log and the eyewitness statements unless anybody knows something different.", "Catherine: What time was that?", "Grissom: 1632 hours -- exactly 33 minutes before they landed in Vegas. One minute later, the plane hit turbulence.", "Brass: And, according to the Flight Attendant that's when our stiff lost it and started hammering his call button.", "Sara: So, I walk over ...", "(Quick flashback to: Mid-flight, TONY CANDLEWELL is in his seat, pressing the call button repeatedly.)", "Sara: (V.O.) ... try to calm the guy down, but he won't quit.", "(Cut to: SHANNON walks up the aisle checking the overhead compartments.)", "(Cut to: TONY CANDLEWELL has a hand to his forehead and is in pain.)", "Grissom: (V.O.) Well, we know he's suffering from encephalitis. He's probably sweating and fighting back a migraine.", "(End of flashback. Resume to BRASS.)", "Brass: I know what my guy's doing in my seat -- Lou. He's getting ticked off.", "Grissom: Yeah, but Candlewell is ticking off Nate in 2C even worse. I mean, this guy is perseverating.", "(Quick flashback to: Mid-flight, TONY CANDLEWELL is in his seat, kicking NATE METZ'S seat back and irritating him as he's trying to work.)", "Grissom: (V.O.) Uncontrollably kicking at the seat.", "(End of flashback. Resume to present.)", "Brass: That's when he winds up and breaks your seat.", "Grissom: So, I get up, spin around ...", "(Quick flashback to: Mid-flight, NATE METZ throws the broken laptop into TONY CANDLEWELL'S lap.)", "Grissom: (V.O.) ... confront the guy.", "(End of flashback. Resume to present.)", "Warrick: Now, Lou, in 4B, said he was the peacemaker.", "Brass: Peacemaker, my ass. (BRASS reaches for the pocket in front of him and pulls out the alcohol bottles.) He's got three empties in the pouch.", "(Quick flashback to: Mid-flight, LOU EVERETT stands up.)", "Brass: (V.O.) Seat reeks of whiskey.", "(End of flashback. Resume to BRASS.)", "Brass: The guy probably spilled Lou's drink.", "Catherine: (impressed) Very good.", "Brass: I was boss at CSI once. For a reason.", "(BRASS takes a breath and stands up getting into character.)", "Brass: Anyway, Lou gets up. He's angry. He takes a swipe at the guy. After knocking a few back at 33,000 feet you know, probably misses. And what does he get for his trouble?", "(Quick flashback to: Mid-flight, TONY CANDLEWELL swings the CD at LOU EVERETT and LOU crying out in pain at the cut. End of flashback. Resume to WARRICK.)", "Warrick: A CD swipe across the chops.", "Brass: Right. So he falls back ... Well ... maybe Lou ...", "(Quick flashback to: Mid-flight, LOU falls back and his drink splashes.)", "Brass: ... spills his own drink.", "(End of flashback. Resume to present.)", "Grissom: By this time, Candlewell's got to be out of his seat, right?", "(GRISSOM stands up and grabs the CANDLEWELL Dummy and picks it up.)", "(Quick flashback to: Mid-flight, TONY CANDLEWELL pushes SHANNON out of the way and heads for the cockpit door.)", "Nick: (V.O.) If I'm Max, I want no part of this.", "(End of flashback. Resume to present.)", "Nick: Plus, I don't have an aisle seat.", "Brass: Yeah, but you're lucky. Your wife is going to make sure that you get in the playing field.", "Warrick: (to NICK) Yeah, go ahead, honey. Save my life.", "(Quick flashback to: Mid-flight, At his wife's urging, MAX VALDEZ gets up from his seat and heads for the commotion in the aisle.)", "Nick: (V.O.) Right. Max gets up ...", "(End of flashback. Resume to present.)", "(NICK gets up from his seat and heads for the aisle.)", "Nick: ... slides across Marlene. Excuse me, \"buttercup\".", "Grissom: (holding the dummy) Candlewell's moving up and down the aisle by now.", "Nick: I come over confront the dead guy. Then what? (turns around) Who talked to 2F? To Max?", "Brass: (from his seat) I did. Max told the dead guy to sit down. He turned, he shoved Max into the food cart", "(As he talks, GRISSOM pushes NICK with the dummy's hand.)", "(Quick flashback to: Mid-flight, TONY pushes MAX and he falls backward into the beverage cart in the aisle.)", "Brass: (V.O.) ... Max landed on the ground.", "(End of flashback. Resume to present.)", "Sara: Warrick -- I mean, \"Marlene\" -- that's when you got up and grabbed the broken wine neck.", "(WARRICK gets up from his seat.)", "Warrick: Saved Nick's butt, as usual.", "Grissom: There's a bottle of wine on the floor.", "(Quick flashback to: MARLENE gets up from her seat and picks up the bottle. She swings.)", "Grissom: (V.O.) You slash at Candlewell ...", "(End of flashback. Resume to GRISSOM who holds up the Dummy's hand in self-defense. End of flashback. Resume to present.)", "Brass: Then he swipes him across the hand. Hence the defensive wound.", "Grissom: Now our guy's bleeding. He turns and heads for the cockpit.", "(GRISSOM takes the Dummy and acts out what happened.)", "Grissom: Bang, bang. He wants in the cockpit ...", "(Quick flashback to: TONY hits the flat of his hand against the cockpit door leaving the blood from the wound on the door and door frame.)", "Grissom: (V.O.) ... but the door is locked.", "(TONY turns around. End of flashback. Resume to present.)", "Grissom: Captain Murdle gets on the horn calls first class twice. No answer. Why?", "Sara: Shannon's vapor-locked.", "Grissom: He can't get in the cockpit. What's next?", "(GRISSOM looks around, then stretches the dummy's hand toward the door.)", "Grissom: He heads for the exit door. Blood underneath the latch handle shows that Candlewell tried to open it.", "(Quick flashback to: TONY reaches for the exit door and tries to open it.)", "Grissom: (V.O.) And, if he gets the door open, they all die.", "(End of flashback. Resume to present.)", "Brass: Now it's a whole new ball game. It's every man for himself.", "(BRASS heads for the front)", "Nick: (nods and heads for the front) Oh, yeah.", "(Quick flashback to: MAX and LOU reach TONY and grab him to get him away from the exit door. Everyone else watches.)", "Nick: (V.O.) This is when they really get scared.", "Warrick: (V.O.) And, according to Preston, Max and Lou they got to Candlewell first.", "(End of flashback. Resume to present.)", "Grissom: The struggle ensued. Max and Lou slammed into Preston", "(Quick flashback to: TONY is being man-handled and yelling, \"no!\". End of flashback. Resume to present.)", "Grissom: ... and, at some point, Candlewell goes down. Now it's a free-for-all.", "(Watching from the sidelines and not really participating, SARA watches the others re-enact what happened mid-flight. She walks closer as they continue.)", "Catherine: And my shoes end up on his back.", "Nick: Mine, too.", "Brass: Ditto.", "Warrick: He's messing with my man, so I get my licks in.", "Grissom: Nate's knuckles were bruised ... so he was in on it.", "Brass: We're in close quarters, so there's elbows flying everywhere.", "Catherine: That's probably how the doctor got her black eye.", "Brass: Right.", "(SARA sees something.)", "Sara: Hey, guys! If you jump a guy at the exit, he dies at the exit.", "(GRISSOM stands up when he realizes what SARA'S saying.)", "(Everyone backs away from the TONY dummy.)", "Brass: Yeah. And our guy...", "(BRASS picks up the TONY dummy and carries him down the aisle ... toward SARA.)", "Brass: ... was found five feet away ... with his head towards coach.", "(He puts the dummy on the ground.)", "(Quick flashback to: TONY heads back down the aisle. The others follow and continue to attack him.)", "Nick: (V.O.) He tried to get away.", "Warrick: (V.O.) But they didn't let him.", "Catherine: (V.O.) And, at this point we're not individuals anymore -- we're a mob.", "Emily: Mommy! Mommy!", "(After a moment of constant kicking and stomping, the passengers stop and step away. TONY doesn't move.)", "(End of flashback. Resume to present.)", "Catherine: And you can't perform CPR on a man's back. Dr. Behrle had to have rolled him over ...", "(Quick flashback to: KIERA BERHLE rolls TONY over and checks for a pulse.)", "Catherine: (V.O.) ... probably just to cover for herself.", "(End of flashback. Resume to present.)", "Grissom: That makes us all murderers.", "(WARRICK nods in agreement. Camera cuts to various camera views of CATHERINE, NICK, SARA and BRASS to get their reaction.)", "[SCENE_BREAK]", "[EXT. MCCARRAN INTERNATIONAL AIRPORT - TARMAC - DAY]", "(GRISSOM reports their findings back to SHERIFF BRIAN MOBLEY. They both stand in front of the SHERIFF'S car on the tarmac looking back at the airplane.)", "Grissom: I want five of those passengers arrested for murder.", "Sheriff Brian Mobley: Oh, that's four more than I anticipated.", "Grissom: We looked at the evidence, and the evidence says five.", "Sheriff Brian Mobley: Let me get this straight. Five strangers get on a plane and then, together, they kill a man.", "Grissom: On the surface, self-defense. They thought Candlewell was bringing the plane down.", "Sheriff Brian Mobley: And he would have.", "Grissom: But he didn't. They stopped him, and then they killed him -- not as individuals, but as a mob.", "Sheriff Brian Mobley: Let's cut to the chase, Gil. Can you prove your case?", "Grissom: Not yet. I need more time.", "(The SHERIFF gets into the car.)", "Sheriff Brian Mobley: Well, time's up. I'm going to give these people their walking papers. If the Feds want to pursue it, let them.", "Grissom: Don't do that.", "Sheriff Brian Mobley: Oh, come on. No jury's going to ever convict them.", "Grissom: You don't know that, Brian.", "Sheriff Brian Mobley: Look, if you or I were on that plane we would do whatever it takes to save our lives.", "Grissom: That's what a jury would say. That's not what the evidence says.", "Sheriff Brian Mobley: That's exactly my point.", "(He drives off.)", "[SCENE_BREAK]", "[INT./EXT. AIRPORT LOUNGE - DAY]", "(The first class passengers line up to get on the bus. They take their seats inside. GRISSOM stands to the side and watches the board. MAX VALDEZ heads for the bus and glances up at GRISSOM. NATE METZ also pauses as he looks at GRISSOM. They board the bus.)", "(CATHERINE exits the building and stands next to GRISSOM. Together, they watch the bus leave. As it pulls away, LOU EVERETT glances back at them. The bus turns around and DR. KIERA BERHLE watches them as they leave the airport.)", "Reporter (woman): (V.O.) Las Vegas Air has issued no formal comment other than to stand by the actions taken by the flight crew. Meanwhile, the first-class passengers from the flight have been released ...", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - DAY]", "(SARA sits in the breakroom watching the newsreport on the television. WARRICK walks into the room reading the newspaper.)", "Reporter (woman): (V.O.) ... and no charges will be filed. The airline provided a bus to their Las Vegas destinations. Our request for interviews were denied, leaving the events surrounding the death of Tony Candlewell a mystery.", "(On the set, the passengers board the bus. NICK pulls up a chair. They, too, glance at the television. WARRICK picks up the remote and turns the seat off.)", "Sara: Hey.", "Nick: Whoa.", "Warrick: Let it go, guys.", "Sara: Those people should be going to jail not some hotel on the Strip.", "Warrick: It's out of our hands. Our field ruling was overturned by the good old Sheriff and the Feds.", "Nick: And you're okay with that? We processed evidence for twelve hours laid out the whole case and now those passengers are going to suck martinis and eat shrimp cocktails? Where's the justice?", "Warrick: Oh, you think this is about justice?", "Nick: Yeah. What else?", "Grissom: It's about human nature -- how people react when their lives are threatened.", "Sara: I know you're not condoning what they did.", "Warrick: I'm not discounting it. I mean, think about it -- is there anyplace more vulnerable than being at thirty thousand feet in a tin can?", "Sara: Feeling \"vulnerable\" is not a defense and where they were is irrelevant. They took a life.", "Warrick: Because their lives were threatened.", "Nick: Their lives were threatened when Candlewell was at the emergency exit trying to open it, but the five feet between the exit and the aisles is what made the difference between self-defense and murder.", "Warrick: Human nature again. I mean, adrenaline doesn't come with an off switch.", "(Behind them, CATHERINE and WARRICK enter the break room.)", "Sara: I don't care what you say. I could never take a life.", "Warrick: If it was between him or me, I could. Nick?", "(NICK shakes his head and sits back.)", "Nick: I don't know.", "Catherine: Well ... it's wicked serious in here.", "Sara: Yeah, well, we were just talking about murder and whether we would commit it. I couldn't, Warrick could and Nick's on the fence. We're taking an exit poll.", "Nick: Catherine, you're a mother. You and Lindsey are on that plane. How far do you go?", "Catherine: All the way.", "Sara: (surprised) You didn't even hesitate.", "Catherine: That's right. If it involves the protection of my child I fight to the death.", "Warrick: See? We have four people here, all with different opinions. Think of how the passengers must have felt.", "Sara: What do you think, Grissom?", "Grissom: I can't answer that question.", "Catherine: That's a cop-out. It's a simple question. What would you have done if you had been one of those passengers?", "Grissom: It's not about that. You all have different opinions but you've taken the same point of view. You've put yourself in the shoes of the passengers, but nobody's put themselves in the shoes of the victim. That's the point.", "Sara: I'm sorry. What are you saying?", "Grissom: Nobody stopped to ask Candlewell if he was all right. They just assumed, because he was kicking the back of Nate's seat, that he was a jerk -- because he was pushing his call button that he was bothering the Flight Attendant -- because he was trying to get into the lavatory he was making a scene -- because he was going back and forth up and down the aisles, he was posing a threat.", "Catherine: He was a threat.", "Grissom: No. He turned into a threat. It didn't have to be that way. People make assumptions. That's the problem. You just did. And I think these passengers made the wrong assumption and now this guy's dead.", "Warrick: Well, if that's your stance how could it have been prevented?", "Grissom: If just one person had stopped and taken the time to look at the guy to listen to him, to figure out what was wrong with him it might not have happened. It took five people to kill him. It would have only taken one person to save his life.", "(Various camera cuts of CATHERINE, WARRICK, NICK and SARA.)", "(SARA looks back at GRISSOM.)" ]

[ "Grissom and Sara investigate when the body of a woman is found in the desert, covered with insects. Grissom uses entomological evidence to discover the time of death. Unfortunately their prime suspect - the husband - was out of town at that time, and to Sara's dismay, it looks like he is getting away with murder. Meanwhile Warrick and Catherine try to find out who stole a painting. Nick deals with a missing persons case when a woman's car is found at a bus station." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY]", "[EXT. LAS VEGAS CITY MOUNTAINS (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. MOUNTAINS -- DAY]", "(We hear the crunching of footsteps on the brush.)", "Hiker Man: (o.s.) Isn't it great to get back to nature?", "(We hear more footsteps.)", "Hiker Man: (o.s.) You want to set camp here?", "(In the brush, we see two campers, ANGIE and a man. ANGIE has her legs crossed and shuffles from one foot to the other.)", "Angie: We can camp on the moon. Just give me the shovel.", "(HIKER MAN takes off his back pack and grabs the shovel. He hands it to her.)", "Hiker Man: Chill, chill. You got paper?", "(She grabs it and hurries off. The MAN laughs silently at her.)", "Angie: I have what I need.", "(ANGIE walks some distance away from her camping partner and tries to get the shovel open. We hear insects buzzing. She looks in front of her and gasps.)", "Angie: Oh, my god!", "Hiker Man: (concerned) Angie?", "(ANGIE is frozen as she stares at whatever it is she's looking at. When ANGIE doesn't answer him, the MAN turns to go look for her.)", "Hiker Man: Angie!", "(He runs toward her and finds her frozen at whatever she's looking at.)", "Angie: They're ... they're everywhere.", "Hiker Man: What the ... ?", "(In front of them, under the bush, is the body of a person.)", "Hiker Man: That's a person.", "(They both start coughing and gagging at the thought.)", "[SCENE_BREAK]", "[EXT. MOUNTAINS - NIGHT]", "(Large lights are set up on the mountain side. SARA and GRISSOM make their way down toward the dead body.)", "Detective: Hey.", "(They walk up toward BRASS.)", "Brass: Hikers found her. Looks like a gunshot to the head.", "Grissom: Did you find a weapon?", "Brass: No.", "(GRISSOM and SARA approach the body. GRISSOM puts his kit down. and puts on the gloves. He brushes a few away. SARA looks wide-eyed at the flying bees.)", "Sara: I hate bees.", "Grissom: Just paper wasps. They're having too much fun to worry about us.", "(GRISSOM picks up his kit and walks closer toward the body. SARA stays back where she is.)", "Sara: I never get used to this part, you know when the bugs get going.", "(GRISSOM opens his kit.)", "Grissom: Just doing what god intended ... ... recycling us back to the earth.", "(GRISSOM looks down at the body. SARA takes out a pair of gloves.)", "Grissom: Hey, Officer", "Officer: Yeah?", "Grissom: Can I borrow some of your hot coffee, please?", "Officer: Sure.", "(The OFFICER hands GRISSOM the cup. SARA bats her hand at the bees. GRISSOM takes a couple of bugs off of the body and puts them in a container. He pours some coffee into the container. SARA has moves in nearer to the body.)", "Grissom: (to SARA) Preservation.", "(GRISSOM caps the container and puts it aside. Off the body, he takes beetle samples.)", "Grissom: John ... Paul ... George ... Ringo.", "Sara: Beetles. No alkali fluids in the dirt so she wasn't killed here. Whoever dumped her must have been in a hurry. Didn't take the time to bury her. What do you think?", "Grissom: You got any of that beef jerky you're always gnawing on?", "Sara: You can eat?", "Grissom: I want to keep these little fellas alive. They're our first witnesses to the crime.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - NIGHT]", "(Everyone's in the break room waiting for GRISSOM and the assignments.)", "Warrick: Cath, you want some coffee?", "Catherine: Please. Cream with some of that fake stuff.", "Nick: There's nothing good to eat around here.", "(CATHERINE tosses NICK an apple over her shoulder. It lands in his hand. He looks down at it and smiles.)", "(GRISSOM walks into the room.)", "Grissom: Hi. Sorry I'm late.", "Catherine: Hey, how's the body with the bugs?", "(GRISSOM starts, then stares at CATHERINE.)", "Grissom: How do you know about that already?", "(He turns around and look over at SARA, who is on the other side of the room reading a book. She looks up and shrugs.)", "Sara: Hey, don't look at me.", "Nick: We, uh, played a hunch; checked with homicide. You were late.", "Catherine: What do you have for us?", "(GRISSOM looks at the assignment sheet.)", "Grissom: A Paul Sorenson ...", "(He hands the assignment sheet to CATHERINE.)", "Catherine: (reading) Missing since last night. Last seen at home of Richard Zeigler in - ooh -- Summerlin.", "Warrick: Summerlin ... rich folks.", "Grissom: Warrick, you can work this with Catherine. (CATHERINE hands the sheet to WARRICK.) Don't you have a court date coming up?", "Warrick: Yeah, the DA asked me to testify on chain of custody.", "Warrick: I could do that in my sleep.", "Grissom: Listen, juries need to have confidence in the evidentiary, process, so work with Catherine then break off when you have to appear.", "Warrick: Yeah.", "(WARRICK and CATHERINE head out the front door.)", "Catherine: Bye.", "Grissom: Good luck.", "Nick: Bye.", "Warrick: See you.", "(They leave. NICK looks at GRISSOM.)", "Nick: Need help with your homicide?", "Grissom: No. Sara's going to work with me.", "(NICK looks over at SARA, who smiles back at getting the dead body case with GRISSOM.)", "Grissom: You get a missing person. (reading) Sheryl Applegate. Her husband notified the police that she took the car and headed to L.A., but she never showed up. A few hours ago, P.D. found her car at the bus station. They requested a CSI.", "Nick: She took the bus instead. Case solved.", "(NICK smiles smugly at SARA. SARA laughs.)", "Grissom: Hopefully, you're right. But, until she's located treat her car like a crime scene.", "(GRISSOM holds out the assignment sheet to NICK. NICK sighs and takes the sheet from GRISSOM. He heads for the door. On his way out, he tosses the apple to SARA, who catches it.)", "(GRISSOM looks at SARA and points at the door. She stands up and they leave the room.)", "[SCENE_BREAK]", "[EXT. ZEIGLER RESIDENCE - NIGHT]", "(CATHERINE and WARRICK walk up to the front door. CATHERINE knocks.)", "Catherine: Is everything okay? You've been quiet all night.", "Warrick: Yeah. I got a call earlier today from Child Services asking about you and Lindsey.", "(CATHERINE shakes her head in surprised disbelief.)", "Catherine: I don't believe this.", "Warrick: They told me they'd notified you -- some investigation -- that Eddie had made a charge or something.", "Catherine: Yes. He's pissed off because I won't let him back into my life so he sics Child Services on me.", "(WARRICK understands now.)", "Catherine: (still upset) I never expected they were going to talk to my friends. Well, what did they ask? What did you say?", "Warrick: Well, I ...", "(The front door opens.)", "Richard Zeigler: Hello.", "Catherine: Hi. Sir, we're with the Las Vegas Crime Lab. We're here about a Paul Sorenson.", "Richard Zeigler: I'm Richard Zeigler. Cops told me you were coming. Here, please, come in.", "Catherine: Thank you.", "Warrick: Thanks.", "(He holds the door open for them. They walk inside.)", "[SCENE_BREAK]", "[INT. ZIEGLER RESIDENCE - LIVING ROOM - NIGHT - CONTINUOUS]", "(RICHARD ZEIGLER leads them into the living room. He stops and points to the wall in front of them.)", "Richard Zeigler: Well, this is, uh where the Sorenson was displayed.", "Catherine: Sorenson is a painting.", "Richard Zeigler: Paul Sorenson was an artist. Early 1900s.", "(RICHARD ZEIGLER steps past them and up to the empty wall. WARRICK puts his kit down.)", "Catherine: (shrugs) How dumb are we?", "Warrick: What's he know about the forensic analysis of a friction ridge?", "Catherine: Right on.", "Richard Zeigler: (doesn't hear & turns around) I think I may have surprised the guy while he was stealing it.", "(Quick flashback to: RICHARD ZEIGLER walks down the darkened stairs.)", "Richard Zeigler: (V.O.) I came downstairs to read and I heard a noise.", "(The plaster breaks and the wall hanger falls to the floor with some plaster.)", "(Cut to: The thief runs out of the living room with the painting. RICHARD ZEIGLER turns his head and notices the open door.)", "Richard Zeigler: (V.O.) By the time I got to the room, he was gone but the door was open.", "(End of flashback. Resume to present.)", "(CATHERINE and WARRICK reach into their field kits.)", "Catherine: Why don't we dust for prints?", "Warrick: Mr. Ziegler, one more thing. What about the security alarm?", "Richard Zeigler: Somebody disengaged it.", "(WARRICK nods his head. RICHARD ZEIGLER walks away.)", "Warrick: You thinking what I'm thinking?", "Catherine: Oh, yeah. Inside job.", "(CATHERINE reaches up and starts dusting the wall for prints.)", "Catherine: So ... was it a disaster with Child Services?", "Warrick: Disaster? What do you mean?", "(WARRICK reaches up next to CATHERINE and starts dusting the wall for prints.)", "Catherine: Well, my job does take me away from my daughter. Nobody knows that better than you.", "Warrick: Yeah, but you think I'd say that?", "Catherine: Well, not intentionally. (sighs) They just, you know, know how to ask questions.", "Richard Zeigler: Are you finding anything?", "Catherine: We're working on it, sir.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DR ROBBINS goes over the body with GRISSOM and SARA.)", "Dr. Albert Robbins: Your young woman from the mountains.", "Grissom: Do we know who she is yet?", "Dr. Albert Robbins: I gave her prints to homicide for ID. There's the blanket she was wrapped in. Whoever she is, last day on earth was not pleasant. .38 caliber gun, flush to the scalp.", "(White flash to Quick CGI: Gunshot is heard and the camera follows the bullet's path through the gun barrel and through the scalp. Camera backs up a little to show the entry wound. End of CGI. Resume to present.)", "Dr. Albert Robbins: Shot clean through, right to left. Bullet out the other side.", "(SARA leans in close and looks at the wound.)", "Sara: Stellate pattern and beveled wound confirms the proximity of barrel to scalp. No question this was an intimate killing.", "Grissom: \"Full of sound and fury signifying\" ... what, Doc?", "[Note: Quote from Macbeth, Act V, Scene V, William Shakespeare]", "(DR. ROBBINS turns and walks off to the side.)", "Dr. Albert Robbins: I took these.", "(They look at the x-rays up on the viewbox.)", "Sara: Let's see what we have. Fracture to the nasal bone, orbital bone, mandibular ... all facial fractures.", "Dr. Albert Robbins: (realizing) Typical for battered women.", "Sara: These aren't fresh, are they?", "Dr. Albert Robbins: The old fracture lines indicate this woman was in a long-term abusive relationship.", "Sara: Any idea how long she's been dead?", "Dr. Albert Robbins: The elements really got to her. Grissom and his insects are going to have to figure that one out.", "(DR. ROBBINS turns around and sees GRISSOM picking up a bug from the body.)", "Dr. Albert Robbins: Have we lost you, Grissom?", "(GRISSOM looks at the bug.)", "Grissom: (muttering) \"The worms go in the worms go out / the worms play pinochle on your snout.\"", "[Note: Quote from \"The Hearse Song\", Nursery Rhyme.]", "Sara: Shakespeare again?", "Grissom: An old nursery rhyme.", "Dr. Albert Robbins: A very special insect, Dr. Seuss?", "Grissom: A muscid fly -- typical only in urban areas.", "Dr. Albert Robbins: But you found her in the mountains.", "(He smiles in agreement.)", "[SCENE_BREAK]", "[INT. ZEIGLER RESIDENCE - NIGHT]", "(CATHERINE questions RICHARD ZEIGLER.)", "Catherine: How many people have access to your home -- keys and security code?", "Richard Zeigler: Just my wife and my two sons and, uh ... my daughter.", "(Meanwhile, WARRICK finds something.)", "Catherine: Can you get them all here? They might be able to help us with evidence.", "Warrick: Hey, Catherine. Check this out.", "(CATHERINE turns around and looks at the wall.)", "Warrick: You see that?", "Catherine: Helix, antihelix, helix rim, tragus, antitragus.", "Warrick: I think the thief must have pressed his head against the wall to check if the painting was wired.", "Catherine: (laughs) Come on. An earprint?", "Warrick: Hey, a jury convicted a first-degree murderer based on a print just like this two years ago in Washington.", "Catherine: Yeah, I know, I know. I'd like to see that one on appeal. Well, photograph and lift. We'll have someone to compare it to soon enough.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- NIGHT]", "(Camera opens on a certificate hanging on the wall from the \"UNIVERSITY OF CHICAGO\", \"SOCIETY OF VECTOR ECOLOGY\" to \"Gil Grissom\", then pans over to the various bugs pinned to a white board. GRISSOM adds another pinned bug to the board.)", "(SARA sits behind GRISSOM holding the container with the 'preserved' beetle in it, the one with the caffeine.)", "Sara: Okay, bear with me.", "(GRISSOM walks over to the counter to pick up another container marked \"evidence\" with an insect inside.)", "Sara: I mean, you're one of ten guys in the country that understands this stuff.", "Grissom: I think there's at least fifteen, but go on. What don't you get?", "Sara: Insects arrive at a corpse in a specific order, right?", "Grissom: Like summer follows the spring.", "Sara: And you can pinpoint time of death based on the type and age of insects present on the body?", "Grissom: I watch the insects mature from eggs to larvae to adults and then count backwards.", "(Off SARA, out in the hallway, BRASS lingers in the doorway.)", "Sara: Linear regression.", "(GRISSOM holds up a bug and looks at it.)", "Brass: How old are those creepy crawlers?", "Grissom: They're not done maturing yet.", "Brass: Oh.", "Grissom: But when they are, I'll be able to tell you how old they were when I found the body.", "Sara: Which will tell us when the woman died.", "Brass: I ID'd her body through AFIS, and located her husband.", "Grissom: Let me guess. Downtown? The Fremont District?", "(BRASS' face falls at GRISSOM'S accuracy.)", "Brass: You know, I'm not even going to ask.", "Grissom: Synthesiomyia nudiseta is the Latin name.", "Sara: It's a muscid fly. Only breeds in urban areas but Grissom found one on our girl which means she was probably killed downtown and then carried into the mountains.", "Brass: Well, the neighbors heard a gunshot at their apartment five days ago. The \"grieving\" husband ...", "(BRASS looks down at his notes.)", "Brass: ... his name is Scott Shelton.", "(beat)", "Sara: What was her name?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(GRISSOM, SARA and BRASS interview SCOTT SHELTON.)", "Scott Sheldon: Kaye screamed at me a lot, that's for sure but I didn't kill her. In fact, I was out of town last week at a convention.", "Brass: Yeah, in New Orleans soaking up the gumbo. You told us. When was the last time you saw your wife?", "Scott Sheldon: Five days ago. When I came back from my trip she was gone.", "Brass: And you didn't think to notify the police?", "Scott Sheldon: I keep my personal business private. If Kaye had left me again, I wasn't going to broadcast it.", "Brass: So this neighbor lady who told me that she heard a gunshot and a woman scream inside your apartment ... what, she just imagined that?", "Scott Sheldon: It was probably our tv.", "(SARA slides the folder on the table toward GRISSOM. He leans forward to continue the interview.)", "Grissom: Mr. Shelton ... did your wife drive race cars?", "Scott Sheldon: (laughs) You're kidding me.", "Grissom: No. The two most common causes of facial trauma in adult women: Motor vehicle accidents and domestic violence.", "(GRISSOM opens the file folder.)", "Grissom: These are your wife's x rays.", "Sara: Every face and neck fracture your wife has sustained over the last six years is highlighted.", "Scott Sheldon: Kaye can get wild. If I came home late with friends I've wrestled her off me. I admit that.", "Brass: Three complaints against Scott for spousal abuse in the last two years.", "Scott Sheldon: Kaye was excitable. Like I said I've wrestled her off me, but I never, ever laid a hand on her.", "Sara: How about a gun?", "(SCOTT SHELTON looks at SARA, then turns to GRISSOM.)", "Scott Sheldon: (laughs) You have your hands full with her.", "Grissom: So do you.", "Sara: We're going to investigate your apartment. Do we need a warrant or are you going to play nice?", "Scott Sheldon: Come on over. I've got nothing to hide.", "Sara: We'll be the judge of that.", "[SCENE_BREAK]", "[EXT. BUS STATION -- NIGHT]", "(NICK makes his way toward the detective.)", "Nick: Detective Secula.", "Det. Secula: Mr. Stokes.", "Nick: What's up?", "Det. Secula: You got stuck on this one, too?", "Nick: (puts field kit down) Yeah, well, missing person -- could be interesting.", "(NICK pulls a pair of gloves out of his pocket and puts them on.)", "Det. Secula: Husband reports his wife missing and her car's at a bus terminal. Come on. Lady took a trip. Didn't want him to know where to. Not much of a mystery.", "Nick: Auto unit been by yet?", "Det. Secula: No. We just slim-jimmed. We checked for a body -- didn't find one. Big surprise.", "Nick: Yeah.", "(NICK takes a breath and points to the car. She beats him to the question with the answer.)", "Det. Secula: No. I didn't touch a thing.", "(NICK nods. He opens the door and looks inside.)", "Nick: Secula ... something wrong?", "(DET. SECULA looks at the inside of the car over NICK'S shoulder.)", "Det. Secula: We had dinner last week. I thought it went great. You never called.", "(He turns his flashlight off and looks at her.)", "Nick: That doesn't mean I wasn't going to.", "(NICK opens the trunk and looks inside. He finds some hair.)", "Nick: Is our missing person a redhead?", "Det. Secula: Yeah.", "Nick: Call in a tow to the CSI garage. This case is now officially interesting.", "(NICK takes out the camera and snaps a photo.)", "[SCENE_BREAK]", "[INT. ZEIGLER RESIDENCE -- MORNING]", "(CATHERINE looks at the ear print. She and WARRICK talk to the entire ZEIGLER family.)", "Catherine: It's just like a fingerprint ... for your ears.", "Richard Zeigler: Now, wait a minute. Are you thinking one of us did this?", "Catherine: Well, there's no forced entry. Someone shut off your alarm. That tells us that we eliminate the family first before we widen our investigation.", "Troy Zeigler: I'll tell you what. I'm not putting that crap on my ear.", "Warrick: Well, we can get a warrant.", "Richard Zeigler: Oh, no. Nobody's getting a warrant against this family. We'll humor them, and get this over with.", "(RICHARD ZEIGLER gets to his feet.)", "Catherine: Thank you, sir.", "(MRS. ZEIGLER takes off her earring.)", "Richard Zeigler: Tell me what you want me to do.", "(He walks up to CATHERINE.)", "Catherine: You're a good sport.", "Warrick: I'm just going to press this against your ear. See?", "(WARRICK presses the glass against RICHARD ZEIGLER'S ear and shows him the print.)", "(Cut to: WARRICK and CATHERINE dust the ear prints. of the glass panels in front of them.)", "(Dissolve to: CATHERINE blows the dust off of the glass for LISA Z.)", "(Dissolve to: WARRICK and CATHERINE continue to work on the ear prints. CATHERINE presses the tape against the glass. WARRICK works on his glass.)", "(Dissolve to: One by one, CATHERINE compares the ear print to the samples taken from the family. The family waits. CATHERINE finds a match.)", "Catherine: We got a match.", "(She stands up and shows it to WARRICK. Then, she shows it to RICHARD and MRS. ZEIGLER.)", "Catherine: What do you think?", "Warrick: Jason?", "Jason: What?", "Warrick: The earprint talking.", "(Quick flashback to: That night, JASON presses his ear to the wall as he lifts the painting away from the wall to get the hanger behind it.)", "(Cut to: RICHARD ZEIGLER walks down from the top of the stairs.)", "(Cut to: JASON rips the painting off of the wall. The hanger falls to the floor with bits of plaster. JASON turns around to face the camera.)", "(Cut to: JASON walks out the door carrying the painting. He runs.)", "(End of flashback. Resume to present.)", "Richard Zeigler: Why would you steal from me?", "Warrick: Sir, are you going to want to press charges?", "Richard Zeigler: No, no. God, no. No. I just ... we'll get help for Jason. I don't want court records.", "Catherine: Jason, do you still have the painting?", "Jason: What if I told you I sold it?", "Catherine: Well, that would be selling stolen property and you would be arrested, no matter what your dad says.", "Jason: Okay. Painting's in the trunk of my car.", "[SCENE_BREAK]", "[INT. SHELTON RESIDENCE -- DAY]", "(SCOTT SHELTON offers them a drink.)", "Scott Sheldon: Can I get you guys something to drink? Soda, ale?", "Sara: (o.s.) No, thanks.", "(GRISSOM checks under the couch cushions. BRASS walks along the room. SARA checks out the items on the wall shelves. Most of the photos and items on the shelves are his.)", "Sara: Not a lot of room for Kaye.", "Scott Sheldon: She's shy.", "(SARA nods.)", "(BRASS kneels next to the bed and finds something. A holder with some bullets it in. SCOTT SHELTON sees BRASS pick it up. BRASS looks at SCOTT.)", "(SARA continues to look around the room. GRISSOM stands in the middle of the living room.)", "Grissom: Does it get cold in here in the winter?", "Scott Sheldon: Sometimes. Why?", "(GRISSOM finds some fibers on the couch. He picks it up.)", "Grissom: That's why you'd need a blanket on the couch, huh? A green one, I bet.", "Brass: (checks the gun) Looks like your gun's just been cleaned.", "Scott Sheldon: Yeah, I, uh, cleaned it before I left town. Took out the garbage, too. (flippant) Does that make me guilty of something?", "(GRISSOM puts the fibers in a bindle. He turns to look at SCOTT.)", "Brass: No bullets missing here.", "(BRASS checks the gun. He picks up the bullet holder.)", "Brass: Bullets missing here, though.", "Scott Sheldon: I fired them at the shooting range last month. I go there with a couple guys from work.", "Grissom: We're going to need to borrow your bullets.", "(SCOTT SHELTON takes a step back. GRISSOM looks around and sees SARA head down the hallway.)", "(She puts on some gloves and checks the floors and walls. GRISSOM checks on SARA. He watches as she picks up a green fiber from the floor and put it in a bindle.)", "(SCOTT SHELTON walks over behind GRISSOM to see what's going on. BRASS also walks over.)", "Sara: This back door lead to your car?", "Scott Sheldon: To a car. I drive a different demo every day. Perk of the dealership.", "(SARA sniffs.)", "Sara: You smell that, Grissom?", "Grissom: (turns to look at SCOTT) Did you do laundry back here today?", "(SARA starts to check for blood on the floor.)", "Sara: I got news for you, Scott. Bleach doesn't make blood disappear. You just can't see it with the naked eye.", "(After a thought, she also checks for blood on the walls. GRISSOM steps into the hallway and watches SARA continue to check for blood.)", "(SARA sprays the other wall and red streaks appear. GRISSOM and SARA look at SCOTT.)", "Scott Sheldon: I have no idea how that got there.", "Sara: (angry) It \"got there\" when you shot your wife in the head before you wrapped her in a blanket and you dumped her in the mountains!", "(SARA stands up and gets into SCOTT SHELTON'S face. He knocks her hand out of the way. SARA pushes him back.)", "Scott Sheldon: Get your finger out of my face, bitch!", "Grissom: Sara!", "(GRISSOM grabs SARA and pulls her back.", "Sara: You touch me again, you draw back a stump!", "Scott Sheldon: Look at her.", "Grissom: Sara!", "Scott Sheldon: Can't you control her?", "Grissom: Get him out of here, Jim.", "Scott Sheldon: I told you she was a handful.", "Brass: Come on.", "Sara: You don't know a handful!", "(BRASS leads SCOTT SHELTON back into the main room. GRISSOM looks at SARA.)", "Grissom: Hey. Hey. What is the matter with you?", "Sara: (more than upset) I am a woman, and I have a gun. And look how he treated me. I can only imagine how he treated his wife.", "(SARA turns and walks away.)", "[SCENE_BREAK]", "[INT. CSI -- DAY]", "(WARRICK carries the painting into the office. CATHERINE stands at the counter as the clerk puts the forms in front of her.)", "Catherine: Thank you.", "(NICK walks into the room.)", "Nick: Hey.", "Warrick: Hey.", "Catherine: Nicky, how's it going?", "Warrick: What's up?", "Nick: Good, good. (he looks at the painting) Are you putting one of Lindsey's drawings into evidence?", "(CATHERINE and WARRICK laugh.)", "Catherine: If only her artwork brought in this kind of dough I wouldn't need to worry about her college tuition.", "Nick: Yeah, I heard your missing person was a \"painting\".", "(WARRICK scoffs.)", "Warrick: At least we solved our case.", "Nick: Oh!", "(NICK puts a hand to his chest as if wounded.)", "Catherine: Keep walking.", "(NICK laughs and leaves the room.)", "Warrick: Give me an evidence tag for this painting.", "Clerk: Sure.", "Catherine: Okay, now I know that these are rich people and it's just a painting and nobody died, but ... this just doesn't feel finished.", "Warrick: I know, every time you say that, I'm looking at more overtime.", "Catherine: I know.", "(WARRICK'S pager beeps. He looks at it.)", "Warrick: You know what? I got to be somewhere.", "Catherine: Court.", "Warrick: Yeah, right. Can you handle this from here?", "Catherine: Yeah.", "Warrick: Cool. I'll see you later.", "(WARRICK heads for the door. CATHERINE stops him.)", "Catherine: Hey, Warrick. Are you going to tell me?", "Warrick: What?", "Catherine: About Child Services?", "Warrick: Oh, I told them as far as mothers are concerned, you're the bomb.", "Catherine: Really?", "Warrick: Yeah. And I also told them your ex is pretty screwed up. (CATHERINE smiles.) No worries.", "(WARRICK turns and leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(SARA, GRISSOM and BRASS discuss the case.)", "Sara: What do we need to nail him at trial?", "Brass: The neighbor puts him in the apartment five days ago. You tell me she's been dead five days and a jury is going to jump all over that coincidence.", "Grissom: The post-mortem insects will tell me when she was killed.", "BRASS; No, all I'm saying is five days is what I need.", "Grissom: Jim, please don't try and compromise my end of the investigation.", "Brass: Good luck.", "(BRASS hands the evidence bag to SARA and leaves. SARA heads down one way, GRISSOM the other.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(DR. ROBBINS puts the sheet back over KAYE SHELTON. He closes the storage door with the label: GUNSHOT VICTIM / KAYE SHELTON.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(Using the Christopher Columbus, GRISSOM looks at the bug.)", "[SCOPE VIEW of bug]", "(GRISSOM writes in a log book.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA looks at the evidence bag with the green fibers in them. On the table is the blanket that KAYE SHELTON was found in. SARA looks at the scope.)", "[SCOPE VIEW of green fibers]", "(SARA writes down in her notes: \"Cotton green dye #24 / double loop stitching\".)", "(Dissolve to: GRISSOM pins another bug up on the white board. He looks at them carefully.)", "(Dissolve to: GRISSOM studies the bugs on the desk.)", "(He measures the beetles then checks the computer print out which reads:", "[NAME 12 HRS 18 HRS 24 HRS 36HRS 48HRS 60]", "LAGIIDAE* .21MM .32MM .41MM .52MM .65MM .70", "(LONG-JOINTED BARK BEETLES)", "LAMPYRIDAE .22MM .32MM .41MM .54MM .61MM .63", "(LIGHTENING BUG OR FIREFLIES)", "LEIODIDAE .12MM .22MM [.32MM] .41MM .56MM .69", "(ROUND FUNGUS BEETLES)", "LEPTINIDAE .51MM .74MM .86MM .99MM 1.23MM 1.71MM", "(MAMMAL-NEST BEELTES)", "LUCANIDAE .32MM .485MM .58MM .74MM .92MM 1.72MM", "(STAG BEETLES)", "[SCENE_BREAK]", "(SARA lifts her head from the scope. She picks up one of the bullets and looks at it. She writes on the side of the envelope: For Trace.)", "(Dissolve to: GRISSOM checks the containers full of insects.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM examines the insects. SARA walks into the office and reports to him. GRISSOM doesn't look up.)", "Sara: The bullets from Scott's gun are unusual.", "(GRISSOM looks up at SARA.)", "Sara: Since we didn't find the spent bullet I sent one from the box over to trace. Everything else stacks up. He killed her.", "(GRISSOM looks back down at his bugs.)", "Sara: What did you get?", "(He sighs.)", "Grissom: She's been dead three days.", "Sara: (shocked) Are you positive? Not five?", "(nods)", "Grissom: Three.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(GRISSOM, SARA and BRASS present their findings to SCOTT SHELTON and his lawyer.)", "Public Defender: My client was in New Orleans three days before his wife's body was discovered on that mountain. He couldn't possibly have killed her. Unless I misunderstand what you've explained to us, Mr. Grissom -- your \"linear regression.\"", "Grissom: You understand it.", "Sara: Okay, forget time of death. How does your client explain Kaye's blood all over his apartment wall?", "Public Defender: Quite simply. Scott has three prior complaints for abuse. What's to say the blood didn't get there during one of those altercations?", "Sara: \"Altercations\" ... upgraded from \"wrestling\"?", "Brass: This is good. Admitting to prior abuse to cover up actual murder.", "Public Defender: My client and I are leaving.", "(They stand up.)", "Public Defender: And, Mr. Grissom, thank you.", "(SARA watches them carefully as they leave the room. As soon as the door closes, SARA falls forward and hits her head against the table. GRISSOM watches her frustration.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(GRISSOM walks through the hallway. In passing he bumps into CONRAD ECKLIE.)", "Conrad Ecklie: Hey, tough luck about the, uh, wife abuser getting released.", "Grissom: There's no secrets around you, are there, Conrad?", "Conrad Ecklie: You think I wanted you to whiff out on that? Your reputation as an entomologist elevates this entire crime lab which elevates my stature by association.", "Grissom: Well, then, you must feel very small today ... by association.", "(GRISSOM turns to leave, but ECKLIE stops him.)", "Conrad Ecklie: You're dropping the ball in other areas, though. Administratively?", "Grissom: Did I miss one of your status meetings?", "(ECKLIE looks around, then lowers his voice.)", "Conrad Ecklie: Warrick Brown had one of my guys sub for him in court.", "Grissom: So? I'm sure something came up.", "Conrad Ecklie: Hey, he told my guy it was an emergency but I have it on good authority that he was gambling.", "(GRISSOM turns to leave. But that stops him.)", "Conrad Ecklie: At the Monaco.", "Grissom: What?", "Conrad Ecklie: That's right. On CSI time. I don't like him using one of my guys as a cover. I figure if he brings anybody down with him it should be from your shift. Don't you think?", "(ECKLIE turns and leaves. Camera holds on GRISSOM'S stern look.)", "[SCENE_BREAK]", "[INT. CSI -BREAK ROOM - DAY]", "(In the breakroom, SARA is sleeping with her arms folded and head resting against the table. The kettle starts whistling. SARA'S eyes open.)", "(GRISSOM picks up the empty tea kettle off of the burner.)", "Grissom: Sara?", "(SARA wakes up.)", "Grissom: (softer) Sara? You okay?", "Sara: Fine. Yeah.", "Grissom: Did you sleep here?", "Sara: I was working till 4:00 A.M. I combed every demo Scott's driven. Zilch. What's up?", "Grissom: I need you to do some background for me on Warrick without letting him know why.", "Sara: Oh. Warrick -- your favorite CSI.", "Grissom: That's why I want you to handle it, so that Ecklie can't accuse me of favoritism if it turns out that Warrick's clean.", "Sara: What do you want to know?", "[SCENE_BREAK]", "[INT. CSI - OFFICE -- DAY]", "(WARRICK holds up the painting. CATHERINE is on the computer.)", "Warrick: This painting's a forgery? Where does it say that?", "Catherine: I was reading up on Sorenson, and I found a site that says that 15% of all museum art is fake.", "Warrick: It's not our job to authenticate art. Case is closed.", "Catherine: You're so right, but if this is a forgery, we've got a new crime.", "[SCENE_BREAK]", "[INT. CSI -- DAY]", "(JESSICA LOVETT, the tech, explains how to test the painting for authentication.)", "Jessica Lovett: This electrothermal atomizer is set at the excitation wavelength for titanium which was not used in oil paint before the 1950s.", "Catherine: So, an authentic Sorenson would be titanium-free.", "Jessica Lovett: If it's present, the canvas will fluoresce and we've got a forgery. Hit the lights.", "(The lights turn off. JESSICA turns the light on and uses it on the painting. It fluoresces.)", "Jessica Lovett: Mm-hmm. No doubt about it -- it's a fake.", "(They turn the lights back on.)", "Catherine: Okay, so if the owner purchased this painting from a reputable auction house, they would have run a similar test to this?", "Jessica Lovett: Absolutely.", "Warrick: So, the kid stole the original painting from his pop and gave us back a forgery. (cc) No wonder he copped to it so easy.", "Catherine: This kid's in college, right? Let's check his dorm room.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(NICK vacuums the back of the car. DET. SECULA appears behind him. He sees her and turns the vacuum off.)", "Nick: There's no more hair. Not even a trace. No signs of foul play.", "Det. Secula: And the carpet's clean.", "Nick: Yeah. Yeah, too clean ... ... which begs the question ...", "Det. Secula: What lies beneath?", "Nick: Hand me the phenothaline, please.", "(She turns and hands it to NICK.)", "Det. Secula: You're checking for blood?", "Nick: Well ... I am checking ... to see why someone scrubbed this carpet so clean. If there is blood present ... ... we'll know why.", "(He takes a sample and tests it. It tests positive. NICK smiles.)", "Det. Secula: Looks like our missing person might be a homicide.", "Nick: Right.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM is in his office working. SARA appears in the doorway and leans against the door frame. GRISSOM looks up.)", "Sara: Hey.", "Grissom: Did you find out anything about Warrick?", "Sara: Um ... I'm-I'm here about something else. You ... you know how you say, \"We're the victim's last voice\"?", "Grissom: Mm-hmm.", "Sara: I thought it was our job to speak for Kaye Shelton.", "Grissom: You don't crunch evidence to fit a theory.", "Sara: What if you hear the victim's screams? In the car, at the store.", "Grissom: You have empathy for her, Sara. You want someone to pay for what was done to her. That's normal.", "Sara: You want to sleep with me?", "(GRISSOM freezes. He puts down his food and takes off his glasses.)", "Grissom: Did you just say what I think you said?", "Sara: That way, when I wake up in a cold sweat under the blanket, hearing Kaye's screams ... you can tell me it's nothing. (beat) It's just empathy.", "(Having said her piece, SARA turns and walks away. GRISSOM stares at the doorway. He leans back in his chair, thinking. Then something occurs to him.)", "(Something, they might have missed.)", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE VAULT]", "(GRISSOM empties the bag of evidence onto the table. The large green blanket KAYE SHELTON was found wrapped in tumbles out of the package. GRISSOM sets the package aside, then turns to the blanket.)", "(He opens the blanket up slowly, looking for anything.)", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(The Secure Cold Transport Truck drives away. BRASS leans against the wire fence while GRISSOM is busy preparing the experiment.)", "Brass: (calls out) So, you planning a little late-night luau? Roast pig?", "Grissom: It's an experiment. Maybe Kaye was dead five days.", "Brass: I thought your bugs never made mistakes.", "Grissom: They don't. People do. The victim was wrapped in a blanket. Normally a blanket or clothing doesn't impact insect maturation. The insects usually fight their way in anyway. But I examined the folds in Kaye's blanket. She was wrapped tight -- maybe tighter than I realized -- which would have decreased the corpse's exposure to insects.", "Brass: So it took longer for the insects to get in there?", "Grissom: And deposit their eggs. Maybe two whole days. I've wrapped porky here pretty tight.", "Brass: Well, let me ask you this. You killed a pig just for this?", "Grissom: This poor ham was already on its way to someone's Christmas dinner table.", "Brass: I mean, wouldn't a rabbit be easier?", "Grissom: Got to be a pig. Interestingly, they're the most like humans.", "Brass: Yeah, I've been saying that since I was a rookie. You're on your own pal.", "(BRASS turns and leaves.)", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(GRISSOM checks the camera and sets it up to record.)", "(Dissolve to: In the cold outdoors, GRISSOM sits and watches the progress. He writes in his log book.)", "(Dissolve to: GRISSOM snaps a few photos of the bugs on the pig.)", "(Cut to: GRISSOM secures his jacket tighter around himself as he writes in his log book. He looks up.)", "(SARA walks up to him, an appreciative smile on her face. She puts her kit down next to his open one. Without a word, she puts her bag down and takes the seat next to GRISSOM.)", "(GRISSOM takes off his glasses and SARA hands him the thermos. He uncaps the thermos and she takes out a fresh blanket, which she opens and wraps around his shoulders.)", "(He looks at her and smiles.)", "Sara: (quietly) Thanks.", "(Short time cut to: The camera pans across the area outside the fence and rests on the sign: NO TRESPASSING / VIOLATORS WILL BE - PROSECUTED. Inside the fenced area, GRISSOM and SARA sit and keep watch over their pig.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - OFFICE -- DAY]", "(DET. SECULA lingers in the doorway and calls inside.)", "Det. Secula: How's the case going?", "(NICK turns around and sees her.)", "Nick: Hey. Dead end. How about you?", "Det. Secula: Just got a hit on one of our missing lady's credit cards. A motel.", "(She takes a step back out into the hallway. She and NICK head out.)", "Nick: Her abductor sold her card or is using it himself. What motel?", "Det. Secula: Four Aces.", "Nick: That's right around the corner from where we found her car.", "Det. Secula: I've got some uniforms meeting us there.", "Nick: (smiles) Good job.", "[SCENE_BREAK]", "[EXT./INT. FOUR ACES --]", "(NICK stands with the police outside the motel room door. They open the door.)", "Officer: Las Vegas police!", "(The officers enter the room. NICK is the last to follow.)", "Officer: All right, don't move! OFFICER: Put your hands where I can see them!", "(Outside the sounds of helicopter blades are heard overhead. NICK rounds the corner and freezes at what he sees. He glances over at DET. SECULA who doesn't say anything.)", "Nick: Are you Sheryl Applegate?", "(On the bed is a woman handcuffed to the side. She nods.)", "(The OFFICERS push a man in a towel back into the motel room.)", "Michael: Oh, whoa, man! Ow! Oh, what's going on here?", "Sheryl Applegate: Michael, shut up!", "Det. Secula: (amused) Las Vegas police. Your husband reported you missing.", "Sheryl Applegate: Can she put that gun away?", "(DET. SECULA puts her gun away.)", "Nick: You, uh ... you haven't been abducted have you, Mrs. Applegate?", "Sheryl Applegate: Not really.", "Nick: We found evidence of blood in your car.", "Sheryl Applegate: I saw an injured dog last week and drove it to the vet.", "(DET. SECULA clears her throat.)", "Det. Secula: Uh, Nick, let's get out of here.", "(NICK nods and clears his throat. He turns to leave the room.)", "Sheryl Applegate: Wait! What are you going to tell my husband?", "Nick: That you're okay. (laughs) You're going to have to fill in the blanks.", "(They leave the room.)", "[SCENE_BREAK]", "[INT. CSI -- GRISSOM'S OFFICE]", "(SHERIFF BRIAN MOBLEY looks through the photographs of the pig.)", "Sheriff Brian Mobley: So the pig's insects matured at a rate consistent with a five-day-old corpse?", "(In the office, GRISSOM, SARA, and BRASS talk with SHERIFF BRIAN MOBLEY.)", "Grissom: (nods) Once I took the blanket into account.", "Sheriff Brian Mobley: Your initial computations were wrong. You went back, adjusted conditions, and proved actual time of death.", "Grissom: Five days, not three.", "Sara: Which places the victim with her husband who's already guilty as sin.", "Sheriff Brian Mobley: Captain Brass do you understand Grissom's insect evidence?", "Brass: (nods) To a degree. You know ... in a general way.", "Sheriff Brian Mobley: Do you think a jury will understand your \"adjustments\"? Or do you think they'll realize your \"conditions\" can make the evidence say anything you want it to say?", "Grissom: I can make a case to any jury against Scott Shelton for the murder of his wife.", "Sheriff Brian Mobley: Your arresting officer can barely understand it. I read the file. Other than bugs is there anything else?", "(GRISSOM shakes his head.)", "Sheriff Brian Mobley: Get something a jury can understand or move on.", "(The SHERIFF leaves the office. Camera holds on SARA.)", "[SCENE_BREAK]", "[INT. ZEIGLER RESIDENCE -- DAY]", "(CATHERINE and WARRICK walk up to the front door.)", "Richard Zeigler: Hello.", "Catherine: Hello, Mr. Zeigler.", "(He sees the painting.)", "Richard Zeigler: Oh, good. You brought my Sorenson.", "(Inside the house, JASON watches.)", "Catherine: Yes.", "Richard Zeigler: Good. I'm glad it's back.", "Warrick: Nice campus you got there, Jason.", "Jason: (off guard) What?", "Warrick: We were by your dorm earlier with the police here.", "Catherine: We'd like to ask a favor of you Mr. Zeigler. A private viewing of the painting.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[INT. ZEIGLER RESIDENCE - DAY -- CONTINUOUS]", "(CATHERINE tests the painting. RICHARD ZEIGLER recognizes the test immediately and reacts to the results.)", "Richard Zeigler: My god, my-my ... my Sorenson's a forgery?", "Warrick: That's not all, sir.", "Richard Zeigler: Wait. I have $10 million worth of forgeries?", "Warrick: No, sir. The police recovered your originals from Jason's dorm room today.", "Richard Zeigler: What?", "(RICHARD turns and looks at JASON, who still hasn't said anything.)", "Richard Zeigler: I don't even know you.", "Warrick: What, did you have an art major do your fakes for you, Jason?", "Catherine: Robbery checked with your school. They actually teach classes in how to copy the Masters.", "(JASON nods.)", "Jason: My friends helped me out. They didn't know what I was doing with the copies.", "Richard Zeigler: And what exactly were you doing?", "Warrick: Your son stole all your originals replacing them with forgeries.", "Catherine: But, the other night, his little scam was interrupted.", "(Quick flashback to: The painting is ripped off of the wall. The hanger and some plaster falls to the floor.)", "Warrick: (V.O.) He didn't have time to make the switch.", "(Close up of JASON looking behind him at the sound of his father walking down the stairs. He puts the painting down on the floor next to the \"fake\". He slides it aside and picks up the fake. Cut to: JASON runs out of the room with the fake.)", "(End of flashback. Resume to present.)", "Warrick: If the hook hadn't dislodged from your Sorenson you would have spent the rest of your life admiring fakes.", "Jason: (laughs) And you never even knew the difference, did you, dad? You're right. You don't know me. Where are your pictures of me? You're too busy staring at your masterpieces, and they're not even real! I'm right here, dad. You don't even see me!", "Catherine: (quietly) The police are going to want to know if you're pressing charges this time.", "(RICHARD nods.)", "RICAHRD ZEIGLER: I am. You want my attention, Jason? You got it.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY -- DAY]", "(GRISSOM is leaning against the wall and reading a file. SARA walks up to him.)", "Sara: I heard you were going into an autopsy. (upset) How can you just move on to another case? They're laughing at us. You know that, right? They think we're a couple of 'science nerds'. They threw out our findings.", "(DAVID walks up to GRISSOM.)", "David Phillips: That body should be up in a few minutes, Mr. Grissom.", "Grissom: Thank you, David.", "(DAVID leaves.)", "Grissom: You know, there was a murder recently in a village on the other side of the world. Every man in the village denied having any part of it. The victim's throat had been slashed with a shovel. So this one guy -- I guess you could call him a \"science nerd\" -- asked all the men in the village to bring their shovels to the center of town and hold them spade-side up. And he waited. Eventually, flies started showing up on one specific shovel looking for microscopic bits of blood and flesh.", "(SARA nods.)", "Sara: \"First witness to a crime.\"", "Grissom: The investigator got his murderer, and...", "Sara: ...and forensic science was born. Sung T'su, 1235 A.D. You call 800 years ago recent?", "Grissom: To an astronomer, it is. (pause) But then people forgot about forensic science, didn't they? And they had to be reminded again by Francesco Redi in the 1600s.", "Sara: And again by Bergeret D'Arbois in the 1800s.", "Grissom: Every civilization learns what it needs to know and the next one forgets it. The sheriff ... well... it's not personal.", "Sara: We're part of the cycle.", "Grissom: Yeah, they laughed at fingerprints 70 years ago, and now it's law.", "Sara: Except somebody had to push for prints. And you're standing there saying \"all things in their own time.\"", "Grissom: You're confused, right?", "Sara: (shakes her head, then nods) Yes.", "Grissom: That's the best place for a scientist to be.", "(Behind SARA, GRISSOM sees someone approaching.)", "Grissom: My body's here.", "(The Coroner's Assistant pushes the gurney between GRISSOM and SARA toward the door. GRISSOM reaches over and lifts up the sheet. SARA looks down.)", "Sara: (smiles) Kaye Shelton ...", "(She looks at GRISSOM. He smiles at her and motions to the door.)", "Grissom: Shall we?", "(They push the door open and walk inside, the body on the gurney right behind them.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- CONTINUOUS]", "(GRISSOM, SARA and DR. ROBBINS work on the body.)", "Sara: Gave her a bath, huh?", "Dr. Albert Robbins: Routine cleaning. We had to do it sometime.", "Grissom: Doc, what's this blue mark here?", "(GRISSOM looks a the blue mark around the bullet wound.)", "Sara: Why didn't we see this at the autopsy?", "Dr. Albert Robbins: It was under a gallon of blood. But the blue's embedded; it won't wash away.", "Grissom: Didn't you say the suspect's ammunition was in trace?", "Sara: Yeah.", "(SARA turns to follow it up.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA opens the envelope from Trace. She removes the report and looks at it.)", "Sara: \"Lead, copper, zinc ... teflon.\" (thinks about it) Teflon?", "(Cut to: SARA takes out a bullet and looks at it.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(SARA test fires the bullet.)", "(Camera follows the bullet in slow motion as it fires out of the gun and impacts its target. Resume to normal.)", "(SARA walks up to the target and checks it. There's blue residue around the hole.)", "(Cut to: SARA looks into the scope. And smiles.)", "(GRISSOM walks into the lab. SARA stands up and points to the scope.)", "Grissom: And? So?", "Sara: Strand of hair from our lady in the mountains.", "(GRISSOM sits down and looks into the scope.)", "[SCOPE VIEW of hair with blue stuff on it.]", "Sara: The blue dust from around her entrance wound -- that's from the bullet's impact. It's made of teflon. Now look at the next specimen.", "(GRISSOM stands up and moves to the next scope.)", "[SCOPE VIEW of bullet]", "Sara: The bullet is from Scott's personal ammo supply which I test-fired. See, the teflon disintegrated into blue powder at the moment of impact.", "(Quick flashback to: KAYE SHELTON is slammed against the wall.)", "Scott Sheldon: You're gonna leave me? Is that what you think?!", "Kaye Shelton: No, Scott, no!", "(SCOTT grabs KAYE from behind.)", "Scott Sheldon: And all the guys are gonna see a woman walk out on me?", "Kaye Shelton: (screaming) No! Scott, no!", "Scott Sheldon: You just try...", "(He puts the gun up against her temple and fires.)", "(Camera follows the bullet through the gun barrel and up to the temple where it leaves a smoking hole.)", "(Cut to: SCOTT grabs the blanket off of the couch and wraps KAYE'S body in it, leaving a small piece of fiber on the hallway floor. He wraps her in the blanket.)", "(Cut to: SCOTT drags her down the floor.)", "(End of flashback. Resume to present.)", "Grissom: You did very good. (SARA beams.) But this is just more circumstantial evidence. We're a long way from a conviction.", "Sara: But we can bury him under evidence. You're the one who's always saying it's better to have one piece of forensic evidence than ten eyewitnesses.", "Grissom: (stares at her) What, do you tape everything I say? (SARA shrugs.) You still have to educate the jury.", "Sara: (counters) On bullets. It's got to be easier than bugs. (GRISSOM smiles) (beat) Less Latin.", "(SARA smiles. It's too contagious. GRISSOM smiles, too.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- DAY]", "(BRASS puts the handcuffs on SCOTT SHELTON.)", "Brass: You know, I been waiting three days to do this. No, make that five days. Let's go.", "(BRASS escorts SCOTT SHELTON out the door. GRISSOM watches from the side. THE PUBLIC DEFENDER looks over at GRISSOM.)", "(Satisfied, GRISSOM leaves.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Under DR. ROBBINS' watchful eyes, SARA puts the sheet back over KAYE SHELTON and pushes her body back into storage.)", "(DR. ROBBINS closes the door.)", "(SARA stands there and watches as DR. ROBBINS tapes the note onto the storage door:", "RELEASE FOR BURIAL", "DATE OF BIRTH: 9/24/72", "DATE OF DEATH: 12/ 6/00", "DATE OF RELEASE: 12/15/00", "(Camera holds on SARA.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM is going through his things when SARA walks into the office.)", "Sara: Hi.", "(He looks up at SARA.)", "Grissom: Hi.", "Sara: I checked out Warrick. His story about missing court was, uh ... lame. I got this surveillance tape from the Monaco. He was in the casino.", "(SARA gives the tape to GRISSOM.)", "Sara: I'm sorry.", "(GRISSOM looks at SARA, then looks back down at the tape.)", "Grissom: Thanks.", "(SARA turns and leaves the office. GRISSOM slowly sits down in his chair with the tape in his hand.)" ]

[ "When a woman is abducted from a supermarket, Grissom finds a text on a bathroom door that leads him to believe that five women have been murdered. Meanwhile Warrick and Sara have to put personal differences aside to investigate the apparent murder and robbery of a man who has been found by his brother. Nick has to come to the rescue of his friend, Kristy Hopkins, again when she gets into a scuffle with a hotel security guard." ]

[ "Narrator (William Petersen): Previously on CSI:", "[Scene from 1X01: Pilot]", "(In the hospital room, NICK pushes the curtain aside to talk to KRISTY HOPKINS who sits on the bed.)", "Nick: May I see your discoloration?", "Kristy Hopkins: You want to give me twenty bucks?", "Nick: You want to do time?", "(Cut to: NICK looks at KRISTY'S \"discoloration. He looks at her and smiles.)", "[SCENE_BREAK]", "[Scenes from 1X10: s*x, Lies and Larvae.]", "(As WARRICK and CATHERINE process the Sorenson, WARRICK'S pager beeps. He checks it.)", "Warrick: You know what, I got to be somewhere. Can you handle this from here?", "Catherine: Yeah.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "Conrad Ecklie: Warrick Brown had one of my guys sub for him in court, but I have it on good authority that he was gambling.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM]", "Grissom: I need you to do some background for me on Warrick.", "Sara: Warrick? Your favorite CSI.", "Grissom: That's why I want you to handle it so that Ecklie can't accuse me of favoritism.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- NIGHT]", "Sara: I got this surveillance tape. He was in the casino. I'm sorry.", "WHITE FLASH TO: END OF PREVIOUSLY ON.", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. MARTY'S MARKET - DAY]", "(Camera moves low and fast along the main aisle. It turns up into an aisle and stops in front of the wheels of a shopping cart as it moves directly toward the camera.)", "WOMan Over P.A.: Manager to register two, please. Manager to register two.", "(The woman turns the aisle and heads into the fruits and vegetables section. She fills up a bag and continues shopping.)", "(Cut to: The woman grabs a bag of buns and puts it into the cart. The camera keeps on the woman as she shops. She turns into an aisle and stops where she reaches up and grabs a Sun Valley mustard bottle. She drops the bottle. It falls into the aisle and breaks, spilling mustard on the floor.)", "[SCENE_BREAK]", "[EXT. MARTY'S MARKET (#19331) - PARKING LOT -- NIGHT]", "(Sirens blare and police car lights flash. GRISSOM makes his way toward the market entrance. The doors open and he walks inside.)", "[INT. MARTY'S MARKET - CONTINUOUS]", "(BRASS turns around to see GRISSOM. They make their way toward the aisle.)", "Brass: Well, if it isn't the boss himself! Where's your E-street band?", "Grissom: They had another gig. How you doing, Jim? How's your old job?", "Brass: Ah, I can sling scum all day long. You?", "Grissom: I curse more.", "Brass: Oh, yeah? Well, wait. The shopping cart's over here. The missing woman is Margaret Shorey. Lives with her sister. Went out to get groceries; never came home. Car's still in the parking lot.", "(The STORE MANAGER walks up to the cart. GRISSOM puts his kit down on the floor. He walks up to the cart and looks inside the purse.)", "Grissom: And her purse is still in the cart. With no wallet.", "Brass: Maybe she left the purse as a marker.", "Grissom: Chicken soup, ice packs ... pain reliever ...", "Brass: Sister broke her wrist in a car wreck.", "Grissom: Hot dogs, hot dog buns ...", "Brass: Junk-food junkie.", "(GRISSOM looks on the bottom of the cart and sees something yellow stuck to the bottom rail. He uses his finger to get a dollop of it which he smells, then tastes. BRASS watches and grimaces.)", "Brass: Oh, that's sanitary.", "Grissom: Mustard.", "(GRISSOM turns around and look at the mustard on the shelf.)", "Grissom: (to the STORE MANAGER) Did you have any mop-ups in this aisle today?", "Store Manager: Yeah. Yeah, as a matter of fact, we did.", "Grissom: Life holds no surprises.", "(GRISSOM turns around and takes a mustard bottle off of the shelf. He digs into his pocket to pay for it and hands the money to the STORE MANAGER.)", "Grissom: $1.98 for the mustard ... plus, my two cents.", "(GRISSOM holds the bottle over the aisle and drops it, shattering it in front of BRASS.)", "Brass: What are you doing?", "Grissom: Now, where would you go?", "[SCENE_BREAK]", "[INT. RESTROOM - NIGHT - CONTINUOUS]", "(GRISSOM pushes the bathroom stall door open while BRASS sits on the basin and tries to get the mustard stains off of the cuff of his pants.)", "(GRISSOM looks around the bathroom.)", "Brass: (groans) Oh, man ...", "Grissom: Hey, Brass, look at this.", "Brass: What?", "Grissom: You see this?", "(GRISSOM holds the bathroom stall door open and looks at the inside of the stall door. BRASS gets up; the STORE MANAGER steps closer.)", "Brass: See what?", "Grissom: This circumference? Looks like somebody did a brillo job on it.", "Brass: All I see is a clean door.", "Grissom: You know anything about this?", "Store Manager: Yeah, he's right -- we cleaned it up today. I had a complaint. Kids are always writing crazy stuff on bathroom doors. So I had one of my employees scrub it off.", "Grissom: Could I borrow a hammer?", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(The camera snaps. \" ... ED 5 WOMEN ... \")", "(Inside the lab, GRISSOM processes the bathroom stall door which removed from the market. BRASS stands next to the door and holds the light on it revealing the message under neath.)", "I've killed ... (camera snaps) ... .... Catch ... (camera snaps ) ... ... me ... (camera snaps) ... ... can ... (camera snaps) ... ? ... (camera snaps) ...", "(Short time cut to: GRISSOM puts the photos up on the board., piecing the message together.)", "Grissom: (reading) \"Iv'e killed 5 women. Catch me if you can?\"", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - NIGHT]", "(The camera moves along the hallway and through the lab on its way to the break room where the CSIs gather to wait for their assignments.)", "Grissom: Hey.", "(GRISSOM opens the door and walk into the break room.)", "Grissom: Hey, kids. All right, listen, hey, I got to jet.", "Catherine: Hi.", "Grissom: Sara Sidle. 419.", "(GRISSOM hands the assignment sheet to SARA.)", "Sara: Dead body-- bonus.", "Catherine: Whoa, somebody likes their job.", "Grissom: Nick Stokes-- 416, fight at the Bellagio. She says she's a \"friend\" of yours.", "Catherine: Ex-girlfriend, Nick?", "Nick: Well, that depends. Was she the assaulter or the assaultee?", "Sara: You tell us -- you like leather or lace?", "Nick: (chuckles) No, I'm not even going there.", "(He turns and heads out the door ... then it hits him.)", "Nick: Lace.", "(SARA looks up and smiles widely at him.)", "Grissom: Catherine, you have a 418 -- an obituary on a stall door. I'll meet you in the garage but first, I've got to take care of Warrick.", "Catherine: Oh, no. What are you going to do?", "(CATHERINE stands up and gets her things. She passes GRISSOM on her way out.)", "Grissom: I don't know.", "(CATHERINE leaves. SARA lingers.)", "Sara: I filed my report.", "Grissom: I read it.", "(Not getting more, SARA rolls her eyes and leaves.)", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM - NIGHT -- CONTINUOUS]", "(WARRICK is in the locker room getting dressed. GRISSOM peers in to the locker room and finding WARRICK, lingers in the doorway.)", "Grissom: Hey.", "Warrick: Hey. I missed assignments; I know. I'm running late. What did I pull?", "(Steps into the locker room.)", "Grissom: How was court the other day?", "Warrick: I handed it off to Michovitch, from days. Uh, I told Sara.", "Grissom: Yeah, because you had, uh, \"personal business.\"", "(GRISSOM looks a the file in his hand.)", "Warrick: Yeah.", "(WARRICK turns around and sees GRISSOM holding the file and the video tape.)", "Warrick: What's that?", "Grissom: You ... at the Monaco casino.", "Warrick: What? I don't believe this. Now you're pulling up film on me?", "Grissom: Casinos tape everyone who walks through their door, Warrick, you know that. I thought we had a deal.", "Warrick: We do.", "Grissom: Look, what you do on your time is nobody's business. What you do on my time is my business.", "(WARRICK sighs and sits down.)", "Warrick: I was at the casino. But I wasn't gambling.", "(GRISSOM sits down on the bench next to WARRICK to listen to what he has to say.)", "[SCENE_BREAK]", "[INT. BERLIN RESIDENCE -- NIGHT]", "(The OFFICER takes KENNY BERLIN'S statement. In the back, SARA walks in and puts her kit down. The photographer walks in behind her.)", "Officer: Okay, Rubio's Restaurant.", "(SARA walks into the room and looks at the crime scene in front of her.)", "Sara: (to the photographer) Get me a picture of the body ... the items on the bedsheet ... the window ... the drafting table.", "(The camera shutter clicks.)", "Sara: Everything on the floor.", "(She takes another look around the room, then turns to talk with the DETECTIVE.)", "Sara: Sara Sidle, crime scene investigation. And you are ... ?", "Kenny Berlin: (crying) I'm ... Kenny Berlin. That's my brother. I'm the one who found him.", "Sara: Sorry for your loss. (SARA turns to look around the room.) You want to tell me what happened here?", "Kenny Berlin: I don't ... I don't know. I came... I came walking in the door, I saw my brother lying there ... stuff everywhere. All I could think was that ...", "(Quick flashback to: Someone breaks the glass window and steps into the room. As the thief tosses the room, JEFF BERLINE walks in and interrupts him.)", "Jeff Berlin: Hey!", "(The thief looks up and sees JEFF. He lifts the gun and fires. JEFF BERLINE falls to the floor.)", "(White flash to: KENNY BERLIN walks into the room and finds his brother on the floor.)", "Kenny Berlin: Hey, Jeff?", "(He looks around and sees the room a mess. He rushes to the phone and dials.)", "Kenny Berlin: (V.O.) I-I called 9-1-1", "(End of flashback. Resume to present.)", "Kenny Berlin: ... and then you guys showed up, and...", "Detective: (to KENNY BERLIN) Thank you.", "(He and SARA step aside.)", "Detective: There have been several burglaries in the neighborhood; all benign.", "Sara: Nothing benign about two $20s screaming, \"take me\" on the bar.", "Detective: Maybe he missed it?", "Sara: Yeah, well, it's hard to miss all that high-tech computer equipment. There's got to be five, ten grand there. First thing I'd take.", "Detective: He was interrupted.", "Sara: Before or after he used a bedsheet to transport the silverware? Pillowcases are the norm, you know that. Something's not right.", "(SARA walks away.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. BELLAGIO -- NIGHT]", "(NICK walks up to the police officer.)", "Nick: Gentlemen, Nick Stokes. I'm here for the 416; something about a \"special request.\"", "Officer Pratt: Don't ask me. Go ask Catherine Zeta Jones over there.", "Nick: Over where?", "(They point.)", "Nick: Thanks.", "(NICK heads there.)", "Nick: Excuse me ... ma'am?", "(The woman with the short hair waits impatiently, her back turned to them. When NICK calls out to her, she turns around. It's KRISTY HOPKINS. NICK recognizes her immediately.)", "Kristy Hopkins: Oh, Nick, hey ...", "Nick: You got to be kidding me.", "Kristy Hopkins: Oh, you probably don't recognize me with the shorter hair. My nipples are all better, you want to see?", "Nick: Yeah, yeah, Kristy Hopkins, what are you doing here?", "Security Guard: (interrupting) I'll tell you what she's doing here-- she's cruising.", "Kristy Hopkins: No, I'm in here, minding my own business shopping for a dress spending my hard-earned money! (NICK reacts to that comment; she corrects herself.) Okay, semi-hard-earned money. When Squiggy over here starts harassing me saying he doesn't want my type in here. He grabs my arm, cops a feel then he spit on me, so I slugged him!", "Nick: Whoa, whoa, whoa ... he spit on you?", "Security Guard: Wait, you're not listening to this? This is such a crock.", "Kristy Hopkins: Oh, I'll show you ...", "(KRISTY and the SECURITY GUARD start yelling at each other.)", "Nick: All right, all right, break it up! Ease up! Ease up!", "(OFFICER PRATT pulls the SECURITY GUARD aside; NICK pulls KRISTY aside.)", "Security Guard: Hey, hey, I'm pressing charges! I don't care who you know!", "Nick: Kristy!", "Kristy Hopkins: What?!", "Officer Pratt: They're right -- I've got to take her in.", "Nick: (to OFFICER PRATT) Just give me a minute, will you? (NICK pulls KRISTY to the side.) Get over here! I need your shirt.", "(KRISTY stares at NICK.)", "Kristy Hopkins: Why is it every time we meet you're wanting me to take my clothes off?", "Nick: Because every time we meet you put yourself in a position where you have to take them off.", "[SCENE_BREAK]", "[INT. BERLIN RESIDENCE - NIGHT]", "(SARA talks with KENNY BERLIN.)", "Sara: Using your arms -- how big's a whale?", "(KENNY BERLIN spreads his arms out to show her.)", "Sara: Now freeze, don't move. (She positions his arms straight out.) Up.", "(SARA starts examining KENNY'S clothing.)", "Kenny Berlin: What are you doing?", "Sara: Checking for blood spatter.", "Kenny Berlin: (surprised) What blood? Am I a suspect?", "Sara: This is what I do. This is how I eliminate you as a suspect.", "Officer: I'll take that for you.", "(SARA hands the OFFICER her flashlight. She leans in close and finds something on the cuff of KENNY'S pants.)", "Sara: Well, that's good news; no blood, bud.", "(In the background, a camera flashes. SARA reaches into her kit to take a sample of what she finds in the cuff of his pants. She puts it in a bindle.)", "Sara: I am going to need you to strip, though.", "Kenny Berlin: Right here?", "Sara: Don't be shy on my account. But if you are, this nice detective will accompany you to the bedroom.", "(SARA puts it in her kit and stands up.)", "Sara: Oh, and, uh, I'm going to need to take your window with me, too.", "(SARA pulls the warrant from her jacket pocket.)", "Sara: It's all in the warrant.", "(KENNY looks at the paper in SARA'S hand, then takes it. SARA turns and walks away.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(DR. RAMBAR examines the photographs of the writing on the bathroom stall door. He explains his findings to GRISSOM and CATHERINE.)", "Dr. Rabar: The person who wrote this is left-handed.", "Grissom: And we know that because...?", "Dr. Rabar: The \"t-bar\" in \"catch,\" it's left-tending. And uneducated ... the contraction in \"IV'E\" is misplaced. Then we have the large, arched hood in the letter \"Y\" and the arches in the bottom of the \"L's.\" This indicates criminal tendency which is supported by the heavy pastiosity which suggests low impulse control.", "Catherine: Heavy pastiosity?", "Dr. Rabar: The pressure -- how firmly you put pen to paper.", "Grissom: Or marker to metal. Do we know anything else?", "Dr. Rabar: Yes. Overall, the handwriting is cursive and round. This tells me it was written by a woman.", "(This information surprises both GRISSOM and CATHERINE.)", "[SCENE_BREAK]", "[INT. BERLIN RESIDENCE - DAY]", "(SARA is in the residence cutting the window out of the wall. WARRICK walks up to her and puts his bag down.)", "Warrick: Damn! Taking the whole window.", "(SARA shuts off the saw and looks at WARRICK.)", "Sara: Grissom reinstated you.", "Warrick: And you have a problem with that.", "Sara: Let me guess. Grissom gets you to dime yourself off and now you both feel better? You're supposed to be in court. Instead, you're placing bets for a cheap thrill to satisfy nothing.", "Warrick: Hey! This has nothing to do with you. So are we going to work together ... or not?", "Sara: I'm already working.", "(SARA turns around and starts the saw. WARRICK sighs.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(GRISSOM is in the lab working when SARA walks into the room.)", "Sara: (abruptly) You weren't in your office.", "Grissom: And good morning to you, too, Miss Sidle.", "Sara: Warrick has a problem. Ignoring it isn't going to make it go away. You asked me for a report and then you disregard my recommendation.", "Grissom: I read your report.", "Sara: So you feel comfortable jeopardizing a unit to placate an addict?", "Grissom: I see the whole puzzle, Sara. You're only seeing one piece.", "Sara: Then at least take him off my case.", "Grissom: No. I trust him. Do you trust me?", "(The door opens and CATHERINE calls out excitedly to GRISSOM.)", "Catherine: Grissom. (She looks and realizes that SARA'S in the room.) I've got something you'll want to see.", "(GRISSOM looks at SARA, clears his throat, grabs his folder and heads out the room leaving SARA alone in the lab.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY -- CONTINUOUS]", "(CATHERINE and GRISSOM walk down the hallway.)", "Catherine: You know how you're always pushing that holy trinity stuff?", "Grissom: Father, son, holy ghost?", "Catherine: Victim, suspect, crime scene.", "Grissom: That one, huh?", "Catherine: Right. Well, we don't have a victim. We don't have a suspect. All we have is a crime scene -- the restroom at Marty's Market with the message, \"I killed five women.\" So, I figured there had to be four others.", "(GRISSOM stops.)", "Grissom: You found the other four victims?", "(CATHERINE keeps walking and turns around to look at GRISSOM.)", "Catherine: No. I found the four other crime scenes.", "[SCENE_BREAK]", "[INT. CSI - GARAGE - DAY -- CONTINUOUS]", "(Set up against the garage wall are five bathroom stall doors.)", "Catherine: Brass ran our case through VICAP.", "(They step up to look at the stall doors.)", "Catherine: I made a few calls ...", "(GRISSOM steps up to the doors and reads them one by one.)", "Grissom: (reading) \"Iv'e killed 1 woman.\" Victorville. Salt Lake City -- \"Iv'e killed 2 women. Catch me if you can?\" San Bernardino -- \"Iv'e killed 3 women ... \" \"Iv'e killed 4 women. Catch me!\" Mesquite. \"...5 women... \" Las Vegas.", "Catherine: Five stall doors from five supermarket rest rooms. Five missing women, including Margaret Shorey.", "Grissom: What else do you know about the crime scenes?", "Catherine: Just like Marty's Market -- there was no physical evidence indicating that the women were killed there.", "Grissom: Which means they were probably alive when these messages were written making these messages of intention, not fact.", "(They stop and look at the stall doors, thinking.)", "Grissom: What if we shuffle these doors like Pai Gow tiles?", "(GRISSOM moves forward and moves the doors around, putting them in a different order. When he's done, he steps back.)", "Grissom: San Bernardino, California. Victorville, California. Las Vegas, Nevada. Mesquite, Nevada. Salt Lake City, Utah.", "(As he reads the stall doors by locations, a red road map highway line appears over them with a large circle indicating the city through the red line.)", "Catherine: (realizing) Interstate 15. God knows I've driven it enough times.", "Grissom: (nods) So has our suspect.", "(Camera holds on the door with the road map of Interstate 15 drawn over it.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- DAY]", "(GREG hops down from the counter.)", "Greg Sanders: Okay, dude, it's ready.", "(GREG removes the board he was sitting on.)", "Greg Sanders: So this paper should have soaked up any foreign material on the shirt particularly amylase.", "(GREG hands the paper to NICK and indicates the hook on the hood for him to hang the paper up on.)", "Greg Sanders: Now, I've done this procedure on jeans and leather jackets but never on something like this. It's very see-through. Very Jennifer Lopez.", "Nick: Down, boy. What can you tell me? Is there saliva on it?", "Greg Sanders: It's going to be a tough one to prove. This is only step one. You see, when a person talks saliva naturally comes out of their mouth. Let's say that we're tossing the hog back and forth, right?", "(As GREG talks, the camera makes note of the saliva that comes out of his mouth naturally in illustration of what he just said.)", "Greg Sanders: What can you tell me about the hottie that goes inside this blouse, huh? Is it true she's a friend of yours?", "Nick: What, is it on the internet? Might as well be. Just remember that.", "Greg Sanders: My saliva's getting on you; your saliva's getting on me.", "Nick: Gross.", "(GREG moves to the side toward the paper. He grabs a spray pump and sprays it on the paper.)", "Nick: What's that stuff?", "Greg Sanders: Starch and iodine. If this is saliva, we're going to get the old dalmatian effect. So, Nick, uh, if I wanted to meet this friend of yours ... ?", "Nick: No.", "Greg Sanders: Figured.", "(GREG sprays the paper.)", "Greg Sanders: That's a pretty big spot. That's more than just a spray. In fact, looks like a distinct glob of spit.", "Nick: Then Kristy was telling the truth. But it doesn't mean it was the security guard's spit.", "Greg Sanders: Step three.", "Nick: I'm going to need a sample.", "Greg Sanders: Well, the guy knows he did it. He's not going to cough it up.", "Nick: If you saw the girl that went with this blouse ... you'd try.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(SARA and WARRICK interview KENNY BERLIN.)", "Kenny Berlin: You found what on my pants?", "Sara: Glass. Any idea how it got there?", "Kenny Berlin: Well, it's just a guess but someone broke into my car last weekend and smashed my window and made off with my CD player. So I must've been wearing those pants.", "Sara: Did you file a police report?", "Kenny Berlin: No, but you can check with my insurance company.", "Sara: I already checked with my lab. They do this test, and guess what? The glass -- it floated.", "Warrick: You know what that means?", "Kenny Berlin: No.", "Warrick: It means the glass on your pants and the glass from your living room window have equal densities.", "Kenny Berlin: Sorry. I was never very good at science.", "Warrick: The glass didn't come from any car window. That's science.", "Sara: Anything else you'd like to tell us?", "Kenny Berlin: Look, it's like I told you. I walked in the house ...", "(Quick flashback to: KENNY walks into the room and sees his brother dead on the floor. He grabs the phone and makes the phone call.)", "Kenny Berlin: (V.O.) ... and I thought ...", "(End of flashback. Resume to present.)", "Kenny Berlin: \"They're coming back, and they're going to kill me, too.\"", "(Quick flashback to: KENNY'S inside the house.)", "Kenny Berlin: (V.O.) I heard a noise, and I walked to the window.", "(KENNY walks over to the window and looks outside. He brushes up against the glass on the table. Some of it falls down to the floor in front of him, possibly inside the cuff of his pants.)", "Kenny Berlin: (V.O.) That must be when I got the glass in my pants.", "(End of flashback. Resume to present.)", "Kenny Berlin: Look, somebody really did break into my car, okay? And I just remembered all that stuff just now. So, am I in trouble?", "Warrick: You're free to go.", "Sara: No, he's not.", "Warrick: We're not cops; we can't hold him.", "Sara: Just one more question. What do you do for a living?", "Kenny Berlin: I'm a day trader.", "Sara: You make a lot of money doing that?", "Kenny Berlin: That's two questions.", "Sara: Feel free to answer it anyway.", "Kenny Berlin: Yeah, you can.", "(KENNY heads for the door.)", "Sara: (pushing) But you don't, right?", "(KENNY doesn't answer and walks out of the room. The door closes and SARA sits down.)", "Warrick: Showed him all your cards. Sucker play.", "Sara: I was playing him. Cops ran Kenny's financials. He lost a pot in the market. Had a ton of margin calls. I'm surprised you didn't tag him as a fellow gambler.", "Warrick: (sighs) Oh, you just don't let up, do you?", "Sara: It's a flaw.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(GRISSOM walks out of the office and into the hallway where CATHERINE'S waiting for him.)", "Catherine: I'll flip you to see who drives.", "Grissom: Where we going?", "Catherine: Moapa.", "Grissom: What's in Moapa?", "Catherine: Besides the I-15?", "[SCENE_BREAK]", "[EXT. MOAPA - DAY]", "[SCENE_BREAK]", "[EXT. MOAPA -- DAY]", "(Off to the side of the highway, a crime scene is being worked on. The SUV drives up, GRISSOM gets out of the car and BRASS meets up with him.)", "Brass: So my guys tell me that your guy Nick is helping a working girl at a five-star and it was quite a commotion.", "Grissom: Really?", "Brass: And if I know, it means a lot of other people know. People bigger than you and me. A kid from a crime lab doing favors for a hooker can't make the unit look too good, huh, boss?", "Grissom: Yeah, well, I'll get into it.", "Brass: I bet that's just what Nicky said.", "(CATHERINE walks past them and toward the crime scene.)", "Catherine: You two ladies done talking? It's hot out here.", "Brass: That kid over there started to take a leak.", "(Quick flashback to: The legs of the body on the ground, her ankles have restraint marks on them.)", "Brass: (V.O.) Found the body.", "(End of flashback. Resume to present.)", "(CATHERINE, GRISSOM and BRASS look at the body.)", "Catherine: Well, it's not Margaret. This one's a blonde.", "Grissom: And blue. This is bizarre. The body's cold.", "Brass: In this heat?", "Grissom: And she's stiff -- like a two-minute burrito that's only been nuked for a minute.", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(DR. WILLIAMS goes over her findings with CATHERINE and GRISSOM.)", "Dr. Jenna Williams: Meet Joan Sims from San Bernardino, California. We've been getting acquainted.", "Catherine: (reading) Missing woman number one -- disappeared from a supermarket restroom last July.", "Dr. Jenna Williams: Cause of death was strangulation. I found ligature marks on the wrists and the ankles. That was the easy part. This one's weird. Like I-may-use-her-in-a-lecture weird. (beat) Her decomp is completely backwards. It's supposed to begin on the inside but her organs are in better shape than her skin. Take a look at this.", "(DR. WILLIAMS leads them over to the scope she has set up on the side counter.)", "Dr. Jenna Williams: I took tissue samples from her heart.", "[SCOPE VIEW of the heart tissue]", "Grissom: Looks like the planet krypton.", "Dr. Jenna Williams: More like kryptonite. Those are actually ice crystals, Superman. You want to know why she's blue? Cold to the touch in the middle of the desert? This lady was frozen -- kept on ice until approximately 12 hours ago.", "(She steps aside. GRISSOM turns to look at CATHERINE, both of them processing this information.)", "Catherine: I-15? Refrigerated?", "Grissom: That's how she was transported from San Bernardino to Vegas -- in a refrigerated truck. That's our crime scene.", "(beat)", "Grissom: And it's mobile.", "[SCENE_BREAK]", "[INT. CSI -- DAY]", "(GRISSOM looks up and sees something.)", "Grissom: Hey, Nick, I been looking for you.", "(He meets up with NICK in the hallway, catching him on his way through.)", "Grissom: This girl you've been helping with the 416 .. .?", "Nick: She got in a fight with a Security Guard.", "Grissom: Is she a friend of yours?", "Nick: (surprised and offended) Are you asking me what I think you're asking me?", "Grissom: Are you doing anything that could compromise the unit?", "Nick: I don't believe this. You've always been so cool.", "Grissom: I have to ask. It's part of the job.", "Nick: Sanders ratted me out, right?", "Grissom: No, Brass. Do you want to talk about this?", "Nick: I don't think so.", "(NICK turns and heads down the hallway leaving GRISSOM behind. He passes CATHERINE on his way out. He bumps into her, holds up a hand in apology and without a word, keeps going.)", "Catherine: (to NICK) Excuse you. (to GRISSOM) What's his problem?", "Grissom: Me, I guess. Did you find out anything?", "Catherine: Brass got us a list of all the refrigerated trucks that made deliveries to the market yesterday.", "(She points to something on the clipboard she hands GRISSOM.)", "Catherine: There's a female trucker on it.", "(GRISSOM smiles.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(SARA and WARRICK conduct an experiment. WARRICK swings the baseball bat and breaks the glass.)", "Sara: (smiles) Not bad. I'm impressed.", "Warrick: Yeah, passed up a chance to play semipro ball. Went to college instead.", "(SARA picks up a sliver of glass and passes WARRICK.)", "Sara: I meant the Haeckel marks. Should tell us what we need to know.", "(SARA puts the glass under the scope and compares it with the glass at the crime scene.)", "Sara: This is the glass you line-drived.", "Warrick: That's the glass you \"sawzalled.\"", "[SCOPE VIEW of the two glass edges side by side]", "Sara: Right angles face the same direction. Take a look.", "(SARA steps aside. WARRICK looks at her.)", "Warrick: Oh, now I'm worthy?", "Sara: Just take a damn look.", "(WARRICK looks through the scope.)", "[SCENE_BREAK]", "[INT POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "Kenny Berlin: That's crazy. I loved my brother.", "Warrick: Maybe you did, maybe you didn't, but we think you murdered him.", "Kenny Berlin: Based on what?", "Warrick: The evidence.", "Kenny Berlin: What evidence?!", "Sara: You ever heard of Haeckel marks?", "Kenny Berlin: No.", "Warrick: When a window is broken from the outside which is what a burglar would do ...", "(Quick CGI of a bat swinging to the right and a plate of glass shattering. Camera zooms in to the edge of a glass break.)", "Warrick: (V.O.) ... Haeckel marks form right angles to the inside of the window.", "(End of CGI. Resume to present.)", "Warrick: But when a window is broken from the inside which is what a Peckerwood like you would do", "(Quick CGI of a bat swinging and a plate of glass shattering. Camera zooms in to the edge of the glass break.)", "Warrick: (V.O.) ... Haeckel marks form right angles to the outside of the window.", "(End of flashback. Resume to present.)", "(KENNY swallows. SARA leans in close.)", "Sara: What did you use to break the window, Kenny?", "Kenny Berlin: I didn't use anything. I didn't do it. (exhales) I want a lawyer.", "(SARA turns around and looks at WARRICK.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]", "(WARRICK and SARA walk out into the hallway)", "Warrick: Well, we know he did it.", "Sara: We can't prove it, but we got a motive.", "Warrick: He needed the money.", "Sara: Okay, let's say killing his brother would get it for him.", "Warrick: We're back to how do we prove it?", "Sara: He's a day trader -- spends all day on his computer. If we want to know more about him that's where we should be looking.", "Warrick: And his computer is ... ?", "Sara: Still at the house.", "Warrick: Still at the house. Well, we got probable cause.", "Sara: Why don't we go get a ... ?", "Warrick: Why don't you go get a new warrant?", "(SARA nods and they leave.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(NICK walks to the office door and peers inside. GRISSOM is working at his desk and doesn't notice NICE. Suddenly, from up above, something starts singing.)", "FISH ABOVE DOOR: (singing) I want to know / can you help me, help me ...", "(GRISSOM looks up and sees NICK standing there. NICK looks up at the fish hanging above the door, its tail wagging as it sings.)", "Grissom: That's my \"Big Mouth Billy Bass.\" It's better than a watchdog. I got valuable stuff in here, you know.", "FISH ABOVE DOOR: (singing) Drop me in the water ...", "(NICK walks into the office and closes the door.)", "Nick: Yeah, I bet there are a lot of people looking to steal your two-headed scorpion. Not to mention \"Miss Piggy.\"", "(NICK taps on the jar of the preserved pig fetus on the shelf.)", "Nick: I was out of line earlier. I'm not sleeping with her, if it helps any.", "Grissom: It does.", "Nick: And, for the record she wasn't working -- she was shopping. And the security guard was a jerk, man. He pushed her around, then he spit on her. That's why she lost it.", "Grissom: That sounds pretty straightforward. Why don't you put a rookie on it?", "Nick: I can't. There's something about her. Looking at her. She doesn't have anybody else. I had Sanders run a test on the shirt. There's saliva on it but the problem is, I can't get a match. The security guard refuses to give me a sample.", "Grissom: \"If Muhammad won't go to the mountain then the mountain must go to Muhammad.\" Think about it.", "(NICK smiles and nods.)", "[SCENE_BREAK]", "[INT. CSI -- BREAK ROOM]", "(The SECURITY GUARD puts the coffee cup on the table.)", "Nick: Black, no sugar.", "Security Guard: Yeah, thanks.", "Nick: Like I said on the phone I don't want to seem biased here. This girl's nothing to me. She's a hooker.", "Security Guard: Yeah, but you do know her.", "Nick: Yeah, professionally. But my profession, not hers. I cut her some slack a while back. She's bad news but she's a babe.", "Security Guard: Tell me about it. (He chuckles.)", "Nick: Yeah, between you and me, I should have busted her, but I thought I might get lucky.", "Security Guard: Yeah.", "Nick: Yeah. Next time she gets in a jam she throws my name out. My boss not pleased. So ... (he clears his throat) Tell me what you think. (NICK takes out a pen and paper.) I want you to write down your own statement seal it up in this envelope and I'll hand deliver it to the DA. It'll be good for both of us.", "Security Guard: (takes the pen) Yeah. Thanks, man.", "Nick: No problem. Us guys have got to stick together, right? That's right.", "Security Guard: That's right. Yeah.", "(The SECURITY GUARD takes the pen and starts writing. NICK stands up and gets himself a cup of coffee while keeping a watchful eye on the SECURITY GUARD.)", "(The SECURITY GUARD finishes and puts it in the envelope. He licks the envelope. NICK smiles.)", "[SCENE_BREAK]", "[EXT. ROADWAY -- DAY]", "(The FEMALE TRUCKER speaks with GRISSOM.)", "Female Trucker: Of course I graduated high school. Hey, if this is going to take forever I could lay a urine sample on you, too gratis.", "Grissom: A writing sample will be sufficient, thank you.", "Female Trucker: What's that going to tell you -- whether I was writing under the influence?", "(CATHERINE walks over and hands the woman some paper and something to write on.)", "Catherine: Do yourself a favor.", "Female Trucker: Yes, ma'am. Now, what is it that you want me to write?", "Catherine: \"I've got a kite. Can you see the women? Kill the lights.\"", "Female Trucker: That's what you want me to write?", "(CATHERINE gives her a pen.)", "Catherine: Three times.", "(The FEMALE TRUCKER moves off to the side to write.)", "Catherine: Caucasian female with only a high school education and left-handed.", "(The FEMALE TRUCKER finishes; BRASS takes the sample.)", "Brass: You can keep the pen as a souvenir.", "(He gives it to CATHERINE. She looks at the sample, then heads for the car.)", "Catherine: I'll be right back.", "Female Trucker: Hey, come on! You're making me late.", "(She starts after CATHERINE.)", "Brass: Hey, hey, hey.", "(BRASS grabs her and pulls her back to rest against the car.)", "Brass: Two cheeks on the car. There you go.", "(GRISSOM and BRASS ... and everyone ... waits while CATHERINE faxes the writing sample over to the lab.)", "INTERCUT WITH:", "[INT. CSI - GARAGE - DAY - CONTINUOUS]", "(DR. RAMBAR receives the fax and compares the handwriting to the stall door photos. He circles the comparison points and holds up the paper to the photos.)", "(Cut back to: CATHERINE is on the phone.)", "Catherine: (on phone) Okay, thanks. (hangs up) (shakes her head) She's not the one.", "Female Trucker: So, did I win something?", "Catherine: The right to keep on trucking.", "(The FEMALE TRUCKER laughs. BRASS holds up her truck keys.)", "Brass: Here you go, bubba.", "Female Trucker: Hey, we're outta here!", "Grissom: You know, I'm starting to think that maybe we should be looking for a man. Only three percent of multiple killers are female. And a woman wouldn't need a trophy. And a body on ice is definitely a trophy.", "Catherine: Well, Ms. Hard-ass travels with her boyfriend. I bet you a lot of guys travel with their girlfriends.", "Grissom: What if it was a man with a woman who would do anything he asked?", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT -- DAY]", "(GRISSOM and CATHERINE drive the SUV back into the parking lot. They pass NICK, who is talking with KRISTY HOPKINS next to her car.)", "Nick: \"Us guys have to stick together, right?\" He said, \"right. You the man!\"", "(She laughs.)", "Nick: So, I mean, I could have used an STR-DNA but it's too state-of-the-art; it's overkill. So I used an HLA-DQ A1, with a ... polymarker.", "(She nods as if she understand, but NICK realizes that he's lost her.)", "Kristy Hopkins: That's-that's very, very interesting.", "(She leans against the open car door and smiles at him.)", "Nick: (smiles) You don't care about this at all, do you?", "Kristy Hopkins: No. (chuckles) ... but to be honest with you, all I really care about is whether the charges against me are going to be dropped. (pauses) Are they?", "(NICK takes a moment and let's her wait for his answer.)", "Nick: DA threw out the case.", "Kristy Hopkins: Great. (chuckles) (deadpans) So I can shoplift at that boutique again? (NICK reacts to that statement.) (she laughs and grabs his shirt) I was kidding, I was kidding. Besides, they never have any good sales there, anyway. (chuckles)", "(They stop laughing. Both standing incredibly close to the other.)", "Kristy Hopkins: I'd invite you out for coffee, it's probably a bad idea, huh?", "Nick: Yeah.", "Kristy Hopkins: Yeah. But I can call you sometime, you know just in case I ever get into trouble or something.", "Nick: (smiles) Maybe you should try not getting into trouble. You do owe me one.", "Kristy Hopkins: (seriously) I owe you two.", "(She stands up and leans in to kiss NICK on the cheek. NICK takes a breath and a step back from her.)", "Nick: You know where to find me.", "(He nods and walks away. KRISTY watches NICK leave. She smiles, then finally gets into her car.)", "[SCENE_BREAK]", "[INT. BERLIN RESIDENCE - DAY]", "(The DETECTIVE is on the phone. SARA and WARRICK walk into the living room.)", "Detective: (on phone) Is that right? (hangs up) Your boy Kenny just lawyered up.", "Warrick: Well, we got a warrant so that should give us the room for the night.", "(SARA sits at the desk and turns the computer on. Nothing happens.)", "Sara: There's something wrong with it.", "Warrick: Computers turn on. When they don't, it's for a reason. Did you plug it in?", "Sara: The power light's on.", "Warrick: Really?", "(WARRICK grabs the unit.)", "Warrick: Let me check it out.", "(He opens up the case and stops at what he finds inside.)", "Warrick: Well, he's a sneaky S.O.B. I'll give him that.", "(SARA stands up and looks inside.)", "Sara: Oh, no one is going to believe this.", "(WARRICK snaps a photo.)", "Warrick: All right.", "(SARA picks up the gun and looks at the handle.)", "Warrick: Let me see that flashlight. There's scratches all over it.", "Sara: Nothing really special about them.", "Warrick: And the hotshot takes another strike. Check it out. Not enough to cause even a small scratch on your finger, but more than enough to use as a basis of comparison.", "(Camera zooms into the piece of glass stuck in the bottom of the handle. WARRICK takes it out.)", "Sara: We match this to the broken window, we got him.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK and SARA test the glass.)", "Warrick: One, two, three.", "(The pieces of glass are dropped into two different glass containers.)", "Warrick: Left one is from the broken window the other one is from the gun both dropping at an identical rate. Glass is from the same source.", "Sara: So, Kenny broke the window from the inside using the butt of the gun.", "Warrick: My theory ... the brother was the executor of the parents' estate. He controlled the family money.", "Sara: Sounds like more than a theory.", "Warrick: I called the county clerk. With the brother out of the way, Kenny is the sole beneficiary.", "(Quick flashback to: KENNY pulls a gun on JEFF.)", "Kenny Berlin: Do you have any idea how much money I've lost?", "Jeff Berlin: Kenny, come on. What are you doing? I'm your brother, okay? I already said I'd loan you the money, okay?", "Kenny Berlin: (shouts) Come on! $20,000? That doesn't even begin to solve my problems!", "(KENNY fires twice. JEFF falls to the floor. KENNY looks around. He tosses the room. He walks over to the window and breaks it with the gun. He goes to the computer and puts the gun inside.)", "(End of flashback. Resume to present.)", "Warrick: Slam that jail door. (He looks at SARA.) Makes you reconsider, doesn't it?", "(SARA knows exactly what he's referencing.)", "Sara: I never said you weren't a good CSI.", "(SARA walks away.)", "[SCENE_BREAK]", "[INT. TRUCKING MAIN OFFICE]", "(CATHERINE and GRISSOM speak with the DISPATCHER. She shows them the monitor which has a picture of a map with all the trucks out on the road represented by flashing red rectangles. The screen is riddled with them.)", "Dispatcher: We're state-of-the-art here -- number one in vehicle satellite tracking. I can locate one or all of our trucks with just a click of a mouse, 24-7.", "Grissom: (to CATHERINE) Do you ever worry that technology is going to make us obsolete?", "Catherine: (firmly) No.", "Grissom: Can you, uh, narrow your database? Say, eliminate all trucks that are not refrigerated?", "Dispatcher: Yeah, I think I can.", "(The DISPATCHER works on the keyboard and some of the red dots disappear.)", "Grissom: Can you eliminate all trucks that were not in Las Vegas yesterday?", "(More red dots disappear.)", "Catherine: Eliminate all trucks that only travel in state.", "(More red dots disappear.)", "Catherine: Now eliminate the trucks that don't deliver to supermarkets along the I-15.", "(They work to reduce the number of truck possibilities. There are only three flashing red dots on the monitor.)", "Grissom: This is very cool. Eliminate all trucks that did not deliver to Marty's Market yesterday.", "(She enters in the field condition. Camera cuts to the monitor where there are four flashing red dots. All but one disappear.)", "Catherine: That's our guy. He delivered to all five towns -- all five supermarkets.", "Grissom: Where is he now?", "(Camera zooms in to the red flashing rectangle on screen.)", "[SCENE_BREAK]", "[EXT. -- DAY]", "(A man signs a clipboard. He looks up when the police cars drive up and surround him. OFFICERS with their weapons drawn exit the cars.)", "Officers: Police! Get your hands up! OFFICERS: Come out now!", "(BRASS gets out of the car with his gun drawn.)", "Brass: Police! Step away from the truck, put your hands on the back of your head! Keep your hands in sight!", "(The truck door opens and a woman gets out of the front seat.)", "Brass: Get out of the truck!", "Officer: Hands over your head!", "(BRASS walks up to the MALE TRUCKER with the clipboard in his hand.)", "Brass: Step away from the truck. Put your hands on the back of your head.", "Male Trucker: I'm just making my regular delivery.", "Brass: Don't make me ask you twice. Move! Hands on the back of your head! Hands on the back of your head!", "(The MALE TRUCKER puts the clipboard down and complies.)", "(GRISSOM and CATHERINE get out of their cars, watch and wait.)", "Brass: Left hand on the wall, right hand on the wall. Check him for weapons.", "Officer: (b.g.) Spread your legs.", "(BRASS approaches the back of the truck.)", "Male Trucker: Hey, get away from my truck!", "Grissom: It's not your truck anymore. It's our crime scene.", "Officer: Check the cab.", "(The OFFICER follows BRASS into the truck, then backs out. BRASS appears holstering his gun.)", "Brass: It's all yours.", "Cop: (b.g.) All clean here, sir.", "(GRISSOM and CATHERINE step into the back of the truck.)", "(Cut to: [INT. TRUCK - CONTINUOUS])", "(GRISSOM walks inside, weaving in between the large pieces of frozen meat wrapped in plastic. He looks at a particularly long and thing piece of meat hanging in front of him and moves to unwrap it.)", "(It's just a piece of frozen meat.)", "(CATHERINE walks past GRISSOM to the back of the truck where a smaller refrigerator unit is. GRISSOM watches her and helps her open it.)", "(There's no bodies inside, just smaller pieces of items wrapped plastic.)", "(They reach the back of the truck where they find another refrigerator unit. GRISSOM and CATHERINE open it. They both gasp at the frozen bodies inside.)", "(CATHERINE sighs.)", "[SCENE_BREAK]", "[EXT. - DAY]", "(CATHERINE walks toward the MALE TRUCKER.)", "Catherine: We got three.", "(GRISSOM walks past CATHERINE and turns the MALE TRUCKER around to face him.)", "Grissom: (grimly) Where is she? Where is Margaret Shorey?", "Male Trucker: (flippantly) Screw you, man.", "Grissom: Look, pal, I already know what happened. I even know your type -- decent, trusting, middle-aged women.", "(Quick flashback to: Inside the bathroom at Marty's Market, MARGARET SHOREY is scrubbing the mustard off of her dress.)", "Girlfriend: Please help me. You got to help me! I locked my baby in the car!", "Margaret Shorey: Did you call the manager?", "Girlfriend: It is so hot, she's going to die. Please help me!", "Margaret Shorey: All ... all right.", "(Cut to: Outside in the back of the market, the GIRLFRIEND leads MARGARET SHOREY to her \"car\".)", "Margaret Shorey: Where's your car?", "Girlfriend: This way.", "(The MALE TRUCKER jumps out from between the crates and grabs MARGARET SHOREY from behind. She screams.)", "Male Trucker: Go on! Write it!", "(The GIRLFRIEND looks around as MARGARET SHOREY continues to scream. She hesitates, then heads back into the Market.)", "(Cut back to: Inside the bathroom, the GIRLFRIEND uncaps the marker and writes the message on the stall door.)", "(End of flashback. Resume to present.)", "(BRASS grabs both the MALE TRUCKER and the GIRLFRIEND, each arm around each of their shoulders.)", "Brass: Okay. All right, listen. The first one of you lowlifes can name that tune gets to make a deal. Hmm? The difference between the chair or life in prison. So ...", "(She looks around, then speaks up.)", "Girlfriend: He made me do it.", "(The MALE TRUCKER lunges for her. She screams.)", "Brass: Cuff him.", "(The officers take the Male Trucker away.)", "Brass: (softly) Hey, hey, hey ... Where is she?", "[SCENE_BREAK]", "(GRISSOM and CATHERINE head into the front of the truck. GRISSOM crawls inside and checks out their seats. They lift the mattress up.)", "Grissom: There's a lock. Are there any keys?", "(CATHERINE looks around and finds some.)", "Catherine: Try this.", "(They unlock the compartment and find MARGARET SHOREY bound and gagged inside.)", "Grissom: Hello, Margaret. My name is Gil. This is Catherine.", "Catherine: We're going to take you home.", "[SCENE_BREAK]", "[INT. CSI - WAITING ROOM]", "(SARA walks in to the main reception area. In the waiting room, a boy holding a football sits alone. He appears to be looking for someone.)", "Sara: You look lost.", "Jason: Oh... yeah. Do you know Warrick Brown?", "Sara: Yeah. You want me to tell him you're here?", "Jason: Oh, he's probably working. He works really hard. If you see him could you just tell him that, uh, Jason says thanks?", "Sara: Okay. Will he know what for?", "Jason: Uh ...", "(WARRICK walks in and sees JASON.)", "Warrick: Hey, Jas, how you doing?", "Jason: Better. Hey, thanks for busting me loose. My mom said she'll pay you back.", "WARRICK No, you'll pay me back, Shorty. Just don't be pulling any more fire alarms.", "(SARA looks down and puts it all together.)", "Jason: Oh, I won't", "Warrick: Gets you more attention than you want.", "Jason: I know.", "Warrick: You still working on those moves I showed you?", "Jason: Yeah, every day after school.", "(They spar for a moment; SARA smiles.)", "Warrick: How about that? How about that right there? Good.", "Jason: Hey, I got to go. My mom's waiting for me.", "Warrick: Hey, come here.", "(WARRICK leans over and puts his hand around JASON'S shoulders to speak confidentially to him.)", "Warrick: Apologize to your mom, all right? Let her know she can trust you.", "Jason: Yeah.", "Warrick: All right?", "(SARA definitely overhears it.)", "Jason: Bye, Warrick. Uh ... see you next week.", "Warrick: See you next week, jaws.", "(JASON leaves.)", "Sara: So you went to the casino to win bail money.", "Warrick: He needed my help. I didn't win anything, Sara. You're a CSI. You saw me enter a casino. Did you see me place a bet?", "Sara: You want to tell me you didn't?", "Warrick: I don't have to tell you anything. (sighs) Look, I went there to collect a debt that was owed to me. (pause) We're supposed to be working together. Next time, just try talking to me instead of going around behind my back.", "(WARRICK turns and leaves. SARA watches him walk down the hallway.)" ]

[ "Grissom, Sara and Warrick try to clear a man accused of killing his wife and son in an arson fire. They discover day shift supervisor Conrad Ecklie did some sloppy work. Meanwhile Catherine and Nick investigate the death of a teenage 'runner', who was shot at close range in a parking ." ]

[ "[EXT. VARIOUS LAS VEGAS DESERT (STOCK) - DAY]", "WHITE FLASH TO:", "[SCENE_BREAK]", "[EXT. WESTERN LAS VEGAS CORRECTIONAL FACILITY --DAY]", "(The inmates, dressed in bright red exercise outside. They play basketball, lift weights, etc.)", "(Cut to: One inmate in his cell addresses a package to:", "GIL GRISSOM c/o CSI", "2974 WESTFALL", "LAS VEGAS, NV89109 )", "(The inmate carries the package and walks out with the other inmates who also have letters and things to mail.)", "Officer: Into the bag, follow me.", "(One by one, the inmates put their letters into the open mailbag set up to the side of the hallway.)", "(The inmate carrying the box addressed to GRISSOM, puts it into the mailbag and keeps walking.)", "(Cut to: The package is placed on a conveyor belt and scanned through the X-ray. The camera rises to the monitor and shows that inside the package is a video tape.)", "(The package exits the scanner and is picked up on the other side.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY /BREAK ROOM-- DAY]", "(The delivery person carries the stamped package down the hallway. He turns the corner and walks into the Break Room where GRISSOM is leafing through a magazine.)", "Delivery Boy: This came for you, Mr. Grissom.", "(He hands the package to GRISSOM who takes it and puts it on the table between him and BRASS. GRISSOM leans over to look at it as does BRASS.)", "Brass: What's this? An anonymous package from county lockup?", "(GRISSOM takes out something to open the package. BRASS immediately protests.)", "Brass: Yeah, well, hey, just a second. Wait a minute. Give an innocent bystander a chance to clear out, will you?", "Grissom: What are you worried about?", "BRASS One minute, I'm eating tomato salad. The next ... I'm gazpacho.", "(GRISSOM takes off the wrapping and opens the box. Inside is the video tape.)", "Brass: With any luck it'll be the next episode of G-String Divas.", "(GRISSOM puts it in the video tape machine and turns it on. He settles back in the chair to watch.)", "(On videotape, FRANK DAMON sits in front of the camera and blows lightly into the clip-on microphone then rather than put it on, he holds onto it as he speaks.)", "Frank Damon: (on videotape) My name is Frank Damon ... and I'm awaiting trial for the murder of ... my wife and son.", "Brass: (nods) That's an arson case -- a few months ago. The DA is asking for the death penalty.", "Frank Damon: (on videotape) I didn't kill my family ... but my lawyer says the evidence is against me.", "(Something about the videotape captures GRISSOM'S attention. He stares at the monitor intently.)", "Frank Damon: (on videotape) I was a good father. I loved him. I would have given my life for Toby and Jeannie. They were my world. Mr. Grissom, you are my last hope. Please ... help me.", "Brass: An innocent man. Jail's full of them.", "Grissom: It only takes one.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- NIGHT]", "(GRISSOM is sitting at the table reviewing the files. In the background through the glass, we see CATHERINE walk toward the room; NICK and SARA follow her.)", "(GRISSOM continues to read the file. Suddenly CATHERINE leans over and stares at the file over his shoulder.)", "(GRISSOM turns to look at her.)", "Catherine: Am I disturbing you?", "Grissom: Yeah.", "Catherine: Good.", "(GRISSOM realizes that everyone's there for their assignments.)", "Grissom: Oh. Great. Sorry.", "(Everyone starts to take their seats around the table. GRISSOM puts the file down and looks around the stacks of paper on the table. He sighs.)", "Grissom: Uh, I was supposed to pass out some supervisor evaluation forms. Where are they?", "(CATHERINE grabs the papers on the table and starts handing them out.)", "Catherine: Here they are.", "Nick: (sits down & smiles) Mmm. Get to rate the boss. I dig this.", "(CATHERINE gives NICK the evaluation form.)", "Catherine: Give him a perfect ten or your ass is out of here.", "Grissom: (exasperated) No, it's not.", "(SARA laughs. CATHERINE hands her an evaluation form and heads around the table toward WARRICK.)", "Grissom: All right. Assignment: Parking lot of the sportsbook at the Monaco. Caucasian male found dead in the front seat of his car.", "(CATHERINE sits down.)", "Nick: Two days before the Super Bowl.", "(Sounds promising to WARRICK as he leans forward.)", "Warrick: I'll take a piece of that.", "Grissom: No. Uh, Nick and Catherine.", "(WARRICK sniffs and settles back in his seat. SARA pipes up.)", "Sara: What else you got?", "Grissom: You and Warrick are working with me.", "Catherine: The prisoner plea. Brass told me about the video.", "Grissom: Yeah. If we take the case we have very little time to work it. The trial starts in three days.", "Sara: How did he find you? 1-800-GRISSOM ... ?", "(NICK laughs.)", "Catherine: Wait a minute. Ecklie was the CSI on that arson. I see a bad moon rising.", "Warrick: Can a CSI take over another CSIi's case?", "Catherine: Only if they're of equal rank and they're looking for trouble.", "Grissom: No trouble. We're both colleagues searching for the truth. Okay, that's it. Look ... onward. You have to start by looking at this.", "(GRISSOM holds out the video tape. SARA reaches out and takes it.)", "Warrick: Hey, what happened to that, uh, meeting the other day?", "Grissom: Meeting?", "Warrick: Yeah, the department heads were voting on an extra vacation day or something?", "(NICK, who had already stood up to leave for his assignment, stops and turns to listen to WARRICK.)", "Catherine: Yeah.", "(GRISSOM stares at them ... clueless. He doesn't say anything and it's obvious that he didn't go to the meeting. CATHERINE shrugs.)", "Nick: (looks at evaluation) Hmm. \"Organization\" ... minus one.", "[SCENE_BREAK]", "[EXT. CSI - PARKING LOT -- NIGHT]", "(GRISSOM is in his car about to leave, when BRASS calls out to him as he approaches the car from the passenger side.)", "Brass: Yo, cousin.", "(GRISSOM turns to look at BRASS.)", "Brass: I'm going to save you some gas here. I did some checking on your pal Damon.", "Grissom: I don't remember asking you to.", "Brass: Eyewitness saw him running from his burning house. Inside was his wife and kid. Now, wife's a big spender. Maxed out on the credit cards. They just bought the place and already he's late on the payments. Couple's always arguing about money. No surprise.", "Grissom: Well, how does killing his family solve his money problems?", "Brass: Maybe he didn't mean to. Maybe he needed the insurance dough and things got out of hand.", "Grissom: Too many maybes. I think we should go with the evidence.", "Brass: Well, I got something for you on that, too. Gasoline found in the master bedroom closet.", "Grissom: Yeah, a hydrocarbon. I read Ecklie's report.", "Brass: Did you skip the page with Damon's credit card receipts? Guy bought a gallon of gas a week before the fire.", "Grissom: Do I seem like the kind of guy who skips stuff?", "Brass: Read my lips. There is no compelling evidence to suggest Damon was wrongfully charged.", "Grissom: Well, then, it'll be a short interview, won't it?", "(GRISSOM starts the car engine.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. MONACO CASINO - PARKING LOT - NIGHT]", "(CATHERINE and NICK walk up to the crime scene.)", "Nick: Whew! Two days before the super bowl and they're already killing each other.", "(CATHERINE looks into the car window. SGT. O'RILEY peers in through the open driver-side door at CATHERINE.)", "Catherine: Hey, O'Riley, anyone put their meat hooks on this vehicle?", "Sgt. O'Riley: How long have we worked together?", "Catherine: Still got to ask.", "Nick: Sergeant.", "(SGT. O'RILEY sees that NICK wants to get to the body. He steps aside and NICK steps forward to look at the body leaning against the steering wheel.)", "Sgt. O'Riley: What's up?", "Nick: Oh ... gunshot wound to the head, point-blank range.", "Catherine: Just a baby.", "(CATHERINE snaps a photo of the body. She opens the back door and picks up the wallet to check it.)", "Catherine: Tap city. Empty.", "(Quick flashback to: The DRIVER gets into the car. As soon as the car door closes, the KILLER sits up and puts the gun to the back of his head.)", "Catherine: (V.O.) Killer was probably in the back seat waiting for him.", "(The KILLER shoots; blood spurts onto the windshield.)", "Catherine: (V.O.) Kid never stood a chance.", "(The KILLER reaches over for the wallet. Once he gets it, he pushes the dead body toward the steering wheel. White flash to: The KILLER removes the money from the wallet)", "(End of flashback. Resume to present.)", "(NICK examines the dead body and notices something stuck in his ear.)", "Nick: Check this out. Hearing aid?", "Catherine: Maybe he was deaf.", "Nick: Possibly.", "(NICK puts his flashlight down, then moves to the back seat behind the driver. He opens the door and notices the window.)", "Nick: Got some condensation on the window. You should get a shot of this.", "(CATHERINE pulls out a plastic bag under the back seat passenger side chair. She opens it and checks inside, then chuckles.)", "Catherine: You hungry, Nick? Got a burger. Extra lettuce.", "(CATHERINE takes out a stack of hundred dollar bills. It's wrapped with two rubber bands with a paper that reads:", "MONACO CASINO", "4D207-D5DF-304...", "550 000 STRAIGHT BET", "LAKER - 11", "TO WIN 550 000", "TOTAL 510 000", "576 TELLER #?", "26JAN01 **:25:42", "4D207-D5DF-3...", "Nick: A rule of thumb: $2,500 an inch. There's got to be ... fifteen thousand there?", "(CATHERINE looks at the paper label and reads.)", "Catherine: \"Giants ... negative nine.\"", "(Something sounds recognizable to NICK. He looks at CATHERINE and she hands over the money to NICK.)", "Nick: \"Giants minus nine.\"", "(NICK shows CATHERINE the ticket attached to the stack of bills.)", "Nick: It's a super bowl ticket. Straight bet-- $30,000.", "Catherine: What does a kid doing walking around with a wad like that betting thirty grand on a football game? Who wrote the ticket?", "(NICK pulls out the ticket and shows it to CATHERINE.)", "Nick: Teller 12.", "[SCENE_BREAK]", "[INT MONACO CASINO - NIGHT]", "(CATHERINE and NICK question TONY, TELLER 12.)", "Tony (teller 12): Yeah, I wrote the ticket. So what?", "Catherine: So, it was found with the kid killed in your parking lot.", "Tony (teller 12): Yeah. 30 dimes. It was 517's.", "Nick: 517? What's that?", "Tony (teller 12): That's his number. He was a runner.", "Catherine: A runner?", "Tony (teller 12): Yeah, a gofer -- runs from book to book places bets with other people's money.", "Catherine: Kid wasn't a day over sixteen. Isn't that illegal?", "Tony (teller 12): Lady, he's not buying a pack of cigarettes. He's betting $30,000. Vig for the house is three grand. We look the other way.", "Nick: I'd be willing to bet there's a mother out there that wishes you hadn't.", "Tony (teller 12): Hey, what do I care? I'm out of this job by the end of the week. Tired of looking at scumbags.", "Catherine: Well, does 517 have a name?", "Tony (teller 12): I only know them by their numbers.", "(NICK turns and walks away.)", "Catherine: (to TONY) Well, you've been very helpful. Thank you.", "[SCENE_BREAK]", "[EXT. WESTERN LAS VEGAS CORRECTIONAL FACILITY - NIGHT]", "(GRISSOM walks up to the gate.)", "Grissom: Evening.", "Officer: Here you go.", "(The GUARD opens the gate for him.)", "Grissom: Thanks.", "Inmate: Yo, Grissom!", "(GRISSOM turns and sees a guard leading a line of inmates for a walk in the fresh night air.)", "Inmate: (to other inmate) This guy's the reason I'm in here. Shoe print. (yells) Yo, man, next time I'll go barefoot!", "Grissom: (yells back, amused) Even better. Footprints.", "(GRISSOM turns to walk into the facility.)", "[SCENE_BREAK]", "[INT. PRISON - CONFERENCE ROOM -- NIGHT]", "(The guard leads FRANK DAMON to the cubicle where GRISSOM sits waiting for him. He picks up the telephone.)", "Frank Damon: So, you're the Grissom they wrote about in the newspaper? I thought you'd be older.", "Grissom: Why did you contact me, Mr. Damon?", "Frank Damon: Arson specialist gave me your name. Well, six of them, actually. They all turned my case down. Will you help me?", "Grissom: Fires are very complicated.", "Frank Damon: It wasn't too complicated for the guy who put me in here.", "(GRISSOM doesn't answer him right away. He looks at FRANK DAMON for a long moment.)", "Frank Damon: You think if you stare at me long enough, you can tell if I'm innocent?", "Grissom: I don't mean to stare ... but, yes, I can learn some things. For instance, the back of your hands are smooth. You read a lot. You have indentation marks on your nose from reading glasses. Your speech tells me that you're well-educated. Your occupation's not listed in the file, but I think that you had a white-collar job.", "Frank Damon: (nods) Paper-pusher for the phone company.", "Grissom: I don't know yet whether you're left- or right-handed, though.", "(FRANK instinctively pulls his right hand toward him. GRISSOM notices the movement.)", "Grissom: Now, you want to tell me what happened?", "Frank Damon: It was about midnight.", "(Quick flashback to: The night of the fire, FRANK leans in to kiss JEANNIE as she tucks the blanket around TOBY. FRANK straightens up.", "Frank Damon: Okay, baby.", "Frank Damon: (V.O.) My wife, Jeannie -- she was hungry. She had a food craving.", "(End of flashback. Resume to present.", "Frank Damon: She sent me out to the store to get her some ice cream.", "(Quick flashback to: The night of the fire, JEANNIE turns and lightly touches TOBY'S head as he lies in bed.)", "Frank Damon: (V.O.) My son, Toby, he was in the bed with us.", "(FRANK puts his coat on to leave.)", "Frank Damon: (V.O.) He couldn't sleep. I was going to take him camping the next day.", "(End of flashback. Resume to present.)", "Frank Damon: Toby was eight.", "Grissom: Why don't you tell me about the fire.", "(Quick flashback to: The night of the fire, the SUV pulls up into the driveway.)", "Frank Damon: (V.O.) I got back from the store in under 20 minutes.", "(He parks the car and sees the smoke rising from the house.)", "Frank Damon: (V.O.) I saw smoke coming out of the back of the house. I could hear the alarm.", "(He rushes into the house and runs to the bedroom.)", "Frank Damon: Jeannie!", "Frank Damon: (V.O.) The house was filled with smoke.", "Frank Damon: Jeannie!", "(FRANK reaches the bedroom door and sees the smoke coming out from under the opening.)", "Frank Damon: (V.O.) I checked the door for heat. I knew not to open it.", "(End of flashback. Resume to present.)", "Grissom: Why?", "Frank Damon: Flashover.", "(Surprised that FRANK even knows about \"flashovers\".)", "Grissom: Flashover?", "Frank Damon: That's right. When the fire reaches about 932 degrees Fahrenheit you add oxygen and the smoke will burst into flame. I know how fire behaves, Mr. Grissom, because I'm a volunteer fireman. I was hoping to make the department this Spring. So I couldn't open the door. I ran outside to my car to call a rig.", "Grissom: Well, if you're a volunteer fireman then you must be familiar with the use of accelerants.", "Frank Damon: Yes.", "Grissom: According to the report there were traces of gasoline found on the floor of your bedroom closet.", "Frank Damon: That's right, and I don't know how it got there. We didn't keep anything like that in the house.", "Grissom: Our homicide department has a credit card receipt for gasoline -- your receipt -- and there's no other suspects.", "(FRANK'S getting upset.)", "Frank Damon: I didn't burn down my house, Mr. Grissom. I bought the gasoline for the lawnmower and kept it in the garage. Now, if there was gasoline in our closet someone else put it there. Find them.", "Grissom: I don't chase criminals, Mr. Damon. I just evaluate evidence.", "(FRANK puts his hand up against the glass. GRISSOM glances at it and notices something.)", "Frank Damon: I need someone to believe me -- to figure this out.", "Grissom: How did you burn your hand, Mr. Damon?", "(FRANK puts his hand down.)", "Frank Damon: I don't remember.", "Grissom: People with third-degree burns don't forget how they got them.", "(FRANK takes a breath.)", "Frank Damon: You're not going to help me?", "Grissom: I'll take your case. I don't know whether I'll help you or not.", "[SCENE_BREAK]", "[EXT. DAMON RESIDENCE -- DAY]", "(The Tahoe pulls up to the drive. GRISSOM, SARA and WARRICK exit the vehicle and walk toward the house. They duck under the crime scene tape and look around.)", "[SCENE_BREAK]", "[INT. DAMON RESIDENCE - LIVING ROOM -- DAY -- CONTINUOUS]", "(The door opens and they walk inside. GRISSOM takes out his flashlight and looks at they damage. WARRICK starts snapping some photos.)", "Grissom: Nothing harder to investigate than arson. If the fire hasn't ruined your crime scene...", "Sara: ... The firemen have.", "Grissom: Yeah.", "Sara: Funny place for a mattress.", "Grissom: Overhaul. Post-blaze, firemen remove charred items to neutralize the hot spots. Prevents flare-ups.", "(WARRICK continues snapping photos. GRISSOM turns and heads down the hallway. He looks around. He and SARA pause in front of the little boy's bedroom.)", "[TOBY'S BEDROOM]", "(SARA steps inside and kneels in front of some packed gear on the floor.)", "Sara: Looks like the kid was going camping.", "(She puts her kit down and takes out some tweezers which she uses to reach into the backpack. She picks up a container of matches.)", "Sara: Waterproof matches.", "Grissom: Bag those.", "Warrick: What do you think? The kid might have started it?", "(GRISSOM doesn't say anything. He simply looks at WARRICK, who gets it instantly.)", "Warrick: (nods & sighs) We don't rule anything out.", "Grissom: Yeah.", "(SARA bags the matches.)", "[HALLWAY]", "(GRISSOM continues down the hallway and heads toward the end where the master bedroom is. WARRICK and SARA follow him. He looks around at the damaged room.)", "Grissom: The fire was contained inside this room ... but the outside door frame is severely charred.", "Warrick: Well, fires take the path of least resistance. I mean, they feed off of oxygen and combustibles.", "Grissom: We're going to take a piece of this back to the lab.", "Sara: It's a weird place for such a thorough burn especially since the door isn't scorched.", "Grissom: Huh.", "Sara: Look at this. Rubber?", "(GRISSOM kneels down to look at what's burned into the door knob. They all look at it.)", "Warrick: Firemen wear rubber gloves.", "(WARRICK snaps a photo.)", "(They walk into the bedroom.)", "[MASTER BEDROOM]", "Warrick: According to Ecklie's report, which was filed in record time, the point of origin for the fire was the closet. Gris, there's nothing left here.", "(GRISSOM looks at the closet.)", "Grissom: More than you think. \"V\" pattern on the outside wall. Fires like to go up and out.", "Sara: That's why you can always count on seeing a pattern.", "Grissom: This one's narrow. This was a very intense, rapidly moving fire.", "Warrick: Well, that confirms Ecklie's findings about the use of an accelerant.", "(WARRICK snaps a photo.)", "Grissom: The apex of the \"V\" usually indicates the point of origin. You want to call it, Warrick?", "Warrick: Damon doused the closet floor with gasoline, lit it and got the hell out of dodge.", "(GRISSOM sees something on the floor.)", "Grissom: Shards of glass.", "Sara: Bag a sample. I'll put it through the lab.", "(GRISSOM fingers the glass and can't move it. He looks up at SARA.)", "Grissom: Can't. It's melted into the concrete.", "(Quick CGI close up of the glass melted into the concrete.)", "Sara: So that's why the concrete's discolored? From the heat?", "Grissom: It's called \"spalling.\" It confirms the presence of an accelerant.", "Sara: Why would there be glass in the middle of the hot spot?", "Grissom: Good question.", "Warrick: Who cares? The guy torched his wife and kid.", "(GRISSOM turns to look at WARRICK.)", "Grissom: Really? Where's the trailing? An arsonist would spread the gasoline around to maximize the burn area.", "(After a moment, SARA concurs.)", "Sara: He still did the job.", "(GRISSOM stands up.)", "Grissom: Listen, you guys. You're like Dodger fans. The ball game's only in the seventh inning and you're already out of your seats.", "(GRISSOM walks past them.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(CATHERINE leads SANDRA HILLMAN into the room to identify the body. They walk up to the body. CATHERINE lowers the sheet.)", "Catherine: Mrs. Hillman? Is this your son?", "(SANDRA HILLMAN looks down at the body and inhales. She starts to cry silently.)", "(She nods.)", "(Watching her, CATHERINE isn't unaffected and starts crying also.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE AUTOPSY ROOM - DAY -- CONTINUOUS]", "(MRS. HILLMAN leans against the wall trying to compose herself. CATHERINE stands next to her.)", "Catherine: Mrs. Hillman? Was your son hearing-impaired? Joey was wearing a hearing aid.", "Sandra Hillman: (shakes her head) No. No, Joey's hearing was fine. Why would he have that?", "Catherine: (softly) I don't know.", "(She thinks about it for a moment, then something occurs to her.)", "Sandra Hillman: Wait a minute. (sighs) Danny ... swore to me he'd keep Joey out of that racket.", "Catherine: Danny?", "Sandra Hillman: My older son. He's a runner, too. They wear remote earpieces. That's how they talk to the guy they worked for. We've had full-scale wars about him doing that -- carrying around that kind of money-- but does he stop? No. He gets Joey involved.", "Catherine: Well, the police will want to talk to your son Danny.", "Sandra Hillman: I haven't seen him in a week. And he hasn't returned my calls.", "(She turns to CATHERINE.)", "Sandra Hillman: Do you think something's happened to him, too?", "(CATHERINE doesn't say anything.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GRISSOM, SARA and WARRICK walk through the hallway just returned from their visit to the house and carrying bags of evidence. They bump into CONRAD ECKLIE. GRISSOM sighs.)", "Conrad Ecklie: Grissom.", "Grissom: I'll see you guys in the evidence lab.", "Conrad Ecklie: Night shift so slow you've got to pick over my cases?", "GRISSOM I'm just making sure that we've answered all the questions. CONRAD ECKLIE Was it arson? Yes. No doubt about it. What accelerant was used? Let's see -- hydrocarbon residue, and a credit card receipt. Got to be gasoline.", "Grissom: Yeah? Why was there no trailing? And why no evidence of an incendiary device anywhere in the bedroom?", "Conrad Ecklie: He's a volunteer fireman, Gil. He knows how to start a fire and hide the evidence. Don't you think, if this guy was remotely innocent his attorney would be involved in your little investigation?", "Grissom: What are you so afraid of, Conrad? We're just a couple of science geeks. Why can't we work together?", "Conrad Ecklie: No, we are public servants. We investigate cases as efficiently as we can and then we move on. We're not a clearinghouse for defendants on the eve of trial who don't like what we've turned up.", "Grissom: Yes, we are -- if it's our mistake that put them there.", "(GRISSOM starts to walk past ECKLIE.)", "Conrad Ecklie: Fine. Spin your wheels.", "(He turns around and stops him.)", "Grissom: Hey, Eck? (smiles) What is the new policy on vacation days?", "(ECKLIE doesn't answer. He shakes his head and they walk on.)", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM -- DAY]", "(CATHERINE and NICK talk with WARRICK about \"runners\". WARRICK takes off his jacket.)", "Warrick: Runners, huh? I know a little something about that world.", "Nick: Yeah, we thought you might. So?", "Warrick: It breaks down like this. There's about a half a dozen runners in town -- they're mostly kids -- and they make about two \"g's\" a week. And they all work for the same guy.", "Catherine: Well, that's more than a little something.", "(WARRICK puts his shirt in his locker.)", "Warrick: I used to be a runner in college. It paid the bills. I had route five. Worked Boulder, Sunset, Vacation, and the bay -- all of that.", "Catherine: So, who was your boss then?", "Warrick: The Voice.", "(WARRICK takes out a shirt and puts it on.)", "Nick: He didn't have a name?", "WARRICK; Runners go from bet to bet, they jot down their orders and they call them in to \"The Voice.\" Guy runs the entire operation underground. I mean, he takes orders from Back East and lays them off in Vegas. Pockets his vig, his commission. He's like a trader on the stock exchange.", "(WARRICK'S pager beeps. He checks it.)", "Warrick: I knew it. That's Grissom. I got to bail.", "(WARRICK closes his locker, then heads for the door.)", "Nick: So ... how do we find this, uh ... \"Voice\"?", "Warrick: You don't. He's not who you're looking for anyway. If you want to know who capped this kid? Then you should talk to another runner. I mean, they'll kill each other for a good route.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is in the lab conducting an experiment. SARA walks in and leans over to see what GRISSOM has under the hood.)", "Grissom: Uh... you might want to take three giant steps backward.", "(SARA straightens and backs away.)", "Warrick: What's going on?", "Sara: Danger, Will Robinson.", "Grissom: Three drops of gasoline, limited oxygen supply heat to ignition temperature of 932 degrees Fahrenheit.", "Warrick: Same conditions in Damon's bedroom, night of the fire.", "(The mouth of the flask flashes and a small explosion sounds.)", "Grissom: Smoke to fire.", "(WARRICK takes a seat.)", "Warrick: Flashover. So, that confirms the first part of Damon's story.", "Grissom: Tell me you're here to confirm part two.", "Sara: As a matter of fact, here is your doorframe. I had Collins analyze the burn depth. You see these rolling blisters?", "Grissom: It's called alligatoring. See the way the wood's cracked? It looks like the skin of an alligator.", "Sara: Based on the depth of the allir... allo...", "Warrick: \"Alligatoring\".", "(SARA nods to WARRICK.)", "Sara: This wood burned very hot and very fast.", "Grissom: Use of accelerant?", "Sara: Negative.", "Warrick: But that piece was a doorframe outside of the bedroom -- which was a contained site.", "Grissom: So, the only way this could've happened was ... O2.", "(Quick flashback to: The night of the fire, camera close up of the smoke escaping from under the door opening. It's rolling out, then rolls back under. The house alarm is beeping.)", "(DAMON is standing in front of the door and opens it automatically. The flashover causes him to fall back into the hallway.)", "(End of flashback. Resume to present.)", "Grissom: Damon opened the door. (beat) He lied.", "(GRISSOM takes off his glasses.)", "Warrick: So what happens now?", "Grissom: We chase the lie ... 'til it leads to the truth.", "[SCENE_BREAK]", "[INT. PRISON - HALLWAY -- DAY]", "(GRISSOM makes his way down the hallway. At the end of the hallway, FRANK DAMON is sitting on a bench, talking with RACHEL. FRANK sees GRISSOM walking up to them and stands up. He gives RACHEL a hug and she leaves.)", "(GRISSOM notices her as they pass each other. He looks up at FRANK.)", "(They both sit down.)", "Frank Damon: That's my sister. She's the only one who stood by me in all this.", "Grissom: Anything else you want to tell me?", "Frank Damon: What, about my sister?", "Grissom: About the fire.", "Frank Damon: I ... told you everything.", "Grissom: Your bedroom doorframe disagrees. If no one opened the door ... the outside frame would not have burned. As a firefighter you know that.", "(He looks down and doesn't say anything.)", "Grissom: May I see your hand, please? Palm up.", "(FRANK opens his palm to show GRISSOM the burns. GRISSOM takes out a door knob.)", "Grissom: This is the same type of doorknob that you have on your bedroom door.", "(GRISSOM puts the door knob in FRANK'S palm. FRANK grabs the doorknob and starts crying.)", "Grissom: Mr. Damon ...", "Frank Damon: Please ... I don't want anyone to know.", "Grissom: Why? This places you outside of the fire. You're facing the death penalty. Why are you lying?", "Frank Damon: (ashamed) I'm a firefighter. And when my wife and my son needed me ... I forgot everything.", "(Quick flashback to: The night of the fire, FRANK rushes in to the hallway heading straight for the master bedroom all the while calling for JEANNIE.)", "Frank Damon: (V.O.) I didn't check for heat.", "Frank Damon: Jeannie!", "Frank Damon: (V.O.) I didn't look for smoke.", "(FRANK bumps into the door, then turns down the hallway to the end of the hall and reaches for the doorknob.)", "Frank Damon: (V.O.) All I could think about was getting them out. So I opened the door. I let a monster out.", "(As soon as he opens the door, the smoke explodes into fire. It pushes him back through the hallway.)", "Frank Damon: (V.O.) I could just about make them out through the flame.", "Frank Damon: Jeannie! Jeannie!", "Frank Damon: (V.O.) But I... I couldn't get to them!", "(End of flashback. Resume to present.)", "Grissom: What else?", "Frank Damon: I had to close the door. The whole house would've gone up and the firemen would have never reached them. (He starts crying.) I killed my family.", "Grissom: Carbon monoxide killed them long before the fire got to them. You know that.", "(He shakes his head.)", "Frank Damon: It doesn't matter what I know. My family died because I wasn't there to protect them.", "Grissom: You tried to save your family, but that doesn't mean that you didn't start the fire. Are you lying about that, too?", "Frank Damon: (he stops crying) You tell me.", "Grissom: I will.", "[SCENE_BREAK]", "[INT. MONACO CASINO - MAIN FLOOR]", "(NICK and CATHERINE are back interviewing TONY.)", "Tony (teller 12): Hey, you didn't hear this from me, all right? But, um ... see the guy over there -- blue sweatshirt with the orange hood?", "Nick: Yeah.", "(They turn and see the kid sitting down at the table talking to no one ... and laughing.)", "Tony (teller 12): 702. He's a runner. He used to hang with 517-- the kid who was killed.", "Nick: He's not talking to himself, is he?", "Tony (teller 12): Talking to his boss on a wire.", "Catherine: It's illegal to use two-way communication in the sportsbook.", "Tony (teller 12): As long as you don't get caught. I got to get back to work.", "(TONY leaves. NICK and CATHERINE head over toward 702.)", "702: (to mic) Lakers are minus 11. Total is 189. Yeah. Bulls pick. Kings are down to nine from 11. (pauses and listens to the instructions over the earpiece) Done.", "(702 stands up and heads for the cage. He puts a betting piece down.)", "702: Lakers. $50,000. Gimme as much at eleven as you can.", "(CATHERINE and NICK walk up to 702.)", "Catherine: You like the Lakers today?", "Cage: Here you go.", "(The CAGE hands 702 his ticket. 702 picks it up and turns to look at CATHERINE.)", "Catherine: So do I.", "702: Yeah, Joey Hillman, 517. Yeah, he was a good kid. It's too bad about him getting shot.", "Nick: Yeah, I guess all the runners heard about it by now, huh?", "702: I guess.", "CATHERINE; So, who got Joey's route?", "702: I don't know. The only thing I know is my own route.", "Nick: What was Joey's route, exactly?", "702: You guys are asking a lot questions here for not being cops, huh?", "Nick: Are you interested in helping us better understand Joey's crime scene, or ... not?", "702: I only know what I see on the news. (chuckles, then stands) Later.", "(702 leaves.)", "[SCENE_BREAK]", "[INT. DAMON RESIDENCE - LIVING ROOM -- DAY]", "(Wearing a face mask, WARRICK kneels down to look at the damage inside the bedroom.)", "(Someone approaches him from behind. WARRICK is too engrossed in the scene in front of him to notice. The person walks up closer, then makes a sound. WARRICK gasps, jumps, turns and holds up his flashlight.)", "(GRISSOM also holds up his flashlight on WARRICK.)", "Warrick: You got me.", "Grissom: Sorry. What are you doing here?", "Warrick: Sifting through this debris.", "(GRISSOM still holds the flashlight on WARRICK.)", "Warrick: You mind?", "(He moves his flashlight from WARRICK'S face.)", "Grissom: No.", "Warrick: Give me a hand with this mattress.", "(GRISSOM and WARRICK move the mattress. Underneath, they find something.)", "GRISSOM Space heater. Janko electric, model ... ... 220.", "Warrick: Or it was. I figure it must have burned up in the bedroom and the firemen threw it out here with the rest of this overhaul.", "Grissom: This is heavy-duty, high voltage. This thing could heat our whole lab.", "Warrick: Or overload a house.", "(At that suggestion, GRISSOM realizes.)", "Warrick: (nods) Breaker box.", "[SCENE_BREAK]", "[INT. DAMON RESIDENCE - BASEMENT - DAY -- CONTINUOUS]", "(They open the breaker box and look inside.)", "Warrick: Circuit overload. Master bedroom.", "Grissom: You know what to do next?", "Warrick: Yeah.", "[SCENE_BREAK]", "[INT. DAMON RESIDENCE - MASTER BEDROOM - DAY -- CONTINUOUS]", "(WARRICK uses a power drill and cuts out the remains of the overloaded plug in the bedroom.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- DAY]", "(CATHERINE speaks with the LAB TECH, L. COLLINS.)", "Collins: The condensation inside Joey's back seat window is nasal mucus.", "Catherine: From a sneeze.", "Collins: Most likely. You're thinking ... the shooter was in the back seat?", "Catherine: Mm-hmm, with the sniffles.", "Collins: Mm-hmm.", "Catherine: So what is the DNA like in mucus these days?", "Collins: It's pretty good. I'll start a DNA profile.", "Catherine: Thanks.", "(Behind her, DAVID PHILLIPS calls out to CATHERINE.)", "David Phillips: Catherine?", "(She turns around.)", "Catherine: Oh, hi, David. What's up?", "David Phillips: There's someone waiting for you in reception.", "[SCENE_BREAK]", "[INT. CSI - RECEPTION - DAY -- CONTINUOUS]", "(CATHERINE walks over to find SGT. O'RILEY with SANDRA HILLMAN and her son, DANNY.)", "Catherine: Detective?", "Sgt. O'Riley: She came in with her son. Thought you'd like a conversation before we sat down with him.", "Catherine: Yeah, thanks. Did you call Nick?", "Sgt. O'Riley: Yeah.", "(She steps forward.)", "Sandra Hillman: Uh ... (to DANNY) Come on. (to CATHERINE) This is my son Danny. He heard about Joey and came home.", "[SCENE_BREAK]", "[INT. CSI - INTERVIEW ROOM -- DAY]", "(CATHERINE, NICK along with SGT. O'RILEY questionsDANNY HILLMAN.)", "Danny Hillman: So I took some of my runner money and I hit the blackjack tables. I lost ... so I doubled up. I ended up losing thirty grand in eight minutes.", "Catherine: Well, I can see why you ran.", "Danny Hillman: I was scared. You know, it wasn't my money.", "Nick: Did you think to get back to your boss? Try to make amends?", "Catherine: You guys don't even know who your boss is, do you?", "Nick: Did you tell Joey to get out of town-that someone might try to harm him on behalf of your boss?", "Danny Hillman: I should have. But, no ... I only worried about my butt. They killed Joey to send a message to me. Mom, I'm sorry. I didn't know.", "Catherine: Danny ... do you have any idea who shot your brother?", "Danny Hillman: One of the runners. Probably a guy ...", "Sandra Hillman: No! No. No names.", "Danny Hillman: One of them killed Joey. You know, they'll do anything for money. It's like a-a disease.", "Sandra Hillman: And if you talk, they'll come after you. (to CATHERINE) No. No, I'm not losing another child.", "Danny Hillman: Joey died because of me. Either they find his shooter, or I do.", "Nick: Whoa, whoa! Hold on, now. Nobody's going after anybody. Okay, he doesn't have to give us a name, Mrs. Hillman. Alright. Danny, you wear an earpiece, right? Just give us the frequency your runners operate on.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM works on the wiring from the wall socket. CONRAD ECKLIE passes by in the hallway, turns and sees GRISSOM. He lingers in the doorway.)", "Conrad Ecklie: What the hell are you doing?", "Grissom: Something you probably should have done.", "Conrad Ecklie: (scoffs) You're checking for faulty wiring? Waste of time, Gil. Fire started on the floor in the closet not in the wires in the wall.", "Grissom: Yeah, that was your report. This is an electrical socket from the closet where a space heater was plugged in.", "Conrad Ecklie: A heater? There was no heater there.", "Grissom: I found it in the living room, melted.", "Conrad Ecklie: And I suppose you happen to know which outlet it was plugged into?", "Grissom: It was a cold night. The outlet in the closet was closest to her bed.", "Conrad Ecklie: That's a little far-fetched, don't you think?", "Grissom: Look ... if this wire burned from the inside out then the fire started in the wall not on the closet floor.", "Grissom: Discoloration throughout the conductor. It burned from the inside out. The cause of this fire was an electrical overload in the wall.", "Conrad Ecklie: All right, you say wall, I say floor. We differ on points of origin. The jury's only going to hear one word: Gasoline.", "Grissom: Speaking of which ... where's your accelerant analysis work?", "Conrad Ecklie: I personally swabbed the closet floor. Found traces of hydrocarbon chains confirming gasoline. Leave it alone, Gil. The DA agrees with me on this.", "Grissom: Too many unanswered questions, Conrad. This case should not be going to trial yet.", "Conrad Ecklie: No, there's only one unanswered question. Why was there accelerant in the closet? Only one person knows. And that's why he's looking at the death penalty.", "(ECKLIE leaves the lab.)", "[SCENE_BREAK]", "[INT. PRISON - INTERVIEW ROOM -- DAY]", "(GRISSOM questions FRANK DAMON again.)", "Frank Damon: Look, I told you ... I don't know why it was there.", "Grissom: You've got to do better than that.", "(Frustrated, FRANK gets to his feet.)", "Frank Damon: (frustrated) I can't!", "Grissom: It doesn't prove you didn't start it. Until we can explain why there was gasoline in the bedroom closet the charges stand.", "(FRANK turns to look at GRISSOM.)", "Frank Damon: Then I guess I'm a dead man.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(SGT. O'RILEY lines up a group of young men in a row out in the hallway.)", "702: Hey, this is bull. I thought I was showing up to win a trip.", "Catherine: Oh, one of you is going to win a trip, all right. Everybody clear this is voluntary?", "702: Yeah, sure. Then she just calls the cops to come and arrest us.", "Catherine: So everyone is clear.", "(CATHERINE looks at the men in the line-up. No one says anything. CATHERINE turns around to look at NICK, who immediately agrees with her.)", "Nick: Yeah.", "Catherine: Yeah.", "Nick: Okay ... here's what we're going to do. Open your nostrils.", "702: (laughs) You know, look, I got a hundred bucks that says none of us are the shooter.", "Catherine: Well, if you're that confident it's not one of your guys you must know who it is.", "702: Even if I did, you think I would tell you?", "Nick: You're on cool breeze. A hundred bucks.", "702 (smiles) Okay.", "(NICK takes the sample. CATHERINE walks to the other end of the line and stares up at the young man.)", "Catherine: Head back.", "(Cut to: Close up of a scissors snipping off the end of the swab. The swab is put into sample with a sicker label \"702\" next to it are glass containers for 318, 526, and 431.)", "(The swab is processed and tested.)", "(The results are printed.)", "(NICK reads the results and sighs. He hands the results back to the LAB TECH.)", "[SCENE_BREAK]", "[INT. HALLWAY - DAY -- CONTINUOUS]", "(NICK walks out into the hallway.)", "Catherine: Okay. You're all free to go.", "Nick: This way, gents.", "(The runners turn to leave the hallway. 702 turns to look at NICK.)", "702: You owe me a c-note, baby.", "Nick: Yeah. I don't have it on me. I'll have to bring it to you.", "702: Okay. I'll be holding my breath.", "Nick: Mm-hmm.", "(NICK takes off his gloves, turns to look at CATHERINE, then holds out his hands in front of him fingers wide and growls.)", "(He walks away. CATHERINE remains in the hallway looking at the runners.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM sits and desolately counts the waterproof matches found in TOBY'S backpack.)", "Sara: (o.s.) Counting matches?", "(GRISSOM looks up to see SARA lingering in the doorway.", "Grissom: Yeah.", "(SARA walks into the office and stands in front of his desk.)", "Grissom: From the kid's room. I counted them yesterday. And I counted them this morning. Twenty. They're all there. I really don't know what I'm doing anymore.", "Sara: I got a theory. You want to hear it?", "(GRISSOM looks up at SARA.)", "Grissom: Sure.", "(She sits down.)", "Sara: You know the melted shards of glass we found on the closet floor? They prove that the fire burned at over a thousand degrees, right? But that temp, combined with the water used to douse the flames would have destroyed most of the accelerant.", "Grissom: That's what happens.", "(WARRICK walks into the office.)", "Sara: So, Ecklie's conclusion of gasoline wasn't based on any physical evidence. It was based on Damon's credit card receipts.", "Grissom: (shakes his head) I can't fault him for that. The burn pattern is consistent with a gasoline accelerant.", "Sara: But, hydrocarbons are found in all kinds of things: Oils ... kerosene, polyethylene-based compounds like laxatives-- even the foam used in push-up bras.", "Warrick: Yeah. Under the right conditions, any hydrocarbon can be an accelerant.", "(This perks GRISSOM up as he now has something to go on. He looks at SARA.)", "Grissom: Thank you. (to WARRICK) Warrick, you're driving.", "(SARA smiles back at GRISSOM. They both stand up.)", "Warrick: You ever worry about professional suicide?", "(He looks at WARRICK and answers brightly while shaking his head.)", "Grissom: Not while I'm committing it, no.", "(They turn to leave the room.)", "[SCENE_BREAK]", "[EXT. DAMON'S RESIDENCE - STREET -- DAY]", "(The Tahoe pulls up the side of the street and stops. They notice the large white van parked in the driveway and the clean-up crew taking out the items from the house. They watch as they move the burned mattress.)", "Sara: Crime scene cleanup.", "(GRISSOM whacks WARRICK'S arm to get his attention.)", "Grissom: (angry) Let's go.", "(They drive off.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(GRISSOM charges in through the hallway looking for ECKLIE. He walks into the break room. WARRICK follows behind him.)", "Grissom: You son of a bitch. You swept my crime scene. You sent cleanup!", "Conrad Ecklie: I didn't send anyone. It's been on the books for months.", "Grissom: So you knew, and did nothing about it even with a man's life on the line?", "Conrad Ecklie: If you'd have checked the docket like everybody else you would've known what was happening. Coffee?", "(ECKLIE holds out the coffee pot and GRISSOM, being angry as he is, knocks the pot clear across the room where the carafe flies across the way, crashes and shatters into the wall. Broken glass mixed with hot coffee drips along the sides.)", "Conrad Ecklie: Guess you don't want cream with that.", "(ECKLIE leaves the break room. WARRICK turns and watches him leave. GRISSOM stands there and stares at the broken carafe, something stirring at the back of his mind.)", "(GRISSOM takes a step forward toward the broken glass and liquid, this appears to be very familiar to him.)", "(Quick flashback to: Extreme close up of the melted glass in the closet floor. End of flashback. Resume to present.)", "(Camera close up of the broken glass and the hot coffee on the floor. GRISSOM makes the connection.)", "Grissom: Thanks, Ecklie.", "[SCENE_BREAK]", "[INT. PRISON - HALLWAY -- DAY]", "(RACHEL walks down the hallway after visiting with FRANK. GRISSOM makes his way through the hallway on his way toward FRANK. He looks up and sees her.)", "Grissom: Hi.", "Rachel: Hi.", "(GRISSOM turns around and stops her.)", "Grissom: Excuse me. My name's Gil Grissom.", "Rachel: I know. You're helping Frank. Thank you.", "(She turns to leave; GRISSOM stops her again.)", "Grissom: May I ask you a question?", "Rachel: Sure. Anything to help Frank.", "Grissom: You're his family. What was his relationship like with his wife and son?", "(She smiles.)", "Rachel: Frank was a wonderful father. Toby adored him. (She stops and excuses herself.) Uh, I'm sorry. I, um ... I have to get back to work. But thank you.", "(She leaves. GRISSOM watches her go for a moment before heading back to see FRANK.)", "[SCENE_BREAK]", "[INT. PRISON - INTERVIEW ROOM - DAY -- CONTINUOUS]", "(GRISSOM speaks with FRANK through the pexiglass.)", "Grissom: I broke a coffee pot today. Lost my temper. Anything like that ever happen to you?", "(FRANK doesn't say anything.)", "Grissom: We found shards of melted glass on the floor of your closet. You want to tell me about it?", "(FRANK still doesn't say anything.)", "Grissom: Okay, you can explain it in court. It's all part of the report now.", "(GRISSOM hangs up. FRANK looks startled and taps on the glass. He motions for GRISSOM to pick up the phone.)", "(GRISSOM picks it up.)", "Frank Damon: I didn't leave that night to buy ice cream. I was leaving Jeannie.", "(Quick flashback to: The night of the fire, FRANK stands in front of the closet, yelling at JEANNIE as he throws his clothes into a bag.)", "Frank Damon: I warned you.", "Jeannie Damon: Just a few things.", "Frank Damon: You can have the damn stuff! I told you this was the last time.", "Jeannie Damon: You going to leave us now?", "(He grabs more clothes out of the closet.)", "Frank Damon: I'm leaving. I'm leaving. I'm leaving. You can be broke by yourself!", "(JEANNIE turns and grabs some stuff of the bed side table.)", "Jeannie Damon: You want to leave? Fine!", "(She throws the things at FRANK. He ducks, but they hit him.)", "Jeannie Damon: Okay! Get out!", "Frank Damon: What the hell are you doing?", "Jeannie Damon: Get out!", "(End of flashback. Resume to present.)", "Frank Damon: So I just got the hell out of there. Drove for about twenty minutes and then thought, how could I end ten years of our life like that? I mean, we had a son, so I turned around.", "Grissom: Wait a minute. Go back. What did she throw at you? Be specific.", "Frank Damon: (chuckles) Man, I just ducked and covered. I don't remember.", "Grissom: Think.", "Frank Damon: Uh ... a-a phone. A-a bag. Uh, a vase maybe?", "Grissom: What kind of a vase?", "Frank Damon: A flower vase? I don't remember any flowers.", "Grissom: Was it even a vase?", "Frank Damon: Look, I don't know. I can't remember.", "Grissom: (persistent) Was it glass? Could it have been glass?", "Frank Damon: Yes. It was glass. It was a glass lamp, because it had a wick.", "(Quick flashback to: The night of the fire, FRANK and JEANNIE argue. She throws things at him.)", "Jeannie Damon: Get out!", "Frank Damon: What the hell are you doing?", "Jeannie Damon: Get out!", "(She turns and grabs the glass lamp off of the night table.)", "Frank Damon: I'm leaving!", "Jeannie Damon: Just get out!", "(With both hands, she throws the lamp at FRANK. It misses him and shatters against the wall near the plug.)", "(End of flashback. Resume to present.)", "Grissom: Like a kerosene lamp?", "Frank Damon: Yeah. She bought a lamp like that.", "Grissom: I found kerosene on the floor of your closet.", "(Quick flashback to: Camera close up of the shattered kerosene lamp on the floor in the liquid. Camera moves slowly up toward the plug.)", "Grissom: (V.O.) The space heater overloaded the circuit causing a spark to ignite the kerosene.", "(The plug sparks and shorts out leaving a black scorch mark on the plastic.)", "(End of flashback. Resume to present.)", "Frank Damon: Can you prove it? In court?", "Grissom: (nods confidently) The evidence can.", "[SCENE_BREAK]", "[INT. MONACO CASINO - MAIN FLOOR -- DAY]", "(NICK crosses the main floor looking for runner 702. He walks up to the teller.)", "Nick: Hey, how you doing?", "Tony (teller 12): Hey. Who do you want?", "Nick: The runner ... um, 702.", "(NICK holds up the bill.)", "Nick: (smiles) I owe him a little cash.", "Tony (teller 12): This isn't the only place he hangs out but if you want me to give it to him ...", "Nick: Um ... you have an envelope I could use?", "Tony (teller 12): Yeah.", "(TONY reaches behind the counter to get the envelope. As he reaches over, NICK notices the watch on his left hand.)", "(TONY sniffles, then puts the envelope on the counter for NICK.)", "Nick: Nice watch.", "Tony (teller 12): Thanks.", "Nick: (curious) Thought you were getting out of this business.", "Tony (teller 12): Yeah, uh ...", "(TONY rubs his nose and sniffles again.)", "Tony (teller 12): it's my last day. Got a new job.", "Nick: (nods) Later.", "Tony (teller 12): Yeah.", "(NICK turns around to leave just as TONY sneezes. NICK stops and slowly turns around to look at TONY.)", "(TONY raises his eyes and looks at NICK.)", "(Quick flashback to: The night of the murder, JOEY HILLMAN gets into his car. He shuts the door. White flash to: TONY sits up in the seat behind JOEY, raises the gun at the back of his head and fires. Blood spurts on the front glass.)", "(TONY pushes JOEY forward against the steering wheel and takes the money.)", "Tony (teller 12): You're out of business, Joey.", "(TONY opens the door and steps out of the car. He sneezes onto the glass.)", "(End of flashback. Resume to present.)", "Nick: New job, huh? Joey's old route? (steps toward TONY) Did you get so scared when you shot him that you forgot the money?", "Tony (teller 12): I want a lawyer.", "Nick: Well, you better get one that knows forensics ... (NICK runs his finger against the glass.) ... 'cause we got you. (to radio) Dispatch, victor 19. Code 462 on the 4-20 suspect Monaco.", "[SCENE_BREAK]", "[EXT. PRISON -- DAY]", "(The GUARD opens the exterior wire gate just as FRANK DAMON walks through the interior wire gate. FRANK walks outside.)", "(Leaning against the Tahoe parked in front of the gate is GRISSOM. FRANK walks up to GRISSOM.)", "Grissom: Thought you might need a ride.", "Frank Damon: (smiles) Thanks. (then points to the side where RACHEL gets out of the parked car - license #EPI-523) ... I'm okay.", "(GRISSOM turns to look at FRANK.)", "Grissom: Your sister. Who is she?", "Frank Damon: Would you have helped me if I told you that my wife and I fought that night that I was leaving her for another woman? For Rachel?", "Grissom: I don't judge people.", "Frank Damon: It's funny. When I got out, I thought I'd feel ... (sighs) ... free.", "Grissom: And ... ?", "Frank Damon: I feel ...", "Grissom: ... responsible?", "(FRANK doesn't say anything and nods. He turns and heads for RACHEL. GRISSOM stands on the side as he watches them hug each other. FRANK picks RACHEL up in his arms and slowly swings her around.)" ]

[ "Grissom, Sara and Warrick investigate when a bomb goes off in a Vegas office building, killing a security guard. The prime suspect is the other security guard, who is over-helpful and also has the knowledge to make a bomb. After Nick spends the night with Kristy Hopkins, she is found strangled to death. With his DNA and fingerprints on the scene and Ecklie on the case, Nick's career is on the line." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY]", "[SCENE_BREAK]", "[INT. HANSEN BUSINESS BUILDING -- SUNSET]", "(DOMINIC KRETZKER walks down the stairs and greets the employees as they walk up to the second floor.)", "Dominic Kretzker: Hi, Renee.", "Renee: Hi.", "Dominic Kretzker: Good afternoon, Mr. Ribero. How's the golf?", "Mr. Ribero: Fine. How are you?", "(DOMINIC reaches the first floor and stops to help a woman.)", "Dominic Kretzker: Hi. You look lost.", "(He looks at the piece of paper she's carrying and points her in the right direction.)", "Dominic Kretzker: Okay, the stairs are all the way back to the left and the Real Estate Office is at the end of the hall.", "(The woman looks at him and nods.)", "Dominic Kretzker: Okay? Bye.", "(DOMINIC stands in the middle of the lobby and sees NICOLE walk in carrying a large vase of flowers.)", "Dominic Kretzker: Hello. Oh! Those for me?", "Nicole: Hi, Dominic. Sign here.", "Dominic Kretzker: Okay. (he signs.) I'll tell you, though this is going to be worth a lot of money someday.", "(He hands her back her pad. She hands him the flowers.)", "Nicole: I know, Elvis.", "Dominic: Okay.", "Nicole: See you.", "Dominic: Okay, bye-bye.", "(NICOLE leaves; JAKE RICHARDS walks up to DOMINIC.)", "Jake Richards: Domino, it's your turn to pick up dinner.", "Dominic: Okay, Jake-O. Listen, uh, this goes to Cooley Real Estate. (JAKE takes the flowers.) That's on two, all right? And the Fed Ex is running a little bit late on the pickup. (DOMINIC glances down at his watch.) I'll be back in ... hmm, about ten minutes, all right?", "Jake Richards: You got it.", "Dominic Kretzker: All right, buddy.", "(DOMINIC leaves. JAKE takes the flowers and puts it on the counter. He glances up at the wall clock which reads 6:02. He then glances down and notices a ticking sound.)", "(He looks over at the stack of boxes and things on the counter. He finally peers around the side of the counter and sees the briefcase sitting on the floor. The ticking sound comes from the briefcase.)", "(Camera goes into slow motion. JAKE RICHARDS reaches for the briefcase. Everything and everyone slows down to a complete and silent halt.)", "(It explodes.)", "(JAKE is flung up and backwards as fire and smoke takes out a good portion of the lobby.)", "[SCENE_BREAK]", "[EXT. HANSEN BUSINESS BUILDING -- NIGHT]", "(GRISSOM and CATHERINE walk through the police vehicles and activity outside as they make their way to the crime scene.)", "Catherine: Oh, these fire guys really know how to trash a crime scene.", "Grissom: That's what they do. Put wet stuff on the red stuff.", "(GRISSOM and CATHERINE meet up with BRASS in the front of what used to be the doors to the building. BRASS fills them in.)", "Brass: We're all clear to go in, but here's what we got. Couple of head wounds. Elderly guy had his arm torn off. The only fatality so far is Jake Richards, a security guard. Body's still inside.", "[INT. HANSEN BUILDING - NIGHT - CONTINUOUS]", "(GRISSOM and CATHERINE turn their flashlights on as they walk through the lobby. BRASS stands aside and looks around.)", "Brass: How big you think this bomb was?", "Catherine: It's not the size of the bomb. It's the overpressure in the air around it.", "(They make their way toward the body. BRASS reaches it first and kneels down beside it. GRISSOM and CATHERINE both put their kits down as they look at the body.)", "Grissom: The Van Gogh effect. In stereo. Both ears gone.", "Catherine: A perfectly symmetrical amputation. Means he was looking directly at the bomb when it went off.", "Grissom: So either it drew his attention or it was contained in something that seemed benign.", "(GRISSOM continues to look at the body. CATHERINE looks up and around.)", "Grissom: (sniffs) Smell the sulfur?", "Catherine: Uh-huh. [translation: yes]", "Grissom: Got your lighter, Jim?", "Brass: Sure.", "(GRISSOM takes a small sample scraping of the black stuff on the body.)", "Grissom: (to BRASS) Light this.", "(The black powder on the knife explodes.)", "Catherine: Gunpowder.", "Grissom: Well, we know the propellant. So would you care to make a preliminary call on this?", "Catherine: I'd love to.", "(CATHERINE stands up and moves to where the suitcase was on the floor indicated by the markings.)", "Catherine: Seat of the bomb is here. Victim was thrown ... three meters. His clothes are torn but not burnt, indicating a low-velocity propellant -- 6,000- 7,000 feet per second. Who? Why? Will he do it again?", "(She shrugs.)", "Catherine: Time will tell.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT./INT. HANSEN BUILDING - PARKING LOT -- NIGHT]", "(Sirens wail in the background as emergency personnel continue to assist and sort through the damage.)", "(Inside, GRISSOM looks around the floor among the debris.)", "Grissom: The dirty little secret of bombs is how easy they are to make and use.", "(Standing off to the side are WARRICK, SARA and CATHERINE.)", "Grissom: (continued) Our murder weapon's here someplace in a thousand pieces.", "(GRISSOM looks at the flowers that were delivered just before the explosion on the ground.)", "Grissom: (continued) We have to find it and put it back together again.", "Warrick: Where do we start?", "Grissom: If it's not growing pick it up. We cart everything we find back to the lab.", "Sara: And then what?", "Grissom: Stay curious.", "(GRISSOM turns back to look through the debris. SARA stares at him for a moment still unsure of exactly what they're doing, then turns to look at CATHERINE.)", "Sara: Can you fill in the blanks?", "Catherine: Bombs explode. Weird thing is their components survive the explosion. If we can piece together this bomb, we're closer to finding who did this. So, Warrick, when you're photographing this debris can you, uh ... ?", "Warrick: Uh, I know -- looky-loos.", "[SCENE_BREAK]", "[EXT. HANSEN BUILDING - NIGHT - CONTINUOUS]", "(Various shots of the on-lookers. WARRICK crosses under the crime scene tape and starts taking pictures of the observers.)", "[INT. HANSEN BUILDING - NIGHT - CONTINUOUS]", "(Using a magnetic device, CATHERINE starts gathering the minute pieces of metal in the debris.)", "(Cut to: SARA picks up a piece of metal and looks at it. She bags it.)", "(Cut to: WARRICK looks at the damage to the lobby wall. The clock on the wall reads: 6:02.)", "WHITE FLASH TO:", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. STRIP HOTEL/CASINO - THE ORPHEUS - NIGHT]", "(NICK and his friend, ERIC, walk through the hotel toward the front door.)", "Eric: Come on, Nick. It's my last night in Sin City. One more drink, man.", "Nick: Oh, no. I just pulled a double and I still have to file my shift report.", "(NICK hands the valet his ticket.)", "Eric: Hey, you're off the clock. You'd have never passed up a wild night back at A&M.", "Nick: Well, I guess I grew up.", "Eric: Too bad. Check that out.", "(ERIC indicates the two women walking down the sidewalk toward the building. He looks at them as they walk inside. They look at him as they walk by.)", "Nick: Enjoy.", "(They shake hands.)", "Eric: You must really love your job, man.", "(ERIC turns and round and calls out to the two women who just walked by. They turn around as he approaches them.)", "Eric: Ladies ...", "(NICK chuckles, then turns to leave. The valet brings NICK'S car up to the drive. NICK reaches into his pocket for the tip and walks over to the driver's side.)", "Nick: Here you go. Thanks, man.", "Valet: Thank you.", "(NICK is just about to get into the car, when he hears a disturbance off in the distance.)", "Kristy Hopkins: (o.s.) Get your hands off me! Let go of me. You don't own me. Nobody does.", "Jack Willman: (o.s.) You're not going anywhere. You got that?", "(NICK looks up and sees KRISTY HOPKINS arguing with a man who has his hand grasping her upper arm.)", "Jack Willman: Come on. Relax a little bit. Settle down.", "(NICK heads over to them.)", "Nick: Kristy?", "Kristy Hopkins: You don't own me, Jack.", "(NICK starts to cross the street.)", "Nick: Kristy!", "Kristy Hopkins: Nobody does.", "Jack Willman: I know, I know.", "(NICK finally reaches them and stops a distance away from them. He gets their attention.)", "Nick: Hey. Back off.", "Jack: Hey, just mind your own business.", "Kristy Hopkins: (pleading) Nick.", "(JACK tries to shush her.)", "Kristy Hopkins: (to JACK) I know him. He's a cop.", "Nick: (corrects) Crime scene investigator.", "Kristy Hopkins: Nick, tell him to leave me alone.", "Jack Willman: Nobody tells me to do anything.", "Nick: Hey, we going to have a problem?", "Jack Willman: No, officer, we're not going to have a problem. See you around, baby.", "(He kisses her on the neck, then lets her go. He leaves. KRISTY appears to be slightly rattled. NICK looks at her and notices.)", "Nick: You okay?", "Kristy Hopkins: Yeah. Yeah, I'm fine. That was good timing. Thanks.", "Nick: I suppose you need a ride.", "Kristy Hopkins: Do you mind?", "Nick: No. Come on.", "Kristy Hopkins: Thanks.", "[SCENE_BREAK]", "[INT. CAR (PARKED) -- NIGHT]", "(NICK and KRISTY sit in his car parked in her driveway.)", "Kristy Hopkins: Seems like every time we run into each other I'm getting into trouble.", "Nick: Not that it's any of my business but maybe you should think about changing careers.", "Kristy Hopkins: Not every john is like that guy. Besides, I'm making a change. I'm going back to school.", "(He looks at her and nods.)", "Nick: Yeah?", "Kristy Hopkins: I've always wanted to study communications. I'm good with people.", "Nick: That's good.", "Kristy Hopkins: You think so?", "Nick: Yeah. Yeah.", "Kristy Hopkins: Well, I'm going to go inside now. (pauses, then offers) Unless, of course, you'd like to come in for a drink.", "Nick: I don't think that'd be a good idea.", "Kristy Hopkins: Come on. Just 'cause you're a crime scene analyst you don't have to analyze everything.", "(She laughs. He laughs.)", "[SCENE_BREAK]", "[INT. HANSEN BUILDING]", "(WARRICK, SARA and CATHERINE work at gathering evidence. WARRICK takes pictures. SARA extracts a tire out of the wall. CATHERINE picks up a portion of a gear. She dusts it off and looks at it under the glass. She finds a couple of letters etched into the gear piece.)", "Catherine: F - P -", "(Meanwhile, GRISSOM walks outside.)", "Dominic Kretzker: Mr. Grissom.", "(DOMINIC looks at GRISSOM and for a moment is flustered.)", "Dominic Kretzker: Oh, uh ... hi, I've ... I've, um, I've seen you on tv before. I admire your work.", "Grissom: Well, thank you. And your name is ... ?", "Dominic Kretzker: Dominic. Uh, \"I-C\" rather than with the \"I-C-K\"... uh, Kretzker. I'm the, uh, Hansen Building Security Detail.", "Grissom: Did somebody from homicide talk to you yet?", "Dominic Kretzker: Yeah. As a matter of fact, they said that I was going to be talking to you, because, well, we are ... you know, we're both in law enforcement, and ...", "Grissom: Right. Did you know the victim -- the other security guard?", "Dominic Kretzker: Oh, yeah. He was one of my best buddies. As a matter of fact, you know, two minutes' difference it would've been my face all over the news instead of his, right?", "(DOMINIC turns around to look at the news cameras and reporters just behind the crime scene tape.)", "Grissom: Would you, uh, like to be on the news?", "Dominic Kretzker: Yeah. Yeah. I mean ... only if I could help people, yes. No, no. I know what you're thinking. Uh, you know, my building blows up I'm over at Arby's sucking down some extra sauce. You know, how could I want to help people, right?", "Grissom: Well, I mean, realistically, what could you have done?", "Dominic Kretzker: Well, I know a lot about bombs. You know, pipe, power, powder. The three \"Ps\" of mass destruction.", "Grissom: Huh. Dominic ... with an \"I-C,\" not \"I-C-K\" ...", "Dominic Kretzker: Yes sir?", "Grissom: Would you be interested in helping me in my investigation?", "(DOMINIC stops and stares at GRISSOM.)", "Dominic Kretzker: Are you serious? (he chuckles.) Yeah. Yes, sir. I'd be honored, sir. Oh. But we can't tell anybody on the day shift, though because they're going to get real jealous.", "Grissom: That's good thinking. Would you excuse me a minute?", "Dominic Kretzker: Yes.", "(GRISSOM walks over to the OFFICER standing nearby.)", "Grissom: (about DOMINIC) Keep an eye on that guy.", "(GRISSOM heads back into the building. The OFFICER turns to look at DOMINIC who is just thrilled beyond anything.)", "Dominic Kretzker: Oh, yes!", "[SCENE_BREAK]", "[INT. HANSEN BUILDING - NIGHT -- CONTINUOUS]", "(GRISSOM walks into the building.)", "Grissom: Well, we got a live one out there. I got a cop baby-sitting him. How you doing?", "Catherine: Well, are his initials \"F.P.\"?", "Grissom: No. Dominic Kretzker. Why?", "Catherine: I found this near the point of origin.", "(CATHERINE hands the gear piece to GRISSOM. He looks at it.)", "Catherine: Whoever did this is playing with us.", "Grissom: Or he wants to get caught.", "(GRISSOM looks up at CATHERINE.)", "[SCENE_BREAK]", "[INT. CAR (MOVING) -- DAY]", "(NICK is driving and talking on his cell phone.)", "Nick: Hey, it's me. You in the shower? What are you doing? Anyway, if you check your messages I don't have to work till later. So I thought, since you're between careers you might want to grab a late ...", "(NICK pulls up in front of KRISTY HOPKINS' house and finds it surrounded by officer cars.)", "Nick: ... breakfast.", "(He pulls up. OFFICER ARVINGTON sees him.)", "Officer Arvington: Hey, Nick, what's up?", "Nick: Not a lot. What's ... what's going on?", "Officer Arvington: It's a 419. Dead prostitute.", "Nick: Who's the decedent?", "Officer Arvington: Kristine Marie Hopkins. Day shift's got it covered. You all right?", "(NICK looks over and sees ECKLIE talking with the LEAD DETECTIVE and they're both walking down the driveway.)", "Nick: Yeah, I must've, uh ... I must've got my wires crossed. I'll see you.", "Officer Arvington: All right, man.", "(NICK drives off.)", "[SCENE_BREAK]", "[INT. CSI - INTERVIEW ROOM -- DAY]", "(DOMINIC KRETZKER explains how bombs work to BRASS and WARRICK.)", "Dominic Kretzker: All right, you cram this thing here with gunpowder, all right? Then you cap it here, and you cap it here. Now the grains inside, all right ... they're going to ignite and cause smoke. Lots and lots of smoke ... now, the problem is, all that smoke's here man it's got nowhere to go. Okay? It starts cooking ... and then ... bob's your uncle... boom!", "Warrick: Grissom was right: You do know a lot about bombs.", "Brass: How did you learn so much?", "Dominic Kretzker: Oh, they don't teach this stuff at universities. No, this is all trial and error.", "Brass: So what, you just, uh, blow up bombs and study them?", "Dominic Kretzker: Yeah. Yeah...", "(There's a light knocking on the door. MARGARET FINN walks in.)", "Margaret Finn: Margaret Finn, Public Defender. Cease and desist any conversation with my client. I've been assigned to you. Guess the PD was thinking of all the lawsuits Richard Jewell brought when he was wrongfully accused.", "Brass: Someone died in that office building.", "Dominic Kretzker: Ma'am, you seem like a very nice person but these people-- they've been very, very good to me.", "Margaret Finn: I'm sure they have.", "Warrick: Dominic, I think you should go with your attorney. Thanks for your help, though.", "(DOMINIC nods.)", "Dominic Kretzker: All right I'll see you guys later.", "(DOMINIC turns around and shakes their hands.)", "Dominic Kretzker: Listen, do me a favor. Will you tell Grissom that, if he needs me just call me at home, okay?", "Brass: All right.", "(DOMINIC turns around to look at his attorney.)", "Dominic Kretzker: Let's roll.", "(He leaves the room.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA looks at all the bomb pieces they've gathered spread out on the table in front of them. CATHERINE explains it to her.)", "Sara: So all this stuff is from a five-meter radius of the point of origin?", "Catherine: Yep.", "Sara: How could the victim possibly have been in one piece?", "Catherine: Vacuum effect. The air is being pushed out so fast ...", "(Quick CGI to: The hands of the clock hit 12, the electrical pulse is sent through the wires and to the gunpowder where it ignites.)", "Catherine: (V.O.) ... when the bomb detonates ...", "(End of CGI. White flash to the moment where JAKE RICHARDS leans down to pick up the suitcase. Everything stops in that moment as the bomb explodes.)", "Catherine: (V.O.) ... there's a calm at the center.", "(The bomb explodes and everything and everyone is pushed away.)", "(End of flashback. Resume to present.)", "(SARA looks down at the items on the table and picks up the gear piece with the etching on it.)", "Sara: Calm, huh?", "Catherine: Well, except for when he lost his ears.", "Sara: Did you figure out what this \"FP\" stands for?", "Catherine: I ran it through ATF's bomb database. No profile.", "Sara: So our bomber's a newbie. Does he fit Grissom's wack job from the bomb site?", "Catherine: Dominic the security guard? It's too soon to tell.", "(GRISSOM walks in carrying something. He holds it out for them to look ati.)", "Grissom: I found something interesting.", "Sara: What is it?", "(CATHERINE looks at it under the glass.)", "Catherine: Looks like a balance wheel from a clock.", "Grissom: Bomb was time-delayed. This is a piece of the timing device.", "Sara: What about the orange stuff?", "Grissom: Heat of the explosion must have melted whatever it is all around the wheel. So, Sara?", "Sara: Mmm?", "Grissom: What's orange and melts?", "Sara: I would have to investigate that.", "Grissom: Thank you.", "(NICK walks into the room.)", "Nick: Hey, guys. (to GRISSOM) Can I steal you for a minute?", "Grissom: I thought this was your day off.", "Catherine: We're kind of busy here, Nick.", "Nick: Yeah, I know, and I'm sorry, but I don't think this can wait.", "Grissom: Okay.", "(They step out of the lab.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - DAY -- CONTINUOUS]", "(GRISSOM sits behind his desk. He sighs.)", "Grissom: You told me you weren't dating her.", "Nick: I wasn't till last night after I broke up her fight with this guy, uh ... Jack.", "Grissom: And Ecklie's at her house now.", "Nick: Yeah, and I can tell you what he's going to find. My fingerprints; my DNA.", "Grissom: What were you thinking, Nicky?", "Nick: I wasn't.", "(Quick flashback to: That night, KRISTY leans toward NICK and kisses him.)", "Nick: (V.O.) We had a connection, you know? A chemistry thing, I guess.", "(White flash to: NICK and KRISTY are in bed kissing.)", "Nick: (V.O.) She was irresistible, man.", "(End of flashback. Resume to present.)", "Nick: I took off around four.", "Grissom: Ecklie's going to be all over this.", "(CATHERINE knocks lightly on the door and walks into the office.)", "Catherine: Hey, Nick ... I'm sorry to hear about your friend.", "(She puts a reassuring hand on his shoulder.)", "Nick: Who told you?", "Catherine: Word travels. It was the day shift coroner.", "Nick: So people know I was with Kristy last night?", "Catherine: Not yet.", "Nick: Maybe I should just go to Ecklie and tell him I was there.", "Grissom: When you're a suspect and you're innocent, keep your mouth shut. I'll talk to Ecklie.", "Catherine: Bad idea. You and Ecklie ... oil and water. Just let me get into it.", "(NICK stands up.)", "Nick: I can't just sit here.", "Grissom: Okay, go for a walk. Maybe you'll accidentally bump into your guy, \"Jack?\"", "Nick: Yeah.", "(NICK gets it. He turns to leave the office.)", "Grissom: I.D. him, but don't approach him.", "(NICK turns around to look at GRISSOM.)", "Nick: Okay.", "(He shakes his head, then leaves the office.)", "Catherine: If Nick's arrested. it's not going to matter that he's cleared later.", "(CATHERINE sits down.)", "Grissom: No. It's an automatic dismissal.", "(She leans back and sighs.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(DR. ROBBINS starts the autopsy on KRISTY HOPKINS.)", "Dr. Albert Robbins: 25-year-old female caucasian. Liver temp's indicating time of death at 0600. Petichial hemorrhaging, cyanotic tongue. Can I help you, Catherine?", "(CATHERINE walks into the room.)", "CATHEIRNE; I just want to see the body, David.", "Dr. Albert Robbins: Unless I'm mistaken, this is Ecklie's case.", "Catherine: Eyes, no hands.", "(DR. ROBBINS doesn't say anything. CATHERINE turns to look at the body.)", "Catherine: Look at those ligature marks.", "Dr. Robbins: Petichials ... blue tongue, the works.", "Catherine: Raccoon eyes excoriation around the neck. She didn't give up easy.", "Dr. Albert Robbins: Struggled and strangled.", "Catherine: Ecklie find the murder weapon?", "Dr. Albert Robbins: I only deal with bodies.", "Catherine: Did you check for fingerprints on the body?", "Dr. Albert Robbins: Not yet.", "Catherine: Half-life of fingerprints on flesh ... they're disappearing as we speak.", "Dr. Albert Robbins: Catherine, I like Nick, too. I know you're here for him. But what if I lift his prints from her?", "Catherine: Then that's what you report. Evidence, Doc ... (shakes her head) ... all we got.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "[SCOPE VIEW of the piece GRISSOM found earlier. He compares the damaged piece with a second in-tact piece.)", "(GRISSOM studies the pieces under the scope. There's ticking sounds coming from around him. Suddenly, an alarm rings. GRISSOM looks up.)", "SARA; Hey.", "(The alarm continues to ring annoyingly.)", "Grissom: Could you find that and turn it off, please?", "(SARA checks the clocks on the table, then finds it and turns it off. The alarm stops ringing. She picks up another clock.)", "SARA; Find the clock our guy used?", "Grissom: (sighs) Not yet.", "Sara: This is a good choice. According to the bomb data center which has a record of every component used in any bomb -- from Ted Kaczynski to teenage boys playing with fireworks -- the most recent timing device of choice is made by TimeTell SnoozeWell, $10.99 at any local drugstore.", "(SARA hands the alarm clock she's holding to GRISSOM.)", "Grissom: You spoiled all my fun.", "(GRISSOM starts unscrewing the back of the clock off. WARRICK walks into the office.)", "Warrick: Gris, can I get clear on something here?", "Grissom: Anything's possible.", "Warrick: Catherine gave me this \"FP\" which was part of the Hansen bomb and I'm supposed to figure out what tool the bomber used to engrave it.", "Grissom: You isolate the tool, and then we trace it.", "Warrick: Yeah, but he could've used any number of things to initial it. I mean, screwdriver, a drill bit, a box cutter.", "Grissom: It's the same as guns -- we eliminate them one at a time.", "Warrick: What are you guys doing?", "Sara: (smugly) We're going to go blow up some bombs.", "Warrick: (envious) Oh, I definitely got the wrong end of this investigation.", "Grissom: (to WARRICK'S retreating back) Alas, poor Warrick.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Camera slowly pans across the table that has various etching devices on it. One by one, WARRICK uses them and compares it to the \"FP\" on the gear.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE GRISSOM'S OFFICE -- DAY]", "(ECKLIE leans against the door frame knocking on the door. CATHERINE walks up to him.)", "Catherine: Oh, hey, uh Conrad, Grissom's in the field.", "Conrad Ecklie: I need to speak with him.", "Catherine: And I need to speak with you ... about Nick Stokes.", "Conrad Ecklie: Well, let me guess ... about his involvement with a dead hooker?", "Catherine: Come on. The hooker was a person. Her name was Kristy Hopkins.", "Conrad Ecklie: I realize that. Thank you. I just came from the lab. His prints were all over Kristy Hopkins' house. Let's see, wine glass ... oh, bedside table.", "(CATHERINE nods. NICK walks up to them.)", "Nick: How's it going, Cath?", "Catherine: Nick, I don't think that you guys should be talking.", "Nick: It's no big deal. What's up, Ecklie?", "Conrad Ecklie: I need a DNA sample from you, Nick.", "Nick: I assume you're trying to prove Kristy Hopkins and I were sexually active last night.", "Conrad Ecklie: We found a condom, used.", "Nick: And my DNA will match, no warrant necessary. And I have something else for you.", "(NICK hands ECKLIE a piece of paper with writing on it.)", "Nick: I got this off a valet surveillance tape.", "Conrad Ecklie: A license plate number? Vehicle belongs to Jack Willman. Had a fight with Kristy Hopkins outside the Orpheus last night around midnight.", "Conrad Ecklie: Well, I'll look into it but come on -- your fingerprints, your DNA --that's what's going into evidence.", "Nick: You just love that, don't you?", "Conrad Ecklie: You think I want to believe that a CSI could commit murder? Hell, I don't even want to believe that a CSI could sleep with a hooker.", "Catherine: You know what? Nick's private life ...", "Conrad Ecklie: (interrupts) Is no longer private. (beat) Catherine, I'm sorry if you guys don't like where the evidence is pointing. But show me otherwise -- tell me I'm wrong. In the meantime, my hands are tied. I have protocol to follow.", "(ECKLIE turns and leaves. NICK sighs and heads out the hallway. CATHERINE turns and follows NICK.)", "Nick: I hate that guy.", "Catherine: Okay, look, I'm going to get O'Riley to track down this Jack guy for questioning. But I am out on a limb for you here, Nick. Just don't make it harder with Ecklie, okay?", "Nick: (nods) Yeah.", "(NICK leaves.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT -- DAY]", "(GRISSOM and SARA stand over the suitcase in the middle of a concrete slab.)", "Grissom: We find the bomber by understanding the bomb. Fortunately, Catherine figured out the exterior container.", "Sara: Aluminum briefcase.", "(They turn and head off to the side.)", "Grissom: And we know the timing device.", "Sara: Snoozewell.", "Grissom: And the propellant.", "Sara: Black gunpowder.", "Grissom: So the final piece of the bomber's signature?", "Sara: Identify the pipe containing the powder.", "Grissom: Three bombs, scaled down five-to-one three different metal pipes. Different metals fly different distances when the same force is applied. Number one is a plumber's ex-flow pipe. Number two is an inflow pipe which is thinner. Number three is galvanized steel which is the thinnest metal of them all.", "(They reach the safe blast distance, then put on the earphones. SARA looks at GRISSOM and puts a hand on his shoulder to get his attention.)", "Sara: You ready?", "Grissom: (nods) Mm-hmm.", "Sara: Let's do it, Dan.", "(DAN gives SARA a thumbs up and ignites the first bomb. It explodes.)", "(The debris is green.)", "Grissom: Green. That's the ex-flow pipe.", "(The second bomb explodes.)", "Grissom: Inflow pipe, blue.", "(The third bomb explodes.)", "Grissom: Red-- the galvanized steel.", "(Cut to: GRISSOM measures the distance from the blast center.)", "Grissom: Last piece of green: Ten feet.", "(SARA puts down evidence marker #1.)", "Grissom: Blue: 16 feet.", "(SARA puts down evidence marker #2.)", "Grissom: Red: 20 feet.", "(SARA puts down the final evidence marker #3. GRISSOM picks up a piece and looks at it.)", "Sara: Fragments from the galvanized steel traveled the farthest.", "Grissom: 20 feet. Extrapolating five to one that would be 100 feet.", "Sara: That's the outer limit of visible metal detritus at the Hansen building.", "Grissom: So the bomb was housed in a thin container of galvanized steel -- like a muffler or a tailpipe. I've seen it before. It's a common container for homemades.", "Brass: Don't you love the smell of sulfur in the afternoon? You might want to go and take a tour of Dominic Kretzker's house. I tracked down the sale of SnoozeWell clocks. Nine hundred twenty-six credit card purchases in the last three months in Clark County -- seven to Dominic Kretzker of Prairie Road.", "[SCENE_BREAK]", "[EXT. PRAIRIE ROAD - EVENING]", "(The vehicles drive up the driveway.)", "Dispatcher: (over radio) 15, cal 24 is your backup.", "(DOMINIC is out on the porch waiting for them.)", "Dominic Kretzker: Hey, hey.", "Brass: That your scanner?", "Dominic Kretzker: Yeah, that's how I knew you were coming. Makes me feel like I'm part of things.", "(He shakes their hands.)", "Dominic Kretzker: Mr. Grissom. What can I do for you guys?", "Grissom: Dominic ... this is the type of device that was used to set off the Hansen bomb. We have proof that you purchased the same make of clock.", "Dominic Kretzker: Yeah. Yeah, I recognize that. That houses a nice little detonator.", "Brass: Want to show us that clock of yours?", "Dominic Kretzker: (welcoming) Why, sure. Come on in.", "(DOMINIC turns and heads back inside. GRISSOM and BRASS look at each other, then follow.)", "[INT. LIVING ROOM - CONTINUOUS]", "Dominic Kretzker: The place is kind of a mess. Sorry.", "(BRASS and GRISSOM walk into the room. DOMINIC walks over to the table where there's a file box filed with stuff on the floor.)", "Dominic Kretzker: Here.", "(He bends over to pick up the box.)", "Dominic Kretzker: Here it is.", "(He puts the box on the table and picks up the alarm clock.)", "Dominic Kretzker: Timetell Snoozewell. $10.99. Well, you can get it for half price if you got a coupon.", "(He gives it to DOMINIC.)", "Grissom: The timing device is still intact.", "Dominic Kretzker: Yeah, 'cause I haven't made the bomb yet.", "Grissom: But you have made bombs before using parts from this make?", "Dominic Kretzker: Well, yeah. Yeah. I blow them out in back all the time. I blasted a few of them a couple months ago.", "Brass: Look what I found. Sulfur. You blow up any bombs recently?", "(DOMINIC picks up something else from the box. BRASS hands the piece he found with globs of melted orange on it. Camera moves in for a close up of the piece.)", "Grissom: Is this from the Hansen bomb?", "Dominic Kretzker: Sure is.", "Brass: You keep your key piece of evidence that could nail you?", "Dominic Kretzker: Hey, that's sentimental.", "Brass: Well, that's cute.", "Dominic Kretzker: No. I mean, it is. That's like, you know, Waco and Trade Center. That's historical. I didn't have a war, all right? I'm too flatfooted for the P.D. And that's as close to history as I'm going to get. I collect souvenirs. I mean, th-that's my building, you know. I mean ... that was my place of employment, man.", "(MARGARET FINN walks into the living room.)", "Margaret Finn: You're going to be sorry, talking to my client.", "Brass: We called you. We left word.", "Margaret Finn: Dominic, don't speak.", "Dominic Kretzker: If I had anything to hide, I'd hide it. I'm pretty proud of that container piece, I'll tell you.", "Brass: Well, maybe so but you're under arrest. Put him in the car.", "Dominic Kretzker: (to GRISSOM) You-you kidding? Oh.", "(The OFFICER steps forward and puts the handcuffs on DOMINIC'S wrists. In the background, sirens approach.)", "Dominic Kretzker: (to GRISSOM) Cuffs?", "Brass: Well, vultures never sleep, huh?", "(The news crews and cameras drive up the roadway toward the house.)", "Dominic Kretzker: (to GRISSOM) Could you do me a favor? Will you put the jacket over them? I don't want to be seen like this. Especially on TV. This is not who I am.", "(GRISSOM places a jacket over the handcuffs.)", "Dominic Kretzker: Thanks, Partner.", "(The OFFICERS take DOMINIC out of the house. GRISSOM watches them go.)", "Grissom: (to BRASS) I can't tell whether he's brilliant or... nuts.", "Brass: Sound familiar? Tell you one thing: If he's guilty, he's putting on one hell of a show.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA puts a sample of the orange melted stuff in a tube and tests it.)", "(The printer prints out the results. She looks at it. It reads: )", "Sample Name : BOMB FRAGMENTS", "Misc Info : MEOH", "Vial Number : 22", "Findings : polyethelene, terephtalete", "Sara: Polyethylene? Terephtalete?", "[SCENE_BREAK]", "[INT. CSI - MORGUE]", "(DR. ROBBINS opens the door with \"HOPKINS\" on it. He pulls the table out. He lifts the sheet to uncover her face. NICK sighs.)", "Nick: You contact her family?", "Dr. Albert Robbins: No family to speak of.", "Nick: Has anyone claimed her for burial? Friend? Old roommate?", "Dr. Albert Robbins: There's no one. City will be footing the bill.", "(NICK looks down at her.)", "Nick: No. I'll pay.", "Dr. Albert Robbins: Sure that's prudent, given the circumstances?", "Nick: Doc, I'm giving this girl a proper burial. I don't much care about my career right now. Someone wants to throw me in jail for that so be it.", "(DR. ROBBINS pulls the sheet back over her face.)", "[SCENE_BREAK]", "[INT. JAIL -- DAY]", "(The doors slide close. GRISSOM walks up to the bars.)", "Grissom: How you doing?", "(DOMINIC nods his head.)", "Dominic Kretzker: Just kind of using the current experience to understand the other side of law enforcement.", "Grissom: That's resourceful.", "Dominic Kretzker: You think I'm guilty, don't you?", "Grissom: I think the evidence raises some serious questions about your involvement.", "Dominic Kretzker: That is crazy. I mean, come on. I'm one of the good guys. I know the cops went through my things. Did they find anything?", "Grissom: Dominic, you have an attorney now. I can't really talk to you about your case. I was here on another matter and I thought I'd come by.", "Dominic Kretzker: You do what I do.", "Grissom: Excuse me?", "Dominic Kretzker: You don't just, like stop by to see someone. You ... make up an excuse like \"I'm in the area. Just stopping by.\" Wow. You're just like me. Except better-looking.", "Grissom: I'll come by and see you later, okay?", "Dominic Kretzker: Okay.", "(GRISSOM heads back and sees BRASS leaning against the open door frame looking grim.)", "Grissom: What?", "Brass: Bad news. Another Fourth of July.", "Grissom: Where?", "Brass: Thrift Right Car Rental on Flamingo. Ten minutes ago.", "(GRISSOM turns to look back at DOMINIC who sits patiently in his cell.)", "[SCENE_BREAK]", "[EXT. THIFT RIGHT CAR RENTA -- NIGHT]", "(Emergency personnel are all over the parking lot area in the rain. BRASS fills in everyone on what they know.)", "Brass: So, the manager was working the lot when he heard the blast. Fatality was on the check-in line and died on the way to the hospital.", "Sara: Anybody report hearing any noise? Ticking?", "Brass: No. No one heard anything.", "Sara: Oh. It's not the firemen -- it's the rain. This crime scene is trashed.", "(GRISSOM look down on the ground and picks up something.)", "Sara: What do you have?", "Grissom: Form follows function. They've never been able to make a better one. Mousetrap.", "Sara: That orange stuff again.", "Grissom: Someone picks it up motion trips the trap, sets off the timer.", "(Quick CGI POV of the trap tripping, the timer sending the spark through the wire. The bomb detonates.)", "Sara: (V.O.) Which sets off the bomb.", "(It explodes.)", "(End of CGI POV. Resume to present.)", "(SARA looks around the parking lot, then notices the MANAGER speaking with an OFFICER. She sees something.)", "Sara: Be right back.", "(SARA leaves and heads toward them. GRISSOM turns to BRASS.)", "Grissom: We say nothing to the media or anybody. Our bomber's signature just got a little more sophisticated.", "(SARA walks up to the MANAGER.)", "Sara: Excuse me. Hi. I'm with the crime lab. I'm sorry, but I have to take your jacket.", "(The MANAGER looks down at his orange jacket, then takes it off.)", "Manager: Um ... okay. If it'll help.", "(He gives the jacket to SARA.)", "Sara: Thanks.", "(The officer leads the MANAGER off to another direction.)", "Officer: Let's go.", "Manager: Okay.", "(GRISSOM and BRASS join SARA.)", "Grissom: What are you doing?", "Sara: Polyethylene-terephtalete.", "(SARA gathers up the jacket.)", "Grissom: Polyester.", "Sara: \"Orange stuff\".", "(She turns and walks away.)", "[SCENE_BREAK]", "[INT. JAIL -- NIGHT]", "(The jail door slides open.)", "Grissom: You're free to go. I wanted to tell you in person.", "Dominic Kretzker: You mean you weren't just in the neighborhood?", "(They both walk slowly toward the door.)", "Dominic Kretzker: That second bomb -- it wasn't remote, was it? Otherwise, I'd still be a suspect.", "Grissom: I can't discuss it.", "Dominic Kretzker: So I guess you're not going to be needing my expertise anymore. I mean, investigation-wise. (he sighs) I knew it was too good to be true.", "(DOMINIC turns to GRISSOM and salutes him.)", "Dominic Kretzker: Well, proud to have worked with you, sir.", "Grissom: Dominic ... I'm not a police officer. I-I-I'm a Crime Scene Analyst.", "Dominic Kretzker: Yeah, but we know who really solves the crimes, don't we, sir?", "(They shake hands.)", "Grissom: Good luck. Take care of yourself.", "Dominic Kretzker: Thank you.", "(GRISSOM turns to leave. He stops and turns back around.)", "Grissom: Hey, Dom?", "Dominic Kretzker: Yeah?", "Grissom: Next time try not to be quite so trusting. You don't need to be a hero.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(JACK WILLMAN sits at the table in the room. In the observation room, CATHERINE keeps and eye on him. ECKLIE walks into the observation room.)", "Catherine: I ran priors. The guy's got an '88 conviction for sexual assaults.", "Conrad Ecklie: (smugly) Boy, if I ever get in trouble, I know which CSI I'm going to.", "CATHERINE Let's watch the show.", "[INTERVIEW ROOM]", "(In the room, DET. O'RILEY takes a seat opposite JACK WILLMAN.)", "Det. O'Riley: How would you characterize your relationship with Kristy Hopkins?", "Jack: Sir, we can just cut the crap. I saw him kill Kristy. I saw everything.", "Det. O'Riley: Go on.", "Jack: Well, Kristy and I, we had words. I was just swinging by her place to tell her I was sorry, but, uh ...", "(Quick flashback to: JACK looks inside the house and sees KRISTY and NICK arguing loudly.)", "Jack Willman: (V.O.) I didn't expect to see her with a guy.", "(NICK pushes KRISTY down on the couch. She grabs something and throws it at him.)", "Jack Willman: (V.O.) They were fighting. I couldn't make out what they were saying but he was pushing her around pretty hard.", "(NICK grabs KRISTY and starts choking her.)", "(End of flashback. Resume to present.)", "Det. O'Riley: Could you I.D. this guy?", "Jack Willman: It was, like, Nick something. Kristy and I bumped into him at the Orpheus earlier.", "Det. O'Riley: And you saw him kill her?", "Jack: Well, I saw him get violent, and I took off.", "Det. O'Riley: And you didn't try to help the girl?", "Jack: He's one of you guys. He carries a gun. I'm no hero. So, could I go?", "(DET. O'RILEY glances over at the mirror. CATHERINE shakes her head.)", "Det. O'Riley: Yeah.", "[OBSERVATION ROOM]", "(ECKLIE turns smugly to CATHERINE.)", "Conrad Ecklie: The witness sounds believable.", "Catherine: It's a load of crap, and you know it.", "(The door opens and SHERIFF BRIAN MOBLEY walks in.)", "Sheriff Brian Mobley: I was listening. He seemed credible to me.", "Catherine: Sheriff, you arrest Nick now you end his career.", "Sheriff Brian Mobley: So, what can you offer me?", "Catherine: Nothing, except my gut and ten years of experience. He didn't do this.", "Conrad Ecklie: Ignore the evidence against Stokes it looks like special favors for CSI.", "Sheriff Brian Mobley: Well, I can't have that. Not and keep my post.", "Catherine: So give me twelve hours, access to the crime scene and evidence without filing papers on Nick.", "Sheriff Brian Mobley: Twelve hours. But then we arrest Mr. Stokes with all the attendant documentation.", "(The SHERIFF leaves the room. ECKLIE glances at CATHERINE and follows. CATHERINE turns back to look at the empty interview room.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG works in his lab with his ear phones on. CATHERINE walks up to him and takes the ear phones off. She leans down and looks at GREG as he raises his head.)", "Catherine: (quietly) How you doing, Greg?", "Greg Sanders: Same as you. Worried about Nick.", "Catherine: Yeah. I need to see his DNA from the crime scene. You have it, right?", "Greg Sanders: A sample from the condom, yeah. Popsicled in the freezer. But, uh, it's not your case. Much as I want to help, no can do.", "Catherine: That's my case for the next twelve hours. Ask the Sheriff.", "Greg Sanders: I would never doubt your word.", "Catherine: Smart man.", "(GREG opens the freezer and takes out the envelope. He removes the slide and puts it under the scope.)", "Greg Sanders: Nick's little soldiers. It's all you.", "Catherine: Thanks, Greg.", "[SCOPE VIEW]", "Catherine: When did you say this sample was frozen?", "Greg Sanders: Um ... 10:15 A.M. Why?", "Catherine: These guys are all heads-- no tails.", "(Something occurs to CATHERINE. GREG moves over to look through the scope. CATHERINE rushes out of the", "Greg Sanders: That's normal, given the post-ejaculate time frame. How is that going to help Nick?", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(CATHERINE fills GRISSOM in on her theory.)", "Catherine: The sperm found in the condom was frozen at 10:15 A.M. It's all heads, no tails.", "Grissom: I'm not quite up to speed on the particulars of ...", "Catherine: It takes about seven hours for bacteria to eat away at the tails placing the time of ejaculation at around 2:00 A.M. But Kristy's time of death was 6:00 A.M.", "Grissom: Well, it suggests a lag between ejaculation and Kristy's murder but it doesn't disprove Nick's presence at the time of the homicide.", "Catherine: You could be a little more supportive.", "(CATHERINE walks away. SARA walks out of a nearby lab.)", "Sara: I have a new favorite color.", "Grissom: Orange?", "Sara: The orange polyester from the bomb is a match to the thrift-right jacket. Guess where their regional headquarters is located.", "Grissom: The Hansen Building.", "Sara: You bet. I ran a Lexis search looking for disgruntled employees, irate customers anyone with a grievance against thrift-right.", "Grissom: You get any hits?", "Sara: Norman Stirling -- former manager.", "Grissom: How disgruntled?", "Sara: Let go last year. Caused a commotion at HQ. Filed lawsuits against the company. Guy's been out of work ever since.", "(SARA turns and heads back to the lab.)", "Grissom: Sitting around making bombs.", "[SCENE_BREAK]", "[INT. STIRLING RESIDENCE -- DAY]", "(In the garage, NORMAL STIRLING tinkers with his car while his son, TYLER, sweeps the floors. BRASS, SARA and a couple of officers walk up the driveway.)", "Brass: Norman Stirling?", "Norman Stirling: Yes. What's going on?", "Sara: \"FP.\"", "Norman Stirling: What?", "Sara: You don't recognize those initials?", "(Behind him, a couple of officers come in through the doorway from the house.)", "Norman Stirling: What's this about?", "Brass: The bombing of the thrift-right car rental and the bombing of the Hansen Building.", "Norman Stirling: A-a bomb? Are you kidding? I've never even been near a bomb my entire life.", "Sara: Well, those orange jackets over there appear to match the materials the bombs were wrapped in.", "Norman Stirling: I used to wear those to go to work.", "Brass: You were let go by ThriftRright last year, and lost a court battle to get your job back. In fact, they filed a TRO against you for throwing furniture around their headquarters last July.", "Norman Stirling: I want to call my lawyer.", "Brass: Good. You can call him from the car. He can meet us at the PD. Take him in. Come on, let's go.", "(BRASS takes a hold of NORMAL STIRLING and the OFFICERS put cuffs on him.)", "Norman Stirling: (to TYLER) Call your mom.", "[SCENE_BREAK]", "[EXT./INT. HOPKINS' RESIDENCE -- DAY]", "(CATHERINE walks up the pathway and up to the front door where she cuts the tape to the house.)", "(Cut to: In the bedroom, CATHERINE peels back the sheets and checks the bed.)", "(Cut to: In the living room, CATHERINE checks the sofa and under the cushions.)", "(She stops and looks around. From the curtains, to the fireplace and on to the other curtains where she definitely notices something.)", "(CATHERINE takes out the autopsy photographs and looks at the cord used to tie back the curtains. She compares it with the markings found around KRISTY'S neck. She's found the murder weapon.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(CATHERINE drops the cord out onto the table in front of GREG.)", "Catherine: (V.O.) Kristy Hopkins was strangled with this sash.", "(She puts the evidence bag aside and continues to explain what she wants.)", "Catherine: It's fingerprint-free, but the force of the pull would have scratched off epithelials from the killer's hands, right?", "Greg Sanders: Abraded, yeah.", "Catherine: And can you extract DNA from epithelials?", "Greg Sanders: If they're fresh enough.", "(GREG gets to work. He takes a swab from the cord, then puts the sample under the scope.)", "[SCOPE VIEW]", "Greg Sanders: Okay, epithelials are an affirmative. And they're good to go for DNA profiling. I'm just going to need something to compare it to.", "Catherine: Jack Willman has a prior for a sexual assault so his DNA is on file.", "(GREG turns around to check on the database.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(NICK paces the floor. CATHERINE walks in.)", "Nick: Well?", "Catherine: I think that you and I should head over to the police station.", "Nick: (nods) DNA didn't pan out, huh?", "Catherine: (smiles sadly) Never have I seen such a clean match. Jack Willman killed her.", "(Quick flashback to: That night in KRISTY'S living room, JACK WILLMAN has the cord tied tight around her neck and chokes her. She struggles.)", "(Cut to: After KRISTY'S dead, he unwraps the cord from her neck. Cut to: He puts the cord back around the curtain.)", "(End of flashback. Resume to present.)", "(NICK sighs.)", "Nick: (smiles) Thank you.", "(He hugs CATHERINE.)", "Catherine: Hey ... hey, I'm just doing my job. Besides, if they'd sent you to jail I'd get stuck with all your cases.", "(NICK laughs.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(WARRICK continues to look at the \"FP\" etching on the gear piece. GRISSOM walks in.)", "Grissom: Dispatch said you were looking for me?", "Warrick: Yeah. I finally matched this \"FP.\" To this electric etcher. Now, I made an exemplar. Boom! Identical type of striations. The manufacturer says that this etcher is only used for training purposes. And it's only sold in bulk. It was not sold to Norman Stirling.", "Grissom: So who bought it?", "Warrick: Las Vegas School District. I called the district, and we traced it down to one high school -- summit high.", "(GRISSOM looks at the paper.)", "Warrick: Stirling's son goes there.", "(GRISSOM looks at WARRICK.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(TYLER STIRLING and NORMAN STIRLING are being interviewed by BRASS and GRISSOM.)", "Brass: Tyler, were you aware of your father's lawsuits against thrift-right car rental?", "Tyler Stirling: It was kind of hard not to be. I mean, it's all him and my mom talked about for a year. Until she left.", "Grissom: Do you miss your mother?", "Tyler Stirling: I miss our old life.", "Norman Stirling: (quietly) Is there something that we should be talking about? You know, in private?", "Tyler Stirling: You said that's how corporations do it-- in private. See, they treated him great at work, in front of everyone. And then they let him go at the end of the day when no one's around. Thirty years of service, and then ... you know, they realized they could hire two young guys at half the price.", "Brass: What does \"FP\" stand for? It was etched into both bombs.", "Grissom: We think you engraved it with an implement from your high school shop class.", "(NORMAN looks at TYLER.)", "Tyler Stirling: \"Fair play.\"", "(As soon as TYLER answers, NORMAN'S face falls with the realization that his son did it ... for him.)", "Norman Stirling: I used to yell that around the house -- that I was owed fair play.", "Tyler Stirling: I mean, they threw him out like trash.", "Norman Stirling: And you sent them bombs?!", "Tyler Stirling: You said you wanted to kill them.", "Norman Stirling: How did you even know how to do this?", "Tyler Stirling: Off the internet.", "(GRISSOM closes his eyes.)", "Tyler Stirling: Dad, are you mad at me? I did it for you.", "Grissom: Tyler, did you make any more bombs? Where are they? Where are you keeping them?", "Norman Stirling: Tyler ... if you did this for me ... please tell them where they are.", "[SCENE_BREAK]", "[INT. KRETZKER'S RESIDENCE]", "(DOMINIC listens to the scanner.)", "Dispatch: Victor 9, victor 9, report to summit high school, prairie road. Repeat -- Prairie Road. Reported bomb outside classroom 22b, in locker 897.", "(DOMINIC grabs his jacket, puts it on and leaves the house. The DISPATCH continues.)", "Dispatch: Bomb is trigger-activated and motion-delayed. Do not handle.", "[SCENE_BREAK]", "[EXT. SUMMIT HIGH SCHOOL -- DAY]", "(The alarm rings and the voice over the PA instructs students where to go.)", "Man Over P.A.: All students and faculty and all school personnel please exit the building. Security detail! Let's go!", "(Students calmly leave the school. DOMINIC rushes into the school passing by students.)", "Dominic Kretzker: I need classroom 22b.", "Male Voice: Second floor!", "Dominic Kretzker: Where's 22b?", "[INT. STAIRS TO SECOND FLOOR - CONTINUOUS]", "(DOMINIC rushes up the stairs. He passes by students on their way out.)", "Dominic: Come on, people! Don't stop.", "Male Voice: Come on. MALE VOICE: Outside.", "P.A.: All students and all faculty...", "Dominic: Come on, people, don't run.", "P.A.: All personnel are to exit the building immediately.", "Male Voice: Let's go. Everybody outside.", "P.A.: All students and faculty please exit the facility immediately and regroup in your designated areas.", "(DOMINIC reaches the red lockers and takes out a pocket knife that he uses to jimmy the locker open. He opens the locker and finds the bomb inside.)", "(He picks up the package. As soon as he moves it, the motion trigger sets off the clock timer.)", "(Quick CGI POV in through the box and to the alarm clock inside. The second hand starts moving. End of CGI POV. Resume to present.)", "(DOMINIC cautiously carries the package and heads back for the front door.)", "Dominic Kretzker: Get out of my way, people. Come around me.", "(Sirens wail outside.)", "(Cut to: Outside, GRISSOM pulls up. He stops the car and runs out with the other OFFICERS. The students continue to run out of the school.)", "(As the last of them leave, DOMINIC exits the building carrying the package.)", "Grissom: Dominic, stop! Stop right there. Put it down!", "Dominic Kretzker: (smiles) No, it's all right. Everyone's safe.", "Grissom: No, no, no. Drop it. It's active!", "(Suddenly, DOMINIC stops smiling. He hears the clock timer ticking.)", "(Everything comes to a stop.)", "(Quick CGI POV to: Inside the package, the second hand hits 12. The charge goes off. End of CGI POV. Resume to present.)", "(DOMINIC looks down at the package in his hands.)", "(OFF GRISSOM: As GRISSOM and the others watch, the bomb explodes.)", "(They're thrown back by the impact of the explosion. GRISSOM sits up and takes off his glasses.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- DAY]", "(O'RILEY escorts JACK WILLMAN down the hallway. CATHERINE and NICK walk in.)", "Nick: Hi. Just the guy I wanted to see.", "(O'RILEY puts a hand on NICK to stop him from getting any closer.)", "Catherine: O'Riley.", "(CATHERINE shakes her head and they both step aside.)", "Nick: Tell me why you did it.", "Jack Willman: I got nothing to say to you, cowboy.", "(NICK grabs JACK and pushes his back up against the wall.)", "Nick: She was going back to college, turning her life around getting out of the business, and you killed her for it! Why?", "Jack Willman: Is that what she told you? She was getting out of the business? She was going to college to recruit more girls.", "Nick: Do you think I'm going to believe the John that killed her?", "Jack Willman: Oh, you think I was her client? I was her pimp. She was leaving me to start her own racket. So wake up. This isn't pretty woman. She's not Julia Roberts. You're not Richard Gere.", "(JACK takes a step aside, NICK grabs him and pushes him back up against the wall.)", "Nick: Yeah, yeah, yeah. I guess you're right. Because there's no happy ending for you. Twenty-five to life.", "Catherine: Get him out of here.", "(O'RILEY steps forward.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- NIGHT]", "(GRISSOM eats his dinner and reads the front page of the paper. He looks at it, then smiles.)", "Grissom: (to himself) Above the fold.", "(He tears out the article.)", "(Cut to: Out in the hallway, GRISSOM pins the article onto the bulletin board, above the section, \"ONE OF OUR OWN\".)", "(The article headline reads: LOCAL HERO GIVES HIS LIFE. There's a photo of DOMINIC KRETZKER on the right with the caption: \"Dominic Kretzker Saves Summit High Students\". The caption under the headline reads: \"Dominic Kretzker sacrificed his life today for the students of Summit High School. The article was written by Marilyn Mancia, Staff Writer.)", "[The entire article reads: \"Dominic Kretzker sacrificed his life today for the students of Summit High School when the bomb he was removing exploded in his hands. Mr. Kretzker, a security guard at the Hansen Building, which was bombed just days ago, learned of the bomb threat at the High School and raced there to lend a hand. As a bomb enthusiast, Mr. Kretzker had extensive knowledge of how bombs worked. He'd located the bomb in a student's locker and was carrying it away from the student population to a container. But despite his expertise, he was unable to reach safety in time. (Repeats two more times.)]", "(GRISSOM walks away. The camera slowly pushes into the article and the photo of DOMINIC.)" ]

[ "When a single human bone is discovered in the desert, Grissom and Catherine must cover miles of territory to find the rest of the skeleton. And Warrick and Sara trace the death of a male stripper to members of a wedding party who may have celebrated a little too hard the night before the nuptials." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]", "[EXT. LAS VEGAS DESERT (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. MT. CHARLESTON - DAY]", "(A stick is thrown high in the air and SKY jumps up to catch it in her mouth. She makes her way back to her owners.)", "Matthew: Come on, Sky! Come on Sky. Sky, come on.", "(MATTHEW picks up the stick that SKY drops in front of him. He throws it as far as he can. SKY runs off to get it.)", "Matthew: Go get it, girl!", "(SKY barks as she runs to get it. SKY tops and picks it up, then heads back to MATTHEW.)", "Matthew: Come on, Sky. Come on, girl. Bring it back.", "(SKY drops the stick at MATTHEW'S feet and barks. MATTHEW bends over to pat SKY on her head and pick up the stick.)", "Matthew: Good girl.", "(MATTHEW gets a good look at the stick.)", "Matthew: That's not sky's stick.", "(MATTHEW gives the stick to ROBB.)", "Robb: What do you got there, Sky? Come here, girl. What did you get here?", "Matthew: Dad, what is it?", "Robb: Nothing ... it's just ... uh, just an old bone probably from a dead animal or something.", "(ROBB looks around as SKY barks.)", "[SCENE_BREAK]", "[EXT. MT. CHARLESTON - NIGHT]", "(By the light of the flashlight, GRISSOM looks at the bone. CATHERINE looks around the desert.)", "Grissom: It's a tibia ... or most of a tibia.", "Catherine: How long you think it's been out here?", "Grissom: Well, long enough for the animals to pick it clean.", "Catherine: And long enough for the elements to have washed away any evidence.", "Grissom: Evidence of what?", "Catherine: Well, it is a leg bone, and my guess is that it didn't walk out here by itself.", "Grissom: It could have been a hiker who got lost. It's interesting to me how you always expect the worst.", "Catherine: You see, that way, I'm never disappointed. You know, sometimes I'm nicely surprised. So, can we call it a crime scene?", "Grissom: Potential crime scene. Did you know that there's 206 bones in the human body?", "Catherine: Yes, professor, I, too, took Osteology.", "Grissom: Well, 205 more bones and we have a complete skeleton. If we find the rest, then we can determine whether or not it was a murder.", "Catherine: Well, I feel it in every one of my 206 bones that this was a murder.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(GRISSOM walks out of the break room, his team following him through the hallway to get their assignments.)", "Grissom: Okay, Catherine and I are on the case at Mount Charleston. Nick, we could use your help on that.", "Nick: Outstanding.", "(He hands NICK the assignment sheet.)", "Catherine: So we just talked with the academy. We're getting an entire class of cadets meeting us there.", "Warrick: All you guys got to go on is a bone?", "Catherine: Mm-hmm.", "Grissom: The tibia. Where there's one there's usually another.", "Catherine: So we'll do a grid search and we really could use your friend Teri Miller.", "(GRISSOM stops and looks at CATHERINE.)", "Grissom: I don't think that's necessary.", "Catherine: Well, why not? She's a forensic anthropologist -- specializes in bones -- and, hello ... all we've got is a bone.", "Grissom: I know what she specializes in. If we hit a wall, I'll call her.", "Catherine: Okay.", "(GRISSOM starts walking through the hallway again. Everyone follows him.)", "Grissom: Sara, Warrick -- dead body in the lucky seven motel.", "(He holds out the assignment sheet. NICK grabs it and hands it over to WARRICK behind him who takes it.)", "Sara: Is that the place with that weird pool?", "Catherine: Oh, yeah.", "(WARRICK stops in the hallway. Everyone else except SARA leaves.)", "Warrick: (reading) Maid found dead male body in a hotel room.", "Sara: Any chance it's old age?", "Warrick: Guy's 23. No. Sounds like a live one.", "(He hands the assignment sheet to SARA to look at.)", "Warrick: Let's go.", "[SCENE_BREAK]", "[EXT. MT. CHARLESTON - DAY]", "(A line of cadets walk side by side looking for anything that may remotely look like bones. They walk and check the ground. One person raises their hand.)", "Catherine: Stop!", "(The entire cadet line stops. GRISSOM and CATHERINE walk over to check. The cadet points to the ground.)", "Cadet: Looks like a piece of skull bone.", "(GRISSOM kneels down to check it out. He picks it up, looks at it, then tastes it.)", "Catherine: (alarmed) What are you doing?", "Grissom: Bones are porous. They stick to the tongue. (He tastes it again.) This doesn't stick. (He looks up at the cadets.) It's a piece of rock.", "(He puts the rock down and stands up.)", "Catherine: I-I hope you had your Hepatitis B shot.", "(GRISSOM heads back to the side so they can continue searching the grounds. CATHERINE follows.)", "Catherine: Did you?", "(Dissolve to: GRISSOM and CATHERINE head toward a cadet who has her hand raised. They kneel down and find something.)", "Grissom: It could be a piece of wrist bone.", "Catherine: Well, do you want to suck it ... to be sure?", "Grissom: Flag man!", "(Dissolve to: A flag is placed in the ground.)", "(Dissolve to: The cadet line continues to check the ground.)", "(Dissolve to: CATHERINE kneels down and finds something. She raises her hand for a flag.)", "Catherine: Flag!", "(Dissolve to: A flag is placed in the ground. There are now many flags up.)", "(Dissolve to: GRISSOM kneels down on the ground and picks up something. He calls for a flag.)", "Grissom: Flag!", "(Dissolve to: The cadet line searches the ground.)", "(Dissolve to: GRISSOM finds something, blows on it and looks at it. He takes a flag and sticks it in the ground.)", "(Dissolve to: When they're done, there are white flags everywhere.)", "(Time Dissolve to: NIGHT. GRISSOM and CATHERINE stand side by side overlooking the desert they just searched. GRISSOM is looking up in the sky; CATHERINE looks out at the desert.)", "Catherine: So ... you thinking what I'm thinking?", "Grissom: How amazing the universe is. Everything made from the same carbon -- stars to trees, trucks to human bones.", "Catherine: Mmm ... no. I-I was thinking that we have about 100 bone fragments. We could I.D. this body before the end of the shift.", "Grissom: Hmm.", "Catherine: Stars and trucks?", "(He nods, then turns to look at CATHERINE.)", "[SCENE_BREAK]", "[EXT. THE LUCKY SEVEN MOTEL - NIGHT]", "(SARA parks the SUV out in front of the motel. They exit the SUV and walk up the stairs in front of the large glass windows which show the swimmers in the pool.)", "Sara: Only in Vegas.", "[SCENE_BREAK]", "[INT. THE LUCKY SEVEN MOTEL - NIGHT -- CONTINUOUS]", "(WARRICK and SARA walk into the room that's still decorated with party decorations, balloons and streamers. The body is face-down on the bed.)", "Warrick: Looks like somebody had a par-tay.", "Sgt. O'Riley: Here's a wallet.", "(He hands the wallet to WARRICK who looks inside.)", "Sgt. O'Riley: Couple 20s inside.", "Warrick: \"Darren Pyne.\" Dead at 23.", "(SARA looks around the bed.)", "Sara: Sign of struggle. I'll dust for prints.", "Warrick: Looks like he was whacked over the head with this lamp.", "Sara: Yeah. One hit or there would be blood.", "Warrick: Unless each hit was to a different part on his dome. Who's the room registered to?", "(The officer hands SARA the registration slip. She looks at it.)", "Sara: Well, you know, that would be Celine Dion.", "(She looks at the registration slip again.)", "Sara: But, uh, the bill was charged to the credit card of a Lynn Henry, Eau Claire, Wisconsin.", "Warrick: Hey, O'Riley, you think ...", "(He stands up and heads out.)", "Sgt. O'Riley: (interrupts) Find out the last place she used her credit card.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. THE SPHERE HOTEL - OUTSIDE ROCOCO - NIGHT]", "(WARRICK and SARA walk through the lobby.)", "(Cut to: They ask the front desk for directions.)", "(Cut to: They make their way out the courtyard toward a table with a group of women.)", "Woman: I love those shoes. WOMAN: You can wear them again. WOMAN: What about the veil? WOMAN: You've got to remember the veil.", "Warrick: Lynn Henry?", "Lynn Henry: You know my name. What's yours?", "Warrick: I'm Warrick Brown, and this is Sara Sidle.", "Sara: Hi.", "Warrick: We're with the Las Vegas Crime Lab.", "Lynn Henry: Crime lab? About what?", "(WARRICK hands LYNN HENRY the polaroid of the body. She looks at it.)", "Warrick: Darren Pyne was found dead in your motel room at the Lucky Seven. Did you know him?", "Lynn Henry: Oh, my god. Yes, I-I do know him. Sort of.", "(She hands the photo back to WARRICK.)", "Sara: Sort of?", "Lynn Henry: Uh, we, we gave Meg a bachelorette party last night.", "Joyce Lanier: We hired a male dancer.", "Meg Wheeler: I didn't want my fiancé to know. Because he's staying at this hotel.", "Lynn Henry: So we rented a room in a sort of out-of-the-way place.", "Sara: So Darren was the dancer?", "Lynn Henry: Yeah. Uh ... he arrived around ... 10:00?", "(Quick flashback to: The night before. The music starts and DARREN PYNE starts dancing. The women sit around enjoying the show.)", "Joyce Lanier: Oh, my god! Whoo! JOYCE LANIER: If Steve could see me now. LYNN HENRY: No husbands tonight, ladies. MEG WHEELER: Or fiancés.", "(The ladies dance with DARREN PYNE.)", "(Cut to: DARREN is lying down on the sofa, LYNN HENRY is above him and starts to pour champagne in his mouth. They laugh.)", "(End of flashback. Resume to present.)", "Lynn Henry: We left at 3:00. He was totally fine.", "Meg Wheeler: He was dance out but definitely alive.", "Warrick: He didn't leave when you did?", "Lynn Henry: No. He asked if he could stay and the room was already paid for, so I didn't see a problem.", "Sara: Lynn, how did you get those bruises on your wrists?", "(LYNN looks down at her wrists and notices them for the first time.)", "Lynn Henry: Oh, my god! I-I don't know. I-I was totally tipsy last night. I mean, falling all over everything.", "Warrick: All right. We'll probably have more questions after the coroner completes his autopsy. If we need to talk to you can we reach you here?", "Meg Wheeler: Yes. My wedding is tomorrow. Whatever we can do to help.", "Sara: Thanks. Our card.", "(SARA gives their business card to MEG WHEELER. They turn and leave.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(Camera opens on the \"ATLAS OF HUMAN ANATOMY\", opened and turned to the page with a picture of a skeleton and its parts identified.)", "(Cut to: GRISSOM examines the bones one by one. CATHERINE looks through the book.)", "(Cut to: Piece by piece, they start to reconstruct the skeleton.)", "(Cut to: CATHERINE compares a bone with the book.)", "(Dissolve to: GRISSOM picks up a piece of bone.)", "(Dissolve to: CATHERINE takes the bone back from the book and puts it on the table. GRISSOM and NICK continue to work.)", "Catherine: That's the femur.", "(GRISSOM picks up a bone piece.", "Grissom: Ankle bone? Medial malleolous? Goes on the bottom of the tibia?", "Catherine: (looking at the book) That is correct. According to the book.", "Grissom: I'll take toe bones for $200, Alex.", "(GRISSOM picks up more bones and places them on the table where he thinks they should be.)", "(Cut to: A bone is compared to the book.)", "(GRISSOM leans over the table with the bones; CATHERINE sits in front of the book.)", "Grissom: \"All the king's horses and all the king's men couldn't put Humpty Dumpty back together again.\"", "Catherine: (sighs) Hmm. Have we hit a wall yet?", "Grissom: No. This was a man, judging by the pelvic bone.", "(GRISSOM puts more bones down on the table.)", "(Dissolve to: The bones.)", "(Dissolve to: GRISSOM adjusts the camera above the table as he continues to work. GRISSOM picks up half of the jaw and looks at it enhanced on the monitor.)", "Grissom: Hey, Nicky?", "Nick: Yeah.", "Grissom: Let's post this on the dental society database -- see if anyone responds.", "Nick: You got it.", "(Cut to: The skull is the last piece placed on the table. He measures the length of the bone.)", "Grissom: Five times the length of the humerus means this guy was... six feet tall. But we don't know his race, and we don't know whether he was right-or left-handed yet.", "Catherine: Well, he was old-- there's some calcification on the rib cartilage. 60, 70 years old, maybe.", "Grissom: Hmm.", "(GRISSOM sees something and leans in close to look at it.)", "Catherine: Are the bones whispering to you?", "(Quick close up flash to the bone that GRISSOM is looking at. There are marks on them near the broken. End of flash. Resume to present.)", "(GRISSOM picks up the bone and looks at it under a magnifying glass. He hands the bone to CATHERINE.)", "Grissom: Look at these jagged marks on the bone.", "Catherine: Wait a minute. This guy was chopped up. That's murder.", "Grissom: Well, not necessarily. Could have happened postmortem. You know, one of those tractors up in the hills. Or a mulching machine maybe.", "Catherine: A mulching machine? How long do you plan on ignoring the obvious?", "(TERI MILLER pushes the door to the autopsy room open.)", "Catherine: A 70-year-old man found in the mountains with clear evidence he was chopped to pieces. That's a ... homicide.", "Teri Miller: Well, you should check for hemorrhagic tissue at the bone's tool marks ... to be certain.", "(At the sound of her voice, GRISSOM turns around.)", "Grissom: Teri.", "Teri Miller: Hi.", "Catherine: Thanks for coming, Teri.", "(CATHERINE turns to look at GRISSOM, who suddenly turns to look at CATHERINE.)", "Catherine: I told you I was ... calling Teri ... ... didn't I? Anyway, what were you saying about hemorrhagic tissue?", "Grissom: It's blood in the soft tissue. If you find it, it means the guy was alive when he was cut up.", "Teri Miller: Hmm. Well, maybe you two don't need me, after all.", "Grissom: I would never turn away a scientist of your talent.", "(TERI smiles. GRISSOM turn to look at CATHERINE.)", "Grissom: Uh, could I have a word with you outside, please?", "[SCENE_BREAK]", "[INT CSI - HALLWAY - NIGHT - CONTINUOUS]", "(CATHERINE and GRISSOM stand out in the hallway.)", "Grissom: You bring in a specialist without my approval?", "Catherine: And you don't bring in one, possibly compromise the case, because you two had a relationship?", "Grissom: Relationship? I hardly know that woman.", "Catherine: Oh ... so I guess that dopey look in your eye when she's around is just that. Here's the deal -- we're using cliff notes to put that skeleton back together in there. Teri is availing her services. You said she's the best, but, hey, if you want me to send her away ...", "Grissom: Just ... (sighs) ... check with me about stuff like this, will you?", "(GRISSOM heads back into the room.)", "Catherine: Right.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY ROOM - NIGHT - CONTINUOUS]", "(GRISSOM steps back into the room as TERI goes over their work.)", "Grissom: Sorry. So, how did we do?", "Teri Miller: Not bad.", "(She picks up two pieces of bone.)", "Teri Miller: Scaphoid... cuneiform. However, this is a wrist bone and this ... is a foot bone.", "(She puts each piece in its proper place. They look at each other.)", "Grissom: I'm glad you're here.", "(TERI smiles.)", "[SCENE_BREAK]", "[INT. CSI - LAB - MORNING]", "(NICK looks at the lower jaw bone and checks the computer. CATHERINE works quietly next to him.)", "Nick: It looks like somebody in the dental society database saw our posting.", "Catherine: Really?", "Nick: Sid Tucker.", "Catherine: No way. A local dentist.", "Nick: He has records that go back thirty years.", "Catherine: Move over.", "(NICK moves aside and CATHERINE slides her chair over in front of the monitor.)", "Catherine: (reading) \"Hairline fissure of the mandibular canine.\" (sighs) Oh, god, why didn't I learn latin?", "(NICK points to the tooth.)", "Nick: It's lower level third from the middle.", "(CATHERINE turns to stare at NICK.)", "Nick: Better memory than you. And ... our first character match.", "(CATHERINE hits the computer keyboard and brings up an x-ray.)", "Catherine: \"Overlapping left incisors.\" That's the front teeth, right?", "Nick: Two for two.", "(They look at the next x-ray.)", "Catherine: \"Gold fillings.\" Well, I know that. He's got gold fillings in \"adjoining right molars and interspersed in left molars\". Tell me this is all we need.", "Nick: Nolan Ryan pitches another perfect game.", "Catherine: And the winner is ...", "(CATHERINE hits the keyboard and the \"DENTAL RECORD IDENTIFICATION\" box comes up.)", "Nick: Mel Bennett. 326 Franklin Street. Date of birth September 6, 1931. He was 70.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(GRISSOM stands over the bones with TERI.)", "Grissom: An electric saw? You sure?", "Teri Miller: Grooves from a handsaw would be straight, parallel. Now look at the grooves along the medial condyle of the femur. They're coarse. See? A reciprocating electric saw was used on this person.", "(NICK and CATHERINE walk into the room.)", "Catherine: Excuse me. Um ... the person's name is Mel Bennett. We just confirmed it. We're going to meet Brass at the widow's house.", "Grissom: (to TERI) I got to go. Thank you.", "Teri Miller: You're welcome.", "Grissom: Nick, would you stay here and work with Teri on this soft tissue stuff? She'll explain it to you.", "Nick: Sure.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(DR. ROBBINS goes over the body with WARRICK.)", "Dr. Albert Robbins: Our male dancer.", "Warrick: Multiple blows to the head?", "Dr. Albert Robbins: That's right. And one of those blows did enough damage to cause cranial bleeding. Any of your ladies mention having s*x with this victim?", "(They both walk over to the scope.)", "Warrick: No. Just lap dances-- nothing more.", "Dr. Albert Robbins: I think the dance might have been a bit more intimate. Penile swab's back from the lab.", "[SCOPE VIEW]", "Dr. Albert Robbins: Vaginal cells.", "Warrick: Looks like fried eggs.", "Dr. Albert Robbins: That's because the cells are fresh. Darren had s*x just before he died.", "Warrick: What's the estimated time of death?", "DR. ALBERT ROBBINS Midnight.", "Warrick: What?! These ladies said he was alive when they left him at 3:00 A.M.", "Dr. Albert Robbins: Someone's lying.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(SARA and WARRICK interview the women again.)", "Meg Wheeler: I don't mean to be snippy, but we're already late for my rehearsal dinner.", "Sara: Dinner's going to have to wait.", "Warrick: We have forensic proof that Darren Pyne had s*x with a woman just before he died.", "Sara: And, as far as we can tell you were the last three women with him. So, who's lying?", "Joyce Lanier: I have two small children and a husband. I can't be involved in this.", "Lynn Henry: (whispering) Joyce ... shut up.", "Sara: About what? Lynn, does this have anything to do with the bruises on your wrists?", "Warrick: Hey, tell us or tell the D.A.", "Lynn Henry: Okay. After the bachelorette party, we left.", "(Quick flashback to: LYNN opens the door and enters the motel room.)", "Lynn Henry: (V.O.) I forgot my purse, so I went back in to get it.", "(She looks and finds that DARREN PYNE is holding the purse and smiling at her.)", "(Cut to: LYNN reaches for the bag and DARREN grabs her wrist.)", "Lynn Henry: Let go.", "(He pushes her back against the couch and gets on top of her.)", "Lynn Henry: No! Get off! Oh, no.", "(They struggle.)", "Lynn Henry: (V.O.) I told him no, but he just wouldn't take no for an answer.", "(End of flashback. Resume to present.)", "Warrick: So he raped you.", "Lynn Henry: That's how I got the bruises on my wrists. I didn't even tell them until we got back to the hotel.", "Warrick: Was Darren alive when you left?", "Lynn Henry: Very... unfortunately.", "Meg Wheeler: So ... can we go now? My fiancé is already asking questions.", "Sara: Yeah, you can go.", "(Everyone gets up.)", "Sara: But, Lynn, uh ... a car's going to take you to the hospital for an exam.", "Lynn Henry: An exam for what?", "Warrick: It's just standard procedure for sexual assault.", "(She nods.)", "[SCENE_BREAK]", "[EXT. BENNETT RESIDENCE - DAY]", "(A doorbell rings and the door opens.)", "Rose Bennett: Yes?", "Brass: I'm Detective Jim Brass -- Las Vegas Police Department. Are you Mrs. Bennett?", "Rose Bennett: Oh, yes. Is this about my car plates? I have them. I just haven't had time to put them on the car.", "GRISSOM; Actually, Mrs. Bennett we're here about your husband, Mel.", "Rose Bennett: Oh, well, Mel isn't here right now.", "Catherine: Well, do you know where he is?", "(GRISSOM stares at her.)", "Rose Bennett: Yes. He's at the store. Is there a problem?", "[SCENE_BREAK]", "[EXT. BENNETT RESIDENCE -- DAY]", "(An OFFICER and BRASS both escort ROSE BENNETT to the back of the OFFICER car.)", "Brass: Mrs. Bennett, everything is all right. We're just going to ask a few questions down at the station.", "Grissom: She looks distraught.", "Catherine: Is that because she just found out he's dead or because she got caught?", "[INT. BENNETT RESIDENCE -- DAY]", "(Inside the house, GRISSOM examines the framed photographs on the walls.)", "Grissom: Interesting how people catalog their lives. Fifty years of marriage on the wall.", "Brass: Yeah, that's a lot of years. Maybe a few too many for the missus.", "Catherine: Oh, I don't know. These two were good with each other.", "(GRISSOM looks at CATHERINE. There's just something in her voice.)", "Catherine: (She sighs.) It takes a bad marriage to recognize a good one.", "(Cut to: BRASS looks through the things in the closet. He opens a box and picks up an old trophy.)", "[BATHROOM]", "(CATHERINE and GRISSOM are in the bathroom. CATHERINE opens the medicine cabinet to look inside while GRISSOM examines the toilet.)", "Catherine: Well, not even an aspirin.", "(CATHERINE shuts the medicine cabinet door, then bends to look into the tub.)", "Catherine: Look at this. The tub hasn't been used in a while.", "Grissom: Well, maybe she only uses her other bathroom.", "(Cut to: BRASS continues to look through the boxes.)", "(Cut back to: CATHERINE checks the drain.)", "Catherine: Tub's the most obvious place to cut up a body but I don't see anything down there.", "Grissom: Try phenolphthalein?", "Catherine: Give me a swab.", "(CATHERINE takes a swab of the drain. They test it. It tests positive.)", "Grissom: Hmm...", "[SCENE_BREAK]", "[LIVING ROOM]", "(BRASS walks in carrying a package.)", "Brass: How did you guys do?", "Catherine: We found blood in the drain.", "Grissom: You find anything?", "Brass: Just the murder weapon.", "(GRISSOM and CATHERINE turn to look at BRASS.)", "Brass: Cleaned, in the widow's garage.", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT]", "(TERI handles the electric saw on a piece of ham. The drill whirls while CATHERINE and GRISSOM watch.)", "Teri Miller: Bone of a pig. They are the most like humans, as you know.", "(Finally, after a moment, TERI cuts through the bone. GRISSOM reaches out for the piece to look at the cut.)", "Catherine: And this saw matches the one that Brass found in Mrs. Bennett's garage?", "Teri Miller: Exact model. No doubt about it. The marks on this bone are consistent with the marks on Mel Bennett's bones. Exact same electric saw, same blade.", "Grissom: Can you tell us anything about the operator?", "Catherine: You mean Mrs. Bennett?", "(CATHERINE turns to look at GRISSOM who doesn't say anything, neither confirming nor denying who operated the saw. She gets it.)", "Catherine: Oh, right. (whispering) Reserve judgment.", "Teri Miller: How someone operates a saw is as telling as how someone operates a pen. Now, look at the femur. The skipping marks of the saw over the bone tell us whoever used the saw was unfamiliar with its use. An amateur, if you will. Someone with or a weakened nature. Compromised musculature.", "(CATHERINE turns to look at GRISSOM. He meets her gaze.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. LUCKY SEVEN ROOM - NIGHT]", "(WARRICK and SARA check the room again as they talk about the case.)", "Warrick: What do you mean, \"it doesn't add up?\"", "Sara: Well, we're assuming that a couple of lamp hits to the head killed Darren, right?", "Warrick: For now, yeah.", "Sara: You read the coroner's final report. There's no traces of that lamp on his head at points of impact.", "Warrick: Yeah, but maybe the materials didn't adhere. Doesn't mean he wasn't hit in the head with the lamp.", "(He turns and sees SARA looking at the bed where DARREN PYNE'S body was found.)", "Warrick: What are you looking for?", "Sara: I don't know. I'll let you know when I find it.", "Warrick: Well, if you don't know, I can't help you.", "(SARA gets up and sighs. She walks around.)", "Warrick: What is this?", "Sara: What? What do you got?", "(WARRICK indicates the crease of the sofa.)", "Warrick: Something-something.", "Sara: Where?", "Warrick: Right there.", "Sara: Nice.", "(SARA takes a photo. He reaches out and picks it up.)", "Sara: Tiniest diamond in the world.", "Warrick: Oh, you think so, huh?", "(WARRICK walks over to the glass table and tries to cut it. He finds nothing.)", "Warrick: No. Diamonds cut glass. This is some cheap-ass cubic zirconia.", "Sara: The bride-to-be's ring, maybe? She was here.", "Warrick: Let's go ask her.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(BRASS, GRISSOM and CATHERINE question ROSE BENNETT.)", "Rose Bennett: Why do you keep asking me these kinds of questions?", "Brass: Well, because someone killed your husband, Mrs. Bennett ... and was strong enough to wield an electric saw to do it.", "Catherine: But not so strong as to make clean cuts.", "Rose Bennett: (sighs) I didn't kill Mel. I loved him.", "Brass: Why didn't you report him missing? Were you used to him leaving or did you fight much?", "Rose Bennett: Never. Never. We had a perfect marriage. Perfect.", "Grissom: And you failed to report him missing for seven months because ... ?", "Rose Bennett: I don't like your tone, young man. Detective, you said I could have an attorney at any time. I think I'd like one now.", "Brass: Oh, sure, Mrs. Bennett, sure. Just sign this form please.", "(BRASS pushes a piece of paper and a pen toward her. She has difficulty picking the pen up. Everyone makes note of the difficulty.)", "[SCENE_BREAK]", "[EXT. SPHERE HOTEL - STRIP - NIGHT]", "(SARA and WARRICK step off of the escalator and head toward the hotel.)", "Sara: Every time we go to find these women they're somewhere else. You sure you got that address? That desk clerk was talking very quickly.", "Warrick: They talk faster at the sports book.", "Sara: What?", "Warrick: In the old days.", "Sara: Oh. You think we're dressed for a wedding?", "Warrick: Yeah. Not my wedding.", "(SARA'S pager beeps. She checks it.)", "Warrick: What?", "Sara: Lynn Henry's SART exam's in.", "(She hands her beeper to WARRICK to read the message.)", "Warrick: She lied to us.", "Sara: At this point, I think all those girls are lying to us.", "Warrick: All right, let's call homicide and tell them to meet us there. Let's put this to bed before the honeymoon.", "[SCENE_BREAK]", "[EXT. LAS VEGAS STREET TO WEDDING CHAPEL - NIGHT]", "(Police sirens wail as the cars turn the corner and head to the wedding chapel.)", "[SCENE_BREAK]", "[INT. A LITTLE WHITE CHAPEL - NIGHT - CONTINUOUS]", "(Camera pans along the roof of the chapel that reads, \"... you ... I want you ... I can't live without you.)", "(Cut back to: \"A LITTLE WHITE CHAPEL\"'s sign. The camera moves from the sign to the roof to the police car parking.)", "(SGT. O'RILEY gets out of the front car.)", "(Cut to: SGT. O'RILEY walks through the lobby just as the minister is speaking. He interrupts them.)", "Sgt. O'Riley: Sorry, Elvis. Your wedding party has to leave the building.", "(The entire party turns around to find SGT. O'RILEY, WARRICK and SARA walking down the aisle.)", "Joyce Lanier: (whispers) What?", "Lynn Henry: Oh, my god.", "Meg Wheeler: What's going on?", "Sgt. O'Riley: All three of you ladies are coming in for questioning in the murder of Darren Pyne.", "Luke: Murder? Is this a joke?", "Sara: The clock's going to explain it all, believe me.", "Luke: The ... the clock? What ... what clock?", "[SCENE_BREAK]", "[INT. CSI - HALLLWAY - NIGHT]", "(GRISSOM and CATHERINE walk through the hallway. They bump into TERI MILLER carrying her kit and walking out past reception.)", "Grissom: Hey. Where you going?", "Teri Miller: I'm leaving.", "Grissom: Town?", "Teri Miller: Don't worry, I was able to isolate some soft tissue from the preserved vertebrae. Nick's working on it now.", "(CATHERINE nods, then notices that GRISSOM hasn't said anything. She takes that as her cue to leave.)", "Catherine: Well, I'm going to go check that out. Teri ... (they shake hands) ... You rule.", "Teri Miller: Thanks, Catherine.", "(CATHERINE leaves.)", "Grissom: Well ... have a safe trip.", "Teri Miller: Yeah.", "(TERI puts her kit down.)", "Teri Miller: I-I need to apologize for not returning your call last month.", "Grissom: Teri, I admire your dedication to your work.", "Teri Miller: Um ... dedication to my work didn't keep me from returning your call.", "Grissom: Oh. It ... it was nothing. I-I-I just called to see how you were doing.", "Teri Miller: Um ... well ... are you still interested in how I'm doing?", "Grissom: Of course. So ... what's next?", "Teri Miller: Mutilation in the Everglades.", "Grissom: Maybe it was just an alligator.", "Teri Miller: Yeah. And if it's not, I'll be filing for a change of address again. Anyway ... I got to go.", "(TERI picks up her kit and walks past GRISSOM. He turns around to stop her.)", "Grissom: Do you have to go? I mean ... couldn't you take a later flight?", "Teri Miller: More bones?", "Grissom: Have dinner with me later.", "(She smiles and nods.)", "Teri Miller: I think the bodies will keep.", "[SCENE_BREAK]", "[INT. CSI -- LAB - NIGHT]", "(NICK and CATHERINE look through the scope.)", "Nick: See this tissue?", "[SCOPE VIEW of tissue]", "Catherine: I do. There's no evidence of blood.", "Nick: Yeah. Tells us blood was not pumping through Mel Bennett's veins when he was cut up.", "Catherine: Which means he was already dead.", "Nick: Yeah.", "Catherine: So what does that leave us?", "Grissom: A spectrum of possibilities.", "(They turn to see GRISSOM leaning against the door frame.)", "Grissom: The universe.", "Catherine: Leaves me with a black widow.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(GRISSOM and SARA re-question ROSE BENNETT with her lawyer.)", "Margaret Finn: We want to thank the crime lab for discovering that Mrs. Bennett's husband was dead when she disassembled him.", "Catherine: Disassembled him? So she admits to taking an electric saw to her husband?", "Margaret Finn: After he was dead, yes. As you know, in Nevada, there's no law against cutting up a dead body.", "Catherine: There's no law saying it's okay, either.", "Grissom: Does your client care to tell us how her husband came to be dead?", "Margaret Finn: Well, she has no idea. She came home from the grocer's went into the bathroom and there he was in the tub, deceased.", "Rose Bennett: No. I-I want to explain.", "Margaret Finn: Briefly, Mrs. Bennett.", "Rose Bennett: (sighs) I couldn't afford the burial. So I-I got the saw ... and I cut him into manageable pieces.", "Catherine: \"Manageable\"?", "Rose Bennett: Mmm.", "Grissom: You made it easier to transport his body?", "Rose Bennett: Yeah. To Mount Charleston.", "(The door to the interview room opens and BRASS walks in.)", "Brass: I called that whistle-blower's line at the local treasury office. You know, the one that handles social security fraud? They were happy to help.", "(BRASS puts some papers down on the table in front of them. GRISSOM and CATHERINE both look through them.)", "Catherine: Well, Mrs. Bennett ... can you afford the burial now?", "Margaret Finn: What are you talking about?", "Catherine: It's her husband's social security checks from the last two years.", "Brass: The signature's the same till seven months ago. Q.D. Matched the lady's writing. Mrs. Bennett, you've been cashing your dearly departed's checks, haven't you?", "Grissom: And that's fraud.", "Catherine: It's also a motive.", "Margaret Finn: You want to alert the government about some forged social security checks, be my guest. But there's no murder here. We're done. Mrs. Bennett.", "(They stand up to leave.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. THE ORPHEUS HOTEL/CASINO - DIFFERENT LOCATIONS - LATER]", "(GRISSOM and CATHERINE walk down the sidewalk.)", "Catherine: Typical Vegas wife - off'ed her old man for the money and there's nothing we can do about it.", "Grissom: We have to go back to the body.", "Catherine: Right. There's always a clue except we don't have a body.", "Grissom: We have bones.", "[SCENE_BREAK]", "[INT. CSI - LAB - NIGHT]", "(GRISSOM takes a small portion of the bone and puts it in a dish. CATHERINE takes the dish and caps it. She leaves the lab.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - NIGHT]", "(GREG SANDERS puts a sample in the machine.)", "Greg Sanders: Skeletal muscle of Mel Bennett. It goes in ... contents come out. In 30 seconds -- bioassay. I like saying that word. Bioassay. Sounds nubian. So how are you?", "CATHERINE; Never better.", "Greg Sanders: Yeah? Well, you look good.", "Catherine: I try.", "Greg Sanders: Yeah. I heard Grissom's lady friend was in town.", "Catherine: Ladyfriend? Hmm. Wouldn't know anything about that.", "Greg Sanders: Really? I thought you and Grissom were tight.", "Catherine: We are.", "(The machine beeps.)", "Greg Sanders: Okay. Got it. Private.", "(He reads the results.)", "Greg Sanders: Huh. Digoxin.", "Catherine: Digoxin?", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(GRISSOM reads the results.)", "Grissom: It's supposed to treat heart failure but not if you're taking the amount found in Mel Bennett's bones.", "Catherine: She poisoned him.", "(GRISSOM looks at CATHERINE.", "Grissom: \"Someone\" did.", "[SCENE_BREAK]", "[INT. BENNETT HOUSE - LIVING ROOM -- NIGHT]", "(GRISSOM and CATHERINE re-interview ROSE BENNETT.)", "Grissom: We know your husband had an overdose in his system. We found it in his bone tissue.", "Catherine: Did you kill him for his pension checks?", "Margaret Finn: Don't answer that question.", "Rose Bennett: It's okay. Mel took those pills himself. He asked me to leave the house, so he could do it.", "Brass: So now it's suicide?", "Rose Bennett: He was dying from the heart trouble. He was in chronic pain. He asked me to get it over with. I couldn't. I loved him.", "Grissom: This is the part that I'm having a hard time with. You were able to cut him up when you realized you couldn't afford the burial?", "Rose Bennett: I lied about why.", "Margaret Finn: Mrs. Bennett, don't ...", "Rose Bennett: No. Let me talk. Mel made me promise to hide his body so I wouldn't lose his social security benefits.", "Catherine: (realizes) Because a wife's benefits are cut in half when the husband dies.", "Rose Bennett: Yes. Even if you've spent fifty years by his side -- packing his lunch, pressing his work pants. Mel was my whole life. I didn't kill him. I couldn't even put him out of his misery.", "(Her voice breaks and she starts to cry.)", "[SCENE_BREAK]", "[EXT. BENNETT HOUSE - NIGHT]", "(Standing outside the house, they discuss the case.)", "Catherine: So what do you think, Jim?", "Brass: I don't know. You're the lab guys. What is the evidence telling you?", "Grissom: Forensically, we can't prove if Mel took the digoxin overdose or if she forced it on him.", "Catherine: So that leaves us with one choice.", "Grissom: Equivocal evidence.", "Catherine: Golden rule.", "Brass: Ah. Well, \"when faced with evidence that can equally exonerate or implicate a suspect\", we must \"as objective interpreters of that evidence ... side with the defendant.\" Tie goes to the runner.", "Grissom: Rose goes free. Because we'll never be able to prove who administered the fatal dose.", "Catherine: (sighs) I don't think she did it.", "Brass: Okay, then. I guess I'm out of here. I'll go start my paperwork.", "Catherine: See you.", "(BRASS leaves. CATHERINE turns to look at GRISSOM.)", "Catherine: Okay, so I was wrong. It wasn't murder.", "Grissom: It's not a contest.", "Catherine: You want to go in with me? Give her the good news?", "Grissom: Could you do it? I'm sorta late for a dinner.", "Catherine: (smiles) Sure.", "Grissom: Thanks.", "(GRISSOM leaves. CATHERINE heads back to the house.)", "(Cut to: Through the glass windows we see CATHERINE inside the house, walking up to ROSE and MARGARET FINN to give them the news. After a moment, ROSE turns and hugs her lawyer.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(SARA and SGT. O'RILEY are in the interview room with the women. SARA stands in front of a blackboard.)", "Sara: So, ladies of the wedding party, you get a free course in the forensics of sexual intercourse. Secrets of our trade. Lynn, when you had your exam for sexual assault a SART nurse makes a clock like this.", "(SARA turns around and picks up a piece of chalk to illustrate on the blackboard.)", "Sara: This is the v*g1n*.", "(O'RILEY stands next to the blackboard.)", "Sara: And it does tell a monologue. Some bruising is normal when s*x occurs. Injuries at 11:00 ... 12:00 or 1:00 indicate consensual s*x or what we would call \"avid.\" Injuries around the dinner hour ... five, six, or seven, indicate forced entry. The woman hasn't done anything to help her partner thus sustaining serious bruising.", "Sgt. O'Riley: Sidle, I'm going to be just outside the door.", "(O'RILEY walks out of the room.)", "Sara: Okay, O'Riley. Lynn ... your exam showed no evidence of s*x in the last 48 hours. Actually, in months. (JOYCE snickers quietly.) But the epithelials indicate that Darren had s*x right before he and the coroner puts time of death when you've all admitted to being present. So ... Meg? Joyce?", "(No one responds.)", "Sara: Look, we can run the clock exam on each of you. And the clock is going to tell us what happened. So who wants to go first?", "MEG WHEELER I had s*x with Darren ... and it wasn't rape.", "(Short time cut to later.)", "(The tape recorder is on as it takes down MEG WHEELER'S statement.)", "Meg Wheeler: Darren had been flirting with me all night. And, when it was time to leave I told the other girls to wait in the car. I know it's crazy but I thought ... I'm in Vegas. It doesn't really count.", "(Quick flashback to: That night, MEG and DARREN are in bed thoroughly enjoying themselves. End of flashback. Resume to present.)", "Meg Wheeler: And ... then I don't know what happened.", "(Quick flashback to: MEG runs her hand on DARREN'S shoulders and sees her engagement ring.)", "Meg Wheeler: (V.O.) I saw my engagement ring.", "(End of flashback. Resume to present.)", "Meg Wheeler: (crying) Then I-I thought about Luke and how he trusts me.", "(Quick flashback to: MEG starts hesitating, but DARREN'S not buying it.)", "Meg Wheeler: I don't think this is right.", "Darren Pyne: Oh, you like it a little rough.", "Meg Wheeler: (V.O.) I tried to push Darren of me ...", "Darren Pyne: Okay. We can do that.", "Meg Wheeler: (V.O.) But I-I don't think it got through.", "(End of flashback. Resume to present.)", "Meg Wheeler: He wouldn't stop.", "(Quick flashback to: MEG grabs the lamp off of the table and hits DARREN on the head with it.)", "Meg Wheeler: As soon as I hit him with the lamp, I knew.", "(Quick flashback to: DARREN is out cold on top of MEG.)", "Warrick: (V.O.) So you only hit him once?", "(End of flashback. Resume to present.)", "Meg Wheeler: (nods) Mm-hmm. I didn't mean to kill him.", "Sara: Meg, your engagement ring ... is that cubic zirconia?", "Meg Wheeler: No. It's a real diamond. My fiancé wanted me to have the best.", "Warrick: Does your fiancé have a zirconia ring?", "Meg Wheeler: Zirconia-studded. It's a promise ring. He told me to save my money ... for our honeymoon.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT -- LATER]", "(WARRICK and SARA interview MEG WHEELER with her fiancé, LUKE.)", "Luke: Damaged? No. My ring is fine.", "Warrick: May we see it?", "(LUKE takes off the ring and hands it to WARRICK. He and SARA look at it and notice the missing stud.)", "Warrick: You were in that motel room that night, weren't you, Luke?", "Luke: I don't know what you're talking about.", "Warrick: What happened? You got wind of the party?", "(Quick flashback to: That night.)", "Luke: (shouting) (o.s.) Where is she?", "(LUKE grabs LYNN HENRY by her wrists and pulls her out of the car.)", "Lynn Henry: I don't know where she is.", "Joyce Lanier: Let her go!", "Luke: Your husband told me you were here! Now tell me where she is!", "Lynn Henry: Let go of me.", "Luke: Just give me the room number. Tell me where she is.", "(End of flashback. Resume to present.)", "Warrick: Bruised up Lynn's wrists.", "Sara: Meg, you did have s*x with Darren the dancer. Maybe you even tried to stop in the middle of it. But something got your attention.", "(Quick flashback to: DARREN and MEG are in bed.)", "Meg Wheeler: I don't think this is right.", "(MEG looks up and sees LUKE standing over them.)", "Meg Wheeler: Oh, my god! Luke.", "(LUKE gets angry and knocks the lamp off of the bedside table where it breaks.)", "(End of flashback. Resume to present.)", "Sara: Luke, you threw the lamp -- probably on the floor. Understandable rage.", "Warrick: You did what any guy in your position would do.", "(Quick flashback to: That night. LUKE grabs DARREN and slams his head against the headboard. End of flashback. Resume to present.)", "Warrick: But you didn't stop with one hit.", "(Quick flashback to: LUKE continues to hit DARREN against the headboard. In the process, he looses the stud in his ring. End of flashback. Resume to present.)", "Warrick: And you didn't know that you had lost a piece of your ring.", "Sara: Except we found it.", "(She holds up the stud to show them.)", "(LUKE gasps. MEG turn to look at LUKE.)", "Meg Wheeler: Honey, I'm sorry.", "Luke: We just ... we just were hoping we could get married. Put it all behind us.", "Warrick: Laws don't end when you come to Vegas.", "(WARRICK puts the ring back on the table. LUKE hangs his head.)", "(Cut to: LUKE and MEG sitting in the back of the police car.)", "[SCENE_BREAK]", "[INT. RESTAURANT - NIGHT]", "(High above the strip, GRISSOM and TERI have dinner.)", "Grissom: I'm surprised. I'm having a nice time.", "Teri Miller: Were you expecting a bad time?", "Grissom: No. I just thought we might be uncomfortable away from work.", "Teri Miller: Are you?", "Grissom: No.", "Teri Miller: Nor am I.", "Grissom: Good.", "Teri Miller: It's kind of like that old saying: \"How a person does one thing is ...", "Grissom: ... how a person does everything.\"", "Teri Miller: Exactly.", "(GRISSOM'S pager beeps. He looks at TERI.)", "Grissom: Excuse me.", "Teri Miller: Sure.", "(He takes out his pager and reads the message. TERI takes a sip of her drink.)", "Teri Miller: What's going on?", "Grissom: (sighs) They found two bodies in a crack den at the end of the strip. Evidently, they've been dead awhile. They need me to do an insect analysis ASAP.", "Teri Miller: Oh. Well ... you are the bug guy.", "Grissom: Yeah. But I asked you to postpone your flight.", "Teri Miller: It's okay. It happens.", "Grissom: Maybe I can ...", "(GRISSOM'S phone rings.)", "Grissom: (to TERI) I'm sorry.", "(GRISSOM turns aside and answers the phone.)", "Grissom: (to phone) Yeah. Grissom. All right, look ... make sure the paramedics don't leave and have the primary on the scene take photographs of the corpses at two-minute intervals until I arrive. All right?", "(He hangs up the phone and turns back.)", "(TERI'S gone.)", "(GRISSOM sighs.)" ]

[ "During a fundraiser at the home of Portia Richmond - a legendary showgirl - a dead woman is found floating in the pool. When Portia later disappears, suspicion falls on a young couple who 'house-sat' for her. The Sheriff puts pressure on Grissom as well, as Portia's case affects his election. Warrick looks into a mob hit in a glass elevator." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - NIGHT]", "(People with money mingle amongst themselves. PATRICK HAYNES mingles with his party guests, the cream of the Las Vegas society.)", "Patrick Haynes: Nice suit.", "(He makes his way around the floor with a champagne glass in his hand and smiles when he sees a familiar face.)", "Patrick Haynes: Welcome.", "Sheriff Brian Mobley: Congratulations, Patrick.", "Patrick Haynes: Well, thank you, Sheriff. Your presence here means a lot tonight.", "Mrs. Burton: Is that for me?", "Patrick Haynes: Are you talking about the glass or the bubbly?", "Mrs. Burton: I was talking about the smile on your face.", "(He laughs.)", "Patrick Haynes: Well, if I'm smiling, it's because we raised $1.6 million for Mrs. Richmond's Burn Center tonight.", "(Behind them, he sees AMANDA HAYNES step up on the side. He hands a glass to MRS. BURTON.)", "Patrick Haynes: That sort of generosity deserves a raise of the glass, huh?", "(He turns and raises his glass to the large portrait of PORTIA RICHMOND hanging on the wall.)", "Patrick Haynes: To Portia.", "Mrs. Burton: To Portia.", "Patrick: It's a shame she couldn't be here tonight.", "(AMANDA HAYNES makes her way toward PATRICK.)", "Patrick Haynes: Hey. We did it.", "Amanda Haynes: We sure did.", "(He turns and kisses her.)", "(Outside a woman screams.)", "(Cut to: Everyone ruses toward the glass windows to see what's happening.)", "(Cut to: In the pool, a woman floats head down. Dead. Everyone rushes outside to look.)", "(PATRICK and AMANDA HAYNES make their way toward the side of the pool to look.)", "Patrick Haynes: Excuse - excuse me.", "WHITE FLASH TO:", "[SCENE_BREAK]", "[EXT. POOL SIDE - NIGHT - LATER]", "(An OFFICER walks into the pool to get the body. He flips the dead woman over and pulls her toward the side.)", "(GRISSOM walks over along the side of the pool. In the background, OFFICERS keep the party attendees gathered away from the pool.)", "Grissom: Excuse me.", "(GRISSOM walks over to the SHERRIF and BRASS.)", "Grissom: Nice tux, Sheriff.", "Sheriff Brian Mobley: Do you know whose house this is?", "Grissom: To know this town is to know its celebrities and their histories. Portia Richmond was a legendary showgirl in her day. But, that's not her.", "(A camera flashes.)", "Brass: Maybe thirty years ago when she was the headliner at the Lido de Paris.", "Grissom: Who found her?", "Brass: Look around you. (sighs) This is going to take all nigh", "(GRISSOM turns to look at BRASS ... )", "Grissom: Come for the hors d'oeuvres -", "(... he turns to look at the party goers.)", "Grissom: ... stay for the interrogation.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT./INT. RICHMOND MANSION - POOL - NIGHT]", "(GRISSOM walks into the house from the pool. He's on the phone.)", "Grissom: (to phone) Yes, sir. Well, I'll do my best.", "(He crosses the lobby, hangs up the phone and heads out the front door just as the Tahoe carrying the others parks. They exit the car.)", "Grissom: All right, you guys, like I said on the phone it was a big party, and it's a huge house so we're going to divide and conquer. Nick, tonight you do the overall sketch, all right? Catherine and Warrick, you got the pool area.", "(GRISSOM turns and leaves.)", "Catherine: I'll take the shallow end.", "Warrick: Guess I'm going deep.", "(CATHERINE opens the car door to get her things.)", "[SCENE_BREAK]", "[EXT. POOL SIDE - NIGHT - CONTINUOUS]", "(CATHERINE walks along side the shallow end of the pool, looking at the sides and into the water.)", "(Cut to: WARRICK snaps a picture, then looks out into the pool. He sees something in the water that catches his attention. He moves in closer for a look and definitely sees something shining at the bottom of the pool.)", "(He takes a picture of the item in the pool.)", "(Cut to: NICK steps up to the lagoon and looks out at the fish inside the small pool. GRISSOM stands next to him.)", "Nick: I wonder how much it costs to feed all these fish.", "(GRISSOM doesn't say anything, but looks at NICK'S sketch pad. NICK looks back at GRISSOM and nods.)", "Nick: Hmm? Right.", "(GRISSOM turns and walks away.)", "(Cut to: CATHERINE kneels down on the grass and finds something red. She picks it up and looks at the fake nail.)", "(Cut to: WARRICK looks around and takes his shirt off. He walks into the pool water, then when he gets deep enough, he dives in. He swims over to the shiny thing at the bottom of the pool and picks it up. It has the letters: CM on it.)", "(Cut to: NICK and GRISSOM walk over along the side of the pool. NICK chuckles and turns to look at GRISSOM. WARRICK breaks surface.)", "Nick: Marco?", "Warrick: Polo.", "(WARRICK stands up in the pool)", "Nick: (teasing) You want to get out of there, sir? Pool closed at sundown.", "Catherine: (joining in) Can I get you a towel, sir?", "(WARRICK walks out of the pool.)", "Warrick: (dryly) Yeah, please.", "Grissom: What'd you find?", "(He shows them the cuff link.)", "Warrick: Looks like a cuff link. Initials \"C.M.\"", "(GRISSOM takes it and looks at it. They all look at it.)", "Catherine: Turquoise and silver. Breaks down the regionality to the southwest -- maybe Arizona, New Mexico, Texas.", "Grissom: Good catch, pal. You get the guest list. Check for C.M.s.", "(GRISSOM leaves.)", "Warrick: I'm going to be wet all night.", "(NICK snickers.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(GRISSOM opens the autopsy room door and walks in, a puzzled look on his face. Inside, he finds DR. ROBBINS hunched over the far counter, a machine whirring.)", "Grissom: I defect a bitter alkaloid.", "Dr. Albert Robbins: Don't tell anybody. My weakness.", "(He turns around to show a coffee machine. He holds out a coffee mug to GRISSOM.)", "Dr. Albert Robbins: One macchiato, tall.", "Grissom: Coffee machine courtesy of the city, I presume?", "Dr. Albert Robbins: When the coroner asks for something, they don't question it.", "Grissom: Cheers.", "Dr. Albert Robbins: Cheers. Come on.", "Grissom: Have we I.D.'D her yet?", "Dr. Albert Robbins: Working on it. She's had a few upgrades. Submalar augmentation. Rhinoplasty. Silicone breasts.", "Grissom: Run a serial number on the implants. Instant I.D.", "(GRISSOM lifts up the sheet to look under it.)", "Dr. Albert Robbins: Our field's come a long way, hasn't it?", "Grissom: Hmm.", "Dr. Albert Robbins: Got a whole menu here. Petechiael hemorrhaging, bruising around the neck ...", "(Quick CGI POV to inside the neck and the broken bone.)", "Dr. Albert Robbins: (V.O.) ... broken hyoid bone.", "Grissom: (V.O.) She was strangled.", "(The bone snaps. End of CGI POV. Resume to present.)", "Dr. Albert Robbins: (shakes his head) No water in the lungs. She was dead before she hit the water.", "(DR. ROBBINS takes a sip of coffee.)", "Grissom: Strangulation's a man's crime.", "Dr. Albert Robbins: Preaching to the converted.", "Grissom: Do me a favor, Doc. Photograph her injuries. Run a s*x assault kit. Include infrared for subdural bruising.", "(GRISSOM takes a step away to leave, but DR. ROBBINS stops him by taking the mug back.)", "Dr. Albert Robbins: This is our little secret.", "(GRISSOM looks seriously at DR. ROBBINS, then nods his head. GRISSOM leaves.)", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - NIGHT]", "(WARRICK is inside putting his clothes back on. CATHERINE walks in, she's just got off the phone.)", "Catherine: Hey.", "Warrick: Hi.", "Catherine: 419 at the Sphere, glass elevator. You're on it.", "Warrick: This is a big case. I'm in a groove here.", "Catherine: Well, groove on down to The Strip.", "Warrick: (disappointed) Whatever happened to \"you cross the tape, you go the distance\"?", "(CATHERINE dials the phone.)", "Catherine: I was probably saying that to get you to service my needs at the time.", "(The phone rings.)", "Warrick: Great.", "Voice On Phone (Sara): Hello?", "Catherine: (to phone) Hey, Sara. You sleeping? (smiling) Oh ...", "(CATHERINE turns and walks away. WARRICK continues to get dressed, a gruff look on his face.)", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - LIVING ROOM - NIGHT]", "(BRASS is interviewing PATRICK and AMANDA HAYNES. He turns and excuses himself.)", "Brass: Excuse me for a minute.", "(He walks toward GRISSOM and CATHERINE.)", "Brass: Hi. Well, I got the horsepower on everybody here. 99% of the people know nothing, saw nothing. Big surprise.", "Grissom: What about Portia Richmond?", "(They glance over at the portrait.)", "Brass: Well, according to her friends she's been romancing some young stallion for over a month. She's in love. She's cruising the Mediterranean on some yacht, eating cheese cubes. Got a couple watching the house. Apparently, she often takes in strays. Mr. and Mrs. Haynes, this is Gil Grissom and Catherine Willows. They're from the crime lab.", "Catherine: Hi.", "Grissom: Do you mind if we ask you a few more questions?", "Patrick Haynes: By all means.", "Grissom: How is it that you know Portia Richmond?", "Amanda Haynes: Oh, we met her at the Murado at the top of the Mediterranean.", "Brass: You need an oil well in your backyard to belong to that place.", "Catherine: Private club fifty grand a year just to walk through the door.", "Patrick Haynes: But worth every penny.", "Amanda Haynes: It was like we'd known Portia all our lives. (laughs) Has that ever happened to you?", "Grissom: (shakes his head) No.", "Patrick: We were new in town. Portia introduced us around, and took us under her wing.", "Amanda Haynes: We were from back east, and we had mutual acquaintances.", "Catherine: And you're house-sitting? Or you're living in?", "Patrick Haynes: House-sitting while hunting for our own place. Portia refused to take any money from us.", "Amanda Haynes: She wouldn't even let us pay for a dinner.", "Patrick Haynes: That's why, when she took off to Europe ...", "Amanda Haynes: This charity event.", "Patrick Haynes: It's the least we could do. After all, we know how to throw a party.", "Brass: You can say that again.", "Grissom: Did you know the deceased woman?", "Patrick Haynes: No.", "GRISSOM And you, miss?", "Amanda Haynes: Well, as far as I know she wasn't even on the guest list.", "(No one says anything to that.)", "Patrick Haynes: Something wrong?", "Grissom: Yes. (beat) A woman's dead.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. MEDITERRANEAN HOTEL - SHOWROOM - BACKSTAGE - NIGHT]", "(GRISSOM and CATHERINE stand backstage of the showroom where LACEY DUVALL worked talking with the STAGE MANAGER. An entire line of showgirls in full outfits walks by the group.)", "Stage Manager: Lacey Duvall murdered. She was here last night. Unbelievable.", "Catherine: Could you put us in touch with someone who was close to her?", "(As they women walk by, GRISSOM'S jaw drops and he stares at the women.)", "Stage Manager: Sure. Rachel Carson. They were best friends. Like sisters. She's in back. Follow me.", "(The STAGE MANAGER pushes past them to lead them to the back. CATHERINE moves to follow and notices GRISSOM still staring at the women, his mouth hanging open.)", "Catherine: Close your mouth.", "[SCENE_BREAK]", "[INT. DRESSING ROOM - NIGHT - CONTINUOUS]", "(CATHERINE interviews RACHEL CARSON while GRISSOM looks around the dressing room.)", "Rachel Carson: She was seeing some rich married guy.", "Catherine: Did he have a name?", "Rachel Carson: Yeah, but she wouldn't tell me. You know, that's the thing that was so weird. He refused to tell her anything about himself. Anything. I told her it gave me the creeps but you couldn't talk to her. You know?", "(GRISSOM looks at LACEY DUVALL'S dressing table space on which she has a small framed plaque reading: \"LACEY DUVALL PROMOTED\".)", "Catherine: Turned on by the mystery and the s*x. I've been there.", "(On the table top, he sees something interesting. He reaches into his pocket for his gloves and starts to put them on.)", "(A dancer pushes the curtain aside and walks in.)", "Dancer: Hi.", "(GRISSOM looks up, surprised.)", "Dancer: (smiling) Do you need a hand with that?", "(GRISSOM glances down at the latex gloves he's putting on.)", "Grissom: Uh ... no, thanks. I'll be fine.", "Dancer: Are you a doctor?", "Grissom: Of sorts. I'm just, um ... looking around.", "Dancer: See anything you like?", "Grissom: Yes. I do.", "(GRISSOM turns back to the dressing table and sits down. He reaches to the back of the table and picks up the music box.)", "(The DANCER watches him for a moment, then walks away.)", "(He opens it and it starts playing \"Waltz of the Flowers\".)", "Grissom: Catherine?", "(She turns around.)", "Grissom: Tchaikovsky's \"Waltz of the Flowers.\"", "(He looks under the box and smiles.)", "Catherine: What's with the smile?", "(Under the box is an engraved plaque that reads: \"To my Beloved Portia / Your Husband, L / March 7, 1969\".)", "Grissom: It's playing our song.", "[SCENE_BREAK]", "[INT. HOTEL - HALLWAY BY GLASS ELEVATOR - NIGHT]", "(WARRICK rides up the escalator to the floor.)", "Warrick: Detective Conroy.", "Det. Conroy: What happened? You get bumped from first class?", "Warrick: No. I do my best work solo. (beat) On the clock, that is. What you got?", "(She turns and leads WARRICK back to where the body is.)", "Det. Conroy: Walk-through. In plain sight. Risky move.", "(He puts his kit down and looks at the body.)", "Warrick: All around the ten-ring, once between the eyes. Entry wound give you anything? Small caliber?", "Det. Conroy: You like to work solo. Take a look for yourself.", "(WARRICK eyes the detective, then takes out his flashlight to approach the body. He kneels down and looks around.)", "Det. Conroy: Any thoughts?", "(A camera flashes. Inside the bullet wound is a coin tucked into his forehead. Camera flashes to: The gun. Flash to: Burned pieces of newspaper bits. Flash to: The empty bullet casing on the floor.)", "(WARRICK looks back up at the Detective.)", "Warrick: Professional hit.", "(Quick flashback to: The HIT MAN walks into the elevator carrying a newspaper. He presses the button and the elevator door closes. He stands next to the deceased.)", "Tyson Green: Hey, well, how did the Knicks make out?", "Hit Man: Better than you.", "(The HITMAN raises the newspaper covering the gun and fires five times at point blank range. TYSON GREEN falls back dead. The HIT MAN fires a final shot into his forehead. He drops the newspaper and the gun, then tucks a coin into TYSON GREEN'S forehead.)", "(End of flashback. Resume to present.)", "Warrick: Times have changed since the canary days, huh?", "Det. Conroy: \"Canary days?\"", "Warrick: Yeah. Brass used to tell me, back in the day when the mob would make a hit they'd leave a canary, 'cause the guy sang.", "Det. Conroy: And the quarter stands for?", "Warrick: \"Call someone who cares.\"", "Det. Conroy: It's almost like the guy wants to get caught.", "Warrick: When you leave a gun, you know it's clean. The gun just traces back to itself.", "Det. Conroy: The killer cut you off at the knees. What are you going to do?", "Warrick: All I can do -- follow protocol.", "(WARRICK looks at the elevator panel.)", "Det. Conroy: You're going to print the entire elevator?", "Warrick: It's like the circle bar on a friday night ... three million people on top of each other.", "[SCENE_BREAK]", "[INT. CSI -- GRISSOM'S OFFICE]", "(GRISSOM sits back behind his desk looking at the music box. CATHERINE walks into the office.)", "Catherine: Let me guess: You're wondering why Lacey Duvall had a music box engraved to Portia Richmond.", "Grissom: You think?", "Catherine: Maybe it's as simple as they knew each other and she gave it to her.", "Grissom: If they knew each other, why wasn't she on the guest list?", "(He flips the box over to show the plaque.)", "Grissom: March 7, 1969, mean anything to you? Meant something to the Richmonds.", "Catherine: You know, when Eddie and I were first married -- when things were kind of good? On the anniversary of the day we first met, he'd always give me a lace teddy. Well, I mean, I know it's not a music box, but ...", "Grissom: Music box, lace teddy, it's all the same thing -- it's tradition. And the joy of tradition is in the constant repetition.", "Catherine: Right.", "(GRISSOM opens the music box and the final strains play.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(SARA and NICK walk down the hallway. SARA is upset that she got called in on her day off.)", "Sara: What am I? ... working food and beverage at one of the hotels? I haven't had a day off in three weeks. I mean, if they're going to call me in, throw me a bone. Give me the 419 on the elevator.", "Nick: Someone's bitter.", "Sara: I'm tired.", "Nick: You? Tired? I thought you never sleep.", "(NICK laughs. SARA lets out a big yawn.)", "Nick: (smirks, thoroughly enjoying himself) Nice. Nice.", "(They both walk into the DNA lab.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - CONTINUOUS]", "(GREG SANDERS sits in his chair and turns the music on and up. He swings around, completely hyped up as the music blares in his lab.)", "Nick: What up, G?", "Sara: You're awake. I hate you.", "Greg Sanders: A couple of glasses of merlot. Rack of lamb on my day off. I slept like a baby yesterday. You look horrible.", "Sara: Thanks, Greg.", "(GREG nods at NICK.)", "Nick: Don't look at me. I've got 'sunshine' all night.", "(NICK glances over at SARA who glares back at him, definitely catching exactly who he's calling \"sunshine\".)", "Nick: (continues) Check for DNA in the sexual assault kit and the fingernail, please.", "Sara: Everything has to be in CODIS ASAP.", "Greg Sanders: Oh, is that all? I want to know who's going to authorize my overtime?", "Sara: Suck it up, Greg. You're well-rested.", "(SARA walks away. GREG looks over at NICK who doesn't say anything.)", "Greg Sanders: You want a valium for her?", "Sara: (o.s.) I heard that.", "(NICK smiles at GREG, then turns to follow SARA out the lab.)", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - LIBRARY - DAY]", "(CATHERINE opens the display case and grabs one of the many music boxes on the shelves. She looks under.)", "Catherine: March 7, 1973.", "(GRISSOM puts on his glasses and grabs another music box and checks the inscription under it.)", "Grissom: March 7, 1981.", "(CATHERINE checks another.)", "Catherine: March 7, 1956.", "(And another.)", "Catherine: March 7,1986.", "Grissom: I bet he gave her one every anniversary until he died.", "Catherine: She wouldn't give away a gift this sentimental.", "(CATHERINE picks up another music box and opens it. \"Fur Elise\" plays.)", "Catherine: It's not \"waltz of the flowers.\"", "(In the background, there's a thumping sound coming from somewhere in the house.)", "(GRISSOM notices and steps away to locate the sound. CATHERINE closes the music box and the thumping sound is heard again.)", "(GRISSOM hears it coming from upstairs. CATHERINE puts the music box back and joins GRISSOM.)", "Catherine: The seal on the door wasn't broken.", "(The sounds continue. GRISSOM takes off his glasses and heads upstairs.)", "(They both walk cautiously up the staircase where the thumping sounds get louder.)", "(GRISSOM approaches the bedroom door which is slightly open. There's heavy breathing and some groaning coming from inside. GRISSOM knocks lightly on the door.)", "Grissom: Las Vegas Police Department.", "(He pushes the door open and finds PATRICK and AMANDA HAYNES on the couch.)", "(They look up at GRISSOM and CATHERINE in the doorway.)", "(GRISSOM closes the door on them.)", "Catherine: Caught in the act.", "Grissom: I think that was the point.", "Catherine: Oh, yeah.", "(CATHERINE turns to walk away. GRISSOM follows.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - DAY]", "(SARA sits at the break room table. NICK hands her a cup of coffee. She shakes her head.)", "Sara: No, I can't drink any more coffee. My body clock is so screwed up. I just want a steak and a shot.", "Nick: Tut's Tomb. Steak and eggs, $1.99.", "(NICK takes a sip of coffee.)", "Sara: (hopeful) Food? Good idea. You're on.", "(GREG bursts into the room.)", "Greg Sanders: It's what I live for. You guys are never going to believe this. You ready?", "Sara: So much for the steak. I'll take the coffee.", "(NICK hands SARA the cup of coffee.)", "Greg Sanders: Yeah. Okay, sexual assault kit on Lacey Duvall -- dead showgirl -- came back positive for semen, but that's nothing. Ran it through CODIS. Seminal DNA matches a cold case from Texas. (excited) A dead cheerleader! Ten years ago!", "(NICK laughs.)", "Nick: Two for one.", "Sara: Okay, I'm up.", "(GREG cheers with excitement, then rushes out of the room.)", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - LIVING ROOM - DAY]", "(GRISSOM is on the phone in the lobby when BRASS walks into the house.)", "Grissom: (to phone) Sir, I have four criminalists working on this. No ... as soon as we find something tangible I'll call you, I promise.", "(GRISSOM hangs up.)", "Brass: Sheriff?", "Grissom: Yeah, he calls me every hour. I can't get anything done.", "Brass: Every half for me.", "(CATHERINE watches as PATRICK and AMANDA HAYNES walk down the staircase in their robes.)", "Patrick Haynes: I hope we didn't embarrass you.", "Catherine: A little late for that.", "(BRASS looks over at GRISSOM who looks away. He looks over at CATHERINE who turns around to meet the gaze.)", "Brass: Yeah, uh ... hi.", "(AMANDA HAYNES sits down while PATRICK gets them something to drink.)", "Brass: I just have a few more questions about the whereabouts of Mrs. Richmond.", "Patrick Haynes: Fire away. Drinks for anybody else?", "Grissom: No, thank you.", "(BRASS clears his throat. PATRICK puts an open bottle of water with a straw on the table in front of AMANDA. GRISSOM eyes the straw. PATRICK takes a seat next to AMANDA.)", "Brass: So, let's, uh ... let's just take baby steps. Where is she?", "Patrick Haynes: On a yacht somewhere in the Greek Isles.", "Brass: And if someone wanted to reach her?", "Patrick Haynes: You have a compass?", "Brass: Yeah.", "Patrick Haynes: She's incommunicado.", "Catherine: Big word.", "Amanda Haynes: Have we done something wrong?", "(AMANDA HAYNES takes a sip of her water. GRISSOM watches her. She notices.)", "Amanda Haynes: What?", "Grissom: May I have your straw?", "(AMANDA looks at GRISSOM, amused.)", "Grissom: (embarrassed) I ... I collect them.", "(She laughs, then gives GRISSOM her straw.)", "Grissom: Thank you. Oh ... mind if I look around a little?", "Patrick Haynes: Have at it.", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - MASTER BEDROOM - DAY]", "(GRISSOM and CATHERINE walk into the master bedroom.)", "Grissom: The Hostess' bedroom.", "Catherine: Mm-hmm.", "Grissom: Too kinky.", "Catherine: Let me see if Portia took her bathing suit with her.", "(CATHERINE walks in and looks for the closet.)", "Catherine: Here we go.", "(She puts her kit down and turns on the light. GRISSOM looks around the bedroom.)", "Catherine: We've got a bathing suit, lingerie, jewels, wallet, bags ... I'm not so sure she's gone anywhere.", "Grissom: Shall we do the room, too?", "(GRISSOM turns to look at CATHERINE.)", "(Cut to: GRISSOM is on his hands and knees examining the floor where the carpet meets the wall.)", "(Cut to: CATHERINE looks on PORTIA RICHMOND'S dresser.)", "(Cut to: GRISSOM finds a safety pin in the carpet.)", "(Cut to: CATHERINE checks the sink drain.)", "(Cut to: GRISSOM looks through the scarves in the dresser drawer.)", "(Cut to: CATHERINE lifts the sheets and examines the bed.)", "(Cut to: GRISSOM looks around the room.)", "(Cut to: CATHERINE lifts up the pillows.)", "(Cut to: GRISSOM lowers the make-up kit cover and stands. He sighs, then looks over at the fireplace. He walks over and looks into the fireplace where he finds something. In the gravel just outside the fire, GRISSOM picks up a tooth.))", "Grissom: I think the tooth fairy might have just left us a piece of Portia Richmond.", "Catherine: What?", "Grissom: Take a look.", "(CATHERINE walks over.)", "Catherine: Ugh. I guess now we have two cases. We've got a body without a murderer and a murder without a body.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG stares at the tooth.)", "Greg Sanders: Oh, man, I got to get a raise for this.", "Catherine: Greg ... why don't you start the DNA profile on the tooth so that we can tell if it's Portia Richmond.", "Greg Sanders: Okay, well, but getting the DNA from the tooth is going to be easy. What am I supposed to compare it to?", "Catherine: How about the toothbrush and the hairbrush that we took from her vanity?", "Greg Sanders: Why don't you go talk to the dead-end twins over there?", "(GREG points to the scope. GRISSOM and CATHERINE both head in that direction. The look through the scope and find nothing.)", "[SCOPE VIEW of hairbrush bristles.]", "[SCOPE VIEW of toothbrush bristles.]", "(Both are clean.)", "Catherine: Nothing. Hmm.", "(CATHERINE and GRISSOM change places.)", "Catherine: So, either she's extremely hygienic, or...", "Grissom: ... Somebody did some serious spring cleaning.", "Greg Sanders: If you want to know if it's Portia you got to get the DNA somewhere.", "[SCENE_BREAK]", "[INT. THE LIBERACE MUSEUM - DAY]", "(CATHERINE and BRASS walk into the LIBERACE MUSEUM.)", "Catherine: I can't believe I've been in this town twenty years and I've never seen the Liberace Museum.", "Brass: That's funny. I was just here a couple days ago.", "(CATHERINE looks at BRASS.)", "Catherine: I believe it.", "Tony Mumms: We have all of Liberace's costumes on display here. This one, for example, worn by Mr. Liberace in the 1984 world's fair in New Orleans.", "Catherine: Lovely.", "Tony Mumms: Mmm. Did you ever see one of the old shows? The Lido in the '50s?", "Brass: (shakes her head) Before my time.", "Tony Mumms: You weren't even born then, of course. Every dancer was from France. The attention to detail in the costumes was unparalleled. And the audience dressed to the nines.", "Catherine: Oh, yeah.", "Tony Mumms: The town was different then. The other great cities -- New York, Chicago, London -- they restored. But in this town, they destroy. Hmm. So you want to see what belonged to Portia Richmond?", "Catherine: Yes, please.", "(He lifts his arm to indicate the display to the side of them.)", "Tony Mumms: Folies Bergere, 1959.", "(They walk over to look at it.)", "Brass: (clears his throwat) Yeah ... um, looks heavy.", "Tony Mumms: Imagine that on your head, two shows a night. She used over fifteen combs and various epoxies and glues. They damn near had to drive a spike in her head to keep it from falling off.", "(CATHERINE leans in close to examine under the headpiece.)", "Catherine: Ow.", "Tony Mumms: She lost all her hair.", "(CATHERINE turns around to look at the curator. She reaches out and lifts up the headpiece. Camera zooms in to show the hair stuck in the headpiece.)", "Catherine: DNA heaven.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(WARRICK walks through the hallway. SHIBLEY calls out to him.)", "Shibley: Warrick. Personal artifacts from your elevator victim.", "(He holds out an envelope for WARRICK.)", "Warrick: Cool. You got an I.D. for me?", "Shibley: The driver's license is local. Tyson Green, 35. Can't drive without corrective lenses.", "Warrick: Too bad he wasn't driving that elevator.", "(They walk into the elevator vault. WARRICK opens the envelope. The evidence bags spill out into the table. WARRICK picks up the bag with the money in it.)", "Warrick: Ooh! Chicago bankroll.", "Shibley: This guy's not from out of town.", "Warrick: No, that's just a term. Old school.", "(The next envelope he picks up is a receipt from the HOTEL & CASINO, COMPLEMENTARY DINNER PASS.)", "Warrick: \"Shrimp cocktail appetizer. Surf & turf dinner. Two glasses of wine. All comped.", "(He flips it over and it's dated, 2/4/01 for 2 people.)", "Shibley: Free food. Nice.", "(SHIBLEY takes the envelope.)", "Warrick: It ain't free, believe me.", "(The next envelope WARRICK picks up is a CASINO CREDIT MARKER #150328 FOR $400.00, also dated 2/4/01. WARRICK is silent as he looks at the marker.)", "Shibley: You okay?", "Warrick: Yeah. Yeah.", "(He opens the envelope and leafs through the markers.)", "Warrick: Been a long time since I seen these.", "(In the back, footsteps approach the evidence vault.)", "Det. Conroy: Hey, Brown. Just talked to Bobby Dawson in ballistics. He ran that .22 from the elevator. Serial number came back -- Vincent Morgan. Lives on the west side.", "(WARRICK nods.)", "Warrick: Cool.", "Det. Conroy: Coming?", "(WARRICK hands SHIBLEY the credit markers.)", "Warrick: Yeah. Will you log these for me?", "Shibley: Yeah.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- CONTINUOUS]", "(WARRICK and DET. CONROY walk out into the hallway. They pass the print lab on their way out. WARRICK doubles back and pops into the print lab doorway.)", "Warrick: Mandy, you got any prints off of that quarter I found on the vic?", "Mandy: (without raising her head) Still working on it, Warrick. I don't work one case a day.", "(He leaves.)", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM]", "(NICK opens the IssEx Box. The computer SARA'S working on beeps.)", "Sara: Bingo. Well, that only took 45 minutes.", "Nick: What do you got?", "(A message box appears on screen with the following:", "Haynes, Patrick SS#5688556267", "DOB 1/10/1990 Deceased 8/15/1990", "Age: 8 months )", "Sara: A hit off Patrick Haynes' social security number. There's only one problem. He's an eight-month-old infant that died ten years ago.", "Nick: Same social? You're sure?", "(SARA doesn't answer, but gives him a look. NICK nods, then opens the box in front of him. It's a file. He opens the file and is extremely pleased by what he sees.)", "Nick: Bam!", "Sara: Something good?", "Nick: Oh, yeah.", "CUE MUSIC: (PRELAP) SHOW TUNE", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(With the PORTIA RICHMOND hairpiece on his head, GREG goes dancing out in the hallway. He kicks and swivels his hips.)", "Greg Sanders: (rhythmically) match, boom, match, boom", "(CATHERINE turns the corner and stops when she sees GREG.)", "Greg Sanders: (to the beat) match, boom - boom - match.", "Catherine: (smiles) You want to take that thing off your head, Greg? It's evidence.", "Greg Sanders: Cool your jets, Cath. I already got all the evidence out of it. Now ... it's all woman. Did you ever wear one of these when you were dancing?", "Catherine: I wore nothing but skin.", "Greg Sanders: Ooh.", "(Standing behind GREG is GRISSOM. CATHERINE sees GRISSOM and clears her throat. GREG turns around and finds himself face to face with GRISSOM. He takes the headpiece off of his head and reports.)", "Greg Sanders: I, uh, compared the DNA from the tooth with hair follicles found inside the headdress. I think we have a match, sir. And I think we may have a homicide. Excuse me.", "(GREG steps back into his lab. CATHERINE suppresses a grin and looks at GRISSOM.)", "[SCENE_BREAK]", "[EXT. MGM GRAND HOTEL - VALET AREA - NIGHT]", "(WARRICK and DET. CONROY question VINCENT MORGAN. DET. CONROY is on the phone.)", "Vincent Morgan: So, did I, like, break the law by not reporting it?", "Warrick: It's a good idea that, when your house is robbed you report that your registered gun was stolen.", "(She turns to WARRICK.)", "Det. Conroy: Guy's story checks out. He was robbed.", "Vincent Morgan: Yeah, look, my wife -- she's not real comfortable about having the gun in the house ever since we had our boy and I told her that I'd gotten rid of it but I never did. I mean, man, the last thing I ever expected was it'd be used in a murder.", "Warrick: We're going to keep your name on ice for a while. Thanks for your time.", "Vincent Morgan: Hey, thanks. Right on. (shouts) Oh, hey, bring up car 309!", "(WARRICK and DET. CONROY walk away from the parking area.)", "Warrick: Nobody kills anybody with their registered gun anymore.", "Det. Conroy: Isn't that the truth.", "[SCENE_BREAK]", "[INT. RESTAURANT -- NIGHT]", "(GRISSOM and CATHERINE walk into the restaurant to meet up with BRASS.)", "Grissom: Jim ...", "Brass: Hey. We got the whole place clocked. Keeping an eye on the Haynes couple. Sheriff doesn't want them skipping town.", "Grissom: And neither do we. We have a strong suspicion Portia Richmond is dead.", "(BRASS turns back to watching the HAYNES' at their table. They watch as they get up to leave. AMANDA HAYNES drapes her coat over a stole on a chair. She kisses PATRICK, then turns to grab her coat. She picks up both coats, then heads out the door.)", "Catherine: Did you see that?", "Grissom: They're on the grift.", "Catherine: She took that fur from right under their noses.", "(The HAYNES' turn the corner and run into BRASS.)", "Grissom: Hi. May we check your coats?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(BRASS, GRISSOM and CATHERINE interview PATRICK HAYNES.)", "Brass: What are you, a couple of kleptos?", "Patrick Haynes: I don't follow.", "Brass: A $5,000 stole your wife stole? What, are you guys in business?", "Patrick Haynes: Amanda didn't know she had even taken it till Mr. Grissom here told her.", "Brass: Is that kind of like the guy who, uh walks out of the auto mall with a nissan sentra in his pocket?", "Patrick Hanes: Why am I here? Why?", "Grissom: Jim ... may I? Mr. Haynes, we ran a sexual assault kit on Lacey Duvall. We found semen. Can you explain that?", "Patrick Haynes: Yeah. Yeah, my wife's not here. Time to convert lies into The Truth. I had s*x with Lacey before the party.", "Grissom: Would you mind giving us a DNA sample?", "Patrick Haynes: No. My relationship with Lacey was purely sexual. It was good s*x. Well ... great s*x. Whenever we could steal a moment, uh, we did. Just like an addiction.", "Catherine: Well, in addition to exchanging bodily fluids did you exchange gifts?", "Patrick Haynes: Whatever do you mean?", "Brass: Just answer the question.", "Patrick Haynes: No. No. I never gave her anything.", "Grissom: We found a music box in Lacey Duvall's dressing area that belonged to Portia Richmond. Did you give it to her?", "Patrick Haynes: Honestly ... no. Those music boxes belonged to Portia, not to me. But Lacey had been by the house and she did admire them.", "Brass: You saying that she lifted it?", "Patrick Haynes: (shrugs) Human nature. We always covet what we can't have.", "(GRISSOM pushes away from the wall and looks at PATRICK HAYNES.)", "Grissom: What did you covet from Portia Richmond?", "(PATRICK looks uncertain and takes a breath to say something ... just as the door to the room opens. NICK walks in.)", "Nick: Grissom?", "(GRISSOM turns to look at NICK.)", "Nick: Can I talk to you?", "(GRISSOM turns back to look at PATRICK HAYNES who is now leaning back in his chair, much more comfortable than he was a moment before. He smirks at GRISSOM.)", "(GRISSOM turns and heads for the door.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - NIGHT - CONTINUOUS]", "(NICK steps out into the hallway and waits for GRISSOM. GRISSOM slams the door shut.)", "Grissom: (angry) Are you looking for work?", "Nick: I just ...", "Grissom: The sign says, \"Do Not Enter,\" Nick. You can't read anymore? You're blind? What?", "Nick: Grissom, this is important.", "Grissom: (furious) This is important. Sometimes in interrogations, Nick, you get one chance, one answer. And while I'm out here screwing around with you he's in there thinking up an answer that he didn't have before you walked in.", "Nick: We matched the DNA taken from Lacey Duvall to a cold case in Texas ten years ago.", "Grissom: And?", "Nick: The suspect's name was Chad Matthews.", "Grissom: C.M. The cuff link. Okay, I'm starting to forgive you.", "Nick: Sara ran Patrick Haynes' social. The real Haynes is deceased. So Patrick Haynes is Chad Matthews and Chad Matthews is on the run.", "Grissom: And he just ran into us.", "[SCENE_BREAK]", "[INT. HOTEL - LOBBY - DAY]", "(A man walking by the Sheriff shakes his hand as he walks past.)", "Sheriff Brian Mobley: Good morning. Nice to have you back.", "(GRISSOM walks up to THE SHERIFF.)", "Sheriff Brian Mobley: Do you have any idea what the hot topic of conversation is going to be when I walk into that breakfast?", "Grissom: You're announcing your candidacy for Mayor?", "Sheriff Brian Mobley: That's cute. Patrick Haynes is in custody. Does he have anything to do with Portia Richmond's vanishing act?", "Grissom: Haynes is in lockup awaiting extradition to Texas on an unrelated matter.", "Sheriff Brian Mobley: So, in the meanwhile we're questioning him in connection with Portia Richmond's disappearance.", "Grissom: (smiles) You know, I think you're going to get my vote for mayor.", "Sheriff Brian Mobley: What have we got on Richmond?", "Grissom: A canine.", "Sheriff Brian Mobley: Her dog.", "Grissom: Her tooth.", "Sheriff Brian Mobley: (nods) What about the rest of her?", "GRISSOM; Still looking.", "Sheriff Brian Mobley: Well, look harder, 'cause if someone leaks it to the press that she's dead and then she gets off a lear jet at McCarran with a tan, we're both going to have egg on our face and I'm going to hold you responsible. Portia Richmond got me elected, Grissom. I was at her party. Do you see what this does to me?", "Grissom: Evidence is like fine wine, Brian. You can't just open the bottle and drink it. You got to let it breathe.", "Sheriff Brian Mobley: Look, I'm going to lay this on the line right here and now. You find me Portia Richmond or you find me a motive for her murder 'cause I'm in your kitchen till it's solved.", "(The SHERIFF leaves.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - DAY]", "(GRISSOM walks into his office and finds BRASS looking through his scope.)", "Grissom: Make yourself at home.", "Brass: Where you been?", "Grissom: Proctologist.", "Brass: Sheriff getting your ass, eh? Well, I just hit megabucks. Austin PD has five aliases for Chad Matthews.", "(BRASS opens the first file.)", "Brass: Tom Sheridan, wanted in Beacham County. Petty theft, check fraud.", "(BRASS hands the file to GRISSOM, then opens the second file.)", "Brass: Warner Drysdale, wanted in Sacramento. Grand larceny, car theft.", "(BRASS hands the second file to GRISSOM, then opens the third file.)", "Brass: Guy took a car for a test drive ... never brought it back. Jock Jasper- I'm not making these names up -- extorted money from a rich widow in Denver.", "(He hands that file to GRISSOM.)", "Grissom: Busy boy.", "Brass: Yeah, and organized, too. The Denver PD sent me copies of his journal. Guy kept lists of rich women all around the country. Logged in all their vitals. Height, weight, how much money they have, you name it. Guess who was on that list.", "Grissom: Does her name begin with a \"P\"?", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM - DAY]", "(CATHERINE, NICK and SARA sit around the table going over the files.)", "Catherine: Well, according to her credit card statements Portia Richmond hasn't spent a dime since she's been in the Mediterranean.", "Sara: She's dead.", "Catherine: Oh, not necessarily. Maybe she's been ... swept off her feet.", "Nick: Hmm. Yeah, some guys still like to foot the bill.", "Sara: Really? How would you know?", "Nick: Hey, I only go Dutch if girls ask the wrong question.", "Catherine: And what question is that, Nick?", "Nick: \"What do you drive?\"", "Sara: It's an honest question.", "Nick: No. No, it's not. What it means is, \"How much money do you make? So you can take care of me.\"", "Sara: (grinning) Well, not this girl.", "(CATHERINE holds up a cancelled check dated 3/15 for $750.00. The bottom of the check reads, ... 37-43432-41250. In the signature area, there are holes through the paper.)", "Catherine: Boys and girls, we've got ourselves a forgery.", "Nick: Ooh. Either that or a dimpled ballot.", "(NICK looks through the back side of the check and sees the holes in them, too.)", "Catherine: Well, his name is \"Chad\".", "(CATHERINE hands the check to CATHERINE.)", "Nick: (clears his throat) Hmm. Let's connect the dots.", "Sara: What does that mean?", "(NICK puts a pad down on the table in front of him.)", "Nick: Here, I'll show you. Catherine, you wear pierced earrings. May I?", "Catherine: All right, but ... I've had them on for a week. Can't account for what's on it.", "(CATHERINE takes off her earring and hands it to NICK.)", "Nick: Sign your name, please.", "Sara: Okay.", "(SARA signs her name on the paper.)", "Nick: Now, nobody signs their signature exactly the same way twice. Not even you, chicken scratch. If they do, then one of them's a forgery. Here's where connecting the dots comes in.", "(Using the earring, NICK starts poking holes along SARA'S signature.)", "Nick: We dot the lines... and curves ... of the signature.", "Catherine: Which leaves small indentations on the blank sheet. All you do now is connect the dots, then get rid of the evidence ... but, obviously, they didn't.", "Sara: Well, that's scary. All you need is one signature to break somebody.", "(NICK starts \"forging\" SARA'S signature.)", "Catherine: Suddenly a personal shredder sounds like a mighty find investment.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB - DAY]", "(WARRICK knocks on the door. MANDY looks up from her desk.)", "Mandy: You look terrible.", "(WARRICK slowly walks into the lab.)", "Warrick: I been spinning my wheels. I'm never going to solve this case. It was over before it began.", "Mandy: That doesn't sound like you.", "Warrick: I got a dead man in a glass elevator with a bazillion prints and a .22 caliber bullet.", "Mandy: That's virtually untraceable.", "Warrick: And he left the gun at the scene. You know what that means.", "Mandy: Hit man was a ghost.", "(WARRICK sits down.)", "Warrick: But I got two things left, right?", "Mandy: Make that one thing.", "Warrick: You got to be kidding me.", "Mandy: It gets worse. Got a print off your quarter. Ran it through AFIS. Came back your dead man.", "(She pushes the results in front of WARRICK.)", "(Quick flashback to: The HITMAN shoots and puts the gun down on the elevator ground. He puts the quarter in the victim's forehead and presses the victim's thumb against it. The HITMAN leaves the elevator. End of flashback. Resume to present.)", "(WARRICK sighs and hangs his head.)", "Mandy: Pretty gruesome.", "(WARRICK pushes the paper results away from him and rubs his eyes. This case is hitting him harder than he wants to admit.)", "Warrick: Want to share?", "(WARRICK sighs and shakes his head.)", "Warrick: I was just thinking what old man Binion told Steve Wynn when he hit town: \"Always give a gambler an excuse to gamble and he'll thank you for it.\"", "Mandy: Was your guy a gambler?", "Warrick: A bunch of cash receipts in his pocket. Markers all over town. Once you get to that place there's no getting out.", "[SCENE_BREAK]", "[INT. RESTAURANT - DAY]", "(NICK, CATHERINE, SARA and BRASS sit in a booth having lunch.)", "Nick: Who picked this place?", "Catherine: Me. I thought it would be nice.", "Brass: Okay, you can pick up the tab. Let's keep talking about motive.", "Catherine: Let's. I don't think a forged signature is a slam dunk for murder.", "Nick: Hey, did anyone tell Grissom where we were having lunch?", "Sara: Yeah, dispatch left a message.", "Brass: Maybe he thought it was the Sheriff, and blew it off.", "(Everyone continues eating.)", "INTERCUT TO:", "[SCENE_BREAK]", "[INT. RICHMOND MANSION - POOL AND LAGOON AREA - DAY]", "(GRISSOM walks out into the back area to look around. He walks up to the fish in the lagoon. He kneels down close to the water to look inside.)", "(The GARDNER walks up the path.)", "Gardener: Hey! You might want to take your face away from there.", "Grissom: Really? Why is that?", "(As GRISSOM watches, one of the fish breaks surface.)", "Sara: (V.O.) This Chilean Sea Bass is wonderful.", "[SCENE_BREAK]", "[INT. RESTAURANT]", "Catherine: So is this.", "Sara: Okay, you got your missing widow. Her bloody tooth found in her own bedroom which is currently occupied by two moes.", "Brass: \"Moes.\" I'm rubbing off on you.", "(BRASS takes a forkful of SARA'S sea bass and eats it.)", "Sara: No, you're not, and stay out of my sea bass.", "Nick: Oh, that is good. One of our moes has six names that we know of including Chad Matthews.", "Catherine: Right, right, and we've got a cuff link with the initials C.M. Found in the bottom of the pool along with a floating showgirl.", "Sara: Who was sleeping with six men rolled into one -- Patrick Haynes.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(GRISSOM walks into the autopsy room.)", "Grissom: Hey.", "Dr. Albert Robbins: Hey. Photos of your showgirl.", "(DR. ROBBINS hands GRISSOM a stack of photos which he immediately goes through. He's looking for something specific.)", "Dr. Albert Robbins: What did I miss?", "Grissom: It's not what you missed. It's what seems to be missing.", "(GRISSOM points to the red welts around LACEY DUVALL'S neck. He counts them coming up one short.)", "Grissom: A fingernail?", "Nick: (V.O.) Okay, Patrick Haynes.", "INTERCUT TO:", "[SCENE_BREAK]", "[INT. RESTAURANT]", "(Lunch is finished. BRASS wipes his mouth. NICK has his cup of coffee.)", "Brass: Or whoever.", "Nick: Whoever. He commits a murder ten years ago. Why give up your DNA so easily?", "Catherine: Exactly. I mean, you know, you can change your name. You can't change your blueprint.", "Nick: Right on.", "Sara: Risk versus reward. You sleep with someone, you kill 'em, the heat's on. You flee, or, you roll the dice and maybe you get your cookie.", "Nick: What's the cookie?", "Brass: The cheese, brother. Maybe that 1.6 mil they raised at the charity event that night.", "Catherine: The Hayneses controlled Portia Richmond's bank account including the Burn Center Account but they had to stick around for the checks to clear.", "Sara: So why kill Lacey Duvall?", "Catherine: Excellent question.", "Brass: I don't know, but if Lacey Duvall hadn't been murdered Patrick Daynes reinvents himself becomes another Skippy in another state, $1.6 mil richer.", "Nick: Wait, wait. Time out, now. I had half a Caesar and a coffee. How's my end 20 bucks?", "Sara: You want to go Dutch, Nick?", "Nick: Excellent idea, Sara. You're catching on. I'd love to.", "(Everyone starts throwing their money into the pot in the center of the table. CATHERINE looks over the check.)", "Catherine: Uh, Brass, cough it up. Cover Nick's, too. He had that tiramisu.", "Brass: (groans) I hate going out to lunch with you CSIs. You notice everything.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY]", "(GRISSOM walks in through the hallway and heads for the DNA lab.)", "Grissom: Hey. Whatever happened to the fingernail that Catherine found at the crime scene?", "Greg Sanders: Got the results right here.", "(He picks up the results.)", "Greg Sanders: First things first. Not a match to Patrick Haynes.", "Grissom: I never figured a man for the fingernail, Greg.", "Greg Sanders: Okay, but here's where you break out the can of creep repellent. The fingernail and the semen share half the DNA markers in common.", "(GRISSOM stops and thinks about the possibilities.)", "Grissom: Possible first-degree relative?", "(GREG watches GRISSOM'S reaction and is pleased. He nods. GRISSOM reaches into his case and takes out an evidence envelope. He opens it up for GREG.)", "Grissom: Do me a favor. Run this for me.", "(GREG reaches for a tissue and takes out a straw. He looks at the tip.)", "Greg Sanders: What is that, lip gloss? Whose?", "Grissom: You tell me.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(The door closes and GRISSOM walks in with something covered by a cloth and puts it on the counter in the back of the room. CATHERINE looks curiously at it.)", "Brass: On behalf ... of the State of Nevada my apologies. You've been cleared of all charges.", "Patrick Haynes: (amused) It took three of you to tell me that?", "Brass: But ... on behalf of the State of Texas you're under arrest. You're being extradited for the murder of Lana Grimshaw.", "Patrick Haynes: I slept with her, but I didn't kill her.", "Catherine: Huh. Just like with Lacey Duvall.", "Patrick Haynes: Absolutely.", "(The door opens and AMANDA HAYNES is escorted in by an OFFICER. She walks into the room.)", "Grissom: Mm-hmm. Now I see it.", "Patrick Haynes: (shakes his head) What? See what?", "Grissom: The family resemblance.", "(CATHERINE turns around to look at the HAYNES'.)", "Grissom: Donnie and Marie -- brother and sister -- I've got the DNA to prove it.", "(AMANDA HAYNES swallows. PATRICK gets to his feet and walks toward AMANDA.)", "Grissom: Let me tell you what else I can prove. Your sister, killed Lacey Duvall.", "(PATRICK turns to look at AMANDA.)", "(Quick flashback to: LACEY and AMANDA are arguing.)", "Lacey Duvall: He told me he loves me. No more faking love. No more acts.", "Amanda Haynes: Is that what he told you? That's an act? It's as real as it gets.", "Lacey Duvall: Patrick says you're small-time. You just don't have the stones to go big.", "Amanda Haynes: You don't know Patrick.", "Lacey Duvall: You mean Chad?", "(She holds up the cuff link.)", "Lacey Duvall: He gave me this. You know what's next. It's my turn.", "(AMANDA grabs the cuff link and it falls into the pool. The two fight. Flash to: AMANDA grabs LACEY'S throat and breaks a nail in the process. She squeezes, then throws LACEY into the swimming pool.)", "(End of flashback. Resume to present.)", "(PATRICK looks at AMANDA.)", "Amanda Haynes: (to PATRICK) You're surprised? Look at your face. You never made a mistake until you met her.", "Patrick Haynes: You killed Lacey because I told her about us?", "Amanda Haynes: I had no choice. We were partners. You can't grift me, Chad.", "Catherine: Uh ... who wants to tell us about Portia Richmond?", "(PATRICK turns around and sticks with his story.)", "Patrick Haynes: She's in Europe.", "Amanda Haynes: On a yacht, in Greece.", "Brass: Oh, right. She's incommunicado.", "Grissom: Old testament. The Book of Jonah.", "(GRISSOM steps forward and puts the cloth-covered container in the center of the table.)", "Grissom: \"And now, the Lord arranged for a great fish to swallow up Jonah.\"", "(He pulls off the cloth to show a container with a couple of fish from the pond outside the RICHMOND MANSION.)", "Grissom: You know what's wrong with the piranha, though? They've got high cholesterol.", "Catherine: Cholesterol is found in humans, not fish. So how does a fish acquire human cholesterol?", "(PATRICK looks at the fish and sits down.)", "Grissom: You want to fill in the blanks?", "(Quick flashback to: In front of the fireplace in the master bedroom, PATRICK HAYNES sits on the bed and calls to PORTIA.)", "Patrick Haynes: Portia.", "(He stands up, she turns around and he hits her. She falls down.)", "(Cut to: The body is thrown into the pond where the piranha feasts on her. First her hands in the bloodied water ... then her bones as they pick off the flesh.)", "(End of flashback. Resume to present.)", "Brass: You're both under arrest for the murder of Portia Richmond.", "(CATHERINE leans forward against the table and looks at the fish in the container.)", "[SCENE_BREAK]", "[INT. MEDITERRANEAN CASINO - NIGHT]", "(High above the main floor, WARRICK pulls out the debt slips and hands them over to the PIT BOSS.)", "Warrick: These belong to Tyson Green. Just came to let you know he won't be paying up.", "Pit Boss: What's he, dead?", "Warrick: Yeah.", "(Down on the main floor a woman screams as her machine hits a win.)", "Pit Boss: It's machine 25 again. Been spitting silver all day. It's a good day to gamble.", "(The PIT BOSS walks away leaving WARRICK alone with his thoughts.)", "(WARRICK walks out onto the main floor and slowly makes his way through the machines.)", "(He stops and looks around. He watches as gamblers pull the slot machine handles. He watches the women press the slot machine buttons.)", "(Camera spins around WARRICK intercutting with various gambling scenes of people at the table, at the slot machines, the coins, the lights ... )", "[from 1X02: Cool Change]", "Sara: (V.O.) Vegas, NFL football, a guy like you. Come on, you trying to tell me that you didn't make a little pit stop?", "[from 1X11: I-15 Murders]", "Grissom: (V.O.) What you do on your time is nobody's business. What you do on my time, is my business.", "[from 1X10: s*x, Lies and Larvae]", "Conrad Ecklie: (V.O.) Warrick Brown had one of my guys sub for him in court but I have it on good authority that he was gambling.", "[from 1X11: I-15 Murders]", "Sara: (V.O.) Warrick has a problem. Ignoring it isn't going to make it go away.", "(Camera comes to a stop on WARRICK.)", "[from 1X02: Cool Change]", "Warrick: (V.O.) I won't let you down again." ]

[ "Sara gets emotionally involved when she, Grissom, and Nick investigate the case of a woman who is abducted from a parking garage and later turns up on a stretch of road, having been raped, shot and left for dead. Meanwhile Catherine and Warrick take over a case from one of the dayshift CSIs who has quit. The case involves a neighbor's dispute that led to murder. Not only has an important piece of evidence been lost, but the case goes to trial in four days." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. SHOPPING MALL (STOCK) -- NIGHT]", "[EXT SHOPPING MALL PARKING GARAGE (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CITRUS CANYON MALL - PARKING GARAGE - NIGHT]", "(In the parking garage, the security guards gather around the television set and watch the game.)", "(A woman walks up to the elevators and presses the button. The doors open and she walks inside.)", "(Cut to: The elevator takes the woman up to the floor. The elevators open and she walks out. She walks across the parking lot toward her car.)", "(She reaches for her keys and disables the car alarm. As she reaches the car to unlock the car door. Someone sticks a gun in her back. She screams.)", "(He pushes her against the car window and instructs her.)", "Male Voice: Give me your keys and get in the car.", "(She drops the keys and it falls to the floor.)", "[SCENE_BREAK]", "[EXT. DESERTED ROAD - NIGHT]", "(A car drives down the deserted roadway. Off to the side of the road lying on the dirt is the WOMAN from the shopping mall.)", "(Cut to: Inside the car, as they take the bend, the lights from the car fall upon the WOMAN on the side of the road.)", "Rosalyn Dudek: What is that?", "(It starts to rain. The car pulls over to check it out. HANK and ROSALYN DUDEK both step out of the car.)", "Hank Dudek: Is that a body?", "(They shut the car doors and step in for a closer look.)", "(The WOMAN moves.)", "Rosalyn Dudek: Oh, my god. She's alive.", "[SCENE_BREAK]", "[EXT. DESERTED ROAD - NIGHT - LATER]", "(POLICE CARS pull over. The CSI Tahoe also pulls over as they arrive at the site.)", "(SARA, GRISSOM and NICK get out of the car to meet up with BRASS.)", "Sara: Hey.", "Brass: Here's what I know so far. Victim was a well-dressed woman, young, black. She's at Desert Palm Hospital multiple gunshots to the head possible sexual assault. Doctor has her as \"death imminent.\"", "Grissom: Sara, I'm going to need you to go to the hospital process the victim-- sexual assault kit, hairs, fibers, the works.", "Sara: Right now? I thought I would help you two with the scene.", "Grissom: The evidence won't stay on the body long at the E.R.", "Sara: Walk in the park, guys.", "(SARA leaves.)", "(NICK and GRISSOM cross under the crime scene table. They look around the area where the body was found. NICK finds some shoe prints. He takes pictures of it.)", "Nick: It looks like a high heel print. Maybe abducted.", "(He takes more pictures.)", "Nick: Did she know the guy? Did he use his car or hers?", "Grissom: Locard's principle: He took a piece of her away with him and he left a piece of himself here. (beat) We get to find it.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- NIGHT]", "(CATHERINE, WARRICK and GRISSOM walk into the lab carrying boxes of evidence for a case.)", "Grissom: Thank you, my sherpas.", "Catherine: Surely. (They put the boxes down on the table.) So, you got our assignments?", "Grissom: You're looking at it. Murder case.", "Catherine: This mess? You're not serious.", "Grissom: DA is. Guy named McCall shot and killed his neighbor over a motorcycle. D.A. Can't make heads or tails of the evidence for the preliminary hearing.", "Warrick: Where's McCall now? He's being held?", "Grissom: He ran from the arresting officers so the Judge refused him bail.", "Catherine: And why isn't the case CSI dealing with this?", "Grissom: Franovich from days? He quit yesterday. Burnout.", "Catherine: And what did the DA charge?", "Grissom: Murder one. The case has changed hands so many times that the D.A. Can't make any sense of it. It gets better. The prelim's in four days.", "(At that, CATHERINE drops the file she's looking at back on the table.)", "Catherine: Well, no pressure here.", "Warrick: Great.", "Grissom: Cath, can I see you outside for a sec?", "(CATHERINE looks at GRISSOM, puzzled by the request, then follows him outside.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]", "(GRISSOM and CATHERINE talk in the hallway.)", "Catherine: Why would my bank be asking you about my employment record?", "Grissom: Well, technically, I'm your supervisor. They said that Eddie took a second mortgage out on your house. They said that you still own it together until the divorce is final.", "(CATHERINE sighs.)", "Catherine: We didn't want to sell it until the market went back up and then we were going to split the profits. I can't believe he took a second out on the house. How can he do that without my signature?", "Grissom: It's Eddie. I just thought you should know. I gotta get back out to Nick.", "(GRISSOM leaves.)", "[SCENE_BREAK]", "[INT. DESERT PALM HOSPITAL - HALLWAY -- DAY]", "(SARA walks into the busy hospital emergency area and heads for DETECTIVE EVANS who leans against the door.)", "Sara: Hey.", "Det. Evans: Hey.", "Sara: You get any I.D. On her?", "Det. Evans: No. She's a Jane Doe. She's got two bullets lodged in her brain. Docs can't remove them without killing her.", "Sara: All right.", "(SARA turns to enter the room. The NURSE who is leaving lets her inside.)", "Nurse: Come in.", "Sara: Hi.", "[EMERGENCY EXAM ROOM - CONTINUOUS]", "(The NURSE closes her door on her way out. DET. EVANS helps SARA with her kit.)", "Sara: Thanks.", "(He puts it on the counter in the back of the room. SARA turns and looks at JANE DOE in bed.)", "(SARA notes the missing ring on her finger.)", "Sara: Make a note she's married. Or recently divorced.", "(DET. EVANS takes a notebook out from his pocket. SARA reaches out and picks up JANE DOE'S hand.)", "Sara: She's warm.", "Det. Evans: Feels different, huh?", "(SARA looks at JANE DOE, then calls back out to EVANS.)", "Sara: Uh, Evans ... we're going to need a little privacy here.", "(DET. EVANS turns and leaves the room. SARA pushes the table forward, then takes off her jacket. She opens her kit and puts on a pair of gloves.)", "(On the side table, SARA takes a package off the Sexual Assault Evidence Collection Kit box. She sits down. She looks at JANE DOE, then starts with scraping under her fingernails into the envelope.)", "(Dissolve to: SARA leans over and reaches out to take a swab of her mouth.)", "(Dissolve to: SARA is at the foot of the bed and rolls up the blanket above JANE DOE'S knees. She positions her legs, then reaches for a speculum.)", "Sara: I never really liked this part of my yearly exam. These things are always freezing.", "(SARA tries to warm the speculum up a moment.)", "Sara: Okay.", "(She places the instrument and reaches for a swab, her eyes constantly rising to look at JANE DOE on the bed.)", "[SCENE_BREAK]", "SCENE #07", "[EXT. DESERTED ROAD - DAY", "(Camera snaps a photo of evidence marker #2. Cut to: The camera snaps another photo of evidence marker #1, an empty bullet casing.)", "(NICK is taking photographs.)", "Nick: Cartridge casings. They don't look like hunters' either.", "(GRISSOM sees something and kneels down to look at it.)", "(Camera zooms in for a close up of a piece of denim partially covered by a rock)", "Grissom: Nick, get a shot of this.", "(GRISSOM removes the rock.)", "Grissom: Looks like a belt loop.", "(NICK walks over to look at it.)", "Nick: We couldn't have been there long. No elements.", "(He takes a picture.)", "Grissom: Brass, was the victim wearing denim?", "Brass: Silk or lace, something like that. Definitely not denim.", "(He takes another photo.)", "Grissom: Good chance this is our suspect's. I'm going to use scent pads.", "(GRISSOM stands up. NICK glances over at BRASS, then stands up also.)", "Nick: Scent pads?", "Brass: Canine voodoo.", "(GRISSOM is at the back of the car opening a kit as he explains it further to NICK.)", "Grissom: A dog's sense of smell is about 40 times more acute than a human's. A dog's nose is packed with dense rolls of membranes that absorb odor. Stretched out, these membranes extend about a third the length of a dog's body. The membranes of the human nose about the size of a postage stamp.", "(GRISSOM puts the Sirchie scent pad machine together.)", "Nick: Looks like a giant dustbuster.", "GRISSOM; Similar. You place absorbent pads into the chamber then run the machine over the suspected item. Then you take the pad seal it in an envelope and freeze it.", "(GRISSOM picks up the scent pad machine and heads back to the area.)", "Nick: Yeah. Yeah, then we pull them out when we know enough about this denim guy to find a proximal location.", "Grissom: Except there's a caveat.", "(GRISSOM turns the machine on and holds it over the small piece of denim.)", "Brass: You want to explain that caveat?", "(Quick CGI POV through the nozzle of the scent pad machine as it \"gathers\" the \"scent\" from the denim piece and is sucked into the scent pad.)", "Grissom: (V.O.) Later. (End of CGI POV. Resume to present.", "Grissom: Hopefully, Sara's making some progress.", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(CATHERINE and WARRICK go over the files for the case.)", "Warrick: Hey, are you just going to ignore my question?", "Catherine: I called Eddie about the loan. I got his voicemail. The guy's like ether. You going to answer my question?", "Warrick: All right, here's what we know from the arresting officer:", "(WARRICK picks up the file and reads.)", "Warrick: Two 25-year-old guys Chuckie Hastings and Roy McCall, lifelong neighbors one step up from a trailer park got into a beef over a motorcycle in the owner's backyard.", "Catherine: All right, here's McCall's statement. If you can believe a guy who's looking at murder. Mccall says that he returned Hastings' motorcycle to him with the front end smashed up. They were standing in Hastings' backyard...", "(Quick flashback to: HASTINGS is looking at the damage to the motorcycle. McCALL stands next to him.)", "Roy McCall: I told you I'd pay for it.", "Chuckie Hastings: Yeah, you said that last time.", "(ROY McCALL turns away.)", "ROY McCALL: Whatever.", "(CHUCKIE HASTINGS gets to his feet.)", "Chuckie Hastings: Yeah, whatever. You b*st*rd.", "(HASTINGS slaps McCALL.)", "Roy McCall: Hey, back off, man, back off.", "(HASTINGS picks up a screwdriver.)", "Chuckie Hastings: You're going to pay for all of it.", "(HASTINGS swings the screwdriver and attacks MCCALL with it. He swipes MCCALL in the arm before MCCALL pushes him away. MCCALL looks down at the wound in his arm, then reaches for his gun.)", "Catherine: (V.O.) Mccall defends himself with an automatic that was down his pants.", "(MCCALL pulls out an automatic, aims and shoots. Once, twice.)", "(End of flashback. Resume to present.)", "Warrick: All right, now, Hastings' wife said that McCall shot Hastings in the back.", "Catherine: Mm-hmm.", "Warrick: And the coroner's report substantiates that.", "(Quick flashback to: CHUCKIE HASTINGS has his back to ROY MCCALL when MCCALL shoots him twice. LAURIANE HASTINGS watches on the side and screams.)", "(End of flashback. Resume to present.)", "Catherine: So, what? McCall lied. He really said that Hastings cam at him with a screwdriver so he can plead self-defense?", "Warrick: Well, we would need the screwdriver with McCall's blood on it to prove that, now, wouldn't we?", "(CATHERINE stands up ready to search through the boxes.)", "Catherine: All right, which box?", "Warrick: I have been through all these boxes twice. It's not there.", "Catherine: The evidence is lost? In a murder case?", "Warrick: The gun is here, but there's no screwdriver. They even have crime scene photos of it. But no tests were run on it before it was misplaced.", "Catherine: So, we know why Franovich left. He quit before we could fire his ass.", "Warrick: Right.", "Catherine: So, you know who the DA will blame for this?", "Warrick: Yeah, the same people homicide'll blame.", "Catherine: Well, now that we've exhausted all of our options let's start over.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(BOBBY DAWSON looks at the monitor running the cartridge comparison through the database.)", "Bobby Dawson: So this lady's expected to die. Is that the story?", "Grissom: Somebody raped her, shot her and left her for dead.", "Nick: And left two cartridge casings behind for us. Thank you very much.", "(Quick CGI POV to: A Camera close up of a gun being fired and the two empty cartridge casings falling to the ground. End of CGI POV. Resume to present.)", "Bobby Dawson: That kind of oversight tells you he's stupid.", "Grissom: Or true to form. People are usually meticulous in planning up to a murder. They rarely plan the aftermath.", "Nick: Still, you'd think the bad guys would figure we'd eventually start a database on cartridge casings, huh?", "(GRISSOM looks up when the computer starts to beep. The monitor indicates two matches.)", "Bobby Dawson: Gentlemen, we've got ourselves a bull's-eye.", "Nick: Well, well, well. Looks like this gun was used before in a case we've handled.", "(The monitor splices the bullets in half and matches the two sides together to each other.)", "Nick: North Vegas shooting.", "Bobby Dawson: You gotta do a side-by-side comparison to be sure.", "Grissom: Well, listen, if you get a confirmation, page me. I gotta go see Sara.", "(GRISSOM stands and leaves the lab.)", "Bobby Dawson: Okay.", "(BOBBY takes a seat in front of the monitor.)", "[SCENE_BREAK]", "[INT. HOSPITAL - EMERGENCY EXAM ROOM - NIGHT]", "(SARA finishes the exam and puts the envelopes on the box on her kit. She moves to the side to pick up the packages of victim clothing. As she lifts it, something falls out of the package and onto the floor. The metal hits the floor with a clink.)", "(SARA picks it up and looks at it under the lamp.)", "Sara: Saint Catherine. She studied science.", "(SARA sits down in the seat next to the bed continuing to talk with JANE DOE.)", "Sara: She was touch and very outspoken. Went against the Emperor himself. Chewed him out for persecuting Christians. Took him two or three tries to execute her.", "(She pauses and thinks about it ... about the similarities.)", "Sara: She never gave up. She was brave.", "(SARA puts the medallion in JANE DOE'S hand.)", "Sara: You hold on to this.", "(Through the window in the door, GRISSOM walks up to the door. He watches as SARA pulls her seat closer to JANE DOE. He pushes the door open and hears what SARA says.)", "Sara: (quietly) This shouldn't have happened to you. But, I promise I will find out who did this. I promise.", "(SARA sits back in her seat and notices GRISSOM standing in the doorway.)", "Grissom: Hey.", "Sara: Hey.", "(GRISSOM doesn't say anything. SARA stands up.)", "Sara: Sexual assault kit's ready to process.", "Grissom: How's it look?", "(SARA stands in front of GRISSOM, a little off-balance by his question.)", "Sara: We'll see. She's, um ... (she nods, gathering her composure) ... breathing.", "Grissom: She's evidence.", "(Not liking his response, SARA doesn't say anything and turns around back to the bed.)", "Grissom: Sara?", "Sara: Yeah?", "Grissom: If you try and chase two rabbits you end up losing them both.", "(SARA stares at GRISSOM. He slowly backs away from the door letting it close between them.)", "[SCENE_BREAK]", "[EXT. HASTINGS RESIDENCE - DAY]", "(CATHERINE and WARRICK walk toward the HASTINGS' house. A dog barks as they walk up the front.)", "(CATHERINE knocks on the door. A woman answers.)", "Catherine: Hi. Laurieane Hastings? We're with the Las Vegas Crime Lab.", "Laurieane Hastings: Cops. I have talked to enough of you already.", "Warrick: Ma'am, we're not cops. We're crime scene investigators. We've come to ask you a few questions about the day that your husband was killed. Maybe acquaint ourselves with the actual crime scene.", "Laurieane Hastings: Is this going to let Roy McCall out of jail which is where he belongs?", "Catherine: We're simply reviewing the evidence for the preliminary hearing.", "[INT. HASTINGS' RESIDENCE - DAY - CONTINUOUS]", "(She leads them into the garage where the motorcycle is.)", "Laurieane Hastings: McCall was always borrowing this motorcycle and Chuckie was mad at him 'cause he returned it wrecked again. He was yelling at him and out of the blue mccall pulled his gun.", "Catherine: You were home.", "Laurieane Hastings: Yes, I was.", "Catherine: And you saw the shooting?", "Laurieane Hastings: I most certainly did. I was doing laundry here ...", "(Quick flashback to: On the day of the shooting, LAURIEANE HASTINGS is standing at the washing machine when she hears voices.)", "Roy McCall: (o.s.) Get your hands off me.", "Chuckie Hastings: (o.s.) I'm sick of you, man.", "Roy McCall: (o.s.) Whatever.", "(White flash to: LAURIEANE HASTINGS walks out of the house and sees HASTINGS AND MCCALL in a shoving match in the back yard.", "Laurieane Hastings: (V.O.) I went to see and try to break it up.", "Chuckie Hastings: Back off, man. Back off.", "(She watches as CHUCKIE turns around to walk toward her.)", "Chuckie Hastings: Get your sorry ass off my property.", "(MCCALL takes out his gun and shoots him in the back.)", "(CHUCKIE HASTINGS looks at LAURIEANE, then falls to the ground. She starts screaming.)", "(End of flashback. Resume to present.)", "Warrick: Out back here?", "Laurieane Hastings: Yes.", "(WARRICK opens the back door and walks outside.)", "Catherine: How long did you say they had been arguing before you heard the first shot?", "Laurieane Hastings: (shrugs) Couple minutes.", "Catherine: And then you went out back?", "Laurieane Hastings: That's right.", "Catherine: Okay, thank you. This won't take very long.", "(CATHERINE reaches into her pocket and takes out a stopwatch. She clicks it on, then runs out the back door.)", "[SCENE_BREAK]", "[EXT. HASTINGS RESIDENCE - BACKYARD - DAY - CONTINUOUS]", "(CATHERINE runs out the back door into the yard. WARRICK sees her.)", "Warrick: What's up?", "(CATHERINE clicks off the stopwatch and explains.", "Catherine: She did a \"fill-in\" back there in the garage. First, she said she saw both shots, but I just asked her and she said she heard the first shot and then came running out here.", "Warrick: Heard the first shot and then came running out here.", "Catherine: Yeah.", "Warrick: McCall had a semiautomatic. I mean, you could pull off a shot in two-tenths of a second.", "Catherine: Right. It took me 3.8 seconds to get out here. She didn't see any shot.", "Warrick: So she just filled in what she thought happened -- that McCall shot her husband in cold blood.", "Catherine: Right.", "Warrick: Typical eyewitness.", "Catherine: So, there's a good chance that McCall was telling the truth -- that he shot Hastings in self-defense.", "Warrick: Well, if we had the screwdriver that someone lost", "Catherine: Right.", "Warrick: We'd be able to check for blood.", "Catherine: Right. Let's go see McCall. No one lost him.", "(They both leave the backyard.)", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE LOCKER - DAY]", "(GRISSOM, NICK and SARA go through the evidence from the case.)", "Nick: Hey, you guys, this North Vegas shooting with the same casings as our Jane Doe's?", "Grissom: Mm-hmm.", "Nick: It was gang-related. And homicide never found the shooter.", "Grissom: It's almost impossible in gang neighborhoods. Nobody wants to talk. People are afraid. Listen, let's see if we have any evidence that's not attributed to the victim.", "(They look at the paper bags. SARA finds something.)", "Sara: Here you go.", "(She takes out a cap with a snake logo sewn on the front.)", "Nick: Snakebacks.", "Grissom: Gang shooters mark their kills by tossing down their hats.", "(Quick flashback to: A dead body on the ground. The person throws their hat with the snake logo on it over the body. End of flashback. Resume to present.)", "Grissom: Some sort of anthropological quirk of territoriality. Like cats spraying on a bush.", "(NICK laughs. SARA takes the hat.)", "Nick: Lets the opposition know who was responsible.", "(She looks at it and notices something.)", "Sara: Somebody wore this hat a lot.", "(Quick Close up of a sweaty head, the inside of the hat, and the sweat marks on the inside of the hat. Resume to present.)", "Sara: This sweatband might give us DNA and I could compare it to the samples I collected off of Jane at the hospital.", "(GRISSOM looks at SARA, surprised.)", "Grissom: Jane?", "Sara: Our ... Jane Doe. My \"death imminent.\"", "Nick: First-name basis, Sara?", "(SARA looks at NICK.)", "Sara: I'll be in DNA.", "[SCENE_BREAK]", "[EXT. NEIGHBORHOOD - DAY]", "(BRASS walks around the corner. GRISSOM and NICK get out of the car.)", "Brass: Hey. This is, uh, Detective Sam Vega from the gang detail. He's here to give us information on 23rd street. This is Gil Grissom and Nick Stokes from the crime lab.", "(They shake hands.)", "Grissom: We're looking for a shooter. Guy abducted, raped and shot a young black woman the other night.", "Det. Sam Vega: We get a couple of shootings a week here from the snakebacks, out of a four-block radius from this point here. Usually at the pepper street gang. Your guy might have left the neighborhood as part of a gang initiation. It means more when the victim's a civilian.", "Nick: Our ball cap belongs to somebody in this neighborhood. These houses are full of people who know the guy who wears it.", "Brass: Okay, Nick, ready to burn some shoe leather? Some old-fashioned police work? What do you say, huh?", "(BRASS leads them away.)", "Nick: Why can't we just use those scent pads?", "Grissom: The dogs? Constitutional issue. We can't get a warrant for the evidence we find off the dogs' search.", "Nick: Great, great. Why'd you even suggest it?", "Grissom: You're a grown man, Nick. Stop whining.", "(Camera cuts to an above the neighborhood shot showing just how large an area they need to cover.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE and WARRICK question ROY MCCALL with his lawyer, MARGARET FINN.)", "Warrick: Mr. McCall, according to your statement you went over to your neighbor Hastings' house to return his motorcycle. You got into a dispute over a wrecked fender and he attacked you with a screwdriver.", "(MCCALL looks at MARGARET FINN who nods to him.)", "Roy McCall: He stabbed me in the arm.", "(Quick flashback to: CHUCKIE HASTINGS grabs a screwdriver as they argue.)", "Chuckie Hastings: Hey, back off, man.", "Roy McCall: You're gonna pay for this.", "(HASTINGS stabs MCCALL in the arm. The two struggle.)", "(End of flashback. Resume to present.)", "Catherine: Can you circle the area in which the screwdriver entered your arm when Hastings attacked you?", "(MCCALL grabs the pen with his right hand and marks the paper. He puts the pen down.)", "Catherine: May I exam your client's wound?", "Margaret Finn: Yes, anything to clear my client.", "(CATHERINE stands up. MCCALL pulls up his sleeve to show the mark on his arm.)", "Catherine: Thanks.", "(CATHERINE turns to WARRICK. MCCALL and MARGARET FINN speak softly to each other.)", "Catherine: (softly to WARRICK) I think he's telling the truth. He's right-handed. I could tell when he took the pen.", "Warrick: So you're saying that if he'd inflicted the wound on himself he would have stabbed his left arm.", "Catherine: And even if he'd tried to fool us and stabbed his right arm the entry scar would have been upward, not down.", "Warrick: Mr. McCall, which direction was Hastings facing when you shot him?", "Margaret Finn: He was facing my client. End of story.", "Catherine: Well, the coroner disagrees.", "Margaret Finn: Well, that's the coroner's problem. And I after I tell any jury how your side managed to lose a piece of evidence as important as the screwdriver ... (WARRICK sighs.) really, how much weight will the coroner's findings have?", "(MARGARET FINN reaches for her bag.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]", "(CATHERINE and WARRICK walk out of the interview room and into the hallway.))", "Catherine: People don't realize just how many sets of hands a piece of evidence passes through. Losing evidence isn't about anything sneaky. It's just human error.", "(CATHERINE'S phone rings.)", "Warrick: Defense attorneys have made a whole career off that human error.", "Catherine: Yeah, tell me about it.", "(She takes out her phone and answers it.)", "Catherine: (to phone) Hello. Eddie ... (to WARRICK) I-I'll meet you at the coroner's. (to phone) So, you took a second out on the house and, uh, didn't tell me about it? No, I would have remembered you telling me something as big as... oh, a studio. Are you out of your mind? So, now I'm going to be making house payments which you never had money for when we lived together and a second mortgage? No, we don't have time to talk about this. (angry) You get that loan canceled, and you do it now, Ed. Now!", "(CATHERINE hangs up and sighs.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(WARRICK talks with DR. ROBBINS.)", "Warrick: Doc, are you sure McCall shot Hastings in the back?", "Dr. Albert Robbins: Back to front, both times.", "Warrick: This guy McCall swears that he shot him straight ahead in self-defense.", "Dr. Albert Robbins: Look at my notes.", "(DR. ROBBINS walks over to the desk where the file is.)", "Dr. Albert Robbins: Right here. \"Entry wounds piercing the back, both small, regular with evidence of carbonaceous material typical of having just emerged from a gun ... \"", "Warrick: (nods) Right.", "Dr. Albert Robbins: \"...And they exited out the front with a classic keyhole effect-- irregular. First bullet entered Hastings'", "(Quick CGI POV: The gun fires. The bullet shoots out of the barrel, through the cloth and into flesh. It passes through the necessary organs and muscles, then pierces back out.)", "Dr. Albert Robbins: (V.O.) ... \"lattissimus dorsi passed through the lower intestine exited out the intercostal muscle.", "(End of quick CGI POV. Resume to WARRICK.)", "(Quick CGI POV of the second shot. The sound of a gun firing, the bullet pierces through the cloth, through the flesh and out the back.)", "Dr. Albert Robbins: (V.O.) The second bullet passed through Hastings' C-7 thoracic nerve exited out the pectoralis major.\"", "(End of flashback. Resume to present.)", "(DR. ROBBINS looks at WARRICK who closes the file.)", "Warrick: All right, look, I'm not doubting your findings. But when guys go at it they're not like gingerbread men, you know? They're, like, bobbing and weaving. It's like W.W.F. Smackdown. You know? All of these things could have changed what went down when Hastings and McCall tangled.", "Dr. Albert Robbins: Anatomically speaking, it's open-and-shut. You guys are the ones to put perspective on it.", "Warrick: No doubt. When Catherine gets here can you tell her I went over to evidence to check out the victim's t-shirt?", "Dr. Albert Robbins: Mm-hmm.", "(WARRICK heads out the room.)", "[SCENE_BREAK]", "[INT. CSI - COMPUTER LAB]", "(SARA sits in front of the computer going file by file through the missing persons list. She hums softly to herself and continues to patiently go through the listing.)", "(GRISSOM walks through the hallway and notices SARA in the room. He stops by the doorway and lingers.)", "(He watches her for a moment, then steps inside the room.)", "Grissom: Hey.", "(SARA glances up at him, then continues to look through the listings.)", "Sara: Any luck on 23rd street?", "Grissom: I, uh, broke in my new shoes. That's about it. What'd the lab say?", "Sara: The DNA from the ball cap is a match to the semen we found on our Jane Doe. But ... CODIS hasn't kicked out a name.", "Grissom: So you're just ... looking at missing persons reports?", "Sara: We're not having any luck finding the shooter from his DNA with a belt loop so I thought I would at least try and identify the poor woman before she dies.", "(GRISSOM takes a step forward and leans in close to SARA.)", "Grissom: Sara. Do you have any diversions?", "Sara: Do I what?", "Grissom: You max out on overtime every month. You go home and listen to your police scanner.", "(SARA turns to look at GRISSOM.)", "Grissom: You read forensic textbooks ...", "Sara: Yeah.", "(She turns back to the computer. GRISSOM sits down in the chair next to her.)", "Grissom: Look, every day we meet people on the worst day of their lives. It's a lot to deal with. Everyone who's had any time on this job knows that you have to have a diversion in order to cope with what we see. What do you do for fun?", "Sara: I chase rabbits. And ... I read crime books. And I listen to the scanner.", "Grissom: You need something outside of law enforcement. Catherine has her kid, you know? I sometimes ... ride roller coasters.", "(SARA again turns to look at GRISSOM.)", "Grissom: What do you do?", "(She turns back to the computer.)", "Sara: Nothing.", "Grissom: Okay. What do you like?", "Sara: I don't like anything.", "Grissom: You've got to find something to like. You can't get too close to the victims.", "Sara: She's special ... to me. I can't help it.", "Grissom: If you don't find something they'll all become special and you'll burn out.", "(For the moment, SARA stops looking through the list. GRISSOM stands up and heads for the door. When he reaches the doorway, he turns around.)", "Grissom: Sara.", "Sara: Okay. I'm almost done. I just got to log off.", "(GRISSOM nods and walks out. SARA turns back to the computer and continues searching through the listings.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM - NIGHT]", "(CATHERINE and WARRICK go back over the evidence. CATHERINE picks up the bloodied shirt.)", "Catherine: Well, this is progress. The shirt confirms what the coroner said: That the shots were fired back to front. Look at those entry holes.", "Warrick: Yeah, but look at that gunpowder. Unburned gunpowder.", "Catherine: Which happens when a gun is fired less than three feet from a victim.", "Warrick: Right.", "Catherine: McCall says that they were standing five paces apart.", "(CATHERINE looks at the file with LAURIEANE HASTINGS' statement.)", "Catherine: Mrs. Hastings says the exact same thing. So we have two eyewitnesses on opposite sides of the case ... saying the same thing.", "Warrick: In direct contradiction to our evidence.", "Catherine: Well, the DA's on my beeper. Would you, uh, explain this to him because I can't.", "Warrick: Yeah, right.", "(CATHERINE heads for the door. WARRICK follows her.)", "Warrick: Hey ... when's the last time you took target practice?", "(He holds up the box. CATHERINE takes her gloves off.)", "Catherine: Figures. I just had a manicure.", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - FIRING RANGE]", "(WARRICK and CATHERINE set up various shirt targets at measured distances apart.)", "Warrick: Okay, so we're doing this reconstruction and the best way is to measure the distance between the victim and the assailant during the time of the altercation, right?", "Catherine: Right.", "(CATHERINE snaps the gun chamber shut.)", "Catherine: Using the same firearm and ammo that McCall used in his backyard on Hastings.", "Warrick: Right.", "(CATHERINE puts on her gear and checks the gun. WARRICK also puts on his head gear.)", "(CATHERINE puts the gun in the holder and fires it against the target shirt that reads \"6 INCHES\".)", "(WARRICK moves the gun placehold over to the next shirt with the note \"1 FOOT\". CATHERINE fires.)", "(They move over to the next shirt target, \"1 1/2 FEET\". CATHERINE fires.)", "(And finally, she shoots into the shirt with the tag \"2 FEET\".)", "(They take their head gear off and compare the shirt with the targets. WARRICK holds the bloodied shirt up to compare it with the target.)", "Warrick: Circumference of the gunpowder is the same.", "(Camera zooms in for a close up of the target's bullet hole.)", "Warrick: Looks like two feet for shot number one ...", "(He moves the shirt over to the next target. Camera zooms in for a close up of the target's bullet hole.)", "Warrick: ...and one foot for shot number two.", "Catherine: And according to Lauriane Hastings' statement he was running away. How can the second shot be closer than the first?", "Warrick: It can't. It's not possible.", "(Quick flashback to: The day of the shooting, from LAURIEANE HASTINGS' POV, CHUCKIE HASTINGS walks away from ROY MCCALL as he fires twice. End of flashback. Resume to present.)", "Warrick: We just disproved their statement.", "CATHERINE And then we've got McCall's statement.", "(Quick flashback to: The day of the shooting, from ROY MCCALL'S POV, he pushes CHUCKIE HASTINGS away from him after being stabbed with the screwdriver. He reaches for the gun as HASTINGS comes toward him. He fires.)", "Catherine: Can't happen when someone's facing you.", "(WARRICK sighs.)", "Warrick: The truth is somewhere in the middle. How long do we have till the prelim?", "Catherine: I think I know how we can figure this out. I saw this thing in my forensics catalog.", "Warrick: What kind of \"thing\"?", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY-- DAY]", "Nick: Now you want to use the dogs to track down the Jane Doe shooter?", "(NICK and GRISSOM walk through the hallway.)", "Grissom: K-9 unit's going to meet us there.", "Nick: Yeah, but I spoke to Brass. He said we can't get a warrant on anything we need from the suspect's house-- gun, jeans, nothing.", "Grissom: That's if we find him inside his house. In which case, we'll figure out another way to get a warrant.", "Nick: You're rushing this for Sara.", "Grissom: My priority is the case, Nick. Release the hounds.", "[SCENE_BREAK]", "[INT. CSI - COMPUTER ROOM - DAY]", "(Meanwhile, back in the computer room, SARA continues to go through the missing persons listings. With her eyes glued on to the monitor, she opens a pack of sugar with her teeth and pours it into her coffee cup - just one of many on the table beside her. She stirs the coffee.)", "(She picks up her cup and sighs.)", "(The monitor scrolls through a couple of listings. Then she stops on something familiar. It reads:", "MISING PERSON", "Pamela Adler: 26 YEAR OLD BLACK FEMALE, MISSING SINCE 1730 TUESDAY. WEARING", "LAVENDER BUSINESS SUIT. REPORTED MISSING", "BY THOMAS ADLER, HUSBAND. LAST", "SEEN AT LAS VEGAS SHOPPING", "CAR 1992 ACURA LEGEND. LA", "360-RYD.", "(SARA reads the report and stops.)", "Sara: You were shopping.", "(She pauses and reads the name. Finally.)", "Sara: Pamela ... (sighs) ... Pamela Adler.", "[SCENE_BREAK]", "[EXT. NEIGHBORHOOD -- DAY]", "(The OFFICER leads the dog over to the back of the car where GRISSOM and NICK are. GRISSOM opens the cooler with the scent pack inside.)", "Officer: Here we go. Come on.", "(GRISSOM opens the bag and takes out the container.)", "Grissom: Hey, lady. You ready for a scent pad?", "(GRISSOM takes out the pad and lets the two dogs smell it.)", "Grissom: Breathe deep. Girls.", "(They bark and head off.)", "Officer: Here we go!", "(The OFFICERS run along side the dogs. NICK watches them run.)", "Nick: Whoa! (to GRISSOM) Are we supposed to be able to keep up with those guys?", "(GRISSOM looks at NICK and motions after the dogs.)", "Grissom: Yeah!", "(NICK takes off after them. GRISSOM stands behind him with a smile on his face and slowly shakes his head. He laughs as he watches NICK run to catch up to the dogs.)", "(He turns back to the car.)", "(Cut to: The dogs track the scent along the sidewalk.)", "(Various cuts of the dogs tracking the scent.)", "Officer: Here we go. OFFICER: Come on. OFFICER: Come on. Good girl.", "(GRISSOM and NICK walk behind the dogs, watching them.)", "(The dogs start barking, then run along the street toward a particular house.)", "(The dogs run up the driveway toward a young man playing basketball out in front.)", "Tony Thorpe: Hey, hey, yo, yo. Back off, snoop. What'd you raggedy mutts want with me anyway?", "(NICK runs up the driveway after the dogs.)", "Tony Thorpe: Hey, you two, don't be hassling me.", "(NICK takes off his glasses when he sees it.)", "(Camera zooms in for a close up of the missing belt loop on the boy's jeans.)", "(GRISSOM catches up.)", "Nick: Guy's wearing the evidence in plain sight. We just got lucky.", "Shandra Thorpe: Tony!", "(The front door slams and a woman walks out of the house.)", "Shandra Thorpe: What are you doing?! (to the OFFICERS) You got a problem?", "Grissom: Ma'am, is-is this your son?", "Shandra Thorpe: Yes.", "Grissom: Well, we're going to have to talk to him for a minute.", "Shandra Thorpe: You police -- coming here with your attack dogs.", "Grissom: Actually, they're scent dogs, and I'm not a police officer. I'm a Forensic Scientist with the Las Vegas Police Department.", "Shandra Thorpe: What do I got to say to a scientist?", "Grissom: (shrugs) You could say \"hello.\"", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(CATHERINE stands over by the counter going through the files. WARRICK stands in front of a dummy marking the holes with a pen.)", "Warrick: This dummy cost over $500?", "Catherine: Oh, yeah. He's worth it.", "(CATHERINE picks up the second stick and walks toward the dummy.)", "Warrick: Why?", "Catherine: Well, look at him. He's lifelike, he doesn't talk, and he's self- healing.", "Warrick: He's \"self-healing\"?", "Catherine: Yeah. We make a mistake in our calculations we just start over.", "(CATHERINE puts the first stick into the dummy.)", "Warrick: Cool. Um, the wound track is off. Do it two centimeters higher.", "Catherine: All right. How's that?", "Warrick: Good.", "Catherine: All right.", "(She gets the second stick and marks the second shot.)", "Warrick: Now, the second shot was fired like so. Now, the coroner says that Hastings was shot just like this, from back to front and Hastings' wife says the same thing -- that her husband was running away.", "Catherine: And McCcall says that Hastings was facing him shot him in self-defense and he's got the wound ... to prove it.", "(She moves the right arm into position.)", "Warrick: Just like I said before, guys don't go at it and fight like gingerbread men, you know?", "Catherine: Mm-hmm.", "Warrick: Check it out.", "(Thinking about the case, WARRICK moves CATHERINE away from behind the dummy and takes her place there. CATHERINE steps aside.)", "Warrick: What if, um ... he was lunged ...", "(WARRICK bends the body over at the waist. CATHERINE sees her opportunity and quietly grabs the camera.)", "Warrick: ...just kind of like this?", "(CATHERINE snaps a photo. WARRICK turns to look at CATHERINE.)", "Warrick: Oh, you are wrong!", "(Laughing, CATHERINE takes the photo and waves it in front of him. She looks over at the dummy and her face freezes. She sees it.)", "Catherine: Warrick ... ?", "(WARRICK turns around to look at the dummy. He sees it, too.)", "Catherine: I think maybe they were both telling the truth.", "Warrick: Yeah. I'm calling the DA.", "(He turns and grabs the photo from CATHERINE as he walks out of the garage.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "[OBSERVATION ROOM]", "(Through the observation room glass, SARA watches BRASS and GRISSOM interview TONY THORPE with his mother, SHANDRA there.)", "Brass: So, Tony, where were you two nights ago?", "Tony Thorpe: I was nowhere special. I was just hanging.", "Sara: (to NICK) Grissom told you to keep me out, didn't he?", "(SARA turns to look at NICK who is standing beside her.)", "Nick: (nods) Yeah.", "[INTERVIEW ROOM]", "Grissom: Were you wearing those pants the other night?", "Tony Thorpe: Oh, these jeans? What's it to you?", "Grissom: They're missing a belt loop.", "(TONY looks down at his jeans.)", "Grissom: I find that interesting.", "Brass: You mind if we look at those? We got some scrubs for you to wear.", "(BRASS throws some clothes on the table in front of TONY. SHANDRA pushes the scrubs back toward BRASS.)", "Shandra Thorpe: I know the law. He doesn't have to do anything unless a judge says to.", "Brass: That's why we're asking Tony to volunteer ... with your permission ...", "(BRASS throws the scrubs back toward TONY.)", "[OBSERVATION ROOM]", "(Through the room glass, SARA watches as TONY casually stands up.)", "Tony Thorpe: Chill, moms.", "[INTERVIEW ROOM]", "(He takes off his jeans.)", "Tony Thorpe: (smugly) I got nothing to hide. It's no big thing. Cop said lady isn't even dead.", "(And throws them on the table in front of GRISSOM.)", "Grissom: That's true, she isn't ... but if she dies within a year and a day of the shooting ... then it's murder.", "Shaunda Thorpe: Is this some kind of a trick?", "Brass: No, ma'am, it's the law. We're working this case as a murder.", "Tony Thorpe: At least for the next year and a day and even then, I'm still a juvie.", "Grissom: Well, then I guess the law is on your side, Tony, isn't it? For now.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(EDDIE WILLOWS sits in the chair in the hallway making faces with LINDSEY as she giggles and laughs.)", "(CATHERINE and WARRICK walk into the hallway.)", "Eddie Willows: Hi, Catherine. Somebody wanted to see you.", "Catherine: Hey, baby.", "Lindsey Willows: Hi, mommy.", "(CATHERINE kneels down and they hug.)", "Lindsey Willows: (excited) Daddy's taking me to dinner tonight.", "Catherine: He is?", "Eddie Willows: Main room at the Orpheus.", "Lindsey Willows: They have lions and tigers at the restaurant and daddy said I can go to a show after.", "Catherine Willows: Well, uh ... you know, honey, it's a school night so I need to discuss that with daddy first.", "Lindsey Willows: Come on, mom. It's just this one night.", "(CATHERINE smiles at LINDSEY and stands up.)", "Catherine: Ed ...", "(WARRICK leans over to look at LINDSEY.)", "Warrick: Hey, Lindsey, I got some games on my computer. You want to see?", "Lindsey Willows: Sure.", "Warrick: Let's play one.", "(WARRICK takes LINDSEY out of the hallway.)", "Catherine: (to LINDSEY) Uh, I'll see you in a bit, honey.", "(EDDIE stands up.)", "Catherine: (to EDDIE) You set me up. Again.", "Eddie Willows: How, by taking out daughter to dinner?", "Catherine: Get over here.", "(CATHERINE leads EDDIE into the next hallway to continue to conversation.)", "Eddie Willows: Oh, come on now! What?!", "Catherine: You are so pathetic.", "Eddie Willows: What?! What?!", "Catherine: Just so pathetic.", "Eddie Willows: Watch it, Cath.", "Catherine: Sucking up to our daughter 'cause I caught you robbing me.", "Eddie Willows: The only thing I ever robbed you of was good s*x.", "(EDDIE takes a step closer to CATHERINE. She scoffs at him.)", "Catherine: No s*x is worth you, and you are not taking my daughter to a club with one of your music whores.", "Eddie Willows: Oh, they're whores? When I met you, you were taking your clothes off in a strip club.", "Catherine: It was a job, Ed and it supported you, just like every job I've had including this one!", "(In the hallway, GRISSOM turns the corner and sees them. He watches them.)", "Eddie Willows: Yeah? And who paid to close up your nose?", "Catherine: You're such a bast...!", "(CATHERINE steps up and swings. EDDIE grabs her hand. She struggles.)", "Catherine: Let go of me.", "(He grabs her other hand and has CATHERINE up against the glass wall.)", "Eddie Willows: What?!", "(GRISSOM heads for them.)", "Eddie Willows: (mutters) I'll let go of you when I'm damn good and ...", "Grissom: Let go of her, Ed!", "(GRISSOM grabs EDDIE'S arm and pushes him off of CATHERINE.)", "Grissom: Catherine?", "Catherine: (upset) Just get him out of here.", "(CATHERINE walks away.)", "Grissom: I don't want to ever see you in this building again. This is our place of business. You understand that?", "Eddie Willows: I always knew you two had a thing.", "Grissom: Go home, Eddie.", "Eddie Willows: Sure.", "(EDDIE walks out of the hallway. GRISSOM turns to watch him go. Then he turns to look back in the other direction.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA and NICK work in the lab. SARA sings quietly to herself.)", "Sara: (singing softly) One way or another / I'm going to see you / ( hums ) / one day, maybe next week / I'm going to meet you, meet you / I will ...", "(NICK stops working on the jeans to look up and listen to SARA.)", "Nick: Hey, Sara, did anyone ever tell you, you have a pretty good singing voice?", "Sara: (retorts) If you like chalk on a board.", "Nick: Come on. I've heard you around here. People never tell you that?", "(SARA turns around and looks at NICK.)", "Sara: It's a-a habit. I don't even realize I'm doing it. Did you get that belt loop from the crime scene lined up yet?", "Nick: Yeah. Yeah. Take a look.", "(NICK steps aside to let SARA look through the magnifying glass. She matches the loop with the jeans. Camera zooms in for a close up.)", "Sara: Fits like a glove.", "Nick: Okay, let's go tell the boss.", "(SARA moves back to her table.)", "Sara: You go. I have something to do first.", "Nick: (worried) Hey, if you go near that Thorpe kid...", "(SARA turns around to look at NICK.)", "Sara: Excuse me?", "(NICK doesn't back down. He's still concerned.)", "Nick: I'm just saying ...", "Sara: (appreciative) It's something else. Promise.", "(SARA gathers her things and leaves the room. NICK watches her leave.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - DAY]", "(CATHERINE and WARRICK report their findings to D.A. SAM GENTRY. He reads the report.)", "D.A. Sam Gentry: Wait a minute. Hastings was facing McCall, and McCall shot him in the back? You can't have it both ways, guys. A judge will laugh me out of court.", "(CATHERINE steps forward and stands behind the dummy.)", "Catherine: Well ... bear with us.", "(WARRICK steps forward to help CATHERINE illustrate what they've learned about the shooting.)", "Warrick: All right. I'm McCall. I have a gun.", "Catherine: I'm Hastings. I stab McCall in the right arm.", "(CATHERINE grabs the dummy's arm and moves it.)", "(Quick flashback to: The day of the shooting, CHUCKIE HASTINGS swings the screwdriver and stabs ROY MCCALL in the arm.)", "(Cut to: ROY MCCALL pushes HASTINGS off of him. HASTINGS falls backward to the ground.)", "Warrick: (V.O.) I push him back off.", "(End of flashback. Resume to present.)", "Catherine: And Hastings charges again. This time he lunges at his midsection.", "(CATHERINE bends the dummy over to illustrate.)", "(Quick flashback to: HASTINGS charges MCCALL, butting his head into MCCALL'S stomach, pushing him back. End of flashback. Resume to present.)", "(WARRICK lifts his hands as if he's holding a gun and points it downward.)", "Warrick: I shoot.", "(Quick flashback to: MCCALL fires the first shot. HASTINGS goes down. End of flashback. Resume to present.)", "(D.A. SAM GENTRY takes a step forward.)", "Catherine: He shoots from two feet according to our firearms range test and the unburned powder on the victim's clothes.", "Warrick: And the bullet enters through the back even though we are facing each other and exits ... out the front.", "Catherine: The first shot is fired in self-defense. But then McCall shoots Hastings a second time. Now that shot ...", "(WARRICK illustrates by bringing his fingers downward toward the dummy.)", "Warrick: Boom.", "Catherine: ... Was not in self-defense.", "(Quick flashback to: HASTINGS is down on his knees and clutching his stomach. He's breathing hard. MCCALL fires a second time. HASTINGS falls to the ground.)", "(Cut to: MCCALL looks up and around. LAURIEANE HASTINGS walks out of the house and sees CHUCKIE on the ground. She starts screaming.)", "Laurieane Hastings: No!", "(End of flashback. Resume to present.)", "Warrick: Chalk it up to adrenaline or revenge, but Hastings was already going down. There was no reason to shoot him a second time.", "D.A. Sam Gentry: I've got to say, I'm impressed. You two just put on quite a show. Think you can do it again at trial?", "Warrick: That's our job.", "Catherine: We'll see you in court, Sam.", "(The D.A. walks out of the garage.)", "Warrick: Hey, how's Linds?", "Catherine: Um, well, uh, she's with my sister. Hey, thanks for helping me out there.", "Warrick: Right.", "Catherine: I appreciate it. I ...", "Warrick: Catherine, you've got to get that divorce finalized, huh?", "(CATHERINE doesn't say anything. WARRICK picks up the dummy and leaves the garage.)", "[SCENE_BREAK]", "[INT. HOSPITAL - EMERGENCY ROOM - DAY]", "(SARA walks into PAMELA ADLER'S room. She walks up to the bed, looking at PAM and sits down. She doesn't notice the man sitting in the chair in the darkened corner.)", "Sara: We caught him. If you hadn't pulled that belt loop we might never have found him, but ... you did good.", "(The man in the chair leans forward into the light.)", "Thomas Adler: You must be Sara.", "(SARA turns around.)", "Thomas Adler: The CSI who called me?", "(They stand up and shake hands.)", "Sara: Hi.", "Thomas Adler: I'm Tom. Uh ... Pam's husband. Thanks, uh, for all you've done.", "Sara: Sure. Oh, I wanted to give you this. I've been keeping it ... for Jane -- Pam, uh, until I found her family.", "(SARA gives THOMAS the medallion.)", "Thomas Adler: Thanks.", "(He looks over at PAM.)", "Sara: How are you doing?", "Thomas Adler: Okay, uh ... good. The doctor says Pammie's condition is stabilized. He was in an hour ago. He expects her to live. (SARA nods.) Says she's not going to die.", "Sara: (her smile freezes) That's great. That's-that's great. She's a real fighter, huh?", "Thomas Adler: Well, we're moving her to Haven View Center later this week. Do-do you know that facility?", "Sara: Yeah, I do ... know people who've gone there. They'll take real good care of her.", "Thomas Adler: Yeah. That's what the doctor said.", "(THOMAS wipes a tear away from his eye and sniffles.)", "Sara: I got to go.", "(SARA turns and heads for the door.)", "Thomas Adler: Well, um, uh ... come see us sometime.", "Sara: Definitely. Haven View. I'll be there. (he nods) Good luck.", "(SARA opens the door.)", "Thomas Adler: Good luck to you.", "(She leaves the room. The door shuts behind her. THOMAS turns back to look at PAM.)", "[SCENE_BREAK]", "[INT. HOSPITAL HALLWAY - DAY - CONTINUOUS]", "(SARA walks out of the room and into the hallway. About mid-way through, she stops.)", "(After a moment, with tears in her eyes, she continues walking through the hallway and out of camera frame.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - DAY]", "(SARA sits in GRISSOM'S office across the desk from him. She's quiet. He listens intently to her.)", "Sara: The husband doesn't get it.", "(She shakes her head and brushes a tear from her eye.)", "Sara: He's so happy she's going to live. He doesn't realize she's going to be in a vegetative state for the rest of her life. (her voice breaks) And that kid Thorpe ... is going to be out of juvie in 48 months. (whispers) It's not fair.", "(She wipes her eyes.)", "(GRISSOM takes a breath.)", "Grissom: It's the system.", "Sara: What kind of system rewards the suspect when the victim is too tough to die?", "(GRISSOM has no answer for her. SARA gets up from the chair, turns and heads for the door. GRISSOM stops her.)", "Grissom: Sara ... you got to learn to let this go or you're going to spend all your time in hospitals trying to help the people you couldn't save.", "Sara: I wish I was like you, Grissom. I wish I didn't feel anything.", "(SARA turns and leaves the office. The door closes behind her.)", "(GRISSOM turns away from the door and takes a deep breath.)", "Grissom: (exhales) Oh." ]

[ "A body is found in a pottery store in what's apparently a robbery that was interrupted. Fingerprints at the scene seem to match a twenty year old kidnapping case. Sara and Warrick look into a case where a woman burned to death in her home. The woman was burned to an ash but only the chair she was in was burned, the rest of the house is fine. Sara believes they have a case of spontaneous combustion." ]

[ "[EXT. LAS VEGAS CITY (STOCK) -- DAY]", "[EXT. VARIOUS LAS VEGAS COMMUNITY (STOCK) - DAY]", "FLASH TO:", "[SCENE_BREAK]", "[EXT. THE CRACKED KILN - PARKING LOT - DAY]", "(The SUV turns into the parking lot and parks.)", "(MARC and ANN, each carrying a cup of coffee walk up to the front door. MARC tries to unlock the door but drops the keys. ANN hands him her cup of coffee.)", "Ann: Oh ... honey, here. Take this.", "(ANN kneels down to pick up the key and unlocks the door. They walk inside and find the place a mess. Cracked pottery is on the floor.)", "Marc: Not again.", "Ann: We are buying that alarm system.", "Marc: No argument from me.", "(They make their way to the back to check the register.)", "Ann: I'm serious. They got the cash. Why did they have to be such a mess?", "(ANN looks around. MARC looks behind the counter and sees something.)", "Marc: Oh, my god...", "Ann: What? What's wrong?", "Marc: Call 911.", "(On the floor is a dead body with blood on the floor near his head.)", "[SCENE_BREAK]", "[EXT./INT. THE CRACKED KILN - DAY]", "(NICK drives the SUV into the parking lot. He, CATHERINE and GRISSOM get out of the car and make their way into the store.)", "(They gingerly walk over the cracked pottery on the floor and walk over toward the back where the body is.)", "Grissom: Introductions?", "Brass: Joseph Felton, 44. Not an employee; no reason to be here.", "Grissom: Mind if he and I have a moment together?", "Brass: No.", "(GRISSOM steps forward toward the body. He kneels down to look it over.)", "(Cut to: CATHERINE dusts the cash register.)", "(Cut to: NICK snaps a photo of the back door. He turns around and snaps another photo.)", "(Cut to: CATHERINE dusts the garden gnomes on the shelf.)", "(Cut to: GRISSOM looks down at the body, then picks up his sketch pad and pen. He stands up.)", "(Cut to: NICK snaps a photo of the safe.)", "Brass: Burn marks?", "Nick: Unusual way to penetrate a safe.", "(NICK snaps another photo.)", "Brass: Hmm ...", "Nick: (looks up at BRASS) How much was taken?", "Brass: Three hundred and something, small bills.", "Grissom: (o.s.) Multiple contusions to the back of the skull. Might've been taken by surprise.", "Catherine: Robbery interruptus?", "Grissom: Yeah, I think our robbery suspect is a homicide victim.", "Catherine: One way to beat the rap.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(DR. ROBBINS goes over the findings with CATHERINE and NICK.)", "Dr. Albert Robbins: This is an easy one. The guy from the pottery store has got three hits to the head. Trauma to the brain stem was fatal. Death was instantaneous.", "Catherine: Can you tell us anything about the murder weapon?", "Dr. Albert Robbins: Nothing definite. But I swabbed the points of impact. Slide's under the microscope.", "(He nods toward the scope. NICK heads over to check it out.)", "[SCOPE VIEW of the swab]", "Nick: Yellow looks like transfer from the murder weapon but what's with the glitter?", "(NICK looks up and back at DR. ROBBINS.)", "Dr. Albert Robbins: Unidentified mineral. I sent a sample to trace for analysis.", "Catherine: Hey, Doc, you have a comb?", "(DR. ROBBINS looks up at CATHERINE. NICK also looks at her.)", "Nick: Your hair looks great, Cath.", "Catherine: Gee, thanks, Nick.", "(DR. ROBBINS hands CATHERINE a comb. She steps forward with a piece of paper.)", "Dr. Albert Robbins: Guy's still dirty. They don't get a bath till evidence is collected.", "Catherine: That's what I'm doing although I don't think this is dirt.", "(CATHERINE takes a sample of the stuff in the body's hair.)", "Catherine: He's covered in spores.", "(She takes out a magnifying glass to look at the spores under it.)", "Catherine: I think these are from a fern.", "Nick: Well, the back entrance was overgrown with them.", "(Quick flashback to: JOSEPH FELTON walking up to the back door through the ferns. The top leaves of the fern brush the top of his head. End of flashback. Resume to present.)", "Catherine: A fern plant deposits billions of spores in its lifetime. Most are just dust in the wind. In our case they're evidence. As good as fingerprints or fibers in placing a suspect at a crime scene.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB - DAY]", "(CATHERINE walks up to GRISSOM who is in the print lab sitting behind the computer.)", "Catherine: Hey, you forget about the coroner?", "Grissom: Melissa Marlowe.", "Catherine: Excuse me?", "(GRISSOM looks up at CATHERINE.)", "Grissom: You lifted 38 prints from the pottery store. I scanned them through AFIS. One came back. Melissa Marlowe.", "(GRISSOM points to the prints on the monitor.)", "Catherine: Why do I know that name?", "Grissom: Kidnapping - Colorado -- 21 years ago ... the little girl.", "Catherine: Oh, that Melissa Marlowe. Wasn't she presumed dead?", "Grissom: Well, not anymore on the left is Melissa Marlowe's print, age four -- preschool fingerprinting initiative. On the right is a print that you lifted from the crime scene.", "Catherine: I don't see a match.", "Grissom: Neither did I but since fingerprints are set for life during the fourth month of fetal development I looked beyond the size differential.", "(GRISSOM hits a key on the keyboard. The computer beeps and three red dots appear on the blue print on the left. The same three reference dots appear on the yellow print on the right.)", "Grissom: Now, both prints are ulnar loops. Bifurcation, recurve and ridge endings are identical.", "(GRISSOM puts the blue print over the yellow print.)", "Grissom: I've aligned the prints along the delta.", "(The two prints match up exactly. The computer reads: FORENSIC RIDGE ANALYSIS MATCH: 100%.)", "Catherine: You've got a perfect match. Wait. Is she a suspect in the homicide?", "Grissom: No. Her print wasn't fresh. There was dust on it. Has to be a few weeks old. I think we have two separate cases. So I'm going to take the new lead in the old kidnapping case.", "Catherine: And Nick and I will cover the homicide.", "(GRISSOM nods.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]", "[EXT. WINSTON RESIDENCE - DAY]", "[SCENE_BREAK]", "[INT. WINSTON RESIDENCE -- SEVEN HILLS - MIDDLE CLASS HOME - DAY]", "(A camera flashes. A picture is taken of the remains of a burned out chair.)", "Sara: Nadine Winston falls asleep in that chair and incinerates. We can make history.", "(SARA and WARRICK stand looking at the hole in the burned chair's upholstery.)", "Warrick: Oh, come on, now. Don't tell me you believe in that bs.", "(SARA reaches for the pack of cigarettes on the coffee table.)", "Sara: No. Of course not. I'm a scientist. I just ...", "(SARA looks from the cigarettes back to the chair.)", "Sara: She has been reduced to ashes.", "(Quick flashback to: NADINE WINSTON burning in the chair.)", "Warrick: (V.O.) Come on, Sara.", "(End of flashback. Resume to present.)", "Warrick: Spontaneous human combustion is science fiction.", "Sara: I know.", "Warrick: There's no such thing as a human torch.", "Sara: What if it is real, and we've uncovered it?", "Warrick: Sara, this is a crime scene. Stay with me here, okay? Don't lose it.", "Sara: I'm not. I'm just open to all theories.", "Warrick: What's that?", "Sara: Looks like cotton fiber ... possibly from a nightgown. It's barely scorched. Weird. It's like the body burned, but ... the clothing was fire retardant.", "(Some ash falls on WARRICK. He brushes it aside and looks up to see where it's coming from.)", "Warrick: Wow. Check that out.", "(In the ceiling, there's a hole burned directly above the chair. SARA stands up and looks at the hole in the ceiling.)", "Sara: Fire practically burned a hole in the roof but it's isolated in one spot.", "Warrick: It's as if the fire created a chimney for itself.", "Sara: The victim -- she live alone?", "Officer Arvington: Husband's already at the station.", "(WARRICK raises the camera and takes a picture of the hole in the ceiling.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(SGT. O'RILEY interviews LARRY WINSTON.)", "Larry Winston: I am telling you, I have no idea what happened to my wife.", "[OBSERVATION ROOM]", "(WARRICK and SARA watch the interview.)", "Sgt. O'Riley: Were you having marital problems?", "[INTERVIEW ROOM]", "Larry Winston: No. We were like newlyweds.", "Sgt. O'Riley: If I understand you correctly you went to bed. Nadine fell asleep in the easy chair. Ten hours later, you woke up, walked into the living room and she was a pile of ash.", "(SARA looks at WARRICK.)", "Sara: A human torch.", "Warrick: (retorts) Yeah, right.", "Sgt. O'Riley: You say you were like newlyweds?", "Larry Winston: Yeah.", "Sgt. O'Riley: But the two of you weren't sleeping in the same bed.", "Warrick: Good question.", "Larry Winston: She snored. It was a problem, but ... A small one.", "Sgt. O'Riley: Mr. Winston ... do you know how to use a blowtorch?", "Warrick: Another good question.", "Larry Winston: (angry) Look, I came down to this station on my own. If I can be helpful, let me know!", "(He takes the visitor pass on his jacket off and slams it on the table in front of O'RILEY. He stands up and storms out of the interview room.)", "Warrick: So do you still think it's spontaneous combustion?", "Sara: Theories give way to conclusions once all the evidence is in. I am merely thinking about the next piece of evidence.", "Warrick: (not buying it) Yeah.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(BRASS walks into the lab. NICK is going through some old case files.)", "Brass: Yeah. Hey, Nicky, you paged me?", "Nick: Yeah. Yeah, Jim, hi. I took these photos at the crime scene.", "(NICK puts a stack of photos down on the table in front of BRASS.)", "Nick: Safe was cracked with a plasma lance.", "BRASS Okay, I'll bite.", "Nick: It's a high-powered electric blaster. It could cut through that hard plate with extreme precision. It's not common, but effective.", "Brass: Yeah.", "Nick: Crime scene photo from a robbery case in '99.", "(NICK puts another photo on the table in front of BRASS from a different crime scene.)", "Nick: Joseph Felton our dead guy, was arrested but granted immunity in exchange for his testimony against his partner, Darin Hanson who used a plasma lance to crack that safe. Darin Hanson ...", "(NICK hands BRASS the photo of DARIN HANSON.)", "Nick: ... was released from prison last month. His last known address -Vegas.", "Brass: I see where you're going. So Hanson gets out of jail, hooks up with our dead guy.", "Nick: Yeah, they hook it up.", "(Quick flashback to: DARIN HANSON and JOSEPH FELTON break into the back of THE CRACKED KILN.)", "Nick: (V.O.) ... break through the rear entrance of the pottery store.", "(Cut to: They get the door open. Flash to: HANSON uses the plasma lance to cut through the safe.)", "Nick: (V.O.) Hanson lances the safe ...", "(Cut to: The safe is opened and HANSON allows FELTON to get the cash box inside.)", "Nick: (V.O.) Once the safe is cracked, Hanson steps back allowing Felton to collect the cash.", "(Cut to: FELTON takes the cash box and opens it. HANSON grabs something and knocks him on the back of the head with it. FELTON falls to the floor. Dead.)", "Nick: (V.O.) With Felton's attention diverted Hanson seizes the moment ... kills him.", "(End of flashback. Resume to present.)", "Nick: Revenge for testifying against him and putting him in prison.", "Brass: That's not bad. Any chance you guys found the murder weapon?", "Nick: No, no ... but I think we know who to ask.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE]", "(BRASS, NICK and CATHERINE interview DARIN HANSON)", "Darin Hanson: I haven't seen Joseph Felton since the trial two years ago.", "Nick: So it's a coincidence that he was killed shortly after you were released from prison.", "Darin Hanson: Yeah. Guy put me in jail. I had no reason to see him again.", "Catherine: He put you in the \"gray bar\"? Sounds like motive to me.", "Brass: Darin ... you and Felton, you go back, huh?", "Darin Hanson: Mm-hmm. Knew the guy fifteen years. My folks lived across the street from him. We'd barbecue together with his wife and daughter.", "Catherine: He must have really pissed you off when he turned on you.", "Nick: The transcript from your trial says that you used a plasma lance in that '99 burglary, and there it is again, Darin.", "Darin Hanson: Joe was the lance guy. He taught me how to break into safes. That's why the M.O.'S the same.", "Brass: Where were you this morning early A.M.?", "Darin Hanson: I was in Barstow all week. Just got back this afternoon.", "(DARIN looks at NICK who stares at him doubtfully. He sighs and pulls out his wallet.)", "Darin Hanson: Okay ... here you go ... receipts from the trip. Go ahead.", "(CATHERINE looks at the receipts. She hands them to BRASS.)", "Catherine: Looks authentic. Cactus Pine Cafe, Barstow, noon today.", "(BRASS looks at DARIN HANSON, then turns to look at CATHERINE.)", "Brass: We can't hold him.", "[SCENE_BREAK]", "[INT. CSI - CONFERENCE ROOM]", "(GRISSOM talks with HANK and MRS. MARLOWE as he looks through photographs of MELISSA MARLOWE as a child.)", "Mrs. Marlowe: 21 years ago, the chief of police sat in our living room told us our daughter was dead.", "Hank Marlowe: After all this time, she's in Vegas? That's a hundred miles from our home.", "Grissom: Well, we still don't know where she is. Her prints in the pottery store tell us that she was here possibly a few weeks ago, but Vegas is a tourist town.", "Hank Marlowe: But you know she's alive.", "Grissom: I'm still not sure we can find her.", "Mrs. Marlowe: She's our only child. We never gave up hope. We're not giving up now.", "Teri Miller: (o.s.) Excuse me.", "(GRISSOM looks up and sees TERI MILLER at the door.)", "Grissom: Teri ... come in.", "Teri Miller: Hi.", "(GRISSOM stands and makes the introductions.)", "Grissom: Teri Miller, Mr. and Mrs. Marlowe.", "Teri Miller: Hello.", "Mrs. Marlowe: Hi.", "Grissom: Teri is a forensic artist. I called her to help us.", "Teri Miller: Did you bring the photographs of Melissa?", "Mrs. Marlowe: Yes, but I don't see how they can help. In some of those, she's just an infant.", "Teri Miller: It doesn't matter. Do you remember her eyes?", "Mrs. Marlowe: I could never forget.", "Teri Miller: As we age, our eyes don't change. That's where we'll start.", "Grissom: Using computer software Teri can age Melissa's picture so that we can determine what she looks like today at age 25. Then we send it off to every law enforcement agency in the state.", "Hank Marlowe: It's been so long. Tell us the truth. What are our chances?", "Grissom: Well, 21 years ago, they told you that your daughter was dead. Now we're moving in the right direction.", "[SCENE_BREAK]", "[INT. CSI - MORGUE]", "(CATHERINE leads TAMMY FELTON into the morgue to ID JOSEPH FELTON'S body.)", "Tammy Felton: Where did you find him?", "Catherine: At a pottery store on Stansberry Street. Tammy, we've already I.D.'D your father. If you don't want to see him, I'd understand.", "Tammy Felton: No. I want to say good-bye.", "Catherine: Well, don't be surprised by some swelling and discoloration.", "(CATHERINE opens the unit and takes out the table with JOSEPH FELTON'S body on it. TAMMY stares at the body and starts to cry.)", "Catherine: You have any other family?", "Tammy Felton: No.", "Catherine: I can put you in touch with a counselor if you need to talk.", "Tammy Felton: No, thank you.", "(TAMMY turns away and steps aside.)", "Catherine: Is there anything you need?", "(CATHERINE puts the body back and closes the door. She turns to look at TAMMY and notices the spores on her jacket lapel.)", "Catherine: Tammy ... were you at the pottery store with your father?", "Tammy Felton: What are you talking about?", "(CATHERINE picks up a magnifying glass to look at the spores.)", "Catherine: There's some plant spores on your sweater. We found them on your father, too, and matched them to some ferns behind the pottery store.", "Tammy Felton: I don't understand.", "(CATHERINE takes a tape to lift the spores off of the jacket.)", "Tammy Felton: What are you doing?", "Catherine: I'm taking these spores into evidence. They place you at the crime scene. Is there anything you want to tell me?", "Tammy Felton: Okay, I was there.", "(Quick flashback to: At the Cracked Kiln's back door, JOSEPH FELTON tries to unlock it. TAMMY FELTON walks up to him, the tall ferns brushing her as she walks by. She stops in front of her father.)", "Tammy Felton: Dad! Dad, don't do this. I'll get a job. We don't need the money. Not like this.", "Joseph Felton: Tammy, go home.", "(Flash to: As she leaves, the ferns brush her jacket lapel.)", "(End of flashback. Resume to present.)", "Tammy Felton: And I don't know what happened after that.", "Catherine: Why didn't you just tell me that?", "Tammy Felton: I wanted to preserve the good memories not remember my dad as a thief. (she starts crying) I didn't kill him. I loved him. I need a release from your office ... so I can bury my father.", "(TAMMY walks past CATHERINE and out the door.)", "[SCENE_BREAK]", "[INT. CSI - FORESNIC AUTOPSY]", "(DAVID PHILLIPS explains the foot to WARRICK and SARA.)", "Warrick: Okay, tell me everything you can about this foot.", "David Phillips: Where's the rest of the body?", "Sara: Incinerated. Lab results from the ashes came back negative for accelerant. Nothing flammable but sebaceous glutamate.", "David Phillips: Human fat. Well ... I can tell you that the malleolus -- the ankle bone -- is completely hollowed out.", "(Quick CGI POV to: The camera swings upward to the ankle part of the foot, then downward to show that the foot is hollow.)", "David Phillips: (V.O.) Bone marrow was reduced to ash.", "(End of CGI POV.)", "David Phillips: Which means that the foot was burned off the body, not severed. That's consistent with your theory of spontaneous combustion.", "Warrick: How do you know about Sara's theory?", "David Phillips: Word gets around.", "Warrick: No. You're just siding with Sara 'cause you got a crush on her.", "David Phillips: (smiling) No, that's why I wore a clean coat. I'm just reporting my observations. If the foot had been severed, the marrow would still be intact.", "Warrick: So your official \"observation\" is spontaneous combustion?", "David Phillips: Not yet. I want to send a scraping down to toxicology.", "(DAVID turns to get the around the table, but SARA'S in his way.)", "David Phillips: Excuse me.", "(SARA smiles and moves. She also turns and smiles at WARRICK.)", "David Phillips: I want to check for any flammable compounds in the blood. Don't expect much.", "(DAVID takes a sample and puts it on a slide.)", "David Phillips: The quality of the sample may have been compromised by the heat.", "Sara: I'm going to go talk to Grissom -- see what he thinks.", "Warrick: No, no. We're a team. The only place we're going is back down to that crime scene.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(TERI sits in front of the computer working on the aging composite while GRISSOM stands behind her watching over her shoulder.)", "Teri Miller: Okay, software's loaded.", "Grissom: It's preprogrammed with developmental averages?", "Teri Miller: Exactly. Aging is about predictable craniofacial growth. Faces grow down and out. So the first step is to stretch the bottom half of the face.", "(TERI adjusts the bottom half of the face.)", "Teri Miller: You try.", "(TERI looks up at GRISSOM who looks back down at her.)", "Teri Miller: (urging) Go ahead.", "(GRISSOM adjusts the bottom half of the face and puts the line too low. The faces adjusts abnormally. They laugh.)", "Grissom: No, no. Maybe you should drive.", "Teri Miller: Good idea. Here we go. So, at age four, the bridge of the nose is taking shape and the interorbital distance is established. And baby teeth are visible.", "(She makes the adjustment. GRISSOM leans in to whisper to her.)", "Grissom: I have a question.", "Teri Miller: Okay.", "Grissom: Since I screwed up our last date, will we ever have dinner again?", "Teri Miller: (smiles) Oh, we'll have dinner ... just not together. So the ears are low and large in proportion to the head.", "(She adjusts the photo.)", "Grissom: You know, I did apologize.", "Teri Miller: And you're forgiven.", "(GRISSOM straightens to watch from behind TERI.)", "Teri Miller: So over the next ten years, the face elongates the skin thickens, the hair pattern is set and the small deciduous teeth are replaced by the secondary dentition.", "(She makes the final adjustment to the photo.)", "Teri Miller: Once the face is aged I look to the mother to fill in the blanks.", "(The screen splits into two. The picture of MELISSA moves to the left and a second picture of MRS. MARLOWE appears on the right.)", "Grissom: Is that Mrs. Marlowe?", "Teri Miller: Uh-huh. Most daughters at age 25 age quite similar to their mothers.", "(TERI uses the mouse to cut and copy the forehead and chin portion from the mother to the daughter.)", "Teri Miller: A network of grids allows me to fine-tune the tiniest facial characteristics one section at a time. I'm just softening a few edges, growing the hair ... and we're done.", "(TERI makes the adjustments.)", "Grissom: Wow. Hello, Melissa.", "(CATHERINE walks in to the doorway.)", "Catherine: Am I interrupting?", "Teri Miller: Not at all. You're just in time.", "Grissom: Catherine, say hello to Melissa Marlowe.", "(GRISSOM turns the monitor toward CATHERINE. She looks at the photo composite and her eyes widen.)", "Catherine: Oh, my god.", "Grissom: What?", "Catherine: That's Tammy Felton and we've already met.", "(Camera holds on GRISSOM'S surprised look.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(GRISSOM, CATHERINE and NICK walk down the hallway as they fill each other in.)", "Nick: Tammy Felton's our murder suspect?", "Catherine: She was kidnapped 21 years ago and may have killed the man who raised her -- possibly the same man who kidnapped her.", "Nick: Whoa, wait. I thought her prints from the crime scene -- they weren't fresh.", "Grissom: Yeah, well, she could've cased the place weeks ago and then remembered to wear gloves on the big night.", "Catherine: Hey, Nick. So what's the word on the murder weapon?", "Nick: Well, the swab from the head wound's at trace.", "Grissom: And?", "Nick: I'm on it.", "(NICK leaves as GRISSOM turns to CATHERINE.)", "Grissom: You and I have an appointment with our shrink.", "[SCENE_BREAK]", "[INT. DR. KANE'S OFFICE -- DAY]", "(GRISSOM and CATHERINE sit behind DR. PHILLIP KANE'S desk. DR. KANE fiddles with a baseball bat. He holds it out to GRISSOM to help him.)", "Dr. Phillip Kane: Here. You twirl, I'll talk.", "(GRISSOM stands up as he holds the bat so that DR. KANE can tape up the handle.)", "Dr. Phillip Kane: My son has little league in an hour. He's scared of the ball.", "Grissom: You think this new bat's going to do the trick?", "(DR. KANE chuckles.)", "Catherine: Why don't you just talk with him?", "(DR. KANE silently chuckles at the thought.)", "Catherine: Dr. Kane, this girl was kidnapped at age four. Would she have any recollection of her prior life?", "Dr. Phillip Kane: The theory of infantile amnesia suggests that we have no cognitive memory before the age of three but since Tammy -- or Melissa -- was taken from her biological parents at age four she may remember something of her former life.", "Grissom: But these memories would be ... tenuous?", "Dr. Phillip Kane: A sound or a smell might awaken some latent image or feeling but she'd have difficulty contextualizing these sensations.", "Catherine: That's got to be frustrating.", "(DR. KANE finishes wrapping the bat and takes it from GRISSOM.)", "Dr. Phillip Kane: And it's precisely that frustration which dominates this woman's present state of mind. Kidnapped children at that age tend to exhibit some degree of sociopathy as adults.", "Catherine: Such as?", "Grissom: Inability to feel guilt, compassion or love, right?", "Dr. Phillip Kane: Correct. But the most defining characteristic is their instinct for survival. There's nothing that they won't do.", "Catherine: Tammy Felton needs help. She may be a suspect, but she's also a victim.", "Grissom: Cath, meet with her again. Ask open questions.", "(GRISSOM turns to shake DR. KANE'S hand. CATHERINE stands up to leave.)", "Grissom: Thanks for your insights, Philip. I'll let you know how this unfolds.", "Dr. Phillip Kane: Gil ... be careful. Sociopaths are dangerous because they don't function by the same... moral code as the rest of us.", "Grissom: Welcome to my world.", "[SCENE_BREAK]", "[INT. WINSTON RESIDENCE -- DAY]", "(WARRICK and SARA go back to the house.)", "Sara: I checked with homicide again. They found no evidence of foul play.", "Warrick: What about the husband -- is he still a suspect?", "Sara: No motive. O'Riley spoke with friends and relatives. They were a loving couple.", "Warrick: What about, uh ... life insurance policies?", "Sara: No, and you're reaching.", "Warrick: I'm not the one who's reaching here.", "Sara: We're scientists, right? We want answers, the satisfaction of certainty. I'm not ignoring scientific method. I'm just keeping an open mind. If we eliminate all the alternatives we're left with spontaneous combustion. That's exciting!", "Warrick: That would be cool, but you've been jumping to conclusions from minute one.", "Sara: She's a pile of ash.", "(WARRICK stands up with an instrument in his hand.)", "Warrick: Well, I brought the ion detector. This will pick up even the smallest traces of hydrocarbon fumes.", "Sara: Great.", "Warrick: I don't care what the lab says. This puppy will reveal exactly what accelerant was used to start the fire.", "(He turns the detector on and it beeps steadily. He finds nothing.)", "Sara: Well?", "(WARRICK keeps at it. Then turns it off.)", "Warrick: Nothing.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- DAY]", "(GREG is on the phone with his back to the door. He doesn't notice NICK walk into the lab.)", "Greg Sanders: (to phone) You know I love you. Yes ... no, I love you more. No, I love you more.", "(NICK clears his throat.)", "(GREG turns around and sees NICK standing there. He finishes up his phone call.)", "Greg Sanders: (to phone) Bye, baby.", "(GREG stands and hangs up the phone.)", "Nick: Do you have the results on the swab yet?", "Greg Sanders: Uh ...", "Nick: Uh... from the dead guy at the pottery store? The coroner sent over a sample. You were supposed to analyze the mineral content.", "Greg Sanders: Oh, yeah, I'm sorry. Grissom has just been running me around like a lapdog. I haven't had a chance.", "Nick: Grissom's on a missing persons-- he hasn't sent you anything.", "Greg Sanders: Did I say Grissom? No, I meant Catherine.", "Nick: Oh, yeah. Catherine's working with me.", "Greg Sanders: Oh. Well, what do you say we check out that swab then, huh?", "Nick: Great.", "(GREG laughs and opens the refrigeration unit to get the sample out.)", "Greg Sanders: Don't you ever goof off, huh? Do you ever get a little lost in life?", "Nick: No.", "Greg Sanders: Well, you should.", "(GREG puts the slide under the scope.)", "Greg Sanders: Okay...", "(He looks under the scope.)", "[SCOPE VIEW of slide.]", "Nick: Do you see the sparkly bits?", "Greg Sanders: Fluorescent minerals. Interesting.", "(He pulls back and thinks a moment.)", "Greg Sanders: Here, do me a favor, will you?", "(GREG hands NICK a pair of goggles, then steps to the side while NICK moves around the table to get behind the scope.)", "Greg Sanders: Put your nose down the scope. And, when you see the sparkling bits glow give a shout.", "(GREG turns the Rofin device on and attaches the nozzle to it. He turns the lights on as NICK puts on his goggles.)", "(GREG adjusts the machine to P2 / 505.)", "Greg Sanders: Okay, ready?", "Nick: Yeah, ready.", "(GREG puts the light on the metal as NICK looks through the scope.)", "[SCOPE VIEW of slide]", "Greg Sanders: Lead.", "(GREG adjusts the light machine.)", "Greg Sanders: Zinc.", "[SCOPE VIEW of the slide]", "(He adjusts the light machine.)", "Greg Sanders: Lithium. Anything?", "Nick: Nothing yet.", "(GREG adjusts the machine to P2 / 650.)", "[SCOPE VIEW of the slide]", "Greg Sanders: Manganese.", "(GREG adjusts the machine again.)", "Greg Sanders: Petroleum.", "(He makes one final adjustment and the pieces glow.)", "[SCOPE VIEW of the slide]", "Greg Sanders: All right, how about this?", "Nick: Whoa, whoa, whoa ... stop.", "Greg Sanders: It's uranium.", "(GREG and NICK take off their goggles.)", "Nick: Are you serious?", "Greg Sanders: Simple quantum mechanics. When the molecule is bombarded with energy at a specific level the electrons excite, causing the mineral to glow. And, at this wavelength, it's definitely uranium.", "Nick: Which is radioactive. Do we need to evacuate the building or anything?", "Greg Sanders: The amount is trace. We should be fine.", "Nick: You sure?", "Greg Sanders: No.", "(NICK looks worriedly at his hands.)", "Greg Sanders: But I can tell you one thing for sure -- there is definitely uranium on your murder weapon.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(NICK is busy scrubbing his hands when GRISSOM walks into the room.)", "Grissom: I hear that, uh, Greg found uranium on the swab from Felton's skull.", "Nick: Yeah. He says I'm okay, but you know Greg. Tell me, am I radiating a green glow?", "Grissom: You'll be fine, silkwood.", "Nick: What's uranium doing on a murder weapon anyway?", "Grissom: Well, before Peter Parker was bit by that radioactive spider and became spider-man back in the '50s oxidized uranium flecks were used as color enhancers.", "Nick: Color enhancers?", "Grissom: Like paint? Paints, dyes, glazes... since our guy was killed in a pottery store...", "Nick: Say no more.", "(NICK throws the towel away and walks out of the room.)", "[SCENE_BREAK]", "[INT. THE CRACKED KILN -- DAY]", "(NICK uses the geiger counter in the store. He goes from product to product looking at the counter. Finally, the counter starts ticking wildly as he points to the gnome figurine.)", "(NICK picks up the figurine and sees the pieces of hair and blood on the chipped backside.)", "Nick: (chuckles) You got to be kidding me.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(GRISSOM interviews HANK and MRS. MARLOWE.)", "Mrs. Marlowe: You found Melissa?", "Grissom: Yes.", "Mrs. Marlowe: When can we see her?", "Grissom: It's not quite that simple.", "Hank Marlowe: What do you mean?", "Grissom: Well, I don't want to be evasive. It's just that, uh ... we suspect she might have committed a crime.", "Mrs. Marlowe: What kind of crime?", "Grissom: A homicide.", "Mrs. Marlowe: This can't be happening.", "Hank Marlowe: Mr. Grissom, we want to see our daughter-- now.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(CATHERINE interviews MELISSA MARLOWE/TAMMY FELTON.)", "Catherine: Tell me about your mother.", "Melissa Marlowe/Tammy Felton: What's she got to do with this?", "Catherine: Tammy, if you've got nothing to hide and you want me to find out who killed your father why don't you just answer my questions?", "Melissa Marlowe/Tammy Felton: Mara, my mother ... died a few years ago.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- DAY]", "(GRISSOM leads the MARLOWES down the hallway.)", "Grissom: I can let you see her, but I can't allow you to talk to her -- not right now -- and not under these circumstances.", "(They turn the corner and walk into the OBSERVATION ROOM.)", "[OBSERVATION ROOM]", "(Through the glass, they watch as CATHERINE interviews MELISSA / TAMMY.)", "Catherine: Your parents, were they close?", "Melissa Marlowe/Tammy Felton: They loved each other.", "Catherine: Do you have any siblings?", "Melissa Marlowe/Tammy Felton: Only child.", "Catherine: How was your childhood? Were you a happy child? Did you have any friends?", "Melissa Marlowe/Tammy Felton: Look, I don't see how these questions are going to help you. May I go?", "Catherine: Sure.", "(MELISSA/TAMMY stands up and leaves the room. The door closes behind her.)", "(MRS. MARLOWE watches, then runs out of the observation room and into the hallway to catch up with her.)", "(GRISSOM sees her run and chases after her.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS", "(MRS. MARLOWE turns the corner and sees MELISSA/TAMMY walking. She runs to her, calling her daughter's name.)", "Mrs. Marlowe: Melissa? ... Melissa?!", "(She reaches MELISSA/TAMMY and pulls her around.)", "Melissa Marlowe/Tammy Felton: Excuse me?", "Mrs. Marlowe: It's mom ...", "(MRS. MARLOWE hugs MELISSA/TAMMY warmly.)", "(GRISSOM and HANK MARLOWE catch up with them.)", "Mrs. Marlowe: ... baby...", "(MELISSA/TAMMY looks confused, then pushes MRS. MARLOWE away from her.)", "Melissa Marlowe/Tammy Felton: (hard) Lady ... I'm not your daughter.", "(MELISSA/TAMMY turns around and walks down the hallway toward the door. MRS. MARLOWE starts to cry.)", "Mrs. Marlowe: Who is she? Her name? Who is she now?", "Catherine: Tammy -- Tammy Felton.", "Mrs. Marlowe: Oh, my god.", "Catherine: What?", "(MRS. MARLOWE cries.)", "Hank Marlowe: Mara Felton was our baby-sitter. The police questioned Mara when Melissa disappeared.", "Catherine: Tammy referred to her mother as Mara, now deceased.", "Mrs. Marlowe: I am her mother.", "Catherine: Of course. I didn't mean ...", "Hank Marlowe: We need a lawyer.", "Grissom: Why would you need a lawyer?", "Hank Marlowe: Not for us; for our daughter.", "(The MARLOWES turn and leave. CATHERINE watches them go. She shakes her head then turns to GRISSOM.)", "Catherine: What were you thinking?", "Grissom: (sighs) I don't know. I wanted to observe them, I guess.", "Catherine: That woman hasn't seen her daughter in 21 years. You actually thought a glass wall would keep them apart?", "Grissom: I never thought about that.", "Catherine: I know. You're not good with people.", "Grissom: Yeah.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - PARKING LOT -- DAY]", "(SARA walks up to WARRICK.)", "Sara: Interesting voice mail you left me.", "Warrick: What's that?", "Sara: \"Meet me behind CSI and bring a cotton nightgown.\" I'd wear it for you but, uh, I prefer pajamas.", "Warrick: Really? It was actually for my girlfriend here -", "(WARRICK uncovers the cloth around a pig.)", "Warrick: Miss Piggy.", "(SARA grimaces and takes a step backward.)", "Sara: We're experimenting on a pig again?", "Warrick: Yeah.", "(WARRICK puts the pig in the rocking chair similar to the one at the WINSTON'S house.)", "Sara: (swallows) You know, I-I-I haven't eaten meat since Grissom used one to estimate postmortem insect growth.", "Warrick: Well, I tried for human volunteers, but no takers.", "Sara: What are you going to do, exactly?", "(WARRICK takes the cotton nightgown from SARA and starts dressing the pig.)", "Warrick: What are we going to do? We're disproving the existence of spontaneous human combustion.", "Sara: (smiles) You do not give up.", "Warrick: Well, we're recreating the death of Nadine Winston, right? She was wearing a cotton nightgown -- thank you -- and she had a half a pack of smokes on her end table, which means she was probably smoking a cigarette.", "Sara: If she burned herself with the cigarette, she would've woken up, not burned up.", "Warrick: Best part: Toxicology sample came back. Nadine had a high concentration of seconal in her blood.", "Sara: Sleeping pills.", "Warrick: Enough to knock out a horse.", "(WARRICK finishes dressing the pig.)", "Warrick: All right.", "(He takes out a cigarette and sticks it in his mouth and starts patting himself looking for matches.)", "Sara: Care for a light?", "(SARA takes out a lighter from her jacket pocket and lights WARRICK'S cigarette.)", "(WARRICK makes sure that the cigarette it lit, then places it on the edge of Miss Piggy's cotton nightdress.)", "Sara: Now what?", "Warrick: We wait.", "(The cigarette starts to burn the nightdress.)", "Cue Sound: (PRELAP) DOOR BUZZER", "[SCENE_BREAK]", "[EXT. FELTON RESIDENCE - LATE DAY]", "(MELISSA/TAMMY opens the door to CATHERINE, NICK and GRISSOM.)", "Catherine: Hi, Tammy. We just, uh, want to look around.", "(NICK takes out the warrant from his pocket.)", "Nick: We have a warrant.", "(MELISSA/TAMMY opens the front door.", "Melissa Marlowe/Tammy Felton: A warrant for what?", "Grissom: Any evidence relating to the murder of your father.", "Catherine: Tammy, could you step outside? This officer will keep you company.", "(MELISSA/TAMMY steps outside the house.)", "Catherine: Thanks.", "(CATHERINE walks into the house.)", "[SCENE_BREAK]", "[INT. FELTON RESIDENCE - DAY -- CONTINUOUS", "(GRISSOM and CATHERINE look through the clothing. NICK walks into the room. He stops in front of them and clears his throat to get their attention.)", "Grissom: What?", "Nick: I should get a finder's fee.", "(NICK holds up a pair of gloves. GRISSOM stares at them and stands up.)", "Nick: (laughs) Here. One for each of you.", "(NICK ands them each a glove. GRISSOM looks at it under the magnifying glass. CATHERINE does the same.)", "Catherine: Yellow paint.", "Grissom: Shall we test for uranium?", "Nick: I need a darkroom.", "(CATHERINE hands the glove to NICK. GRISSOM clears a spot off of the table. CATHERINE takes off her jacket and hands it to GRISSOM.)", "Nick: Now, if uranium is present the photons should react with the film.", "(NICK takes out the unexposed film and holds it with the glove under the jacket.)", "Nick: Okay, I'm exposing it ...", "(Under the jacket, he exposes the film to the glove. He takes out the film and waits for it to develop.)", "(Fast motion time development to: The film shows the yellow flecks.)", "Catherine: Well, that's affirmative for uranium.", "(NICK nods as he hands the photo to GRISSOM.)", "Grissom: Nicely done, Nick.", "Nick: Thanks.", "(GRISSOM cuts open the gloves at the seams into two flat hand-shaped halves.)", "(CATHERINE walks back into the room with MELISSA/TAMMY and the OFFICER.)", "Grissom: Miss, have you ever worn these gloves?", "Melissa Marlowe/Tammy Felton: No. They belonged to my mother.", "Grissom: Really? Well, we'll see.", "(GRISSOM dusts the inside of the gloves.)", "Catherine: Tammy, I need your right index finger.", "(MELISSA/TAMMY watches GRISSOM and holds out her finger for CATHERINE to print. CATHERINE takes the print, then sits down on the couch next to GRISSOM waiting for him to lift the print from the glove.)", "(GRISSOM tape lifts the print off of the gloves then compares it to TAMMY'S print. He goes from print to print.)", "Grissom: (looks up) It's a perfect match.", "(Quick flashback to: At the back of The Cracked Kiln, TAMMY and JOE FELTON both enter the pottery store.)", "(Cut to: JOE cracks the safe.)", "Grissom: (V.O.) Joe lanced the safe.", "(Cut to: JOE takes out the cash box from the safe and moves to the side to get the money. TAMMY looks around and sees the gnome figurine on the counter. She hits JOE on the back of the head.)", "Grissom: (V.O.) Once the safe was cracked you seized the moment and bashed his head in -- three blows.", "(End of flashback. Resume to present.)", "(MELISSA/TAMMY doesn't say anything.)", "Grissom: Nick, call Brass. Tell him it's time to make an arrest.", "Nick: Done.", "(NICK stands up and leaves the room.)", "Melissa Marlowe/Tammy Felton: You're making a mistake. I didn't kill my father. We weren't alone.", "Grissom: I'm sorry, but there's no evidence to indicate that there was a third person present at the crime scene.", "Catherine: Who else was there?", "Melissa Marlowe/Tammy Felton: I tried to stop her, I swear.", "Catherine: Tammy ...", "(CATHERINE stands up.)", "Catherine: Who was with you?", "Melissa Marlowe/Tammy Felton: Melissa Marlowe. But that bitch wouldn't listen.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - OBSERVATION ROOM]", "(DR. PHILLIP KANE explains the condition to GRISSOM, CATHERINE and BRASS while MELISSA/TAMMY sits in the interview room beyond the mirror.)", "Brass: So we're looking at a split personality?", "Dr. Phillip Kane: Quite possible. Two personalities in one.", "Brass: Is there any scientific evidence that supports this disorder?", "Grissom: Brain scans have documented changes in the hippocampus of individuals shifting from one personality to another. But would these two personalities be aware of each other?", "Dr. Phillip Kane: Well, usually the dominant personality is aware of everything. The subjugated personality is only aware of itself.", "Grissom: Tammy's the dominant personality.", "Catherine: But Melissa killed Joseph Felton -- Tammy's father.", "Grissom: Who was also Melissa's kidnapper.", "Brass: Revenge for a kidnapping 21 years after the fact?", "Dr. Phillip Kane: Well, it is possible. It may have taken that long for the subjugated personality to break free.", "Brass: Maybe, uh, Miss Mirror-has-two-faces is playing us for fools. We corner her with the evidence, she goes nuts sets the groundwork for an insanity plea.", "Catherine: Forensic psychology is a science.", "Grissom: We have to stay open to all the possibilities.", "(There's a light knocking on the door and an OFFICER walks in.)", "Uniform Officer: Captain?", "Brass: Yeah?", "Uniform Officer: The girl's parents are here with her attorney.", "Brass: Well, this ought to be interesting.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(MRS. MARLOWE sits across from MELISSA/TAMMY.)", "Mrs. Marlowe: Melissa ...", "(MELISSA/TAMMY looks up.)", "Melissa Marlowe/Tammy Felton: Lady, I'm sorry, but I don't know who you are. I'm not Melissa; I'm Tammy. Tammy Felton.", "Randy Painter: Tammy, my name is Randy Painter. I'm a defense attorney. The Marlowes have hired me to defend you.", "Tammy Felton: (nods) I didn't kill my father.", "Hank Marlowe: Melissa, I don't know what you've been told but you're our daughter. You were taken from us. We've spent the last 21 years looking for you.", "(MELISSA/TAMMY shakes her head.)", "Tammy Felton: My father was Joseph, my mother was Mara and they're both dead.", "Randy Painter: Bail's been set at half a million dollars.", "(MELISSA/TAMMY looks at RANDY PAINTER and shakes her head in disbelief. MRS. MARLOWE reaches out and covers MELISSA'S hand with her own. MELISSA pulls her hand away.)", "(She looks up and stares at the locket around MRS. MARLOWE'S neck. She notices MELISSA looking at it.)", "Mrs. Marlowe: You looking at my necklace? Your father bought this for me when you were born and you used to play with it.", "(MELISSA looks as if she might be remembering it.)", "Mrs. Marlowe: We're not going to let you go to jail. Right? Right, Hank?", "Hank Marlowe: Raising even ten percent won't be easy.", "(MRS. MARLOWE starts crying.)", "Mrs. Marlowe: Hank, she's not spending another night away from us. Whatever it takes.", "Hank Marlowe: When are we due in court?", "Randy Painter: The prelim's tomorrow morning, 9:00 A.M.", "Hank Marlowe: Then I'd better hurry with bail.", "[OBSERVATION ROOM]", "(GRISSOM and CATHERINE watch as MRS. MARLOWE tries to reach out her hand to MELISSA from across the table, only to pull it back.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT]", "(SARA and WARRICK play chess next to the smoking chair. WARRICK takes a sip from his mug while SARA makes her move.)", "(GRISSOM walks up to them.)", "Grissom: I just got back to the lab, saw the smoke. What's up?", "Sara: We're just working the case.", "Warrick: Yeah, we're disproving spontaneous human combustion. We dressed the pig up in a cotton dress and torched it with a cigarette.", "Grissom: And what happened?", "Warrick: The pig's been reduced to ash. The fat acted like candle wax; burned hot, slow and intense.", "(GRISSOM looks down at the chess board and makes the next move. WARRICK slows down his explanation when he notices that GRISSOM'S not that interested in it.)", "Warrick: Nothing spontaneous about it.", "Grissom: You both knew that there'd be a scientific explanation for the human torch though, right?", "(SARA doesn't say anything and looks down at the board. WARRICK quickly covers.)", "Warrick: Of course.", "(SARA looks at WARRICK who glances over at her also. GRISSOM pipes up.)", "Grissom: Did you find the wick?", "(GRISSOM doesn't say anything and walks around SARA toward the chair.)", "Sara: The wick?", "Warrick: The what?", "Grissom: A piece of fabric that's scorched but not completely burned ... like possibly from the nightgown.", "(GRISSOM picks up a piece of unburned fabric stuck in the chair.)", "Sara: We found the same thing at the crime scene.", "Grissom: It's called the wick effect. It's like an inside-out candle. The fabric acts like a wick, and the body burns inward explaining the high temperatures which destroy the bone. The fabric ends up scorched, but not completely burned.", "Sara: You knew about the ashes? Why didn't you say something when you gave us the case?", "Grissom: Well, in science we learn through experimentation, right? Sometimes we need to see it to believe it. You guys did a nice job. Now you have to clean it up.", "(GRISSOM puts the piece of cloth down and walks away. SARA moves to stand in front of WARRICK.)", "Sara: Well, I would've looked like an idiot. Thanks for covering.", "Warrick: Well, you can show your appreciation by, uh, cleaning up.", "(She scrunches her face, then smiles.)", "Sara: Done.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - JAIL -- NIGHT]", "(The doors slide open and CATHERINE walks in. She walks up to the cell and looks at MELISSA/TAMMY.)", "Catherine: Thank you. I got a call that Melissa wanted to see me.", "Melissa Marlowe/Tammy Felton: Thanks for coming.", "Catherine: Am I speaking to Melissa ... or Tammy?", "Melissa Marlowe/Tammy Felton: Melissa. I know who I am now ... after spending time with my real parents.", "Catherine: (shakes her head) I'm not an attorney. There are no privileges here. Whatever you say ...", "Melissa Marlowe/Tammy Felton: (interrupts) What are my chances ... in court?", "Catherine: The evidence is damaging.", "(She stands up and walks up to the bars to look at CATHERINE.)", "Melissa Marlowe/Tammy Felton: If I plead insanity ... ?", "Catherine: You have a lawyer. Why are you asking me?", "Melissa Marlowe/Tammy Felton: You wanted to help me. When I I.D.'d Joe, you were kind. I need you to testify that I was not sane at the time that I killed Joe. My lawyer says that would go a really long way with a jury.", "Catherine: (shakes her head) I'm not an expert.", "Melissa Marlowe/Tammy Felton: But it doesn't matter. You spent time with me. You could answer questions the right way. I can't explain what happened in that room today but it's like ... the only memories I have are of being a little kid. The last 21 years are blank -- like they never happened.", "Catherine: Then you shouldn't have any memories of me ... Tammy.", "(The game's up.)", "Catherine: There is no Melissa, is there?", "Melissa Marlowe/Tammy Felton: (hard) Get the hell out of here.", "Catherine: I'm gone.", "(CATHERINE turns to leave.)", "Melissa Marlowe/Tammy Felton: (little girl voice) Don't go!", "(CATHERINE stops and turns to look at MELISSA/TAMMY.)", "Melissa Marlowe/Tammy Felton: (little girl voice) Don't leave me here with her.", "(CATHERINE does say anything.)", "Melissa Marlowe/Tammy Felton: (normal voice) Just practicing for court. Not bad, huh?", "(CATHERINE turns.)", "Catherine: Guard.", "(She leaves the jail area.)", "[SCENE_BREAK]", "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(CATHERINE walks into the hallway and into GRISSOM'S office.)", "Catherine: Hey, come on. We're going to be late for the prelim.", "(GRISSOM is sitting at his desk.)", "Grissom: Tammy Felton's prelim has been postponed indefinitely.", "Catherine: What? Why?", "Grissom: She left town. Skipped bail.", "Catherine: (realizes) How much did the parents lose?", "Grissom: Their house and their life savings.", "(CATHERINE sighs.)", "Grissom: It's over. Case closed. We move on.", "(GRISSOM takes off his glasses.)", "Catherine: Right.", "(CATHERINE'S not about to give up on this. She turns and heads out the office door.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY -- CONTINUOUS]", "(CATHERINE walks down the hallway. She's on the phone with BRASS.)", "Catherine: Brass, it's Catherine. I need a credit card purchase report on the Marlowes. The last 24 hours. Based on what? Based on the fact that the Marlowes are blind when it comes to their daughter and would do anything for her.", "(CATHERINE walks out of camera frame.)", "[SCENE_BREAK]", "[INT. MARLOWE RESIDENCE - LIVING ROOM -- DAY]", "(CATHERINE and BRASS question the MARLOWES.)", "Hank Marlowe: We have no idea where she is.", "Catherine: Look, you're here, she's not and we know that you helped her flee the jurisdiction.", "Mrs. Marlowe: What?", "Brass: 22 bus tickets bought with your credit card to 22 different states? You made sure that we couldn't track her. Now, that's aiding and abetting the flight of a suspected felon.", "Catherine: Wherever you think she is -- wherever you're planning on meeting her -- she's not there. She played you. Now, if you'll just tell us where she is, we won't file charges, right?", "Brass: Well, if she's apprehended, yes. Otherwise it's a felony. You're going to jail.", "(MRS. MARLOWE stands up. HANK MARLOWE stands up also.)", "Mrs. Marlowe: Arrest us.", "Catherine: Think about what you're doing.", "Hank Marlowe: We know exactly what we're doing.", "Mrs. Marlowe: Melissa's free. That's all that matters.", "(CATHERINE sighs. BRASS calls over the OFFICERS standing on the side.)", "Brass: Frankie?", "(The OFFICERS move forward. BRASS reads the MARLOWES their rights.)", "Brass: You have the right to remain silent. Anything you say can and will be used against you in a court of law.", "[SCENE_BREAK]", "[EXT. LAS VEGAS HIGHWAY - BUS STOP -- DAY]", "(The ALL LAND TRAILS bus pulls over to the side of the road. A single figure disembarks. The bus leaves.)", "(MELISSA MARLOWE/TAMMY FELTON stands there and waits. She takes off her kerchief and fluffs up her hair. She removes her jacket as she waits for the car to stop.)", "(DARIN HANSON gets out of the car and closes the door.)", "Darin Hanson: Am I late?", "Melissa Marlowe/Tammy Felton: Oh, you're worth waiting for.", "(DARIN HANSON opens the door for her.)", "Melissa Marlowe/Tammy Felton: You owe me one, Darin.", "Darin Hanson: Owe you? I'm the one that told you the truth about your father.", "Melissa Marlowe/Tammy Felton: And you knew exactly what I'd do about it.", "(MELISSA MARLOWE/TAMMY FELTON gets into the car (license #RLH 320). He closes the door for her. She pulls down the visor mirror and looks at herself while DARIN HANSON drives off.)", "Darin Hanson: Where to?", "Melissa Marlowe/Tammy Felton: Does it matter?", "Darin Hanson: Not in the least." ]

[ "A couple leaving a restaurant on their anniversary are killed in the street and their car is stolen. The crime scene is compromised when it rains shortly after the CSIs arrive. It gets more mysterious when the car is found and it becomes a new crime scene. Catherine looks into the collapse of a city owned residence that kills three elderly women. She runs into problems with the city engineer responsible for the building." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[EXT. ANDRE'S RESTAURANT - SIXTH STREET - NIGHT]", "(The restaurant door opens and a guest walks in. He politely greets KEVIN and AMY SHEPHERD who are just walking out the restaurant.)", "Dining Guest: Good evening.", "Kevin Shepherd: Hi.", "(Arms around each other, they walk down the sidewalk.)", "Amy Shepherd: That was nice. I had such a beautiful time tonight. Eight years.", "Kevin Shepherd: People said we wouldn't last. (she laughs) Happy anniversary, baby.", "Amy Shepherd: Happy anniversary.", "(They kiss and continue walking.)", "(As they walk by, the camera focuses on the sidewalk where a lit cigarette rolls discarded.)", "(The Shepherds reach their parked car. KEVIN walks AMY to the passenger door, then walks around the car to the driver's side. He pauses and they look at each other. She smiles.)", "(Someone masked and dressed in black grabs her from behind. With a knife in his hand, he slices her neck.)", "(KEVIN SHEPHERD stands frozen in shock. AMY is on the ground, dead in a pool of blood.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. ANDRE'S RESTAURANT - SIXTH STREET - NIGHT]", "(A camera flashes. SARA kneels near AMY SHEPHERD and takes pictures of the victim.)", "Warrick: Two victims. She's on the sidewalk, a foot from the curb and he's in the middle of the street.", "(WARRICK turns to look at SARA who stands up. She looks at WARRICK and indicates the body on the sidewalk.)", "Sara: What's missing here?", "Warrick: No car.", "Nick: No mercy.", "(NICK is kneeling down next to the second body out on the road: KEVIN SHEPHERD.)", "Nick: This guy's stabbed at least five times. Got some reddish hair. Vic's hair is brown.", "(GRISSOM and BRASS walk up to the scene.)", "Grissom: What do we got?", "Brass: They had dinner at Andre's. Coroner's assistant has his wallet with the credit card receipt.", "(GRISSOM puts down his kit and kneels to look at KEVIN SHEPHERD'S body.)", "Grissom: They didn't bother to valet.", "Brass: Saved five bucks, cost them their lives. Carjacking gone bad.", "Grissom: Carjackers don't use knives.", "Brass: Never?", "Grissom: They used to say, \"Never on Sunday.\" Then Pearl Harbor happened. I never say, \"Never.\"", "(GRISSOM turns to look back at the body.)", "[CAMERA SLOW MOTION]", "(A drop of water falls into a pool of blood. Another drop of water falls on someone's jacket.)", "(GRISSOM looks up at the sky. A rain drop falls on his forehead.)", "[RESUME CAMERA MOTION]", "Brass: Oh, man ...", "(It starts pouring.)", "(GRISSOM stands and starts yelling out instructions.)", "Grissom: We got three minutes to process this crime scene!", "(Everyone moves to process the scene. SARA takes pictures as fast as she can.)", "Grissom: After that, we lose it all to the gutters! Sara, take overalls! Warrick, put a cone down on everything you bag! Nick, we got to get these bodies into the van!", "(Everyone rushes around to preserve and collect whatever they can. It is complete chaos as people run into each other trying to process the crime scene.)", "Nick: Now! Let's go guys! Go! SARA: Pick the jacket up!", "(SARA finishes taking pictures of AMY SHEPHERD and moves to take pictures of KEVIN SHEPHERD. The Coroners, Officers and other personnel move quickly.)", "Nick: Let's go! BRASS: Bring me a body bag. I want to cover this woman! NICK: Get a bag, hurry up!", "(The Coroners move to get the body bags. WARRICK rushes to open bags to gather evidence on the sidewalk.)", "Sara: Can we get another gurney? GRISSOM: I need another gurney.", "(The Coroners move quickly to prep the gurney to get the body out of the rain.)", "Coroners: Load this up!", "(WARRICK grabs the bags of evidence and runs toward the cars.)", "Nick: Let's go, let's go! Okay, I've got it.", "(The gurney is pushed next to one of the bodies and NICK instructs the Coroners.)", "Nick: All right, let's get him out.", "(SARA takes more pictures.)", "Sara: Come on, come on! Hurry up! NICK: Let's go, hurry up! Get the plastic on!", "(SARA finishes with the pictures and stands next to GRISSOM.)", "Sara: We're losing everything!", "(GRISSOM turns and looks up at the sky.)", "Grissom: Yeah ... our killer got lucky tonight.", "(The camera pulls backward up to the sky as GRISSOM looks down at the ground, then all around him. Everyone continues to work to save what they can.)", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. SIXTH STREET - CRIME SCENE - NIGHT]", "(Camera opens on a cigarette butt in the middle of the sidewalk. It's stopped raining for the moment. WARRICK kneels down next to it shining his flashlight down at it.)", "Warrick: Well, rain screwed up all our chances of a good DNA profile.", "Nick: Don't even bother bagging it.", "(NICK walks away continuing to look for whatever evidence the rain may have left behind.)", "(Thunder rumbles.)", "(Out on the street, GRISSOM slams the Coroner's back door shut as it leaves. He and SARA walk around the side to meet up with BRASS.)", "Grissom: Do we have any eyeballs at all?", "Brass: It's a quiet street, weeknight. Neighbors heard the commotion. Kid over here, he had the only view.", "(GRISSOM and SARA both turn around to look at the young man sitting on the curb. They head off in that direction.)", "Grissom: What's your name, son?", "(JUSTIN GREEN stands up.)", "Justin Green: Justin Green.", "Grissom: Well, Justin, my name's Gil Grissom. This is Sara Sidle. We're with the Crime Lab. Is, uh, is that your blood?", "(GRISSOM shines the light on JUSTIN'S bloodied jacket.)", "Justin Green: No, I-it's his, the one you took away. I tried to help him. I thought I was doing everything right. I think I might have killed him.", "Grissom: Whoa. Slow down.", "Sara: What did you do exactly?", "(Quick flashback to: Earlier that night. JUSTIN is walking on the street when a speeding SUV almost hits him.)", "Justin Green: (V.O.) I was crossing the street. This SUV came out of nowhere -- almost clipped me. I turned and there was this body lying in the street.", "(From where he stands, he turns and sees something.)", "Justin Green: Oh, my god.", "(He immediately starts shouting for help.)", "Justin Green: Help! Help! Somebody call 9-1-1!", "(He runs over toward the body.)", "Justin Green: (V.O.) I freaked.", "(He kneels down next to the body and starts to perform CPR.0)", "Justin Green: (V.O.) I did everything wrong. I didn't tilt his head back. I- I- ...", "(End of flashback. Resume to present.)", "Justin Green: I didn't clear his airway.", "Grissom: If it makes you feel any better, that's not what killed him.", "Sara: Justin ... we're going to need to take your clothes.", "Justin Green: Why?", "Sara: Because there's blood all over them.", "(JUSTIN looks down at his clothes.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. COLLAPSED APARTMENT BUILDING - NIGHT]", "(Firefighters and other Rescue Personnel walk into the collapsed building to look for survivors. Camera moves out from inside the building out into the sidewalk and street where the rescue vehicles are and where other personnel are busy working.)", "(Injured people on gurneys being helped. There are fire and rescue crews, ambulance and other officers all parked along the street.)", "(CATHERINE parks her Tahoe and gets out. She takes her kit and closes the car door, then makes her way toward the collapsed building.)", "Sgt. O'Riley: Catherine?", "(CATHERINE turns to see SGT. O'RILEY walking toward her.)", "Catherine: Hey.", "Sgt. O'Riley: I like the hair.", "Catherine: Thanks.", "(They make their way toward the collapsed building.)", "Sgt. O'Riley: What are you doing here?", "Catherine: I was assigned. This is my case.", "Sgt. O'Riley: Case? The building collapsed. There's nothing criminal here.", "Catherine: Right. That's why you were assigned -- a homicide detective. What happened?", "Sgt. O'Riley: Well, part of the basement caved in. Brought the rest down with it.", "Catherine: Body count?", "Sgt. O'Riley: Three old women. Sisters. One minute you're watching wheel of fortune -- next thing, game over.", "Catherine: And you're not calling this a crime scene?", "Sgt. O'Riley: Catherine, it's a building.", "Catherine: O'Riley ... it's a suspect.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - NIGHT]", "(GREG is in the lab looking through the scope. NICK walks in.)", "Nick: Hey, Greg.", "Greg Sanders: (holds up a hand) Shh. I might be looking at the mother of my children here.", "(NICK puts on a pair of latex gloves.)", "Nick: Somebody's been putting in way too much overtime.", "Greg Sanders: No, man, this is serious. I had a date last night and this girl has the most impossible green eyes. Just ... bamm. Shoulder-length blonde hair ... intelligent ... and she smells so good.", "Nick: Cute toes?", "Greg Sanders: Oh ... ideal.", "Nick: Mmm.", "Greg Sanders: And none are longer than the big toe.", "Nick: Mmm.", "Greg Sanders: Both feet. But, you know, what I need to know is what's on the inside?", "Nick: Oh, what's in her heart?", "Greg Sanders: No ... her DNA ... and let me tell you -- this girl has got some fine epithelials.", "(GREG turns back to look through the scope. NICK watches GREG and smiles. They both laugh.)", "Nick: Dude, you're sick. Man, you've officially lost it.", "(NICK works on prepping his evidence.)", "Greg Sanders: No, no. There is this guy in Louisville. He charges 300 clams to test your spouse's underwear for foreign DNA. Now, that guy is sick. I'm just a romantic.", "Nick: But whatever happened to getting to know someone over coffee ... letting the relationship evolve? Romantic is sending flowers not bogarting her skin cells.", "(NICK takes the hair sample and puts it on the slide. GREG looks from his scope and notices NICK.)", "Greg Sanders: Ahh, that's boring. What are you doing? What have you got?", "Nick: Um, pulled some hair off a male stabbing vic.", "(GREG takes over. He puts the slide under the scope.)", "Greg Sanders: Okay. Baby. Uh-huh.", "Nick: What?", "Greg Sanders: Nine lives.", "Nick: Cat hair?", "Greg Sanders: (nods) Meow.", "(NICK sighs, disappointed.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(DR. ROBBINS goes over the findings with GRISSOM. They stand between the two bodies.)", "Dr. Albert Robbins: Kevin Shepherd. Six stab wounds to the upper torso -- one to the back, five to the front.", "Grissom: And his wife?", "(GRISSOM turns to look at AMY SHEPHERD.)", "Dr. Albert Robbins: Amy Shepherd. One slice across the neck, right to left.", "Grissom: Work of a lefty?", "Dr. Albert Robbins: Well, the blade transected the jugular vein and both carotids.", "Grissom: Hard to scream when your throat's been cut.", "(GRISSOM turns back to KEVIN SHEPHERD.)", "Grissom: Defensive wounds.", "Dr. Albert Robbins: This guy put up one hell of a fight. Attacked with two weapons.", "Grissom: (surprised) Two?", "Dr. Albert Robbins: Two types of stab wounds. First a long, sharp double-edged blade. The blade went in smooth ...", "(He makes a stabbing downward motion with his hands.)", "(Quick CGI POV to: The camera pushes down toward wound #5 and pierces through the flesh. It reverses back up and out. End of CGI POV. Resume to present.)", "Dr. Albert Robbins: ... left a little collateral bruising to the skin. Weapon number two was blunt.", "(With both hands, DR. ROBBINS makes a stabbing downward motion.)", "(Quick CGI POV to: The camera pushes down toward wound #3 and pierces through the flesh. It reverse back up and out. End of CGI POV. Resume to present.)", "Dr. Albert Robbins: Weapon number two caused extensive bruising around the points of entry.", "(He points out the damage to GRISSOM.)", "Grissom: Two weapons ... two attackers.", "[SCENE_BREAK]", "[INT. COLLAPSED BUILDING - WRECKED ROOM - NIGHT]", "(CATHERINE walks into the damaged room. She walks up to a FIREMAN.)", "Catherine: Hi. District Engineer?", "Fireman: Over there.", "(He points to a man with a large piece of drywall in his hand kneeling near the window.)", "Catherine: Ah. Follow the tie.", "(She walks up to him and stands behind him. She shines the light of her flashlight on the torn wall while she looks over his shoulder.)", "Catherine: Is that from the rain?", "Paul Newsome: (turns around) Depends on who's asking.", "Catherine: Are you hiding something, or am I not worth your time?", "Paul Newsome: Excuse me?", "Catherine: Well, you are the District Engineer of the city, right? You're responsible for the structural safety of this building.", "Paul Newsome: (stands up) I'm sorry. I didn't catch your name.", "Catherine: Catherine Willows, Las Vegas Crime Lab.", "Paul Newsome: Crime Lab?", "Catherine: Yeah. The building fell down. Three people were crushed to death.", "(CATHERINE steps up to the wall.)", "Catherine: Why is the wood wet?", "Paul Newsome: It's a flat-roofed structure. Leaks aren't uncommon. Maybe that explains the dry rot.", "Catherine: Then what am I looking at?", "Paul Newsome: That would be sheetrock.", "Catherine: Drywall. But what about this layer right here?", "(Camera zooms in for a close up of the wall.)", "Paul Newsome: When they installed the original drywall they used half-inch and then, when they came back and repaired it, they used quarter of an inch.", "Catherine: (turns around) What, was quarter inch on sale that day?", "Paul Newsome: Look, Lady, I don't know what it is ...", "Catherine: Catherine.", "Paul Newsome: Sorry.", "Catherine: Don't say, \"sorry\" just know who you're talking to.", "Paul Newsome: When they applied the second layer and then they spackled it and they painted it the difference wasn't noticeable.", "Catherine: It's noticeable now. Which District Engineer conducted the last inspection?", "Paul Newsome: There's only one District Engineer.", "Catherine: Then it looks bad for you.", "Paul Newsome: (he laughs) Okay. Look, uh, Catherine, ...", "(He puts his hand on her shoulder and leads her away from the wall.)", "Paul Newsome: ... why don't I write a report and then I'll e-mail it to you. How would that be?", "(CATHERINE looks up at the ceiling and around the room.)", "Catherine: Where's the point of origin of the collapse?", "(PAUL NEWSOME doesn't say anything.)", "Catherine: Look, this is my crime scene. I can find it myself but that might mean lots of question to lots of people.", "Paul Newsome: (nods) Well, it's just my, uh, expert opinion but I'd say right below us -- in the basement ... the laundry room.", "Catherine: Then that's where I want to be.", "(CATHERINE turns to head there.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - EARLY MORNING]", "(GRISSOM walks in to the hallway. SARA rounds the corner and finds him.)", "Sara: Hey, Gris. Kevin Shepherd, chiropractor. Amy Shepherd, Dentist. House in the lakes. Married eight years. Perfect credit. You know, I'm lost. There's nothing jumping off the page, here.", "(SARA hands the file to GRISSOM.)", "Grissom: What about the eyewitness?", "Sara: Justin Green. First witness, first suspect but he hung around, waiting for us.", "Grissom: Covered in blood.", "Sara: But his story jibes. Several eyewitness saw him performing CPR on Kevin Shepherd. But if-if-if it is a carjacking, I don't get it. Why fight to the death? It's four wheels and a chassis.", "Grissom: In the heat of the moment, it's not a car, it's a possession and people will fight without realizing what they're risking.", "Sara: So, you are thinking the Shepherds lost their lives for their SUV?", "Grissom: I'm speaking in generalities. Regarding the Shepherds ... I'm in the dark, too, just like you.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - EARLY MORNING]", "(WARRICK is mixing a bowl full of mold mixture. BRASS walks into the room.)", "Brass: Hey, Warrick. Is Grissom around?", "Warrick: You see him?", "(He chuckles and steps forward.)", "Brass: You know between you and me, as long as I've been on the job I still don't like touching dead bodies.", "Warrick: Well, that's why you got the badge and I got the syringe.", "Brass: (softly) wow.", "(WARRICK sticks the syringe into the first wound, #3, and injects the mixture in to make a cast.)", "(Quick CGI POV of inside the wound and the mixture filling it up. End of CGI POV. Resume to present.)", "(WARRICK moves on to wound #1 and fills that wound up with the mixture. He glances over at BRASS who is unusually silent and watching.)", "Warrick: (explains) I'm casting the stab wounds. From the molds, we can identify the murder weapons.", "Brass: You're getting more like Grissom every day, man.", "Warrick: Did you want me to give Gris a message?", "Brass: Yeah. A patrol car located the Shepherds' SUV.", "[SCENE_BREAK]", "[EXT. SUNSET ROAD - STREET - MORNING]", "(The SHEPHERDS' SUV is off the road. BRASS and GRISSOM exit their cars and meet up outside on the road.)", "Brass: The car is registered to our dead couple.", "Grissom: When you carjack a car, you keep the car. You don't dump it.", "Brass: Unless you're joyriding.", "Grissom: Well, who kills for a joyride?", "Brass: Wouldn't be the first time.", "Grissom: Has anybody else touched this vehicle?", "Officer: No, sir. And I'm the one who found it.", "Brass: Just the rain. The evidence on the outside of the vehicle will be compromised.", "Grissom: Well, maybe there'll be some evidence on the inside.", "(GRISSOM opens the door and the body of a dead woman tumbles out. GRISSOM grabs the body.)", "Grissom: (surprised) Whoa. Whoa.", "(Breathing hard, he puts the body back into the car.)", "Grissom: Well, I haven't felt that in a while.", "Brass: What's that?", "Grissom: The element of surprise.", "[SCENE_BREAK]", "[EXT. SUNSET ROAD - STREET - MORNING]", "(BRASS opens the passenger door and sighs. He watches as GRISSOM checks the body out.)", "Brass: What's she doing here?", "Grissom: Good question. Better question, who is she?", "Brass: Hmm.", "(BRASS reaches out to check the woman's bag. GRISSOM stops him.)", "Grissom: Uh. Put some gloves on.", "(GRISSOM tosses BRASS some gloves for him to put on.)", "Brass: Yeah, I know. You know, I ... I can't believe you messed up the crime scene.", "Grissom: The body fell out when I opened the door. It happens. We move on.", "Brass: Mmm. Going to bother you all day.", "(BRASS opens the woman's bag and checks her wallet. He takes out her NEVADA DRIVER'S LICENSE.)", "Brass: (reading) Jessica Hall. Date of birth -- 8-5-73.", "(He takes out her cell phone.)", "Brass: Cell phone, power's off. Didn't call 9-1-1. They would've instructed her to leave it on.", "Grissom: Seat belt's unbuckled. That's why she fell out.", "Brass: Yeah, so?", "Grissom: Well, she's in the driver's seat. Was she driving? Or could she have been placed in here?", "Brass: Maybe she's like 28% of Americans -- she doesn't buckle up.", "Grissom: I think it's 29%, actually.", "(BRASS looks at GRISSOM and doesn't comment.)", "Brass: (sighs) I'll go radio the 4-19.", "(BRASS leaves the car. NICK drives up, parks and exits his vehicle. He walks over to the open passenger side.)", "(GRISSOM, meanwhile, looks under JESSICA HALL'S coat lapel and finds some hair.)", "Nick: Hope you're not allergic there, boss.", "Grissom: What?", "Nick: Cat hair. Found similar hair on Kevin Shepherd's clothing.", "Grissom: How about Amy Shepherd?", "Nick: Nope. No hairs on the wife.", "Grissom: Shepherd's SUV. Stab wound. Cat hair. She's linked to the first crime scene. But how?", "Nick: Victim number three. Wrong place, wrong time. Saw something she shouldn't.", "Grissom: Well, finally.", "Nick: What?", "Grissom: Someone has a theory.", "(NICK nods.)", "[SCENE_BREAK]", "[EXT./INT. CITY VAN - MORNING]", "(PAUL NEWSOME kneels inside the back of the van. CATHERINE stands just outside the open van securing her head gear.)", "Paul Newsome: Look, I-I've got guys that are trained to do this. Why don't you let me call them? You're going to go in there, you're going to get that snappy little jumpsuit dirty, and ...", "Catherine: No offense, but they work for you.", "Paul Newsome: So what?", "Catherine: Well, so the victims' family deserves answers.", "(He doesn't say anything.)", "Catherine: Somebody's responsible.", "Paul Newsome: Hey, I didn't do anything wrong.", "Catherine: Well, maybe not intentionally, but if a ship sinks, the last person who checked for leaks is negligent.", "Paul Newsome: You're not married, are you?", "(CATHERINE looks at him.)", "Paul Newsome: (nods and stands up) Divorced.", "(CATHERINE finishes putting on her gear. PAUL NEWSOME settles in the van behind the monitors.)", "Paul Newsome: Okay. All right. What you see, I'll see but I just want to go on the record. This is a bad idea.", "Catherine: Thanks for your input.", "Paul Newsome: All right. We got a hot feed.", "Catherine: I'm going in.", "Paul Newsome: I'll be right here.", "(He sighs.)", "(Cut to: SGT. O'RILEY stands up as CATHERINE", "Sgt. O'Riley: Catherine? You sure you want to do this?", "Catherine: Why is everybody asking me if I want to do my job?", "Sgt. O'Riley: Because we care.", "Catherine: And?", "Sgt. O'Riley: The mayor ran on a platform of urban renewal. Clean out the slumlords, create habitable, low-cost housing maintained by the city. If you find so much as a scratch on an aspirin in there you know who it's going to come back to.", "Catherine: I know I have a job to do. Excuse me.", "(CATHERINE turns and leaves. She heads for the building.)", "[SCENE_BREAK]", "[INT. CSI - FLUOROSCOPE OBSERVATION ROOM -- DAY]", "(SARA and GRISSOM walk into the observation room off of the fluoroscope room where DR. ROBBINS watching DAVID PHILLIPS work on the body.)", "Sara: Hey, Doc. What's with the fluoroscope?", "Dr. Albert Robbins: When we brought the body into the lab she set off the metal detector.", "Grissom: Did you check in her pockets?", "Dr. Albert Robbins: : Nothing in the pockets.", "Sara: What about a pin or a plate -- something metallic on the inside?", "Dr. Albert Robbins: I had the same thought, but that's not what we've found. David, take her down.", "David Phillips: Yes, sir.", "(DAVID looks up at sees SARA in the observation room. He smiles at her.)", "Dr. Albert Robbins: Cause of death, laceration of the liver.", "Sara: Exsanguination.", "DR. ALBERT ROBBINS Once you nick the liver it's almost impossible to stop the bleeding without immediate medical intervention.", "(While watching the monitor, GRISSOM sees something.)", "Grissom: Whoa, David. Go back up to the 12th rib, please.", "Dr. Albert Robbins: I was just getting to that.", "Grissom: Our killer leave us a souvenir?", "Sara: What is that?", "Grissom: What do you leave your waiter?", "Sara: A tip ... of a knife.", "Grissom: How soon can we get that out of the body?", "[SCENE_BREAK]", "[INT. BUILDING -- DAY]", "(Crawling, CATHERINE makes her way slowly toward the laundry room down in the basement. The building creaks around her.)", "Catherine: Am I almost at ground zero?", "INTERCUT WITH:", "[INT. VAN (PARKED OUTSIDE) - DAY - CONTINUOUS]", "Paul Newsome: Almost. About ten more feet. Uh, then you should be in the laundry room. You should have more headroom, too.", "Catherine: I feel like I'm crawling through a straw.", "(CATHERINE crawls more and comes to a complete halt in front of a wood beam. She smiles as she watches a bug crawl across the wood.)", "Catherine: Sweet!", "Paul Newsome: What? What is it?", "Catherine: Are you getting this?", "Paul Newsome: What is that? A roach?", "Catherine: I'm not an entomologist, but I know one. He can tell us.", "(The building creaks and something flies overhead causing the building to tremble. Concrete dust and bits of rock fall on CATHERINE. She covers her head.)", "Catherine: I thought this building was secure.", "Paul Newsome: It is secure. Just hang on. The daily sorties. I think that was an F-16.", "Catherine: (realizes) Nellis Air Force Base.", "Paul Newsome: About a mile south of here.", "(CATHERINE puts a bug into a container.)", "Catherine: Anything else I should, uh be aware of?", "Paul Newsome: You're in the clear.", "(She pockets the container and then continues.)", "Catherine: Okay.", "(CATHERINE continues crawling through the rubble. She comes up to a traveling chest blocking her path and pushes it aside. She continues.)", "Catherine: Okay. I'm in the laundry room ... what's left of it. You want to talk me through this?", "(She stands up and looks around the laundry room.)", "Paul Newsome: Okay, look up. You should be able to see the beam now.", "(CATHERINE looks up and finds the beam.)", "Catherine: Got it.", "Paul Newsome: All right, connected to the beam running vertically to the concrete foundation are the support columns. Now, in a perfect world, they should be steel but given the age of the building, they might be wood.", "Catherine: Yeah, it's wood, all right.", "(CATHERINE looks at the damage to the beam.)", "Catherine: And it looks like somebody took a sledgehammer to it.", "[SCENE_BREAK]", "[INT. ALAN RICH CUTLERY - DAY]", "(ALAN RICH looks at the tip of the knife extracted from JESSICA HALL. He explains the knife to SARA and BRASS.)", "Alan Rich: So you really pulled this out of a corpse?", "Sara: Yeah ... but I cleaned it for you.", "Brass: We need to know the make of that knife.", "Alan Rich: Well, it's not a knife. The tip's double-edged. Bevels on both sides, downward slope. This came from a dagger which means it's either carbon steel or stainless steel. I get asked this question more than you think.", "(He pulls out a lemon juice squirt container and puts a few drops on the tip of the knife.)", "Sara: Acid in the lemon juice should react to carbon steel, but not stainless steel.", "Alan Rich: How's a cop know all this?", "Sara: (smiles) He's the cop. I'm the scientist.", "Brass: I got a cop question. What are we looking for here?", "Alan Rich: Dark spots.", "(The tip has dark spots on it.)", "Sara: Carbon steel. What's next?", "Alan Rich: Length.", "(ALAN turns and looks for something behind the counter. He comes back with a piece of paper and a ruler.)", "Alan Rich: Daggers are rarely more than an inch at the base. We got the tip. So, we can fill in the rest. It's basic geometry.", "(Placing the tip on the piece of paper, he extends the tip of the dagger to estimate how long the weapon used was.)", "Alan Rich: It's five inches. Top row-- five-inch daggers, carbon steel.", "(He reaches into the display case and takes out a dagger to show them.)", "Alan Rich: This is the one you want. $24.99. We don't take credit cards.", "Brass: Yeah.", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM - DAY]", "(GRISSOM looks at one of the casts of the knife taken from the knife wound WARRICK made.)", "Warrick: Forget Shepherd's wife. I can't match the slash marks. It's all about these stab wounds. So I concentrated on Kevin Shepherd.", "Grissom: This is a nice job, Warrick. You know, casting is an art.", "(SARA walks into the room holding the dagger.)", "Sara: And while the artist was at work, Brass and I identified Jessica Hall's murder weapon from the tip we found lodged in her ribs. It's a dagger. Fugasi model 502.", "Warrick: Cool.", "(She hands the dagger to GRISSOM.)", "Grissom: So we've identified the weapon used on Jessica Hall. Was it also used on Kevin Shepherd?", "(GRISSOM hands the dagger to WARRICK.)", "Warrick: Well, I measured all the sharp points of entry on Kevin's body.", "Warrick: They're all identical. They're all made from the same murder weapon.", "(WARRICK draws the outline of the dagger onto a piece of paper.)", "Sara: So, if this dagger matches your mold ...", "(He reaches for one of the molds to compare it.)", "Sara: Okay. We just put the sharp wounds to bed.", "Warrick: Identified murder weapon number one. Now we just need that second murder weapon.", "Sara: Points of impact on these two are blunt, right?", "Warrick: Yeah, who stabs someone with a blunt instrument?", "Grissom: Sara, you still have the dagger tip from the body?", "Sara: Yeah.", "(SARA reaches to get the dagger tip out.)", "Grissom: And you have the cast of the unidentified murder weapon.", "Warrick: Yeah.", "(WARRICK reaches for the cast of the unidentified murder weapon.)", "Grissom: A dagger's not a diamond. It doesn't last forever.", "(WARRICK then matches the unidentified weapon to the tip. They match.)", "Grissom: We don't have two weapons.", "Warrick: So he started with Kevin and then he went after Jessica and then the tip broke off.", "Sara: And then he went back to Kevin to finish the job.", "Grissom: One weapon, one killer.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - DAY]", "(GRISSOM examines the bug CATHERINE took from the collapsed building. GRISSOM looks at the bug in the container while CATHERINE looks through the camera footage taken earlier on the computer monitor.)", "Grissom: An anobiid powder-post beetle. Very nice specimen.", "Catherine: He likes you, too. Now, tell me about him.", "Grissom: Your building collapsed.", "Catherine: You assigned me the case. You already know that.", "Grissom: Well, this little guy confirms it. This species of beetle eats softwood. Tell me about the building.", "Catherine: The frame's made of Douglas Fir.", "Grissom: A delicacy.", "Catherine: I did find more than a bug. Dry rot, questionable repairs, a jittery Engineer. And check this out.", "(She turns the monitor to the side to show GRISSOM.)", "Grissom: Forget the beetle; this damage was intentional. You're looking for a homosapien.", "Catherine: I know. Gives new meaning to \"home wrecker.\"", "Grissom: Catherine, there's a reason I assigned you this case. You're good with people, both the dead and the living.", "Catherine: Translation: We're opening a political can of worms. The mayor's involved, an election's around the corner and you could've clued me in a little earlier.", "(GRISSOM looks back at the beetle in the container. He turns eagerly to CATHERINE.)", "Grissom: Can I keep it?", "Catherine: Sorry. It's evidence.", "Grissom: Don't forget to feed him.", "(He hands the container back to CATHERINE.)", "Catherine: I know-- wood.", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(WARRICK and SARA go over the SUV. WARRICK finds some prints.)", "Warrick: Oh, yeah. I got three prints on this gearshift and they are beauties.", "Sara: Sweaty palms make the best prints.", "(GRISSOM walks into the room.)", "Grissom: The coroner just sent over a ten card of Jessica hall's fingerprints. Evidently, I'm the new delivery boy.", "(GRISSOM watches WARRICK take picture of the gearshift.)", "Grissom: Are you doing what I think you're doing?", "Sara: If we find what we're looking for the answer is yes.", "(SARA reaches up and turns the light on.)", "Sara: (to GRISSOM) Can I see those prints?", "Warrick: The images are printing.", "(SARA moves over to the table and GRISSOM walks around the car to give her the prints.)", "Sara: Thanks.", "(From the printer, SARA picks up the photos that WARRICK just took of the prints off of the gearshift. She visually compares the two.)", "Sara: No need for AFIS. We got a visual match. All three prints belong to victim number three.", "Warrick: So Jessica Hall was the last person to drive the shepherds' suv.", "(In the back of the room, NICK walks in.)", "Sara: What does that give us? We know she was stabbed at the crime scene, but then what? Was she driving herself to the hospital? Was she under duress?", "Nick: None of the above.", "(Everyone turns to look at NICK.)", "Nick: Hey, Grissom, you know that theory I had?", "Grissom: Yeah.", "Nick: I'd like to revise it.", "Grissom: It's a scientist's right to re-examine his theory with each new piece of evidence, Nick.", "Nick: My evidence is in the layout room.", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM - DAY]", "(Everyone stands around the table with the photos spread out in front of them as they listen to NICK'S theory.)", "Nick: All the wounds sustained by Kevin Shepherd were to his torso. Now, look at this.", "(NICK takes out a shoe from the evidence bag and puts it on a piece of paper that he hands across the table to GRISSOM and SARA to look at.)", "Nick: Blood flow on the left instep of Kevin Shepherd's shoe.", "Warrick: Lucky for us the rain missed that.", "Grissom: When death is not immediate a victim will instinctively curl up into a fetal position. Which may have protected this from the rain.", "Sara: Preserving the blood pattern.", "Grissom: You expect blood on a victim but let's ask the question: Could the normal action and behavior of our victim have put his blood there?", "Sara: The victim was lying on the ground, wounds above the waist. It's not Kevin's blood.", "Warrick: Who else had a flowing wound?", "Nick: Amy Shepherd was too far away but Jessica Hall was alive and bleeding.", "Grissom: Okay. How did her blood get on his shoe?", "Nick: Gravity. Warrick, please, on the floor our back.", "(NICK heads to the space on the floor in front of the door.)", "Warrick: Man, why are you always trying to put me down?", "(SARA smiles.)", "Nick: Sara, you're Jessica.", "(SARA stops smiling.)", "Nick: Come on, now.", "Sara: (sighs) Okay.", "(SARA and WARRICK get into position. WARRICK lies down on his back on the ground. SARA stands over him.)", "Warrick: All right, I'm bleeding from my abdomen.", "Sara: Standing here, I'm not going to get that much blood on Warrick.", "Grissom: Get closer.", "Sara: Well, I can't without ... stepping on him.", "Grissom: You can if you kneel down.", "Warrick: Why would she do that?", "(SARA kneels down on the ground near WARRICK'S feet.)", "Grissom: Possibly to help or to hinder.", "(NICK kneels down.)", "Nick: I say hinder.", "(Quick flashback to: That night, KEVIN SHEPHERD fights with his assailant. JESSICA HALL helps hold him down. As the assailant hits KEVIN SHEPHERD to subdue him, he stabs JESSICA.)", "Assailant (man): Grab his legs!", "(She turns and holds down KEVIN SHEPHERD'S feet, her blood spilling onto his shoes.)", "(End of flashback. Resume to present.)", "Nick: She was in on it. She held him down while someone else stabbed him.", "Warrick: By the positioning of her wound, I'd say it looked like her stabbing was an accident.", "Sara: Stabbing's are messy and inexact. So victim number three becomes suspect number two.", "Grissom: Nick, get a warrant for Jessica Hall's apartment. We'll see if suspect number two leads us to suspect number one. And bring a scorecard with you.", "[SCENE_BREAK]", "[INT. CSI - TEMPORARY EVIDENCE VAULT - DAY]", "(CATHERINE stands on top of the ladder in the evidence vault getting a package down from the top shelf.)", "Paul Newsome: Can, uh, can I give you a hand with that?", "Catherine: Nope.", "(CATHERINE steps down the ladder and notices PAUL NEWSOME standing there.)", "Catherine: How did you get in here?", "Paul Newsome: Well, I flashed my city I.D. And, uh, my smile.", "(He smiles up at her. She is unimpressed. Unaided, she walks down the rest of the ladder and puts the package she's carrying on the table.)", "Paul Newsome: What are we looking for?", "Catherine: A lot of factors contributed to the collapse. I'm focusing on the human element.", "(Inside the package, she takes out the wood beam. PAUL NEWSOME puts the package aside.)", "Catherine: Now... if a sledgehammer was taken to this column recently there'd be evidence of discoloration. The damaged part would be lighter.", "(CATHERINE uses a hand scope to look at the beam.)", "Paul Newsome: (holds out his hand) May I?", "(CATHERINE straightens and hands PAUL NEWSOME the scope. He leans in and looks at the wood. He reaches out a hand to touch the wood, but CATHERINE stops him.)", "Catherine: Hands off.", "Paul Newsome: Oh, right. Sorry. (after a moment) No. No discoloration.", "(He straightens and hands CATHERINE the scope back. CATHERINE leans down to look for herself when he stops her.)", "Paul Newsome: Would you like to know why?", "(She looks at him.)", "Catherine: Yeah.", "Paul Newsome: Five years ago, the building was apartment Vietnam. The facility was substandard. The city turned its back on it. The tenants revolted. Blake Neferson, apartment 204 took a sledgehammer to that column. It's public record -- he was arrested.", "(He hands the file to CATHERINE.)", "Catherine: Public record? And you failed to indicate the damage in your inspection report?", "Paul Newsome: There wasn't enough damage to cause concern.", "Catherine: Tell that to the women who were crushed to death.", "(CATHERINE leans in to look at the wood herself.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. JESSICA HALL'S APARTMENT - NIGHT]", "(The door opens. BRASS walks in and turns on the nearest lamp light. GRISSOM and NICK walk into the apartment.)", "Nick: I heard the lab matched the blood on Kevin Shepherd's shoe to Jessica. My theory's getting better and better.", "(GRISSOM takes note of the various post-its hanging on her vanity mirror.)", "Brass: Not so fast, Nicholas. P.D. traced a call Shepherd made to Jessica from Andre's restaurant.", "Nick: What's he doing calling the woman who helped kill him?", "Grissom: It's your theory, pal.", "(GRISSOM walks into the apartment. He walks into the kitchen and turns on the light where he finds more post-it note reminders.)", "(GRISSOM walks into the office area and turns on the lamp. He finds more post- it reminders around her monitor.)", "Grissom: Our little Jessica was a prolific note-taker. \"Be a good person today.\"", "Brass: Yeah, right. Try not to kill too many people.", "Grissom: \"Cancel water cooler delivery.\" \"Plan girl's night out.\" \"Light bulbs for porch.\"", "(GRISSOM finds a letter sized notepad on top of the computer mouse. He puts it into an envelope.)", "Nick: I think I found a keypiece of evidence.", "Cat: Mrrrow.", "(NICK walks into the room holding a red tabby cat.)", "Nick: The redhead we've been looking for.", "Grissom: Red hairs on Jessica. She owns a tabby cat. Red hairs on Shepherd.", "Nick: Chances are Shepherd was here without his wife.", "Brass: Yeah. I'm going to run Jessica's cell phone records and Shepherd's. If anything was between those two we'll find out.", "(BRASS turns to leave the room. He passes the OFFICER at the door on his way out.)", "Brass: (to OFFICER) Stay here, fella.", "(NICK puts the cat down.)", "(GRISSOM looks at the different post-it notes on the monitor.)", "[GRISSOM'S POV - PANS THE POST-ITS ON MONITOR]", "Nick: (reading) \"To access Achex, double-click icon. User name: Jessica. Password: Money.\"", "(They look at each other.)", "Grissom: Try it.", "Nick: Yeah.", "(NICK takes a seat behind the computer and powers it on.)", "Nick: Achex. Personal on-line banking. Deposits, checking, money transfers everything under the sun.", "(NICK puts in the password and clicks. He gets a ledger screen.)", "Nick: Okay, I'm in. Direct deposit from Beaumont's department store$500 a week -- probably her weekly paycheck.", "(He looks around and clicks on more screens.)", "Grissom: And then a $35,000 day?", "Nick: What, she win the lottery?", "Grissom: How does a girl who makes $2,000 a month pull in $35,000 ... only to give it away on the same day?", "Nick: Let's see who she gave it to.", "Grissom: It hasn't posted yet.", "(NICK sighs and shakes his head disappointed.)", "Nick: No luck.", "Grissom: Wait. Go back.", "(NICK goes back and the following screen appears: [We have initiated a deposit of Achex payment into your bank checking account. Time of deposit: 10:02 AM", "Deposit Confirmation 174976", "MARCH 28, 2001", "Pay to the Order of: JESSICA HALL", "Transfer from: KEVIN SHEPHERD 17568932", "If you should like to keep a paper copy of this transaction, simply click on the PRINT button in your browser.", "Please note: As with checks that you deposit, Achex payments must still be cleared by your bank before the money becomes available for spending. Typically it take two days for deposited funds to become available. Your bank can tell you more precisely the time it will take for your Achex payment to clear.]", "Grissom: Well, we know who she got it from -- Kevin Shepherd.", "Nick: Wait a minute -- Shepherd paid Jessica to murder him and his wife?", "Grissom: Maybe. (beat) Maybe not.", "(NICK looks up at GRISSOM.)", "Grissom: We can't speak from the evidence, Nick and everybody else is dead.", "[SCENE_BREAK]", "[INT. CSI - DOCUMENTS LAB]", "(NICK hands the notepad to RONNIE LITRE who gets to work on it immediately.)", "Nick: I took this from our suspect's apartment.", "Ronnie Litre: Husband and wife carjacking. I heard about the case. My friend and I eat at Andre's. Creepy.", "Nick: Don't cancel your next reservation. It wasn't a carjacking.", "Ronnie Litre: Well, it's a fresh pad. Only a couple of pages missing. Let's see what she wrote on those missing pages.", "(Various cuts of RONNIE LITRE prepping the paper. When he's done, he and NICK read what was written on the sheets above it.)", "Nick: \"Quarters for laundry.\" Not incriminating. \"Pay parking ticket.\" \"Andre's at 9:00 P.M.\"?", "(NICK grabs the paper and leaves.)", "Nick: Whoa!", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - DAY]", "(GRISSOM puts his glasses on and looks a the paper.)", "Grissom: Andre's, nine p.m. Green SUV. \"Corner of sixth. Sunday, K's office, 8:00 A.M.\" This is a blueprint for murder.", "Nick: Assuming \"K\" is Kevin they were planning to meet three days after he was murdered.", "Grissom: He paid Jessica $35,000. He called her as he was leaving the restaurant. He wasn't supposed to die.", "Nick: No. Neither was Jessica.", "Grissom: Kevin shepherd took a hit out on his wife and something went wrong. And we may have the proof.", "[SCENE_BREAK]", "[INT. CSI - DOCUMENTS LAB -- DAY", "(They're back in Q.D.)", "Ronnie Litre: Okay, we've got the blueprint and Kevin Shepherd's credit card receipt from Andre's. Okay. Now, normally, a signature wouldn't give us much.", "(RONNIE points to the restaurant receipt that reads:", "TOTAL: $97.40", "GRATUITY: $20.00", "TOTAL: $117.40", "SIGN: {SIGNATURE K. SHEPHERD}", "SHEPHERD, KEVIN THANK YOU! PLEAES COME AGAIN! )", "Ronnie Litre: But look at the \"K\" on the receipt. now look at the K in Kay's office. Okay? Also, look at the \"S\" in \"SUV\" and \"Sunday.\" Now, look at the \"S\" in Shepherd. Both letters are identical. He wrote both these documents.", "Grissom: I think Shepherd planned the murder of his wife.", "Nick: I'm with you. Why'd he end up dead?", "Brass: Bad karma. Jessica and this Shepherd guy had been phoning each other day and night for the past two years. What does that tell you?", "Grissom: They had a very healthy relationship.", "Nick: He was cheating on his wife, Amy.", "Brass: And there's more. On the night of the murder, after Jessica got off the phone with shepherd, she made a call.", "Grissom: To who?", "Cue Sound: (PRELAP) BUZZARD", "[SCENE_BREAK]", "[INT. CSI - DRYING ROOM - DAY]", "(SARA opens the door and walks inside. WARRICK is close behind her.)", "Sara: Grissom didn't say what he was looking for, huh?", "Warrick: No.", "(SARA starts checking the tags, looking for something specific.)", "Warrick: He just said check his clothes. Drying room. Six years in the job and it still freaks me out in here.", "Sara: I think it's peaceful.", "(He stops and looks at her.)", "Warrick: Yeah.", "(They both resume their search. WARRICK flips the tag and finds it. The tag reads: 145348-3212 / EVIDENCE / SUBJECT/ GREEN, JUSTIN\".)", "Warrick: Here we go. Here we go. Justin Green. The eyewitness.", "(WARRICK takes out the jacket and holds it up.)", "Sara: He's a suspect? When did that happen?", "Warrick: Here's another thing the rain ruined -- the blood pattern on Justin's jacket.", "Sara: Not the t-shirt.", "(SARA looks at the blood on the clothes and finds something strange.)", "Sara: Warrick ... what does that look like to you?", "Warrick: That looks like a handprint.", "(SARA puts her hand on her waist in an awkward position, her eyes on the T-shirt. WARRICK holds out his hand over the print.)", "Warrick: Right hand. Justin's?", "Sara: Wrist doesn't bend that way.", "Warrick: So, it's not Justin's.", "Sara: We know where Jessica's hands were.", "Warrick: Holding down Kevin's feet.", "Sara: And Amy Shepherd died instantly.", "Warrick: So, whose handprint is that?", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM - DAY]", "(GRISSOM holds up a transparency of a bloodied hand.)", "Grissom: Kevin Shepherd's. This is a transparency of Kevin Shepherd's defense wounds.", "(GRISSOM places the transparence directly over the shirt.)", "Grissom: They fit perfectly over the handprint on Justin's shirt.", "Sara: Justin's story was that he performed CPR on Kevin Shepherd.", "Warrick: Yeah, but Kevin grabbed Justin's shirt so that means he was still breathing.", "Nick: Which means he didn't need CPR.", "Grissom: We just put the dagger in Justin Green's hand.", "(Quick flashback to: That night. KEVIN SHEPHERD is on the ground struggling with JUSTIN GREEN. JUSTIN hits KEVIN a couple of times, KEVIN grabs JUSTIN'S shirt. JUSTIN stabs KEVIN. End of flashback. Resume to present.)", "Sara: Damn it. Justin sold me a lie and I bought it.", "[SCENE_BREAK]", "[EXT. COLLAPSED BUILDING - DAY]", "(CATHERINE walks out of the building and under the crime scene tape. She stops and looks at the candles, flowers and other gifts left near the sidewalk in front of the building in a make-shift memorial.)", "(Above, another aircraft passes by.)", "(She stops and thinks.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - DAY]", "(Camera opens on an experiment being set up. PAUL NEWSOME leans down through the glass of the experiment and looks at it.)", "Paul Newsome: What are you doing?", "Catherine: Proving that you're not responsible for what happened to that building.", "(CATHERINE continues to set up the experiment. PAUL walks toward her and smiles.)", "Paul Newsome: I'm growing on you. Aren't I?", "(CATHERINE doesn't comment on that remark. She explains the experiment.)", "Catherine: The damaged support column buckled. Why?", "Paul Newsome: The weight of the building wasn't evenly distributed out to the load-bearing walls by the joists ...", "Catherine: Good. We're on the same page. Now, I put a section of the floor assembly in the tank. I added a dozen or so of my daughter's rubber balls two sub-woofers ...", "Paul Newsome: You put the whole thing on vibration isolators.", "Catherine: Exactly. Because I suspect that sound vibrations may be the ultimate cause of the collapse.", "(CATHERINE turns on the player and Beethoven's Symphony No. 5 in C minor, Op. 67, First Movement, allegro con brio, starts playing over the speakers.)", "Paul Newsome: Are you saying Beethoven brought down the building?", "Catherine: No, but, uh, maybe F-16s and whatever else they're flying out of Nellis Air Force Base.", "(CATHERINE turns around and turns the volume up.)", "Catherine: Now, I ramped up the decibels on the stereo to maximize the vibrations.", "Paul Newsome: Now you've lost me.", "(The speakers vibrate causing the experiment to vibrate. The rubber balls in the tank vibrate also.)", "Catherine: Watch the bouncing balls.", "(Quick Camera close up of the nails in the wooden beam as they start vibrating and rotating.)", "Catherine: The nails are rotating. Like screws. Righty, tighty. Lefty, loosey.", "Paul Newsome: Of course. Loose nails, bounce in the joists.", "Catherine: Multiply that by 50 years of flybys.", "(CATHERINE turns around to the player.)", "(Quick flashback to: An old sepia colored view of the apartment room that segues into a black and white colored view of the apartment that dissolves into a colored view of the apartment that dissolves into another colored, more modern view of the apartment room.)", "(In the background, we hear Beethoven's Symphony playing and we hear various aircraft flying above. The room continues to change and age into the present till finally the entire room collapses.)", "(The ceiling falls; the walls crumble. End of flashback. Resume to present.)", "(CATHERINE turns the volume down.)", "Paul Newsome: (loudly) So you're pointing the...", "(The music stops.)", "Paul Newsome: (normally) So you're pointing the finger at the Air force?", "Catherine: No. You point one finger there's always going to be four pointing back at you. Beetles, sabotage, dry rot and time.", "Paul Newsome: Am I off the hook?", "Catherine: Yes.", "(PAUL NEWSOME smiles and turns to look at the experiment.)", "Catherine: Anything you want to say to me?", "Paul Newsome: As a matter of fact, yes.", "(He turns to look at CATHERINE.)", "Paul Newsome: Could've saved yourself a lot of trouble by not making me a suspect in the first place.", "(He smiles knowingly, then walks away.)", "Catherine: You're welcome.", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM]", "(GRISSOM, BRASS and the rest of the crew sit around the table.)", "Grissom: Okay. Jim got us a court order for production of documents. On the left, the phone records of Kevin Shepherd, Amy Shepherd, Jessica Hall and Justin Green. On the right, their banking records.", "(SARA hits the computer highlighting the transaction on the following sheet. It reads: 03/28/01 $35,000 from 17568932.)", "(The Deposit Confirmation screen pops up. It's the same as shown previously.)", "Sara: Wednesday. 10:02 ... Kevin transferred $35,000 to his mistress, Jessica. Wednesday 2:16 p.m. ...", "Grissom: Jessica transferred the money out of her account. To Justin Green?", "(Another Deposit Confirmation screen pops up. It reads:", "DEPOSIT CONFIRMATION: We have initiated a deposit of Achex payment into your bank checking account. Time of deposit: 2:16 PM", "Deposit Confirmation 9721", "MARCH 28, 2001", "Pay to the Order of: JUSTIN GREEN $35,000.00", "Transfer from: JESSICA HALL 17362551 )", "Sara: Yes. Deposit for $35,000.", "Grissom: Well, if it was a straight-on hit for hire Jessica would've steered clear of the crime scene.", "Nick: Maybe not. In 1997, Jessica and Justin had a joint account. And they shared the same last name.", "Warrick: Whew. Curveball.", "(Quick flashback to: The night of the murders. JESSICA HALL and JUSTIN GREEN watch The SHEPHERDS have dinner.)", "Brass: (V.O.) So Jessica hired her ex-husband to kill her boyfriend's wife.", "(End of flashback. Resume to present.)", "Grissom: All in the family.", "Sara: I can trump that. Sorry, Nick. Thursday, 11:09 A.M. $70,000 was transferred to Justin Green's account.", "Warrick: From?", "Sara: Not Jessica. Not Kevin.", "Grissom: Only one left is Amy.", "Warrick: Yes, that's affirmative. I can trump that. Wednesday, 3:00 P.M. Justin called Amy Shepherd.", "Brass: Oh, I bet I can tell you that conversation.", "(Quick flashback to: AMY SHEPHERD is standing in a parking lot on her cell phone with JUSTIN GREEN.)", "Amy Shepherd: Do you really expect me to believe that?", "Justin Green: Yeah. Look, you've got to know about the affair. Check his bank account. He paid out 35. You want to counter?", "(End of flashback. Resume to present.)", "Sara: Amy Shepherd does the unthinkable. She doubles it.", "Grissom: Why kill one when you and collect over 100 grand?", "Brass: Makes financial sense.", "Grissom: And Justin secures his double cross with an insurance policy. He eliminates the person that hired him. Jessica wasn't stabbed by accident. She was a loose end.", "(Quick flashback to: The night of the murder. JUSTIN GREEN stands out on the sidewalk smoking a cigarette waiting for the SHEPHERDS. He inhales and sees them walk by.)", "Kevin Shepherd: Eight years. People said we wouldn't last. Happy anniversary.", "Amy Shepherd: Happy anniversary.", "(JUSTIN sees them and flicks his cigarette away.)", "(Cut to: AMY SHEPHERD stands at the car when JUSTIN comes up behind her and kills her.)", "(He stands up holding the bloodied knife and walks over to KEVIN and JESSICA.)", "Justin Green: It's over, man.", "(JUSTIN looks at JESSICA and smiles.)", "Justin Green: It's over. Look, you better split. Go call 9-1-1.", "(KEVIN and JESSICA both turn around. The moment KEVIN'S back is turned, JUSTIN attacks him and stabs him in the back. KEVIN falls to the road. JESSICA gasps and tries to stop him.)", "Jessica Hall: Stop! What are you doing?", "(JUSTIN turns around and stabs JESSICA.)", "Justin Green: Shut up, you slut!", "(She falls to the road. JUSTIN turns back to KEVIN.)", "Justin Green: She's always going to be my wife. You're never going to have her!", "(JESSICA gets up and grabs JUSTIN. He pushes her back down again.)", "Justin Green: Get away from me!", "(JUSTIN turns back to finish off KEVIN. JESSICA gets up and makes her way to the SUV. She picks up her bag and gets into the car.)", "(As the car engine starts, JUSTIN turns to see JESSICA drive off.)", "(Cut to: The knife is thrown down the gutter. JUSTIN looks around as he hears a dog barking. He sees the dog and the dog's owner standing there.)", "Justin Green: (to the owner) Call an ambulance!", "(JUSTIN rushes back to KEVIN and fakes giving CPR.)", "(End of flashback.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS and GRISSOM stand around the table in the interview room.)", "Brass: Jessica took the car. You hid in plain sight, offering aid to the victim.", "Grissom: Normally, when they pay to have someone killed they do it so they're not connected to the crime. Why was Jessica even there?", "(JUSTIN doesn't say anything.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - HALLWAY - CONTINUOUS]", "(BRASS and GRISSOM walk out of the interview room.)", "Brass: (to the officer by the doorway) Timmy.", "(TIMMY goes inside the room.)", "Brass: The Shepherds -- to the world they looked like the perfect couple.", "Grissom: You know what they say about looks.", "Brass: They can be deceiving?", "Grissom: They can kill.", "(They both walk off camera frame.)" ]

[ "Grissom's team investigates the kidnapping of the infant child of a rich family. However, when the evidence shows that the family is hiding something, the case takes a darker turn." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]", "[EXT. ANDERSON RESIDENCE - NIGHT]", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - NIGHT]", "(Camera starts on the bottom of the first floor at the base of the stairway, then slowly moves upward toward the second floor.)", "(White flash to: On the second floor, the camera travels slowly down the hallway toward the bedrooms. It rounds the cover into the master bedroom where the ANDERSONS are sleeping.)", "(Suddenly GWEN ANDERSON gets up. She looks out the doorway into her son's room. She gets out of bed and walks down the hallway to the nursery.)", "(All the windows are open. There's a ladder set against the window frame. The wind blows the curtains.)", "(GWEN ANDERSON walks up to the crib and looks inside. She finds nothing. She touches the baby sheets with both hands as if not believing her eyes. She frantically searches the tiny crib, removing the sheets where she finds a sheet of paper.)", "(She picks it up and gasps as she reads it. The paper slips from her fingers back into the crib.)", "(She walks over to the open window, looks out side and screams.)", "Gwen Anderson: No!", "(The camera pulls back downward to show the ladder leaning against the window frame.)", "(STEVEN ANDERSON rushes into the nursery. He looks at his wife, then turns to look down into the crib where he finds the typewritten note. He picks it up.)", "[SCENE_BREAK]", "[EXT. ANDERSON RESIDENCE -- NIGHT]", "(OFFICER cars are parked in the driveway. GRISSOM walks up the drive and checks in with the OFFICER at the door before walking inside. He sees The ANDERSONS in the foyer.)", "Grissom: Excuse me. My name's Gil Grissom. I'm with the Las Vegas Crime Lab.", "Gwen Anderson: Please help us.", "Grissom: I'll certainly try.", "(He puts his kit down on the ground.)", "Grissom: Is that the ransom note?", "Steve Anderson: Yeah. They don't even say how much money they want. They just say that they'll call us in six hours.", "(STEVEN hands GRISSOM the note.)", "Grissom: Have you let anyone else touch this note?", "(GRISSOM reads the note: I have your son. I don't want to harm him. Don't make me. I'll call in six hours with instructions. I advise you not to call the police. )", "Grissom: Police, a relative, anyone?", "Steve Anderson: N-no, just us. Why?", "Grissom: Well, because the person who touched it before you has your son ... and he's just left us the first piece of the puzzle.", "HARD CUT TO END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. ANDERSON HOUSE - MORNING]", "(CATHERINE closes the car door and makes her way toward the house. She meets up with BRASS who fills her in.)", "Catherine: Jim, dispatch said this is a kidnapping? Divorce situation?", "Brass: No papers filed. College sweethearts. Neighbors say they're the salt of the earth.", "Catherine: So this could have been legitimate?", "BRASS They have a security system. But they never put it on.", "Catherine: They say how come?", "Brass: They feel safe in the neighborhood.", "Catherine: Check the premises?", "Brass: Attic, wine cellar, crawl space. No four-month-old baby.", "(They turn and head toward the house.)", "Catherine: Nice digs.", "Brass: Yeah, guy got rich off some dot-com outfit. Moved here from Oregon two years ago.", "Catherine: Bet they wished they hadn't today.", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - DAY - CONTINUOUS]", "(In the kitchen, the FBI fills STEVE ANDERSON in on what he's to do when he gets the ransom call.)", "Steve Anderson: Are you sure he won't hear a click or something?", "FBI Man: He won't. And if he asks, you and your wife are alone. Question him about your son. Ask to hear him breathing. Anything to keep the guy talking. Understood?", "(GRISSOM walks into the kitchen and listens. He looks around the place.)", "Steve Anderson: I don't know. (nods) Yeah, yeah.", "(GRISSOM sees an open bottle of soda out on the counter.)", "Steve Anderson: Okay. Built my own business. I can handle any kind of pressure.", "(GRISSOM walks over to the bottle.)", "Grissom: Was this yours?", "Steve Anderson: Yeah.", "Grissom: May I ask when you opened it?", "Steve Anderson: I don't know. Um, sometime after we called 911.", "(STEVE turns back to the FBI MAN. GRISSOM looks at the bottle, then calls his attention back.)", "Grissom: You mind if I, uh...?", "Steve Anderson: No. Go ahead.", "(GRISSOM picks up the bottle and puts his gloved hand over the mouth of the bottle. He looks around. He walks over to the temperature gauge and checks it.)", "(STEVE ANDERSON watches GRISSOM.)", "Grissom: You have any more of these?", "Steve Anderson: In the fridge.", "Grissom: Thanks.", "(With his hand over the bottle, GRISSOM leaves the kitchen.)", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - LIVING ROOM - DAY - CONTINUOUS]", "(BRASS questions GWEN ANDERSON and her two sons who sit close to each other on the couch. TYLER, the older son, holds on to ROBBIE, who is quietly playing with a phone.)", "Gwen Anderson: Do my boys have to be here? I think this is hard enough for them without having to hear the facts.", "Brass: I understand, but it's best for our investigation if we keep the whole family together.", "Tyler Anderson: (quietly) It's okay, mom.", "Brass: You were saying, Mrs. Anderson?", "Gwen Anderson: Um ... I got up at 4:30, like I usually do to feed Zack. I'm still breast-feeding. And I went down to Zacky's room. I looked in his crib and he was gone. He wasn't there.", "(STEVE walks into the room and takes a seat next to GWEN. GRISSOM follows into the room behind him.)", "Gwen Anderson: And I felt around for him and that's when I found the letter saying that he had been taken and I ... I don't know. I-I think I screamed ...", "Tyler Anderson: You screamed, mom.", "Steve Anderson: I jumped out of bed and I went to her, and that's when we called 9-1-1 from the upstairs hallway.", "(ROBBIE pressing the buttons of the phone he's holding.)", "Robbie Anderson: Nine-1-1-1.", "Tyler Anderson: Give me the phone, Robbie. Give me the phone.", "Grissom: We're going to need a piece of the baby's clothing. Something from his hamper, if possible. We're going to use scent dogs throughout the neighborhood.", "Steve Anderson: I'll go see what I can find.", "Gwen Anderson: No, I know what he wears.", "(GWEN ANDERSON stands up.)", "Catherine: I'll go with you.", "(CATHERINE also stands up. They leave the room.)", "Grissom: I'd also like to get blood samples from each family member.", "Steve Anderson: Why?", "Grissom: Well, the sooner we can eliminate the expected hairs and fibers from within the household, we can begin looking for outsiders.", "Tyler Anderson: Is it going to hurt?", "Grissom: I hope not.", "[SCENE_BREAK]", "[EXT. ANDERSON HOUSE - DAY - CONTINUOUS]", "(OFFICERS open the back of the car to let the scent dogs out. SARA is near by putting on a pair of gloves. The OFFICERS with the dogs head toward the house. GRISSOM walks out of the house. He's carrying the ransom note and two bottles of soda pop.)", "Grissom: Sara.", "Sara: Yeah?", "Grissom: Take this ransom note to Q.D.", "(GRISSOM hands the note to SARA.)", "Sara: Typewritten ransom note? Kidnapper was organized.", "Grissom: I think it's ink-jet not typewriter.", "Sara: I'll get it to questioned documents check for origination prints, the works.", "Grissom: Take every computer and printer from the Anderson house with you.", "Sara: You think the suspect printed the ransom note from inside the house while they were sleeping?", "Grissom: I'm not thinking anything yet.", "(GRISSOM takes the two soda bottles and heads for NICK.)", "Grissom: Nick.", "Nick: (turns around) Yo. (sees the soda bottles) No, thanks, I'm an iced tea man.", "Grissom: It's not a refreshment. It's an experiment. Take this to the lab in a controlled space, 72 degrees Fahrenheit and open it. Keep this in the same room-temp space.", "Nick: Okay, then what?", "Grissom: Process, Nick. Process.", "(GRISSOM gives the bottles to NICK, then walks past him toward WARRICK.)", "Grissom: Baby's bedroom window is open and the ladder's still out there. So canvass the whole grounds from outside to in.", "Warrick: I'm all over it like a cheap suit.", "(WARRICK leaves to head over there. GRISSOM turns around and heads back to the house.)", "Officer: (o.s.) Hey, Grissom! We have the smell dogs set up for you.", "(He nods.)", "(Cut to: WARRICK is near the ladder under the Nursery with a camera in his hand. He finds a shoe print in the dirt. He snaps a picture of it.)", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - BABY ZACK'S ROOM - DAY]", "(GRISSOM takes his kit and walks into the nursery. He looks into crib and puts his kit down. He leans over to look into the crib.)", "Warrick: You see this spiderweb?", "(GRISSOM starts.)", "Grissom: Damn, Warrick!", "(WARRICK is on the ladder outside the nursery window and apologizes.)", "Warrick: I'm sorry. Your ticker okay?", "Grissom: What spiderweb?", "Warrick: Right here.", "(They push the curtain aside to show GRISSOM the spiderweb in the corner of the window frame.)", "Warrick: Kind of hard to get a baby out of a window climb onto a ladder without messing up this web, don't you think?", "Grissom: Well, it could have happened after the abduction. Spiders can build one of these things in a few hours.", "(WARRICK takes a picture of the spiderweb. GRISSOM turns to head back to the crib. WARRICK steps up the ladder intending to climb through the window. GRISSOM looks up and sees WARRICK.)", "Grissom: Warrick? What are you doing? (He motions with his finger.) Go around.", "(WARRICK heads back down the ladder.)", "(GRISSOM checks the crib out and finds a strand of hair. Camera zooms in for an extreme close up.)", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - LAUNDRY ROOM - DAY -- CONTINUOUS]", "(CATHERINE and GWEN ANDERSON walk into the laundry room. GWEN starts going through the laundry basket.)", "Catherine: Oh, you're right on the golf course. That must be nice.", "Gwen Anderson: Steve likes it. I never cared for the game.", "(GWEN finds a jumper and pulls it out of the basket. She sighs.)", "Gwen Anderson: That one's my favorite but Zacky, he, uh ... he liked another one. Here it is.", "(She takes it out and shows it to CATHERINE. She chuckles.)", "Gwen Anderson: There's a little spit-up on it. He liked the way the fabric felt on his skin.", "(She puts the outfit to her face and inhales. She stops, then looks down at her shirt to see her milk leaking.)", "Gwen Anderson: Oh, god.", "Catherine: It's okay. It used to happen to me with my daughter if I didn't get to her right on time.", "(GWEN tries to wipe up the mess as she cries.)", "Gwen Anderson: I can't believe this is happening to us.", "(CATHERINE puts a supporting hand on her shoulder.)", "Catherine: I'll get this to our guys.", "(CATHERINE leaves the laundry room.)", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - NURSERY - DAY -- CONTINUOUS]", "(GRISSOM finds another strand of hair in the crib. He puts it in a bindle.)", "(WARRICK walks into the room.)", "Warrick: What you got?", "Grissom: Two hairs, separate and distinctive.", "(GRISSOM hands the bindles to WARRICK.)", "Warrick: Ah. The plot thickens.", "(GRISSOM walks around the room. He notices something.)", "Grissom: You smell something?", "(WARRICK smells and sees something.)", "Warrick: I smell these dirty diapers over here.", "(GRISSOM kneels down in front of the window.)", "Grissom: It's like a household cleanser. There's a pine smell.", "Warrick: Probably used to clean that diaper pail.", "Grissom: No, it's stronger than that.", "(GRISSOM puts his nose to the carpet.)", "Grissom: It's emanating from this specific spot.", "(GRISSOM opens his kit and tests for blood. It shows positive.)", "Warrick: Baby was killed before it even left the house. Guy tried to cover his tracks.", "(GRISSOM and WARRICK both look at the open window.)", "[SCENE_BREAK]", "[INT. CSI - QUESTIONED DOCUMENTS LAB - DAY]", "(SARA leans over the table, arguing with RONNIE LITRE.)", "Sara: What do you mean you haven't checked for prints? It's a ransom letter.", "Ronnie Litre: Everything in the proper order. You know that. I got five other tests I got to run on this paper before I try to isolate prints.", "Sara: You got anything for me?", "Ronnie Litre: Yeah. The paper's expensive. High rag count.", "Sara: I could have told you that.", "Ronnie Litre: Can you explain these three small vertical dots?", "(On the overhead, he shows SARA what he's talking about.)", "Sara: What? Where?", "Ronnie Litre: The printer that emitted this letter has a spot on the drum.", "Sara: A drum goes around three times to print one page.", "(Quick flash to: Close up of the drum of a printer turning as the paper goes through leaving behind three small dots on the sheet.)", "Sara: So if the Andersons' printer was used ...", "Ronnie Litre: There'd be three small dots on any paper that comes out.", "Sara: No vertical dots.", "Ronnie Litre: And different paper than the ransom letter F.Y.I.", "(SARA makes a face at RONNIE.)", "[SCENE_BREAK]", "[EXT. ANDERSON HOUSE - BACKYARD - DAY]", "(GRISSOM and WARRICK stand outside the nursery window.)", "Warrick: Yeah, this mold I made of that shoe print matches the gardener's boot that I found in the shed over there.", "Grissom: Yeah, well, we need to look for what's out of place.", "Warrick: And a gardener's boot in a garden is not out of place. Well, the Andersons did say the guy's been out of town on vacation for the last three days.", "(GRISSOM'S phone rings. He answers it.)", "Grissom: (to phone) Grissom.", "INTERCUT WITH:", "[INT. CSI - HALLWAY]", "(SARA walks through the hallway.)", "Sara: Ransom note's not from the Anderson's printer or paper supply.", "Grissom: You're breaking up.", "Sara: The Andersons are clear. Whoever wrote the letter did it from a different location and brought it with them.", "Grissom: Are you standing next to the copy machine outside ballistics?", "Sara: You want me to check ballistics?", "Grissom: No. I want you to move away from that machine. Look, check all the printers at Steve Anderson's company.", "(In the background out on the golf course, the dogs bark loudly. WARRICK looks up at the commotion.)", "Grissom: (to phone) Get Q.D. To help you with a warrant. Target all immediate coworkers and disgruntled employees first.", "(WARRICK motions for GRISSOM to follow him as he heads toward the sound of the dogs. GRISSOM puts the phone down, his attention on the dogs.)", "(Even SARA can hear the dogs barking over the phone.)", "Sara: Are those our dogs? Grissom? Grissom!", "(GRISSOM and WARRICK start running toward the commotion. GRISSOM tucks the phone into his pocket.)", "[SCENE_BREAK]", "[EXT. GOLF COURSE - CONTINUOUS]", "(Out on the golf course, the dogs bark frantically. They lead the OFFICERS to a cluster of bushes under the tree. WARRICK and GRISSOM run to the bushes.)", "Warrick: Get those dogs back. Get them back!", "(WARRICK and GRISSOM find the baby dead in the center of the bushes, his body wrapped carefully in a blanket. The officers also reach the site.)", "(The TECH takes a step forward to start taking picture of the scene. GRISSOM stops him.)", "Grissom: Stand back.", "CSI Tech: We got to have pictures. The coroner will be all over us.", "Grissom: (angry) I'll get the pictures!", "(GRISSOM grabs the camera and takes the pictures ... of his foot, of his face. He kneels down and takes more pictures.)", "(WARRICK starts to put on his gloves. Finished, he hands the camera back to the CSI TECH. The CORONER steps forward to take the body. GRISSOM immediately stops him.)", "Grissom: I'm going to take him.", "(Everyone doesn't say anything.)", "[CAMERA IN SLOW MOTION]", "(Over the hill, CATHERINE runs toward the scene. Behind her are GWEN and STEVE ANDERSON.)", "(Cut to: GRISSOM picks up the baby.)", "Gwen Anderson: (o.s.) My baby! Oh, my god!", "(CATHERINE turns around and stops GWEN ANDERSON from running toward the scene.)", "(With the baby in his arms, GRISSOM takes a couple steps forward. He looks up and sees GWEN ANDERSON beside herself while CATHERINE and STEVE try to calm her down.)", "Gwen Anderson: It's my baby! My baby! My baby!", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - LAB - DAY]", "(WARRICK takes the sample of hair from the nursery and checks it under the scope. While he works, he listens to the news report on the television set.)", "Paula Francis: (on television set) The Andersons, who own a profitable internet company in Las Vegas, are said to be devastated by the death of little Zachary. As for leads, the police will only say they have widened the investigation to include employees of Steve Anderson's company. Immediate coworkers are being asked to give DNA samples. By all accounts, the employees are complying voluntarily. One of them is quoted as saying \"anything to help Mr. and Mrs. Anderson in their time of grief.\"", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(DR. ROBBINS goes over his findings with GRISSOM.)", "Dr. Albert Robbins: I can't give you exact time of death, but I do know cause of death was asphyxiation.", "Grissom: He was smothered.", "Dr. Albert Robbins: (nods) The retinal hemorrhages are the result of intercranial pressure from an edema. The edema was caused by an acute lack of oxygen.", "Grissom: Smothered how? Did you find hand marks? Trauma around the mouth or nose?", "Dr. Albert Robbins: No.", "Grissom: He was in a blanket when I found him ... wrapped pretty tight.", "Dr. Albert Robbins: Positional asphyxiation? Maybe. Abductor might've tried to protect him from the cold. Suffocated him by mistake. I'm going to run tests on a microscopic fiber I found in his throat.", "(DR. ROBBINS picks up a fiber from the side to show to GRISSOM. Camera zooms in for a close up.)", "Dr. Albert Robbins: But I don't think his death was benign, Gil. Or accidental. Sternum was cracked. X rays say the fracture is fresh. Manhandled and suffocated. This little guy didn't have a chance.", "(ROBBINS turns to look at GRISSOM after he doesn't get a response from him.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(GRISSOM walks rapidly through the hallway. He sees SARA with a tech helping her carry the prints into the lab.)", "Grissom: Are those from Anderson's company?", "Sara: Yeah. There's like 200 of them in that place. I'm going to test them against the ransom note, one by one.", "Grissom: You got homicide's list of disgruntled employees?", "Sara: Not yet. They're still working on it.", "Grissom: (angry) You call homicide back and tell them to get us that list now.", "(GRISSOM turns and continues down the hallway leaving a stunned SARA behind. He sees WARRICK walking by with a file folder in his hand.)", "Grissom: Hey.", "(WARRICK stops to talk with GRISSOM.)", "Warrick: Hey.", "Grissom: Where are we on those DNA samples?", "Warrick: I got the hair samples from the baby's crib ready for comparison.", "Grissom: Yeah? So answer my question.", "Warrick: Well, DNA's jammed. Sanders says he'll get to the blood comparisons ...", "(GRISSOM heads for the DNA LAB leaving WARRICK mid sentence.)", "Warrick: ... as soon as ...", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY -- CONTINUOUS]", "(GREG is in the quiet lab sitting at the table working.)", "Grissom: I hear you're backlogged.", "Greg Sanders: Twenty \"unknowns\" from some drug shoot-out. FBI special request. Sheriff told me to clear it off my counter before I do anything else.", "Grissom: These?", "Greg Sanders: Yeah. You can almost smell Quantico, you know?", "(GRISSOM grabs the paperwork in front of GREG and puts it aside on the cart with all the samples on it. He then pushes the car out the door and into the hallway where it stops when it hits the wall.)", "(Everyone stops as they see the cart.)", "(NICK steps out into the hallway to see what's up.)", "Grissom: (to GREG) There. Now they're off your counter.", "(GREG doesn't say anything. He nods. GRISSOM takes out a file folder and the samples.)", "Grissom: Zachary Anderson, DOB 01-23-01. Date of death, three hours ago. Until we find out how and why ...", "(GRISSOM puts the tray full of blood samples from the ANDERSON case in front of GREG.)", "Grissom: ... this is the only case you work on.", "Greg Sanders: Yes, sir.", "(GRISSOM steps out of the lab. In the Hallway, NICK and SARA watch.)", "Nick: Never seen him like this before.", "(NICK heads in one direction. Concerned, SARA heads to go find GRISSOM.)", "(She turns the corner and sees him walking through the hallway.)", "Sara: Grissom?", "(He turns around, still angry.)", "Grissom: What?", "(SARA walks right up to him and talks softly.)", "Sara: You told me a few weeks ago that nothing is personal. No victim should be special.", "(GRISSOM stops as he definitely remembers telling SARA that back in 1X16: Too Tough to Die. SARA pauses.)", "Sara: Everyone follows your lead.", "Grissom: Everyone didn't find that baby. I did. And that little boy is dead because someone lost their temper or screwed up, or god knows what. So, excuse me, but this victim is special.", "(GRISSOM turns to leave and finds himself facing CATHERINE.)", "Catherine: (quietly) Mr. and Mrs. Anderson are calling. They want to know why you refuse to release the body for burial. They said that you gave the coroner strict instructions.", "(He sighs.)", "Grissom: You better drive.", "(GRISSOM leaves.)", "Catherine: Sure.", "(CATHERINE looks up at SARA. The two share a look. She then turns to follow GRISSOM. Camera holds on SARA.)", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - DAY]", "(GRISSOM and CATHERINE explain the situation to The ANDERSONS.)", "Grissom: I'm very sorry, but we have to preserve the evidence in a case like this. And, as difficult as this sounds, Zachary is evidence.", "Catherine: We need to refer to him as the case unfolds.", "Gwen Anderson: Well, do you have any leads? Any idea who did this?", "Grissom: Your child was found five hundred yards from your back door, in clean clothes wrapped in a white blanket, laid carefully under a statuary.", "Catherine: A stranger wouldn't treat a victim like that.", "Steve Anderson: You think we had something to do with this?", "Grissom: The FBI tells us that you never received a call from the abductor. What kind of a kidnapper forgets to call the family?", "Catherine: A wealthy family.", "Steve Anderson: My lawyer warned me that you were going to try this. (angrily shouts) You don't have a suspect so now you're going to come after us.", "Grissom: But you have nothing to hide.", "Steve Anderson: (yells) You're damn right we don't!", "(There's a light knock on the door. WARRICK walks into the house carrying an envelope.)", "Warrick: I thought I'd deliver this in person. DNA came back on the entire family.", "(GRISSOM looks at the results.)", "Grissom: The blood we found in the baby's room ... It belongs to your son Tyler.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(GRISSOM and CATHERINE interview TYLER ANDERSON with his parents sitting beside him.)", "Tyler Anderson: I was playing ball in the backyard and I cracked Zacky's window. Dad had told me not to hit the ball towards the house. So I went up and replaced the window before anyone got home and I cut my finger on the glass.", "Grissom: And you wiped up the blood with some type of pine cleanser.", "Tyler Anderson: I thought I got it all.", "Grissom: Let's go back a second, Tyler. You said that you baby-sat for Robbie and Zack last night, right?", "Tyler Anderson: I told the police that this morning.", "(BRASS walks into the room and closes the door.)", "Steve Anderson: We had a homeowner's association vote meeting. It was just five doors up from our house.", "Gwen Anderson: I had, uh ... I had made dinner and then Steve and I walked up to the clubhouse. We were gone maybe 30 minutes, until 9:00.", "Brass: We contacted the Association. The story checks out. I also did a background search. Tyler has quite a temper on him, don't you, Ty?", "Tyler Anderson: What?", "Brass: You were expelled from school twice last year for physical altercation.", "Steve Anderson: That was schoolyard stuff.", "Catherine: Beat up a 12-year-old in the school stairwell.", "Tyler Anderson: He made fun of my mother. I wasn't going to let him get away with that.", "Brass: Your brother Zack say something you didn't like you weren't going to let him get away with either?", "(TYLER surges to his feet.)", "Tyler Anderson: (shouts angrily) Don't talk about my brother that way, you b*st*rd!", "(STEVE gets to his feet.)", "Steve Anderson: Sit down! Now.", "Gwen Anderson: He's, uh ... he's upset. He is not usually like this.", "Tyler Anderson: (whispers) People are calling us killers. And I miss my little brother.", "Grissom: That still doesn't mean you didn't kill him.", "[SCENE_BREAK]", "[INT. ANDERSON HOUSE - DAY]", "(The front door opens. CATHERINE and GRISSOM walk into the foyer.)", "Catherine: So what are we looking for?", "Grissom: I don't know.", "Catherine: Well, let's start up and work our way down.", "(CATHERINE heads up the stairs. GRISSOM follows her.", "(Cut to: [TYLER'S BEDROOM] CATHERINE looks through the shelves. She finishes and looks around.)", "(Cut to: [MASTER BEDROOM] GRISSOM opens the closet door and looks inside.)", "(Cut to: [TYLER'S BEDROOM] CATHERINE checks the bedside table and under the bed where she finds several magazines for PLAYPEN, BOUDOIR.)", "(Cut to: [MASTER BEDROOM] GRISSOM finds a pair of stockings on the shelf in STEVE'S closet. The stockings has green stains on them.)", "(Cut to: CATHERINE opens the cabinet doors and looks inside. She finds an empty plastic storage wrapper for a white Baby Blanket, 100% Egyptian Cotton. Made in the U.S.A.)", "(Cut to: [KITCHEN] GRISSOM opens the various cabinets. He looks and finds a roll of white plastic trash bags. He looks at the ripped edges. Camera zooms in for a close up of the edges. He reaches for a bag to put the roll into.)", "[SCENE_BREAK]", "[INT. CSI - LAB - DAY]", "(NICK explains his experiment findings to GRISSOM.)", "Nick: Here's the father's bottle of cola -- here's the unknown. I duplicated conditions and monitored the pressure that escaped from the father's bottle which he told you had been open two hours against one I know was open two hours. Kept this log. Pressure released every quarter hour.", "(GRISSOM looks at NICK'S notes.)", "Grissom: Good, Nick.", "(NICK nods.)", "Grissom: Did you find any ethanol on the lip of that bottle?", "Nick: Well, I've got trace running tests now, but I did an unscientific whiff test.", "(NICK passes the bottle under his nose to illustrate.)", "Nick: Picked up a hint of some kind of booze.", "Grissom: Call me when you get the results.", "(GRISSOM hands NICK the bag with the nylons inside.)", "Grissom: See if they can find out what this green substance is on these nylons I found in Mr. Anderson's closet.", "Nick: I'll take a swatch, get it back to you ASAP.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(GRISSOM is looking at the prints under the magnifying glass. He's in the lab with SARA.)", "Grissom: The mother's prints ... the father's prints ... and a set of unknowns.", "Sara: They're not unknown.", "(Surprised, GRISSOM turns to look at SARA.)", "Sara: I ran them against the employees of Steve Anderson's computer company disgruntled and otherwise. They belong to a Needra Fenway.", "Grissom: And who is Needra Fenway?", "Sara: Steve's secretary.", "(SARA turns around and points to the printer on the counter behind them.)", "Sara: So, of course, I checked out her printer. As I'm sure you know, all printers have their own unique signature.", "(She shows GRISSOM the marks on the paper.)", "Sara: These three ... tiny vertical dots from Needra's printer match the ransom note perfectly.", "(GRISSOM turns to look at SARA who smiles. She looks at GRISSOM.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(GRISSOM sits down across from NEEDRA FENWAY. She pulls the coffee cup closer to her.)", "Needra Fenway: Thank you.", "Grissom: Thank you for coming in.", "Needra Fenway: Anything I can do to help. You know, it's ... it's just terrible what happened.", "Brass: Maybe you can explain why your printer was used to create the ransom note found in the Anderson home.", "Needra Fenway: What?", "Grissom: We have evidence that this came from your printer.", "(GRISSOM puts piece of paper on the table in front of her.)", "Needra Fenway: There are 500 people who work in that office. Anyone could have used my printer.", "Grissom: We also found a strand of hair. Our lab has matched it to you.", "Brass: From the Anderson home.", "Needra Fenway: I'm Steven's secretary. I go there.", "Grissom: Do you go upstairs? 'Cause that's where we found this particular hair.", "(She doesn't say anything. But CATHERINE knows.)", "Catherine: You two were having an affair.", "Needra Fenway: We ended it.", "Catherine: Because his wife got pregnant?", "Needra Fenway: I'm not going down this road.", "Catherine: What? A new baby screw up the office romance?", "Needra Fenway: It was more than just an office romance, okay? Much more.", "Catherine: Yeah. Well, a lot of women would understand if you went over there and ... got rid of that baby.", "Brass: Sure. Quickest way to end a guy's marriage.", "Needra Fenway: Okay, I need a lawyer. Is that it? Is that what you're saying here?", "(No one says anything. NEEDRA sighs, then grabs her bag. She stands up to leave. GRISSOM stops her. He takes out the bag with the nylons in it.)", "Grissom: Are these your nylons? I found these hidden in the back of Mr. Anderson's closet. So, did you come to him after you disposed of the baby and ask him to hide them for you?", "Needra Fenway: Talk to Steve.", "(NEEDRA walks out of the room.)", "Catherine: Steve asked her to get out from underneath the obligation of a newborn?", "Brass: Geez. Haven't these people ever heard of divorce?", "(GRISSOM doesn't say anything.)", "[SCENE_BREAK]", "[EXT. HOTEL - NEAR THE POOL - DAY]", "(GRISSOM questions STEVE ANDERSON near the side of the pool.)", "Steve Anderson: Needra didn't kill Zack any more than I did.", "Grissom: How do you explain her hair in the baby's crib?", "(STEVE looks across the other side of the pool where GWEN and the children are. He turns back to GRISSOM.)", "Steve Anderson: We broke up the day that I learned that Gwen was pregnant with Zack. I love Needra but I love my family more. Needra asked if she could see Zack after he was born to help her kind of accept the reality. So, I had her in last Saturday to watch him sleep.", "(Quick flashback to: In the nursery, NEEDRA stands over the crib. End of flashback. Resume to present.)", "Steve Anderson: Gwen had the kids at skating. Needra was out of the house in 15 minutes. You don't believe me.", "Grissom: You've lied to me before.", "Steve Anderson: About what?", "Grissom: You told me that you opened that cola bottle the morning you reported Zack missing. We had a test done. You opened that bottle six hours before you said you did -- the night before -- somewhere around 11:00 P.M. The lab is still testing it. I also believe that you cut it with alcohol.", "Steve: Rum and cola. What does that prove?", "Grissom: Was Needra Fenway in your house that night? Did you catch her suffocating your son?", "(Quick flashback to: In the nursery, NEEDRA stands over the crib smothering the baby as he cries. STEVE and GWEN both rush into the room.)", "Steve Anderson: What are you doing?", "(STEVE pulls NEEDRA off of ZACK. GWEN checks up on him.)", "Gwen Anderson: What have you done?", "(End of flashback. Resume to present.)", "Steve Anderson: That's not how it happened.", "Grissom: Well, why don't you tell me how it happened.", "(Across the pool, a glass shatters.)", "Gwen Anderson: Robbie, what did you do?", "Robbie Anderson: (crying) I'm sorry, I'm sorry.", "Gwen Anderson: All right, I heard you.", "(GWEN cleans up the mess.)", "Steve Anderson: Do we have to have this conversation right now?", "(A woman reporter walks up to them.)", "Las Vegas Post Reporter (woman): Mr. Anderson?", "Steve Anderson: What? Yeah?", "Las Vegas Post Reporter (woman): I'm from the Las Vegas Post. How do you feel about these pictures your secretary sold to the Midnight Informer this afternoon?", "(She hands STEVE ANDERSON some photographs of him with NEEDRA FENWAY.)", "Steve Anderson: Where did you get these?", "Las Vegas Post Reporter (woman): The tabloid's web site. Needra sold them to pay for her legal fees.", "(STEVE looks across the pool over at GWEN.)", "Las Vegas Post Reporter (woman): Mr. Anderson?", "Steve Anderson: (after a long moment) My only comment is that I love my wife very much.", "(GRISSOM puts his head down and rubs his forehead.)", "(The LAS VEGAS POST REPORTER walks away. She heads for GWEN ANDERSON.)", "Las Vegas Post Reporter (woman): Excuse me. I'm from the Las Vegas Post. Can I ask you a few questions?", "(She holds out the photos in front of GWEN. GWEN barely glances at it, her eyes on STEVE sitting across the pool.)", "Gwen: No.", "(The Reporter walks away.)", "[SCENE_BREAK]", "[INT. CSI - BREAKROOM - DAY]", "(In the breakroom, GRISSOM and CATHERINE discuss the case with DR. PHILLIP KANE.)", "Catherine: A wife kills her baby to get back at her husband over his affair. Come on. Any woman would go after the husband, not the baby.", "Dr. Phillip Kane: True. But, in some instances women have been known to kill their children as a way to pay back a spouse. Particularly if it's over an affair and particularly if the child was a male child.", "Catherine: Well, I don't buy it. I just don't buy it, doctor. She really loved that baby.", "Dr. Phillip Kane: Well, Catherine that's why she's in this much pain now.", "Catherine: A guy cheats, but the wife commits murder. How come moms always end up the bad guy with you Freud types?", "Brass: That's because this mother is the bad guy.", "(Everyone turns to listen to BRASS, who just walked into the room.)", "Brass: CNN just dug up a 13-year-old charge against Gwen Anderson. I heard it on the car radio.", "Grissom: What kind of charge?", "Brass: It's called shaken baby syndrome. The oldest boy-- Tyler? When he was a newborn she shook him so hard they had to go to the hospital. She shook the kid unconscious.", "Catherine: Is this authentic?", "Brass: Yeah. They were on the phone with the arresting officer from Oregon. He faxed me this report. Our grieving mother ... her record for child abuse.", "(BRASS hands the file to GRISSOM in front of a shocked CATHERINE.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT -- NIGHT]", "(The car door opens and BRAD LEWIS exits the car before GWEN ANDERSON. There's a large crowd in front of the entrance consisting of various reporters and curious onlookers. Cameras flash as they make their way toward the front door.)", "(GRISSOM exits the front of the building to help.)", "(People push their way toward her. GRISSOM pushes out and grabs GWEN ANDERSON and guides her toward the front door.)", "Reporter (man): Baby killer!", "Female Parent: You should die! FEMALE PARENT: You call yourself a mother? FEMALE PARENT: You're the worst!", "Male Parent: Baby killer! MALE PARENT: Someone should take those other kids from you!", "(On the way to the door, Someone pushing toward them knocks into GRISSOM and hits him in the eye.)", "Male Media: Did you kill Zachary over your husband's affair? Did you act alone or did Tyler help?", "Female Parent: Baby killer! Bitch! Killer! You deserve to die!", "(GWEN ANDERSON and BRAD LEWIS make it to the front door. A reporter stops GRISSOM.)", "Reporter (man): Gil Grissom!", "(GRISSOM turns around.)", "Reporter (man): You found the baby. How hard is it for you to look at Gwen Anderson?", "Grissom: (upset) Let me tell you something. People are presumed innocent ... innocent until a court of law can examine all the evidence and prove otherwise. Until then everything else is ... gossip.", "(Done, GRISSOM heads into the building.)", "WOMan In Crowd: She deserves to be put in jail! REPORTER: Gil Grissom. Gil Grissom!", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT -- CONTINUOUS]", "(CATHERINE presses an ice pack to GRISSOM'S bruised eye.)", "Catherine: Ice.", "Grissom: (grumbling) I don't need this.", "(GRISSOM and CATHERINE sit in the hallway. GRISSOM takes off the ice pack from his eye.)", "Catherine: Just do it.", "(GRISSOM puts the pack back against his eye.)", "Catherine: That was quite a speech you made out there, but between you me and the water fountain ... you think that Gwen Anderson's innocent?", "(GRISSOM puts the pack down, surprised by CATHERINE'S question.)", "Grissom: What? Are you changing teams now? You've been her biggest supporter.", "Catherine: I still am. I'm just ... taking your temperature.", "(GRISSOM puts the pack back against his eye. The door opens and BRASS walks out.)", "Brass: Hey. We're up.", "(They stand up and head to the interview room.)", "Catherine: You didn't answer my question.", "Grissom: You're right. I didn't.", "(GRISSOM throws ice bag in trash can.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "Gwen Anderson: I never meant to hurt Tyler. You have to understand.", "Grissom: You shook him unconscious.", "Gwen Anderson: He was choking.", "Brass: All on his own?", "Brad Lewis: Change your tone or I'll end this right now.", "Brass: Well, it's a legitimate question. But I have to work on my tone. You're right. (clears his throat) I'll try again. All on his own?", "Catherine: Go ahead, Mrs. Anderson.", "Gwen Anderson: He had gotten food in his windpipe. His face was ... turning red. Steve was at work. So, I, I patted him on his back and-and on ... and on his stomach and finally, I turned him upside down and I started shaking him to get the food out ... to ... to dislodge it, and I did. But I realized that I had hurt him, so I called 911.", "Brad Lewis: She was a new mother -- 23 years old. If she'd meant to harm her son why would she call 911?", "Grissom: Did the E.R. find proof that there was food lodged in Tyler's throat?", "Brad Lewis: No. That's why the police were called in. And by the time my client went home and found the chewed food on the kitchen floor it was all too late. She was branded.", "Gwen Anderson: It was a french fry. He'd grabbed it from my plate.", "Brad Lewis: As for the death of little Zachary, my client categorically denies any involvement. She's a victim of an intruder who entered her home and abducted and killed her child. Thank you all for your continued efforts to find the real killer.", "(BRAD LEWIS moves to stand up. GRISSOM stops them.)", "Grissom: Did you know that your golf course paints its grass?", "Gwen Anderson: Excuse me?", "Grissom: It's actually a vegetable dye. Biodegradable. They've been using green dye on television tournaments for several years.", "Brad Lewis: What's your point?", "Grissom: I found a pair of nylons in the back of your husband's closet.", "Brass: We, uh we have a receipt that links them to your client.", "Grissom: The exact same dye from the golf course where Zachary was laid to rest is on your nylons.", "Brad Lewis: She belongs to the club. Grass stains.", "Catherine: But she doesn't play golf. Remember our conversation, Mrs. Anderson? It's not your game?", "(GWEN ANDERSON doesn't say anything.)", "Brad Lewis: If you arrest her now ... you have 48 hours to charge her. You really want to show your hand at the arraignment?", "Brass: (stands up) We'll be in touch.", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - NIGHT]", "(GWEN ANDERSON walks up to the car where STEVE is carrying ROBBIE who has his arms out for mommy. TYLER stands behind them.)", "Steve Anderson: Look. ROBBIE ANDERSON: Mommy, I want my mommy.", "(GWEN walks up to them and instead of taking ROBBIE from STEVE, she walks around them to the car.)", "Gwen Anderson: Hey. Can we just go, please? TYLER ANDERSON: What's going on?", "(Standing near the window watching them, CATHERINE and GRISSOM are both surprised by what they just saw.)", "Catherine: Did you see that?", "Grissom: A mother repelled by her young.", "Catherine: She didn't seem like that type to me.", "(Outside, GWEN is in the car. STEVE hands ROBBIE over to TYLER.)", "Steve Anderson: All right, okay. Here, go to your brother.", "(CATHERINE turns to leave the window.)", "Catherine: I'll catch you later. I want to hear that 911 tape.", "(GRISSOM remains by the window watching. On her way out, CATHERINE passes SARA who walks toward GRISSOM.)", "Sara: Hi.", "Catherine: Hey.", "Sara: Grissom?", "(GRISSOM turns around.)", "Sara: The coroner's been trying to reach you.", "Grissom: Did he nail time of death?", "Sara: 9:00 P.M., But, uh, there's something else. He isolated the fiber found in Zachary Anderson's throat. It's a flame-retardant material -- generic name's metaramid.", "Grissom: From the baby's clothes?", "Sara: Fire-retardant infant's clothes are made out of vinyon. The fiber found in Zack's throat is a stronger chemical treatment. It's found in things that are made to be near fire and flames.", "(Something occurs to GRISSOM and he quickly turns and heads out the hallway. SARA sees him leave and quickly follows.)", "Sara: (eagerly) Hey, can I go with you?", "[SCENE_BREAK]", "[EXT. ANDERSON RESIDENCE - NIGHT]", "[SCENE_BREAK]", "[INT. ANDERSON RESIDENCE - KITCHEN -- NIGHT]", "(GRISSOM opens the door and heads into the kitchen. SARA follows. GRISSOM checks the drawers looking for something. SARA also starts checking the drawers.)", "(GRISSOM pulls out a towel, then tosses it on the counter.)", "(He opens the next drawer and stops. He's found it. The pot holders. SARA looks at them.)", "Sara: Same color as the fiber in Zack's throat.", "(GRISSOM looks at SARA.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]", "(CATHERINE and WARRICK work on the 911 tapes.)", "Warrick: Okay, this is the 911 call from the Anderson house at 4:30 A.M.", "Steve Anderson: (from tape) Our baby has been kidnapped. 493 Fairmark. Please hurry.", "Catherine: Mrs. Anderson wasn't there?", "Warrick: You wouldn't think so but I went ahead and separated out any underlying voices.", "Gwen Anderson: (hysterical) What are we going to do?!", "Warrick: She was standing, like, two meters from the phone.", "Catherine: Yeah, well, it's a legitimate comment. Doesn't make her guilty of anything.", "Warrick: I know, so I checked to see if she was, like, faking her concern. This program measures the stress level of the speakers.", "Gwen Anderson: (from tape) Oh, god, what are we going to do?!", "(WARRICK points to the results on the monitor of the 911 call from: Las Vegas, NV 89109 for (702) 555-0133.)", "Warrick: The stress is real.", "Catherine: Are you familiar with the JonBenet case?", "Warrick: A little.", "Catherine: Well, the police went back, and they found an earlier call that was placed from the home to 911 and the audio tests separated out the son's voice. Now, I'm not saying that Tyler's our guy, but ... we need to check into every avenue.", "Warrick: Well, I did backtrack and there were no other calls that night from the Anderson house-- from the land line, or from the cell phone.", "Catherine: In the parents' name, but did you look under Tyler's? I mean, a rich kid like that's probably got a cell phone.", "Warrick: Yeah. All right, I'll get into it.", "(CATHERINE'S phone rings. She answers it.)", "Catherine: Hello.", "Grissom: (from phone) Anderson's attorney. Seven a.m.", "Catherine: 7:00 A.M.? I'll be there.", "Grissom: (from phone) Bring all the evidence.", "Catherine: Yeah. I'll bring it all. Thanks.", "(CATHERINE stands up and leaves the room. She waves to WARRICK as she goes.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - MORNING]", "[SCENE_BREAK]", "[INT. CONFERENCE ROOM -- MORNING]", "(CATHERINE and GRISSOM walk into the large conference room.)", "Brad Lewis: My colleagues, Messrs. Landry and Frank are representing Steve and Tyler Anderson respectively. Although we're not co-counsel in the strictest sense we've agreed the authorities should have no more than three questions to put to our clients each. After that, we'll accept written submissions only.", "Catherine: Nice ... what money can buy.", "Steve Anderson: My family is done being railroaded by you people so just ask your questions, and let's go.", "Grissom: I don't have any questions. We know what happened in your house the night Zachary died. We've interpreted the evidence.", "Catherine: All right, let's work backwards starting with the cover-up. Sometime around 11:00 P.M. the night of the kidnapping you and Mr. Anderson had a drink -- rum and cola ...", "(Quick flashback to: That night. STEVE ANDERSON pours himself a drink. He drinks and rests his elbows on the counter top trying to think.)", "Catherine: (V.O.) ... and decided what to do with the body of Zachary.", "(End of flashback. Resume to present.)", "Catherine: We have yet to determine whether or not his death was accidental or intentional.", "Grissom: The question documents lab thinks that a parent wrote the ransom note because there's no money amount.", "(He shows them a photocopy of the ransom note.)", "Grissom: Too hard to put a price on your own son?", "Catherine: Mrs. Anderson, while your husband was writing the ransom note, you wrapped Zachary's body in a blanket that you got from the upstairs linen closet.", "(Quick flashback to: GWEN ANDERSON opens the linen closet door and gets a blanket out. End of flashback. Resume to present.)", "Catherine: You then laid his body to rest near a statue on the golf course.", "(Quick flashback to: GWEN ANDERSON carries the baby to the statue on the golf course. She kneels down in the grass. Camera close up of her knee on the grass. She puts the baby down, placing him carefully on the grass. She cries and slowly backs away. She leaves. End of flashback. Resume to present.)", "Grissom: That's how you got the grass stains on your nylons.", "(GRISSOM hands over a photo to BRAD LEWIS to look at.)", "Catherine: You put down a plastic bag from the pantry so that he'd remain dry. Evidence of genuine care and concern.", "(TYLER turns to look at his mom who is slowly falling apart at hearing the story recounted for them.)", "Catherine: And Mr. Anderson you put up a ladder outside the window.", "Grissom: The only shoe prints we found were yours and the gardener's and the gardener has been out of town. You then drove over to your office and cranked off a ransom note on the first available printer ...", "(Quick flashback to: STEVE ANDERSON is in the office printing out the ransom note.)", "Grissom: (V.O.) ... possibly thinking that if you used a printer from outside your house, we wouldn't be able to trace it.", "(End of flashback. Resume to present.)", "Grissom: But these three dots ... have given you away.", "(GRISSOM hands over the photo to BRAD LEWIS.)", "Brad Lewis: This may prove cover-up. None of it proves they killed Zachary.", "Grissom: You're right, counselor. Zachary's life was taken much earlier in the evening. The coroner estimated time of death at 9:00 P.M.", "Brad Lewis: Estimated. It could be 8:30.", "Grissom: Yes. While Robbie and Zachary were in Tyler's care.", "(GRISSOM turns to look at TYLER. GWEN sees where this is heading.)", "Grissom: You said that we could ask three questions each. Am I right?", "Gwen Anderson: Stop. Ty didn't do this.", "Brad Lewis: Don't give them anything.", "Gwen: No, no. It doesn't matter. We're already ruined. Look, they're just ... they're just trying to protect me, all right?", "Brad Lewis: Please.", "Gwen Anderson: And I can't go on.", "Brad Lewis: (warning) Mrs. Anderson.", "Gwen Anderson: I killed him. I came home. Tyler h-h-hadn't put Zachary to bed because he ... he was crying, and I wanted to hush him up and, and I just ... I went too far.", "Brad Lewis: For the record my client made this statement against legal counsel.", "Grissom: Would you tell us ... how you killed him.", "Gwen Anderson: I smothered him with a pot holder. And that's when Steve and I came up with the kidnap story.", "Steve Anderson: It was the longest night of our lives.", "Catherine: You had to wait till morning to report him missing.", "Gwen Anderson: So that it wouldn't look suspicious. And you may not believe me, but I loved him. I loved him very, very much.", "Grissom: We're going to have to have them both arrested.", "(BRAD LEWIS nods.)", "(GWEN and STEVE look at each other.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI -HALLWAY - DAY]", "(CATHERINE and GRISSOM walk into the hallway WARRICK walks out and is surprised to see them back so soon.)", "Warrick: I was just coming to meet you guys. I thought you were at the Andersons.", "Grissom: We're done. She copped.", "Warrick: What?", "Catherine: Guilty people do that when you corner them with evidence.", "Warrick: Guys, the mother didn't do it.", "Grissom: What?", "Warrick: Listen.", "(WARRICK hands GRISSOM the earphones. GRISSOM puts them on and listens to the tape.)", "Tyler Anderson: (from tape) What did you do, Robbie?! What did you do?!", "(GRISSOM looks at WARRICK, surprised. WARRICK nods his head.)", "[SCENE_BREAK]", "[INT. BRASS' OFFICE -- DAY]", "(They re-question TYLER ANDERSON with STEVE ANDERSON sitting next to him.)", "Tyler: I was watching the boys. I had my eye on them; I did.", "(Quick flashback to: ROBBIE is leaning over the crib. He has the pot holder in his hand and holds it over ZACHARY. End of flashback. Resume to present.)", "(GRISSOM flips through the file.)", "Grissom: Yeah. But then you called your girlfriend.", "Tyler Anderson: And we got to talking.", "(Quick flashback to: TYLER ANDERSON on the phone. End of flashback.)", "Tyler Anderson: And I was kind of ignoring Zack and Robbie.", "(BRASS glances over at ROBBIE who is playing with a toy and under the watchful eye of the OFFICER.)", "Tyler Anderson: They were being quiet. They were behaving. I turned around, and I saw how still he was.", "(Quick flashback to: TYLER turns around and looks over at the crib where ROBBIE is playing. He walks over to the crib to check up on the kids.)", "Tyler Anderson: (V.O.) I ran to him, and he was dead.", "(He looks inside the crib and finds that ZACH isn't moving. End of flashback. Resume to present.)", "Grissom: And that's when you called 911.", "(TYLER nods. STEVE turns to look at TYLER.)", "(Quick flashback to: TYLER dialing the phone frantically. ROBBIE stands in front of TYLER, unaware of what's going on. End of flashback. Resume to present.)", "Grissom: But you must have dropped the phone to tend to Zack.", "(GRISSOM reaches for the tape player.)", "(Quick flashback to the phone falling to the floor.)", "Operator: (V.O.) 911.", "Tyler Anderson: (on tape) What did you do, Robbie?!", "(End of flashback. Resume to present.)", "(Quick flashback to: TYLER looks into the crib, down at ZACH. He turns and yells at ROBBIE.)", "Tyler Anderson: What did you do?", "(End of flashback. Resume to present.)", "Grissom: And I guess somewhere in the chaos you got disconnected. Soon after that, your parents arrived.", "(Quick flashback to: GWEN and STEVE walk into the house and find TYLER trying to revive ZACH.)", "Gwen Anderson: Oh, my god. What happened?", "(GWEN rushes over. End of flashback. Resume to present.)", "Grissom: One of you worked on him so hard that you cracked his sternum.", "(STEVE sighs.)", "Tyler Anderson: He was already blue. I pushed. I tried to breathe air into him, but he was gone.", "Steve Anderson: We did everything that we could.", "Brass: Why didn't you just tell the truth?", "Steve Anderson: We wanted to protect Robbie. (his voice breaks) We didn't want him to grow up with the stigma of ... \"the boy who killed his brother.\"", "Grissom: He's three. He's clinically unaware of his actions. No court would hold him accountable for that.", "Steve Anderson: But everybody else would know. It would follow him the rest of his life. And my wife ... would rather go to prison than to have anybody know what Robbie did.", "Grissom: Mr. Anderson, we won't let that happen.", "(STEVE looks at TYLER who turns to look over at ROBBIE playing quietly in the hallway.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- JAIL -- DAY]", "(The doors slide open. GWEN ANDERSON walks out of the cell and waits for the main gate to open. CATHERINE stands there waiting for her. The doors open and they hand GWEN her things.)", "Catherine: Now I know why you didn't want to hold Robbie when your husband handed him to you outside the police department.", "(GWEN puts her jacket on.)", "Catherine: I'm very sorry.", "Gwen Anderson: (sniffles) I always, uh ... I always tell them, \"gentle, gentle.\"", "(CATHERINE nods.)", "Gwen Anderson: He didn't mean it. I know he didn't mean it.", "Catherine: (shakes her head) Of course he didn't.", "(GWEN walks past CATHERINE, then turns around.)", "Gwen Anderson: You must think that we are awful people -- all this stuff that's come out.", "Catherine: You're an average family burdened with a tragedy that put you under a microscope. That close, nobody can look good.", "(GWEN nods and turns to leave.)", "[SCENE_BREAK]", "[HALLWAY - CONTINUOUS]", "(CATHERINE and GWEN ANDERSON turn the corner and meet up with GRISSOM who stands there waiting for them.)", "(Just outside near the windows, the shadow of the crowd in the front of the building can be seen. Camera lights flash.)", "Grissom: Your family's waiting for you. You ready?", "[SLOW MOTION CAMERA]", "(Flanked with both GRISSOM and CATHERINE on either side of her, GWEN ANDERSON heads for the front door.)", "HARD CUT TO BLACK.", "Reporter (man): (V.O.) Will the family be moving? Reporter (man): (V.O.) Will you make any statements? Reporter (man): (V.O.) Comments?" ]

[ "Grissom, Sara and Warrick investigate a deaf man who was run over by a car. However, further investigation shows that he died before the car even struck him. The team's encounters with the dean of the deaf man's school reveals a secret about Grissom. Meanwhile, Catherine and Nick investigate an apparent mob hit that leaves five dead in a coffee shop." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[EXT. ROADWAY -- NIGHT]", "(Women are laughing. A car, Nevada license #OVK 195, drives by. There are two women inside the car.)", "Charlotte: That club was hot!", "Lisa: We're just warming up, my girl.", "(LISA turns the car and CHARLOTTE doesn't recognize where they are.)", "Charlotte: Wait, wait, wait. I don't think this is the right way.", "Lisa: (turns to look at CHARLOTTE) It's a shortcut.", "(She laughs.)", "Charlotte: A shortcut to where?", "(The car hits over something.)", "Charlotte: Stop. Stop the car.", "Lisa: It was just a pothole.", "(CHARLOTTE looks back. LISA looks in the mirror.)", "Charlotte: I think you hit someone.", "(The tires screech as she stops the car.)", "[SCENE_BREAK]", "[EXT. ROADWAY -- NIGHT]", "(The ambulance drives off. The road has been taped off and OFFICERS and other Emergency Personnel walk around.)", "(GRISSOM and SARA get out of the vehicle and make their way toward SGT. O'RILEY who fills them in.)", "Sgt. O'Riley: Blonde behind the wheel. Girlfriend in the passenger seat called it in. Vehicular manslaughter.", "(GRISSOM looks at the body down on the roadway. WARRICK snaps a photo. SARA leans over to look at what he's photographing. There are three evidence markers on the roadway, #2-#4, marking pieces of a car taillight.)", "Sara: Taillight?", "Warrick: Yeah.", "(GRISSOM shines the flashlight in the plastic bag to show the beer inside.)", "Grissom: You been drinking, Warrick?", "Warrick: No. I'm having a block party. I marked it where I found it -- over on the sidewalk over there.", "(WARRICK points to the side. GRISSOM and SARA both turn to look at the body. They put their kits down.)", "(GRISSOM lifts the boy's shirt to expose his chest. SARA takes photos of the chest.)", "Grissom: Two distinct tire treads -- one wide ... one narrow.", "Sara: Given the extensive bruising from the wide tread mark, victim was killed by a larger vehicle. Not that compact.", "(GRISSOM takes off his glasses and looks over at SGT. O'RILEY who is walking toward the car with the two girls. He stops and turns around when GRISSOM calls to him.)", "Grissom: Hey, O'Riley, I wouldn't book those suspects just yet. I think they ran over a corpse.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. ROADWAY -- NIGHT]", "(NICK flashes the siren on and off to get SARA and GRISSOM'S attention. SARA and GRISSOM head toward the car where NICK and CATHERINE are inside.)", "Sara: What's up?", "Nick: We got a call about ten minutes ago-- a shooting at Vegas Grounds Coffee Shop, eighth and main. Multiple fatalities.", "Catherine: We want this one.", "Grissom: You guys get over there. Keep me in the loop. Keep the media out of it.", "Catherine: Right.", "(CATHERINE shifts in her seat and coughs to get GRISSOM'S attention.)", "Catherine: Hey, remember about three months ago I applied to the American Academy meeting in Chicago? Well, the deadline for your approval is end of shift today.", "Grissom: It's not a problem.", "Catherine: There's important papers to be presented ...", "Grissom: You don't have to explain -- Consider it done.", "Catherine: Thank you.", "Grissom: Good luck.", "(GRISSOM turns to let them leave.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DR. ROBBINS goes over his findings with GRISSOM, SARA and WARRICK.)", "Dr. Albert Robbins: Printed your hit-and-run. AFIS found a match -- Brian Clemonds, 22, born in Vegas, and he's deaf.", "Sara: You can tell he's deaf by his fingerprints?", "Dr. Albert Robbins: Actually, yes -- he was printed as part of a state aid program in '81. To confirm, I examined his ear canal.", "(Quick CGI POV to: Inside the ear to the malleus.)", "Dr. Albert Robbins: (V.O.) Normally, the malleus is shaped like a hammer -- a long, smooth handle connecting to a blunt head -- but Brian's malleus is knotted, both of them-- birth defect.", "(The malleus morphs from normal to deformed. End of CGI POV. Resume to present.)", "Grissom: There's a college for the deaf about a mile from where we found him.", "Warrick: So, Brian takes a walk crosses the street, doesn't hear the car, gets creamed.", "Sara: The vehicle -- probably a truck or an SUV, based on the width of the tire tread-- takes off. Later, along comes a compact - thump -- runs over his dead body.", "Dr. Albert Robbins: Maybe, maybe not.", "(DR. ROBBINS lifts up the sheet to show them the right hand.)", "Dr. Albert Robbins: See the dried blood on his knuckles? No associated wounding. Blood's probably not his.", "Warrick: You know what that means -- smackdown -- the kid was in a fight.", "Sara: That ended in murder.", "Grissom: Did you send a sample of his blood to DNA?", "Dr. Albert Robbins: When you find the suspect you'll nail him with his own body fluid.", "Grissom: Has his family been notified?", "Dr. Albert Robbins: Not yet.", "[SCENE_BREAK]", "[EXT. VEGAS GROUNDS COFFEE SHOP -- NIGHT]", "(The ambulance drives away. CATHERINE and NICK walks up the sidewalk to the coffee shop.)", "Nick: One person dead, it's a shame; more than one's a party.", "Catherine: Get ready to pull a double.", "Nick: Thank you.", "(CATHERINE and NICK sign in with the OFFICER near the door. They walk into the crime scene and look around.)", "(NICK heads for one of the bodies. He notices the CD player and picks up the earphones to listen.)", "Nick: Speed metal. Couldn't hear a bomb go off over this.", "(BRASS walks up to them.)", "Brass: Welcome to the caffeine wars. I got four dead, one on the way to the hospital. The kid who belonged to those headphones.", "Catherine: I count two -- where are the others?", "Brass: One behind the counter. One in the back room.", "Nick: Guy wasn't light with the ammo. This place is raining shell casings.", "(CATHERINE walks up to one of the bodies and recognizes him.)", "Catherine: Hey, I know this guy.", "Brass: I bet you do. Who doesn't know Frankie Flynn? Used to own the Orpheus. Lost his gaming license a couple of years ago.", "Catherine: Oh, yeah. Too many dips in the chips.", "Brass: Yeah, you got that r", "Nick: Who's the muscle?", "Brass: This is Al Robson -- Frankie Flynn's bodyguard.", "Nick: Cash taken?", "Brass: Till's full, and all the wallets are accounted for. I don't think anyone was interested in the, uh, cash ... or the coffee.", "(NICK and CATHERINE both head for the back of the counter.)", "Nick: You're thinking hit?", "(BRASS looks around.)", "Brass: Maybe. Frankie drives a bulletproof car. What does that tell you?", "(CATHERINE sees the dead girl behind the counter and closes her eyes for a moment. She sighs.)", "Nick: She's probably still in high school.", "(CATHERINE turns and heads for the back of the shop. She pushes the door open. She and NICK both see the other girl dead at the back of the room. NICK groans at the sight.)", "(CATHERINE closes her eyes. NICK walks past CATHERINE to check on the body.)", "Nick: Bless her heart.", "(He kneels down. BRASS walks into the back.)", "Catherine: Assuming Flynn was the target, and it was a hit the shooter followed Flynn ...", "(Quick flashback to: [SHOOTER'S POV] of FRANKIE FLYNN and AL ROBSON as they walk into the coffee shop.)", "Catherine: (V.O.) ... in the front door ... shot the muscle first ...", "(The SHOOTER raises his gun and points at AL ROBSON first. ROBSON reaches for his gun, but the SHOOTER fires. ROBSON goes down.)", "Catherine: (V.O.) ... then Flynn ...", "(The SHOOTER turns and fires at FLYNN.)", "(Cut to: The BOY with the ear phones on senses someone approach him from behind. He turns.)", "Catherine: (V.O.) ... and some poor kid minding his own business.", "(He stands and the SHOOTER fires.)", "(End of flashback. Resume to present.)", "Catherine: The girls were last.", "(Quick flashback to: THE SHOOTER walks around the counter to the first girl hiding behind the counter. He fires.)", "(The final girl hears the gunfire and tries to run out through the back.)", "Catherine: (V.O.) ... four dead. One is still alive.", "(End of flashback. Resume to present.)", "(BRASS' beeper goes off. He checks it and reads the message.)", "Brass: Make that five. Guy died on the way to the hospital.", "(CATHERINE turns around to look at BRASS.)", "[SCENE_BREAK]", "[EXT. /INT. CLEMONDS RESIDENCE -- NIGHT]", "(GRISSOM and an OFFICER walk up to the door. GRISSOM rings the door bell. The light goes on inside.)", "(The porch light goes on outside and the door opens.)", "Grissom: Mrs. Clemonds?", "Mrs. Clemonds: Yes?", "Grissom: My name is Gil Grissom. I'm with the Las Vegas Crime Lab.", "(He holds up his ID for her to look at.)", "Mrs. Clemonds: Crime lab?", "Grissom: May I come in for a minute?", "Mrs. Clemonds: Okay.", "(She steps aside and GRISSOM walks into the house. The officer waits outside. She closes the door. GRISSOM steps inside and looks around. He notices the bell near the floorboards.)", "Mrs. Clemonds: My son is deaf. That bell is connected to the doorbell.", "Grissom: The bell sets off vibrations which reverberate on the floorboards so that he knows someone's at the door.", "Mrs. Clemonds: Yes.", "Grissom: Mrs. Clemonds, I'm here about your son Brian. There's no easy way to say this.", "(She starts to cry.)", "Mrs. Clemonds: Oh, god, please, no.", "Grissom: Brian was killed tonight.", "Mrs. Clemonds: No, no, no.", "(She slowly sits down on the couch, crying.)", "Mrs. Clemonds: This is my fault.", "Grissom: No. No, it's not.", "Mrs. Clemonds: When I was pregnant, I had the German measles and the virus took away his hearing. It's my fault.", "Grissom: No, Mrs. Clemonds... we think he might have been murdered.", "Mrs. Clemonds: (shakes her head) Murdered?", "Grissom: Would you like to talk to a Family Services Counselor?", "Mrs. Clemonds: (she laughs weakly) Talking is overrated, Mr. Grissom. Just find out who did this to my boy. Please.", "(He nods slightly.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DAVID PHILLIPS assists while DR. ROBBINS goes over the bodies with CATHEIRNE.)", "Dr. Albert Robbins: It's been a hell of a night. First the deaf kid, now a hit. It's going to take a while to process all the bodies.", "Catherine: What do you know about Flynn?", "Dr. Albert Robbins: I always start with the celebrities. Frankie Flynn, 38 gunshot wounds to the head and the abdomen.", "Catherine: Any bullets recovered?", "Dr. Albert Robbins: Only one -- out of the head -- nine-millimeter .357. I deal with the pin cushions. Ballistics deals with the pins. Shooter could have saved himself a lot of trouble if he'd waited a month or two.", "Catherine: Why?", "Dr. Albert Robbins: Invasive colon cancer. On his way out.", "Catherine: Guess he got off easy.", "Dr. Albert Robbins: Hmmm.", "(CATHERINE turns to the next body.)", "Catherine: I.D.?", "David Phillips: Erin McCarty, 20.", "Dr. Albert Robbins: Wonder if she even knew she was pregnant.", "Catherine: Just keeps getting better. Someone notify the husband?", "David Phillips: Cop said she's single -- she lives at home with her mother.", "Catherine: How far along was she?", "David Phillips: About six weeks.", "Catherine: She knew.", "(She shakes her head.)", "[SCENE_BREAK]", "[INT. VEGAS GROUNDS COFFEE SHOP -- NIGHT]", "(NICK takes a picture of evidence markers #3 and #4. He reaches down to get a swab of the blood on the floor. NICK puts the swab in the box and closes it.)", "(Cut to: NICK takes out a bullet casing from the wall. The marker on the wall reads: NS-12.)", "Nick: Another nine-millimeter, just like our casings.", "Brass: Yeah. Nine bullets, all the same caliber. Looks like Robson never got a shot off. I wouldn't want him as my bodyguard.", "(CATHERINE walks in.)", "Catherine: Need help with the measurements?", "Brass: Sure.", "(OFFICER METCALF walks in.)", "Officer Metcalf: Captain, I got the manager outside.", "(BRASS walks out to meet with the MANAGER.)", "[SCENE_BREAK]", "[EXT. VEGAS GROUND COFFEE SHOP - NIGHT -- CONTINUOUS]", "(OFFICER METCALF points out the MANAGER to BRASS.)", "Brass: Okay.", "Officer: That's the guy right there.", "Brass: This one?", "Officer: Yep. That's the one.", "(BRASS clears his throat to get the MANAGER'S attention. CATHERINE and NICK follow.)", "Brass: I'm Detective Brass. Catherine Willows. Nick Stokes from the crime lab.", "Brad Kendall: Brad Kendall. I heard it on the news. They're saying it was some kind of a hit. Where are Erin and Alice?", "Brass: They didn't make it.", "(BRAD KENDALL sighs.)", "Brad Kendall: Did you call their parents?", "Nick: Once the coroner makes a positive I.D. Their families will be notified.", "Catherine: Shooting occurred around closing time. Is it customary for your employees to close up?", "Brad Kendall: (upset) Erin locked up twice a week -- 10:00 on the nose. She was training Alice - moving on at the end of the month. I can't believe they're gone.", "[SCENE_BREAK]", "[EXT. GILBERT COLLEGE OF THE DEAF - DAY]", "[SCENE_BREAK]", "[INT. GILBERT COLLEGE OF THE DEAF - DR. GILBERT'S OFFICE -- DAY]", "(SARA and WARRICK try to talk with DR. GILBERT with the use of an interpreter. Neither SARA nor WARRICK have much experience in this area and don't fare very well.)", "Sara: (loudly) Dr. Gilbert ...", "(SARA turns around to look at the interpreter who stands behind them.)", "Sara: (looking at the interpreter) We need your help. Brian Clemonds was murdered.", "(DR. GILBERT can't see what SARA'S saying.)", "Warrick: Was he having any difficulties?", "(WARRICK turns around to look at the interpreter \"talk\" to DR. GILBERT.)", "(SARA turns to look at the interpreter.)", "Sara: Anyone have a grudge against him?", "(DR. GILBERT watches them, then shakes her head. SARA misinterprets the motion and then continues her questioning, but she's again looking at the interpreter.)", "Sara: We understand you don't want a homicide investigation upsetting your students.", "Jane Gilbert: I'm severely deaf, and I can communicate fine. I'd appreciate it if you'd look at me when you speak to me. I wear a hearing aid and I can read lips. You could have asked if I needed an interpreter.", "Sara: I'm sorry. I didn't mean to offend you.", "Jane Gilbert: There are 152 students at my school. We live together, we study together, we eat together. We're a family. And Brian is dead.", "Warrick: Dr. Gilbert, we're just following protocol. We need to speak with Brian's friends; his roommates.", "Sara: We'll also need access to his records.", "Jane Gilbert: The crime didn't happen here -- it happened out there.", "Sara: I'm not accusing anybody of anything.", "Jane Gilbert: Neither am I, but there are more of you, right? Send someone else - someone with more understanding of this school of my students.", "Warrick: But we're here now, and evidence is time-sensitive.", "Jane Gilbert: How can you solve a crime without understanding the victim?", "(Frustrated, DR. GILBERT signs to the interpreter. SARA turns to look back at HALLEY.)", "Halley: Um ... she's kicking us out.", "(WARRICK and SARA both leave the office.)", "(HALLEY looks at DR. GILBERT and apologizes to her.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT -- DAY]", "(SARA and WARRICK drive in to the parking lot and park the car. GRISSOM is just getting out of his car.)", "Warrick: Hey.", "Grissom: How'd it go at the college?", "Sara: They're not cooperating.", "Warrick: Yeah, we didn't have a warrant, so she kicked us out.", "Grissom: What did you do?", "Sara: What did we do? We met with the president, asked a few questions.", "Warrick: She was kind of hostile.", "Sara: Like it's our fault we can hear.", "Grissom: All right. Let's go.", "[SCENE_BREAK]", "[EXT. GILBERT COLLEGE OF THE DEAF -- DAY]", "(Back at the college, GRISSOM, WARRICK and SARA make their way across campus.)", "[INT. DR. GILBERT'S OFFICE - DAY]", "(GRISSOM walks into the office.)", "Grissom: Dr. Gilbert? I'm Gil Grissom, with the Crime lab. You kicked my people out of your office.", "Jane Gilbert: Well, I'm kicking you out, too.", "(She stands up and indicates the door.)", "(GRISSOM stops her and signs as he speaks.)", "Grissom: (speaks & signs) Look, your student is dead. Don't you want to know who's responsible? I do.", "(SARA and WARRICK turn to look at each other, surprised to learn this new aspect of GRISSOM.)", "Jane Gilbert: Your people can't solve this crime.", "Grissom: (speaks & signs) Why? 'Cause they don't understand the victim? Help them understand.", "Jane Gilbert: When a deaf person meets a hearing person the hearing person so much as says, \"I'm normal, you're not.\"", "Grissom: (speaks & signs) Is that what you think I'm saying? A student is dead. Maybe you feel responsible. Maybe you're angry. But don't be angry with us. We want to help you.", "Jane Gilbert: If I agree to cooperate you will include me in your investigation?", "Grissom: Yes, I will. I welcome your involvement. Now, may I see Brian Clemonds' file? Please?", "[SCENE_BREAK]", "[FILE ROOM]", "(GRISSOM looks through the file.)", "Jane Gilbert: I did nothing wrong.", "Grissom: Brian filed six complaints against his roommate -- Paul Arrington.", "Jane Gilbert: Paul lost his hearing less than a year ago-- a tumor. He hasn't adjusted. He's angry.", "Grissom: And he took it out on Brian. Assaulted him. Brian requested a new roommate. Request denied?", "Jane Gilbert: There were no other available beds.", "Grissom: I want to speak to Paul.", "Jane Gilbert: He doesn't read lips or sign.", "Grissom: (speaks & signs) You don't need to hear or speak to communicate. Or ... commit murder.", "[SCENE_BREAK]", "(COMERCIAL SET)", "[SCENE_BREAK]", "[INT. HALLWAY -- DAY]", "(GRISSOM, SARA and WARRICK wait to see PAUL ARRINGTON.)", "Sara: So, you going to tell us how you learned to sign?", "Grissom: No.", "(SARA looks at WARRICK. He doesn't say anything.)", "Sara: Well, the president of the college is a real whack job.", "Grissom: Sara, you see deafness as a pathology. For Dr. Gilbert, her deafness is not her handicap -- it's her way of life.", "Sara: You know, I think you might be siding with her.", "Grissom: As long as you see this as us versus them, you're going to have problems on this case.", "(WARRICK turns and sees DR. GILBERT and PAUL ARRINGTON walk down the hallway toward them.)", "Warrick: The roommate's here.", "(GRISSOM goes to meet them.)", "(SARA turns to look at WARRICK.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(GRISSOM hands a sheet of paper to DR. GILBERT.)", "Grissom: This explains what we're doing.", "[OBSERVATION ROOM]", "(WARRICK and SARA walk in to the observation room to watch.)", "Grissom: (through speakers) I need for Paul to read it.", "Sara: What was that all about? Grissom signs.", "(SARA shuts the door.)", "Warrick: Do you know what Grissom drinks when he goes out at night?", "Sara: He goes out?", "Warrick: Exactly. Who knows anything about that guy? Hey, check that out.", "(They watch as GRISSOM puts a head band on PAUL ARRINGTON'S head.)", "Sara: Oh, I've read about this machine. Very Frankenstein.", "Warrick: Brain printing. They call it a visual polygraph.", "Sara: You've used one of these before?", "Warrick: Yeah, back in '97 Grissom and I used one to interview this rapist. The guy was mute but his brain waves spoke loud and clear.", "Sara: So, you show the suspect slides of the crime scene and if he's our guy ...", "Warrick: ... then the oscillator will give him away.", "[INTERVIEW ROOM]", "(GRISSOM sets the machine up and starts with the first slide. It's of DR. GILBERT.)", "(GRISSOM looks at the monitor.)", "Grissom: Good. He recollects you.", "(DR. GILBERT nods. The next slide goes up of the \"LIBRARY AND LEARNING RESOURCE CENTER\".)", "Grissom: He recollects the college.", "(The third slide of BRIAN CLEMONDS goes up on the screen.)", "Grissom: He recollects Brian.", "(The next slide is of the crime scene where BRIAN is on the roadway.)", "Grissom: This is a shot of the crime scene.", "(GRISSOM looks at the monitor.)", "Grissom: No recollection.", "(The next slide goes up. It's a close up of BRIAN on the ground, dead. DR. GILBERT is mortified by the picture. PAUL tries not to show it, but he's upset by the picture. DR. GILBERT watches PAUL carefully and sees it. GRISSOM watches the monitor.)", "(She reaches out and rubs his shoulder in comfort.)", "Grissom: No recollection of the crime scene or of Brian under these conditions.", "Jane Gilbert: May we go now?", "(GRISSOM notices that the pictures are upsetting to them. He turns the monitor off. He removes the head band from PAUL.)", "(GRISSOM leans over the table and writes something on the pad in front of PAUL. When he's done, he pushes the pad in front of PAUL so he can see it: I'm sorry Paul.)", "(GRISSOM steps back. PAUL looks at the message, shakes his head, then pushes the pad away.)", "(In the observation room, SARA and WARRICK watch as they all head for the door. Before she leaves, DR. GILBERT turns to GRISSOM.)", "Jane Gilbert: If you want to find the killer look outside the school.", "(DR. GILBERT leaves the room.)", "(After a moment, GRISSOM turns to look at the observation room.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(The clock reads 5:17. Although the second hands moves, we hear nothing. GRISSOM stares at the clock. The camera swings down to show that GRISSOM is tapping the tip of his pen down on the table. Again, we hear nothing.)", "(The camera moves over to the tank where GRISSOM keeps his pet spider. He looks down at the spider. We hear nothing.)", "(CATHERINE walks into the room. GRISSOM doesn't notice her.)", "Catherine: (no audio) Grissom!", "(GRISSOM doesn't look up. CATHERINE takes a step closer to his desk.)", "Catherine: (no audio) Grissom!", "(Again, GRISSOM doesn't turn around. CATHERINE starts to look worried at his non-response.)", "(Finally she yells.)", "Catherine: (muffled) Grissom!", "(He starts and turns around.)", "(GRISSOM sees CATHERINE and takes out the ear plugs.)", "(Immediately, the usual sounds of the office bustle is heard. He places the ear plugs on the table.)", "Grissom: Sorry. I was thinking.", "Catherine: About what it's like to be deaf?", "Grissom: About what it's like to hear.", "Catherine: Sara told me that you spoke in sign and now you're putting plugs in your ears.", "Grissom: I'm on a case.", "Catherine: Mm-hmm. Is that why you forgot about the conference?", "Grissom: (confused) The what?", "Catherine: You missed the deadline. No Chicago for me.", "Grissom: (remembers) Oh, Catherine ...", "Catherine: This is the one meeting I needed to attend. I don't always want to be second banana. I can probably do your job. I know that I can do Ecklie's.", "Grissom: I forgot. I'm so sorry.", "(CATHERINE looks at GRISSOM.)", "Catherine: Make sure to submit the paperwork by the end of the day.", "Grissom: I thought you said that it was too late.", "Catherine: Well, I knew you'd forget so I upped the deadline -- gave you a buffer. Don't forget again.", "(CATHERINE leaves the office.)", "(GRISSOM sighs, then looks for the paperwork on his desk to get it done.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(SARA runs the tire treads from the body through the database looking for a match. WARRICK walks into the room carrying an evidence box. He puts the box down.)", "Warrick: Those the tire treads from the crime scene?", "Sara: (nods) I photo'ed the victim's torso and imaged the tread mark-- scanned it -- got it running through a tread assistance CD ROM.", "Warrick: Any hits?", "Sara: Not yet. CD database-- 11,033 patterns.", "(WARRICK exhales at the number as he takes out a shirt.)", "Sara: Could take a while.", "Warrick: Yeah.", "Sara: What are you doing?", "Warrick: Checking out the dead guy's clothes.", "(WARRICK looks at the clothes and finds something unusual.)", "Warrick: Whoa. What are these?", "(Camera zooms in for an extreme close up of some bugs on the shirt.)", "(Curious by his reaction, SARA walks over to take a look. She leans in close.)", "Sara: What?", "Warrick: They look like lice.", "(SARA straightens up and tucks her hair back.)", "Sara: Lice?", "Warrick: Wasn't our dead guy clean?", "Sara: Yeah, he was. Lice adhere to hair follicles. I didn't find any stray hairs on him.", "Warrick: Well, he was in a fight, right? Maybe his attacker had lice and they crawled off on his sweater and they got comfy and the stray hair blew away.", "(GRISSOM walks by the doorway. He sees them inside and stops.)", "Grissom: (to SARA) Hey. Any luck on the tire treads?", "Sara: Computer's still processing but Warrick found something pretty interesting.", "(GRISSOM steps into the lab.)", "Warrick: You know anything about lice?", "Grissom: Yeah. They make your head itch. And, after head colds the most common medical problem affecting children.", "Warrick: Little problem no one talks about, huh?", "(GREG rushes into the lab for GRISSOM.)", "Greg Sanders: Hey, Grissom, can I see you a second, Stat.", "(He looks up and sees SARA. GREG waves to her. SARA smiles back. GREG leaves the lab.)", "(GRISSOM turns around and tells SARA.)", "Grissom: Stay on the tire treads. (SARA nods.) Warrick?", "(GRISSOM leaves the lab. WARRICK rushes to get a sample of the lice.)", "Warrick: Yeah. Right behind you.", "(SARA looks at the evidence package on the table. She reads the label, then opens it up. She pours its contents out onto the table. The three pieces of tail light fall onto the table.)", "(She takes the flashlight and looks at the numbers, SAE(2)AIP2 ... )", "Sara: A few more numbers and this could have been cake.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE]", "(BRASS holds up the LAS VEGAS CHRONICLE with the headline: \"IT'S A HIT, FRANKIE FLYNN MURDERED!\")", "Brass: Guess who used to sign Brad Kendall's paychecks six years ago?", "Catherine: Frankie Flynn.", "Brass: Oh, yeah.", "(CATHERINE grabs the paper just as BRAD KENDALL turns and walks into the office.)", "Brass: Hey, Brad, thanks for coming in. We just got a few more questions.", "(CATHERINE sits down. The door closes behind him.)", "Brad Kendall: Sure.", "Brass: So you used to work for Frankie Flynn?", "Brad Kendall: Yeah. At the Orpheus. I was a waiter in the coffee shop. He came in all the time.", "Brass: Sit down. Sit down.", "(BRAD KENDALL sits down.)", "Brass: Did you see him outside the coffee shop?", "Brad Kendall: (sighs) Once in a while. He owned the place. He was everywhere.", "Catherine: Why don't you tell us about your CCW permit.", "Brad Kendall: I made cash deposits. I carry a concealed weapon.", "Catherine: What kind?", "Brad Kendall: Glock, nine millimeter.", "Brass: We'll need to see the weapon and any spare ammo.", "Brad Kendall: Yeah, of course, I'll bring it in.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GRISSOM and WARRICK follow GREG who walks through the hallway, then stops and turns around to look at them.)", "Greg Sanders: I am the man.", "Warrick: Why? What did you do? Let me guess. You ran a DNA profile on the blood from the dead guy's knuckles and you got a match.", "Greg Sanders: No.", "Grissom: You ran a DNA profile and something very distinctive popped up?", "Greg Sanders: Not quite.", "Warrick: You made it out of bed and you dressed yourself?", "Greg Sanders: No.", "Grissom: What is it, Greg?", "(GREG turns around and points to the scope. GRISSOM puts his things down and looks.)", "Greg Sanders: Just put your nose down the scope.", "[SCOPE VIEW]", "Grissom: Dots of blue light on a red sea.", "Greg Sanders: Pyoverdin.", "Grissom: Pyoverdin. A pigment excreted from pseudomonas aeruginosa which is a bacteria occasionally found in the bloodstream.", "Warrick: So what does that give us?", "Greg Sanders: Your killer has fluorescent blue dots in his blood.", "Warrick: So the guy's a glow-stick. How does that help us track him down?", "Greg Sanders: (laughs) Haven't I done enough for one day?", "(SARA walks into the lab.)", "Sara: We have a lead -- I found a partial serial number on the broken taillight.", "Grissom: I saw it. It's missing six digits. It's useless.", "Sara: Maybe on its own but the tire tread database kicked out a match. The tire belongs to a ford explorer. A p235-75, manufactured specifically for their SUVs. Only one with the same partial serial number is registered in Vegas.", "Grissom: What do you call a guy with blue-dotted blood, lice and keys to a ford explorer?", "(SARA smiles.)", "Warrick: A suspect?", "(GRISSOM turns to look at WARRICK.)", "Grissom: A killer.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - PARKING LOT -- DAY]", "(GRISSOM waits outside as JANE GILBERT'S car (Nevada License #213 OAT) stops and she exits the vehicle. He holds the car door open for her.)", "Jane Gilbert: You found the car that ran over Brian?", "Grissom: Yes.", "(He closes the car door and they head for the building.)", "Grissom: The SUV's registered to Adam Walkey. He's 18 years old; no prior complaints. We're processing it now. I promised to keep you informed.", "Jane Gilbert: (smiling) You kept your word.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "[SCOPE VIEW of the lice]", "(WARRICK looks a the lice on the driver's seat.)", "Warrick: Hmm.", "(SARA stands on the passenger side shining her flashlight into the car at WARRICK.)", "Sara: Lice?", "Warrick: Creepy critters in the driver's seat.", "(SARA looks up and sees GRISSOM walking in to the garage with JANE GILBERT.)", "Sara: So ... that's why Grissom's late.", "Warrick: You just don't like other women in his life.", "Sara: I'm going to pretend I didn't hear that.", "Warrick: Affirmative on the head lice.", "Sara: Taillights match.", "Grissom: We have a suspect.", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(ADAM WALKEY and his LAWYER RANDY PAINTER are in the lab with GRISSOM and SGT. O'RILEY.)", "Randy Painter: I'm advising Adam to invoke his fifth amendment rights.", "Sgt. O'Riley: No charges have been filed and I haven't asked a question.", "Randy Painter: Go ahead and ask. He won't answer.", "Grissom: Well, that's why I suggested we meet here. I don't need him to talk. I just want his blood.", "Randy Painter: Well, for that, you're going to need a warrant.", "(GRISSOM turns to look at SGT. O'RILEY who takes out a sheet of paper from his jacket pocket. He hands it to RANDY PAINTER who takes a moment to read it.)", "Randy Painter: This warrant is for blood ...", "(He looks up confused.)", "Randy Painter: ... and a scalp search.", "(GRISSOM holds up a lice comb.)", "Grissom: It's a licemeister. (and smiles) We're going to comb your hair.", "(RANDY PAINTER and ADAM WALKEY look at each other.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB - DAY]", "(CATHERINE turns the corner and walks into the lab where NICK is already there looking through a scope.)", "Catherine: Talk to me.", "Nick: Good news, bad news. Same caliber, different gun.", "(CATHERINE looks over at BOBBY DAWSON standing inside the lab.)", "Catherine: Bobby?", "Bobby Dawson: Striations don't match.", "(BOBBY points the monitor.)", "Bobby Dawson: The gun that killed those five people at the coffee house isn't your store manager's. The good news is -- all of the nine millimeter bullets fired at the scene ... from the same gun.", "(Quick CGI POV: Camera moves down and inside the barrel of a gun. The gun fires and the bullet exits the barrel. End of CGI POV. Resume to present.)", "Bobby Dawson: You're looking for only one guy.", "Catherine: Well, what about the breach-face marks on the casings?", "Bobby Dawson: (shakes his head) Indeterminate.", "Catherine: Hmm.", "(CATHERINE turns to look at NICK and she sees BRASS walk toward them into the room.)", "Catherine: Well, well ... looks like you got zip.", "Brass: I got a ton of people out interviewing every two-bit stiff that ever had a beef against Flynn. They're all doing the smart thing -- keeping their mouth shut.", "Catherine: So we have no statements or physical evidence indicating it was a hit on Flynn.", "Nick: What we have is five dead bodies.", "Catherine: Yeah ... why?", "Brass: You know something I don't know?", "Catherine: Not yet.", "(BRASS looks past CATHERINE toward NICK. CATHERINE turns around to look at NICK.)", "Catherine: Nick?", "Nick: (shrugs) Smoke and mirrors.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. VEGAS GROUNDS COFFEE HOUSE - NIGHT]", "(NICK and CATHERINE are back inside the Coffee Shop.)", "Nick: If it was a hit, the guy came to the front door took out Al and Frankie, and got the witnesses. Bullets will confirm it. Shooter was standing here when he shot Al ...", "(NICK uses the red laser light to point it toward the \"X\" on the cardboard cut out representing \"AL\".)", "Nick: ... bamm. Once in the chest. This is Flynn.", "(NICK moves over to the next light set up on a tripod and turns it on toward the wall where they found the bullet.)", "Nick: One miss ...", "(He moves to the next light on the tripod and turns it on so the light hits the cardboard cut out representing \"FLYNN\".)", "Nick: ... One hit ... one through and through.", "(The next light goes on and is pointed through the hole in the cardboard cut out.)", "(CATHERINE moves to the other lights set up.)", "Catherine: Headphones.", "(She turns on the lights pointing them at the witness with the headphones who was killed.)", "Catherine: Ricochet. Through and through.", "(NICK walks around the room looking at the ray of lights. CATHERINE walks up close to the cardboard cut out of the witness. She stops and thinks about it.)", "(Camera cuts to a slow pan around the room at the various cardboard cut outs and lights indicating the shots fired. It stops on the laptop monitor of the room layout.)", "(Cut to: NICK and CATHERINE work on the computer laptop.)", "Nick: Each victim gets a different color. Blue beams are isolated. The kid with the cd player was alone.", "(Quick flashback to: The night of the shooting, the kid with the CD player has his back to the action. The camera moves slowly toward him and he turns around. End of flashback. Resume to present.)", "Catherine: Flynn was closest to the door.", "(Quick flashback to: The night of the shooting. FLYNN and AL ROBSON walk into the coffee shop and up to the counter. End of flashback. Resume to present.)", "Nick: Shooter was positioned between Flynn and the front door. Flynn eats it ... ? Nah.", "Nick: I would have taken out big Al ... bodyguard first.", "Catherine: Me, too.", "Nick: Ident found both of the bodyguards' paws on the counter.", "(NICK walks up to the counter and puts both his hands down flat on the countertop.)", "(Quick flashback to: The night of the shooting. AL ROBSON and FLYNN walk into the coffee shop. ROBSON walks up to the counter and puts both hands flat on top. End of flashback. Resume to present.)", "(NICK looks up at CATHERINE who's behind the counter.)", "Catherine: What if the shooter was here when he shot big Al?", "Nick: Big Al would already be dead. It doesn't make any sense.", "Catherine: If the shooter walked through the front door.", "Nick: What if he came through the back?", "(CATHERINE turns around and heads for the back.)", "(Cut to: CATHERINE opens the door. She and NICK walk inside. CATHERINE walks in toward the cardboard cut out that represents ERIN.)", "Catherine: Erin McCarty-- the employee who was supposed to close up.", "Nick: Yeah. Yeah. Shot twice in the back while headed for the rear exit.", "(CATHERINE and NICK start looking around the area.)", "(CATHERINE searches the shelves, then notices something behind the keys hanging on the hooks on the side of the shelves. It appears to be a small dent.)", "Catherine: If she was headed towards the parking lot, how do you explain this ricochet?", "Nick: What?", "(NICK walks over to see what CATHERINE'S found. He looks at the small dent in the shelf and thinks.)", "Nick: Like this.", "(NICK turns off the back room light and heads for the light on the tripod. CATHERINE gets the small mirror and puts it on the shelf to reflect the light. Together, they work to find the missing bullet.)", "(NICK moves the light until it hits the mirror. CATHERINE moves the mirror to show where the bullet could've possibly gone. The light winds up on a bag of", "100% COLUMBIAN.)", "(NICK checks the bag.. He picks it up and opens it. He pours the beans out and finds the missing bullet. He looks back at CATHERINE and smiles.)", "Nick: I love this job.", "Catherine: The ricochet went out into the store. (thinking) There's no hole in the door. There's no hole in the door 'cause the door had to have been open.", "Nick: Assuming Erin was running for her life the shooter follows her in the back room shoots her twice -- he would have been shooting toward the parking lot.", "Catherine: He shot toward the parking lot first and then toward the front of the store.", "Nick: He'd only shoot toward the front if there's somebody there.", "Catherine: So who was in the line of fire? What if we have it backwards? What if ... the shooting began back here ... with Erin?", "Nick: Yeah, and somebody else saw. Frankie Flynn was an innocent bystander. Wrong place, wrong time.", "Catherine: The target was Erin ... the pregnant girl and the rest was damage control.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY / DNA LAB -- NIGHT]", "(WARRICK, SARA and GRISSOM walk through the hallway.)", "Warrick: Adam Walkey doesn't have lice?", "Grissom: Not even lice eggs.", "SARA; Maybe he got rid of them since the other night.", "Grissom: Delousing agents take time to kick in. There would have been evidence of the infestation.", "(They walk into the DNA LAB where GREG is waiting for them.)", "Greg Sanders: Hey... got good news. Walkey's blood sample ...", "Grissom: Pseudomonas aeruginosa?", "Greg Sanders: Fluorescent blue.", "(GRISSOM leans in to look through the scope.)", "[SCOPE VIEW]", "Warrick: Same as the blood we found on Brian's knuckle.", "Grissom: Greg, start a DNA comparison. This gives us enough to hold Walkey.", "(GRISSOM walks out of the lab. WARRICK and SARA follow.)", "Warrick: It's just like Dr. Gilbert said ... the killer came from out here.", "Grissom: Dr. Gilbert can afford her personal bias. We can't.", "(GRISSOM stops and turns around to look at them.)", "Grissom: And we need a lot more than day-glo bacteria to get a conviction.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(NICK and CATHERINE walk through the hallway on their way to forensic pathology.)", "Nick: You really think Erin knew she was pregnant? I mean, six weeks?", "Catherine: Twenty-year-old girl, living at home? She would have taken a test if she was five seconds late -- panic city.", "Nick: Yeah. Brass talked to her parents. There was no guy in her life.", "Catherine: Well, it's not immaculate conception. If the guy was Mr. Right she would have told her folks. Which means he was Mr. Wrong. Maybe Mr. Married.", "[INT. CSI - FORENSIC PATHOLOGY - CONTINUOUS]", "(NICK and CATHERINE walk into pathology. DR. ROBBINS looks up from the counter he's working at.)", "Dr. Albert Robbins: Back for more?", "Catherine: You still have the pregnant girl?", "Dr. Albert Robbins: Mortuary is going to pick her up later this afternoon.", "Nick: Stall them. We want a paternity test.", "Dr. Albert Robbins: At six weeks?", "Catherine: Six weeks with half of someone else's DNA in her body.", "(NICK turns and opens the door for CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(SARA and WARRICK check under ADAM WALKEY'S SUV. They look around. SARA sees something, a tear in the muffler. There's a piece of cloth caught in the tear.)", "Sara: Check this out.", "(SARA reaches up and takes the sample.)", "Sara: This fabric matches the victim's sweater.", "Warrick: That's the muffler. And this is the back of the car.", "Sara: And the taillight was smashed.", "Warrick: There's no way this car was moving forward when it ran over Brian Clemonds' body.", "Sara: Who drives backwards on a downtown street?", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "(SGT. O'RILEY and GRISSOM interview ADAM WALKEY and RANDY PAINTER.)", "Sgt. O'Riley: First degree murder. That's how we see it.", "(RANDY PAINTER looks at ADAM WALKEY and nods.)", "Randy Painter: It's okay. (to O'RILEY) In that case, my client is now prepared to make a statement. Tell him, Adam.", "Adam Walkey: I may have hit the guy.", "Sgt. O'Riley: That's some statement.", "Adam Walkey: Okay. I remember hitting something. It was dark. I-I just kept driving. Didn't look back.", "Grissom: Adam ... we found lice in the driver's seat of your vehicle but your scalp was clean. Was there anyone else there? A witness who might support your account?", "(ADAM WALKEY turns to look at RANDY PAINTER who clears his throat and nods.)", "Adam Walkey: (sighs) Yeah, someone was with me. Mark. Mark Rucker. He can confirm everything I told you.", "(In the hallway, JANE GILBERT walk past the glass walls and heads toward the door. She angrily walks into the break room.)", "Jane Gilbert: I want to see him.", "(GRISSOM looks up.)", "Jane Gilbert: Is that the coward who killed Brian?", "(ADAM WALKEY looks up. DR. GILBERT speaks and signs as she walks slowly toward ADAM WALKEY.)", "Jane Gilbert: (upset) What happened? He scare you? Talk a little funny? Make a lot of noises? Screamed? Or maybe he just looked at you the wrong way?", "Adam Gilbert: Get away from me!", "(GRISSOM appears next to DR. GILBERT.)", "Jane Gilbert: (speaks & signs) You make me sick.", "(GRISSOM takes DR. GILBERT out into the hallway.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY -- CONTINUOUS]", "(DR. GILBERT storms out of the hallway with GRISSOM behind her. She stops and turns around.)", "Jane Gilbert: (accusing) You said you'd include me.", "Grissom: You offered to help with my investigation and now you're compromising it.", "Jane Gilbert: You found the killer.", "Grissom: (speaks and signs) Who says it was a hit-and-run. Not murder. He has a witness.", "Jane Gilbert: Who will lie for him.", "Grissom: The witness can say whatever he wants. The important thing is that Adam Walkey was not alone when he killed Brian.", "(The anger leaves DR. GILBERT as she realizes what GRISSOM is saying.)", "Grissom: Until now, I did not know who was with him.", "Jane Gilbert: And now you do.", "Grissom: His witness is our other suspect.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(NICK walks into the lab toward BOBBY DAWSON.)", "Nick: 911 page?", "(BOBBY DAWSON looks up.)", "Nick: What's up?", "Bobby Dawson: Right gun, wrong barrel.", "Nick: Son of a bitch swapped the gun barrel out.", "Bobby Dawson: Check this out.", "(BOBBY puts in the barrel and shows it to NICK. Camera zooms in for a close up to show the dent.)", "Nick: Could be an incomplete tool mark. Maybe the guy dropped his gun. Either way, we still don't have the barrel.", "Bobby Dawson: This is true.", "Nick: But we've got Kendall's ammo. What about bullet batching?", "Bobby Dawson: Match the bunter marks?", "Nick: Every casing's got two pieces of information on it: Manufacturer and caliber.", "Bobby Dawson: Etched in by an electrodischarge machine.", "(Quick CGI POV of: The etching on the bottom of the casing. End of CGI POV. Resume to present.)", "Bobby Dawson: Every casing from a given batch of ammo has the same markings.", "Nick: So if you compared the casings we collected at the crime scene with the casings from Brad Kendall's gun...", "Bobby Dawson: ... on a microscopic level, we should find similar characteristics ...", "Nick: Which would link Brad's ammo to the crime even though we can't link his gun.", "Bobby Dawson: Not as airtight as matching the barrel.", "Nick: But still enough to build a case.", "Bobby Dawson: What about motive?", "Nick: Well, Catherine's working on a hunch.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]", "(BRASS and CATHERINE question BRAD KENDALL.)", "Brad Kendall: Me? The father? No way. I'm married. I don't fool around.", "Brass: Would you like us to explain the mechanics of s*x in the workplace?", "Catherine: You're the manager. Erin was the employee.", "Brass: You had the power. Happens all the time.", "Brad Kendall: You got it all wrong.", "Catherine: Maybe we do-- we all make mistakes-- but, just to be sure why don't you give us a sample of your DNA and you'll be on your way.", "Brad Kendall: I don't believe this. Talk to anyone. I'm not like that.", "Brass: I've got a court order.", "(BRASS puts the piece of paper on the desk. BRAD KENDALL looks at it, then admits it.)", "Brad Kendall: It was a one-time thing. I didn't even know she was pregnant.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(SGT. O'RILEY and GRISSOM question MARK RUCKER.)", "Sgt. O'Riley: I read him his rights. Last chance for a lawyer.", "Mark Rucker: I didn't do anything. Why would I need a lawyer?", "Sgt. O'Riley: (to GRISSOM) Fire away.", "Grissom: I have just one question: Does your head itch?", "Mark Rucker: (laughs) Do I have to answer that?", "Grissom: I'm going to just, uh ... rearrange your part a little. Hmm. According to Adam Walkey you were with him in his SUV the other night and your head lice ... confirmed his statement. They also tell me that you were driving.", "Mark Rucker: Yeah, yeah, I was with him. And, like he told you, we didn't know he hit the guy.", "Sgt. O'Riley: How do you know what Adam told us?", "(GRISSOM takes off his gloves and sits down.)", "Grissom: Now, why don't you tell us what really happened.", "Mark Rucker: Well, it was around midnight ...", "(Quick flashback to: That night. MARK RUCKER is driving.)", "Mark Rucker: (V.O.) ... and we were listening to the radio. I changed the station. Adam got pissed.", "Adam Walkey: Dude, what are you doing? That song is a classic.", "Mark Rucker: It's not a classic. It's crap. It's always been crap. Now, this ... this is tight.", "(They run over something with a loud thud.)", "Mark Rucker: Wh-what was that?", "Adam Walkey: Probably a dog. Let's get out of here.", "(End of flashback. Resume to present.)", "Mark Rucker: We just kept driving. It's the truth.", "Grissom: The evidence says otherwise.", "Mark Rucker: What are you talking about?", "Grissom: Well, there weren't just lice in the SUV. There were lice on the victim's sweater.", "Mark Rucker: So who cares about lice?", "Grissom: Do you know what lice eat?", "(MARK RUCKER doesn't know.)", "Grissom: Blood. I'm pretty sure I can prove that the lice on Brian Clemonds came from your head.", "Mark: We got out of the car.", "(Quick flashback to: That night. The SUV stops and both men get out of the car. They look at the body in the street.)", "Mark Rucker: We got to call the paramedics.", "Adam Walkey: We tell anybody, we are in trouble. We could go to jail.", "(End of flashback. Resume to present.)", "Mark Rucker: But I didn't want to leave him like that. Adam talked me into it. He had a scholarship to duke next year, you know. He couldn't risk it.", "(GRISSOM sighs.)", "Grissom: Let me tell you what I think happened.", "(Quick flashback to: Earlier that night. As they're driving past the liquor store, they see BRAIN.)", "Grissom: (V.O.) You and Adam saw Brian walking out of a liquor store carrying a six-pack. You're underage. Maybe you wanted him to front you some beer.", "(They lean out the open car window and yell out to him.)", "Adam Walkey: Hey, man, can you do us a favor?", "Grissom: (V.O.) Brian doesn't respond.", "Adam Walkey: Hey! (to MARK) What's his problem? MARK RUCKER: Let's find out.", "(The SUV stops in front of BRIAN and the men get out of the car.)", "Grissom: (V.O.) ... Then you got out of the car.", "(They circle BRIAN and continue to talk to him.)", "Adam Walkey: Hey, moron, we just want you to buy us some beer. MARK RUCKER: How about we just grab yours, huh? ADAM WALKEY: What do you want? MARK RUCKER: What do you say? You going to give it up?", "Grissom: (V.O.) You started taunting him. And then everything escalated.", "(They beat BRIAN up and leave BRIAN on the road.)", "Grissom: (V.O.) The blood on the victim's knuckles led us to Adam.", "(Camera moves from the bloodied knuckles on BRIAN'S hands to ADAM'S bloodied nose.)", "Grissom: (V.O.) The average male loses 80 hairs a day. A stray hair left behind lice, which brings us to you.", "(ADAM brushes his hand through his hair. Slow motion camera follows the single strand of hair as it falls onto BRIAN'S sweater.)", "(The two men leave BRIAN and get back into the SUV.)", "(End of flashback. Resume to present.)", "Grissom: It would have ended there but, as you were about to drive away, something caught your attention.", "(Quick flashback to: That night. Both men are in the SUV and slam their doors shut. They start the car and move forward when they notice BRIAN get up.)", "Grissom: (V.O.) Something in your rearview mirror.", "(In the rearview mirror, they see BRIAN get up and start yelling. MARK puts the car in reverse and hits BRIAN. BRIAN flies backward. MARK continues and runs the car over BRIAN.)", "(Camera close up of the piece of sweater caught in the muffler.)", "(End of flashback. Resume to present.)", "Grissom: And you took off.", "Mark Rucker: I want a lawyer.", "Grissom: Let me tell you something, son.", "Sgt. O'Riley: Gil, the interrogation is over. He's requested counsel.", "(MARK RUCKER looks at GRISSOM smugly.)", "Grissom: Fine. No more questions.", "(GRISSOM slowly gets to his feet.)", "Grissom: Just this. You want to know why Brian Clemonds ran away from you? It was dark, you were shouting at him and he didn't understand what you were saying. Brian Clemonds was deaf.", "(MARK RUCKER looks up at GRISSOM.)", "Grissom: He was afraid of you. But you were more afraid of him ... weren't you?", "(GRISSOM turns to leave the room.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. VEGAS GROUNDS COFFEE SHOP -- DAY]", "(The door opens and BRASS walks inside. CATHERINE and NICK talk with BRAD KENDALL. They show the pictures on the monitor to BRAD.)", "Brad Kendall: What am I looking at?", "Nick: Microscopic surface analysis. This ought to make things more clear.", "Catherine: A bunter tool makes a unique mark.", "(Quick CGI POV to: The etchings on the bottom bullet casing at close up as the tool burns in the mark. Camera pulls back to show the two \"R\" from the bullet casings side-by-side. End of CGI POV. Resume to present.)", "Nick: Casings from your gun are on the right. Casings collected from the crime scene are on the left.", "Catherine: They're identical. You came here that night ... to kill Erin.", "(Quick flashback to: That night. ERIN takes off her smock when the back door opens. BRAD KENDALL walks in.)", "Catherine: You came in through the back. Erin was in the office.", "Brad Kendall: We got to talk.", "Erin McCarty: I'm tired of talking to you.", "Brad Kendall: Listen to me!", "Erin McCarty: I'm tired of listening to you.", "Brad: I will take care of this.", "Erin McCarty: All you take care of is yourself.", "Brad Kendal: Erin, think! Use your head for once. I'm not going to let you ruin my life!", "(The back door opens and ALICE NEELY peeks inside.)", "Erin McCarty: I already have thought about it. I'm going to have this baby and you are going to support it.", "(ERIN walks past BRAD toward the back door.)", "Erin McCarty: I'll let you know if it's a boy or a girl.", "(BRAD takes out his gun and shoot her in the back. ALICE NEELY gasps. BRAD turns around seeing ALICE standing there. He shoots at her and misses. The bullet ricochets off the shelf.)", "(ALICE quickly closes the door and heads back into the main shop. BRAD follows.)", "Catherine: But Alice saw so you shot her.", "(BRAD fires and shoots ALICE.)", "Catherine: (V.O.) You thought that Erin had locked up but there was a kid drinking coffee", "(BRAD looks up and sees the customer at the table. The door opens and FLYNN and AL ROBSON walk into the shop.", "Catherine: ... and then things got out of hand.", "(AL ROBSON walks up to the counter and sees BRAD KENDALL standing there. He puts both hands on the counter and looks over the top where he sees ALICE on the floor.)", "(He looks back at BRAD and reaches for his gun. BRAD fires. He walks around the counter and finishes killing everyone in the shop.)", "(End of flashback. Resume to present.)", "Brass: Brad Kendall, you're under arrest for the murder of Frankie Flynn, Al Robson, Roy Hinton, Alice Neely and Erin McCarty.", "Nick: Six weeks pregnant with your child.", "(BRAD looks down.)", "Brad Kendall: I didn't mean for it to happen like that. I just wanted to talk.", "Catherine: Is that why you brought your gun?", "[SCENE_BREAK]", "[EXT. GILBERT COLLEGE OF THE DEAF -- DAY]", "(GRISSOM and DR. GILBERT sit outside the front of the college.)", "Grissom: Some people are just afraid.", "Jane Gilbert: And that's why they killed Brian. Because he was different. You don't see us as different.", "(Shakes his head.)", "Grissom: You're not.", "Jane Gilbert: (speaks & signs) Who taught you to sign?", "Grissom: (speaks & signs) My mother.", "Jane Gilbert: (speaks & signs) Tell me about her. And use your hands. You're a little rusty.", "(GRISSOM smiles sheepishly at her.)", "[Note: Very loose translation. I'm no expert.]", "Grissom: (signs) She lost her hearing when she was eight.", "(Off of GRISSOM, camera shot of DR. GILBERT.)", "Grissom: (signs) ... loved to swim. I asked her what it was like to be deaf. She told me to stick my head under the water ...", "Jane Gilbert: (laughs and signs) True.", "Grissom: (signs) She taught me not to make fun of \"she\" ... \"you\" ... \"everyone\" ... \"the same\".", "(Camera is behind DR. GILBERT, off her shoulder at GRISSOM then slowly pulls back.)", "Jane Gilbert: (signs) ...", "Grissom: (signs) ...", "Jane Gilbert: (signs) ...", "(Conversation continues ... The only sounds we hear are the water fountain and birds chirping.)", "(Sounds continues ... then fades ... )" ]

[ "Grissom, Nick, and Warrick investigate a jogger who was killed by a vicious dog in the park. The case gets complicated when they discover that the jogger's liver was surgically removed after he was killed. Meanwhile Sara and Catherine investigate the death of a six-year-old girl at a carnival ride, which gets Catherine emotionally involved." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[EXT. LAS VEGAS HIGHWAY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. PARK - DAY]", "(A man is out jogging in the park. He follows the trail as he jogs.)", "(As he runs, he hears a low growl. He stops moving, then turns around.)", "[SLOW MOTION CAMERA]", "(A growling dog, teeth bare and aggressive, jumps and attacks him.)", "[SCENE_BREAK]", "[EXT. PARK - NIGHT -- LATER]", "(The man is on the trail, dead.)", "(Police Officers are there along with other emergency personnel. An Officer leads GRISSOM, WARRICK and NICK to the body. He takes one look at the body and reacts to it.)", "Officer: Aw, jeez.", "(The Officer leaves. GRISSOM glances at him then turns back to the body.)", "Warrick: (to the OFFICER) All right, Guy?", "(NICK kneels down next to the body and looks back up at GRISSOM and WARRICK.)", "Nick: I guess he won't be eating dinner tonight.", "(He snaps a photograph. GRISSOM looks around and sees something. He grabs WARRICK'S hand holding the flashlight and points it up to a point beyond the body.)", "Grissom: I think running man was attacked up there and then dragged or slid down here.", "(Up on the hill nearby are drag marks toward the body. NICK continues to snap photos of the body.)", "Warrick: Look at those wounds.", "Nick: He picked the wrong time of day to be running alone. Dusk is when the animals come out.", "Warrick: Yeah. From what I hear they carved out a piece of this valley when they made the park.", "(DAVID works on the body; GRISSOM continues to examine the wounds.)", "Warrick: (continues) Some mountain lion probably didn't like getting relocated. Mountain lions are brutal.", "Grissom: And smart.", "(He holds the cut shirt away from the wound to show them what he's talking about, then turns to look back innocently at them.)", "Grissom: This one evidently knows how to use a scalpel. HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- NIGHT]", "(GRISSOM walks through the hallway heading automatically to his office. As he reaches the doorway, CATHERINE walks out of his office and they almost bump into each other. He's surprised to see her there.)", "Grissom: Catherine.", "(CATHERINE looks at GRISSOM and doesn't say anything. It's his office she's walking out of. GRISSOM picks up on ... something.)", "Grissom: What are you doing?", "Catherine: (not asking) The carnival case. I'm taking it.", "Grissom: The carnival case?", "Catherine: A six-year-old girl died on a ride at the carnival over on Washington. The paperwork's on your desk.", "(He nods and glances at his office behind her.)", "Grissom: Did you straighten up my office while you were in there?", "Catherine: You think I overstepped? (He shakes his head slightly.) These people come to town, they commit crimes and they leave. I just want to get there before the carnival moves on.", "Grissom: Okay. Take Sara with you.", "(She's one step ahead of him.)", "Catherine: (sighs) She's meeting me there.", "(CATHERINE walks past GRISSOM and leaves him standing in the hallway. He turns to watch her leave.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(GRISSOM walks into the autopsy room. WARRICK and NICK are already with DR. ROBBINS. GRISSOM walks up to the table where they're going over the autopsy findings.)", "Warrick: So, Doc, how big of a cat are we actually dealing with here?", "Dr. Albert Robbins: We're not.", "Grissom: (surprised) We're not?", "(ROBBINS turns to look at GRISSOM.)", "Dr. Albert Robbins: You ever owned a kitten? When you play with them, they don't just bite-- they scratch. Doesn't matter whether they're tabbies or tigers.", "(GRISSOM turns to look at the victim's body.)", "Dr. Albert Robbins: And there's no signs of claw wounds on the victim.", "Nick: So what are we dealing with?", "Dr. Albert Robbins: Forget whiskers. Think spot. Teeth marks look canine.", "(Quick CGI POV to: Camera quick zoom into a dog's open mouth and teeth bare. Cut to: Camera extreme close up of the dog's teeth sinking into flesh with lost of blood spurting out.)", "Dr. Albert Robbins: (V.O.) Bit him right through the jugular.", "(End of CGI POV. Resume to present.)", "Grissom: I was wrong about the species.", "Dr. Albert Robbins: I'll make a mold of the bite. If we're lucky we can narrow it down to breed.", "(GRISSOM looks over at WARRICK and NICK, both acting strangely.)", "(WARRICK turns away.)", "Grissom: What?", "(WARRICK and NICK look at GRISSOM.)", "Nick: Most people don't admit when they're wrong.", "Grissom: (shrugs) I'm wrong all the time. That's how I eventually get to right.", "Dr. Albert Robbins: You weren't wrong about the scalpel. Whoever removed this guy's organs knew how to handle one.", "Nick: So a dog killed him, then someone came along and cut him up.", "Grissom: Someone with two legs and a medical degree.", "[SCENE_BREAK]", "[INT. CARNIVAL - TUNNEL OF LOVE -- NIGHT]", "(The carnival is in full swing. Camera shows the different rides, the crowd milling about, then the Tunnel of Love ride that's still.)", "(CATHERINE and SARA walk under the crime scene tape toward the body of the little girl on the ground.)", "Sara: Thanks.", "(The CORONERS, kneeling down next to the body, puts down a bright blue body bag to gather up the body.)", "Catherine: Stop.", "(The CORONERS look up at CATHERINE.)", "Catherine: (firmly) What are you doing? That bag's been used 100 times. Get her a new one.", "Sara: (puzzled) They get washed every time, right?", "Coroner's Assistant: Yeah-- with disinfectant.", "(CATHERINE puts her kit down. SARA watches her a little concerned.)", "Catherine: What if it was your kid?", "(CATHERINE walks into the open back of the CORONER'S van and pulls out a brand new body bag.)", "Catherine: She gets this one.", "(She hands the bag to the CORONER. He takes it, stands up and steps aside.)", "Coroner's Assistant: Yes, ma'am.", "(CATHERINE kneels down next to the body and looks at it. The little girl is dead on the ground with her eyes wide open. CATHERINE gasps and closes her eyes.)", "Catherine: (exhales) She looks scared. No six-year-old should have to go through that.", "Sara: (concerned) You okay?", "(CATHERINE turns to look at SARA who is watching her steadily.)", "Catherine: Why don't you go find the mother and talk to her. I'll take the crime scene.", "Sara: Okay.", "(SARA turns to leave. CATHERINE stands up and heads for the ride.)", "[SCENE_BREAK]", "[EXT. CARNIVAL - NIGHT]", "(CARLA DANTINI, the mother of the little girl, is crying and relaying the story to SARA. Her boyfriend, HUGH YOUNG, has his arms around her.)", "Carla Dantini: I don't know what happened. One minute Sandy was laughing, holding my hand, and the next ... the next, sh ... oh, my god.", "(She turns her head and cries.)", "(Quick flashback to: CARLA and SANDY are in the Tunnel of Love car as it enters the tunnel. CARLA has her arm around SANDY'S shoulders as it moves. They both giggle and laugh.)", "(Several cuts of CARLA and SANDY enjoying the ride.)", "(Cut to: Suddenly, SANDY falls into the water with a splash.)", "Sandy Dantini: Mommy!", "(Cut to: CARLA is still in the car around looking for SANDY.)", "Carla Dantini: Sandy! CARLA DANTINI: Sandy, where are you?", "(CARLA dips her arms into the water looking for SANDY.)", "(End of flashback. Resume to present.)", "Carla Dantini: (stopped crying) I ... I got out of the car ... (she swallows) ... but I couldn't find her. By the time I got the operators to stop the ride ... she was dead.", "Hugh Young: How can this happen ... at a carnival?", "[SCENE_BREAK]", "[EXT. PARK - NIGHT]", "(NICK and WARRICK are back at the park where the jogger's body was found. They're each carrying a flashlight.)", "Nick: \"Go back to the crime scene. Collect the dog's scat.\"", "(WARRICK laughs. NICK looks around.)", "Nick: I didn't realize how many dogs take their walks up here when I said that.", "(WARRICK looks around at the ground.)", "Warrick: Yeah, but I bet Grissom did.", "(It starts to rain.)", "Warrick: (frustrated) This sucks!", "(They continue to look around and complain while they do.)", "Warrick: But it's evidence, right?", "Nick: No, hair and fiber is evidence, Warrick. This is combat duty.", "(WARRICK leans in for a closer look. He sees something.)", "Warrick: Yeah, it's somebody's \"doody\".", "(NICK turns to look at what's gotten WARRICK'S attention.)", "Nick: Don't even waste your time. That's cougar.", "Warrick: How do you figure that?", "(NICK reaches out and picks it up. He shines the flashlight on it.)", "Nick: See the rabbit hair in the feces? Don't you remember the seminar?", "Warrick: (huh?) Seminar?", "(NICK looks up at WARRICK and shines his flashlight on his face.)", "Nick: Julie?", "Warrick: (remembers) Julie. Oh ... a CSI should not be that fine.", "(NICK chuckles. They continue to look around the area. They see something behind them.)", "(WARRICK reaches out and picks it up.)", "Warrick: What is that?", "(NICK looks at it.)", "Nick: Looks like dirty ice.", "Warrick: Yeah, well, I'm taking it into evidence.", "Nick: It's evidence of a picnic, Warrick.", "(WARRICK puts the ice in a container and holds it up as he looks at it.)", "Warrick: Yeah, well ... we'll see.", "[SCENE_BREAK]", "[EXT. CARNIVAL - TUNNEL OF LOVE EXIT -- NIGHT]", "(CATHERINE interviews THOMAS PICKENS as she stands over the Tunnel of Love car.)", "Thomas Pickens: We've never had a problem with this ride. This is the safest ride we got.", "Catherine: Not anymore. So you didn't know that anything was wrong until this car came out of the tunnel, right?", "Thomas Pickens: As soon as the mom started screaming, I stopped the ride.", "(CATHERINE reaches inside the car and grabs the seat belt. She tugs on it a couple of times, then drops it back into the car.)", "Catherine: Seat belt's loose.", "Thomas Pickens: (not looking at her) I check those every morning.", "Catherine: Did you check this one?", "Thomas Pickens: Yeah.", "Catherine: So do you strap the riders in, or do they do it themselves?", "Thomas Pickens: Lady, it's the Tunnel of Love, not Colossus. People like to get up close and personal on this ride.", "Catherine: So you keep the belts loose on purpose. Loose enough for adults to get close or six-year-old kids to slide through?", "(CATHERINE picks up her kit and walks away.)", "[SCENE_BREAK]", "[EXT. CARNIVAL - TUNNEL OF LOVE -- NIGHT]", "(CATHERINE walks into the Tunnel entrance and looks around. She puts her kit down and takes out a camera. As she walks through the tunnel, she snaps photos.)", "(CATHERINE walks into the water and sees something in the car rail. Camera zooms in to show the fresh markings on the car rail. She snaps a photo of the markings.)", "(CATHERINE looks around and finds a hammer in the water. She picks it up and knows why it's there.)", "[SCENE_BREAK]", "[EXT. CARNIVAL - OUTSIDE - NIGHT]", "(THOMAS PICKENS sits miserably on his seat with the OFFICER in front of him when CATHERINE walks up to them.)", "Catherine: Officer, give us a minute.", "(The OFFICER stands up and leaves. CATHERINE pulls out his chair, but remains standing.)", "Catherine: You tampered with the evidence.", "Thomas Pickens: Ma'am, I don't know what you're talking about.", "Catherine: Spare me the hee haw routine. You run this nightmare on wheels. I found this in there.", "(She shows him the hammer. He looks nervously at it.)", "Catherine: You sent one of your employees into that tunnel to fix the track where that little girl was killed to cover your ass?", "Thomas Pickens: Glad you found that, 'cause puppy's been missing since I rolled into Vegas. Look, I, uh ... I'm sorry as the next jim-jim about what happened, ma'am but ...", "(He absently scratches his arm. CATHERINE sees the movement.)", "Thomas Pickens: ... I ain't got nothing to do with it.", "(CATHERINE walks to the booth nearby and grabs a cup. She holds it out to him.)", "Catherine: Field test for drugs. I'm sure you've done this before.", "(He shakes his head and leans back in his chair.)", "Thomas Pickens: You can't make me take a drug test.", "(SARA walks up to them and listens.)", "Catherine: Oh, before you came to Nevada you should have looked up the law. Mandatory drug testing wherever there's been an accident. Pee now, and don't tell me you're shy.", "(He stands up right in front of CATHERINE, grabs the cup from her and grins. He walks past her toward the OFFICER.)", "Catherine: (to the OFFICER) Stay on him.", "(They leave.)", "Sara: Mandatory drug testing?", "Catherine: Yeah, well, there should be. And I don't have to wait for results to know that guy's coked out of his brain.", "Sara: Cocaine bugs.", "(Shakes her head in disgust.)", "Catherine: Oh ... crawling all under his skin.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM sits in his office behind his desk holding a piece of molding. He odes to it as he looks at it.)", "Grissom: Like David Crosby said, big fella: \"If I'd known I was going to live this long I'd have taken better care of my teeth.\"", "(GREG SANDERS appears in the doorway and leans against the door frame.)", "Greg Sanders: Right you are, Mr. Crime Scene Investigator.", "(GREG walks into the office.)", "Greg Sanders: You know, most dogs have 42 teeth but, as you've discovered, your Cujo only has 41. Woof-woof.", "(GREG sits down in front of the desk.)", "Grissom: Did you ever hear a dog say \"woof-woof,\" Greg?", "(GREG shrugs his shoulders.)", "Grissom: I mean, what is the origin of that? And what do we sound like to them, I wonder.", "Greg Sanders: I don't know. Probably blah, blah, blah.", "Grissom: Did you come here with some particular \"blah, blah, blah\" for me?", "Greg Sanders: Yes. Two words. Paw prints. Your dentally-challenged killer left them all over the vic's clothes.", "Grissom: Greg, you know that paw prints are not the same as fingerprints.", "Greg Sanders: True, and even if they were, we don't have the database. But they can tell you the size of the dog.", "Grissom: And?", "Greg Sanders: And, according to my sagacious calculations, this is a big dog. At least a hundred pounds.", "Grissom: Now if we can just figure out where he went to medical school we'll be home free.", "Greg Sanders: (confused) Huh?", "Grissom: The, uh big dog is a Great Dane-Mastiff mix.", "Greg Sanders: (disappointed) So my paw prints didn't even help.", "Grissom: No, odontology did. Dr. Robbins' dental mold. But, uh it's always nice to have a visit with you, Greg.", "Greg Sanders: Thank you. So now you think you're going to find this dog?", "(He looks at the file in front of him.)", "Grissom: (reading) \"The array of the bite the squarish impression of the jaw are unique to a Dane or Dane mix.\" And there are only 40 registered in the greater Las Vegas area. So if one of them is owed a visit by the tooth fairy ... yes ... I think I can.", "(GRISSOM takes off his glasses and stands up to leave the room with the file in his hands.)", "[SCENE_BREAK]", "[NT. CSI - TRACE LAB]", "(NICK and WARRICK are working in the lab. NICK is looking through the microscope presumably examining the dog scat they've collected at the park.)", "Nick: Corn. Hamburger. Rawhide. But no human cellular tissue in this sample.", "(NICK stands up and grabs a container.)", "Warrick: Only thirty more jars to go.", "(WARRICK and NICK are unaware that GRISSOM walked into the lab.)", "Warrick: This is rough, man. We should be pulling better cases by now. Millionaire murders, casino heists.", "Grissom: It's interesting how we categorize evidence in terms of what it means to us as opposed to what it might mean to the case.", "Warrick: Uh, we're supposed to like scat patrol?", "Grissom: Sometimes we deal with bugs, worms, waste or worse. But, as scientists, we look beyond the possibly offensive qualities of these things to what they might tell us about the puzzle we're trying to solve.", "(WARRICK glances at NICK and scoffs at what he just heard.)", "Warrick: Yeah.", "Nick: (laughs) Man, do you turn it on like this at your seminars?", "Grissom: People actually pay to go to my seminars, Nick. We've I.D.'d the dog.", "Nick: Well, if he's got bits of jogger hanging out of his mouth, cuff him.", "(SGT. O'RILEY appears in the doorway and holds up a file.)", "Sgt. O'Riley: I pulled those rap sheets. Called around.", "Grissom: And?", "Sgt. O'Riley: The one with the missing tooth is no angel. He attacked a gas man checking a meter. Took a chunk of thigh and severed a testicle.", "[SCENE_BREAK]", "[EXT. DR. SUSAN HILLRIDGE'S RESIDENCE - FRONT PORCH - DAY]", "(GRISSOM and SGT. O'RILEY walk up the porch. SGT. O'RILEY rings the doorbell. A dog barks from inside.)", "(The door opens and a woman is standing there.)", "Susan Hillridge: Can I help you?", "Sgt. O'Riley: Are you Susan Hillridge?", "Susan Hillridge: Yes. \"Doctor\" Hillridge.", "(The dog in question barks and trots over to the two men in the doorway. It's a huge dog. He barks again and jumps on GRISSOM, his paws resting comfortably on GRISSOM'S shoulders, standing on his hind legs and bringing his face directly in front of GRISSOM'S.)", "(SGT. O'RILEY automatically reaches for his gun. So do the other OFFICERS in the background standing out in the front yard.)", "(GRISSOM holds the dog's paws while trying to avoid the dog's enthusiastic face licks.)", "Grissom: Is this your dog Doctor?", "Susan Hillridge: (amused) Yes. Simba.", "Grissom: Well, you have a problem.", "(She doesn't seem surprised by this.)", "Susan Hillridge: Oh, no. Not again.", "[SCENE_BREAK]", "[EXT. HILLRIDGE RESIDENCE - DAY]", "(GRISSOM and SGT. O'RILEY question SUSAN HILLRIDGE outside in the front of the house.)", "Susan Hillridge: What makes you think that Simba had anything to do with that jogger's death?", "Grissom: There have been complaints about your dog in the past.", "Sgt. O'Riley: Your meter reader's singing soprano.", "Susan Hillridge: Oh, I get it now. You're talking about my old dog, Dickie. He was aggressive. That's why I put him down. Simba just gets out of the yard a lot.", "(She indicates this dog being held in check by two OFFICERS.)", "Grissom: The dog we're looking for is missing a tooth. I noticed that Simba is also missing a tooth.", "Susan Hillridge: Okay, he is missing a tooth. But he just gets out and wrestles with neighbors' garbage cans. He's not a violent dog.", "Grissom: That may be. We still have to take him into custody until we can determine whether or not he had any involvement in this homicide.", "(SGT. O'RILEY turns and calls out to the OFFICERS.)", "Sgt. O'Riley: Officers, go ahead. He's all yours.", "(The two OFFICERS lead SIMBA away.)", "Susan Hillridge: You're making a mistake.", "Grissom: You said that you were a doctor. May I ask your specialty?", "Susan Hillridge: Nutrition. My patients are mostly professional athletes.", "Grissom: Do you ever consult with amateur athletes? Like marathoners?", "Susan Hillridge: You mean like that jogger? What was his name?", "Grissom: Terry Manning.", "Susan Hillridge: Doesn't ring a bell. And I'm very good with names, Mr. Grissom. You'll let me know when I can pick up Simba.", "Grissom: You're assuming a lot.", "(She takes a step back.)", "Susan Hillridge: So are you.", "[SCENE_BREAK]", "[INT. DNA LAB - DAY]", "(CATHERINE is in the DNA lab while GREG is getting her test results.)", "Catherine: So you did the tox screen on my carny?", "(GREG pulls back from the counter he's leaning on and stands back, hands in his pockets.)", "Greg Sanders: Roger that. You know, I have seen guys drink, like, five gallons of water to try and dilute their urine. It's the old straight flush. But all bad boy Sanders has to do is just test their specific gravity and-- blammo! -- I can still catch their toxic butts.", "Catherine: Mm-hmm. So?", "Greg Sanders: So your guy didn't do that.", "Catherine: Great. What did he do? Try and mask it?", "Greg Sanders: No.", "Catherine: Oh, come on. That creep tested clean?", "Greg Sanders: Yeah. For someone who's on the pill.", "Catherine: What?", "(GREG points to the monitor.)", "Greg Sanders: He's got synthetic estrogen in his urine sample. Should modulate his mood swings.", "(CATHERINE closes her eyes and sighs.)", "Catherine: Oldest trick in the book. Somebody else's urine. Probably keeps a stash in his trailer and that uniform was too green to look for it.", "Greg Sanders: Isn't that in the constitution somewhere? A man's inalienable right to pee in private?", "(SARA opens the door to the lab and walks inside. She lingers in the doorway.)", "Sara: Hey, I just got off the phone with OSHA. Our carnival has violations in eight states.", "Catherine: What a surprise.", "Sara: But that's not all. More than half these guys have records. And Pickens, the boss? His real name is Roger Peet. He's a convicted s*x offender on parole.", "Catherine: Let's go.", "(CATHERINE and SARA head out of the lab. GREG waves them bye.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE, SARA and BRASS interview THOMAS PICKENS/ROGER PEET)", "Thomas Pickens: How was I supposed to know she's 16 and a half? From the neck down she was all grown up.", "(He looks over at BRASS and smiles.)", "Thomas Pickens: You know what I mean?", "(BRASS, arms crossed and leaning against the wall, doesn't smile back.)", "Brass: I have a teenage daughter. So, no, I don't know what you mean.", "(THOMAS PICKENS sits back in his seat and crosses his arms.)", "Thomas Pickens: Jerry Lee Lewis, man. Same thing happened to him. What's all this got to do with the little dead girl, anyway?", "Sara: You tell us.", "Thomas Pickens: I was walking down the midway", "(Quick flashback to: [EXT. CARNIVAL-DAY] THOMAS PICKENS walks outside the carnival looking at the people around him.)", "Thomas Pickens: ... and I seen this woman come whishing out of the tunnel, screaming for her daughter.", "(The doors to the Tunnel of Love open and CARLA DANTINI is standing in the car.)", "Carla: (screaming and crying) My baby! My baby! My baby!", "(End of flashback. Resume to present.)", "Thomas Pickens: Me and Joey -- he's the operator -- we hit the kill switch, stopped the ride, ran in the tunnel and looked for the kid. And I seen her laying facedown in the pool of water. That's it.", "Catherine: What did you do?", "Thomas Pickens: I didn't do nothing. She was dead. I didn't come within two feet of her. I'm sorry about what happened. But that's all that I know.", "(Again, he sits back in his seat, arms crossed in front of him. CATHERINE leans in forward toward him.)", "Catherine: If you so much as breathed on this child, the evidence will tell me. You can dope your urine change your name compare yourself to Elvis himself, but if you harmed Sandy Dantini, I'm going to get you.", "(CATHERINE turns and storms out of the interview room. SARA follows her.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]", "(CATHERINE walks out of the interview room and into the hallway. SARA closes the door behind her.)", "Sara: You worried you tipped your hand in there?", "Catherine: No.", "Sara: Look, don't bite my head off, but any chance you're going after this guy because you're a mother?", "(CATHERINE stops and turns around to look at SARA.)", "Catherine: Pickens is a drug addict and s*x offender operating a two-ton kid magnet.", "Sara: Yeah.", "Catherine: Did you take a look around that carnival?", "Sara: Maybe.", "Catherine: Did you notice anything about those other rides? Ferris wheel-single cars in the open. Zipper-single cars in the open. Himalaya-group cars in the open. How come Pickens was hanging around the only ride that takes kids into the dark?", "(SARA nods as she listens.)", "Catherine: What if he pulled that little girl out of the car?", "(SARA thinks about it.)", "Sara: You have anything to support that?", "(Without another word, CATHERINE turns around and walks away. SARA turns and calls out after her.)", "Sara: Hey. (mutters) We aren't going to lunch, are we?", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - DAY]", "(GRISSOM sits in his office and shows the mold to NICK.)", "Grissom: Simba's mold's still damp, but you can see it's a perfect match to the bite mark on the jogger.", "Nick: Does this mean Simba's going to the big dog pound in the sky?", "Grissom: No. We need to build some more evidence. Find some jogger in Simba's stool.", "Nick: Well, I can tell you we found a unique sample at the crime scene. Great dane-sized scat containing bits of premium pet store kibble.", "Grissom: How premium?", "Nick: Sirloin, rice -- nothing artificial.", "Grissom: We need to find out what Dr. Hillridge feeds her dog.", "(GRISSOM stands up, grabs his jacket and heads out.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY - CONTINUOUS]", "(WARRICK is heading through the hallway. He meets up with GRISSOM and NICK.)", "Warrick: Just coming to see you. You remember that ice we found at the crime scene?", "(GRISSOM puts his jacket on and picks up the container in WARRICK'S hand to look at it.)", "Grissom: There's nothing in here.", "Warrick: It didn't melt. It evaporated.", "Nick: Dry ice. Frozen co2 sublimates into invisible gas, not water.", "Warrick: The jogger was missing some organs.", "Grissom: Surgical teams use dry ice to pack organs shipped for transplant.", "Warrick: It just so happens the dog's owner is a doctor.", "Nick: Surgeon?", "Grissom: Nutritionist. But all medical residents have surgical rotations. Fellas, we have a doctor's appointment.", "Warrick: Yeah.", "(They all head out.)", "[SCENE_BREAK]", "[EXT./INT. HILLRIDGE RESIDENCE - KITCHEN -DAY]", "(NICK is in the backyard checking the ground.)", "(WARRICK is inside the house examining the living room. He looks behind the painting, leans down and opens the drawers of the table. He looks inside the cabinet, then looks around the living room.)", "(In the backyard, NICK crouches down and finds a sample of dog scat on the ground. He opens the container and pauses just before picking up the sample. He puts the sample inside the container and looks around.)", "(Cut to: GRISSOM walks into the kitchen where SUSAN HILLRIDGE is putting items into a blender. Her back is to him.)", "Grissom: Would you mind if I looked in your freezer?", "Susan Hillridge: I have a patient coming in exactly twenty minutes so if you want to rifle around until then, fine but I will not leave my place of business.", "Grissom: No one's asked you to.", "(She glances over her shoulder at GRISSOM.)", "(After a moment, she returns to her blender.)", "(GRISSOM turns and opens the large stainless steel refrigerator and looks inside. There are stacks of plastic containers neatly stacked and labeled. Every shelf is well organized.)", "(He closes the door.)", "Susan Hillridge: You're very organized, Dr. Hillridge. I imagine you're upset about your dog -- having to put him down if it comes to that.", "(She turns and looks at him to correct his thinking.)", "Susan Hillridge: I don't hold onto things. I accept the evolution of change. We live, we die, we replenish the earth.", "(She nods, then turns back to her blender.)", "Grissom: Man's best friend ... but not yours, huh?", "Susan Hillridge: None of us gets out alive. I would think, in your job, you'd know that.", "(She turns around and takes a step toward GRISSOM. In one hand, she holds a beet. In the other hand, she grabs a large cutting knife and holds it up, point toward the ceiling.)", "Susan Hillridge: But if we treat our bodies like a temple we can cheat time.", "(She stares at his eyes ... )", "Susan Hillridge: Your eyes ...", "Grissom: (startled) What?", "Susan Hillridge: The lower rims are pale. You're deficient in folic acid. You're not eating your beets. Two beets have 54% percent of the RDA.", "(She nods, then turns back to the counter. She puts the beets on the cutting board and cuts it expertly as GRISSOM watches. She puts the pieces in the open blender.)", "Grissom: May I ask you what medical school you attended?", "Susan Hillridge: Will that help with your investigation?", "Grissom: I just thought, the way you handled that knife...", "Susan Hillridge: (realizes) Oh, the knife. (shakes her head) No. I was in the CIA. Culinary Institute of America.", "(She turns back to her blender and mixes the drink.)", "(When she's done, she gets a glass and fills it up.)", "Susan Hillridge: Tell me, Mr. Grissom, how does a man choose death as his profession?", "Grissom: It chose me, actually.", "Susan Hillridge: Will, I guess one man's corpse is another man's candy. (She holds out her shake toward him.) Care for a sip? It's full of folacin.", "Grissom: No, thanks.", "(WARRICK walks into the kitchen. SUSAN HILLRIDGE takes a sip of her drink.)", "Warrick: Gris, can I show you something?", "(He nods, then excuses himself from her.)", "Grissom: Excuse me.", "[SCENE_BREAK]", "[INT. HILLRIDGE RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]", "(WARRICK gingerly carries a long thin box. He shows it GRISSOM and reads the small plaque on the cover.)", "Warrick: Surgery equipment. \"Emory Medical Supplies, Boston, Mass., 1875.\"", "(He opens the box and inside there are surgery equipment.", "Warrick: Antiques.", "(GRISSOM takes out one of them and holds it up to the light.)", "Grissom: Boy, these are well maintained.", "Warrick: Exactly. What I find interesting is that she keeps them near the door, not in the office. In case she needs to break out and go do some work.", "Grissom: Maybe she makes house calls.", "(There's a light knocking on the front door. It opens and a man walks in.)", "Grissom: May we help you?", "Edwin: Yes. Dr. Hillridge around? I'm here for a 4:00.", "(From the kitchen, SUSAN HILLRIDGE walks out. She looks up at EDWIN and smiles.)", "Susan Hillridge: Edwin. You look great today. How did the race go?", "Edwin: I finished in three hours and ten minutes.", "Susan Hillridge: You can do better.", "(They both turn and head out of the room past GRISSOM and WARRICK. She turns and looks back at them, then follows EDWIN.)", "(They leave.)", "(WARRICK turns to GRISSOM.)", "Warrick: She gives me the willies.", "Grissom: We can't arrest her for that.", "Warrick: Yeah, well, maybe we can link these to the crime. Her dog may have eaten that jogger but he can't harvest the organs.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(DR. ROBBINS goes over the findings with CATHERINE and SARA.)", "Dr. Albert Robbins: No question about it -- the cause of death is drowning.", "Catherine: How tall was the victim?", "Dr. Albert Robbins: Three feet, give or take an inch.", "Catherine: The water was a foot and a half deep. She could've easily climbed out, unless she was unconscious.", "Sara: Maybe she had a minor concussion, or was stunned. That could explain why she couldn't get out.", "Dr. Albert Robbins: I checked, believe me. She didn't. The only injury I could find on this little girl was a fractured forearm.", "Catherine: Spiral or straight?", "Dr. Albert Robbins: X rays just came back. Let's see.", "(They all turn and head for the x-ray table. DR. ROBBINS puts the two x-rays on the table.)", "Dr. Albert Robbins: Spiral. That's not from a fall.", "Catherine: Somebody twisted that little girl's arm hard enough to break it.", "(Quick CGI POV of the bone in the arm breaking. End of CGI POV.)", "Sara: Perimortem?", "Dr. Albert Robbins: Swelling takes at least two to four minutes of active circulation. There's no swelling, so it had to happen moments before she died.", "Sara: So someone did yank her out of that car in the dark.", "(Quick flashback to: Inside the Tunnel of Love, THOMAS PICKENS grabs SANDY DANTINI out of the car. She yells for her mother.)", "Sandy Dantini: Mommy!", "(CARLA steps out of the car.)", "Carla Dantini: Sandy!", "(End of flashback. Resume to present.)", "Sara: Wait. Pickens yanks her out just so he can drown her?", "Catherine: He's a s*x offender. He was going to take her someplace.", "Sara: Not without someone seeing him.", "Catherine: You read the OSHA report. How many emergency doors were operational?", "Sara: None.", "Catherine: He was trapped like a rat.", "(Quick flashback to: Inside the Tunnel of Love, THOMAS PICKENS tries to get the door open and it's stuck. He's carrying SANDY in his other arm. She's crying.)", "(End of flashback. Resume to present.)", "Catherine: He did the only thing he could -- he hid the evidence.", "(Quick flashback to: Inside the Tunnel of Love, THOMAS PICKENS has water up to his elbows. End of flashback. Resume to present.)", "Sara: Drowned the little girl.", "Sara: (nods) I'm going to go call Brass.", "(SARA leaves. CATHERINE turns to look at DR. ROBBINS.)", "Catherine: You're going to enter this as a homicide, right?", "Dr. Albert Robbins: Technically, it's somewhere between accidental and undetermined.", "Catherine: It's a homicide. I'm going to get your proof. So write down that \"accidental\" in pencil.", "(CATHERINE turns to leave.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - HALLWAY - DAY - CONTINUOUS]", "(CATHERINE walks out of the autopsy room and takes off her mask and smock. In the back of the hallway, CARLA DANTINI turns the corner and makes her way toward CATHERINE. She walks up to CATHERINE.)", "Carla Dantini: Can you help me? I need to find out when my daughter's going to be released.", "Catherine: I'm not a coroner. What's your daughter's name?", "Carla Dantini: Sandy Dantini.", "Catherine: (inhales) Oh, Mrs. Dantini. I'm Catherine Willows, from the Crime Lab. You've spoken with my colleague, Sara Sidle. I'm so sorry.", "Carla Dantini: Um... did you find out what happened at the carnival to my baby?", "Catherine: Actually, I'd like to ask you a few questions. Is it possible that someone reached into your car and pulled out your daughter?", "Carla Dantini: I ... thought it was an accident. You read all the time about how dangerous amusement parks can be. You think it can never happen to you. You think you can protect your kids.", "Catherine: Well, when you went in the water to try to save Sandy did you hear anything? Did you... sense that anyone was there... in the dark?", "Carla Dantini: I-I-I don't know. I mean, well, you know, it all happened so fast. I was ... focused on finding Sandy. Do you ... do you think someone else was there?", "Catherine: I'm not ruling anything out.", "[SCENE_BREAK]", "[INT. DESERT HAVEN MORTUARY - DAY]", "(GRISSOM is at the mortuary speaking with RANDY GESEK, the funeral director.)", "Randy Gesek: Look, I didn't do anything wrong. I may have recycled a few caskets but you're talking about a whole different ball game, here.", "Grissom: Mr. Gesek, I'm not accusing you of anything. I'm not even here officially. Think of yourself as a consultant to the Las Vegas Crime Lab.", "(RANDY GESEK turns to look at GRISSOM.)", "Randy Gesek: Do I get paid?", "(GRISSOM doesn't bother answering the question.)", "Grissom: What do you know about organ theft?", "Randy Gesek: Oh, if I was in that business I wouldn't worry about getting paid. You know, there are places overseas that'll pay 50 grand for one lung? Sixty for a heart?", "Grissom: And you know this because...?", "Randy Gesek: Not firsthand. Not even secondhand. At the last funeral directors' convention ... you'd be amazed what you hear. But, you know, it takes a lot to keep a business afloat.", "Grissom: Tell me about the local market for organs.", "Randy Gesek: Well, we're talking about life and death. It's probably pretty good.", "Grissom: If someone was disemboweled and their liver taken what would that go for?", "Randy Gesek: Menu, everything a la carte. Corneas, $5,000. Kidney, $20,000. Liver, 40. Bowel, 30. Pancreas, 18.", "Grissom: It's amazing what you can learn at a convention.", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB - DAY]", "(NICK walks from the hallway into the lab looking for WARRICK.)", "Nick: Warrick. I got a match.", "Warrick: Yeah. You want to hand me those filter papers right there?", "(NICK hands him the papers.)", "Nick: The scat I found at the crime scene and the scat from the doctor's house are the same, except for one difference. The stuff from the backyard -- full of human cellular tissue. Jogger DNA.", "Warrick: So we got the right dog. Well, let's see if the owner cut the vic up.", "(WARRICK holds up the scalpel.)", "Warrick: Reactive agents. One part leuko-malachite.", "(He adds drops of the first agent to the filter paper.)", "Warrick: One part hydrogen peroxide -- used by blondes everywhere.", "(He adds drops of the second agent to the filter paper. NICK smiles. They both watch as the filter paper changes color.)", "Warrick: Blue.", "Nick: Weird, isn't it?", "Warrick: What's that?", "Nick: To prove the presence of heme -- the stuff that makes blood red ...", "Warrick: ... turns the swab blue.", "Nick: Yeah.", "[SCENE_BREAK]", "[EXT. CARNIVAL - DAY]", "(THOMAS PICKENS argues with CATHERINE and SARA out in front of the Tunnel of Love.)", "Thomas Pickens: I own this attraction and it's going with me to the next town.", "Catherine: It's evidence. It's not going anywhere. Nothing is.", "(He takes a couple of threatening steps toward CATHERINE.)", "Thomas Pickens: What, says you two string beans?", "Catherine: It's going to take a lot more than vegetable insults to get us to move.", "Thomas Pickens: Lady, you don't know who you're messing with.", "Catherine: Oh, I know exactly who you are, Mr. Pickens. And if you so much as look at me in the wrong way, I will personally lock you in a cell with someone who's going to do the same thing to you that you've been doing to those little girls.", "(BRASS approaches the group accompanied by two officers.)", "Brass: Whoa, whoa. What, you start the party without me? That could get dangerous. Thomas Pickens?", "Thomas Pickens: Yeah.", "Brass: I got a court order. These rides stay in Vegas and you're coming with me.", "Thomas Pickens: You pullin' my pud?", "Brass: You know, the thought never crossed my mind. Come on.", "(BRASS, the two OFFICERS leave with THOMAS PICKENS. SARA turns around and smiles at CATHERINE. Clearly, she's enjoying this.)", "Catherine: What?", "Sara: Nothing. This is fun.", "Catherine: As compared to what?", "Sara: As compared to a more scientific approach.", "(It takes a moment, then CATHERINE smiles also.)", "[SCENE_BREAK]", "[INT. GRISSOM'S OFFICE - DAY]", "(GRISSOM sits behind his desk delivering the bad news to NICK and WARRICK.)", "Grissom: I'm sorry, guys. If she cut up that jogger she didn't use that scalpel.", "Nick: But we found evidence of blood on it.", "Grissom: I had Sanders run a degradation on that same sample. The blood is 50 to 200 years old -- antique, like the scalpel -- ruling out the possibility it was used in the murder of our jogger.", "(GRISSOM'S phone rings. He answers it.)", "Grissom: Yeah. I'll be right out. (He hangs up.) I have a visitor.", "(GRISSOM stands to leave the office.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY -- CONTINUOUS]", "(SUSAN HILLRIDGE looks at the various items in the display case. Through the mirror, she sees GRISSOM walk past behind her. She turns around and taps him on the shoulder. She holds up a container of pills for him.)", "Susan Hillridge: Hi. I have folic acid. I was worried about your eyes.", "(GRISSOM takes the container.)", "Susan Hillridge: I assume my surgical instruments came back clean, or relatively clean.", "Grissom: Are you here for a nutritional consultation or to eavesdrop on my investigation?", "Susan Hillridge: Actually, my house felt a little crowded -- all those men you sent.", "(Behind them, a group of OFFICERS walk in past them carrying arm loads of paper bagged evidence.)", "Grissom: The, uh, police sent them.", "Susan Hillridge: But you dictated the scope of the warrant. They're taking everything from my kitchen and office.", "Grissom: You have three prior complaints in three separate states for owning vicious dogs.", "Susan Hillridge: And? What else do you know about me?", "Grissom: Each complaint is from a mountain state.", "Susan Hillridge: Is it a crime to like the mountains?", "Grissom: No. Only if we find other joggers have turned up dead. What's a liver go for these day", "Susan Hillridge: What?", "Grissom: Terry Manning was missing several key organs-- healthy organs.", "Susan Hillridge: You disappoint me. I thought you were smarter than that. Coenzyme q-10 could help with mental acuity.", "(She takes a couple of steps toward the door, then turns around.)", "Susan Hillridge: \"The last act is bloody, however, fine the rest of the play.\"", "(Quotes always piques GRISSOM'S interest.)", "Grissom: Pascal. Very impressive. I prefer Buddha, though. \"Even death is not to be feared by those who lived wisely.\"", "Susan Hillridge: One request. Ask them not to leave my house a mess. You know how I like order.", "(She turns and leaves. GRISSOM watches her go.)", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM]", "(In the layout room, WARRICK and NICK have all the items taken from SUSAN HILLRIDGE'S place spread out on the table. They're both busy spraying luminol on the items when GRISSOM walks into the lab and sees what they're doing.)", "Grissom: What, are you guys working in bulk now?", "Nick: Hey, you're the one who said that lady doc keeps skipping town.", "Warrick: If the jogger's blood is in any of this stuff, we need to find it now.", "Nick: This is only part of the kitchen-- the rest is in those bags and boxes.", "(NICK points to the items on the counter behind GRISSOM who turns around to look at them.)", "Warrick: I'm ready, Nick. You want to hit the lights?", "Nick: Yeah.", "(NICK turns off the lights. They start looking for any signs of blood.)", "(GRISSOM walks around the table and reaches out for the blender, the bottom of which is glowing. He turns and looks both at WARRICK and NICK.)", "Grissom: She made a protein shake in this yesterday right in front of me.", "Warrick: Why would she do that?", "Grissom: Get this to DNA --see if this is the jogger's blood.", "Warrick: I'd place a bet on it.", "(WARRICK picks up a package to put the blender inside. GRISSOM picks up a drinking glass that's also glowing. He holds it up.)", "Nick: (surprised) Whoa, whoa. So she's not selling the organs on the black market ... she's eating them?", "Grissom: Possibly drinking them.", "[SCENE_BREAK]", "[EXT. CARNIVAL - NIGHT]", "(Someone drops a dummy on the ground behind CATHERINE and SARA. They both turn around and look at the Tunnel of Love. There are cops and techs everywhere.)", "Catherine: I want four techs in there. Let's try to pull the girl out from every conceivable angle.", "Officer: You got it.", "(Cut to: SARA snaps a photo.)", "Sara: Okay, based on our theory a loose seat belt enabled Pickens to yank the little girl out of her seat.", "(SARA takes another photo. CATHERINE moves and takes a seat inside the car.)", "Catherine: Mom was on the left. Where's my dummy?", "(The tech walks up carrying the dummy.)", "Catherine: Forty-two pounds?", "(The tech nods and helps put her into the car next to CATHERINE.)", "Sara: Just like little Sandy.", "(SARA continues to take photos. CATHERINE puts on the seat belts.)", "Catherine: And, just like ... the loose seat belt.", "(SARA presses the button and starts the ride.)", "(The car enters the Tunnel of Love.)", "(Cut to: SARA watches the monitors as the techs inside try to yank the dummy out of the car.)", "(The first tech tries. The second tech tries. The third tech also tries. All are unsuccessful.)", "(The ride ends.)", "Catherine: The belt wasn't loose enough to yank the girl out. Forget Pickens.", "Sara: The only person who could have done it, then is the person that was in the car with her-- the mother.", "Catherine: Her eyes were pointing in the wrong direction.", "Sara: (shakes her head) I'm sorry. What?", "Catherine: Carla Dantini was looking left when she told me about the accident.", "(Quick flashback to: [CSI HALLWAY - DAY] Camera is in slow motion as CARLA DANTINI talks. Her eyes open and shift toward her left. End of flashback. Resume to present.)", "Catherine: When a person is remembering, they look right and when they're creating, they look left.", "Sara: And by creating, you mean fabricating. Neurolinguistics programming -- human behavioral science.", "Catherine: Call Brass and tell him to meet us at the mother's house.", "(SARA sighs. CATHERINE is just stunned.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(GRISSOM and SGT. O'RILEY interview SUSAN HILLRDIGE.)", "Susan Hillridge: Mr. Grissom. You're looking grim. I'm afraid I don't have a supplement for that.", "Grissom: We found blood in your kitchen blender. The lab has matched it to the dead jogger.", "Susan Hillridge: It had to happen eventually.", "Grissom: Why?", "Susan Hillridge: You're the scientist. I should have thought you'd figured that out.", "Grissom: I haven't.", "Susan Hillridge: Think of the bugs, Grissom. Cycle of life. Angels versus insects. When we die the fable we tell ourselves is we go toward a white light and angels. But you and I both know the hard reality is that insects arrive immediately and begin turning us back to earth.", "Grissom: Yes. But the insects haven't killed anyone.", "Susan Hillridge: No. But they'd die if they didn't have bodies to feed off of. And so will I.", "(GRISSOM looks at SUSAN HILLRIDGE.)", "Susan Hillridge: Porphyria.", "Grissom: The madness of King George.", "Susan Hillridge: Or the Legend of the Vampire. Which makes it a real hard disease to have. But it's real for me.", "Grissom: It's genetic.", "Susan Hillridge: The only thing my father ever gave me. The first time it presented was after a minor sunburn. My lips receded -- so did my gums. I increased my glucose intake and I was fine ... for a while. I began a drug regimen but they only treated the symptoms. I had my spleen removed because it absorbed my blood. But nothing helped. Lesions started forming on my face. That's when I bought my first dog. Bullets and poison leave residue in the blood. Dogs kill clean. Imagine what I'd look like by now without them.", "(Quick CGI POV of: Camera close up of SUSAN HILLRIDGE as she is now. Then slowly her face morphs and her skin wrinkles, legions form. End of CGI POV. Resume to present.)", "Grissom: You could've tried intravenous hematin.", "Susan Hillridge: Human blood is the richest source of heme.", "Grissom: And so you extracted the organs with the most blood-- the liver, the spleen, the heart.", "Susan Hillridge: If you lock me up, I'll go mad.", "Grissom: Unfortunately, a symptom of your condition. But you've been killing people, doctor.", "Susan Hillridge: I'll die in prison.", "Grissom: Yes, but the people you'd be feeding off of will still be alive. Cycle of life.", "(She smiles at him as he throws her own words back at her.)", "Grissom: (to O'RILEY) Sergeant.", "(SGT. O'RILEY stands up and walks over to her. He puts the hand cuffs on her.)", "Officer: You're under arrest for the murder of Terry Manning.", "(GRISSOM sits stoically in his chair. SUSAN HILRIDGE stops as she passes GRISSOM.)", "Susan Hillridge: You have one more question. How could I consume raw organs? Not morally -- aesthetically. I dried them and ground them into powder.", "Grissom: Protein powder.", "(She turns and leans in close to GRISSOM. There are tears streaming down her face, knowing that she's going to die and exactly how it's going to happen. Nothing matters now. She gives it all up to him.)", "Susan Hillridge: You want an empirical experience? There's a fresh shake in my fridge.", "(O'RILEY leads SUSAN HILLRIDGE to the door where he hands her over to an OFFICER standing just outside in the hallway.)", "Sgt. O'Riley: Let's go. Officer.", "(He closes the door and turns back to GRISSOM.)", "Sgt. O'Riley: She is nuts, right?", "(GRISSOM turns and looks up at SGT. O'RILEY.)", "Grissom: She's a cold blooded killer.", "[SCENE_BREAK]", "[EXT. DANTINI RESIDENCE - PORCH - NIGHT]", "(BRASS and CATHERINE walk up the front porch. BRASS knocks on the door.)", "Catherine: You got the warrant, right?", "Brass: Yeah, but it's limited in scope. The boyfriend's an attorney so we can't toss the place.", "(SARA joins them. CARLA DANTINI and HUGH YOUNG walk up to the door and she opens it.)", "Sara: Mrs. Dantini.", "Carla Dantini: You have news about Sandy?", "Sara: We may have a lead.", "Catherine: We need to see the clothes that you wore the day that your daughter died.", "Carla Dantini: Why?", "Hugh Young: It's okay, honey. (to CATHERINE) I'm Hugh Young, Mrs. Dantini's attorney. Carla's grieving. We both are. Can't this wait till after the funeral?", "Catherine: No, it can't.", "Brass: Here's a warrant. Where's your bedroom?", "[SCENE_BREAK]", "[INT. DANTINI RESIDENCE - BEDROOM - NIGHT - CONTINUOUS]", "(Spread out on the bed are the clothes that CARLA DANTINI wore. CATHERINE and SARA look through the items.)", "Catherine: So this is everything that you wore at the carnival last night?", "Carla Dantini: Yes.", "(CATHERINE picks up the watch.)", "Catherine: Your watch is waterlogged.", "(Camera zooms in to the face of the watch to show the beads of water clinging to the inside of the glass. Resume normal view.)", "Carla Dantini: Yes. I went into the water after my daughter.", "Sara: So, you jumped in the water.", "Carla Dantini: Yes.", "Catherine: How come your shoes are dry?", "Carla Dantini: Well ... it was yesterday. Of course they're dry.", "Catherine: The lining's blue. If they'd gotten wet the indigo dye would have bled onto your white socks.", "Sara: You never went in the water.", "Catherine: If you didn't go into the water how did your watch get wet?", "(HUGH YOUNG turns and looks at CARLA.)", "Carla Dantini: (nervously) Like I told her, reaching for my daughter.", "Catherine: You reached for her all right. (cc) To hold her under.", "(Quick flashback to: Inside the Tunnel of Love, the car ride starts. Cut to: CARLA DANTINI has her hand in the water. Cut to: Just before the ride ends, she takes her hand out of the water. She readjusts herself in her seat, then prepares for her performance.)", "(The car exits the ride.)", "Carla Dantini: My baby!", "(End of flashback. Resume to present.)", "(CATHERINE nods. SARA, takes it one step further.)", "Sara: And when she managed to grab onto you, you broke her arm.", "Catherine: And you held her under while you sat in that car until you drowned her.", "Hugh Young: Carla is any of this true?", "(CARLA looks coldly at CATHERINE and SARA. She takes a deep breath.)", "Carla Dantini: I want you to leave.", "(CARLA heads out of the bedroom. CATHERINE follows her out into the hallway, angrily lecturing. CARLA doesn't stop.)", "Catherine: You took your daughter to the carnival 'cause \"kids get hurt there all the time\". You thought the blame would leave town with the ride. Well, you should have planned better.", "(CATHERINE catches up with CARLA and grabs her arm to stop her. CATHERINE stands in front of CARLA.)", "Catherine: What did you actually think? That you and your boyfriend would run off like newlyweds? No kid? No cares?", "(SARA and HUGH catch up with them.)", "Hugh Young: I never thought anything like that.", "Catherine: She did. (to CARLA) Didn't you?", "(CARLA doesn't say anything for a moment.)", "Carla Dantini: (coldly) I'm going to need a new lawyer.", "(Disgusted, CATHERINE heads out.)", "Catherine: (to SARA) Bag the evidence. (to BRASS) Arrest her, Jim.", "(SARA turns and follows her.)", "(In the living room, CATHERINE grabs her jacket when SARA catches up with her.)", "Sara: Hey ...", "(CATHERINE turns around.)", "Sara: ... you all right?", "Catherine: Yeah.", "Sara: Since we skipped lunch, you want to get something to eat? Walk it off?", "Catherine: I got to go home. (SARA nods.) Thanks. Rain check?", "Sara: Mm-hmm.", "(CATHERINE leaves. SARA turns around and heads back to the hallway.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. RESIDENCE - NIGHT]", "(CATHERINE drives up and parks her car. She cuts her engine and hurries up to the front door. She knocks on the door.)", "(The front door opens and PAUL NEWSOME stands there in his robe.)", "Paul Newsome: You got my call.", "(She nods and sighs.)", "Catherine: It couldn't have come at a better time.", "(He holds the door open for her. CATHERINE steps inside and stops next to him. He leans forward and they kiss.)" ]

[ "On the day Grissom has to evaluate his team, Grissom and Catherine deal with a severed head that was found in the trunk of a stolen car. Sara and Nick investigate a headless body in the desert that appears to have fallen from the sky. Warrick investigates a murder in a juvenile detention center in which his young friend James is the only witness." ]

[ "COLD OPEN.", "[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]", "[EXT. LAS VEGAS STRIP - NIGHT]", "(Police cars and a helicopter chase after a speeding vehicle. Sirens wail.)", "[SCENE_BREAK]", "[EXT. INTERSTATE 15 -- LVPD SQUAD CAR (MOVING) - NIGHT]", "(OFFICER METCALF is in one of the cars chasing the speeding vehicle and he's on the radio.)", "Officer Metcalf: Unit 584-Adam. Please be advised we're in pursuit of a BMW going southbound on Interstate 15 at a high rate of speed.", "Dispatch: (over radio) Roger, 158. You are cleared for maneuver.", "(He swings out and tips the speeding vehicle in the rear bumper. The speeding vehicle continues on. He swings out again and tips the speeding vehicle in the rear bumper. This time, the speeding vehicle runs off of the road.)", "(It comes to a stop on the side of the road. The Police Officer stops a safe distance behind it.)", "(OFFICER METCALF jumps out of the police car with his gun drawn.)", "Officer Metcalf: Driver roll down your window. Let me see your hands.", "(He slowly makes his way toward the car.)", "(He reaches out a hand to open the car door.)", "(Suddenly, the car door opens. He jerks back as two women dressed only in their underwear exit the car with their arms raised.)", "Anna Leah (blonde): Don't shoot. Don't shoot! LORI (BRUNETTE): Don't shoot. Don't shoot.", "(OFFICER METCALF raises his hand to stop the other officers from moving in. He reaches for his radio.)", "Officer Metcalf: (to radio) Dispatch, unit 584 is a code four. We got a couple of girls joyriding. (to the other officer) Rookie, clear the vehicle!", "(The two women stand their with their arms raised.)", "(Cut to: The ROOKIE checks the front seat of the car and finds nothing. She backs out and closes the door.)", "(She walks around to the back of the car where she starts looking around. She finds some blood on the rear bumper.)", "(Camera zooms in for an extreme close up of the blood.)", "[SCENE_BREAK]", "[EXT. INTERSTATE 15 - SHOULDER (SOUTHBOUND) - NIGHT]", "(GRISSOM slams the car door shut. Carrying his kit, he makes his way toward BRASS. They both walk toward the back of the car.)", "Brass: {unintelligible}", "Grissom: 4-19?", "Brass: More like a four.", "(Puzzled, GRISSOM turns to look at the car. BRASS lifts up the trunk hood.)", "[INSIDE TRUNK POV]", "(The trunk hood is raised and GRISSOM'S eyebrows rise in surprise. He looks at BRASS, then bends to put his kit down. He straightens and glances down at the trunk's contents.)", "Grissom: (quoting) Ichabod was horror-struck on perceiving that he was headless.\"", "(BRASS glances at GRISSOM.)", "Brass: ...Sleepy hollow.", "(GRISSOM glances back at BRASS.)", "[RESUME REGULAR CAMERA ANGLE INTO THE TRUNK]", "(Inside the trunk is a head severed at the neck. GRISSOM reaches in and lifts the eye lid to look at the pupil.)", "Grissom: Vitreous humor is glazed over.", "[INSIDE TRUNK POV]", "Brass: What does that mean?", "Grissom: That means that, six to eight hours ago somebody lost their head. Then ... somebody lost their head.", "(Both turn glance at each other, then glance back at the head.)", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - HALLWAY/RECEPTION AREA- NIGHT]", "(CATHERINE walks into the hallway and tosses an envelope into the outgoing mail basket on the reception desk.)", "Catherine: Sayonara.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM - NIGHT - CONTINUOUS]", "(CATHERINE walks into the break room, followed closely by SARA and NICK. They're extremely surprised to find GRISSOM already in the room and sitting behind the table.)", "Catherine: Well, well, what a switch. You actually beat us here.", "Grissom: It's Evaluation Day.", "Catherine: Hmm.", "Grissom: Where's Warrick?", "(SARA turns around to look. She glances at NICK, who raises his eyebrows at her.)", "Catherine: He's working spillover -- personal thing -- kid he knows who's in trouble.", "Grissom: Oh, that's right. (shakes his head as he remembers) He told me. I forgot.", "Catherine: Well, maybe we should be evaluating you.", "Grissom: You're a riot, Alice. You and I are going to work the head case.", "(He hands the assignment slip to CATHERINE.)", "Catherine: Goody.", "Grissom: Nick, another homicide. 4-19, 40 miles outside of Baker.", "(He hands the assignment slip to NICK. NICK takes it and pulls back to leave, thinking it's a solo.)", "Nick: Okay. Good. I'm on it.", "Grissom: Sara, you go with him.", "Sara: (thrilled) Yes! Road trip.", "(She turns around and taps NICK on the shoulders.)", "Sara: I'm gonna go switch boots.", "(SARA leaves the break room. NICK appears less than thrilled. He turns around and looks at GRISSOM. GRISSOM sees the look. So does CATHERINE.)", "Grissom: Cath, I'll catch up with you.", "(She nods and leaves.)", "Catherine: I'll meet you at the autopsy. (glances back at GRISSOM) \"Head\"-topsy.", "(She walks out of the room. NICK looks at GRISSOM.)", "Grissom: Sit down.", "(NICK sighs and sits down.)", "Nick: Look. Grissom I know this is a bad time to bitch to the boss but, uh, I've been a CSI Level 3 for nine months now. I was a CSI before Warrick. Warrick works D.B.'S solo. Why can't I?", "Grissom: Repeat after me. Silk, silk, silk.", "Nick: \"Silk, silk, silk\"?", "Grissom: At do cows drink?", "Nick: Milk.", "Grissom: (he shakes his head) Cows drink water. They give milk. A simple riddle. Common sense disguised in a puzzle of words, but an excellent barometer for evaluating someone's readiness.", "Nick: (frustrated) Look, I'm not one of your suspects you can trick, okay? If I'm not ready, be a man -- tell me I'm not ready.", "Grissom: You're not ready.", "Nick: You know why I took this job? Honestly? I wanted to pack heat, walk under the yellow tape, be the man ... but mostly, because I want you to think I'm a good CSI.", "Grissom: And that's the reason I have to hold you back.", "(NICK shakes his head and looks away.)", "Grissom: Anybody who's great at anything, Nick, does it for their own approval not someone else's.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(Alone in his autopsy room, DR. ROBBINS has the tape player blaring while playing his crutch like a guitar. He sings along to the music, his back to the door. He doesn't see GRISSOM and CATHERINE walk into the room.)", "(He glances behind him and sees them standing there. He quickly reaches over to turn the volume down.)", "Dr. Albert Robbins: uh, voice sound familiar?", "Catherine: Kind of sounds like the daytime coroner.", "Grissom: Gary Telgenhoff?", "Dr. Albert Robbins: Yep. A songwriter in his off-time. What do you think?", "Catherine: (considers) It sucks.", "Dr. Albert Robbins: Hmm.", "Catherine: Hey, I just filed for divorce. I'm feeling a little confident.", "Grissom: (to CATHERINE) I guess. (to ROBBINS) I like it.", "Catherine: So, where's the head?", "(DR. ROBBINS reaches over and turns the music off. He turns toward the head.)", "Dr. Albert Robbins: Well, police I.D.'d him at the scene when they ran his plates compared the DMV head shot to the head. Grissom, Catherine, meet Victor Dasilva.", "(DR. ROBBINS pulls the sheet aside to show them the head. GRISSOM walks around to the front of the head.)", "(He looks at the top of the head and sighs.)", "Grissom: What did this?", "(Camera zooms in for an extreme close up of the top of the head with a three-pronged indentation on the scalp.)", "Dr. Albert Robbins: Hard to tell without making a mold.", "Grissom: Fatal blow?", "Dr. Albert Robbins: (nods) Looks like it.", "(CATHERINE leans in close to look at the markings on the jaw.)", "Catherine: Man, look at those chopping wounds on the jawbone.", "(Camera moves in for an extreme close up of the wound markings.)", "Catherine: They almost look like practice swings.", "Grissom: It could've been dark. Bad aim, maybe?", "Catherine: Definitely a crime of passion.", "Grissom: You think a female could do this?", "Catherine: I could have.", "(beat)", "Grissom: (sing-song-ish) Scared of you.", "(CATHERINE stands up.)", "Dr. Albert Robbins: If you want to know what exact tools were used we're going to need to boil the head.", "(Suddenly, GRISSOM is interested in this part of the investigation. He straightens and looks at DR. ROBBINS.)", "Grissom: Really? You want me to prepare it?", "Dr. Albert Robbins: Sure. What, uh, additive do you put in your boil?", "(CATHERINE stiffens and listens to the conversation.)", "Grissom: Laundry detergent. Works great. It's like peeling off a rubber halloween mask.", "(GRISSOM makes a motion down the front of the head as if he were peeling off the skin. CATHERINE nods her head, barely containing her excitement.)", "Dr. Albert Robbins: Excellent.", "(She can't take it anymore.)", "Catherine: Well, I'm out of here. I'm going to be with Brass ... see if I can get anything on those Victoria's Secret girls.", "(CATHERINE turns and leaves the room. GRISSOM and DR. ROBBINS immediately resume their conversation about the head.)", "Grissom: Where's your crock-pot, Doc?", "[SCENE_BREAK]", "[EXT. GUARD GATE HUT - INDUSTRIAL COMPLEX - NIGHT]", "(WARRICK walks up to the parking lot. CHARLES MOORE stands there in his uniform with a clipboard in his hand. He turns when WARRICK calls out to him.)", "Warrick: Mr. Moore.", "(They both walk back to the guard gate.)", "Charles Moore: My grandson won't take my calls. He'll only talk to you.", "Warrick: I think James called me tonight because he thought I could help him.", "Charles Moore: That was a nice thing you did giving him your pager number when he went away but he should be calling me. I'm his grandfather. I deserve to know what happened.", "Warrick: James is all right but, uh, there was a big brawl at the detention center. James was at the wrong place at the wrong time.", "Charles Moore: (fearing the worst) What's my grandson looking at?", "Warrick: If he talks, he'll be dead inside a month. Now, if he keeps quiet, the D.A. will put the squeeze on him. He'll probably end up in the big house you could lose your boy forever then.", "Charles Moore: Why didn't James call me ... tell me?", "Warrick: He probably knew what your advice would be. To do the honorable thing.", "Charles Moore: There's no honor in jail.", "Warrick: Not without a price. Look, a crime occurred. CSI's got full jurisdiction. I got myself assigned to the case. I'll see if I can take James out of the middle.", "(MR. MOORE nods his head in appreciation, knowing that he can't do anything to help. WARRICK puts a supportive hand on his shoulder, then turns and walks away.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]", "(BRASS and CATHERINE interview the two girls who are now barefoot and wrapped in blankets.)", "Brass: Can we offer you girls something to drink?", "Lori: Please don't say that word.", "Brass: You want to tell us why two college freshmen were driving a stolen BMW with a head in the trunk?", "Anna Leah: We already told you. We had no idea that was in the trunk.", "(She glances at her friend, LORI, who is looking away.)", "Lori: (mutters) Gross.", "Catherine: Now there's a start-- \"gross.\" Gross negligence-- flying down I-15 in a stolen car. Gross anatomy-- a human bowling ball in the trunk. Gross details-- let's hear it.", "(The two girls look at each other.)", "Anna Leah: We lost our friends at bar 911.", "(Quick flashback to: [BAR 911] Inside the crowded bar, the girls are sitting at the counter having drinks.)", "Anna Leah: (V.O.) We had no ride home. We were bored. So, we started shots of tequila ...", "(The two girls throw back their heads to drink the shots with a couple of guys at the bar.)", "(End of flashback. Resume to present.)", "Anna Leah: ... with some guy who looked like ... like Cat Stevens.", "(The two girls glance at each other and chuckle at the memory.)", "(Quick flashback to: [BAR 911] One of the guys standing between the two girls has his arm around both of them.)", "(ANNA LEAH raises her arm up in the air and screams with excitement.)", "Anna Leah: Whoo!", "(Cut to: [PARKING LOT OF BAR 911] Inside the van in the parking lot, they're with the stranger who looks like Cat Stevens.)", "Anna Leah: (V.O.) Next thing we know, we're in his van playing strip poker.", "(LORI laughs and takes her tank top off and throws it at ANNA LEAH.)", "Lori: I can't believe we're doing this.", "(End of flashback. Resume to present.)", "(ANNA LEAH laughs at the memory.)", "Anna Leah: It was a blast at first. Then, um ...", "(She turns and looks over at CATHERINE and BRASS and she sobers up immediately.)", "Anna Leah: Then he said the creepiest thing.", "(Quick flashback to: [PARKING LOT OF BAR 911] Inside the van, as they're playing poker, they continue to play strip poker.)", "Stranger: So, I met this girl on the internet who offered me a round-trip ticket to fly out and help her end her life. She wanted me to shove a tennis ball down her throat.", "(Cut to: [PARKING LOT] The van doors burst open and the two women in their underwear stumble out of the van. They search frantically for a way to get away from the Stranger.)", "(ANNA LEAH sees the red car parked in the parking lot just outside the COLLINS U-STORE-IT sign and heads for it. She opens the door and finds that it's unlocked.)", "Anna Leah: Lori! Lori, over here! Lori!", "(They both get inside the car. They take off.)", "(End of flashback. Resume to present.)", "Catherine: Let me guess. You left your clothes in the van.", "Lori: We were so out of there.", "Anna Leah: This guy was weird. Like, way weird. I was thinking that he was going to pull a Silence of the Lambs on me and tell me to \"put lotion in the basket.\"", "(LORI nudges ANNA with her elbow. The two girls fall silent. Then ANNA chuckles at the memory. She tries to stop herself, but can't. Soon, they're both chuckling.)", "(BRASS and CATHERINE aren't impressed. They glance slowly at each other.)", "Brass: You know what I think? I don't think you two are murderers. I think you're just felony stupid. But, for now, you're being booked on evading arrest, grand theft auto, DWI. You go with this officer here.", "(They both stand up to do as they're told.)", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(JAMES MOORE and WARRICK walk outside as they talk.)", "Man (over P.A.): Lockdown is in effect. All guards remain at your posts.", "James Moore: I love my grandpa -- don't get me wrong -- but he's got no idea how it works in here. I'm not sure you do, either.", "Warrick: Why don't you tell me?", "James Moore: First off, this place only sees two colors: Black and white. You stay with your own. Despite what those chucks think upstairs this entire place is infiltrated with rolling 60s. Overflow from L.A.", "Warrick: That's a lot of education in a short time, huh?", "James Moore: Yeah. I mean, I'm just trying to survive, man. I'm 60 days and a wake-up unless I get got.", "Warrick: James, why don't you take a deep breath and tell me what happened here.", "James Moore: First, you got to tell me something. You got to tell me what side you're on.", "Warrick: Whose \"side\" I'm on? Who reached out to you, man?", "James Moore: Who put me in here?", "Warrick: James, I'm trying to help you.", "(JAMES glances at WARRICK and then makes a decision.)", "James Moore: All right. It breaks down like this --", "(Quick flashback to: The two inmates walk up to each other. One of them is holding a shank in the palm of his hand.)", "James Moore: (V.O.) Kingpin from Gerson Park and Kingpin from L.A. County/Slauson both under one roof. It was time for one of them to stake their claim.", "(The two men fight.)", "James Moore: (V.O.) Vegas fool got shanked.", "(The fight ends and the Vegas Kingpin is dead on the floor. Suddenly, they realize that JAMES is sitting on the bed. The remaining kingpin and two of his gang sit on the bed to talk with JAMES.)", "James Moore: (V.O.) I was sitting right there. I had two things going against me: I'm the newest face and the only witness.", "(End of flashback. Resume to present.)", "Warrick: So it's your life versus time.", "James Moore: Basically, yeah and everybody knows about it. They're just waiting to see what I'm going to do. I sing ... they send me a song back. I shut up ... I'm your age when I get out.", "(Camera holds on WARRICK.)", "[SCENE_BREAK]", "[EXT. 40 MILES OUTSIDE BAKER -- NIGHT]", "(SARA and NICK approach SGT. O'RILEY who is standing outside next to his car waiting for them.)", "Sara: Who found the body?", "Sgt. O'Riley: Department of Agriculture. They were searching for wild horses in their chopper when they found it. None of the boys would even go near it. I had to tape the perimeter myself.", "Sara: Where is it?", "(He shines the light along the ground.)", "Sgt. O'Riley: Just follow my prints.", "(Cut to: SARA and NICK follow the footprints and approach what's left of the body. They see a clump of flesh and bones.)", "Nick: Oh, man.", "Sara: There's no head. Think it's DaSilva?", "(NICK puts a hand up to cover his nose.)", "Nick: If it's the rest of him he's been skinned.", "Sara: Uh... hands and feet have been amputated.", "Nick: Yeah. Most likely to avoid I.D. Hey, Sara.", "Sara: Yeah?", "(NICK shines the light on the ground around the corpse.)", "Nick: No approaching surface prints. No tire tracks. Only O'Riley's boot prints. These are ours. Look at the area around the corpse. Look at the big dent in the ground, like a meteor hit.", "(Considering his implication, SARA ponders where the body could have come from, then looks up at the sky above.)", "[SCENE_BREAK]", "[EXT. JUVENILLE DETENTION CENTER -- NIGHT]", "(WARRICK walks through the courtyard where the detainees are milling outside. They watch as he approaches and walks through them to get inside.)", "Caucasian Detainee: (V.O.) That guy's from the crime lab. You gonna spray some chemical stuff over the dorm, man?", "Black Detainee: Hey, what you got in the tackle box, babe? You going fishing?", "Black Detainee: Hey, brother, what's up? Let me talk to you real quick.", "Deputy: Welcome to juvie. It's all yours.", "(She nods her head toward the rooms inside.)", "(She steps aside. WARRICK opens the door and walks in. He puts his kit down on the ground and starts looking around the room for evidence.)", "(Cut to: WARRICK walks up to the pool of blood and the bloodied rag used to soak it up. He finds himself standing in front of bed 52.)", "(He examines the wall in front of the bed. There are three things on the wall. A photo of JAMES with this GRANDFATHER; a card with a quote written on it: \"A man's pride will bring him low; but honor shall uphold the humble in spirit.\" Proverbs 29:23; and \"WARRICK\" 555-0127.)", "(Cut to: WARRICK lifts up the top bunk's mattress.)", "(Cut to: WARRICK checks another bunk. As he checks the bunk out, he sees a crucifix and two photos taped to the wall-one sepia-colored of a woman and the other black and white photo of a baby.)", "(Cut to: A glimpse of a towel and toothpaste.)", "(Cut to: WARRICK lifts up the mattress to look underneath it.)", "(Cut to: WARRICK checks out the toilet stalls one by one. In the fourth stall, he notices that the toilet it backed up, seat dirty, water brown. He puts his kit down, rolls up his sleeve and sticks his hand inside.)", "(He pulls out a blood-stained white shirt.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(NICK and SARA are back at CSI and just entering the garage. SARA is obviously hesitant about what they're about to do.)", "Sara: I'm not sure you should be doing this.", "Nick: What are we doing? Walking through the garage.", "(NICK heads for the car.)", "Sara: Snooping for trace on Grissom and Catherine's stolen BMW?", "(NICK turns around to look at SARA.)", "Nick: All right. It's simple. We got the body, they got the head. The BMW's fair game. Come on, Sara, where's your \"Noriega\"?", "Sara: What has gotten into you?", "Nick: Grissom.", "(NICK opens the driver's side front door and starts looking around for trace. He starts checking the seats.)", "(SARA takes a swab and takes a sample of the blood on the rear fender.)", "(NICK continues to check out the front seat.)", "(SARA tests the sample and the swab turns blue.)", "(NICK kneels down and starts examining the front seat floor. He finds something stuck in the grooves of the pedal.)", "Nick: Uh ... Sara ... want to take a look at this?", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - NIGHT]", "(DR. ROBBINS goes over the \"body\" with GRISSOM.)", "Dr. Albert Robbins: It's like nothing I've seen before -- honestly, Gil -- in all my years.", "Grissom: The head or the torso?", "Dr. Albert Robbins: Torso. Look at the width of the ribcage -- it's enormous - - and the shoulders are significantly larger in proportion and size compared to the average endomorph.", "Grissom: The bone structure is disproportionate.", "Dr. Albert Robbins: Correct. I measured the tibia and fibula around the ankle area then the radius and the ulna at the wrists -- the bones are 10-15% larger than the standard homo sapiens. Left fracture of the ischial prominence of the pelvis. Fracture of the pubis synphisus. Fracture of the lumbar spine vertebrae ...", "Grissom: Anything not broken?", "Dr. Albert Robbins: No, the trauma's similar to some of the leapers I get in here: Out of state, out of cash and out the window.", "Grissom: Suicide by hotel.", "Dr. Albert Robbins: This was not a hotel. What you see here is the flattening and expansion of the body that could only be caused by the impact of a very steep fall. If I know anything, I know two unequivocal truths: Dasilva's head does not belong to this body. And the reason I know that is because the torso is not human.", "Grissom: What is it?", "Dr. Albert Robbins: I don't know. You're going to need an anthropologist.", "(GRISSOM looks at DR. ROBBINS and considers this.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - NIGHT]", "(Cut to: A person puts their eye to the scope. With a focus on the person's eye, the camera pulls away backward inside the scope. Dissolve to: Change camera view of the two item pieces under the scope.)", "Greg Sanders: uh-hmm.", "(He looks through a second scope.)", "Greg Sanders: uh-hmm.", "(He looks to the open reference book, CRIMINALIST BUREAU-REFERENCE DATA, on the side and flips the page ... Filbert (Hazelnut) ... Brazil Nut ... Almond ... He keeps flipping the pages while NICK and SARA wait for him.)", "(NICK sighs.)", "(Finally, GREG straightens and looks at SARA and NICK.)", "Greg Sanders: Squirrels love 'em ... they get tossed at dodger stadium and they make a hell of a butter.", "Sara: You're nuts. You know that.", "Greg Sanders: Exactamundo.", "(He turns to the reference book and flips the page: Peanuts! He points to it.)", "Greg Sanders: Peanuts! Right scope's the shell left scope's the skin of the nut. Think \"peanuts español.\"", "Nick: Peanuts on the gas pedal. You're kidding.", "Greg Sanders: Uh-uh.", "Sara: That's one of those funny clues. Could mean nothing or could mean everything.", "Nick: Hmm.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. VICTOR DA SILVA'S RESIDENCE -- NIGHT]", "(The front door opens. BRASS pushes aside the plastic sheet to walk into the residence, but instead comes face to face with a stranger in the house.)", "Brass: Whoa. Who are you, pal?", "Trent Calloway: I'm Trent Calloway. Who are you?", "Brass: I'm Jim Brass. Homicide. This is Gil Grissom. Crime lab. Does a Victor DaSilva live here?", "Trent Calloway: Yeah, but he's out.", "Grissom: And you're in.", "Trent Calloway: Yeah. I'm painting the house.", "Brass: In the middle of the night? Back up, Slick. We got some bad news.", "(TRENT CALLOWAY backs up. BRASS and GRISSOM walk into the house.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[INT. VICTOR DASILVA'S RESIDENCE -- NIGHT]", "(TRENT CALLOWAY wipes his hands with a rag.)", "Brass: So when was the last time you saw Victor DaSilva with his head attached?", "Trent Calloway: A day or two ago.", "(GRISSOM looks around and sees a painting resting against the wall under the plastic sheet.)", "Trent Calloway: This whole painting thing had him stressed out.", "(GRISSOM picks up the painting and reads it.)", "Grissom: \"Picking up airheads just got easier.\"", "Trent Calloway: Yeah. He worked freelance mostly. He won a \"bandy\" award for that one.", "Brass: So he worked for an ad agency. What else did he do for a living?", "Trent Calloway: That's it, as far as I know.", "(GRISSOM puts the painting back down against the wall.)", "Brass: What about you? I mean, besides painting walls.", "Trent Calloway: I'm a bouncer at the french palace. I throw guys like you out.", "(BRASS chuckles.)", "Brass: Yeah. You know, you don't seem too shook up about DaSilva's death.", "Trent Calloway: We weren't that close. We had some mutual friends, he needed someone to help him with this place and, uh, I never turn down a job.", "(GRISSOM steps away and looks around.)", "Brass: Well, I hope you got paid in advance.", "(GRISSOM walks through the hallway. He pushes the plastic sheet aside and walks into the bedroom. He looks around the place. He shines the light on the open closet, puts down his kit and reaches to turn the closet light switch on.)", "(GRISSOM kneels down and picks up a pair of shoes. He looks at their soles. He examines another pair of shoes ... and another. He continues to examine the shoes when BRASS walks in holding a photo.)", "Brass: Found a picture of Victor DaSilva and, uh ... somebody.", "Grissom: What does that mean?", "Brass: Cut out.", "(BRASS shows the photo to GRISSOM who takes it and looks at it.)", "Grissom: So bizarre, human behavior. What you can't cut out of your mind you can always cut out of your photo album.", "Brass: Why are we in the closet?", "Grissom: I got a call from Greg Sanders, at our lab. He found peanut shells on the foot pedals of Victor DaSilva's car.", "Brass: Hmm.", "(GRISSOM stops as the pair of shoes in his hands has peanut shells stuck on the undersides.)", "Grissom: And voila.", "Brass: (yells) Mr. Calloway, would you mind coming in here, please?", "(GRISSOM stands up with the pair of shoes in his hands. TRENT CALLOWAY walks into the bedroom.)", "Grissom: Mr. Calloway ... is there a remote possibility that Victor DaSilva ever worked at a concession stand of some sort like at a ballpark or ... the secret garden of Siegfried and Roy in the elephants' habitat?", "Trent Calloway: I don't think it's Victor's style. This is ridiculous.", "Grissom: Well, not according to his size 11s.", "(TRENT doesn't say anything. GRISSOM looks at TRENT.)", "[SCENE_BREAK]", "[INT. JUVENILE DETENTION CENTER -- NIGHT]", "(The door opens. The MAINTENANCE ENGINEER leads WARRICK through the backroom where the pipes are.)", "Maintenance Engineer: I'm Telling you ... the kids in here got nothing but time. You'd be surprised what they can come up with.", "Warrick: Nothing surprises me anymore.", "Maintenance Engineer: Yeah? Wait awhile. This is the main thoroughfare for all the toilets. All the goods come through here.", "(The MAINTENANCE ENGINEER puts his kit down and opens it.)", "Maintenance Engineer: You know, it's funny -- I wanted to be a surgeon.", "(He takes out a huge wrench.)", "Maintenance Engineer: Step back for Molly.", "(He uses the wrench and unscrews the pipe open. The pipe opens. WARRICK steps forward.)", "Warrick: Step back for Warrick.", "(WARRICK pushes up his jacket sleeve and leans in to look. He breathes out at the stench.)", "Warrick: Whew!", "(WARRICK sticks his hand in and up the pipe searching for whatever is blocking the flow.)", "(He finds it and pulls it out. Excess water flows out of the pipe. WARRICK exhales at the stench.)", "Warrick: Whew!", "(He looks at what he pulled out. It's underwear wrapped around what looks like a sharpened toothbrush with a razor in its handle. He looks at the weapon. He looks at the razor. Camera zooms in for a closeup.)", "(He sighs.)", "Warrick: Impressive.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(GRISSOM, SARA, NICK and DR. ROBBINS are in the autopsy room standing around the sheet-covered skinned body. TERI MILLER is also there. They remove the sheet to shower her the body.)", "Dr. Albert Robbins: Dr. Miller, this is outside my purview as a coroner.", "(She looks at the body and steps forward. In her hand is a small microcassette recorder that she speaks into as she visually examines the body.)", "Teri Miller: The specimen's pelvic girdle and spine ... are curved and upright suggesting the species may be quadrupedal. The left and right femur and humerus are derivative of the tarsius.", "(She steps back, shakes her head, turns off the recorder and sighs.)", "Teri Miller: I think I know what this is. Your preliminary evaluation is correct, Dr. Robbins. It's not human. It's a primate. More specifically, a gorilla.", "(This surprises SARA. Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - NIGHT]", "(SARA is sitting in the dark in the room looking at and listening to the computer information about gorillas.)", "Narrator: (on computer) Bushmeat hunters thrive on the murdering of gorillas for profit. In the United States their meat is considered a delicacy. It is said if the animal is ingested its great powers will be passed on to the consumer.", "(In the doorway, GRISSOM suddenly switches the lights on, a clipboard in his hand. SARA turns to look at him.)", "Grissom: What are you doing?", "(GRISSOM walks into the room.)", "Sara: Working the case.", "Grissom: What case?", "Sara: The skinned gorilla torso forty miles outside of Baker. Remember?", "Grissom: I don't think that is a case.", "Sara: Well, it was at the start of shift. A crime has been committed.", "(GRISSOM looks at the table next to SARA and sees a CD ROM disk about \"Gorillas\" along with a companion magazine, \"GORILLA: In it's Natural Environment\".)", "Grissom: I hate to be the one to state the obvious, but, uh ... this isn't a human being we're dealing with -- it's an animal.", "(SARA waits for him to continue.)", "Sara: And ...", "Grissom: And every time a dog gets run over you can't go to the vet to examine it.", "(SARA snorts, a smile on her face.)", "Sara: I can't believe you. You, with your pet tarantula your maggot farms, that komodo dragon on back order ... you should be more sympathetic to the senseless murder of an innocent gorilla.", "Grissom: (amused) You're right. I apologize. I was just checking to see where your head was at. For now, you're working alone. Catherine needed Nick.", "Sara: Bummer.", "(GRISSOM turns to head back toward the doorway.)", "Grissom: We got another dead body call.", "Sara: Wait. Is he missing a head?", "Grissom: Maybe. Meantime, you're on standby in case Nick needs backup.", "(SARA nods. GRISSOM turns the clipboard to show SARA the sheet that's on it.)", "Grissom: Your evaluation form. \"Overall performance: Outstanding.\" \"Ability to prioritize:\" ...", "(GRISSOM turns and starts walking out the doorway. He throws over his shoulder ... )", "Grissom: ... \"Improvement needed.\"", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(CATHERINE and NICK walk through the hallway. CATHERINE glances at her pager.)", "Nick: You up for a riddle?", "Catherine: Sure. Why not?", "(She clips the pager to her waist.)", "Nick: Okay, repeat after me: Silk, silk, silk.", "Catherine: (puzzled) Silk, silk, silk.", "Nick: (smiling) What do cows drink?", "Catherine: Water. Why?", "(NICK'S smile fades.)", "Nick: (mutters) Never mind.", "(He shakes his head and continues to walk through the hallway next to CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG looks at the toothbrush in his hand. WARRICK stands next to him.)", "Greg Sanders: Who thought that a toothbrush could take a kid's life?", "Warrick: Yeah. Son of a bitch was crafty -- I'll give him that. Melted the end of the toothbrush to insert the razor blade.", "Greg Sanders: Then why the rubber band?", "(WARRICK takes the toothbrush and pushes the rubber band up against the razor so that it's hidden.)", "Warrick: Concealment.", "Greg Sanders: Oh, that's deep.", "Warrick: Yeah. Now all I got to do is put this shank in someone's hand.", "[SCENE_BREAK]", "[EXT. COLLINS U-STORE IT - DAY]", "(Establishing. Camera holds on the large sign. It reads: COLLINS U-STORE-IT CHEAP, CONVENIENT, SECURE. )", "[SCENE_BREAK]", "[INT. COLLINS U-STORE IT - HALLWAY - NIGHT]", "(CATHERINE and NICK walk through the hallway carrying their kits. The officers there light the way toward the unit with the body.)", "(As they turn the hallway, they notice bloodied prints on the ground.)", "Catherine: Hey ... here's something new.", "(CATHERINE and NICK stop at a bloodied print on the ground. CATHERINE puts her kit down.)", "Catherine: The cousin of footprints. Sock prints ... look. That's not from a shoe. Look at the fabric impressions. The guy ran out of here in his socks.", "Nick: (nods) Mm-hmm. Perp thought he could cover his tracks by taking off his shoes.", "Catherine: (looks at NICK) He thought wrong.", "(Cut to: CATHERINE and NICK duck under the crime scene tape and head for BRASS who starts filling them in on the details.)", "Brass: Manager spotted the blood during a night sweep.", "(NICK puts his kit down and walks in deeper into the unit.)", "Brass: Want to know who the shed reregistered to? Victor DaSilva.", "Catherine: Our head.", "(NICK looks at the body in the trunk.)", "Nick: Oh ... so this is the rest of his body?", "Brass: It ain't gorilla.", "(BRASS sighs, turns and leaves. CATHERINE and NICK watch for a moment, then turn back to the body in the trunk.)", "Catherine: Well, this amount of blood suggests that the victim was killed here. Why don't I do the one-to-ones and you start looking for the weapon?", "Nick: Yeah-- whatever punctures, whatever chops.", "(Cut to: CATHERINE snaps a photo. She takes out a small ruler from her kit and sets it down next to the sockprint. She snaps a couple more pictures.)", "(Cut to: NICK checks out the shelves in the unit looking for the murder weapon. The cabinet behind NICK is #253.)", "(Cut to: CATHERINE also looks at the shelves.)", "(Cut back to: NICK moves a painting aside.)", "(Cut to: CATHERINE continues to look at the shelves. NICK picks up an old shirt and finds a hammer inside. He examines the hammer. On the shelf, CATHERINE finds a small hatchet wrapped in a piece of cloth.)", "(NICK looks at the hammer in his hand.)", "Nick: Bob Villa.", "(CATHERINE looks at the blood on the hatchet.)", "Catherine: Paul Bunyan.", "[SCENE_BREAK]", "[INT. CSI - LAB - DAY]", "(CATHERINE reaches in to the evidence box and takes out the skull. GRISSOM is looking at the bloodied hammer.)", "Catherine: By the way, what about my evaluation?", "(GRISOSM stops looking at the bloodied hammer and looks at CATHERINE.)", "Grissom: Keep up the good work, Catherine.", "(CATHERINE doesn't say anything as she glances at GRISSOM.)", "Grissom: Are those molds dry yet?", "(CATHERINE removes the mold from the skull's jaw.)", "Catherine: They're tacky.", "(She compares the mold to the edge of the axe.)", "Catherine: Hmm, positive to positive.", "Grissom: That'll never hold up in court, though. We're going to need to make negative molds.", "(CATHERINE puts the ax aside and holds out her hand for the hammer.)", "Catherine: Tabling the ax. Hammer time.", "(She compares the hammer to the mold taken from the top of the skull's head. She glances at GRISSOM.)", "Catherine: Um ... pretty close.", "Grissom: All right, I fed the measurements from the claw end of the hammer.", "(GRISSOM hits a couple of keys on the computer keyboard. He holds the scanner end against the skull. He hits the keyboard and the models on the monitor of the skull and the hammer match. Still, GRISSOM'S not satisfied.)", "Grissom: Something doesn't seem right about this. Why would you use the claw end of the hammer to kill him and not the hammer end?", "(CATHERINE thinks about it.)", "Catherine: Wait a minute. Maybe it wasn't about hitting him in the head. Maybe it was about fitting him in the locker.", "(Quick flashback to: The murderer gathers the ends of the plastic around the head of the dead body and tries to close the trunk. The cover doesn't close. He pushes down hard on the cover, but it still won't fit.)", "(Cut to: The murderer unwraps the plastic from the head of the body. He pulls the head back over the edge of the trunk. He turns and grabs the hammer.)", "(Cut to: With the claw hooked into the skull and holding it steady with one hand, the murderer hacks at the neck with the ax. Blood spatters everywhere.)", "(End of flashback. Resume to present.)", "Grissom: (realizes) So the footlocker had no headroom.", "Catherine: (smiles) Exactly.", "[SCENE_BREAK]", "[EXT./INT. DA SILVA'S HOUSE - DAY]", "(NICK cuts the red tape across the door to DaSilva's house. He opens the door and walks in, pushing aside the plastic sheets to enter the house. SARA follows behind him.)", "(NICK looks around the living room.)", "Sara: So, uh, Tricky Nick. What did you get on your evaluation?", "(She taps him on the back of his shoulder to get his attention.)", "Nick: It's private.", "(They walk deeper into the house.)", "Sara: Yeah, but how many \"outstandings\" did Grissom give you?", "Nick: Enough.", "(They walk into the bedroom.)", "Sara: What did he tell you to look for?", "(NICK puts his kit down in front of the closet and looks at SARA.)", "Nick: Grissom didn't tell me anything.", "(NICK opens the closet doors.)", "Nick: I put this together myself.", "(NICK kneels down on the closet floor in front of the line of shoes.)", "Nick: Give me some light here, will you, partner?", "Sara: Yeah.", "(SARA steps forward to help. NICK starts checking all the pairs of shoes.)", "Nick: All right, it's like this: Sock prints were found at the crime scene: Size 11. Shoes Grissom took from the closet here: Size 11. Dasilva's shoe size: Ten. So whose size 11's were they? Grissom missed something.", "(He doesn't find anything, hangs his head and sighs heavily. SARA continues to look at the closet.)", "(NICK raises his head and gives it another look. He checks a pair of shoes, then sees something caught inside the cuff of the pants hanging.)", "(He reaches over and picks it up. SARA moves the flashlight to give him more light. They both look at the peanut and nod at each other.)", "(They both stand up and take a look at the clothes the pants belong to. It's a yellow shirt with a patch over the left breast that reads: SPUR'S CORRAL.)", "Sara: \"Spur's Corral.\" I know that place. They give you peanuts for starters instead of bread or chips and salsa.", "(NICK reaches for his phone.)", "Nick: I'm calling Grissom.", "Sara: Look, you obviously don't need my help. I-I got go put something to rest. See you later?", "(Using his teeth, NICK pulls out the phone's antennae. He starts dialing.)", "Nick: All right. Thanks.", "(SARA turns and leaves.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(DR. ROBBINS opens the morgue cabinet and pulls out the table with the sheet-covered body on it.)", "Dr. Albert Robbins: The body from the storage shed -- it's Victor DaSilva, all right. We ran his prints.", "Grissom: It's nice that he still had his hands.", "(He pulls the sheet aside.)", "Dr. Albert Robbins: I was wrong about the cause of death.", "Grissom: The hammer didn't do it?", "Dr. Albert Robbins: No. He was shot point-blank in the heart.", "(He points to the bullet hole.)", "Dr. Albert Robbins: .380. Imagine the human heart as an apple.", "(Quick CGI POV to: Camera on an red apple. A gunshot is heard and a high speed bullet appears from the left and pierces through the apple, ripping it to shreads.)", "Dr. Albert Robbins: (V.O.) Instant liquefaction.", "(End of flashback. Resume to present.)", "Catherine: We found everything else in that shed. I don't know why we didn't find a gun.", "Grissom: Well, maybe he was shot somewhere else.", "Catherine: That would explain the plastic.", "(GRISSOM looks confused, then moves to stand in front of CATHERINE.)", "Grissom: What plastic? You never told me about any plastic.", "Catherine: I didn't? Oh.", "(CATHERINE turns and walks away. GRISSOM follows her.)", "Catherine: The victim was wrapped in a plastic sheet.", "Grissom: Victor DaSilva's entire house was covered in plastic. He was having it painted.", "Catherine: Really? Who's the painter?", "(She stops in front of the door.)", "Grissom: Nobody famous.", "(GRISSOM opens the door and they leave.)", "Catherine: Yet.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE and BRASS interview TRENT CALLOWAY. CATHERINE is putting on her latex gloves.)", "Brass: You had access to victor DaSilva's house?", "Trent Calloway: Yeah, I was painting it.", "Brass: You own a gun? I don't mean a paint gun.", "Trent Calloway: No.", "Catherine: Okay, let's get right to it. What's your shoe size?", "Trent Calloway: Why?", "Grissom: I have a shoe fetish. I love feet.", "Trent Calloway: It's 13.", "Brass: Take off your shoes and socks. We need to verify.", "(CATHERINE takes a sheet of print paper and puts it down on the ground while TRENT CALLOWAY takes off his shoes and socks.)", "(He sticks out his foot. CATHERINE uses a roller and applies the ink. She puts his foot down.)", "Catherine: Okay ... step on the paper.", "(TRENT CALLOWAY stands up and leaves his foot print behind. CATHERINE compares the print to the sock print.)", "Catherine: Two sizes too big. You can go.", "[SCENE_BREAK]", "[INT. SPUR'S CORRAL - DAY]", "(GRISSOM and BRASS are at SPUR'S CORRAL. Like a layer of carpet, peanut shells and skin remains litter the floor. GRISSOM stares at it as BRASS peels some peanuts. He tosses the shells and skins on the floor.)", "Grissom: I'd tell you not to step on the evidence, but, uh...", "Brass: Yeah, but what's the point? Pretty good gimmick they got here, though. You eat peanuts, toss the shells on the floor -- nobody gives a rat's ass.", "(BRASS tosses more peanut shells on the floor as they make their way toward the RESTAURANT MANAGER and to NICK who is already there interviewing him.)", "Nick: You sure you can't help me out?", "Restaurant Manager: No. Victor DaSilva never worked here.", "Nick: We found one of your uniforms in his closet. Any idea how it got there?", "Restaurant Manager: No.", "Nick: Guys ... look, boss, I'm sorry. I thought I was onto something here. I had a conflict in shoe sizes so I thought I'd play a hunch. Sara was right there. We were checking out the shoes ... (echo-y voice) ... and we found some peanuts in the cuff links and go up and Spurs Corral.", "(As NICK speaks, GRISSOM is distracted by the large wall display behind him. A large decorated sombrero hanging on the wall.)", "Brass: Incidental.", "Nick: I don't think so.", "(GRISSOM continues to stare at the display. It's something that he recognizes.)", "Nick: ...so that's why I buzzed you guys down. You got to follow your hunches, right?", "Grissom: Yeah, sure. Jim.", "Brass: Yeah.", "Grissom: You still got that picture that you took from DaSilva's house?", "(NICK seems confused by the leap in thinking.)", "Brass: Yeah. Yeah. Here it is.", "(BRASS reaches into his pocket and gives GRISSOM the picture.)", "(GRISSOM looks at the picture. It's the same sombrero.)", "Nick: What? You're looking at the sombrero?", "(GRISSOM stares at the torn edge of the photo.)", "Grissom: The earrings. Victor DaSilva was here with someone he cut out of his life.", "Brass: Probably his girlfriend.", "(GRISSOM calls out to the RESTAURANT MANAGER.)", "Grissom: Excuse me. You recognize this ear?", "(The RESTAURANT MANAGER looks at GRISSOM.)", "Restaurant Manager: You got to be kidding me. (He takes a look at the picture and is surprised that he actually does recognize it.) Wait a minute. Yeah, I do. I do recognize those earrings.", "SHORT TIME CUT TO:", "[CAMERA CLOSE UP OF THE EAR WITH THE EARRINGS]", "Brass: Fred Applewhite?", "(The camera pulls back a little to show FRED APPLEWHITE, a waiter at the SPUR'S CORRAL. He turns around and looks at GRISSOM, BRASS and NICK. He smiles pleasantly, a couple of menus tucked under his arm.)", "Fred Applewhite: Y'all here for lunch?", "Grissom: No. Takeout.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(SARA approaches TERI MILLER as she works on the gorilla body.)", "Sara: I heard you were disassembling the gorilla.", "Teri Miller: For purposes of disease control. Per the CDC, I have to take samples and dispose of this animal immediately.", "Sara: Well, I've been trying to find out who did this to her and, um, I have some questions.", "(TERI continues to work.)", "Teri Miller: You ask, I'll answer.", "Sara: Why did they amputate the gorilla's head?", "Teri Miller: It's a trophy. American fetishists would pay up to $10,000 for the head of a lowland gorilla.", "Sara: The hands and feet?", "Teri Miller: Novelty items. Sold as ashtrays.", "Sara: Here Nick and I were thinking it was to avoid I.D. Why skin it?", "Teri Miller: Purses, shoes, boots ... It's sad. Genetically we're 92.7% identical with gorillas.", "Sara: It's hard to tell where the human ends and the animal begins.", "Teri Miller: Well said.", "Sara: I checked out a couple of websites ... bushmeat[dot]net, gorilla[dot]org. I think she was killed probably in Cameroon or Congo transported to the port of Los Angeles. Dismembered, packaged ... loaded onto a small plane ... where they dumped what they couldn't sell but, uh, I just have to find the plane.", "Teri Miller: Needle in a haystack. Chances are, whoever did this are halfway around the world by now.", "Sara: There has to be something I can do.", "Teri Miller: Actually, there is.", "[SCENE_BREAK]", "[EXT. DESERT -- DAY]", "(SARA sits cross-legged on the ground, a small shovel in her grip. She digs a hole in front of her. When she gets it big enough, she puts the shovel aside and takes a gold-colored container and opens it. She pours the ashes into the hole in front of her.)", "(When the container is empty, she uses her bare hands and fills the hole with dirt.)", "Sara: For every one that parts, one stands aboveground.", "(SARA sits quiet and alone in front of the make-shift grave.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(NICK inks FRED APPLEWHITE'S feet with the inked roller. When he's done, he stands up.)", "Nick: Okay, Mr. Applewhite ... take a walk.", "(FRED APPLEWHITE stands up and walks along the stretch of white paper spread out on the garage floor. As he walks, CATHERINE and NICK look through the sock print photos from the crime scene.)", "(He reaches the end, turns around, and walks back to the stool.)", "Catherine: Okay, great. Now, Mr. Applewhite ... this time, I want you to do something different.", "(CATHERINE kneels down and pushes a fresh roll of paper along the floor. FRED APPLEWHITE moves to the second sheet of paper.)", "Catherine: This time ... run.", "(FRED APPLEWHITE steps onto the fresh paper and runs across it.)", "(Quick flash to a bottom view of the floor as if someone where walking in blood on glass. The socked feet leaves red impressions behind.)", "Grissom: (V.O.) Footprints are almost as reliable", "(End of flash. Resume to present.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(GRISSOM explains the print analysis to FRED APPLEWHITE.)", "Grissom: ... as fingerprints and every step tells a story. The first few steps, you were walking.", "(GRISSOM points to the foot prints on the paper spread across the table.)", "Grissom: See the complete heel, arch and five little piggies? The next few steps, however ...", "(GRISSOM, NICK and CATHERINE pushes the paper closer toward them so that he can see the prints they're looking at.)", "Grissom: ... the heel disappears. All of the pressure is put on ball of the foot and toes. Why? Because you were running. And my guess is that, on the day you had a head in your hand.", "Nick: You see, everyone's foot makes a unique well impression. Check it out.", "(NICK puts the sock print photos on the table in front of them.)", "Nick: The, uh width ... ball of the foot ... instep ... arch ... and, uh ...", "(NICK throws another photo on the table. This one is of the complete foot.)", "Nick: ... size 11 for dessert.", "Grissom: Mr. Applewhite your footprints ... place you at the crime scene.", "Fred Applewhite: Victor and I were partners. We shared everything including in our house and the storage shed.", "Brass: We know that. When did you move out?", "Fred Applewhite: Three months ago. He found somebody else ... kicked me out.", "Brass: And you took all your possessions with you?", "Fred Applewhite: Not everything.", "Brass: So, you were hoping for a reconciliation.", "Fred Applewhite: Yeah. I thought, once Victor got this new guy out of his system he'd come around.", "Grissom: But he didn't, did he? That's why you went to his house last night.", "Fred Applewhite: Who said I went there?", "Grissom: The plastic.", "(GRISSOM holds up a sample.)", "Grissom: You know ... the plastic that you lay down when you paint a house. The kind of plastic that you, uh ...", "(GRISSOM holds up a photo of the body in the plastic in the trunk.)", "Grissom: ... wrap a dead body in. The plastic that we found your fingerprints on.", "Brass: Let me tell you what I think happened.", "(Quick flashback to: [INT. VICTOR DASILVA'S RESIDENCE] Victor waves at the possessions in the house.)", "Victor Dasilva: Take what you want. I don't care. I've moved on.", "(FRED turns and walks up to VICTOR. He's upset that VICTOR doesn't care more.)", "Fred Applewhite: What do you think you're going to do, just paint me out of your life?", "Victor Dasilva: Just take what you want and get out.", "Fred Applewhite: I'll tell you what I want.", "(FRED tapes a couple of steps away, he turns around with a gun in his hand, and fires.)", "(Cut to: FRED is wrapping VICTOR'S dead body in the plastic sheets. He rolls the body till he's completely covered.)", "(Cut to: FRED has the body in a trunk and tries to close the trunk lid. It won't shut.)", "(Cut to: FRED unwraps the plastic from the head. Grabbing a handful of hair, he pulls the head back over the edge of the trunk.)", "(Cut to: FRED slams the trunk lid shut. He looks down and sees the blood on the floor. He reaches down and takes his shoes off.)", "(Cut to: With the head under his arm and the shoes in his other hand, FRED runs out of the storage unit hallway.)", "(Cut to: [EXT. U-STORE-IT PARKING LOT - NIGHT] FRED drives the car into the parking lot. He parks the car. He forgot something.)", "Fred Applewhite: Damn it! God!", "(FRED runs out and back toward the Storage Unit.)", "(End of flashback. Resume to present.)", "Brass: So, what did you forget?", "Fred Applewhite: You wouldn't believe it, but I forgot to lock the shed.", "Brass: And when you came back out your car was gone.", "Fred Applewhite: Yeah. (shakes his head) I don't know who took it.", "Grissom: We do.", "(Quick flashback to: [EXT. PARKING LOT - NIGHT] ANNA LEAH and LORI quickly escape out of the back of the parked van.", "Anna Leah: Wait, Lori!", "(They walk through the parking lot looking desperately for a way to get away. ANNA LEAH sees the car.)", "(Cut to: LORI follows ANNA LEAH to the car. They get into the car. They drive off.)", "(End of flashback. Resume to present.)", "(BRASS escorts FRED APPLEWHITE out of the lab. GRISSOM mumbles to NICK while NICK picks up the photos from the table.)", "Grissom: You know that reminds me -- I got to remember to take Greg Sanders to lunch. He did a nice job sniffing out those peanuts.", "(NICK smiles as GRISSOM leaves.)", "Nick: (nods) Yeah, he did.", "(NICK smiles.)", "[SCENE_BREAK]", "[INT POLICE DEPARTMENT - INTERVIEW ROOM]", "(SGT. O'RILEY and RONNIE CONNORS wait in the room. WARRICK walks in carrying some papers.)", "O'Riley: We were waiting for you. Meet Ronnie Connors.", "(WARRICK looks around and doesn't see anyone else in the room when he clearly expected to see his lawyer.)", "Warrick: Where's his attorney?", "Ronnie Connors: (with attitude) What you talking to him about my business? Ask me.", "(SGT. O'RILEY doesn't say anything. He stands up and puts a hand on WARRICK'S shoulder. He goes to stand in front of the door.)", "Warrick: Where's your lawyer?", "Ronnie Connors: (to O'RILEY) Ask him.", "(WARRICK doesn't say anything. He takes a seat at the table opposite RONNIE CONNORS.)", "Warrick: How's your plaque?", "Ronnie Connors: My what?", "Warrick: Your teeth. I mean, how many toothbrushes does a guy need?", "(RONNIE CONNORS doesn't say anything.)", "Warrick: Apparently, for you it's as many as it takes to make the perfect shank.", "Ronnie Connors: Let me tell you something, Breeze. I'm L.A. County/Slauson payback crip, cuz. I got a lot of offspring up in here -- black as night. They answer to me because I'm the macaroni. I mean, seriously ... you have any idea who you talking to?", "Warrick: Yeah.", "(Quick flashback to: Camera close up of an inmate holding the shank in his hand. End of flashback. Resume to present.)", "(WARRICK keeps his eye contact on RONNIE CONNORS without backing down. RONNIE CONNORS is the first to avert his eyes.)", "[SCENE_BREAK]", "[INT. JUVENILE DETENTION CENTER - DAY]", "(WARRICK is in the room filling JAMES MOORE in on his investigation.)", "James Moore: So I don't have to testify?", "Warrick: (shakes his head) The evidence will testify for you. Ronnie Connors ... bought a toothbrush and some rubber bands at the commissary. He didn't know it but that's the last shank he'll ever make.", "James Moore: How'd you know it was RC's?", "Warrick: Before he made the shank he shaved with the same razor. His DNA was all over the blade.", "James Moore: Oh, god.", "(JAMES realizes that he's really off of the hook. His eyes start to tear with relief and with gratitude.)", "James Moore: I owe you, man.", "Warrick: It's not me you have to thank.", "(WARRICK looks just beyond JAMES. JAMES quickly turns around to see who WARRICK'S looking at. Standing behind him is his grandfather.)", "(It's been a while since he's seen him. JAMES stands up and goes to meet him.)", "(Without saying a word, CHARLES MOORE grabs JAMES in a solid hug.)", "James Moore: (whispers) I love you, grandpa.", "(WARRICK stands up and turns to leave the room.)", "Charles Moore: You're all I got, James. You're everything to me, you hear?", "(JAMES nods.)", "(WARRICK turns to the door and leaves the room.)", "(The camera slowly pulls back on CHARLES and JAMES.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. ROLLER COASTER - TOP OF THE CASINO/HOTEL - NIGHT]", "(The riders are getting settled in their coaster seats. GRISSOM is already settled in when he reaches up and pulls WARRICK into the seat next to him. WARRICK looks scrunched up and confused.)", "Warrick: I thought you said we were grabbing a beer.", "Grissom: (excited) We are, after this.", "Warrick: (ready to bag) Grissom, you know, this is your thing.", "(WARRICK grabs the rail to get out of the coaster when GRISSOM stops him. He pulls him back down into the seat.)", "Grissom: Ah-ah-ah. Every nine years and 34 days I feel like sharing. You'll like it. It cleanses you.", "(GRISSOM reaches up and pulls the harness down on WARRICK, trapping him in the seat, and securing it shut.)", "Warrick: Cleanses me?", "(GRISSOM pulls down his harness.)", "Warrick: Whatever happened to my evaluation?", "(beat)", "Grissom: You're sitting in it.", "(And the ride starts. WARRICK'S eyes snap to attention in front of him as the coaster takes off.)", "(Various cuts of WARRICK and GRISSOM and of the coaster ride.)", "Warrick: (yells) Oh, yes!" ]

[ "Grissom and his team investigate a series of murders by a signature killer . The killer has enough knowledge of forensic science to leave little evidence behind. When the investigation seems to be at a dead end, the sheriff brings in the F.B.I. , to Grissom's dismay. Grissom's anger only grows when they want to lure out the killer, with Sara as bait." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "(Camera holds over the city. Thunder rumbles; lightning flashes in the sky.)", "[SCENE_BREAK]", "[EXT. SATURN ARMS APARTMENTS - NIGHT]", "(The front left glass door is open. Building number 5595. Thunder rumbles outside.)", "[SCENE_BREAK]", "[INT. SATURN ARMS - EILEEN SNOW'S APT - HALLWAY -- NIGHT]", "(Camera moves slowly down the hallway toward the bedroom door. There's a bicycle resting against the wall in the hallway; the light from outside illuminates the bathroom. Lightning flashes.)", "(The camera turns the corner and enters the bedroom. There's someone asleep in the bed. The camera lingers in the doorway.)", "[SCENE_BREAK]", "[INT. SATURN ARMS - EILEEN SNOW'S BEDROOM - NIGHT]", "(EILEEN SNOW suddenly gets up. She sits up in bed and looks out the open bedroom door. Thunder rumbles; lightning flashes.)", "(She looks outside the bedroom window, then around the bedroom. The closet light is on. She lies back down in bed, leans on her side and tries to go back to sleep.)", "(Again, she suddenly gets up in bed. Thunder claps outside as lightning flashes through the window. She swallows as she stares straight ahead at the shadows in front of her.)", "(Lightning flashes. This time, there's a man holding a cord in his hands and standing at the foot of the bed. He's wearing a hooded sweatshirt that covers his face.)", "(EILEEN SNOW starts screaming. The man snaps the iron cord. EILEEN SNOW backs away from him.)", "(The iron falls.)", "(EILEEN SNOW screams.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. SATURN ARMS - EILEEN SNOW'S BEDROOM -- MORNING]", "(GRISSOM walks into the bedroom carrying his kit. BRASS follows behind him. There are other officers already in the room. Though we can't see the body, GRISSOM pauses near the bed, his eyes glued to the body.)", "Brass: Eileen Jane Snow. Lady she carpools with couldn't get her to answer the door. Police broke in.", "Grissom: (grimly) This is exactly the same as the last two.", "Brass: Audrey Hayes was strangled in her basement and the other one ended up in a park.", "Grissom: Different M.O., but it's the same signature.", "Brass: M.O. is how he breaks in. Signature's what he does once inside.", "(A Camera flashes. Close up of EILEEN SNOW on the bed. Her hands are tied together to the bed metal headboard. Her mouth is bruised. Her eyes are open. Cut back to GRISSOM.)", "Grissom: Three or four overpowering blows to the head from a homemade weapon fashioned at the scene.", "(A camera flash to: Close up of the iron used to subdue EILEEN SNOW. Cut back to GRISSOM.)", "Grissom: Forces her to drink a mixture of sodium amytal as a chemical restraint.", "(Flash to white. Close up of the drinking glass discarded on it's side.)", "Grissom: Overligature of the victim ... (he swallows) ... and an object rape. Then he strangles her. Ejaculates on the bedsheets.", "(SARA walks in and sees the body.)", "Grissom: And as a final act of degradation he poses her like a pinup.", "(She reacts to the sight of yet another body in a series of serial rapes.)", "Sara: Damn it.", "(BRASS turns around to look at SARA.)", "Brass: Sara.", "Sara: Damn that guy.", "(SARA starts to walk out of the bedroom. GRISSOM follows her outside to the hallway.)", "[SCENE_BREAK]", "[INT. SATURN ARMS - EILEEN SNOW'S HALLWAY - CONTINUOUS]", "(GRISSOM takes SARA out into the hallway.)", "Grissom: Listen, no emotions in here.", "Sara: He's escalating, Grissom.", "Grissom: That's the pattern; it's a continuum.", "Sara: Guess he wants to get caught.", "Grissom: Signature killers never want to get caught. And they won't stop until they do.", "HARD CUT TO BLACK ROLL TITLE CREDITS END OF TEASER", "[SCENE_BREAK]", "[INT. SATURN ARMS -- EILEEN SNOW'S BEDROOM - DAY]", "(SARA and WARRICK are in the bedroom near the bed. SARA is looking at the tape lift in her hand; WARRICK is going through the sheets on the bed.)", "Sara: I have tape-lifted, roll-lifted -- I'm not finding one hair.", "(GRISSOM walks into the room and lingers near the door. He's carrying a clipboard as he watches them work.)", "Grissom: (raises his eyebrows) I wonder what that might mean.", "Sara: He vacuumed this place before he left. We've established that he utilizes materials from the victim's domicile.", "(Thinking about it, SARA walks over to the closet to look for the vacuum cleaner. She pushes the closet door open to reveal the vacuum cleaner just inside. GRISSOM leans over to look at the bedside table. WARRICK continues to check the bed sheets. SARA opens the machine and looks inside.)", "Sara: Hey, guys. He took the bag.", "(GRISSOM shakes his head.)", "Grissom: Well, look for prints.", "(Before she can do anything, CATHERINE walks in. She's carrying something that looks for prints and is wearing protective eyewear.)", "Catherine: Don't bother. There aren't any. Just like the last time. The guy's Mr. Clean. Here, knock yourself out.", "Sara: Thanks.", "(CATHERINE hands it over to SARA who takes it.)", "Grissom: He stalked this woman. He knew how much time he had in this apartment to kill her, and to clean up after himself.", "Catherine: I'll tell Brass to check for s*x offenders in a two-mile radius.", "Grissom: Yeah, have him check peeping toms, too five years back. That's how they get started.", "(CATHERINE turns to leave the room. WARRICK looks up from his spot near the bed.)", "Warrick: Peeping toms to murderers?", "Grissom: It's about crossing boundaries. It's like, uh, with cake, you know? You're just going to have a little bit of the frosting and you end up eating the entire plate.", "(WARRICK pulls the bed cover aside. He sees a single hair strand.)", "Warrick: Nobody move.", "(He picks it up and holds it up.)", "Warrick: Mr. Clean needs a maid. I'm going to take this back to the lab.", "(SHERIFF BRIAN MOBLEY walks up to the door and looks around. He sees GRISSOM.)", "Sheriff Brian Mobley: Gil. I need a word with you outside.", "(GRISSOM sighs. The SHERIFF leaves. GRISSOM glances over at WARRICK.)", "[SCENE_BREAK]", "[EXT. SATURN ARMS -- DAY]", "(THE SHERIFF walks out of the apartment. GRISSOM is close behind him. The SHERIFF is headed somewhere.)", "Grissom: You're bringing the FBI in? Why?", "Sheriff Brian Mobley: They offered their assistance, and I'm inclined to take it. Of course, uh, I'd want to make sure you're okay with that.", "(GRISSOM puts his sunglasses on. In the background, we hear people from the news media talking.)", "Grissom: I-I don't believe the investigation should go that way, Brian. I mean, roadblocks and special ops?", "Sheriff Brian Mobley: Oh, that's a pity, 'cause I do. Maybe you'll feel different when you meet Rick Culpepper.", "(A man in a suit approaches them. He holds out his hand to the Sheriff. Behind him standing just behind the crime scene tape is the news media.)", "Agent Rick Culpepper: Sheriff Mobley.", "Sheriff Brian Mobley: Rick.", "(They shake hands. AGENT RICK CULPEPPER turns to GRISSOM.)", "Agent Rick Culpepper: Hi, Rick Culpepper. Federal Bureau of Investigation.", "(They shake hands.)", "Grissom: Gil Grissom, Agent Culpepper.", "Agent Rick Culpepper: Uh, \"Special Agent\". It's great to meet you. All our kids back in Quantico are always going on about your bugs.", "(GRISSOM doesn't say anything. AGENT RICK CULPEPPER takes off his sunglasses and looks at GRISSOM.)", "Agent Rick Culpepper: Well, listen, the FBI is here to help you and your people at CSI. Of course, uh, as SAC, the investigation will run through me. Sheriff probably already told you that.", "(GRISSOM glances at the SHERIFF standing silently next to him.)", "Grissom: No, he didn't mention that, either.", "Agent Rick Culpepper: All rivers run through Rome so to speak. (chuckling) But, uh, you get an \"attaboy\". Three women dead 'cause you couldn't get the job done. There's not many guys who would hand the case over to us Fibbies.", "Grissom: I'm not handing it over. I'm willing to work in conjunction with you.", "Agent Culpepper: Well, that's fine. We'll work the \"Strip Strangler\" case in conjunction.", "Grissom: The what?", "Agent Rick Culpepper: He strangles them near Las Vegas Boulevard then removes their clothes. Strip Strangler. Why? What do you call him?", "Grissom: Unknown Signature Homicide, Metropolitan Las Vegas.", "Agent Rick Culpepper: (to SHERIFF) Oh. He's not kidding, is he?", "(THE SHERIFF shakes his head.)", "Sgt. O'Riley: (to GRISSOM) Excuse me. Guy over here's got something you might want to hear. Syd Goggle. He's a security guard. Community patrol. Says he saw a man speeding away from here last night.", "(GRISSOM follows SGT. O'RILEY to the security guard. He approaches the crowd behind the yellow police tape.)", "Grissom: Mr., Uh, Goggle? Gil Grissom.", "(SYD GOGGLE is let through the police tape.)", "Syd Goggle: (to GRISSOM) I know who you are, sir. I've seen you on TV.", "Agent Rick Culpepper: Special Agent Culpepper. You have information for us, sir? About a man fleeing the scene?", "Syd Goggle: (to GRISSOM) I didn't get his license. I didn't think of it till this morning. But He was really burning rubber, though.", "Grissom: Would you please give Detective O'Riley a full statement? If we have any more questions, we'll get back to you.", "Syd Goggle: Listen, if you need any help in your investigation, Mr. Grissom ...", "Grissom: (interrupting) The last time a security guard tried to help me, he ended up dead. But thank you.", "(SYD GOGGLE walks past GRISSOM and follows SGT. O'RILEY.)", "Sgt. O'Riley: This way.", "(GRISSOM turns to the other two men.)", "Grissom: I'm late for an autopsy.", "(GRISSOM turns and leaves. AGENT RICK CULPEPPER puts his sunglasses back on and watches GRISSOM leave.)", "Sheriff Brian Mobley: He'll need a little patience.", "Agent Rick Culpepper: Wouldn't respect him if he didn't.", "(Both men head back toward the apartments.)", "[SCENE_BREAK]", "[INT. CSI -- FORENSIC AUTOPSY ROOM - DAY]", "(DR. ROBBINS goes over the body with NICK and GRISSOM.)", "Nick: What can you tell us?", "Dr. Albert Robbins: Nothing you don't know. Trauma to the head with a blunt object. Overwhelmed her.", "(Quick flashback to: In the bedroom, the intruder hits Eileen Snow. Hard. End of flashback. Resume to present.)", "Dr. Albert Robbins: He got a mixture of sodium amytal in her.", "Nick: A hypnotic.", "(Quick flashback to: In the bedroom, EILEEN SNOW is out on the bed. The intruder is straddled across her as he forces the liquid down her throat. End of flashback. Resume to present.)", "Dr. Albert Robbins: Allowed him to control her for up to six hours. Torture her. Look at the bruises.", "(He points to the purple bruises on her face and neck. GRISSOM leans in to look.)", "Dr. Albert Robbins: Purple means she was alive for all of it.", "(Quick flashback to: In the bedroom, the intruder strangles EILEEN SNOW. End of flashback. Resume to present.)", "Nick: Percussive control.", "Grissom: He choked her unconscious and then brought her to multiple times. What about the rape?", "Dr. Albert Robbins: Same as the others: Indeterminate object caused severe internal lacerations.", "(DR. ROBBINS turns back to get the sample.)", "Dr. Albert Robbins: I did find a small trace of something creviced in the uterine wall. Looks like an everyday polymer to me.", "(He hands it over to NICK to look at.)", "(Camera zooms in for a close up of the item. Broken piece of unknown object with the letters \"THA\" on it.)", "Nick: Okay. I'll go back to the scene, try to find something like it.", "Grissom: (warning) Be careful, Nicky. The cliché's true. Signatures return to their scenes.", "Nick: Will do.", "(NICK turns and leaves.)", "Grissom: Are we done?", "Dr. Albert Robbins: Something we didn't find with the other two women.", "(DR. ROBBINS turns around and picks up a single strand of cotton fiber. He hands it to GRISSOM.)", "Dr. Albert Robbins: Fibers. One in the back of her throat.", "(Camera CGI POV close up of a fiber stuck in between two teeth. Flash to white. Resume GRISSOM.)", "Dr. Albert Robbins: One stuck between her lower molars.", "Grissom: This looks like cotton. Maybe terry cloth.", "Dr. Albert Robbins: Hmmm.", "(GRISSOM glances at the body, then back at the fiber.)", "Grissom: Could be silencing them with ... white bath towels?", "Dr. Albert Robbins: Well, it would explain why no one hears the victim's screams.", "Grissom: He brings it with him and takes it away after. So, somewhere, there's evidence of this victim on a towel.", "Dr. Albert Robbins: Kind of a forensic smoking gun.", "Grissom: Mmm. Now we just have to find the guy and hope that he hasn't done his laundry.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY]", "(CATHERINE is in GREG'S lab. GREG reaches over to get the file folder.)", "Greg Sanders: The semen taken from this morning's homicide matches the semen taken from the bedsheets of the last two female victims.", "(GREG opens the file folder and takes out a sheet of paper. He hands it to CATHERINE.)", "Catherine: So, we're looking at the same guy.", "Greg Sanders: Yeah, but, check this out. The ejaculate sample.", "(GREG points to the microscope. CATHERINE looks at the sample through the scope.)", "[SCOPE VIEW] of the white ejaculate with splotches of red", "Catherine: What's the red stuff?", "Greg Sanders: Mystery substance.", "Catherine: Not blood?", "Greg Sanders: No.", "Catherine: So, what, this guy's got some strange chemical in his mutated DNA?", "Greg Sanders: Freaky, huh?", "(CATHERINE sighs and turns to leave the lab. As she leaves, she turns around.)", "Catherine: Freakiest semen I've seen in a while. Call me.", "(CATHERINE steps out of the DNA lab and nearly bumps into the SHERIFF in the hallway. Literally.)", "Catherine: Oh.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY - CONTINUOUS]", "(The SHERIFF looks at CATHERINE.)", "Sheriff Brian Mobley: Catherine, you busy? I was hoping we might be able to talk about a few things.", "Catherine: Pertaining to the case?", "Sheriff Brian Mobley: As a jumping-off point.", "Catherine: Well, Sheriff, I'd say let's go to my office, but I don't have one.", "(The SHERIFF glances behind him and says slyly.)", "Sheriff Brian Mobley: Well, that's just the sort of thing I was hoping we would discuss.", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB - DAY]", "[SCOPE VIEW] of the blunt tip of a strand of hair.", "(SARA looks up from the scope, a bit puzzled by the conclusions she's reaching. She turns and sees WARRICK walking by the lab door. She calls out to him.)", "Sara: Hey, Warrick you got a second?", "(WARRICK turns and walks into the lab.)", "Warrick: What's up?", "Sara: I got this hair that you guys found this morning and I'm trying to compare it to the one hair we recovered from the murder last week - the Hayes girl?", "Warrick: And you got a match microscopically but it doesn't mean a damn thing 'cause it still doesn't lead us to the guy?", "Sara: No. I can't even tell if we have a DNA match. There's no skin tag on either one.", "Warrick: Whoa, whoa, whoa. A girl defending herself against a guy is going to pull that hair out by the roots.", "(Quick CGI POV. Close up of female hand grabbing hair and ripping it out. Cut to: Microscopic close up of the skin tag at the root of the hair.)", "Warrick: (V.O.) I mean, you get scalp skin filled with DNA.", "(End of CGI POV. Resume to present.)", "(SARA is looking at the hair through the scope again.)", "Sara: No scalp, no skin. It's almost like this hair was ...", "Warrick: ... shed?", "(He nods. Then the pagers start beeping. Both SARA and WARRICK reach for their pagers.)", "Warrick: Mine.", "Sara: Mine.", "(They both check the numbers of the pagers.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(GRISSOM turns the corner in the hallway. He's carrying a file and NICK catches up to him from behind.)", "Nick: Hey, Gil, you want to give me the skinny on this meeting of yours? I'm on my way back to the crime scene.", "Grissom: What meeting? I'm going to evidence.", "(He points in front of him.)", "Nick: (shrugs) I got paged about the signature case.", "(SARA and WARRICK catch up with GRISSOM and NICK on their way to the meeting.)", "Sara: Hey, Warrick and I just got a break. The guy's been planting hairs.", "Warrick: Shedding. He's trying to throw us off. What he doesn't realize, we got no DNA on the hairs so we can't chase down his other suspect.", "(On the far end of the hall in front of them, GRISSOM sees some Federal Agents entering a conference room. He doesn't like the conclusions he's reaching.)", "Sara: Grissom ... are you hearing us?", "(GRISSOM approaches the door. AGENT RICK CULPEPPER and several Federal Agents are in the room and around the table.)", "PAN TO:", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM - DAY -- CONTINUOUS]", "(GRISSOM slowly walks into the room.)", "Agent Rick Culpepper: You all got my page. Good.", "Grissom: I didn't.", "Agent Rick Culpepper: (brushes it aside) We'll get you a new battery.", "(GRISSOM is getting angry at the games these people are playing.)", "Agent Rick Culpepper: (continues) I thought we'd convo about the strangler. Hear what you've got tell you what we think our next move should be.", "(GRISSOM turns to his team.)", "Grissom: (softly) Would you guys go back to my office, please? I'll be in in a few minutes.", "(WARRICK, NICK and SARA turn and leave the room.)", "Grissom: I'll be happy to pass on any pertinent information you may have to my team.", "Agent Rick Culpepper: Okay. Fine. Got anything to report to us?", "Grissom: You first.", "Agent Rick Culpepper: Okay. We have an operation in place. Your CSI, Sidle, has expressed an interest to my agents in availing herself. I wanted to let you know before we made the official offer.", "Grissom: Really? What kind of operation?", "Agent Rick Culpepper: All this talk about your great capacity for observation. Sara Sidle matches the victim prototype to a \"T.\" She's a young woman, brunette, tall for a female.", "(SARA walks back to the room. As if sensing her return, GRISSOM turns to look back at her. SARA meets his gaze. GRISSOM turns back to CULPEPPER.)", "Grissom: You're not serious.", "Agent Rick Culpepper: And by all reports, she's steady. Has the right personality for a decoy operation.", "Grissom: You're going to bait this guy with a human being? This is your big FBI plan", "Agent Rick Culpepper: Before he kills again, yes. Got a better idea?", "Grissom: Understanding him first, completely, so that we can get out ahead of him.", "(Behind him, SARA is getting impatient at what he's saying.)", "Agent Rick Culpepper: And if he kills again while we're trying to understand him?", "Grissom: Well, I'm sorry, but he's not going to kill my CSI.", "(GRISSOM indicates SARA behind him.)", "Sara: (interrupting) I'm going to do it, Grissom.", "(GRISSOM turns around, surprised.)", "Sara: I want to.", "Grissom: You want to put yourself in the path of a psychotic killer?", "Sara: I'm trained in weaponless defense.", "Grissom: Too bad, because that's what turns him on -- women fighting back. Gives him a greater sense of power when he makes his final kill.", "Sara: Grissom ...", "Grissom: (abruptly) Sit down, Sara.", "(GRISSOM turns back to CULPEPPER, who is vastly amused by the exchange he just witnessed. SARA moves to take a seat. GRISSOM looks at CULPEPPER.)", "Agent Rick Culpepper: Okay. If we're to follow your line of thinking are you out ahead of him?", "Grissom: Not yet. He knows just enough about forensics to be dangerous. He thinks he's throwing us off track by planting confederate hairs. He probably shaves his head maybe his entire body as DNA protection.", "Grissom: He may gag his victims using a garden-variety bath towel which he then takes with him as part of his murder kit. He will go after another tall brunette and the torture will be worse. But this time, he won't ejaculate. At least not at the scene.", "Agent Rick Culpepper: At home, later. He's learning control.", "Sara: Think he knows his next victim?", "(Without looking at her and still watching CULPEPPER, GRISSOM answers her.)", "Grissom: Signature killers always know their next victim. But they don't know him", "(GRISSOM suddenly turns to look directly at SARA.)", "Grissom: ... until he tortures, rapes and kills them.", "(Camera holds on SARA.)", "[SCENE_BREAK]", "[EXT. SATURN ARMS APARTMENT - NIGHT]", "(An OFFICER stands just outside the front door. Along the sidewalk a small shrine of flowers, candles and pictures is at the corner near the sidewalk.)", "[SCENE_BREAK]", "[INT. EILEEN SNOW'S APARTMENT - BEDROOM - NIGHT]", "(NICK walks to the door of EILEEN SNOW'S bedroom. He puts his kit down on the floor near the doorway, then pauses as he takes a deep breath before entering the bedroom. He shines his flashlight into the room and looks around at the bare bed, stripped of its sheets. The window next to it is open. NICK walks into the room.)", "(He looks around. The closet light is on. NICK doesn't pay too much attention to it. He continues to circle the room and look around.)", "(NICK walks up to the chair in front of the window and kneels down. He sees something on the floor near the chair cover and picks it up. He looks at it. It appears to be a piece of latex.)", "(Quick flashback to: The intruder puts on a pair of latex gloves. End of flashback. Resume to present.)", "(NICK hears something creak and turns around to look.)", "(He looks at the closet. The closet light is off. NICK shines the flashlight into the closet. He stands and slowly approaches the closet door. When he gets close enough, he reaches out a hand to push the door open.)", "(At the same time, a woman appears inside the closet, the closet light goes on, and everyone screams in surprise.)", "(NICK takes a step back.)", "Nick: Freeze!", "(LYNDA DARBY takes a step back into the closet. She bumps her back against the hanging clothes and holds up her hands showing that all she has in her right hand is a digital camera.)", "Nick: Hey.", "(NICK gets a good look at her and motions for her to get out.)", "Nick: Get out of there. Get out of the closet.", "Lynda Darby: Hmm.", "(LYNDA DARBY steps out of the closet.)", "Nick: What are you doing?", "Lynda Darby: Um, I a reporter. What? We know the police are withholding information from us, so I came down here because ...", "Nick: (interrupts) All right. Quiet. Quiet. Are you out of your mind? I could've killed you. This is a crime scene. You don't belong here. Unless you want me to get the cop at the front door you'll get out of here now. And I'd better not see any pictures of this apartment in your paper ... or I'll have the D.A. on your front door.", "Lynda Darby: I'm sorry that I scared you.", "Nick: You didn't scare me. (shakes his head) Mm-mm.", "Lynda Darby: Want to tell me what you found over by the window?", "Nick: No.", "Lynda Darby: (softly) Okay.", "(Not daring to push her luck more than she already has, LYNDA DARBY turns and heads out of the room. NICK watches her leave.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY]", "(CATHERINE pushes the door open and walks into the lab.)", "Catherine: Fast. I'm impressed.", "Greg Sanders: You got a hot dog?", "Catherine: This one of your jokes, Greg?", "Greg Sanders: I got the ketchup.", "Catherine: I'm sure this is meaningful.", "Greg Sanders: I went back and looked at the ejaculate from the last two murders. The same thing. \"Indeterminate red stuff.\" It's c12, h22 and o11, nacl, h2o and tomato paste.", "Catherine: Sugar, water, salt and tomato paste. Ketchup?", "Greg Sanders: Ketchup.", "Catherine: Well, does he add it after or is it organic?", "Greg Sanders: Don't ask me why, but, uh ... he adds it.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(GRISSOM scoffs as he looks at CATHERINE.)", "Grissom: I was expecting something a little more elemental.", "(CATHERINE stands in front of GRISSOM'S desk. He's behind it reading through GREG'S test results.)", "Catherine: When we zig, he zags.", "Grissom: Yeah, well, he's not as smart as he thinks, you know? I mean, ketchup is not going to mask the DNA in his semen.", "Catherine: All of which I'm sure you'll share with the FBI.", "Grissom: I'm sure.", "Catherine: Hey ... is it so bad to avail our lab to the resources of the federal government?", "(GRISSOM stares at CATHERINE and at her choice of words.)", "Grissom: (surprised) You've been to talking to our Sheriff.", "Catherine: I've been listening to our Sheriff. He says that you won't.", "Grissom: Yeah, yeah, I know. And if I don't shape up he going to have Ecklie take over the case.", "(GRISSOM scoffs.)", "Catherine: Well, no. He preferred someone from night shift and it may be more than just this case.", "(GRISSOM turns to look at CATHERINE and leans forward toward her into the desk.)", "Grissom: Ah. Now that the trees are gone, I can almost see the forest.", "(CATHERINE also leans in forward over the desk to look at GRISSOM.)", "Catherine: Gil ... learn to be more politic.", "(There's a light knock on the front door. NICK walks into the office.)", "Nick: You guys got a sec? He's wearing latex gloves. The thick kind, too. He must know the thin ones leave prints.", "(NICK hands the bagged latex sample to CATHERINE. She turns to look from NICK to GRISSOM.)", "Catherine: When we zig, he zags.", "(CATHERINE passes the bagged sample to GRISSOM. GRISSOM takes it and looks at it.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS'S OFFICE - NIGHT]", "(GRISSOM is sitting in front of BRASS' desk.)", "Brass: What about Paul Millander? Maybe he's our guy.", "(BRASS sits down in his chair.)", "Brass: And, uh, he had the latex hands. And he's a serial.", "Grissom: Millander stages suicides in bathtubs with paternal figures. This guy's signature is overkill rage against young women. It's completely different.", "Brass: Maybe our brethren at the FBI have some sort of special database.", "Grissom: (surprised) When did you become friendly with the Feds? I didn't think you had that in you.", "Brass: Never make an enemy when you can just as easily make a friend. FBI's okay. I've kissed worse ass. But I've got to say I don't like this decoy op the Feds are talking up.", "(GRISSOM leans forward in his chair. Suddenly, this conversation really interests him.)", "Brass: I remember when Holly Gribbs died. I sent her out in the field and she wasn't ready.", "Grissom: (firmly) I told Culpepper that he could not have Sara.", "Brass: I know what you told him.", "(Camera holds on GRISSOM as he realizes what BRASS is implying.)", "[SCENE_BREAK]", "[EXT. UNDER THE BRIDGE - NIGHT]", "(OFFICER cars are gathered under the bridge.)", "Agent Rick Culpepper: Okay, listen up. All personnel will be tethered to our decoy by this radio.", "(AGENT RICK CULPEPPER stands in the open doorway of the back of the van. Inside the van, the techs help SARA on with the mic. She pulls her shirt down.)", "(GRISSOM'S tahoe pulls up.)", "Agent Rick Culpepper: According to Captain James Brass two of our assailant's victims patronized this specialty grocery store to which we are about to embark forthwith two days before they turned up dead.", "(GRISSOM and BRASS get out of the car. GRISSOM walks up to the van.)", "Agent Rick Culpepper: There's a very good chance our assailant will re-frequent this store, looking for his next victim.", "[EXT. NEAR FBI VAN - NIGHT - CONTINUOUS]", "(SARA steps out of the van just as GRISSOM reaches it.)", "Grissom: (angry) This is a pretty flimsy excuse to get your circus up and running, don't you think?", "Agent Rick Culpepper: Lives are at stake. I'll take flimsy over nothing.", "(CULPEPPER steps down from the van.)", "Grissom: This is action for action's sake Culpepper. You're risking my CSI's life.", "(CULPEPPER doesn't say anything and walks away. SARA steps up to GRISSOM.)", "Sara: Look, this is my idea. I want to do something before another girl gets killed and ...", "Grissom: Listen to me, Sara. If we study his past, we can predict his future.", "Sara: You've been saying that for weeks. It's taking too long. Someone else is going to die and you're still going to be figuring it out.", "(GRISSOM stares at SARA as if seeing her for the first time.)", "Agent Rick Culpepper: Okay, Sidle we're good to go.", "Sara: Wish me luck.", "(SARA turns and leaves. GRISSOM stands there stunned. She steps up into the van past CULPEPPER who simply looks at GRISSOM.)", "(Frustrated and helpless, GRISSOM turns around and looks at BRASS.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. GROCERY STORE -- NIGHT]", "(SARA walks cautiously through the grocery store. She carries her shopping basket her grasp. \"Danke schoen\" plays over the pa system.)", "INTERCUT WITH:", "[INT. FBI SURVEILLANCE VAN]", "(Inside the van, CULPEPPER and GRISSOM sit side-by-side watching the various camera monitors on SARA.)", "(Cut to: In his car parked outside the store, BRASS watches as the front door opens and a customer walks out.)", "(Back inside the store, SARA continues to troll the aisles. She stops and stares at a male shopper. He turns to look at her. His companion walks up to the cart and puts something in it. SARA moves along.)", "(Inside the van, CULPEPPER looks at his watch and sighs.)", "Agent Rick Culpepper: Oh ... it's three hours expended. (clears throat.) Maybe we should reposition over at that Borders book store. Gets a lot of foot traffic in there according to the field agents.", "(Inside the store, SARA walks up to a display and takes an item off the shelf to look at it.)", "(A man carrying his own basket appears in the aisle. SARA glances at him, then puts the item in her hand back on the shelf. The man walks past the aisle.)", "(SARA looks up, then back at the shelf.)", "(The man turns around and walks back into the aisle where SARA is. He watches her intently, then turns around to pick something up off the shelf. He turns back to her.)", "(Cut to: Inside the van on the monitors, GRISSOM sees the double take and the man head for SARA.)", "Grissom: Whoa. (CULPEPPER looks up at the monitor. GRISSOM points to the monitor) That guy's coming back.", "(Inside the store, the MALE SHOPPER walks up to SARA.)", "Male Shopper: Would you happen to have a cigarette?", "Sara: Uh ... yeah, actually.", "(SARA reaches into her bag to get the cigarettes.)", "INTERCUT WITH:", "Grissom: (nervous) Culpepper ...", "Agent Rick Culpepper: Let her play.", "Male Shopper: (from monitor) I've been trying to quit. Didn't want to buy a pack.", "Sara: Me, too. This is my last pack ... but, uh, I say that every week, so ...", "(She offers it to him. He takes a cigarette out of the pack. She puts the pack back in her bag.)", "(Inside the van, GRISSOM and CULPEPPER watch the interplay.)", "Male Shopper: (from monitor) Non-filtered. The women I know smoke filtered-- you know those long, skinny cigarettes?", "(He smiles at her.)", "Sara: Guess it depends on the woman.", "Male Shopper: Guess it does.", "(He puts the cigarette between his lips.)", "Male Shopper: You got a light?", "Sara: Sure. Yeah.", "(SARA looks down into her bag to search for the light. She takes her eyes off of the shopper in front of her. He glances around.)", "Male Shopper: You live around here?", "Sara: Maybe.", "(The SHOPPER tucks the cigarette on his right ear. SARA looks up at him.)", "Sara: I don't usually give out that kind of information.", "Male Shopper: It's probably smart. I wouldn't tell me either. You're cute.", "Sara: Thanks.", "(He glances to the side. SARA automatically glances to the side, too. He reaches for her bag, his hand slipping inside.)", "(CULPEPPER alerts the officers.)", "Agent Rick Culpepper: All right, we're on the move. Let's go.", "(The van doors open and GRISSOM jumps out of the van. CULPEPPER and the other OFFICERS follow, their guns drawn and cocking them as they run. He heads for the store.)", "(The MALE SHOPPER reaches into SARA'S bag and grabs something. She turns around and shouts.)", "Sara: Hey!", "(FBI OFFICERS with their guns drawn converge on SARA and the MALE SHOPPER.)", "Officer: Don't move!", "(He immediately takes a step back and holds up SARA'S wallet.)", "Male Shopper: I'll give it back. Here.", "(He drops the wallet to the floor as the FBI AGENT cuffs him behind his back. GRISSOM picks up the wallet.)", "(A cell-phone rings. CULPEPPER answers it.)", "Agent Rick Culpepper: (to phone) Yeah, Culpepper. (pause) Time and coordinate? (pause) Yeah, will do. (hangs up) All right, gentlemen. Nothing ventured, nothing gained. I do not believe this is our man.", "Grissom: What was your first clue?", "Agent Rick Culpepper: Murder at the Monaco Hotel. Woman found bound in her room stripped and strangled.", "(CULPEPPER turns and leaves. GRISSOM turns and looks at SARA.)", "Sara: He met the profile.", "(GRISSOM hands the wallet back to SARA.)", "Grissom: Sometimes, the hardest thing to do is to do nothing.", "(They both turn and head out of the store.)", "[SCENE_BREAK]", "FADE TO BLACK.", "[SCENE_BREAK]", "[INT. MONACO HOTEL ROOM - EARLY MORNING]", "(GRISSOM and CATHERINE walk into the hotel room. Inside, BRASS and CULPEPPER are interviewing the victim's husband.)", "(GRISSOM stares at the body on the bed.)", "Catherine: Starting to look like deja vu all over again.", "(He glances over at the husband.)", "Grissom: Hmm.", "(CATHERINE turns to look at GRISSOM noting that he doesn't particularly sound convinced.)", "Catherine: Not?", "Grissom: Occasionally I'm struck by the absence of evidence.", "Catherine: (sighs) It's there or it isn't.", "(CATHERINE turns to look at the scene.)", "Grissom: The lamp -- cord's still attached. All the others, he yanked the cords off. Look at the table. Books aren't even disturbed.", "Catherine: Staged?", "Grissom: (shrugs) First time in a hotel? First time he didn't come in through the window?", "Catherine: I don't think he made a deposit ... either.", "(CULPEPPER heads toward them catching CATHERINE'S comment.)", "Agent Rick Culpepper: That just means his signature's evolving isn't that right, Grissom?", "(GRISSOM doesn't answer him. BRASS joins the group.)", "Grissom: (to BRASS) Who's that guy?", "Brass: He's the husband. His name's Brad Walden. They're locals, come here a couple times a year. He was downstairs playing poker. She was up here reading a romance novel. He comes back five grand richer. He finds her like this.", "Grissom: Husband? Let's bring him in.", "Agent Rick Culpepper: (nods and turns) I'll transport the witness.", "(GRISSOM stops him.)", "Grissom: Witness?", "(CULPEPPER looks at GRISSOM.)", "Grissom: Suspect.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY ROOM - HALLWAY - DAY]", "(GRISSOM walks down the hallway toward DR. ROBBINS just coming out of the autopsy room.)", "Grissom: What did you get?", "Dr. Albert Robbins: I posted the lady from the hotel, and I have to say it's the same menu as the last three-- chemical restraint, overligature, death by strangulation.", "Grissom: What about the object-rape? Indeterminate polymer?", "Dr. Albert Robbins: No, this one's different.", "Grissom: Different how?", "(They both turn and head back into the autopsy room.)", "SHORT TIME CUT TO:", "[INT. FORENSIC AUTOPSY ROOM - DAY]", "[MAGNIFYING GLASS VIEW] of the piece of leather.", "Dr. Albert Robbins: Cross-hatched leather, with tiny air holes for breathing.", "(GRISSOM looks at DR. ROBBINS.)", "Dr. Albert Robbins: I was thinking driving gloves, or weightlifting gloves, or ...", "(DR. ROBBINS looks up and sees the autopsy room door swing shut. GRISSOM'S gone.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(CULPEPPER interviews BRAD WALDEN.)", "Agent Rick Culpepper: I'm not accusing you of anything, but a man and his wife get a hotel room for a romantic weekend then spend that whole weekend apart -- makes me wonder if there's trouble in the marriage.", "Brad Walden: I like ... to gamble. She liked to read. It was, you know ... just the perfect getaway.", "(The door opens and GRISSOM walks in.)", "Grissom: You liked to play golf, too.", "(CULPEPPER watches as GRISSOM brings in a hard golf club case. He sets it up near the table.)", "Grissom: These are your golf clubs. We found them in your hotel room. I prefer a titanium driver, Mr. Walden. I'd like to see what you use, but your carrier is locked.", "Brad Walden: Yeah, I have a key on my keychain ... my car keys.", "Grissom: So you won't mind opening it, though?", "Brad Walden: No ...", "(BRAD WALDEN reaches into his pants pocket to get the keys.)", "Brad Walden: uh, uh, w-why?", "Grissom: Well, so I can see if the leather on your club handles matches the leather from the object used to violate your wife.", "(GRISSOM holds up a baggie with the leather sample in it to show BRAD WALDEN. CULPEPPER takes the baggie and looks at it. BRAD WALDEN stands up and unlocks the golf case.)", "Brad Walden: Well, I-I, you know, if it does ... I read that this, uh ... this, uh, you know, character uses whatever is at the scene of the crime for, uh ... for killing his victims.", "(GRISSOM takes out a golf club. Realizing where GRISSOMS is going with this, CULPEPPER looks at WALDEN in a new light. GRISSOM puts the club on the table.)", "Grissom: Well, if this \"character\" ... killed your wife? How did he get your clubs out of the case without the keys?", "(One by one, GRISSOM looks for the club.)", "Grissom: Or, for that matter back into the case after he killed your wife?", "(He places the third club on the table.)", "(The very next golf club he pulls out is the one with the ripped handle. Camera zooms in for a close up of the frayed leather.)", "(GRISSOM shows the club handle to CULPEPPER who holds up the baggied sample next to it. GRISSOM turns to look at WALDEN.)", "Agent Rick Culpepper: Read this man his rights, please. (beat) You're under arrest for the murder of Jennifer Walden ... and Eileen Snow, ...", "(Surprised at the leap, GRISSOM turns to look at CULPEPPER as the officers arrest BRAD WALDEN.)", "Agent Rick Culpepper: ... and Tracy Berg, and ...", "(GRISSOM puts the golf club in one hand and reaches for the baggied sample with the other. He stops CULPEPPER.)", "Grissom: (interrupts) Can I have a word with you outside... please?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]", "(GRISSOM walks out into the hallway; CULPEPPER follows close behind and closes the door to the interview room behind him.)", "Grissom: You can't charge him for the other women.", "Agent Rick Culpepper: What do you mean?", "Grissom: For the murder of his wife, maybe but I am certain that he didn't do the others.", "Agent Rick Culpepper: Every piece of the signature is there.", "Grissom: (sighs) He read the papers -- he piggybacked on top of the killer.", "Agent Rick Culpepper: For what possible reason?", "Grissom: Who knows? Convenient way out of a lousy marriage? He's not our guy.", "Agent Rick Culpepper: You know, this is where I like to reference the majesty and the power of the Republic of the United States of America.", "Grissom: Go ahead. Pull rank. But that hotel crime scene was staged to look like the signature's.", "Agent Rick Culpepper: And that golfer just got lucky that the victim type fits his wife to a Texas T, is that it?", "Grissom: If you stop and think, you'll see it.", "Agent Rick Culpepper: Duly noted, Supervisor Grissom.", "(He turns and walks away from GRISSOM shouting over his shoulder as he leaves.)", "Agent Rick Culpepper: Duly noted.", "(CULPEPPER walks back into the interview and shuts the door behind him.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- NIGHT]", "(Close up of the television monitor during the news report. The heading on the bottom of the screen reads: STRIP STRANGLER CAUGHT.)", "Paula Francis (tv Reporter): Details of the arrest will be forthcoming in this live report.", "(SARA walks past the break room and sees the news report through the glass from the hallway.)", "Paula Francis (tv Reporter): Federal Agent Culpepper is about to start his news conference. As we've been reporting, a suspect has been arrested in the strip-strangler case.", "[INT. POLICE DEPARTMENT - CONFERENCE ROOM - NIGHT -- CONTINUOUS]", "(In a press conference to the media, CULPEPPER gives his report.)", "Agent Rick Culpepper: We believe that Bradley Mac Walden not only killed his wife but also took the lives of Audrey Hayes and Eileen Snow and Tracy Berg. Our field agents have divulged that Mr. Walden lived within two miles of the other victims worked in the same office building as Ms. Snow and has no believable explanation for his whereabouts on the dates of their murders. We believe that Bradley Mac Walden found and stalked these victims, and ...", "(CATHERINE walks into the conference room and takes the seat next to GRISSOM.)", "Catherine: (softly) I just talked with Brass. He said that Walden was having an affair with a dentist in his office.", "Grissom: I'm telling you, this guy did not kill those other women.", "(Overhearing GRISSOM, the reporter sitting in the seat two rows in front of him turns around to look back at GRISSOM. It's LYNDA DARBY.)", "Agent Rick Culpepper: This statement is concluded. Las Vegas, its locals and visitors can rest a little easier tonight. A suspect is in custody. Thank you. I'll take some questions.", "(While the other media reporters raise their hands to be recognized by the AGENT on stage, LYNDA DARBY turns around and addresses GRISSOM.)", "Lynda Darby: Mr. Grissom-- LYNDA DARBY, Las Vegas Tribune. As the lead CSI on this case, do you have anything to add to the FBI statement?", "Catherine: (warning) Politics ...", "(GRISSOM glances at CATHERINE.)", "Grissom: (to LYNDA DARBY) No.", "(In the front row, SHERIFF BRIAN MOBLEY turns around to look at GRISSOM.)", "Lynda Darby: (to GRISSOM) So, Las Vegas can breathe easier? You do have the Strip Strangler behind bars?", "(Unwilling to lie, GRISSOM answers her.)", "Grissom: No, we don't.", "(GRISSOM glances at CATHERINE who knows what this means. GRISSOM stands up and leaves.)", "Agent Rick Culpepper: (b.g.) That's all the information we have.", "(SHERIFF BRIAN MOBLEY watches GRISSOM leave. He turns and faces the front of the room as the reporters continue to shout out their questions.)", "(CATHERINE sees MOBLEY in the front of the room.)", "[SCENE_BREAK]", "[EXT. -- DAWN]", "(SHERIFF BRIAN MOBLEY and GRISSOM walk outside the building.)", "Sheriff Brian Mobley: The FBI did me a favor being here and they have a viable suspect.", "Grissom: He's not viable, Brian.", "Sheriff Brian Mobley: Then further investigation will prove that out. In the meantime, people will feel better about their daily lives. Now, why on earth would you want to counteract that?", "Grissom: For those who have to ask, no answer could suffice.", "Sheriff Brian Mobley: Look, I see we've come to an impasse. If further investigation determines that Walden didn't kill those other women then you can rejoin the investigation.", "Grissom: Oh, do I get the weekend off?", "Sheriff Brian Mobley: For starters ... and a two-week holiday ... anywhere but CSI. You brought this on yourself. Now, the next time you want to play with my career, maybe you'll think twice.", "(THE SHERIFF leaves.)", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM -- MORNING]", "(GRISSOM closes his locker door and heads out the room. The entire team is in the locker room upset by the decision to remove GRISSOM from the investigation.)", "Nick: You know, it's not fair, Grissom. You know more about signatures than most of them put together.", "Catherine: That may have been the problem.", "Warrick: Is there's no one you can appeal to?", "Grissom: No ... (he shrugs) I'm off.", "(SARA remains quiet.)", "Warrick: Come on, this guy's on the loose and there's nothing you can do?", "Grissom: It's all Catherine. She's the boss.", "(CATHERINE looks up at GRISSOM.)", "Grissom: Good luck.", "(GRISSOM turns and leaves the locker room ... and his team. Cut to reaction shots of SARA, WARRICK, NICK, and CATHERINE. Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. GRISSOM'S HOME - LIVING ROOM -- DAY]", "(The door opens and GRISSOM walks into his living room. He puts his briefcase down and turns on the stereo. Classical music fills the room. He goes to the kitchen to get his medicine. He opens the fridge to get some water. He opens a prescription medication bottle and tips out a couple of tablets into the palm of his hand.)", "(He swallows them and takes a sip of water. He sighs and caps the bottle up tight.)", "(He puts his glasses on and opens the file in front of him and goes over the file.)", "(Quick flashback to: Just outside the bedroom window, the intruder watches a woman asleep inside.)", "(Cut to: The intruder suffocates the woman with a cord wrapped around her neck.)", "(Cut to: The intruder wipes the dead woman's hands with a towel. Cut to: The intruder wipes the dead woman's body of any evidence he's been there.)", "(End of flashback. Resume to GRISSOM.)", "(GRISSOM takes off his glasses and closes his eyes. He leans back against the arm of the couch and chucks his shoes off to the floor. He leans back and sighs.)", "[VISITOR'S POV]", "(Camera moves into the living room from the door. The visitor's sights are on GRISSOM on the couch. The visitor slowly crosses the living room toward GRISSOM.)", "Catherine: Hey!", "(GRISSOM jumps up and turns around. CATHERINE walks up to him.)", "Catherine: Your door was open. You okay?", "(CATHERINE picks up the prescription medication bottle and looks at it.)", "Catherine: Migraine. It's been a while.", "Grissom: (retorts) I'm not used to having people in my house.", "Catherine: You just don't like it when you can't solve a case or command your troops.", "(CATHERINE turns and walks away toward the shelves.)", "Grissom: (sighs) Did you come here to tell me about your new job?", "(CATHERINE looks at the books on GRISSOM'S shelves.)", "Catherine: I told the Sheriff I'd pass.", "Grissom: You don't want to be a Supervisor?", "Catherine: Well, if I get a promotion, I want it to be on merit ... not because you're politically tone-deaf.", "(CATHERINE turns around to look at GRISSOM.)", "Catherine: So, our guys are outside in their Tahoes. If you're a civilian, we are.", "(GRISSOM looks at CATHERINE as he realizes what she's saying.)", "Catherine: Except we are putting in for overtime.", "(CATHERINE heads for the front door.)", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. GRISSOM'S RESIDENCE - LIVING ROOM - DAY]", "(SARA, NICK and WARRICK are sitting around GRISSOM'S table having a meeting just as if they were at work.)", "Grissom: We should reexamine each victim--all the evidence pertaining to each one individually.", "Nick: All right, well, I got dibs on Eileen Snow. And I have a strong feeling I'm going to be the one to break the case.", "Sara: Tracy Berg.", "Warrick: I got Audrey Hayes, but those fibers we found in the Snow lady's throat aren't going to give us anything. White cotton fibers are like oxygen -- they're everywhere ...", "Grissom: Well, then go back to your crime scenes and look for a persistence of fibers.", "Warrick: \"If you can't prove uniqueness, prove abundance.\"", "(With their assignments, everyone stands up and leaves.)", "Grissom: Something's better than nothing.", "Warrick: Yeah.", "[SCENE_BREAK]", "[INT. CSI LAB -- DAY]", "(Camera opens on the computer monitor with the results of the DNA search. GREG taps the monitor screen.)", "Greg Sanders: Hunter F. Baumgartner. Our ketchup DNA guy.", "Catherine: This guy showed up on the database.", "(CATHERINE pulls out the chair and sits down.)", "Greg Sanders: CODIS (TM) updates its database every couple weeks.", "Catherine: Yeah, well, don't act like it's so simple. This guy could have gone another year without being picked up. What did they get him on?", "Greg Sanders: Well, indecent exposure. Caught in an alley behind the Monaco.", "Catherine: Oh. (reads) Suspended sentence, released two days ago. Call Grissom on his cell.", "Greg Sanders: I thought he was off the case.", "Catherine: He is. Dial. Tell him to meet me at this guy's work address.", "(GREG nods to do it as CATHERINE gets up and leaves.)", "[SCENE_BREAK]", "[INT. \"THE DUNGEON'S CLUB\" -- DAY]", "(GRISSOM and CATHERINE walk up to the entrance of the bar. Inside, rock music blares.)", "Catherine: You think anything illegal goes on in here?", "(GRISSOM pushes the bars open. CATHERINE walks in. They both walk up to the bar where the bartender restocks on ice. GRISSOM holds the photo of the man they're looking for and compares it to the bartender.)", "Grissom: Excuse me? Hunter?", "(The bartender looks up and walks over to them.)", "Hunter Baumgartner: Yeah. (amused as he looks at them.) You two look like you made a wrong turn somewhere.", "Catherine: We're with the crime lab. Heard you just copped a plea for indecent exposure.", "Hunter Baumgartner: I'm sorry, I'm working.", "(HUNTER turns to leave, GRISSOM stops him.)", "Grissom: Uh-uh.", "(GRISSOM starts putting out the photos on the counter.)", "Grissom: You recognize any of these women?", "(He looks at the photos.)", "Hunter Baumgartner: Yeah. Strip Strangler girls. They are all over TV.", "Grissom: Do you know them?", "Hunter Baumgartner: No.", "Catherine: How do you explain your DNA on the bedsheets they were murdered in?", "Hunter Baumgartner: I don't know.", "Grissom: Yeah, \"I don't know\" doesn't get it, pal. DNA's like fingerprints. No two samples are alike. You were in these women's bedrooms.", "Hunter Baumgartner: Believe me, Mister, the last place that you will find me is in a woman's bedroom. Unless we're discussing window treatments. Hey, and my indecent was for tricking too close to the boulevard. I don't know anything about killing women. That's straight boy stuff.", "Catherine: Any recent trick offer you money for something a little weird? Say a portable sample of your DNA?", "Hunter Baumgartner: Only about ten times this month. This is Vegas.", "Grissom: Would you be able to recognize any of these guys?", "Hunter Baumgartner: Well, I'd have to be looking at them in the face now, wouldn't I?", "(HUNTER looks at GRISSOM and playfully \"bites\" him. He turns and leaves. CATHERINE clears throat.)", "Catherine: I guess we should have known if our guy was planting hairs he was planting semen.", "Grissom: Yeah. Probably in little hollowed-out packets of ketchup.", "[SCENE_BREAK]", "[INT. GRISSOM'S RESIDENCE - LIVING ROOM -- DAY]", "(Back at GRISSOM'S, SARA and WARRICK fill him in.)", "Sara: I didn't really find anything instructive but Warrick hit pay dirt.", "Warrick: Well, I went back Audrey Hayes' apartment and I paid particular attention to the point of entry. I found a small persistence of white cotton fibers.", "(Quick flash to: The camera moves low along the carpet till it stops at a couple of strands of cotton. One is picked up. End of flash. Resume to present.)", "Grissom: (thinking) Could have been the staging area. Maybe he wears his murder kit.", "(Quick flashback to: The intruder is pulling out a cotton towel from his jacket pocket. His hands are gloved, his face covered. End of flashback. Resume to present.)", "Warrick: Well, I remember what you said about signature guys and how they have low self-esteem. They're always going to the gym to work out so I'm thinking gym towels.", "Sara: The frequented locations report said none of the women belong to a gym where he could have spotted them.", "Warrick: So ... I went back to see if any of them had tried out introductory offers.", "Sara: Which I do all the time. It's a free workout, and you don't have to sign up.", "Warrick: But you do have to sign in.", "(WARRICK holds out the sign in sheets to GRISSOM. He takes them and looks at them.)", "Warrick: All three women went to Strong's Gym once in the last three months. So, I'm going back there, grab some towels bring them back to the lab see if I can get a match from the crime scene fibers.", "Sara: And, of course, get a list of the club's male gym members.", "Grissom: Call Brass, tell him to meet you guys there. Let me know.", "Warrick: Will do.", "(WARRICK and SARA leave the place. GRISSOM'S phone rings. He answers it.)", "Grissom: (on phone) Grissom.", "INTERCUT WITH:", "[INT. CSI - EVIDENCE VAULT -- DAY]", "(NICK is in the room on the phone talking softly.)", "Nick: (on phone) Yeah, I'm looking in front of Eileen Snow's apartment. This security guard said he saw a guy burn rubber out of there tight of Eileen's murder.", "Grissom: (on phone) I remember that guy.", "Nick: (on phone) Yeah, well, there's no rubber here. On the pavement or curb. A coup of oil spots, that's about it. And I called Brass. Nobody took any photographs of any tire marks. Not the Las Vegas P.D. Not the Feds.", "Grissom: (on phone) Hmm. Little lie, big lie?", "Nick: (on phone) Mm-hmm.", "(AGENT RICK CULPEPPER walks into the evidence vault and interrupts NICK'S phone call.)", "Agent Rick Culpepper: The only shift CSI I can actually find. You're tampering with evidence of the United States Government there, Mr. Stokes.", "Nick: I was just looking for a quiet spot to call my girlfriend.", "Agent Rick Culpepper: Well, tell your girlfriend she's going to have you out of a job. Best thing you could do for your boss -- protect him from himself.", "Nick: (innocently) Grissom? (on phone) I got to run, peanut. Love you, too. Bye-bye.", "(On the other end of the phone, GRISSOM stares at it.)", "(Back in the evidence vault, CULPEPPER watches NICK, then turns and leaves the room.)", "CUT BACK TO:", "[INT. GRISSOM'S RESIDENCE - LIVING ROOM - DAY]", "(With the new information, GRISSOM flips through the file looking for the name.)", "Grissom: Goggle.", "(Quick flashback to: SYD GOGGLE in his security guard uniform talks to GRISSOM.)", "Syd Goggle: If you need any help in your investigation, Mr. Grissom ...", "(End of flashback. Resume to present.)", "Grissom: Syd Goggle.", "(GRISSOM closes the file.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT./INT. SYD GOGGLE'S APARTMENT -- NIGHT]", "(GRISSOM walks down the sidewalk looking for the correct address. He compares it with the slip of paper in his hand. He walks down the steps looking for the residence.)", "(Cut to: GRISSOM walks up to the front door and knocks. The door isn't closed nicely. GRISSOM pauses for a moment, then pushes the door open. He looks into the room.)", "Grissom: Mr. Goggle?", "(From where he stands, GRISSOM can see the various items on the table. An open book turned over, some remote controls, a grip exerciser, an electric shaver, a brush and a barber's pair of scissors to name some.)", "(Quick flash to: The intruder using the electric shaver to shave off the hairs on his arm. The camera pulls back and we see that the intruder is bald. End of flashback. Resume to present.)", "(GRISSOM turns around and doesn't enter the apartment. He looks down the hallway, then looks down where he sees some splotches of clear liquid on the pavement directly in front of his feet.)", "(GRISSOM turns and looks down the hallway.)", "(Cut to: GRISSOM follows the liquid splotches on the pavement. The further he goes, the larger they get till finally he reaches the trash bin.)", "(GRISSOM kneels down and looks at the trash bag and looks inside. He finds discarded packets of ketchup.)", "(The sounds of a washing machine clunking distracts GRISSOM. He turns and looks down at the basement stairs nearby. He stands and follows the machine noise.)", "[SCENE_BREAK]", "[INT. SYD GOGGLE'S LAUNDRY ROOM -- NIGHT]", "(GRISSOM descends the stairs into the laundry room where SYD GOGGLE is doing his laundry. He's leaning both hands on the washing machine, his back toward GRISSOM. When GRISSOM reaches the bottom of the laundry room, SYD GOGGLE turns around. GRISSOM shuts off his flashlight.)", "Syd Goggle: Gil Grissom.", "Grissom: Syd Goggle.", "Syd Goggle: I thought you were too busy with the FBI to talk to me.", "Grissom: These investigations are always in flux. Am I, uh, interrupting your laundry?", "(GRISSOM pockets his flashlight. SYD GOGGLE walks toward the basket full of white cotton gym towels.)", "Syd Goggle: I'm just doing some gym towels.", "(GRISSOM doesn't say anything. He stares at the hair on SYD GOGGLE'S head. SYD notices it and calmly, boldly takes off his wig. He drops it on the table between them.)", "Grissom: You were so meticulous about so many things. Shaving. The gloves. Planted evidence. That's why I don't understand why you'd bring towels that eventually could be tracked.", "Syd Goggle: I don't know what you're talking about.", "Grissom: Strong's gym. That's where the women told you to you to get lost, right? Stuffing club towels down their throat make your point?", "Syd Goggle: You know, the thing with women ... is they work out because they want us to look at them. And then they ... parade around. And you just want to ... say hello.", "(As he talks, SYD folds the towel and wrings it in his hands, as if he's done this before.)", "Syd Goggle: Everybody knows white cotton fibers aren't like fingerprints. They can't be traced. You don't get a ... match on a towel.", "Grissom: In theory. But the truth is every object is changed by its owner. By his habits. His ... washing machine, for instance. His detergent.", "(GRISSOM glances at the washing machine. SYD GOGGLE smiles and walks toward GRISSOM.)", "Syd Goggle: The totality of microscopic elements. It's Locard's Theory.", "(GRISSOM nods. The washing machine starts thumping as the towels clump inside the machine.)", "Grissom: Your towel is caught in the agitator.", "(SYD turns to look at the washing machine.)", "Grissom: Now, see, that's going to leave distinctive marks on the fabric, Syd. And that's just the beginning. I've had a look at your garbage.", "Syd Goggle: (surprised, but pleased) You were in my apartment. Now, nothing from there's admissible in court.", "Grissom: Your garbage is in a public area ... plain sight. It's enough for me to get a warrant.", "(SYD knows that he's caught. Things happen fast. The washing machine starts to make loud noises. GRISSOM turns to look in that direction. SYD grabs a wrench off of the nearby table with the tools on it. He swings. GRISSOM raises a hand to block the blow to his head and gets caught in the side of his arm. He goes down.)", "(SYD drops the wrench and uses two hands to pick up a short-handled shovel. He raises it high above his head to swing. GRISSOM puts up a hand to block the blow when a gun is fired.)", "(Standing on the stairs, CATHERINE fires multiple times at SYD GOGGLE. He screams. She continues firing. He falls down backward and drops the shovel.)", "(GRISSOM looks at CATHERINE and slowly gets up.)", "Catherine: You all right?", "(Clutching his arm, GRISSOM gets to his feet. He glances between SYD GOGGLE on the ground dead and CATHERINE standing right next to him.)", "Grissom: (breathing heavily) Yeah. How did you know I was here?", "Catherine: Nick told me.", "(they both look down at the body. CULPEPPER slowly walks down the basement stairs, his gun in his hands.)", "Agent Rick Culpepper: Everybody okay? (to radio) Special agents, we got a shooting. Notify LVPD and paramedics ASAP.", "(CULPEPPER walks past GRISSOM.", "Grissom: I just wanted to talk to him.", "[SCENE_BREAK]", "[INT. GREASY SPOON ALL-NIGHT DINER - DAY]", "(On the television monitors, SHERIFF BRIAN MOBLEY holds a news conference.)", "Sheriff Brian Mobley: (over tv) We can say unequivocally, based on statements made by a certain local law enforcement employee and corresponding evidence that the deceased, Syd Booth Goggle is the Strip Strangler. Furthermore, since Goggle was killed by a second member of Las Vegas Law Enforcement during his apprehension, this case is now closed. I would like to thank the FBI, along with Special Agent Rick Culpepper for his invaluable leadership in this pursuit. In short, we couldn't have done it without you.", "(GRISSOM and the CSI team sit in a booth at the local diner. They watch the news conference while waiting for their breakfast.)", "Special Agent Rick Culpepper: (over tv) I'd like to thank you, sheriff, Las Vegas Police. I'd also like to thank the citizens of Las Vegas for their courage. We at the Federal Bureau of Investigation are proud to have served you. Thank you.", "Warrick: Aw, that's cool. We don't need props. At the end of the day, we know what time it is.", "Nick: Give me some of that.", "Sara: Do we have a breakfast budget, Grissom?", "Grissom: I believe Catherine was going to requisition one.", "Sara: Good, cause our plates are up, and nobody has any money.", "(SARA stands up to get the plates. WARRICK follows to help her.)", "Warrick: Right behind you.", "Nick: (smiles at WARRICK) You, uh... you got me, right, War?", "Warrick: Yeah. Picture that.", "(NICK also stands up to help. GRISSOM and CATHERINE sit across from each other in the booth.)", "Grissom: I never should have put you in that position, Catherine. I'm sorry.", "Catherine: What position? Never doubt and never look back. That's how I live my life.", "Grissom: I admire that.", "(Everyone returns with the plates.)", "Sara: Whole wheat and fruit? Who ordered that?", "(GRISSOM motions for his plate.)", "Grissom: Here.", "Nick: How's this for service?", "(The plates are distributed. WARRICK slips back into his seat.)", "Catherine: Very good.", "Nick: Re... fried beans. Mmm!", "(Everyone laughs. SARA pulls up her chair to the table and takes her seat. They all settle in for breakfast as the camera slowly pulls away from the table.)" ]

[ "Grissom and crew are called in after high roller Tony Braun, a known drug addict, is found dead in his house by a gardener. Since drug paraphernalia are discovered near his body and it is also determined that he had recently inhaled heroin, the cause of death is at first thought to be an overdose. But further examination of the corpse reveals that Braun had been restrained at some point with duct tape, leading Grissom to believe that the victim was forced to ingest lethal amounts of heroin and, perhaps, other drugs." ]

[ "[EXT. LAS VEGAS (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. TONY BRAUN'S RESIDENCE - DRIVEWAY -- DAY]", "(Driveway gate automatically rolls open and a Black Chevy Truck drives up the driveway (with Nevada License #510-ZHI). There's shrubbery in the back of the truck with gardening tools/equipment.)", "(The truck stops and the gardener holding a red Big Drink cup exits. He takes a sip, puts the cup back in the car and closes door. He takes keys out of pocket and releases the back hatch of the truck to get his tools out and to get to work.)", "(Two large dogs whimpering pass through the unlocked backyard gate and greet the surprised gardener.)", "Gardener: Hey. How'd you guys get out?", "(The dogs bark a couple of times and head back into the yard through the gate. The gardener follows.)", "[EXT. TONY BRAUN'S RESIDENCE - BACKYARD - DAY - CONTINUOUS]", "(The dogs stand at the back glass sliding door. They bark and whimper at something inside. The doors are closed. The gardener takes off his dark glasses and approaches the dogs.)", "Gardener: What's the matter, boys?", "(He pets the dogs trying to calm them down. Still, the dogs bark and whimper at something inside.)", "Gardener: Easy. Hey ...", "(He tries the doors, they're locked. Steps up close and peers in, his face extremely close to the glass. Off his face, he's surprised and horrified by the sight.)", "(There is a man lying on the floor in his white boxer shorts. He appears to be dead.)", "QUICK FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. TONY BRAUN'S RESIDENCE - OUT FRONT - DAY]", "(CATHERINE makes her way up the driveway to the house. She's carrying her CSI kit and maneuvers through the police officers out front. On the driveway there are at least four police cars. She passes a TV news crew and photographers. All around her, there are indistinct radio chatter, helicopter whirring overhead and cameras shuttering and clicking.)", "[INT. FOYER - DAY - CONTINUOUS]", "(CATHERINE makes it to the front door and is stopped by the officer just inside the door. On the ground inside is GRISSOM. He's on his knees, his face close to the ground, his flashlight in hand. He's looking for something ... or looking at something.)", "(CATHERINE sees this and slowly kneels down to assist in the search.)", "Catherine: (to GRISSOM) Have you been inside?", "(GRISSOM waves his free hand absently. Signaling that he's concentrating on the search for ... whatever. Not wanting to disturb anything, but ready to help, CATHERINE pulls off her sunglasses and leans in close as GRISSOM hones in on it.)", "Catherine: What have you got?", "(GRISSOM doesn't say anything. He slowly picks it up. Checks to make sure it's there ... and hands the contact lens to the officer standing nearby.)", "Grissom: There you go, detective.", "Detective: Thanks. Little tired this morning. Pulling a double.", "Catherine: Yeah, join the club.", "(CATHERINE and GRISSOM stand.)", "Grissom: Good morning, Catherine.", "Catherine: Good morning, Gil. So, this is Tony Braun's house. Son of Sam Braun.", "(As they walk further into the house, they notice that on the table in the foyer there are framed family photographs. The camera focuses on a particular professional family photograph of Sam Braun (mature man sitting in the center), two males (each one standing to each side of and behind him), and two females (next to the sons on the outside).)", "Grissom: He was Steve Wynn before Steve Wynn.", "Catherine: Oh, yeah, you bet your ass. (she puts on her gloves) Sam came to Vegas when Vegas was dying. Built three casinos in a year. Had ties to Bugsy Siegel.", "[SCENE_BREAK]", "[INT. TONY BRAUN'S RESIDENCE - LIVING ROOM - CONTINUOUS]", "Brass: Wish I had Tony Braun's gardener working for me. Guy sniffed it out from the jump. Blinds were drawn shut. Side gate unlocked. Dogs let out. \"A\" plus \"B\" plus \"C\" equals 9-1-1.", "(There are a couple of officers in the room. The television set's on with the football game in progress. Tony Braun's body is on the carpeted floor. He's wearing white boxer shorts and a dark shirt. On the coffee table next to him is a wine bottle, an empty wine glass, some drug paraphernalia and other stuff.)", "(GRISSOM and CATHERINE move in past BRASS to examine the body and scene.)", "Grissom: All seems very neat and peaceful, doesn't it?", "[Clips of the crime scene from various perspectives flash in quick pulses: * Upper Body shot of the victim on the floor. Flash to white: * Close up of empty pill bottle next to the victim's right hand. Too far away to make out the prescription label. Flash to white: * Low angle of the stuff on the table: a used wine glass, a slip of foil, an empty highball glass. Flash to white.]", "(CATHERINE picks up a piece of foil that was used for the drugs.)", "Catherine: Chasing the dragon. A pinch of \"H.\" Heat the foil. Inhale the fumes.", "[* close up of empty pill container from SKADDEN'S PHARMACY (78566 Ambers Ave...). From what we can see of the prescription label, it says: (Name) Tony Braun (Fill Date) 9/25/01 (Phone No.) 555-0190 Take One tablet when ... Do not exceed 3 Tablets ... XANAX (Expires) 07/25/02 (Refill) 1", "The side yellow label says: CAUTION: DO NOT TAKE WITH ALCOHOL.]", "(GRISSOM picks up the pill bottle and begins to read part of the label.)", "Grissom: With a Xanax back. 100 pills. Prescription filled yesterday.", "Brass: So the rumors about ol' Tony boy are true. Drug overdose.", "Catherine: It sure seems that way.", "(GRISSOM shakes his head.)", "Grissom: If only life were that simple.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. TONY BRAUN'S RESIDENCE - DAY]", "(Extreme close up of a camera lens as it flashes. SARA is taking crime scene photos while GRISSOM is busy over the body. She snaps two pictures and takes the film out of the camera. SARA hands the film to THE COURIER waiting nearby.)", "(Cut to close up of Tony Braun's right arm and hand. GRISSOM takes out a container.)", "Sara: (to the COURIER) Eight rolls. Two copies. Case is hot. Put a rush on it.", "Courier: Okay.", "(THE COURIER leaves. SARA sees something on the carpet and picks it up. She holds it up for closer inspection.)", "Sara: Lose an earring?", "Grissom: Looks like somebody did.", "(SARA bags the earring backing. GRISSOM uncaps the container and uses the cover to take a sample of the clear sticky goo on Tony Braun's wrist.)", "Grissom: He's got adhesive residue on his wrists.", "Sara: He was restrained. Some sort of tape.", "Grissom: Well, that would be the obvious.", "Sara: Braun had company.", "Grissom: Welcome ... or unwelcome?", "Sara: Where's the purge? Car blows its engine, there's an oil leak. A guy ODs, where's the body fluid? Urine, vomit, excrement.", "Grissom: Did somebody clean him up?", "(SARA notices and focuses in on three red spots on Tony Braun's upper chest.)", "Sara: Interesting love bites on the chest.", "Grissom: Curious, isn't it?", "(SARA realizes something else and puts her flashlight down.)", "Sara: And he's posed.", "(Camera shot of Tony Braun's body flat on his back on the floor with his arms a little away from his sides shows us what SARA sees. She turns to GRISSOM.)", "Sara: When did you know this was a homicide and not an O.D.?", "Grissom: Initially?", "Sara: Yeah.", "Grissom: When I saw the TV on.", "(GRISSOM points to the television set. The camera cuts to the television screen where the football game continues.)", "[SCENE_BREAK]", "[EXT. TONY BRAUN'S RESIDENCE - BACKYARD - DAY]", "(NICK is playing with and vigorously petting Tony Braun's dogs inside the backyard near the gate. CATHERINE walks by, she stops as she puts on her latex gloves and watches the interaction. NICK notices CATHERINE and smiles up at her.)", "Catherine: Well, I'll tell you one thing -- if those were my dogs, I wouldn't be leaving this gate open.", "Nick: Yeah, you're talking about a dog owner on heroin. How responsible can he be?", "Catherine: Gardener said it was the first time in five years that he'd found this gate unlocked.", "(NICK stands and looks at CATHERINE through the gate bars.)", "Nick: What's so different about this morning?", "Catherine: Last morning of Tony Braun's life? Well, either somebody inside the house opened it, or somebody had a key because this lock hasn't been forced. There's no pry marks. No metal shavings.", "Nick: So ... why was the gate open?", "[SCENE_BREAK]", "[INT. TONY BRAUN'S RESIDENCE - BEDROOM - DAY]", "(CLOSE UP of about 12+ pill containers on the dresser top - both prescription (from SKADDEN'S PHARMCY) and over-the-counter -- little black, red and white balloons scattered, an open white box of cigarettes along with other stuff.)", "(In the background near the door, BRASS is going through the contents on top of a second dresser.)", "Warrick: A heroin addict's confetti. Nothing like going on a binge.", "(WARRICK picks up a single empty, open small red balloon with forceps.)", "(Flash to white. The camera does a quick CGI flash close-up journeying into the balloon and shows black residue stuck to the inner walls of the rubber. The balloon itself is empty of its contents. Flash to white.)", "(Cut back to WARRICK holding the red balloon with forceps.)", "Warrick: Black tar heroin. This is the difference between a Cadillac and a Pinto.", "Brass: How would you know?", "Warrick: It's my job. (he puts the balloon back on the dresser) I count at least six balloons, and that's just in the bedroom. The dealer must have come down the chimney. It's like Christmas in July here.", "(WARRICK crouches down so that he's eye level with the prescription bottles on the dresser.)", "Warrick: Not that Braun even needed any more drugs.", "Brass: Yeah, looks like the guy had a pill for everything. Can you get a print off those balloons?", "(WARRICK throws BRASS a look.)", "Warrick: I can get a print off the air.", "[SCENE_BREAK]", "[INT. TONY BRAUN'S RESIDENCE - KITCHEN - DAY]", "(SARA is going through TONY BRAUN'S KITCHEN. She shuts the cabinet door under the sink, stands and moves to look through another cabinet. She's looking for something.)", "(GRISSOM walks in.)", "Grissom: Any luck?", "Sara: I have gone through every garbage can in the house.", "Grissom: What about the cans outside?", "Sara: First thing I checked. Zip.", "(GRISSOM walks out of the kitchen.)", "(SARA opens another cabinet door under the counter and pulls out the kitchen garbage bin. It's full. She puts the garbage bin on the counter and begins to go through it.)", "(She removes an empty clear package and puts it aside. She pulls out an empty box of Saltine Crackers, shakes it and hears something in it. She opens it and uses a pair of forceps to pull out a scrunched up wad of silver-gray colored duct tape.)", "[SCENE_BREAK]", "[EXT. TONY BRAUN'S RESIDENCE - BACK DOOR - DAY]", "(NICK is walking along the back of the house. He hears a dog's whimper. He stops and scratches his left ankle. He notices the doggie door in the back door is open. He pauses and looks at it. Considers the possibilities.)", "(He tries the door knob. It's locked. He runs his latex-gloved finger along the top of the doggie door and pulls out the supplies to print the entire section.)", "[SCENE_BREAK]", "[INT. CSI -- FORENSIC AUTOPSY BAY -- DAY]", "(GRISSOM enters.)", "Grissom: Hey, Doc.", "Robbins: Leg fell asleep.", "(ROBBINS is legless. He looks up from working on his leg and puts it back on. He gets up and moves toward the body.)", "Robbins: I always wondered which one of us coroners would get to carve Tony.", "(He and GRISSOM get to work on the body.)", "Robbins: His lifestyle was no secret -- s*x, drugs and a big bankroll. No needle marks on his arms. The guy plays golf; short-sleeved shirts checked between the toes ... groin area. Whatever he did went up his nose.", "(ROBBINS leans in to point toward the inside of TONY BRAUN'S nose.)", "Robbins: His nasal cavity looks like raw hamburger.", "(The camera does a low pan from TONY BRAUN'S upper chest, up his neck, past his mouth and in toward his nose. The camera view continues to show an extreme close-up of the inside of his nose. Flash to white. Back to GRISSOM looking down on the body.)", "Grissom: These abrasions around his mouth? What? Hard to shave when you're stoned?", "Robbins: Or they're pressure marks. For example, if someone places a pillow or object against someone's nose and mouth in the climate of struggle.", "Grissom: Petechial hemorrhaging? Also suggestive of suffocation.", "Robbins: Not always. For as much as pathology is an absolute science, it isn't. Vessels can rupture under innocent circumstances such as a violent cough.", "Grissom: These three, circular, red marks on his chest? They're not bug bites.", "Robbins: No neurotoxins present but that's not to say some overanxious paramedic trying to save a legend's life didn't cause them in the moment.", "Grissom: CPR wasn't performed.", "Robbins: Then I don't know what they are.", "Grissom: It's hard to OD just inhaling heroin. I know he was restrained which leads me to believe that someone forced him to ingest lethal amounts of heroin and Xanax.", "[SCENE_BREAK]", "[EXT. TONY BRAUN'S RESIDENCE - FRONT DOOR -- DAY]", "(A blonde-haired woman holding a digital camcorder and walking rapidly to the house nearly collides with a police officer holding a clip board. There is indistinct radio chatter in the background.)", "Janine Haywood: Excuse me.", "(The woman makes her way into the house.)", "[SCENE_BREAK]", "[INT. TONY BRAUN'S RESIDENCE - THE FOYER - CONTINUOUS]", "(BRASS and CATHERINE are exiting the living room when they have the misfortune to be the first to come upon the blonde-haired woman.)", "Janine Haywood: Boy, are you lucky my lawyer's on a golf course. I've been standing out here, in the heat for hours, answering these stupid questions. Here's your answer, okay. This is my house. Okay? This is half my house anyway.", "(JANINE HAYWOOD turns her digital camcorder on and begins to walk around the room ... recording.)", "Catherine: Who's this?", "Brass: It's Braun's \"Squeeze\". She's an ex-stripper, too. Perhaps you two met in a professional capacity.", "Janine Haywood: (in the background) These are my things ...", "Catherine: And, uh, where has she been the past 12 hours?", "Janine Haywood: (in the background) Oh, my god.", "Brass: Uh, let's see.", "(BRASS pulls out his notebook, flips open to a couple of pages getting ready to answer CATHERINE'S question.)", "Brass: Quote: \"Out.\" Endquote. When Tony's drug dealer showed up, she split. She slept at a friend's house. She didn't like the way Tony acted when he was cruising on magic carpets.", "(JANINE HAYWOOD turns her camcorder on BRASS and CATHERINE.)", "Janine Haywood: Listen -- if anything is missing from this house I'm going to add you to my lawyer's \"to sue\" list.", "(BRASS moves to block the camera's view, CATHERINE moves off to the side to look for something in her kit, and JANINE puts her camcorder down.)", "Brass: Why don't you just put the camera away before you get arrested?", "Janine Haywood: You can't arrest me in my own house.", "Catherine: Right now, your house is our crime scene ... and we can do whatever we want and that includes fingerprinting you.", "(CATHERINE pulls out her fingerprint kit and starts fingerprinting JANINE.)", "Janine Haywood: Why? Didn't do anything.", "Catherine: Thumb to pinkie.", "Janine Haywood: I just lost my boyfriend, okay? You're a woman. I'm just looking out for my end here, you know? Things start to disappear. If Tony were here right now, he'd tell you himself, \"just make sure Janine's taken care of.\"", "Brass: That's a lawyer's call.", "Janine Haywood: Hey, I'm in the will.", "Catherine: Of course you are.", "[SCENE_BREAK]", "[EXT LAS VEGAS (STOCK) SHOT OF THE TANGIERS CASINO -- DAY]", "[SCENE_BREAK]", "[INT. CASINO - DAY]", "(CATHERINE walks up to the reception desk.)", "Receptionist: Can I help you?", "Catherine: Yeah. Is Sam Braun in?", "Receptionist: He's not seeing anyone today.", "Catherine: Would you let him know that Catherine Willows is here to see him?", "(The receptionist passes the message along (through the computer keyboard) and waits as she gets a response back over her headset.)", "Receptionist: Just one second, please.", "(The Receptionist leaves CATHERINE at the desk. It doesn't take long before an older white-haired man appears behind her.)", "Sam Braun: Mugs?", "(CATHERINE turns around, she smiles and gives the old man a hug.)", "SHORT TIME CUT TO:", "SCENE #12", "[INT. CASINO - THE MAIN FLOOR - DAY]", "(CATHERINE and SAM BRAUN walk arm in arm along the casino floor.)", "Sam Braun: I remember the first time I saw you. You didn't have any clothes on.", "Catherine: Yeah, well, that was a long time ago.", "Sam Braun: I would've taken you home right then if I could have.", "Catherine: I know, but you were married and I was a baby. It would've never worked. Sam ... how are you holding up?", "(Before he can answer her, WALT BRAUN appears in front of them.)", "Walt Braun: Hey, dad, I got the press clogging up valet. Should I call security or just handle it, or what?", "Sam Braun: I'll take care of it. You go back to the pit. Make sure nobody's robbing us blind.", "(SAM BRAUN turns away from his son leaving him standing there. He takes CATHERINE'S arm and continues to walk across the Casino Floor.)", "SHORT TIME CUT TO:", "SCENE #13", "[INT. CASINO - RESTAURANT TABLE - DAY]", "(CATHERINE and SAM BRAUN reminisce over their drinks.)", "Sam Braun: You know, back in, uh ... in '67 I was in my 20s and ... I was drinking in a dive in downtown Buffalo. At the end of the bar was this pro quarterback drinking double scotches, two at t time midnight to 7:00 in the morning. It's Sunday, game day, mind you. So you know what I did? Called my bookie, bet against him. Guess what? I'll be damned if he didn't throw six touchdown passes.", "Catherine: (Laughing): Yeah ... sounds like Tony.", "Sam Braun: You know, even when Tony was juicing he could run circles around these college, Harvard types ... and I'm not saying that just because he was my kid. Tony was the best damn casino exec this town has ever seen and just between you and me ... I couldn't hold a candle to him. Now he's dead. Overdose.", "Catherine: Sam ... the bigger the pedestal the bigger the target.", "Sam Braun: Nobody shoots at that target without going through me.", "Catherine: Well, that's business. What about personal?", "Sam Braun: What do you mean?", "Catherine: Did you ever talk to Tony about any of his girlfriends?", "Sam Braun: Which one? I mean, they were all trying to pick the gold out of his teeth.", "Catherine: Janine Haywood.", "Sam Braun: She's the worst ... and he loved her the most. Can you believe it?", "Catherine: Yeah, I do.", "Sam Braun: If I know her type, now that she has the gold she'll be going after the silver.", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI -- PRINT LAB]", "(GRISSOM AND HIS LAB EXPERIMENT to get the fingerprints off of the plastic prescription drug pill container.)", "(GRISSOM takes the empty prescription bottle and hangs it on an upside-down stand. He proceeds to process the bottle to extract the fingerprints on it by heating glue and exposing the bottle to the fumes in a sealed environment. He removes the bottle from the stand and gently brushes it. When he's done, there are lots of fingerprints around the bottle.)", "(Camera close-up holds on the prescription bottle with visible fingerprints.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(CATHERINE is at the computer monitor. GRISSOM is sitting on the chair next to her.)", "Catherine: Okay, on the left, Braun prints we got from the coroner and on the right, gold digger prints I got from Janine Haywood.", "Grissom: Here's where it gets interesting. I took six prints off this bottle.", "Catherine: And?", "Grissom: They all belong to one person.", "Catherine: Good thing or ... bad thing?", "Grissom: It's good if you're us ...", "(The computer beeps. The print on the left is place on the print on the right. It rotates 180 degrees till it's upside down and shows no differences. The red print on the right enlarges and moves to the center of the screen. It shows a match.)", "Grissom: Bad if you're Janine Haywood.", "(CATHERINE and GRISSOM both look pleased.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GRISSOM walks out of a room into the hallway traffic. He takes a sip of coffee from the cup he's holding. His face shows his distaste with the cup's contents. He's met up by WARRICK. They continue walking.)", "Warrick: Have you seen Brass?", "Grissom: Not tonight, no. Why?", "Warrick: Oh. \"Print off air.\" Orange balloon. Cyanoacrylate. Dead bang, drug dealer.", "(WARRICK heads off in another direction. GRISSOM nearly walks into SARA as she's in a rush to get to wherever it is she's going. She's holding a plastic bag with the wad of duct tape from the kitchen garbage bin.)", "Sara: Ooh, ooh, watch it! Evidence.", "Grissom: Where did you get it?", "Sara: Cracker box. It was all stuck together, muckety-muck. I don't want to ruin any potential prints but I saw this TV dinner commercial and it hit me. I'm going to put it in the freezer.", "(SARA continues down the hallway. GRISSOM turns around and continues on to his destination.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM]", "(GRISSOM reaches the Lounge/Break Room (whatever it's called). NICK is sitting at the table working on something.)", "Grissom: Did you try this coffee?", "Nick: Mm-mmm. [Translation: No.]", "Grissom: The last cup I had tasted like motor oil.", "(GRISSOM picks up the pot of coffee. From straight down the hallway, GREG runs to intercept the coffee pot and GRISSOM'S cup. He stops in front of GRISSOM.)", "Greg: Oh, don't touch it. That's my pot!", "Grissom: Your pot?", "Greg: Yeah, you know, from my own private stash. (He picks up the coffee bag.) Blue Hawaiian -- $40 a pound. Only grown a couple times a year on the Big Island hand-picked to perfection.", "Grissom: Good. You're using my water so I guess that makes it community coffee.", "(GRISSOM pours himself a cup. He turns and offers NICK a cup also.)", "Grissom: You want a cup, Nick?", "(NICK looks over at GRISSOM and scratches his lower leg.)", "Nick: No, thanks.", "Grissom: What's the matter with your leg?", "Nick: I don't know, man. Something back at that house must have bit me.", "(NICK opens the bottle of rubbing alcohol on the table and begins to soak up the cotton wipe. GRISSOM is drinking his coffee and reading the back of the coffee bag. GREG reaches for the coffee pot, pours himself a cup and sees NICK do this.)", "Greg: Oh, is that alcohol on a bug bite? That's like butter on burns, man. Wives' tale.", "(NICK is definitely rubbing the alcohol on the bug bite.)", "Nick: Yeah, this is the guy who told me to put hemorrhoid cream on my acne.", "(GRISSOM smiles at this.)", "Greg: It worked, didn't it?", "(GREG grabs his bag of Blue Hawaiian coffee out of GRISSOM'S hands and leaves the room.)", "Grissom: (about the coffee) This is pretty good.", "(Approaches NICK at the table and looks down at the bite on NICK'S leg.)", "Grissom: Let me see the bite before you get gangrene. Chigger bite.", "Nick: Yeah?", "Grissom: Probably picked it up walking through the ferns in Braun's backyard. See if Catherine's got some clear nail polish. It'll seal it off from the air, keep it from itching.", "Grissom: Ah -- Whatever happened with that doggy door?", "Nick: Something definitely two-legged went through it. Got mostly partials. Print lab's working on it now.", "Grissom: Be sure to check it against Janine Haywood's prints.", "(NICK nods. GRISSOM and his cup of coffee leave the room.)", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY BAY]", "(ROBBINS' holding up a clear container of brown liquid stuff.)", "Robbins: Braun's stomach contents. No food. Plenty of drugs.", "Grissom: Xanax?", "Robbins: And heroin.", "(ROBBINS hands the container to GRISSOM.)", "Catherine: I thought he inhaled it.", "Robbins: Inhaled and ingested.", "Catherine: He ate it?", "Robbins: Got there somehow.", "(GRISSOM holds the container up to the light and is looking for something inside it.)", "Grissom: Where are all the undissolved pills?", "Robbins: Didn't find any.", "Grissom: Most OD's die before digestion's complete, right?", "Robbins: My guess, someone mashed up the Xanax, dissolved them in red wine, which I did find.", "Grissom: Okay, so what do we know that we can write home about?", "Catherine: Well, Braun was a heroin addict using heavy just before he died which means he was probably meek as a lamb.", "Grissom: Wouldn't have taken much to bind his hands with duct tape.", "Catherine: And make him drink hemlock. It's a lot easier to pour liquid down a guy's throat than it is to make him swallow a hundred pills.", "Robbins: It wasn't a hundred pills.", "Grissom: How many?", "Robbins: Educated, unofficial guess: No more than fifty.", "(GRISSOM looks at the container he's holding.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[EXT. ALLEYWAY -- NIGHT]", "Brass: Based on your pupes, I could take you in right now.", "Skinny (drug dealer): Hey, man, I'm in mourning. It's tears you see. I lost a customer. It's like losing my job, kind of.", "Warrick: You're Braun's grocery store.", "Skinny: But I deliver.", "Brass: When did you last deliver?", "Skinny: Night before he croaked. About nine o'clock -- ask his woman. She's fine, too.", "Brass: Well, she told us as soon as you got there, she left.", "Skinny: Oh, she didn't go that fast. I dropped off some balloons, Braun paid me, she gave me a tip.", "Brass: What? \"Shave the soul patch?\"", "Skinny: No. Thirty Xanadus.", "Warrick: Xanax?", "[SCENE_BREAK]", "[INT. CASINO/HOTEL LOBBY]", "Janine Haywood: I told you I dropped them down the bathroom sink.", "Brass: First time I heard that.", "Janine Haywood: Look, I took two, gave Tony two and I accidentally dropped fifteen or twenty down the sink. It was an accident. You know, an accident? Haven't you ever spilled a drink?", "Catherine: Not lately. We found fifty Xanax in Tony's stomach.", "Janine Haywood: Don't pin that on me. I'd left.", "Catherine: I'll tell you what you left -- your fingerprints all over the prescription bottle.", "Janine Haywood: I went to the pharmacy waited in line picked up the prescription signed for it brought it back to the house. You know, Tony did nothing for himself except work and get high.", "Brass: Got you a brand-new Mercedes, didn't it?", "Janine Haywood: Yes, it did. And it'll buy me the dress I wear at Tony's funeral, too.", "Brass: Look, when you left your half a house where did you go?", "Janine Haywood: A friend's.", "Brass: Well, let's get her on the line.", "Janine Haywood: She's out of town.", "Brass: Let me guess -- she's incommunicado.", "Janine Haywood: That means you can't reach her? Yeah.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(CATHERINE is carrying a big life-sized dummy down the hallway. She bumps into two men as they walk by her. She seems in a hurry and knows where she's going.)", "Catherine: Oh, mind the dummy.", "(CAMERA travels seemlessly into the next office which just happens to be ... )", "[SCENE_BREAK]", "[INT. CSI - GREG'S LAB]", "(GRISSOM appears in the room. He glances down at his watch.)", "Grissom: It's been 24 minutes, Greg. When's this thing going to be done?", "Greg: Well, with all due respect, sir, it's not a baked potato. It's Braun's blood and with all the impurities in his system it might take a little extra time.", "(GREG nods his head and changes the subject.)", "Greg: Did I ever tell you I used to live in New York?", "Grissom: Is this going to be a short story or a novel?", "(The mass spectrometer beeps and spews out the test results.)", "Greg: Excuse me. You know, heroin has a nine-minute half-life. After that, it metabolizes into morphine.", "Grissom: What's the 6-MAM count?", "Greg: A hundred fifty-eight (158) nanograms per mil. Definitely not lethal. The same with your Xanax. Quarter-mil tabs, hundred (100) micrograms per liter. Again, not lethal. There's addicts walking around times square with more drugs in their system.", "Grissom: So Braun should still be walking around.", "(GRISSOM starts to leave the room, but stops as he passes GREG'S desk. He's just gotta ask ... )", "Grissom: ... and the point of your New York story was ... ?", "Greg: Oh, I was just going to tell you about another way to take heroin -- a suppository up the coolee. You just stand on your head, and then you let gravity ...", "(Off GRISSOM'S strange look, GREG decides to ... )", "Greg: ... forget it.", "(GRISSOM leaves. Hold on GREG.)", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM]", "(CATHERINE drops the dummy on the floor. GRISSOM walks in holding a paper package containing some kind of evidence.)", "Grissom: Braun didn't die of a drug overdose accidental or otherwise.", "Catherine: I figured. So why'd I bring the dummy?", "(GRISSOM opens the package, takes out its contents and drops the empty package on the floor.)", "Catherine: Braun's shirt.", "Grissom: Robbins opened him up. His lungs were compressed. Remember Burke and Hare the two 19th century Scottish body snatchers who made a living intoxicating innocent victims and suffocating them? Sold their cadavers to teaching hospitals? Got away with it, too, until a medical student discovered his fiancée on a slab.", "Catherine: Is this part of the Sherlock Holmes Fan Club Kit?", "(Together, CATHERINE and GRISSOM start to dress the dummy.)", "Grissom: Janine Haywood said that she left the house when the drug dealer arrived. I think she came back.", "Catherine: So Braun would have been on his third or fourth balloon by then.", "(Quick Flashback to Tony Braun doing drugs. He lights up the foil and inhales. Flash to white. Camera on GRISSOM.)", "Grissom: Would have been easy to tape his wrists mash up fifty pills ...", "(Quick Flashback to: A woman's hand holding the Xanax prescription bottle and pouring a bunch of pills into an empty ash tray. Flash to white. The woman using a shot glass to mash the pills in the ash tray. Flash to white. The white powder being poured into a wine glass. )", "Grissom: ... and force-feed him a Xanax cocktail.", "(Continuing Flashback: A woman holding Tony Braun's head back and getting ready to pour the mixture down his throat. Tony Braun swallowing some of the mixture. Flash to white. End of Flashback. Resume Present.)", "Grissom: So everything was going great until the gardener showed up. Then I think her plan turned to panic. It takes time to OD -- time Janine didn't have.", "(GRISSOM and CATHERINE finish dressing the dummy. GRISSOM begins to rub carbon-paper on the buttons of the shirt to stain them.)", "Grissom: Burke would kneel on his victim's chest, right, covering their mouth and nostrils.", "Catherine: But when you're doing drugs, you're a slob; and when you're being manhandled, you're even sloppier. Like this.", "(To demonstrate the theory, CATHERINE grabs the shirt the dummy wears and puts her knee on the dummy's chest.)", "(Quick Flashback to a woman's knee on Tony Braun's chest while covering his nose and mouth.)", "(CATHERINE gets off of the dummy and opens up the shirt to reveal three black stains on the dummy's white chest. She smiles.)", "Catherine: He was \"burked\".", "(The telephone rings. GRISSOM stands to answer it.)", "Grissom: (on phone) Hello.", "(Over the phone, we can make out a lot of static and an unrecognizable voice talking.)", "Grissom: (on phone) Where?", "(Still more static and unrecognizable voice.)", "Grissom: (on phone) Brass, you're breaking up.", "(GRISSOM hangs up.)", "Grissom: (to CATHERINE) Said he was in Blue Diamond, digging something up.", "[SCENE_BREAK]", "[EXT. DESERT ROAD TO BLUE DIAMOND -- DAY]", "(Five police cars race down the dusty sand road. Their sirens are wailing, lights flashing. Lead car license plate #52980.)", "[SCENE_BREAK]", "(A lone man is using a shovel and digging in the dry ground in front of his parked white Isuzu truck/van. He stops and holds up his hands as the police cars park.)", "Curt Ritten: Hey ... hey, what's going on?", "Brass: Anybody ever tell you to call before you dig?", "Curt Ritten: I got permission to be here.", "Brass: Oh, is that right? From who? A dead man? You got a name?", "Curt Ritten: My name's Curt Ritten. Look, Tony Braun was a friend of mine, right? This is his property. He calls me about a month ago. He says \"if anything should happen to me, you start digging. You take care of what's mine at all costs.\" That's what I'm doing.", "(GRISSOM peers in and sees something in CURT RITTEN'S truck. He notes it to CATHERINE. Inside the truck, we see three rolls of silver-gray duct tape.)", "Brass: Do me a favor, Curt Ritten. Put down the shovel.", "Curt Ritten: Okay.", "Brass: Stand over there.", "Curt Ritten: Okay.", "Catherine: (to GRISSOM) Maybe Janine had a helper.", "Brass: (to GRISSOM and CATHERINE) Hey, guys, you might want to check out the basement.", "(GRISSOM and CATHERINE approach to see what CURT RITTEN was digging up. In the ground is a large padlocked door.)", "[SCENE_BREAK]", "(The padlock is broken open.)", "[SCENE_BREAK]", "[INT. UNDERGROUND BASEMENT -- DAY]", "(The door opens.)", "(GRISSOM and CATHERINE descend the stairway into a cave filled with lots of loot. Shelves of silver bullion, silver candelabras, silver dishes. They seem absolutely astounded by the vault.)", "Grissom: \"A sable cloud turns forth its silver lining to the night.\"", "[Note: Quote is from John Milton's \"Comus\" (1634).]", "Catherine: That's a lot of motive.", "Grissom: And a lot of silver.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA opens the freezer door and removes the wad of duct tape that she found in Tony Braun's kitchen garbage bin. She puts it on the lab table and begins to unravel it. It unsticks easily.)", "(With a brush, she \"paints\" on a solution made with liquid soap and black print powder. With a washer, she washes it away to reveal the fingerprints underneath. She holds her find up to the light just as WARRICK walks in. He holds up a string with the tape on it.)", "Warrick: Okay, three rolls of tape found in the truck owned by Curt Ritten.", "Sara: Nice. Let's see if that's where my print came from.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Under the microscope, the edges of the duct tape do not match the tape sample SARA found in the garbage bin.)", "Warrick: No match!", "Sara: Oh, listen to you. Would you rather hit a home run in the fourth or the bottom of the ninth?", "(WARRICK throws SARA a look.)", "Sara: Let me ask you something. Braun collected silver -- coins, bullion -- 23 tons of it. Why bury it in Blue Diamond?", "Warrick: 'Cause he was smart. In the past 20 years the value of silver's gone to nothing and a commodity broker's going to charge you a storage fee per troy ounce and there's only one thing worse than losing seven to eight percent on silver a year and that's losing nine to ten percent because of some stupid storage fee.", "(As he talks, WARRICK checks the duct tape sample against the other duct tape rolls. The second try doesn't work.)", "Sara: What good's collecting silver coupons when you're dead?", "Warrick: Depends on who's doing the clipping.", "(WARRICK checks the final duct tape roll and finds ... )", "Warrick: Oh, we got a positive association. Roll to tape. Curt to Tony.", "[SCENE_BREAK]", "[INT. BLUE DIAMOND UNDERGROUND VAULT -- DAY]", "(BRASS questions CURT RITTEN. GRISSOM is behind them. He just got off the cell phone and is holding the phone close to his chest.)", "Curt Ritten: You arresting me for digging?", "Brass: No, burglary, theft and conspiracy, to start.", "Curt Ritten: Tony asked me to move his silver collection up to his ranch in Wyoming. I'm doing what I was told.", "Grissom: Mr. Ritten ... it appears that we may have physical evidence connecting you to the murder of Tony Braun.", "Curt Ritten: Look, I had nothing to do with the drugs. I swear to you, I haven't messed around with that stuff in a long time. I was always telling Tony, as a friend to get off of it, to walk away.", "Brass: How'd you know where the silver was buried?", "Curt Ritten: Because I built the vault for him. I'm a contractor. That's what I do.", "Brass: Ever work on his house?", "Curt Ritten: No. We did ... we did talk about me building a basement for him once. It never got off the ground.", "Brass: Oh, so, you've been to his house?", "Curt Ritten: (to BRASS) We were friends. I've been to his house plenty of times. I was there a couple weeks ago. We were watching the Notre Dame game together.", "Grissom: Did you ever leave anything there? Did you ever bring anything over to his house?", "Curt Ritten: (to GRISSOM) Yeah, I brought a six-pack and some chips - (to BRASS) sour cream.", "Brass: Tools of the trade, Curt. Construction items -- hammer, duct tape?", "Curt Ritten: No. Why would I do that? I got no idea what you're talking about.", "Brass: Yeah, well, whatever you don't tell us, we'll find it.", "[SCENE_BREAK]", "[INT. CURT RITTEN'S RESIDENCE - DAY]", "(The door unlocks and opens. CATHERINE and DET. SAM VEGA walk into a darkened living room. The Detective is holding a warrant.)", "Det. Sam Vega: That's the quickest warrant I ever got.", "Catherine: Yep. Braun family. Long arms.", "Catherine: I thought you said that Ritten's wife lives in Carson City.", "(CATHERINE notices a woman's skirt draped on the back of the couch.)", "Det. Sam Vega: She does. They both do. He just stays here when he's working.", "Catherine: Or digging up silver.", "(They hear a noise coming from another room. DET. SAM VEGA unholsters his gun.)", "[SCENE_BREAK]", "(DET. SAM VEGA and CATHERINE make their way down the hallway.)", "Catherine: Mrs. Ritten?", "(No response.)", "Catherine: Criminalistics.", "(Now, we can hear the sounds of water running in the shower.)", "Det. Sam Vega: Police officer.", "(The bathroom door is slightly open. The light is on inside. The two approach the bathroom and promptly run into ... )", "Janine Haywood: Geez! You scared me. How'd you get in here?", "Catherine: I don't have to ask you that question.", "[SCENE_BREAK]", "[INT. CSI LAB]", "Warrick: How can this be, Mandy? We found the duct tape in the guy's truck.", "(Both WARRICK and SARA are in the lab. MANDY is on the computer telling them the bad news about the prints on their duct tape.)", "Sara: You're telling us the prints on that tape aren't his or hers?", "Mandy: Well, if their names are Curt Ritten and Janine Haywood the answer's, \"no, it's not their prints.\"", "Sara: This is ridiculous.", "Warrick: This thing must have a virus.", "(He taps the side of her monitor for emphasis.)", "Mandy: Maybe you have the wrong suspects.", "Warrick: Well, that's easy for you to say. All you do is scan prints all day and hit \"enter.\"", "Mandy: Look, I'm not your beast of burden. Sara, this is your thing.", "(MANDY stands up getting ready to leave it to SARA when NICK walks in. He's in a cheery mood.)", "Nick: Mandy ... give me something dandy.", "Mandy: I'll give you something dandy. Your doggie-door prints. Good-bye, I have to go on a break now.", "(MANDY leaves. NICK reads the report. There's no reaction from him prompting WARRICK to comment ... )", "Warrick: See what I mean?", "Sara: Your prints came back unknown, too?", "Nick: No. Came back: \"Walt Braun\".", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM]", "Grissom: Who is he?", "Catherine: He's Tony Braun's brother. He's a pit boss at the Tangiers which is why his prints were on file -- gaming card.", "(GRISSOM and CATHERINE are sitting down in the police department's waiting room. They're both sitting sideways on back to back seats, facing forward.)", "Grissom: He's family. Why's he using the doggie door and not the front door?", "Catherine: Go figure. The more evidence that shows up the more this case doesn't make sense. We got two suspects in custody and neither of their prints are on the duct tape.", "Grissom: Or on the doggie door ... but the brother's are.", "Catherine: Mm-hmm.", "Grissom: So, call the print lab.", "Catherine: It's been done. They're not Walt Braun's prints on the tape. Came back unknown.", "(BRASS enters and takes a seat on one of the waiting room chairs.)", "Brass: Hey. I've got Detective Vega rounding up Walt Braun. Apparently, this Janine Haywood really got around.", "(FLASH CUT to JANINE HAYWOOD in the interrogation room. She's chewing gum and looking bored. The camera moves over her shoulder and beyond and reveals that in the next interrogation room is CURT RITTEN. He's on his feet and pacing the floor. Flash cut back to CATHERINE.)", "Brass: When she wasn't at Braun's house playing girlfriend, she's over at \"vault boy's\" flat playing mistress ... which gives neither of them a credible alibi.", "Catherine: Flimsy alibis don't prove murder. What else have we got?", "Grissom: Nothing probative.", "Brass: Then I let the girlfriend go. Curt Ritten goes back to lock-up until he posts bail.", "Grissom: Look, forget Curt. Forget Janine. Forget the suspects. It's simple. We got to figure out how a piece of duct tape from a roll we found in Curt Ritten's truck ended up wrapped around the wrists of our victim.", "Catherine: Without Curt's prints on it.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY]", "(CURT RITTEN and JANINE HAYWOOD along with a Guard walk out into the hallway. CURT RITTEN immediately starts arguing with another brown-haired woman standing there.", "Janine Haywood: Curt, we're out of here.", "(The woman sees JANINE HAYWOOD and gets angry. From the other end of the hallway, GRISSOM, CATHERINE and BRASS all round the corner and witness the exchange.)", "Bonnie Ritten: Oh, you're going to take this, too, huh?", "Curt Ritten: Bonnie ...", "Bonnie Ritten: I come down here with a check to bail my husband out and you say to him, \"we're out of here\"? No, honey, you're out of here!", "Curt Ritten: Bonnie, take it easy.", "Bonnie Ritten: Take it easy?!", "Bonnie Ritten: (to JANINE) How many men do you need, huh?", "Janine Haywood: Hey, at least I can take care of mine.", "Bonnie Ritten: (to CURT) I've stuck by you through the bankruptcies the flings, the lies, and I have had it, okay? So, you choose. Me or her?", "Curt Ritten: Sorry, Janine.", "Janine Haywood: Yeah ... heard that before.", "(She leaves.)", "Janine Haywood: (o.s.) Call me.", "Brass: Bail processing is this way.", "(As they leave, BONNIE and CURT RITTEN pass CATHERINE and GRISSOM.)", "Catherine: Been there.", "[SCENE_BREAK]", "[INT. CASINO]", "(GRISSOM and DET. SAM VEGA are questioning WALT BRAUN.)", "Walt Braun: You came down here to ask me about a doggie door? I could've just told you over the phone.", "Grissom: It's a quirk. I always like to discuss fingerprints in person.", "Walt Braun: Hmm. Tony and I went to dinner.", "Grissom: How long ago?", "Walt Braun: A while back.", "Grissom: Be more specific.", "Walt Braun: Uh, about a month and a half ago. We ate at Piero's talked a little business -- I dropped him off.", "<FLASHBACK>", "(WALT BRAUN is sitting behind the wheel in his car. TONY BRAUN is on the back door porch.)", "Tony Braun: Hey Walt ... Come over here for a second, will you?", "(CUT TO. TONY and WALT are at the back yard gate. He unlocks the gate with his own key.)", "Walt Braun: My key still works here. How come it doesn't work on the front door?", "Tony Braun: I changed the locks.", "(CUT TO: WALT BRAUN squeezing in to the house via the doggie door. Cut to WALT BRAUN'S feet walking on the inside which probably signifies that he made it through the doggie door.)", "</FLASHBACK>", "Walt Braun: And, so, I used the doggie door walked through the house, opened the door, let Tony in.", "Police Officer Vega: Guy with that kind of money doesn't have a security alarm?", "Walt Braun: When you're a Braun there's nothing you can't replace.", "Grissom: You can't replace your brother.", "(GRISSOM glances down at WALT BRAUN'S leg. Apparently he's been scratching or doing something strange that we really haven't noticed (because they really didn't show it to us).)", "Grissom: What's the matter with your leg?", "Walt Braun: I don't know something must've bit me.", "Grissom: Mind if I take a look?", "Walt Braun: What are you, a dermatologist?", "Grissom: I'm an entomologist, actually. I-I know all about bugs.", "Walt Braun: Sure. Can you tell me what to put on it? It's killing me.", "(WALT BRAUN pulls the sock down and shows us big ole bug bites. GRISSOM can barely contain his excitement at the discovery.)", "Grissom: Chigger bites. You might want to try some nail polish, keep it from itching. Would you mind if I took a photograph for my bite collection?", "(GRISSOM reaches into his kit and pulls out his camera.)", "Walt Braun: Whatever rubs your Buddha.", "Grissom: (to DET. SAM VEGA) We're almost done.", "Det. Sam Vega: Mr. Braun, uh, where do you live?", "Walt Braun: Shoshone Hi-Rise -- J.W. Brown Road.", "Det. Sam Vega: And you work here?", "Walt Braun: Yeah, I'm a glorified pit boss.", "Grissom: In the, uh, last 48 hours have you been anywhere else besides those two places?", "Walt Braun: No. My life's pretty routine.", "(GRISSOM pulls the picture from the camera and looks at it.)", "Grissom: It might just get a little more routine.", "(Camera hold on WALT BRAUN'S expression.)", "[SCENE_BREAK]", "[EXT LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- LOCKER ROOM]", "(NICK is sitting alone in the locker room. GRISSOM enters.)", "Grissom: Nick, I need your leg. Show me your bite.", "Nick: Oh, it's no worries. I got some cream.", "Grissom: Hey.", "Nick: All right. It's no big deal, really.", "(NICK shows GRISSOM his bug bites. GRISSOM puts the photo he took of WALT BRAUN'S bug bites up against NICK'S leg to visually compare the two. GRISSOM takes a seat.)", "Grissom: What time did you log in at the Braun house?", "Nick: 9:15 that morning.", "Grissom: How long after that did you start processing the backyard?", "Nick: About a half hour.", "Grissom: You're not the only one with chigger bites.", "(GRISSOM shows NICK the photograph.)", "Nick: Who is this?", "Grissom: Walt Braun. It's now 9:30 at night. Approximately 36 hours ago, you were bitten. Three hours earlier than that Tony Braun was murdered. Chiggers run a predictable course.", "[* Flash CGI clip of chigger bites -- of the chigger doing exactly what GRISSOM describes.]", "Grissom: A chigger attaches itself to a hair follicle injects a digest enzyme into the skin which ruptures the surrounding cells allowing the chigger to suck em up leaving behind a red, itchy bump.", "Nick: So ... ?", "Grissom: Walt Braun lied. We now have an entomological timeline that places him at the house on the day his brother was murdered.", "(GRISSOM stands to leave the locker room. NICK stops him.)", "Nick: Ah -- I don't know, boss. I mean, ask yourself the question: Are doggie-door prints and chigger bites enough to get a man for murder?", "(GRISSOM thinks about it. He leaves without saying a word. NICK resumes putting the creme on his bug bites.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - EARLY EVENING]", "[SCENE_BREAK]", "[INT. CSI CONFERENCE ROOM]", "(Everyone's gathered at a dinner meeting.)", "Catherine: What've we got?", "Brass: Well, I got motive. According to the family lawyer, the drug addict ...", "Catherine: (interrupting) Now, Jim, that's just a little callous.", "Brass: I'm calling it what it is. I know you're friends with the family but the guy used heroin. He was a drug addict who stood in line to inherit the old man's fortune.", "Sara: What about the brother?", "Brass: Walt's out of the picture. He's left out in the cold.", "Catherine: He is?", "Brass: Yeah. Tony promised he'd take care of him. Whatever he got, he split 50-50 all in ... silver included ... up until about a month ago.", "Nick: But Tony changed his mind, which changed the will.", "Catherine: So, wait a second -- Janine, the stripper claims that half of everything is hers so that's actually more than just wishful thinking?", "Warrick: Bet Walt wasn't too happy about that. It's 50-50 going 75-25 the wrong way.", "Sara: Curt was digging up the silver to protect Janine's interest.", "Nick: So, what's right in front of us that we're missing?", "Grissom: What evidence do we have that's still open?", "Catherine: I just got the references off of Walt Braun gave the samples to Greg.", "Sara: Couple of things on the priority list that haven't been processed yet: Tape lifts, adhesive residue, I got the earring back.", "Nick: Where'd you find that?", "Sara: Living room, near the body.", "Grissom: We have to deal with that earring.", "Catherine: We got to test it against Janine.", "[SCENE_BREAK]", "[EXT. POOLSIDE -- DAY]", "Janine Haywood: You want to swab me, go ahead but I can save you the-tip. That's really not my style.", "Grissom: Ms. Haywood ... you have pierced ears.", "Janine Haywood: Yeah. He doesn't understand. I don't wear studs. Haven't worn studs since, like ... god, seventh grade.", "Catherine: Mm-hmm.", "Janine Haywood: Can I see that picture? (she holds out her hand. GRISSOM hands her the photo.) Thanks. See? This is an earring back. It goes to a stud earring. I don't wear studs. I'm more of, like, a dangle gal. I like chandeliers. They move with you. They're on wires. They don't have a back.", "Catherine: Are you finished? Open your mouth.", "(CATHERINE takes the sample and JANINE hands the photo back to GRISSOM.) Don't bite down. Wouldn't want you to swallow it.", "Grissom: How about your girlfriends or Tony's girlfriends -- any of them wear studs?", "Janine Haywood: Look, rule number one: No women allowed in the house. Tony had a wandering eye, he had a wad of cash who needed that drama?", "Catherine: What about the maid?", "Janine Haywood: No. Rule number two: Heavyset, over 50, no makeup, no jewelry, no english.", "Catherine: Wow. You got this whole thing down don't you?", "Janine Haywood: Yeah. This is my house. I didn't do anything wrong. And I inherited Josie, and she cleans real good.", "Grissom: How often does she vacuum?", "Janine Haywood: Every day. Except on her day off.", "Grissom: Hmm. The day Tony died.", "Janine Haywood: Hmm.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GREG is standing in front of a machine processing the sample. GRISSOM and CATHERINE are standing one on each side of him waiting for the results.)", "Grissom: Well, if the maid is as good as Janine says she is ... then ...", "Catherine: The earring back was lost that day.", "(The machines prints out the report.)", "Greg: There. Well, maybe not. The earring back -- not Janine's. But it was in the ear of a female.", "Catherine: So, I guess rule number one was broken. There was a woman in the house.", "(GRISSOM doesn't say anything. He does have a look on his face. CATHERINE picks up on it.)", "Catherine: Are you thinking what I'm thinking?", "Grissom: Whoever's prints are on the duct tape is missing an earring back. Who's the only other woman in the story?", "Catherine: She lives in Carson City.", "Grissom: She's here now.", "Catherine: She has access to Curt's truck.", "Grissom: We saw the fight in the police department.", "Catherine: \"Hell hath no fury ... \"", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM -- DAY]", "(BONNIE RITTEN puts the photo back on the table.)", "Bonnie Ritten: It's not mine. I don't wear earrings.", "Grissom: It's funny, just recently I had a little education in earrings and I noticed that you have pierced ears.", "Bonnie Ritten: Yeah. So what?", "Catherine: If you don't wear earrings for a while the holes will close up.", "Brass: Will you volunteer us a DNA sample? It will confirm your story or confirm ours.", "Bonnie Ritten: I'm not giving you anything.", "Grissom: It's okay, Jim, we have enough.", "Catherine: You should've let your husband rot in jail.", "(CATHERINE pushes an evidence baggie containing the bail check toward BONNIE RITTEN.)", "Catherine: We lifted your thumbprint from the check that you posted for his bail.", "Grissom: We compared it to a set of unknown prints that we found on some duct tape at the crime scene.", "Catherine: Just like a pair of earrings-- identical.", "Brass: So you were at Tony's house the morning he died. Along with Walt Braun whose prints we confirmed on the doggy door.", "[White flash to FLASHBACK clips of: * WALT BRAUN opening the back yard gate. Flash to white. * WALT BRAUN crawling in through the doggie door. Flash to white. He gets in and unlocks the front door to let BONNIE RITTEN inside. Flash to white. * While doing drugs, TONY BRAUN is interrupted by BONNIE RITTEN and WALT BRAUN. Flash to white.]", "[Present day shot of BONNIE RITTEN. Flash to white.]", "[Resume FLASHBACK clip of: * BONNIE holding the duct tape. WALT BRAUN subduing TONY. TONY struggling. BONNIE ripping off some duct tape. While TONY struggles, he hits BONNIE and her earring back flies off hitting the floor. Flash to white.", "[Present day shot of BONNIE RITTEN and cut to GRISSOM. Flash to white.]", "[Resume FLASHBACK clip of: * TONY BRAUN'S hands being taped up while WALT BRAUN holds him down. Flash to white. * WALT BRAUN forcing the wine down TONY'S throat while holding his nose shut to force his mouth to open. Flash to white.]", "[End of Flashback sequence. Resume Present day. Camera on BONNIE RITTEN.]", "Grissom: You know, sometimes, doing the job that we do our biggest break comes from the most innocent circumstance. It was the maid's day off, but not the Gardener's.", "Curt Ritten: That's the thing about murder you never think to have a backup plan. The dogs lead the Gardener right to you ...", "[Quick FLASHBACK showing BONNIE RITTEN and WALT BRAUN being interrupted while dogs bark and whine (o.s.). Flash to white. Back to present. Resume camera on BONNIE RITTEN.]", "Grissom: So you had to wing it. The gardener came to the window ...", "[FLASHBACK clip of the inside camera view of the gardener peering in through the window. BONNIE and WALT are back against the wall. BONNIE almost panics. Dogs can be heard off screen. Flash to white. End of Flashback. Resume present.]", "Grissom: ... but he didn't see you ... so you removed the tape from Tony's wrists ... and made it look like an OD.", "Catherine: What I don't get is ... you and Walt Braun didn't move in the same circles. How'd the two of you hook up?", "(BONNIE RITTEN doesn't respond.)", "Brass: News flash, sweetheart: Can't make a deal if you keep your mouth shut.", "[SCENE_BREAK]", "[INT. JAIL CELL]", "Walt Braun: That's the thing about my father: He could never give advice but he had a million stories. \"Scorpion and the Frog.\"", "(WALT BRAUN is in a jail cell talking to BRASS and GRISSOM.)", "Walt Braun: Scorpion needed to get across the creek and asked the frog for a ride. Frog says, \"I can't trust you, you're a scorpion.\" Scorpion says, \"sure you can.\" Hops on the frog's back. Midway across, the scorpion stings the frog. Frog looks at him. \"Why would you do that? Now we're both gonna die.\" Scorpion says ... \"I can't help it. I'm a scorpion.\"", "Walt Braun: If Tony hadn't thrown a party ... the two of us would never have been standing at that bar.", "<FLASHBACK>", "(In the middle of the casino party, CURT RITTEN walks up to JANINE HAYWOOD.)", "Curt Ritten: Hey, Janine, you're lookin' good.", "(CUT TO: WALT BRAUN walks up to the bar where BONNIE RITTEN is nursing her drink. They watch as JANINE openly flirts with CURT. The two laughing and having a grand time.)", "Walt Braun: You're looking at my brother's trophy?", "Bonnie Ritten: No, my husband's bimbo.", "(WALT introduces himself.)", "Walt Braun: Walt Braun.", "Bonnie Ritten: Bonnie Ritten.", "(The two shake hands.)", "</FLASHBACK>", "Grissom: And an opportunity presented itself. Tony had erased you from the will and Bonnie wanted the people that hurt her to pay.", "Brass: Ain't love grand?", "[SCENE_BREAK]", "[INT. CASINO MAIN FLOOR -- NIGHT]", "(SAM BRAUN and CATHERINE walk. His arm around her shoulders.)", "Sam Braun: You know, this ... this could've all been his. His and Tony's.", "Catherine: It's not your fault.", "Sam Braun: Sure it is. I committed the cardinal sin. I loved one son more than the other.", "Catherine: It's human nature. We can't deny our feelings.", "Sam Braun: But you can hide it. And I didn't. They're my sons ... I made them, I raised them ... and one kills the other.", "Catherine: Hey, Sam ... you still got me.", "Sam Braun: You know, I should've married your mother.", "Catherine: Well, considering I was six months old when you guys lit the flame ... a lot of time has passed. You had plenty of chances.", "Sam Braun: Just wasn't in the cards, Catherine. It just wasn't in the cards.", "(With an arm around her shoulders, the two walk off screen.)" ]

[ "The entire CSI team investigates a disappearance at a local university. A young woman vanished, seemingly off the face of the earth. Forensics leads them to possible suspects, and possible suspects all have probable motives, but nothing seems to pan out. This leads our team to discuss the \"Chaos Theory.\" When combined, many seemingly-innocuous events may have a deadly outcome. And closure is not always within reach." ]

[ "[EXT. LAS VEGAS STOCK - NIGHT]", "[SCENE_BREAK]", "[INT. UNIVERSITY DORM - WOMEN'S BATHROOM - NIGHT]", "MUSIC: (Hip-hop music) hey, baby, hey, baby, yeah, baby, yeah, baby hey, baby, hey, baby, yeah, baby, yeah, baby hey, baby, hey, baby,", "(The camera follows a blonde-woman walking out of the bathroom wrapped in a towel. She walks through the hallway where other students and regular traffic carry on without batting an eye in her direction.)", "(She passes a bulletin board and a group of college guys in orange shirts. The camera turns and follows the guys back down the hallway where they stop and turn around. I guess they did notice the girl in the towel. They run off screen after her (or maybe toward something else they've seen).)", "(A boy carrying a box of pizza passes the group and the camera follows him as he walks down the hallway with the pizza box in his hand.)", "(The camera turns away from the pizza boy and lingers on a particular blue dorm room #410.)", "[SCENE_BREAK]", "[INT. ROOM #410, PAIGE RYCOFF'S ROOM - NIGHT]", "(The camera enters the room and passes by some suitcases in the middle of the room.)", "Lyric: (dissolves into jazz blues) ... I'm so tired of playing / playing with this bow and arrow / going to keep my hideaway", "(There is a blonde-haired woman standing by window. Her back is to us and she's staring at the rain as it pours outside.)", "\\[b\\]Lyric\\[\\/b\\]: ... leave it to the other girls to play ...", "(She turns around to look back into the room at her suitcases. She's wearing a long-sleeved, dark-blue shirt with WLVU in bold yellow letters in the front. She goes to the bed and picks up her coat. As she puts it on, the phone rings.)", "\\[b\\]Lyric\\[\\/b\\]: ... for I've been a temptress too long / give me a reason, won't you? / give me a reason", "(She answers the phone.)", "Paige Rycoff: (on phone) Yeah? Hold the meter. I'll be right down.", "(She hangs up the phone and moves to the window. She looks outside and sees the taxi cab waiting out front. The Taxi Cab Driver looks up and we see PAIGE RYCOFF standing in front of the window. She walks away from the window.)", "WHITE FLASH CUT TO:", "[SCENE_BREAK]", "[INT. PAIGE-RYCOFF'S ROOM -- DAY.]", "(CLOSE UP of plane ticket still in the side pocket of a purse. The camera moves up toward the window. It's day. We hear a police siren. From PAIGE RYCOFF'S room window, we see police cars and GRISSOM'S black SUV outside. GRISSOM meets up with BRASS on the walkway leading up to the dorm.)", "[SCENE_BREAK]", "[INT. DORM - HALLWAY - DAY]", "Brass: Paige Rycoff, freshman. Couldn't stand the heat, dropped out of school.", "Grissom: Dropped out of sight.", "Brass: Booked a one-way ticket home to boulder. Never got there. Four days M.I.A.", "Grissom: Missing persons. First 24 hours are gold after that ...", "Brass: ... quicksand.", "(They arrive at the room.)", "Brass: (to the officer outside the room) Hey.", "(GRISSOM and BRASS enter the room. There are alot of officers inside. Standing and comparing notes and talking. This annoys GRISSOM.)", "Grissom: Excuse me, but could everyone in this room do me a big favor ... and leave?", "(Off of BRASS' look.)", "Grissom: Please?", "(BRASS nods his head.)", "Brass: Thanks, fellas. Thanks, guys.", "(After everyone leaves, GRISSOM puts his CSI Kit down.)", "Brass: (to GRISSOM) You want me to go, too?", "Grissom: If you're very still, you can stay.", "(GRISSOM puts on a pair of latex gloves. BRASS crouches down low. A police siren sounds outside.)", "Brass: She was definitely on her way out of here.", "Grissom: Lamp's still on.", "Brass: Yeah, but she didn't take her suitcase, her purse ... or the cab she called.", "(BRASS stands up. GRISSOM reaches into the purse and pulls out the ticket.)", "Grissom: It's like going to the vet without your dog.", "[GRISSOM picks up the plane ticket from her purse. The ticket contains the following information:", "PHONE MAIL ORDER MONUMENT AIRLINES RYCOFF, PAIGE LAS VEGAS, NV BOULDER CO NON-REFUNDABLE", "Nos. at the bottom: 00953046010 | 3 005 211 54 ... ]", "Brass: Maybe she had a change of plan. Or someone changed it for her.", "Grissom: No sign of struggle. Everything's intact.", "(A quick look into the purse shows a small hairbrush with lots of hair on it, her wallet and a notebook as well as other everyday things found in a purse.)", "Grissom: Nothing out of place.", "(GRISSOM walks past BRASS and heads out the door. The door closes behind him.)", "(There's a knock on the door.)", "Brass: (quietly) Come in.", "(BRASS opens the door and GRISSOM enters the room again.)", "Grissom: Door locks automatically and there were no keys in her purse.", "Brass: Maybe they were in her pocket.", "Grissom: If they were in her pocket she could've walked right back in. Why didn't she?", "Brass: One moment Paige Rycoff is here the next ... vanished.", "Grissom: People don't vanish, Jim. It's a molecular impossibility.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS:", "[Captioning sponsored by CBS, CBS Productions and Alliance Atlantis Productions. Captioned by the Caption Center WGBH Educational Foundation]", "[SCENE_BREAK]", "FADE IN", "[SCENE_BREAK]", "[INT. DORM ENTRANCE -- DAY]", "(The students use their cards to enter the dorm through a turnstyle. GRISSOM and WARRICK stand off to the side as they enter.)", "Warrick: They got this multiplex system -- there's eyes all over the place. There's eight floors, and four cameras per floor.", "(They both look up at the camera that monitors the co-eds coming into the dorm.)", "Grissom: They have this system in place when you went to school here?", "Warrick: With all the stuff me and my boys got away with, it's probably why they have them now.", "Sara: Hey, scent dogs are on their way.", "(SARA arrives at the dorm and is stopped at the entrance when she can't get through the turnstyle.)", "Grissom: If you don't live in the dorm you can't get in.", "Sara: What about getting out?", "[SCENE_BREAK]", "[INT. DORM - HALLWAY - DAY]", "(CATHERINE and NICK walk through the hallway.)", "Catherine: Four hundred students, twelve uniform officers, ten minutes per interview. P.D. Should be done by Tuesday.", "Nick: Well, I'll take prints over people any day.", "(GRISSOM, SARA and WARRICK meet up with them at the next corner.)", "Grissom: How about taking video? There's cameras on every floor; one of them must have seen something, please find it.", "Nick: Okay.", "(NICK leaves.)", "Grissom: In this case, more is less-- the more time goes by the less chance we have of finding this girl.", "Catherine: Four days? We'd be looking for a body already.", "Warrick: Well, hide and seek. Let's go.", "(WARRICK and CATHERINE leave. The video camera watches them go.)", "[SCENE_BREAK]", "[INT. PAIGE RYCOFF'S ROOM - DAY]", "(SARA pulls out a clip board while she updates GRISSOM on the status of the room.)", "Sara: I talked to her R.A. Paige had put in a request to have all her mail forwarded, including her security deposit.", "(GRISSOM stares at the wall. He notices something on the wall and takes a very close look at it. SARA watches as GRISSOM sticks his finger in it and ... tastes it.)", "Grissom: Minty.", "Sara: Toothpaste-- poor man's spackle. It's an old college trick-- covers up the holes when the posters come down.", "Grissom: Ah. Leave the room the way you found it, get back your full deposit.", "Sara: Five Hundred Dollars. That huge money at her age if you actually get it. That's a big college racket, like buying books back?", "Grissom: Why would anyone want to sell their books?", "Sara: Two beds. Roommate?", "(GRISSOM looks at his clip board.)", "Grissom: Jennifer Riggs. Left school two weeks into the semester Brass checked with the registrar.", "(He puts his clip board back in his bag and from the low angle he's in, he notices something across the floor. He uses his flashlight to get a better view.)", "Grissom: There's a void. Something was here.", "Sara: Area rug? Could've been used to conceal a body on the way out.", "Paula Francis: (o.s.) The disappearance of ...", "[SCENE_BREAK]", "[INT. DORM LOUNGE -- CONTINUOUS]", "Paula Francis (TV Anchorwoman): (V.O.) ... western Las Vegas university coed Paige Rycoff has police baffled. They're working on several leads. And though investigators are still piecing together ...", "(The television set in the dormitory lounge is covering The Paige Rycoff story. There's a picture of Paige on screen and the words, \"Breaking News\" on the bottom left of the screen.)", "(The camera pans over to view the hallway just in time to catch two police officers with two search dogs on leashes.)", "[SCENE_BREAK]", "[INT. DORM - NEAR GARBAGE CHUTE]", "Warrick: How's this strap right here, is this tight enough?", "(WARRICK is assisting CATHERINE with her gear.)", "Catherine: Uh, yeah, fine.", "Warrick: How about this one? (He tugs on another strap.)", "Catherine: Yeah, it's ... it's good, Warrick.", "Warrick: Well, you know, you can get cadets to do this, Cath. I mean, they're used to obstacle courses.", "Catherine: Yeah, well, on missing persons, we can't wait.", "Warrick: Yeah, well, it looks like a kill-and-dump to me. I mean, the guy waited for the coast to clear door to door, it's only ten meters ...", "(CATHERINE pulls open the garbage chute door and peers inside. There seems to be some distance to cover between the fourth floor that they're currently on to the ground floor below.)", "(CATHERINE lets go of the handle and it snaps back shut.)", "Catherine: Hmm, snappy little sucker. Somebody ought to fix that.", "Warrick: Yeah? Well, all right, after we find Paige.", "Catherine: Right.", "(WARRICK opens the garbage chute door and assists CATHERINE as she get in it.)", "[SCENE_BREAK]", "[INT. CAMPUS SECURITY CAMERA CONTROL ROOM]", "(Through the green-tinged video, we see CATHERINE disappear into the garbage chute completely. The camera pans back and we see that we're watching four monitors. There's a hand-written note between the bottom two monitors that reads: \"Absolutely No Drinks next to the monitors. Thanks!\")", "Campus Security Tech: Okay, here we're looking at the fourth floor. It's real time.", "Nick: Mm-hmm... I'm interested in any camera that covers Paige Rycoff's room.", "Campus Security Tech: Oh, that's camera two. Here, I'll put it on the large monitor.", "Nick: Now, go back four days, one hour window 8:00 to 9:00 P.M.", "(The video on the monitor shows co-eds walking back and forth in the hallways.)", "Nick: Fast forward.", "(After several seconds, NICK sees something)", "Nick: Whoa, whoa, whoa, whoa -- hold on.", "(The video goes back and catches a hand covering the camera with something causing it to black out.)", "Nick: How'd you miss that?", "Campus Security Tech: Well, we don't catch every minute.", "Nick: Go back 15 seconds, replay in slow-mo.", "(The video definitely shows someone reaching up and blacking the camera out.)", "Campus Security Tech: What is that?", "Nick: Camera captures 13% more than we're seeing on this monitor. Picture condenses to fit the aspect ratio ...", "Campus Security Tech: Pixel matrix, yeah.", "Nick: Mm-hmm. Show me the under scan. Stop. (The video stops on the black spot.) Now go back five seconds before the lens was covered. (The video stops on a lighter view of the black spot just a frame or two before it gets really dark.) Freeze and magnify.", "(The video freezes on a magnification of somebody's left hand up against the wall.)", "Campus Security Tech: Hmm, somebody's hand.", "Nick: Looks like he pushed off the wall ... tossed something on the lens. Prints over people. Thanks, man.", "Campus Security Tech: Yeah.", "[SCENE_BREAK]", "[INT. INSIDE THE TRASH CHUTE - DAY]", "(CATHERINE is inside the garbage chute looking for any evidence of a body passing through it.)", "Warrick: (over radio) Find anything interesting down there?", "Catherine: Yeah, plenty, but not what we're looking for.", "Warrick: How's the smell, good?", "Catherine: Funky.", "(On her way down, CATHERINE sees something on the wall.)", "Catherine: Wait, stop. Stop, stop, stop.", "Warrick: (over radio) What you got?", "Catherine: Looks like, uh ... (panting) Something or ... someone smashed up against this chute pretty hard.", "Warrick: (over radio) What floor are you on?", "Catherine: Uh ... between, um ... first and second, I think.", "Warrick: Well, if the body was dumped it would've been moving pretty fast by then.", "(CATHERINE touches the red substance and smells it.)", "Catherine: Pizza. Keep going.", "[SCENE_BREAK]", "[EXT. ALLEYWAY -- END OF CHUTE - INTO THE DUMPSTER -DAY]", "(CATHERINE comes out of the chute feet first and lands in the dumpster.)", "Catherine: Ah. Touchdown. Uh, chute's clear. Looks like trash is picked up every morning. We got nothing.", "(CATHERINE looks over at the two frustrated search dogs at the entrance of the alleyway ... )", "Catherine: Hey, Warrick, it looks like we're not the only ones chasing our tails.", "[SCENE_BREAK]", "[INT. PAIGE RYCOFF'S ROOM - DAY]", "(Wearing red-orange protective goggles, SARA darkens the room. Using a device that shines a blue light, SARA's looking for body fluids in PAIGE RYCOFF'S room. Every drop she finds on the bed is circled for collection.)", "Lyric: Water falling down / a hundred meters colored by the sun / in day-glo colors always dragging me around / through beams of light blinded by the sun ... (music fades)", "[SCENE_BREAK]", "[INT. CAMPUS SECURITY CAMERA CONTROL ROOM]", "(From the monitors, we see NICK working near the video camera.)", "[SCENE_BREAK]", "[INT. FOURTH FLOOR HALLWAY - DAY]", "(NICK gathers the handprint off of the wall. That he even found it impresses SARA, who approaches him from behind.)", "Sara: How did you know where to print?", "Nick: Knew where to look. How about you?", "Sara: DNA, blood and semen.", "Nick: We shoot, we score.", "[SCENE_BREAK]", "(CAMERA CLOSE UP of GRISSOM. He's looking downward and has a thoughtful look on his face. Around him, we hear the muffled voice of a man and a woman who both sound upset. We can barely make out what they're saying. The more they speak, the clearer their words.)", "Mrs. Rycoff: No one is telling us anything. It's been four days.", "Mr. Rycoff: I mean, the police aren't talking to us.", "Mrs. Rycoff: We have no information.", "Mr. Rycoff: It's gotten crazy.", "Mrs. Rycoff: I want to know how this could happen. (The voices are crystal clear and pierce through GRISSOM'S thoughts.) Mr. Grissom. What are you doing to find my daughter?", "[INT. HALLWAY - DAY]", "(GRISSOM looks up and sees MRS. and MR. RYCOFF. Both are anxious.)", "Grissom: I'm thinking.", "Mr. Rycoff: How many men are on this case?", "Mrs. Rycoff: Have any leads?! Any?", "Mr. Rycoff: Are you looking anywhere else?", "Grissom: When we get any new information, I'll let you know.", "Mrs. Rycoff: What can we do?", "Grissom: Just let me do my job.", "Mr. Rycoff: This is our daughter, we can't just be observers.", "Mrs. Rycoff: No, we won't. We're part of this.", "Grissom: Look. What no one's telling you is that the only tangible connection you have left between you and your daughter is the evidence that my team is collecting and how we interpret it. So, please ... let me think.", "(MR. and MRS. RYCOFF leave.)", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(GRISSOM is standing in front of the video monitor watching the video footage taken the night PAIGE RYCOFF went missing. CATHERINE walks in and stops next to him.)", "Grissom: You showered.", "Catherine: Thanks for noticing, Gil, you're very observant.", "(He plays the video over again and steps up closer to the video screen till he's standing right in front of it.)", "Grissom: Yeah? Well ... I can't tell what I'm observing here. What does that look like?", "Catherine: A five-foot-eleven workaholic.", "Grissom: (turns around) Sorry.", "Catherine: It looks like somebody carrying... something.", "Grissom: Paige Rycoff was missing a rug from her room.", "(NICK walks in holding up a file. He's enthusiastic.)", "Nick: Hello. Got an ID off my print. I know who covered the cameras.", "Grissom: Good. We know what he might've carried out.", "[SCENE_BREAK]", "[INT. INTERROGATION ROOM - DAY]", "(A photograph of a hand print is placed on the table and pushed forward toward the man sitting there. The co-ed sitting in his orange \"Omega Zeta Pi Pledge\" T-shirt glances down at it.)", "Henry McFadden: It's a hand.", "Grissom: It's your hand.", "Henry McFadden: Okay, if you say so.", "Nick: Hey, your fingerprints say so.", "(Quick Flashback shows HENRY McFADDEN putting his hand on the wall and boosting himself up to put a dark blue hand towel over the hallway camera. Flash to white. Resume Present.)", "Henry McFadden: Okay. I'll cop to it. But I'm not copping to it alone.", "(Quick Flashback shows four other guys in orange running down the hallway carrying furniture between them. Flash to white. Resume Present.)", "Brass: Pledge prank. You boosted a carpet and a couch?", "Henry McFadden: We borrowed-- we borrowed some stuff from the lounge but we were going to return it.", "Brass: When? After you graduate? What else did you take, Henry?", "Henry McFadden: Ohhh ... two lamps, coffee table, couple rolls of toilet paper. Look, I'll pay for it.", "Nick: Why the fourth floor?", "Henry McFadden: Uh ... the fourth, fifth, and seventh floor have the primo goods. Okay? Fourth floor's closer to the ground ... less stairs. Faster we can get out of the building and into the van faster we get out of there.", "Grissom: Do you know Paige Rycoff?", "(HENRY McFADDEN becomes less flippant and quite serious at GRISSOM'S question.)", "(Quick Flashback shows PAIGE RYCOFF standing at the window and turning around. Flash to white.)", "Henry McFadden: Yeah. Yeah, but I had nothing to do with ... with that or whatever happened to her.", "Brass: But you do know her.", "Henry McFadden: Well, yeah. You know, we live in the same dorm. We're in Economics 101 together, so what?", "Nick: So what?", "Henry McFadden: Paige and I dated once or twice. She wasn't my type. If you haven't noticed ... I'm in the system now. The talent pool's pretty deep.", "Nick: She dumped you.", "Grissom: Guy like you, it had to be a blow to your ego. Maybe you tried to change her mind.", "Henry McFadden: All right, come on, listen. It wasn't like that. It wasn't like that at all. Come on, Paige was seeing another guy. Someone who was \"more mature\" than I am.", "Brass: You got a name on this other guy?", "Henry McFadden: No. She never said.", "Brass: You can go.", "(HENRY McFADDEN stands to leave the room.)", "Brass: But the stuff gets returned.", "Henry McFadden: Yes, sir.", "(He leaves the room.)", "Nick: From hot to cold in a minute.", "Grissom: This is the worst place you can be on a missing persons ... a dead end.", "CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI LAB - DAY]", "(The television set is on. PAIGE RYCOFF'S parents are on with the label \"MR and MRS RYCOFF\" in the lower left corner. The techs in the lab are watching the television coverage.)", "Paula Francis: (on tv) The parents of western Las Vegas University freshman, Paige Rycoff. They join us now to discuss their daughter's disappearance. Mrs. Rycoff, did your daughter tell you why she was leaving school?", "Mrs. Rycoff: (on tv) We're a close family, and Paige just felt she needed to be home ... with us.", "Paula Francis: (on tv) But why leave mid semester?", "Mrs. Rycoff: (on tv) I asked ...", "Mr. Rycoff: (on tv) ... she was going to make a fresh start back in Boulder.", "(Outside the Lab, through the glass window, GRISSOM also watches the television coverage. SARA appears beside him.)", "Sara: I need you in the lab.", "Grissom: You know, when a tree falls in the forest even if no one's there to hear it, it does, in fact, make a sound.", "Sara: Yes. Somebody must have seen or heard something.", "Grissom: What have we got?", "(They leave together.)", "[SCENE_BREAK]", "[INT. CSI LAB]", "(Spread out on the table are various items all belonging to PAIGE RYCOFF. From make-up to a tweezer, nail clipper, eye-lash curler ... it's all there.)", "Greg: Well, this is one way to get her DNA. Bring me her whole life.", "Sara: It's called zeal, Greg.", "Greg: Or overkill.", "Grissom: It's called protocol. Let's get on with it.", "Greg: Okay, well, I, uh, got Paige's DNA from her toothbrush. I compared it to the blood and semen that Sara found on the mattress in her dorm room.", "Sara: Blood's not hers.", "Grissom: Not hers?", "Sara: That's not all. Check out the tox screen.", "(SARA hands GRISSOM the report. He pulls out his glasses and reads.)", "Grissom: Rohypnol?", "Sara: Date rape drug.", "Grissom: What about the semen?", "Greg: Well, the vaginal contribution to the semen stain is a match to the blood. Whose blood, don't know.", "Sara: We may have two victims -- one missing, one raped.", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(On the screen, NICK and CATHERINE review video footage from cameras covering the parking lot on the night PAIGE disappeared.)", "Nick: There's our boys about to move their \"borrowed\" furniture.", "Catherine: Advance it to 8:27 P.M.", "(NICK hits the remote and the video advances from 08:26 to 08:27 pm.)", "Nick: Okay, I think the table's set. Cab double-parked.", "Catherine: He calls up. Paige says that she'll be right down.", "Nick: And he becomes the world's most patient cabbie.", "Catherine: And just like he tells Brass ... he waits 15 minutes.", "Nick: 13 minutes. 27 seconds According to the timecode. Close enough. (grabs his gear) Let's get back out in the field. Tech can finish up here.", "Catherine: Hey, where's the fire, bud? We're just getting started. These security cameras are the only witnesses we've got.", "(NICK sighs. He puts his bag back down.)", "Nick: I'll, uh, settle in.", "Catherine: Good idea.", "[SCENE_BREAK]", "[EXT. RESIDENTIAL SIDEWALK - DAY]", "(GRISSOM, BRASS and SARA walk down the sidewalk in front of JENNIFER RIGGS' parents' home.)", "Brass: Jennifer Riggs -- missing girl's roommate. She dropped out of school, too about a month and a half ago.", "Sara: That dorm room is cursed.", "Grissom: Is this her parents' house?", "Brass: Yeah. Possible sexual assault so I thought I'd wait for the whole team.", "Sara: You thought you should, uh, wait for a female.", "[SCENE_BREAK]", "[INT. JENNIFER RIGGS' RESIDENCE - DAY]", "Paula Francis (TV Anchorwoman): (v.o. over tv) A video shot during the first week of school Offers fresh insight into the 18-year-old's personality. We can see that Paige was an average, apparently happy and healthy freshman, looking forward to ...", "(The camera starts on several photographs on the wall: one is JENNIFER RIGGS high school cap & gown graduation photo, another is of JENNIFER RIGGS with her parents. The camera skims over two other childhood photographs, both of JENNIFER RIGGS. The television set is on in the living room with a report about PAIGE RYCOFF on. The video shows a close-up of PAIGE RYCOFF swimming. The camera moves on to the living room where the interview with JENNIFER RIGGS is taking place.)", "Jennifer Riggs: How did you guys even find out about me? I mean, I-I didn't report it. I just ... ran. And I left school. Nobody knew, not even Paige.", "Sara: Jennifer, we found forensic evidence in your old dorm room. We believe you were sexually assaulted while under the influence of Rohypnol.", "Jennifer Riggs: And now you guys think the guy that attacked me had something to do with Paige's disappearance?", "Sara: Two women. Same dorm room.", "Grissom: We're looking for a connection.", "Brass: Will you tell us his name?", "(She takes a shaky breath. SARA notices her discomfort.)", "Sara: Do you want to talk alone?", "Jennifer Riggs: You don't understand. I can't remember. I never could remember.", "Grissom: That's one of the side effects of rohypnol. I'm sure he was counting on that.", "Jennifer Riggs: There was this party ...", "(Quick Flashback of a man going through a door and shutting it behind him. He's carrying a body over his shoulder. Cut to: Shadow of a man taking off his shirt. Flash to white. JENNIFER RIGGS on the bed. She's awake but completely out of it while in the background, the shadow of a man taking off his pants. Cut to: The man in his boxer shorts standing over JENNIFER RIGGS on the bed. Flash to white. Resume to Present.)", "Brass: Who was at this party?", "Jennifer Riggs: It was a floor party. That's why I had to leave school. Somebody that I was living with attacked me ... and I was never going to know who.", "(SARA nods her head then glances back at GRISSOM. Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CO-ED DORM - ELEVATOR - DAY]", "(The dorm elevator moves up the second, third and stops on the fourth floor. Inside the elevator, GRISSOM, WARRICK, and SARA waits for the elevator door to open.)", "Sara: (o.s.) Why would a rapist voluntarily give up his DNA?", "Grissom: Officially, we're looking for the individual who abducted Paige Rycoff not the student who raped Jennifer Riggs.", "[INT. CO-ED DORM - HALLWAY - DAY -- CONTINUOUS]", "(The elevator door opens and the three walk out.)", "Warrick: Oh, so as long as the students participate voluntarily we can use their DNA as we e fit.", "Sara: Ah, the old Bait and Switch.", "Warrick: The ole' Smart and Legal.", "Sara: Yeah, but what if someone refuses?", "Grissom: That's what we're hoping for. De facto suspect.", "(They round the corner where all the men living on the fourth floor are lined up against the wall. There are several officers there.)", "[SCENE_BREAK]", "[INT. HALLWAY -SOME TIME LATER]", "(The men are lined up and SARA is taking a swab sample of their DNA. WARRICK is behind her collecting the swabs as she finishes them. She finishes one and hands it to WARRICK then moves to the next co-ed.)", "Sara: Open.", "(The N.D. STUDENT clears his throat and doesn't.)", "Sara: Are you refusing?", "N.D. Student: I haven't brushed my teeth.", "Warrick: Hey, mouth boy, she's not going to kiss you. She just wants your DNA, okay?", "(The N.D. STUDENT opens his mouth and SARA takes the sample.)", "[SCENE_BREAK]", "(A top angled, camera vide of the collection in the hallway.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY]", "(CLOSE UP of a cotton swab tip being cut into a small plastic sample container (sorry, can't see what the writing on the container is). The container next to it already containing a swab sample is E05.)", "(CUT TO: GREG fills the following containers: E15, E14, E13, E12, E11.)", "(CUT TO: GREG put the completed rack with the samples into the machine. He shuts it closed and turns it on.)", "[SCENE_BREAK]", "[INT. CSI -- GREG'S LAB]", "(GRISSOM walks in. He's holding his pager.)", "Grissom: Friederich Miescher requests my presence?", "Greg: Figured out my code, huh? Well, you know, my boy Freddy discovered DNA.", "Grissom: He's been dead a hundred years, Greg. What do you got?", "Greg: Well, I ran the samples on COfiler(TM) and Profiler Plus (TM). Then I compared each specimen against the types obtained from the dried semen that you found on the victim's mattress ...", "Grissom: Are we paying you by the word?", "(GREG looks back at GRISSOM then silently gets the test results and puts them on the table for GRISSOM to look at.)", "Grissom: Thirteen markers. Thirteen matches. One suspect. Thank you.", "(GRISSOM turns to leave.)", "[SCENE_BREAK]", "[EXT. BASEBALL PRACTICE FIELD - DAY]", "(CLOSE UP of a baseball coming out of a pitching machine and the batter waiting for it, hitting it. GRISSOM and BRASS cross the path with their hands out to hold the next pitch. They're on their way somewhere accompanied by two officers.)", "Brass: Kevin Watson, 19, room 407 just down the hall from our girls. Athletic director says he plays first base, bats right-handed.", "Grissom: Any record?", "Brass: Three \"D\"'s and a \"C,\" nothing criminal. Number 25, just like McGwire.", "Grissom: Yeah? I wonder how he hits.", "[SCENE_BREAK]", "[EXT. BASEBALL PRACTICE FIELD - DUGOUT - DAY]", "(GRISSOM and BRASS are questioning KEVIN WATSON.)", "Grissom: Listen, Kevin, we know that you assaulted Jennifer Riggs.", "Grissom: Why don't you just tell us about Paige Rycoff.", "Kevin Watson: I don't know anything about Paige ... or Jennifer.", "Grissom: Well, I'll tell you what I know. Jennifer Riggs was raped. We found semen on her mattress. We matched the seminal DNA to you.", "Kevin Watson: Q-tip down my throat. Thought you were here trying to find out what happened to Paige.", "Grissom: We are.", "Brass: So what did happen, Kevin? You attack Paige, too? Hell, you been in her room before but unlike her roommate Paige fought back, is that it?", "Kevin Watson: I never touched Paige. I wasn't even in town. Three ball games in Fresno. We got back yesterday. Check the roster. Ask coach.", "Brass: No, I'll do that but in the meantime, you're coming with us. You're under arrest for the use of a controlled substance in the sexual assault on Jennifer Riggs. Get him out of here.", "(The officers take KEVIN WATSON away from the dugout. GRISSOM has his hand up on the wall. He's not happy about the results of this interview.)", "Brass: (to the officers) Wait for me. Wait for me in the car.", "(GRISSOM turns as WARRICK joins the group.)", "Grissom: Another dead end.", "Warrick: Yeah, I know, I talked to the coach. Road trip.", "Grissom: We're losing her.", "(Camera holds on WARRICK and BRASS.)", "[SCENE_BREAK]", "[INT. CSI - A/V ROOM]", "(CATHERINE and NICK are still going thought the video footage of the parking lot the night PAIGE RYCOFF disappeared.)", "Catherine: ... and there it is again.", "Nick: You know, that car circled the block six times between... 8:20 and 8:40 P.M?", "Catherine: All right, you loop around twice you're looking for a parking space. Six times ...", "Nick: You're up to no good.", "Catherine: Is that something hanging from the rearview mirror?", "(NICK hits the rewind on the video.)", "Catherine: Why don't you zoom in on that.", "(NICK does his magic and get a close up of a Las Vegas University Parking Permit. They smile at the find.)", "Nick: You know, it's easier to get a master's degree than a parking spot on campus.", "Catherine: Right. Why don't you meet up with university parking and cross-reference all silver Volvos.", "Nick: Right.", "Catherine: Oh, and Nick?", "Nick: Yeah?", "Catherine: When you find the car ...", "Nick: I know -- check the trunk.", "(NICK leaves.)", "[SCENE_BREAK]", "[EXT. UNIVERSITY PARKING - DAY]", "(CLOSE UP of a Las Vegas University Parking Permit #27356 hanging from the rear view mirror of a car. GRISSOM and CATHERINE approach the car. NICK is already there.)", "Catherine: Silver Volvo. University I.D.", "Grissom: A world of possibilities reduced to a single car?", "Nick: Registered to Robert Woodbury, Philosophy Professor, tenured. Detail's almost got the latch.", "(A technician jimmies open the trunk lock. The hatch pops open. GRISSOM and CATHERINE lean in to examine the trunk's contents. In the middle of the trunk, there's something covered with a black, white and gray pattered blanket. It's large enough to be a body. NICK removes the blanket and finds that it's a set of golf clubs.)", "Grissom: Nick, tow it to CSI and process. Cath ...", "Catherine: Office hours with the Professor.", "Prof. Robert Woodbury: (V.O.) Yes ...", "[SCENE_BREAK]", "[INT. PROF. WOODBURY'S OFFICE - DAY]", "Prof. Robert Woodbury: ... I was near the dorm that night.", "Catherine: Professor Woodbury, you circled the block six times.", "Brass: Let's start with an easy question. Paige Rycoff was a student of yours.", "Prof. Robert Woodbury: Introduction to philosophy, yes.", "(A light knock on the door just before a pretty student pops her head into the office. She's smiling.)", "Prof. Robert Woodbury: Amanda ... uh, I'll talk to you tomorrow after class.", "(The student leaves and the door closes.)", "Willows: Cute. Let me guess-- \"C\" student?", "Prof. Robert Woodbury: Not if I can help it.", "(GRISSOM notices a piece of something on the floor near the couch and picks it up.)", "Catherine: And what kind of student was Paige?", "Prof. Robert Woodbury: She was a very bright, young woman.", "Grissom: \"Some circumstantial evidence is very strong as when you find a trout in the milk.\"", "Prof. Robert Woodbury: Henry David Thoreau. But that's just broken pottery.", "Grissom: My perception -- sign of struggle.", "(This gets no response from PROF. WOODBURY.)", "Grissom: Okay, look, it's been six days. If you have a legitimate reason for being outside of her dorm, tell us. If you have an illegitimate reason tell us that. Tell us something, so that we can move forward.", "(PROF. WOODBURY looks uncomfortable. Still, he says nothing.)", "Grissom: Again, my perception -- silence confirms guilt.", "(CATHERINE and BRASS stand. They're getting ready to leave.)", "Catherine: We found you. We will find what you're hiding.", "Prof. Robert Woodbury: I'm married.", "Catherine: Yep. The ring indicates that.", "Brass: Your car's on the way to the crime lab. We're going to need to search your home.", "Prof. Robert Woodbury: She was never in my car; she was never in my house.", "Brass: Where has she been?", "Prof. Robert Woodbury: Here. That's how the vase broke, because we were ...", "Catherine: Physical.", "Prof. Robert Woodbury: Amorous.", "Catherine: Oh, so you cared about her? But obviously not enough to come forward.", "Prof. Robert Woodbury: And tell you what? That I cheat on my wife with my student who is missing and I have absolutely no information?", "Grissom: If it was important enough for you to hide it's important enough for us to know.", "Catherine: Any idea where she might be?", "Prof. Robert Woodbury: No. I ... I went to the dorm. I-I did. I went to, I don't know, maybe to stop her maybe to say good-bye one last time but at the very least, I wanted to see her. But she never came down.", "Brass: Let's take a ride in the black-and-white.", "Prof. Robert Woodbury: Can I meet you there? I-I'm not going anywhere. I just need a little time to explain all this to my wife.", "Brass: No, I understand. I'll send an officer with you, just in case.", "Prof. Robert Woodbury: Thank you.", "[SCENE_BREAK]", "[INT. CSI -- GARAGE -- DAY]", "(NICK is taking photographs of the car's trunk. SARA is going through the contents of the golf bag that she has spread out on the floor near the car. They're processing PROF. WOODBURY'S car.)", "(CUT TO: NICK inside the car. He finds some strands of light-colored hair caught under the passenger seat head rest. He picks it up and looks at it closely.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "(CLOSE UP of a single strand of hair being examined and compared with another strand of hair under a microscope. GREG is looking at the samples in his lab under a microscope. SARA is standing near him.)", "[INT. CSI -- GREG'S LAB]", "Greg: Medulla, cuticle and cortex are a visual match to the hairs I pulled from Paige Rycoff's brush. The roots have skin tags.", "(NICK joins them and looks at the sample in the microscope.)", "Nick: Means hairs were ripped at the root.", "(Quick Flashback to: A hand pulling hard on PAIGE RYCOFF'S hair.)", "Paige Rycoff: Ouch!", "(Flash to white. CGI Close up of a hair at the root and it being pulled out. Flash to white. Resume Present.)", "Sara: Too bad this doesn't get us any closer to finding Paige.", "Nick: She was in his car. It gets us closer to our suspect.", "[SCENE_BREAK]", "[INT. POLICE DEPT - INTERROGATION ROOM]", "(Standing outside in the hallway is SHARON WOODBURY. The camera pans over (through the wall) into the interrogation room where PROF. ROBERT WOODBURY is being questioned by GRISSOM and BRASS.)", "Brass: Let me remind you, you have the right to counsel.", "Prof. Robert Woodbury: I don't need counsel. The only person I was hiding from was my wife. She knows everything now. So ask your questions.", "Grissom: We found some of Paige's hair in your car.", "Prof. Robert Woodbury: Well, that's impossible because she's never been in my car. Are you sure it was hers?", "Grissom: You mean, uh, will it stand up in court? Yes, it will.", "Prof. Robert Woodbury: Well, maybe it was on my sweater or something.", "Grissom: Four strands of hair pulled out by the root, on the passenger's headrest.", "Prof. Robert Woodbury: I don't know ...", "Brass: How about this one? A phone call made from your house to Paige's dorm room the day she disappeared.", "Prof. Robert Woodbury: I only use my cell phone when I call her -- not my office, not my home.", "Brass: 12:16 P.M., Four minutes long.", "Prof. Robert Woodbury: Faculty lunch that day, 12:00 to 2:00, every department head. And it will stand up in court.", "Grissom: Professor Woodbury, does your wife work?", "Prof. Robert Woodbury: (reacts to the question) No.", "(GRISSOM tilts his head for the PROFESSOR to answer the question.)", "Prof. Robert Woodbury: (softer) No.", "(Camera hold on BRASS.)", "[SCENE_BREAK]", "[INT. POLICE DEPT HALLWAY]", "(Everyone is standing out in the main hallway. BRASS is questioning SHARON WOODBURY while her husband and GRISSOM watch.)", "Brass: So, are you home during the day?", "Sharon Woodbury: Sometimes.", "Brass: Were you home around twelve o'clock on the day that Paige Rycoff disappeared?", "Sharon Woodbury: I don't remember.", "Prof. Robert Woodbury: Sharon, someone called Paige from the house, and it wasn't me.", "Brass: Mrs. Woodbury do you have the keys to your husband's car?", "Sharon Woodbury: We share it. It's our car.", "Prof. Robert Woodbury: How long have you known?", "Sharon Woodbury: About this one or all the others? I knew that she was different. And I wasn't about to let some kid walk away with my marriage so I called her up, took her for a ride explained the facts of life to her-- wife, three kids, mortgage. She said it was over, she was going home. Didn't say why; I didn't ask.", "Grissom: Mrs. Woodbury, I think you're leaving something out.", "Prof. Robert Woodbury: They found Paige's hair in the car and they think ... did you attack her?", "Sharon Woodbury: No. I wanted to. I almost did. She went to get out of the car.", "(Quick Flashback to SHARON WOODBURY driving the car (with parking permit hanging from the rear view mirror). PAIGE RYCOFF is in the passenger seat.)", "Sharon Woodbury: (to PAIGE) You are 18. What the hell do you know about love?", "Paige Rycoff: I don't need to take this.", "(PAIGE opens the door and moves to get out. Her hair gets caught in the headrest.)", "Paige Rycoff: Ow!", "(She leaves anyway. Flash to white. Resume Present.)", "Sharon Woodbury: I stopped her. Apologized. We talked. And I dropped her off.", "(A cell phone rings. GRISSOM reaches for it.)", "Grissom: Excuse me.", "Brass: Yeah.", "Grissom: (to phone) Grissom.", "(GRISSOM'S eye brows rise as he listens. He doesn't say anything.)", "[SCENE_BREAK]", "[EXT. GARBAGE FACILITY -- NIGHT]", "(A coroner's van passes the camera. GRISSOM with his CSI kit walks toward WARRICK who is waiting for him. There are police officers there and inaudible radio transmissions in the background.)", "Grissom: So, is it her?", "Warrick: I don't know. I just got here myself. Some homeless guy searching for hidden treasure finds a body. P.D.'S here on the scene. We got first looks.", "(Both men duck under the yellow police tape that the officer holds up for them.)", "Officer: Right there.", "(The OFFICER holds out his flashlight making the beam of light hit on the area that they want GRISSOM and WARRICK to check out. GRISSOM picks up his flashlight and holds it to the spot. The OFFICER leaves.)", "(WARRICK and GRISSOM pass the blocks of garbage. They stop when they come upon the find. PAIGE RYCOFF'S face peeking through the mess. She's dead.)", "(GRISSOM sighs. WARRICK nods his head.)", "Warrick: (softly) Yeah.", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY BAY]", "(CLOSE UP of PAIGE RYCOFF on the M.E.'S table.)", "Robbins: I've seen things like this before. When I worked in Arlington, Virginia, every winter homeless trying to stay warm take a nap in a dumpster wake up in a garbage compactor. Mulch.", "Catherine: Warrick and I searched the trash chute at the dorm. It was clean. There was no reason to check the dumpster.", "Grissom: So you're saying she was killed by the compactor. Crushed to death.", "Robbins: No, she was crushed post-mortem.", "Grissom: And you know this how?", "(ROBBINS lifts up the cloth covering and shows a scrape of skin.)", "Robbins: Tissue in the extremities was yellow and dry. Means blood wasn't pumping through her veins when she went through that compactor.", "Catherine: So what did kill her?", "Robbins: Massive internal bleeding. Her spleen ruptured.", "Grissom: From what?", "Robbins: Blunt-force trauma.", "Catherine: Point of impact?", "Robbins: Rib cage. Ribs weren't crushed.", "(CGI Flash: Camera moves from above PAIGE RYCOFF focusing on her chest. It moves down to the cloth. CGI takes over and shows us how inside PAIGE, a cracked rib ruptures something. Blood squirts out of the rupture. We hear heartbeats. Flash to white. Resume Present. Camera on GRISSOM.)", "Robbins: They sustained a single blow.", "Grissom: Type of weapon?", "Robbins: I-I have no idea. I'm still trying to straighten her out. Truth? I may never know.", "Catherine: Now what?", "Grissom: Well, you followed the lead, it went cold. Now it's hot again.", "[SCENE_BREAK]", "[EXT. ALLEYWAY AROUND DUMPSTER -- DAY]", "(The entire team is working the scene. CATHERINE is near a tarp on the side of the road. NICK and GRISSOM are working on the dumpster exterior while WARRICK nd SARA are inside the dumpster.)", "Warrick: I found some blood.", "Sara: Yeah. Not much, but enough to work with.", "Grissom: Okay. Photograph it, swab it. Let's get it back to the lab.", "Catherine: If it's hers, maybe that's why the scent dogs lost their trail. The odor from the dumpster would've ... thrown them off.", "Nick: Hey, I think I got something here. Check this out. The whole dumpster's beat to hell. This one spot's fresh.", "(GRISSOM looks at it closely through his magnifying glass.)", "Grissom: Nick's right - the vehicle paint chips metal flecks in the color coat.", "Catherine: There's some matching chips on the ground. (She collects it.)", "Sara: Still, there's no reason to think there's a connection between the paint transfer and Paige.", "Grissom: No reason to think there's not.", "Nick: Possibly a hit-and-run? Means the vehicle had a high ground clearance. Maybe an SUV?", "Catherine: It would explain the blunt-force trauma. Point of impact was her abdomen.", "(Quick Flashback to that night in the alleyway. A car is speeding through the alley and swerves around another car. Tires screeching. Flash to white. A figure walks out past the dumpster. The car swipes the dumpster with a thud and hits PAIGE RYCOFF head on. End of Flashback.)", "Warrick: Driver tossed her in the dumpster to hide his crime.", "Grissom: Or \"her\" crime.", "Catherine: Mrs. Woodbury.", "Grissom: She's still a viable suspect.", "Catherine: But with a silver car.", "Sara: She could have rented, borrowed it from a friend.", "(NICK'S looking up the garbage chute.)", "Nick: Still, why was Paige even down here?", "Grissom: Look, let's stick to the \"how\" -- we'll deal with the \"why\" later.", "[SCENE_BREAK]", "[INT CSI LAB]", "Grissom: The car that impacted the dumpster was originally white then painted red, and now it's black.", "(GRISSOM and NICK are looking at the results of the paint analysis from the sample taken from the garbage dumpster in the alleyway.)", "Nick: There's two coats of primer between each paint job. Quality work -- probably a dealership.", "Grissom: Every paint has a unique light absorption rate. We I.D. The paint, we get to the car.", "Nick: Really?", "(NICK hits the space bar on the computer and another screen pops up. It's the light absorption analysis that identifies the car and year.)", "Nick: Cherokee, '89 or '90. Three paint jobs, all factory stock. Stone white, flame red and there's your midnight black there.", "Grissom: Well, this narrows our scope. Call Brass.", "Nick: Done. An hour ago.", "[SCENE_BREAK]", "[CSI HALLWAY]", "(GRISSOM walks out of the lab. He's on his way somewhere when he's met up with WARRICK.)", "Warrick: Where you been?", "Grissom: I can't be everywhere, Warrick and they banned human cloning.", "Warrick: I just left Sanders. The blood from the dumpster matches Paige.", "(GRISSOM turns around to WARRICK. NICK appears and catches them both.)", "Nick: (to GRISSOM) Hey. Brass just called. He's down at P.D. Paint to car; car to driver. Suspect's down there -- he's looking for you.", "(GRISSOM leaves.)", "[SCENE_BREAK]", "[INT. POLICE DEPT. - INTERROGATION ROOM]", "(GRISSOM makes his way through the hallway to the interrogation room where BRASS is with MARK DOYLE, the driver of the car that hit the dumpster.)", "Brass: Expectant father.", "Mark Doyle: My wife's pregnant. Almost nine months. She beeped me. I was trying to get home. Couldn't believe the traffic.", "Brass: (sighs) You always drive through campus?", "Mark Doyle: We live on the other side of fraternity row. It's a straight shot from my office but I get to the freshman dorm, nothing's moving.", "Brass: What time is this?", "Mark Doyle: Around 8:30, I guess.", "Brass: So you took a shortcut?", "Mark Doyle: Yeah, I thought I was having a baby so I gunned it down the alley.", "Grissom: Then what happened?", "Mark Doyle: I veered to avoid the parked van. It was wet ... and I swiped the dumpster.", "(Quick Flashback of MARK DOYLE driving his car. It's raining outside. There's a van on the side. The car tires screech and swerves to avoid the van and hits the dumpster on the other side. Flash to white. End of flashback.)", "Mark Doyle: If I had hit a car, I would've stopped. It ... it was just dumpster.", "[SCENE_BREAK]", "[INT. CSI GARAGE]", "(CATHERINE is examining MARK DOYLE'S car with a magnifying glass. Behind her, GRISSOM holds the flashlight. Everyone's there.)", "Catherine: Paint transfer's green, just like the dumpster.", "Grissom: Doesn't mean he didn't also hit a body.", "Warrick: We have sprayed, U.V.'D -- no hair, no fibers, no blood anywhere.", "Sara: It was a clean strike against the dumpster.", "(NICK rolls out from under the car on a dolly. He sighs.)", "Nick: Your guy didn't hit Paige.", "Catherine: And we've chased another lead to a dead end.", "Sara: We still have Mrs. Woodbury.", "Nick: Or her husband.", "Warrick: Oh, we've got tons of motives. Not a stitch of evidence.", "Grissom: H.L. Mencken once said, \"There's an easy solution to every human problem -- neat, plausible ... and wrong.\" So if the solution to our problem is not neat, plausible and wrong; then it could be messy, unlikely and right. Right?", "Grissom: A butterfly flaps its wings in Brazil we get a hurricane of the coast of Florida. Chaos theory.", "Nick: Here we go.", "Grissom: Random events; the wholesale rejection of linear thought.", "Warrick: Physics meets philosophy.", "Grissom: If we apply it to Paige Rycoff and our case at this particular moment in time then we can say, \"Life is unpredictable.\"", "Catherine: No one can predict more than a few seconds into the future.", "Nick: I predict I'll still be standing here one minute from now.", "Warrick: Where are we going with this?", "Grissom: Paige was in her dorm room and then ended up in the dumpster. Somewhere between her dorm room and the dumpster is our answer. That's where we're going. Coming, Nick?", "(Everyone leaves. Nick smiles as he's caught.)", "Warrick: Nice try, Nostradamus.", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. PAIGE RYCOFF'S DORM ROOM - NIGHT]", "(CLOSE UP of GRISSOM.)", "Grissom: Look out the window. What do you see?", "(SARA'S standing near the window. She turns and looks out the window. The camera switches back to GRISSOM. Stop/motion time/lapse camera view moves from GRISSOM to the window where we see PAIGE RYCOFF turn around to look back at GRISSOM.)", "Paige Rycoff: (SARA/PAIGE'S voice) Traffic. My cab is waiting for me.", "Grissom: So what do you do next?", "Paige Rycoff: Grab my suitcases ... get out of town.", "(The suitcases appear in the room. PAIGE RYCOFF moves to pick up the suitcases.)", "Grissom: Stop. Suitcases never left the room. You didn't take them with.", "Paige Rycoff: I've been cleaning all day.", "Grissom: Because you want your security deposit back.", "Paige Rycoff: Yeah, I have to leave the room exactly like I found it. (sentence ends with SARA/PAIGE'S voice)", "Grissom: So what's missing?", "Sara: Two box springs, two mattresses two desks... two lamps, two chairs, two dressers.", "(She thinks about it.)", "Sara: Trash can?", "(She looks for it.)", "Sara: And it's missing.", "Grissom: What's the last thing you do after you've done the cleaning?", "Sara: Take out the trash.", "[SCENE_BREAK]", "[INT. DORM - FOURTH FLOOR - HALLWAY]", "(GRISSOM knocks on the door of room 412. A woman opens the door.)", "Grissom: Hi. Could I borrow your trash can?", "[SCENE_BREAK]", "[INT. HALLWAY JUST OUTSIDE PAIGE RYCOFF'S ROOM -- CONTINUOUS]", "(SARA opens the garbage chute door.)", "Sara: Paige dumps the trash, goes back to her room. How does she end up in the dumpster?", "Grissom: You're thinking too linear. Chaos Theory, remember? Just dump it.", "Sara: Okay. (SARA almost drops the can down the chute. She manages to save it.) Whoa. Almost took my hand off.", "Grissom: Maybe you were quicker than Paige was.", "(GRISSOM sees a student nearby and calls out to him.)", "Grissom: Excuse me. Could you do me a favor? We're doing a little experiment. Could you count to a hundred and then drop this can all the way down the chute? Thanks.", "(He gives the trash can to the student. Then turns to leave.)", "Grissom: Watch your fingers.", "(They leave. The student looks around and moves toward the garbage chute. Camera holds on student.)", "[SCENE_BREAK]", "[EXT. ALLEYWAY - DUMPSTER - NIGHT]", "(GRISSOM and SARA enter the alleyway where WARRICK, CATHERINE and NICK are waiting. The trash can falls through the garbage chute with a loud clang.)", "Catherine: What the hell is going on?", "Grissom: There was a busted spring in the chute.", "Warrick: Oh, yeah, I had to prop that open when Catherine rappelled down.", "Catherine: Relevance?", "Grissom: The trash can was missing from Paige's room.", "Nick: You're thinking she accidentally dropped it down the chute. Then how did she end up in the dumpster?", "Sara: She wanted her security deposit back.", "Warrick: And there's no easy access here.", "Catherine: Right, so ... she had to improvise.", "(CATHERINE gets an idea.)", "Catherine: (to NICK) Excuse me.", "Nick: Oh. Please.", "(NICK moves out of the way. CATHERINE positions herself between the dumpster and the wall that the dumpster is against.)", "Catherine: This actually happened to me once before, with a set of keys. Eddie and I had this huge blowout. He threw my keys in the trash. All right, so Paige ... leans over reaches for the trash can.", "Grissom: But just then, here comes Mark Doyle.", "(Quick Flashback to top angle view of MARK DOYLE'S SUV gunning it down the alleyway toward the parked van. Cut to: PAIGE RYCOFF squeezing herself between the dumpster and the wall just as CATHERINE did.)", "(Cut back to the back view of the car as it moves down the alleyway. Cut to PAIGE RYCOFF as she starts climbing up the dumpster. Her weight against the dumpster causes it to roll out from its position against the wall and into the alley.)", "(Cut to: MARK DOYLE'S SUV swerving to avoid the van and swiping the rolling dumpster. It's impact sends the dumpster back against the wall with PAIGE RYCOFF caught between. She cries out in pain. Flash to white. It knocks her unconscious and she falls into the dumpster with a thud.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. GRISSOM'S OFFICE]", "(GRISSOM has just explained what happened to PAIGE RYCOFF'S parents. MRS. RYCOFF sits there stunned. GRISSOM is sitting behind his desk. CATHERINE is standing behind him.)", "Mr. Rycoff: Let me get this straight. You're saying a confluence of unrelated, unfortunate events conspired ... to kill my daughter.", "Grissom: Yes.", "Mrs. Rycoff: No, no, no. Somebody is responsible.", "Grissom: Mrs. Rycoff there is no one guilty of this.", "Mrs. Rycoff: Because you say so?", "(MRS. RYCOFF stands.)", "Grissom: Because the evidence says so.", "(MR. RYCOFF stands.)", "Mr. Rycoff: We'll hire an investigator, as many as necessary. Someone killed Paige and my wife and I won't rest until every question is answered.", "(They leave the office.)", "Grissom: We told them what happened.", "Catherine: Yeah, but we didn't give them what they needed-- some closure.", "Grissom: Truth brings closure.", "Catherine: Not always." ]

[ "When the class clown at the local high school is found murdered, the CSI team is called to investigate the student, who is also the top jock on campus, is found shot in the back in the school bathroom. The CSI team quickly discovers that the victim was also the class bully, and Grissom is convinced that he is looking for a classmate who was finally pushed to end the abuse once and for all. The team uses sophisticated new equipment to track the scent the killer left behind. Meanwhile, Sara and Nick investigate a case involving a severely decomposed body of an Army veteran found in a bag." ]

[ "[EXT. LAS VEGAS (STOCK) - LATE AFTERNOON]", "[EXT. LAS VEGAS (STOCK) - EARLY EVENING]", "[EXT. LAS VEGAS FOOTBALL STADIUM (STOCK) - EVENING]", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - HALLWAY -- NIGHT]", "(BARRY SCHICKLE and three other boys come out into the hallway. One of the boys is carrying a basketball. A school bell rings in the background.)", "Barry Schickle: I'm telling you, man.", "Friend: See ya, bro.", "Barry Schickle: Later, losers.", "(The three boys walk down one hallway and BARRY SCHICKLE walks down another hallway. BARRY SCHICKLE looks behind him to make sure that no one's there, reaches into his backpack with one fluid motion and pulls out a spray can. He stops in front of the long row of student lockers and with a final look to make sure that he is truly alone, he confidently sprays \"STICK\" in orange on a particular locker. He shows no hesitation. It's as if he's done this a million times before.)", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - BATHROOM - NIGHT -- CONTINUOUS]", "(Close up of door handle as BARRY SCHICKLE enters the men's bathroom. He positions himself in front of the urinal and faces the mirror. Something distracts him and he turns around. He ducks as the first gunshot hits the corner of the mirror, shattering it. The next three shots hit Barry in the back. He falls to the floor.)", "FLASH OF WHITE TO:", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - BATHROOM - NIGHT -- CONTINUOUS]", "Brass: Barry Schickel. Wallet's still with him. With cash. \"A\" student. Recently voted class clown.", "(BRASS and GRISSOM are standing over the dead body. An officer stands just on the inside of the men's bathroom door. GRISSOM kneels down next to the body for a closer look.)", "Grissom: Strange, people usually aren't scared of class clowns.", "(He looks up at BRASS. BRASS also kneels down next to GRISSOM.)", "Brass: Who said the shooter was scared.", "Grissom: Shot him in the back.", "Brass: With his zipper down and his hands otherwise engaged.", "Grissom: Yeah. We're looking for a coward.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - ENTRANCE / HALLWAY -- NIGHT]", "(Two people from the coroner's office wheel out BARRY SCHICKLE'S body in a bag on a gurney. They pass WARRICK and CATHERINE on the way out as they walk into the school. Both are carrying their CSI kits. They turn the corner and Catherine sees the janitor cleaning off the orange spray-painted graffiti on the locker. The same graffiti made by BARRY SCHICKLE.)", "Catherine: Hey! Whoa, whoa, whoa, whoa! What are you doing?", "Janitor: Removing graffiti.", "Catherine: There's been a murder here. Nothing gets cleaned.", "Janitor: School policy, Miss. I have to get this graffiti down as soon as ...", "Catherine: Everything is Evidence. Policy of the Las Vegas Crime Lab. Should we call the Sheriff?", "(The janitor takes one look at CATHERINE'S unwavering expression and relents.)", "Janitor: No.", "Catherine: Thank you.", "(The janitor puts his cleaning things down and leaves everything as is. WARRICK and CATHERINE continue on.)", "Warrick: Bet you were like that in high school.", "Catherine: Worse.", "Warrick: Oh, you were the girl I ran away from.", "Catherine: Yeah. Till you caught me.", "(WARRICK laughs. CATHERINE smiles.)", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - MEN'S BATHROOM -- NIGHT]", "(BRASS is questioning the School's Principal while GRISSOM is busy looking at the bullet lodged in the mirror.)", "Brass: So, you say that football practice was over at 5:45?", "Principal Perrin: That's right.", "Brass: And it was okay for a student like this victim to return to the school property to use the restroom. That wasn't out of the ordinary?", "(GRISSOM locates the bullet.)", "Grissom: (interrupting) Hand me a bindle.", "(PRINCIPAL PERRIN momentarily turns to GRISSOM. The unknown person off screen hands GRISSOM a bindle. He continues to extract the bullet lodged in the wall.)", "Principal Perrin: Place isn't locked up till the janitor leaves end of his shift eight, eight-thirty. Until then, the kids at after-school events use the facilities.", "(GRISSOM removes the bullet.)", "Grissom: (interrupting) Brass ...", "Principal Perrin: (more than annoyed) Excuse me, one of my students is dead. Are we interrupting you?", "(GRISSOM turns around to look at the man.)", "Grissom: Yeah. A little.", "Brass: (to PRINCIPAL PERRIN) That's okay. I'll drop by your office. We'll finish it there.", "(PRINCIPAL PERRIN leaves the men's room.)", "Brass: (to GRISSOM) You found a slug. So, the treasure hunt paid off, huh?", "Grissom: Yeah, it better. We have a point of reference.", "(GRISSOM puts a pink marker in the bullet hole in the wall.)", "Brass: Well, the nerd squad is off and running. I'm going to ... uh ... burn a little shoe leather and see whether the victim had a beef with anyone.", "(BRASS leaves the men's room.)", "[SCENE_BREAK]", "[EXT. OUTSKIRTS LAS VEGAS - RED ROCK -- NIGHT]", "(A Police Rescue helicopter flies over head.)", "Rescue One: (over radio) Rescue One over drop site. We have a visual, Baker One.", "(On the helicopter, Sara is in her #36 hat and Nick in his #19 hat both waiting to be taken to their location.)", "Rescue One: (over radio) Stand by for Eastern Approach.", "(The Rescue helicopter hovers over it's location.)", "Rescue One: (over radio) CSI. Ready for descent.", "Man on Rescue One: (to NICK) You're good to go.", "Nick: Okay! There he is. Let's get down there.", "(Both NICK and SARA throw their ropes off the helicopter. NICK turns to SARA ... )", "Nick: Ready?", "Sara: (smiling) I'll race you!", "(They both rappel down their ropes and in no time, they're on the ground.)", "Rescue One: (over radio) CSI is through the air.", "Rescue One: (over radio) CSI is on the ground.", "(On the ground, they are met by an Emergency Services Man standing guard over the large leather bag.)", "Nick: Stokes! Sidle! Crime Lab. Did you open the bag?", "Hank Peddigrew (emergency service man): Only long enough to see one gnarly looking hand. Well, skeleton of a hand.", "(SARA takes off her helmet. NICK crouches low to look at the bag. He notices the smell.)", "Sara: Anyone touch the bag since?", "Hank Peddigrew: With that smell?", "Sara: I thought you Emergency Service guys were tougher than that.", "Hank Peddigrew: Hey, I'm plenty tough.", "Sara: (smiling) Down, boy. It was a joke.", "(NICK gets up from his position next to the body and walks toward SARA. He has a large grin on his face and is laughing openly at SARA.)", "Nick: (to SARA) He-he. Nothing like flirting over a D.B.", "Nick: (to PEDDIGREW) You want to airlift the body to the coroner's. We'll radio ahead.", "Hank Peddigrew: Sure.", "Sara: Great.", "(SARA pulls out a knife and begins to cut the handles off from the bag.)", "Hank Peddigrew: Are you supposed to do that already?", "Sara: Body's coroner's. Property's ours.", "(Camera holds on HANK PEDDIGREW'S smile, then refocuses on NICK as he looks up and puts his helmet back on. The helicopter overhead drops the hook. The hook is attached to the basket holding the bag. It takes off, taking its cargo with it.)", "Rescue One: (over radio) We have the basket. Copy that. Rescue One returning to base.", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - MEN'S BATHROOM -- NIGHT]", "(WARRICK and CATHERINE walk in. Apparently they are a bit late. GRISSOM has been busy in their absence.)", "Catherine: Hi.", "Warrick: Construction on Flamingo. I'm sorry.", "Grissom: (to WARRICK) Give me a hand, will you?", "Warrick: Yeah.", "(WARRICK puts his kit down. GRISSOM takes out some pink-colored string and begins unraveling it and heads toward the bullet hole in the wall. WARRICK takes a closer look at the hole.)", "Warrick: A .38?", "Grissom: .44. Here, take this.", "(GRISSOM hands the string to WARRICK. CATHERINE notices an orange smudged-up thumbprint on the wall in the bathroom stall. The camera does a close up of the print.)", "Catherine: Brass said the victim had a can of spray paint, right?", "Grissom: Orange, by my kit. It was in his backpack.", "(CATHERINE snaps a picture of the print. She turns and looks at the spray can in the zip locked baggie near the backpack. She crouches down, picks up the paint can and sighs.)", "Grissom: Did you get something?", "Catherine: Paint from another source. I'm going to find out who belongs to that locker.", "(CATHERINE leaves. WARRICK is holding the spool of pink string and is standing on the opposite side of the bathroom from GRISSOM who is holding the end of the string against the bullet hole in the wall. They're trying to estimate the height and position of the shooter.)", "Warrick: Kind of weird being in a high school.", "Grissom: They do have a timeless quality.", "Warrick: What were you? A jock or a brain?", "Grissom: I was a ghost.", "(WARRICK laughs at the response. GRISSOM smiles.)", "Grissom: Here.", "(GRISSOM removes the pink marker from the bullet hole in the wall and looks across the room at WARRICK.)", "Grissom: Shooter was standing right there.", "(WARRICK holds out his index finger and thumb as if holding an imaginary gun. He fires.)", "(Begin bluish-white hazy flashback. Camera moves along the pink-colored string in the same trajectory as the bullet shot. The other gunshots follow. As it passes the urinal, it hits BARRY SCHICKLE, who is standing there with this backpack. The camera continues it's movement till we see GRISSOM also in the frame. BARRY SCHICKLE falls to the floor in a puddle of blood ... and disappears. End of flashback.)", "(Resume on GRISSOM. GRISSOM kneels where BARRY SCHICKLE fell. Right in front of the blood markings on the floor.)", "Grissom: And ... ?", "Warrick: Reconstruction guys can give us a more precise angle measurement, but I'm thinking ... five-four ... maybe three. We got ourselves a shorty.", "[SCENE_BREAK]", "[INT CSI - CORONER'S OFFICE]", "Nick: Let's see what metal shows up.", "(Using a machine to x-ray into the bag without actually opening it, DAVID PHILLIPS, NICK and SARA examine its metallic contents.)", "Nick: Well, there's no gun on our dead body.", "Sara: Wouldn't it be easier to just unzip the bag and see what kind of shape our vic is in?", "David Phillips: (smiling) I like to put that off till the last possible moment with decomps.", "Sara: I see a coin. Looks like a half dollar.", "David Phillips: Silver, whole. (Off SARA'S look) I've done a few of these.", "Nick: What's that? There. About four inches long. What is that?", "David Phillips: It looks like a pin. It's a medical implant.", "(They pull the table the bag rests on completely through the machine.)", "David Phillips: Oh, and that's a plate in the skull. The head's been rolled.", "Sara: I'd say we're dealing with a man.", "David Phillips: Yeah, and by the sound of things he's been dead about two months.", "Sara: Sound?", "(DAVID PHILLIPS reaches out to rustle the bag. Inside, we hear the shloshing sound of liquid.)", "David Phillips: You weren't here when ESD brought this in.", "Nick: Well, it wasn't from lack of trying.", "(SARA looks at NICK ... and smiles.", "David Phillips: Let's go to the V.I.P. room ... I'll show you what I mean.", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - HALLWAY IN FRONT OF LOCKERS]", "(Extreme close up of orange fingerprint. Flash to white. Camera moves back to reveal the bright light of the flashlight shining on the bottom of the orange spray-painted letter \"t\" on the locker. CATHERINE fingers the portion of the letter that was smudged.)", "(Camera slowly moves left and stops on JULIA BARRETT, the school's counselor.)", "Julia Barett: That's Dennis Fram's locker.", "Catherine: And was this a first or has the deceased spray-painted his locker before?", "Julia Barett: Look, I'm the school counselor I don't know every move these kids make.", "Catherine: Well, that's obvious or a young man wouldn't be dead. Tell me what \"stick\" means.", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - MEN'S BATHROOM]", "(Close up on a walkie-talkie shaped hand-held device. Camera moves back and we see that WARRICK is holding the device out in front of him and doing a slow air-sweep of the bathroom stall where the shooter was supposedly standing.)", "(GRISSOM passes by WARRICK and notices the device.)", "Grissom: Is that a Polymer Sensor Proboscis?", "(WARRICK stops what he's doing and shows the device to GRISSOM, who takes it and looks at it.)", "Warrick: Cyranose 320. Company sent it to me, gratis for a week. They figure if it helps, CSI will buy one.", "Grissom: Electronic noses run like ten grand.", "Warrick: Yeah, well ... what if the shooter chews a certain kind of tobacco or has a unique halitosis and the e-nose picks up on it?", "Grissom: If that thing ran out of here and bit the shooter in the ass, the county would not approve a $10,000 purchase order.", "(GRISSOM hands the device back to WARRICK, turns and heads toward his kit. He kneels and begins putting something together. WARRICK slowly sweeps the air in the stall as GRISSOM speaks.)", "Warrick: I thought it was our job to speak for the victim no matter what it took ... and to hell with the budgets.", "Grissom: Our job is to think, Warrick. Machinery should never matter more than our mind. Try this ...", "(GRISSOM stands and hands WARRICK an Erlenmeyer flask, a tube with a rubber stopper and a pump. He squeezes the pump a few times before giving it all to WARRICK.)", "Grissom: Glass tube. Air pump ...", "Warrick: Air pump. Cost about ten bucks.", "(GRISSOM turns and heads out the restroom.)", "Warrick: Absorption agent?", "(GRISSOM turns back to WARRICK, glances down at his kit and smiles.", "Grissom: Fresh out. Improvise.", "(GRISSOM leaves the restroom and WARRICK holding the ten grand e-nose in his right hand and the ten dollar air pump in his left hand.)", "(WARRICK sighs.)", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - HALLWAY IN FRONT OF LOCKERS]", "(Out in the hallway, four boys stand with a guard near the yellow-taped barrier blocking off the hallway. CATHERINE fills GRISSOM in on the kid who belonged to the spray-canned locker. The school counselor, JULIA BARRETT is with them.)", "Catherine: And Miss Barrett says that a Dennis Fram had been bullied by the deceased all year. He spray-painted his locker many times always something to do with his build. \"Skinny,\" \"shorty\" ... that kind of thing.", "Julia Barett: Dennis is slight and Barry always picks on him for it.", "Grissom: Can you arrange for us to meet with Dennis?", "Julia Barett: Of course, but he would never hurt Barry. He's a good kid. He's totally nonviolent.", "Grissom: Well, then, this will be brief.", "(JULIA BARRETT sighs. She turns and walks down the hallway toward her office. GRISSOM starts to follow. CATHERINE turns back to look at the locker. )", "Julia Barett: (o.s.) We can call him from my office.", "(GRISSOM notices that CATHERINE isn't following. He stops. JULIA BARRETT continues down the hallway.)", "Grissom: You coming?", "Catherine: Oh, I'll catch up to you.", "(GRISSOM turns and follows JULIA BARRETT. CATHERINE looks around and sees THE JANITOR carrying a ladder walking along the hallway past the various colored signs hanging on the wall. He stops when CATHERINE calls out to him.)", "Catherine: Hey ... I need to talk to you.", "Janitor: (defensively) I didn't clean anything.", "Catherine: (shakes her head) It's not about that.", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - JULIA BARRETT'S OFFICE]", "(JULIA BARRETT is sitting behind her desk. GRISSOM is leaning against a pillar in her office and DENNIS FRAM is standing in front of JULIA BARRETT'S desk.)", "Grissom: How tall are you, Dennis?", "Dennis Fram: (looks nervously at JULIA BARRETT) Five-three ... and one quarter.", "Grissom: Have you washed your hands in the last hour?", "Dennis Fram: Yeah. Why?", "Grissom: Changed your shirt?", "Dennis Fram: No.", "Grissom: I'd like to do a test on your shirt if I may.", "Dennis Fram: What kind of test?", "Grissom: Forensic.", "(DENNIS FRAM again looks nervously at JULIA BARRETT who says nothing.)", "SHORT TIME CUT TO:", "(GRISSOM'S kit is open on the desk. He picks up a small plastic pump bottle filled with a clear liquid. Standing next to him is DENNIS FRAM in a white t-shirt. JULIA BARRETT is standing next to DENNIS FRAM. DENNIS' blue short-sleeved shirt is on a hanger on a rack.)", "(GRISSOM sprays the liquid on the shirt. He puts the small plastic bottle back in the kit and picks up another bottle similar to the first. He also sprays this on to the shirt. In front of their eyes, the shirt emits a bright blue stain.)", "Dennis Fram: What is that?", "Grissom: G.S.R. When someone fires a weapon, gunshot residue plumes back onto their hands and clothing.", "(Short CGI video POV in slow motion of a handgun being fired; and a cloud of residue coming from the gun and sticking onto the shirt of the person holding the gun. End of CGI.)", "Grissom: This means that you fired a gun within the last three to six hours.", "Julia Barett: Dennis ...", "Grissom: The police are going to want to talk to you.", "(Camera holds on DENNIS FRAM'S face.)", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - JULIA BARRETT'S OFFICE]", "(Camera on GRISSOM sitting in a sofa chair in JULIA BARRETT'S office. JULIA BARRETT is sitting behind her desk. BRASS is standing off to the side of her desk facing DENNIS FRAM still in his white shirt in front of the desk.)", "Brass: (o.s.) So, you admit you fired a gun.", "Dennis Fram: (o.s.) I was over at the shooting range on Desert Way.", "Brass: So the same night that Barry Schickel was shot and killed you were out taking target practice?", "Dennis Fram: I go every Monday night. You can ask my sister. She goes with me.", "Brass: Where's your gun?", "Dennis Fram: I rent different ones there.", "Grissom: Did you ever rent a .44 caliber?", "Dennis Fram: Sometimes.", "(Outside, there's a commotion as a young woman tries to get into the office. The guard is trying to stop her, the young woman pushes the guard aside and opens the door. She's angry.)", "Kelsey Fram: I'm going to see my brother! Get out of the way!", "(The young woman walks in and kneels in front of DENNIS FRAM.)", "Kelsey Fram: Denny, are you okay? Got your call.", "Dennis Fram: I'm fine, I'm fine.", "Brass: We're conducting a police investigation here.", "Kelsey Fram: My dad's back in town tonight and you'll be sorry you harassed my little brother.", "Brass: \"Questioned\". A student was shot and killed in this building tonight.", "Julia Barett: (standing) You know what? Dennis has explained to you about the gunpowder. And I am sure his sister will vouch for his whereabouts. And he's a minor.", "Grissom: (interrupting) Jim.", "Brass: We'll be in touch.", "(Camera holds on KELSEY FRAM and DENNIS FRAM.)", "[SCENE_BREAK]", "[INT. CSI - CORONER'S OFFICE - VIP ROOM]", "(DAVID PHILLIPS starts to unzipper the leather bag. He stops halfway and issues a final warning to SARA and NICK.)", "David Phillips: Remember, breathe through your mouth.", "(They both nod their heads. He unzippers and opens the leather bag. SARA immediately reacts to the stench. NICK turns his head away and swallows as he, too, hasn't been unaffected by the smell of the decomposing body.)", "(The first thing DAVID pulls out of the bag is an arm cut off at the elbow. As he said, he's done this before. He's breathing through his mouth. SARA struggles to do the same. He then pulls out the skull and shows it to the CSIs.)", "David Phillips: Metal plate.", "(He places the skull with metal plate next to the arm on the table. He reaches into the bag and holds out a ... )", "Sara: Silver dollar.", "(That, too, goes on the table. He looks once again into the bag and pulls out the ... )", "Nick: Gambling chip.", "(SARA struggles to breathe.)", "David Phillips: ... and...", "(DAVID clears his throat and pulls out a man-sized, dripping wet ...)", "Nick: Jacket. Government Issue, Army.", "Sara: Ugh.", "(The jacket goes on the table next to the other contents from the bag. NICK writes on the clip board he's carrying. DAVID looks back into the bag.)", "David Phillips: Pile of bones and that's it.", "Sara: That's it? No organs? No-no tonsils? No ...", "(DAVID turns the rest of the bag over and out pours thick, black ... )", "Sara: ... soup?", "Nick: Human ... soup. Well, we are 73.5% liquid, eh, Dave?", "(The thick black \"soup\" oozes across the counter and down into the sink.)", "David Phillips: Add some bacteria, a couple gases, and... voila!", "Sara: Okay, I'll take liquid man's jacket, see what I can find.", "(SARA turns away. She starts brushing away at her scrubs.)", "David Phillips: I'll cremate this.", "Nick: What if we find the family or they find us?", "David Phillips: A decomp this bad can stink up the entire building ... forever. The sooner we dispose of this, the better.", "(NICK also turns away. He seems to be holding what looks like the skull in his hands.)", "Nick: Not for our investigation.", "(They both leave DAVID to dispose the body.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY ROOM B-29]", "(Both SARA and NICK tear out of the Autopsy Room gasping for a breath of fresh air. SARA is carrying a blue plastic bag and NICK is carrying a small plastic container. They run into GRISSOM as he passes the hallway.)", "Grissom: Let me guess. Decomp in an enclosed space?", "Sara: Yeah.", "Nick: Yeah, in a zip bag.", "Grissom: Lemons.", "Sara: What?", "Grissom: Use lemons.", "(GRISSOM mimics squeezing lemons on his own head to demonstrate what he means.)", "Nick: Hmm.", "(NICK leaves. SARA turns around and looks back into the room they just came from. She sees DAVID PHILLIPS washing away Liquid Man from the table, cleaning up the mess ... disposing the body. He's breathing through his mouth ... just as he's done so many times before. As she watches through the protection of the glass window, we see a new found respect in SARA for the man and the profession.)", "[SCENE_BREAK]", "[INT. CSI -- UNCLAIMED REMAINS VAULT]", "Lyric: (\"Can't Find My Way Home\") ... But I can't find my way home / still, I can't find / my way home / and... come down / off your throne / but I can't / find my way home.", "(A CORONER fills out a form and puts it in the metal file box on the table next to him. He's standing inside what appears to be a large file room. The entire wall is filled from floor to ceiling with little file drawers. The CORONER climbs the ladder and places the box in a file cabinet drawer with the following label.)", "NAME OF DECEASED: JOHN DOE", "CORONER'S CASE NO.: 20010068", "FILE NO: 387142183", "DATE: 9/18/2001", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - EARLY EVENING]", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - MEN'S BATHROOM]", "(WARRICK'S crushing something with a pestle in a mortar. CATHERINE walks by.)", "Catherine: So how's your new toy working out?", "Warrick: It's been downsized.", "Catherine: Bummer. I know how you wanted to see that thing work.", "Warrick: Well, it's the same difference, really.", "(WARRICK stands up and holds out the Erlenmeyer flask with the crushed chalk on the bottom, tube with rubber stopper and the air pump. It's not attached yet.)", "(Close up CGI POV as WARRICK speaks. The air pump is squeezed and air is sucked into the flask through the tube. Camera close up on the chalk inside the flash absorbing the air. End of CGI POV. Cut back to WARRICK and CATHERINE.)", "Warrick: Air is drawn into the last tube the chalk absorbs the chemicals from the air. And mass spec will break it down at the lab.", "Catherine: So why did you need the expensive one in the first place?", "Warrick: 'Cause it was cool.", "(Off CATHERINE as she smiles at WARRICK'S honesty. No matter how old they are, it's all about the cool toys.)", "Catherine: I'll see you in homeroom.", "Warrick: All right.", "(CATHERINE leaves WARRICK to carry on.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY ROOM]", "(ROBBINS and GRISSOM are examining BARRY SCHICKLE'S body. The body is rolled partially on its left side to expose the bullet holes on the back.)", "Robbins: Barry Schickel from the high school. Dug three of these .44's from his back.", "(ROBBINS holds out a slug. He puts it in the tray on the side.)", "Robbins: First one cracked his infraspinous fossa.", "(CGI POV of the bullet cracking through bone. Flash to white. Resume on GRISSOM.)", "Robbins: (V.O.) Second one entered ... past the interior angle of the scapula punctured a lung.", "(CGI POV of a second bullet piercing through a lung in slow motion. Flash to white. Resume on ROBBINS and GRISSOM.)", "Robbins: And the last one entered just right of the right anterior sarratus muscle ... pierced the heart.", "Grissom: The heart? That makes no sense.", "Robbins: This is a special case.", "(ROBBINS rolls the body onto its back. He points to a small four-holed scar on the body.)", "Robbins: See the scar? This guy was attacked before ... I'd say in the last six months.", "Grissom: But not with a knife, it looks like prongs.", "Robbins: Whatever it was, it would've killed him. If his heart had been there.", "(CGI POV of a fork puncturing through the chest, down past the rib cage to the organ ... or non-organs beneath. Flash to white. Resume on GRISSOM.)", "Grissom: Where was his heart?", "Robbins: Barry's upper body? All his internal organs are on the opposite side of typical placement.", "(ROBBINS and GRISSOM move to the x-ray viewer where the film of the body is on display.)", "Grissom: Dextrocardia? Like Dr. No? That only presents in .01% of the population?", "Robbins: Which was good for this guy, until his luck ran out.", "(GRISSOM looks back at the body.)", "Grissom: How long ago did you say he was stabbed?", "Robbins: Six months, hand-to-hand combat. Sounds like something your suspect would do?", "Grissom: No.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) -- DAY]", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(Close up of tag on the jacket SARA'S working on. She's removing the guck from it. NICK bursts into the room.)", "Nick: Hey, how's Liquid Man doing?", "Sara: You mean \"Mr. Cartsen\"? I found this. It's a nametag.", "(NICK puts on a pair of latex gloves to assist SARA.)", "Nick: You know, Sara, a lot of homeless guys get these army jackets cheap at salvage stores.", "Sara: Well, it's a start. I'm going to get homicide to check the VA medical database for a \"W. Cartsen\" with plates or pins.", "Nick: Okay.", "(NICK checks out the jacket pockets and finds something. He pulls out a small matchbook shaped item.)", "Nick: Ugh...", "Sara: What do you got?", "(NICK holds it up for a closer look.)", "Nick: I don't know. I can't read an address or a phone number ...", "Sara: God, it reeks! Q.D. Should be able to, uh ... to bring something up.", "(SARA turns around and empties her stomach in the trash can behind her. She's more than a little embarrassed that it happened in front of NICK. She wipes her mouth and looks at him.)", "Sara: Don't tell anyone.", "Nick: About what?", "(The door to the room opens and L.V.P.D. Emergency Services HANK PEDDIGREW looks in.)", "Hank Peddigrew: Sara?", "Sara: (smiles) Hi.", "Hank Peddigrew: They told me out front I could find you ... here.", "(All of a sudden, HANK PEDDIGREW realizes what SARA is working on.)", "Sara: Yeah. Um ... I'll be right out.", "(The door closes.)", "Sara: Give me a mint.", "Nick: (laughs) You're going to need more than one.", "Sara: Just give me.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE LAB - CONTINUOUS]", "(HANK PEDDIGREW waits for SARA out in the hallway taking deep breaths of fresh air. SARA comes out of the room. She smiles at HANK.)", "Sara: This is a nice surprise", "Hank Peddigrew: I wanted to see if you'd like to have dinner.", "Sara: Yeah. Um ... when?", "Hank Peddigrew: Now. I'm on break.", "Sara: Oh, well, I'm in the middle of that D.B. From the gully. He's still a John Doe and we don't know the circumstances ...", "(HANK PEDDIGREW doesn't say anything. He doesn't seem to be smiling. In fact, he doesn't seem to be breathing at all. SARA realizes what it must be.)", "Sara: I smell.", "Hank Peddigrew: No ... well ... not that bad.", "Sara: I changed clothes ... tho' the problem is that it's human fat reduced and it's attached itself to my follicles and my pores, so ...", "(Once again, HANK doesn't seem to be breathing. He shifts his weight uncomfortably.)", "Sara: You don't look good.", "Hank Peddigrew: I need to get some air.", "(HANK turns to leave.)", "Sara: Ok..", "(She moves to follow. HANK turns around to stop her.)", "Hank Peddigrew: Uh, no, you-you stay. Uh, you've got that John Doe to worry about and, uh ... well, I can always stop by another time.", "Sara: (smiling) Right.", "(HANK peals it out of there.)", "Sara: (smiling) Okay.", "(She lifts her hand up in a wave to his retreating back.)", "Sara: (smiling) Bye.", "(He disappears down the hallway passing GREG on the way out. GREG walks past SARA and stops. He takes a step back so that he's next to SARA and says quietly: )", "Greg: You smell like death.", "Sara: I've heard.", "(He takes a few steps, stops again and turns around.)", "Greg: You know ... a real man wouldn't mind.", "(GREG disappears around the corner. SARA turns to look at GREG for a moment. The then turns to stare at the empty hallway in the direction that PEDDIGREW just left.)", "(She sighs.)", "[SCENE_BREAK]", "[EXT. HIGH SCHOOL - GROUNDS -- DAY]", "(Long Camera Shot of GRISSOM and JULIA BARRETT walking through the main school grounds.)", "Julia Barett: Have you talked to Barry's parents?", "Grissom: I did; they had no idea he'd been stabbed.", "Julia Barett: The older kids get the less they talk to their parents.", "Grissom: They talk to you, though, right? The guidance counselor? Who else may have had it in for Barry Schickel?", "(JULIA BARRETT stops.)", "Julia Barett: Look, he was very popular and he was a bully. So there was probably a dozen kids who wanted to see him dead.", "(She continues in the direction they were walking. GRISSOM follows.)", "Grissom: Really?", "[SCENE_BREAK]", "[INT. HIGH SCHOOL - INTERVIEW ROOM]", "Bram: I'd be walking by and ... he would punch me.", "(Flash to white.)", "(Flashback of BARRY SCHICKLE hitting BRAM rather hard in the head. BRAM falls to the ground. Cut to abdomen shot of students in crowd laughing. Flash to white. Resume on BRAM.)", "Bram: Everybody started calling me \"flinch.\" (quietly) Even the teachers.", "FLASH TO WHITE:", "(Flashback of kid carrying school books. Someone (BARRY SCHICKLE) bumping into the kid to deliberately make them drop the books. Books falling to the ground.)", "Barry Schickle: Move!", "(Flash to white. End of Flashback. Resume on ALAN.)", "Alan: He was the meanest guy I've ever known. But the way he put you down, it sounded funny. If it wasn't you.", "[SCENE_BREAK]", "Dylan: He'd wait for me, every day. Lunch time, fourth period. Take my food.", "(Flash to white. Flashback of close-up of a plate of food on a tray on a table.)", "Barry Schickle: Yo! Hungry? Ha! Thanks for the sandwich.", "(Someone deliberately knocking over the try of food and it falls to the ground. Flash to white. End of flashback. Resume on DYLAN.)", "Dylan: Until I fixed him. It was about half a year ago, I went at him.", "Grissom: With a fork? Stabbed him above his left pectoral.", "Dylan: Yeah. It still didn't stop him ... I mean, today was the first day I could come to school and not feel like a moving target.", "Grissom: Where were you last night about 6:00?", "Dylan: (laughs) When BARRY was shot?", "(GRISSOM doesn't crack a smile.)", "Dylan: (stops laughing and looks down at his hands) Boxing practice.", "Grissom: Okay. Thanks.", "(DYLAN leaves.)", "Julia Barett: I can protect them from being called a derogatory word for homosexual or the n-word. Everything else falls under free speech.", "Grissom: No one's blaming you.", "Julia Barett: I am.", "Grissom: You know who did this, don't you?", "Julia Barett: You have no idea what these kids go through. I listen to them every day. Divorce, working parents ... cliques. And all they need is just one person to believe in them.", "Grissom: Yeah. But where does that leave Barry Schickel?", "Julia Barett: (she shrugs) That's your job.", "(Camera holds on GRISSOM.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM]", "Nick: Shut up. She was not.", "Warrick: I saw her in action.", "Nick: Really?", "Warrick: Yeah, she was.", "Nick: Catherine?", "(CATHERINE walks into the break room. She smiles.)", "Catherine: I was what?", "Warrick: I was just telling Nick how you were a big bully in high school.", "Catherine: A bully? All right, I guess I was. But, I mean, not the kind that people want to take a gun out and shoot.", "Warrick: No.", "Nick: No, no. You were the kind that guys fall all over themselves trying to impress.", "Catherine: (smiling) Like you, Nick, huh?", "(CATHERINE puts a hand on NICK'S shoulder for emphasis. Oh, yeah. NICK gets her meaning. She smiles. He moves to sit down.)", "Catherine: Oh, Nick ... what were you in high school?", "Nick: Me? I was, uh ... I was \"dependable\".", "Catherine: Dependable.", "Nick: Mm-Hmm ..", "Catherine: Dependable jock, Dependable stoner?", "Nick: No. Never a strap, never a smoker. Just all-around \"dependable\" guy, I guess.", "Warrick: What Nick's trying to say he was unpopular.", "(CATHERINE laughs.)", "Nick: I was popular with the right people, I can tell you that. I can also tell you what I wasn't. I wasn't a mac daddy wannabe with a Members Only jacket, putting his swerve on all the ladies.", "Warrick: What was wrong with those Members Only jackets? They were kind of cool back in the day.", "(SARA walks in and lingers at the doorway.)", "Sara: Hey, Nick. Ronnie's got something on Liquid Man, says it's hot.", "Nick: Good.", "(NICK gets up to leave.)", "Warrick: Hey, Sara. What were you in high school?", "Sara: Science nerd.", "(NICK passes SARA in the doorway and stops. He leans in a bit.)", "Nick: You changed ... (whispers) But you still smell.", "(He heads out and down the hallway, calling back to SARA: )", "Nick: Let's go!", "Catherine: So that leaves you, Warrick. What were you?", "Warrick: Oh, I was short, I had big feet, thick glasses.", "Catherine: You?", "Warrick: Yeah. I got pushed around by all the guys and never got any play from the girls ...", "Catherine: The girls didn't even notice your eyes?", "Warrick: No, they used to tease me about my eyes. Called me names.", "Catherine: Aww ... Well, what do they know? They're your best feature.", "Warrick: I didn't have a best feature in high school. Looking back on it now I can say I could see both sides of it thinking about this guy Barry Schickel, and how he was shot and whichever kid did it. I'm not saying it was right, but I kind understand, you know?", "Catherine: Yeah.", "(Camera cuts to outside the break room looking in through the glass at CATHERINE and WARRICK sitting around the table talking. The camera pulls back.)", "[SCENE_BREAK]", "[INT. CSI - QUESTIONED DOCUMENTS -- RONNIE LITRE'S OFFICE/LAB]", "(Close up of the match book cover. Nothing but white on the screen.)", "(Camera cut to RONNIE LITRE looking through a microscope/machine and fiddling with the knobs. They are all wearing plastic goggles.)", "Ronnie Litre: I wanted to hold off on this matchbook until it dried out, but then I realized ...", "Nick: ... Human fat never dries out, it just gets waxy.", "Ronnie Litre: Exactly. What I'm doing is adding pixels at some points and erasing pixels at other points.", "(RONNIE works on the machine while SARA and NICK watch the screen. With every adjustment, more and more writing can be seen on the matchbook cover.)", "Ronnie Litre: Got it.", "Sara: (reading) \"Roma ...\" \"Roman ... nini's...\" Never heard of it.", "Nick: I have. Nightclub for boomers off the strip. (to RONNIE) Thanks, man.", "Ronnie Litre: You bet.", "(NICK and SARA leave.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE Q.D. - CONTINUOUS]", "(NICK and SARA exit Q.D. NICK puts on his jacket.)", "Det. O'Riley: Hey, Stokes. Your \"W. Cartsen\"?", "Nick: Yeah?", "(DET. O'RILEY hands NICK a file. NICK opens it to reveal a young photograph of William Cartsen. He hands the photo to SARA.)", "Det. O'Riley: He's a second lieutenant William Cartsen. Served in the war, wounded in action. Got sent stateside after they put him back together. They put a pin in his spine and a plate in his head 31 years ago. Walked out of the hospital, hasn't been heard of since.", "(NICK closes the file.)", "Nick: Okay. Come with us.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(CATHERINE conducts a test using the orange spray paint. She sprays some paint onto a locker and using a stop watch, she times how long it takes for it to dry. She makes her notes on a nearby pad on a clipboard. She watches as the orange paint drips down the locker door.)", "(When she's through, she stops the watch and looks at it.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(WARRICK takes a small sample of a white liquid from an Erlenmeyer flask and puts it in a small brown-colored bottle. He caps the bottle and puts it in a machine along with other bottles.)", "(He starts the machine. It picks up the bottle and starts to process it. WARRICK looks up and sees GRISSOM standing in the doorway. He's holding a large glass jar.)", "Warrick: What's the matter, you don't trust me?", "Grissom: I trust you.", "(The printer prints the test results. WARRICK looks at it.)", "Warrick: I got a boatload of chemical components here. Marijuana, bubble gum, cigars. It's like every guy's bathroom in America.", "Grissom: (rhetorically) What doesn't belong?", "(GRISSOM walks into the lab and past WARRICK. WARRICK nods his head slowly as he considers the question.)", "[SCENE_BREAK]", "[INT. ROMANINI'S -- ENTRANCE]", "Manager Of Romanini's: How can I help you people?", "Det. O'Riley: Valet guy said you're the Manager. Detective O'Riley, Las Vegas P.D. Stokes and Sidle from the Crime Lab.", "Manager Of Romanini's: Crime Lab? What's going on?", "Det. O'Riley: This man a patron of your establishment? Name's William Cartsen.", "(DET. O'RILEY holds out the old black and white photograph of WILLIAM CARTSEN for the manager to look at.)", "Manager Of Romanini's: Not that I recognize. No.", "Nick: Are you sure you haven't seen him around here? Wore an army jacket, might've been down on his luck?", "Manager Of Romanini's: Oh, you mean \"Moses\".", "Nick: Moses?", "Manager Of Romanini's: Yeah. Guy had a beard down to here, wore a robe, the army jacket. Stood out here scaring every patron I had.", "(Quick flashback to WILLIAM CARTSEN pushing a group of patrons aside. Flash to white. Close up of WILLIAM CARTSEN speaking to the group of patrons.)", "William Cartsen (Moses): Hey! The whole world is watching.", "(Flash to white. WILLIAM CARTSEN waving his arms about wildly and scaring the group of patrons.)", "William Cartsen (Moses): Bidi dou! Bidi dou!", "(Flash to white. End of Flashback. Resume present. Camera on the MANAGER OF ROMANINI'S.)", "Manager Of Romanini's: Guy was ruining my business.", "Det. O'Riley: So what'd you do?", "Manager Of Romanini's: I tried to reason with him.", "(Quick flashback to the manager holding up his hand to calm \"MOSES\" down.)", "Manager Of Romanini's: Hey! Hey, buddy, you've g t to leave my customers alone, okay?", "(He holds out a gambling chip for Moses.", "Manager Of Romanini's: Here. Cash that and move on.", "(\"MOSES\" takes the chip. Flash to white. End of flashback. Resume present on the MANAGER OF ROMANINI'S.)", "Manager Of Romanini's: That's the last I saw of him.", "Sara: When was that?", "Manager Of Romanini's: I don't know. About two months ago.", "Sara: That's funny we found his body. Coroner says he's been dead two months.", "Det. O'Riley: We're going to want you to take a little ride with us.", "Manager Of Romanini's: Okay.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is along in a room. He's working on a laptop, setting up a graphic depiction of the crime scene. From the initial bullet lodged in the bathroom wall, he sets up a scenario of what happened in the bathroom at the time of the murder.)", "(BRASS enters the room.)", "Brass: I checked out those kids you talked to. None of them was even near the school when Barry Schickel was killed ...", "(CATHERINE enters the room.)", "Brass: The only one who doesn't check out is Dennis Fram.", "Catherine: There's a reason. I can put him at the crime scene. Jim, can you call them from the car?", "Brass: Sure, let's go.", "(BRASS leaves the room. CATHERINE turns to follow, but stops when GRISSOM asks: )", "Grissom: Put him there, how?", "Catherine: Oh ... well. I'll explain on the way.", "Grissom: No, no. I'm going stay here ... with this, close to Warrick.", "Catherine: Okay. But you'll miss all the fireworks.", "(CATHERINE leaves. Camera holds on GRISSOM who goes back to work on his laptop.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. FRAM'S RESIDENCE - LIVING ROOM -- NIGHT]", "Mr. Fram: I know I must sound like the typical parent, but my son had nothing to do with the death of the Schickel boy.", "Catherine: We've placed him at the murder.", "Mr. Fram: What?", "(CATHERINE places a photograph on the table of the spray paint smudge of the locker. The photograph also contains measurements (in cm) running across the top and down the left side.)", "CATHERINE Here's the fingerprint that I recovered from Dennis' locker. (She places a fingerprint card on the table.) These are Dennis' prints on file at school -- the Missing Kids Prevention Drive. There's a match.", "Mr. Fram: Well, his own fingerprints on his own locker that doesn't prove anything.", "Catherine: Proves a timeline. The alkyd particles in the victim's spray paint adhere and dry in 30 seconds.", "(CGI POV of orange paint being sprayed on a locker door surface. Camera moves up close to the spray to show a magnified view of the rough surface turning from a shiny orange (wet) to a hard-brownish orange (dry). Flash to white. End of CGI POV.)", "Catherine: Oxidation. Dennis had to have swiped the paint within seconds of Barry putting it on his locker for his print to take.", "Mr. Fram: Well, how do you know ... ?", "Catherine: The janitor.", "(CATHERINE places a \"Las Vegas School District Graffiti Log\" on the table. The log contains information regarding date, time, location and fourth column. The log page is nearly 3/4 filled.)", "Catherine: He keeps timed records of graffiti. Job security. And Dennis left paint on the door jamb in the bathroom where Barry was shot.", "(Quick flash to the orange smudge on the doorjam in the men's bathroom. Flash to white. Close-up of the orange fingerprint.)", "Brass: That's the timeline of the murder, Mr. Fram. We know every move your son made up until the gun. That's why we want to see your collection. You're registered as having two dozen weapons?", "(DENNIS begins to have a panic attack in his seat. KELSEY FRAM walks into the living room carrying a serving tray full of drinks. )", "Kelsey Fram: Denny?", "(She notices her brother's discomfort and quickly puts the tray down on the table.)", "Dennis Fram: Ow ...", "Kelsey Fram: It's okay, it's okay. Come on. We'll fix it.", "(KELSEY FRAM helps DENNIS out of the room. CATHERINE gets up to follow.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Warrick: This... does not belong in a guy's bathroom. Can we prove this? I mean there's got to be a thousand different brands of this stuff out there.", "Grissom: You still got that $10,000 e-nose you were using?", "Warrick: Oh. Now you want my tricked-out toy.", "Grissom: I just want the software.", "(WARRICK hands GRISSOM the software. GRISSOM holds it up and grins.)", "[SCENE_BREAK]", "[INT. FRAM'S RESIDENCE - BATHROOM -- NIGHT]", "(KELSEY FRAM holds out a spoonful of medicine for DENNIS to swallow. CATHERINE appears in the doorway. She watches as KELSEY takes care of her brother.)", "Kelsey Fram: Come on, drink up. Here you go. Good. (She hands him a cold towel.) Just hold this to your face, okay? I'll be right back.", "(She turns around and finds CATHERINE in the doorway.)", "Kelsey Fram: He's got a bleeding ulcer from being bullied by Barry Schickel.", "(Quick Flashback to DENNIS FRAM riding his skateboard on the pavement at school. BARRY SCHICKLE hits him in the face. DENNIS goes down on the pavement. BARRY SCHICKLE looms over DENNIS.)", "Barry Schickle: Hey, shrimp, want to go for a ride?", "(Several Flashes of a crowd of students standing around and laughing. End of flashback. Resume on CATHERINE.)", "Kelsey Fram: You don't know how hard it was for him every morning trying to work up the courage just to go to school.", "(Quick flashback of DENNIS FRAM throwing up in the bathroom. In the background, KELSEY peers around the wall to see her brother suffer. End of flashback. Resume to present.)", "Kelsey Fram: I thought my little brother was going to kill himself.", "Catherine: And then someone killed Barry.", "Kelsey Fram: (nods) Yeah.", "Catherine: How tall are you?", "Kelsey Fram: Five-four ... with heels. Why?", "Catherine: No reason.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Close up of laptop screen. Camera moves to the larger wall screen hooked up to the computer. GRISSOM hits \"enter\". Various colored bars pop up in a single graph-like formation.)", "Grissom: You grabbed a top note of \"floral\" and now we ask the software to break it into ingredients. Do you recognize any of these?", "Warrick: That's all from one perfume?", "Grissom: Some of these perfumes have, like, 750 ingredients.", "(The computer beeps as it finishes the analysis. The following results screen appears on the bottom under the bar-graph: )", "[CHEMICAL NAME / EUCLIDEAN DISK", "= > CHEMICAL COMPOUND ANALYSIS RESULTS:", ">>> \"CHANTEUSE \" <<< (BLINKING)]", "Grissom: \"Chanteuse.\"", "Warrick: We can narrow it down to one brand?", "Grissom: Yeah, the original application for this program was perfume companies. You know, testing new brands stealing from the competition.", "(A cell phone rings interrupting the discussion. GRISSOM answers.)", "Grissom: (to phone) Grissom.", "INTERCUT WITH:", "[EXT. FRAM'S RESIDENCE - NIGHT]", "Catherine: (to phone) Grissom, we got a suspect. But it's not who you think.", "Grissom: (to phone) Let me guess. Denny Fram's sister?", "Catherine: (to phone) How did you know?", "Grissom: (to phone) Vapor molecules. See if you can get a warrant for her perfume and have Brass bring her in.", "Catherine: (to phone) Her perfume?", "[SCENE_BREAK]", "[INT. OFFICE -- DAY]", "Brass: Let's get back to my first question, Miss Fram. Where were you the night Barry Schickel was killed?", "Kelsey Fram: I told you, I was out driving around.", "Brass: So what, your perfume just wafted into the boys' room all the way from highway 10?", "Kelsey Fram: Yes. I wear Chanteuse. What's that got to do with anything? My mom used to wear it and ... after her car accident I started to wear it.", "Warrick: Well, aromas have fingerprints. They're like a unique combination of vapor molecules that linger in the air, long after the source has gone.", "Grissom: We isolated a combination in the restroom where Barry Schickel was shot. It matches your perfume.", "Catherine: A high-end woman's perfume. It's doubtful that any other girl at the school wears it.", "Mr. Fram: Wait, wait, wait ... She has no reason to hurt Barry Schickel.", "Catherine: What about revenge for her little brother?", "Mr. Fram: I can't believe this. That b*st*rd Schickel dogged my family, now he's doing it from the grave. Come on, Kelsey. (to GRISSOM) You come near us again, you do it through my lawyer.", "(The FRAMS leave.)", "Catherine: Wears her dead mother's perfume. Nice touch.", "Grissom: Might be true. Scent triggers memory more acutely than any of the five senses.", "Catherine: Yeah? Well, I smell a rat in the Fram family.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Sara: So you didn't hurt him. You just put him in your car. Is that what you're saying?", "Manager Of Romanini's: Back seat. Then I drove him out of town. I left him on the side of the road, out by Red Rock.", "Nick: You didn't maybe zip him up in a bag because he was giving you trouble ... anything like that?", "Manager Of Romanini's: (Laughing) No.", "(SARA pulls out two photographs.)", "Sara: These ... are the handles from the bag that he was found in.", "(PHOTO 1 of the handle contains the following writing:", "SS#1", "(PHOTO 2 has a measuring guide on it along side the handle.)", "Sara: You see these prints here?", "Nick: Can I see your right hand, sir?", "(NICK brings out a finger print machine. MANAGER OF ROMANINI'S starts to look nervous.)", "Manager Of Romanini's: Look, he was drunk. He was rolling all over my backseat. So I put him in a bag from my trunk. Once we got out of town, I just tipped him down the hill.", "(Flash to white. Quick flashback of body in bag rolling down the hill. flash to white. bag bouncing down the hill and landing on the bottom. Flash to white. The MANAGER OF ROMANINI'S calmly standing at the top of the hill, looking around. Flash to white. Resume to present.)", "Manager Of Romanini's: I figured he'd get out once he slept it off. The guy always shows up. What am I looking at?", "Det. O'Riley: Homicide.", "Manager Of Romanini's: Look, I was just doing my job.", "Nick: Hey ... treating another human being like garbage is not a job. It's a choice.", "(NICK and SARA leave the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(WARRICK, GRISSOM and CATHERINE walk down the hallway. They turn the corner and see DENNIS FRAM standing there.)", "Warrick: Paperwork. Later.", "(WARRICK leaves.)", "Catherine: Dennis?", "Dennis Fram: I need to talk to you.", "[SCENE_BREAK]", "[INT. CSI - INTERVIEW ROOM]", "Dennis Fram: You have to understand anything my sister did was to protect me.", "Grissom: You said that you went back to the high school that night after target practice.", "Dennis Fram: I forgot a book I needed for homework. And I knew Barry had been there.", "(Quick flashback. DENNIS FRAM rubbing the orange paint on his locker. End of flashback. Resume on DENNIS FRAM.)", "Dennis Fram: I wasn't looking for him. I had to go to the bathroom.", "(Quick flashback to DENNIS FRAM opening the men's bathroom door. He walks into a stall and leaves behind the orange fingerprint on the stall wall. Flash to white. BARRY SCHICKLE in the same men's bathroom using the urinal and a hand holding a gun taking aim from behind. The gun fires. BARRY SCHICKLE turns around and gets hit three times. DENNIS FRAM in the next stall flinching with every gunshot. BARRY SCHICKLE falls to the floor dead. DENNIS FRAM tearing out of the bathroom stall. Flash to white. End of flashback. Resume on GRISSOM.)", "Dennis Fram: My dad's freaking out. My sister won't come out of her room. I figure if you can get the police to make some kind of deal for her ...", "Catherine: Well, Dennis, you haven't told us that you explicitly saw Kelsey shoot the victim.", "Dennis Fram: She was in a stall. I couldn't see her.", "(BRASS enters the room.)", "Brass: Can I, uh ... can I talk to you for a minute?", "Grissom: Excuse us.", "(GRISSOM and CATHERINE leave the room.)", "Brass: He copping to anything?", "Catherine: He says that his sister did it.", "Brass: I don't think so. Kelsey was \"otherwise indisposed.\" She got a parking ticket the same time the vic was shot in an alley behind a motel off Fremont street. In fact, a lot of cars got tickets that night.", "(BRASS hands one parking ticket to CATHERINE and one parking ticket to GRISSOM. GRISSOM looks down at his ticket.)", "Grissom: Who's Jeremy Spencer?", "Brass: Football coach.", "Catherine: Oh. At a motel with the high school coach. No wonder she wouldn't talk.", "Brass: Well, I paid \"coach\" a visit. The guy's 23, just got engaged. I mean, he'll testify to anything as long as his fiancé doesn't find out. He says that Kelsey gave him a roll in the hay asked him to intercede with Barry-the-bully and get the kid to leave her little brother alone. She didn't kill anyone.", "Catherine: So why is he saying she did?", "Grissom: Do you ever smell a fart and end up blaming the wrong guy?", "(GRISSOM walks back into the room where DENNIS FRAM waits.)", "Grissom: Why do you think your sister shot Barry?", "Dennis Fram: Because.", "Grissom: Because why?", "Dennis Fram: 'Cause of the last time he beat me up.", "(Quick flashback to BARRY SCHICKLE hitting DENNIS FRAM. DENNIS throwing up in the bathroom. KELSEY telling DENNIS: )", "Kelsey Fram: I'll protect you. I'll fix things so he never comes near you again.", "(Flash to white. End of flashback. Resume on DENNIS FRAM.)", "Dennis Fram: She always keeps her word.", "Grissom: She asked Barry's coach to help you. That was her protection plan. She was nowhere near the high school that night.", "Dennis Fram: I smelled her perfume.", "(White flash to BARRY SCHICKLE standing in the men's bathroom.)", "Dennis Fram: (V.O.) I saw Barry.", "(Cut to Camera close up of the barrel of the handgun.)", "Dennis Fram: (V.O.) I saw the gun.", "(Cut to Camera close up DENNIS FRAM taking a breath.)", "Dennis Fram: (V.O.) And I smelled my sister's perfume.", "(Cut to BARRY SCHICKLE getting shot and the sounds of three gunshots. Cut to DENNIS FRAM turning to run out of the bathroom. End of flashback.)", "Grissom: No. You smelled her brand of perfume.", "Dennis: But then, who was it?", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "(Camera close up of a bagged bottle of Chanteuse perfume being placed on the desk top by GRISSOM.)", "Grissom: We recovered this from your townhouse on a warrant. Chanteuse.", "[INT. HIGH SCHOOL - JULIA BARRETT'S OFFICE - DAY]", "(GRISSOM puts a photograph of a gun on the desk.)", "Grissom: We also found the gun. It hasn't been cleaned.", "Julia Barett: Well, I don't know how to clean a gun. That was my husband's.", "Grissom: You know how to shoot one.", "Julia Barett: Do you know how many kids go to school and kill just to get relief from the bullying? You talked to them. Boxing lessons and target practice. How long before one of them came in here and opened fire on a hallway full of kids, huh? I just thought that one life was better than 20 ... or 30.", "Grissom: Or eleven. (GRISSOM opens a file.) Captain Brass ran a search on you. Tetrick High School, Tetrick, Arizona. Eleven kids shot a few days after Columbine. You were the Assistant Principal.", "Julia Barett: I watched them die at my feet. Just because some sophomore couldn't take the jokes about his glasses.", "Grissom: It says that you were left with Post Traumatic Stress Disorder. You might want to mention that to your lawyer.", "Julia Barett: I did this for my kids.", "Grissom: You know, Miss Barrett as difficult as high school can be for kids, eventually, it's over ... but too soon for Barry Schickel.", "(GRISSOM gathers his things and leaves the office. Two officers standing outside the door go in and arrest Ms. Barrett just as the school bell rings and the students start exiting the classrooms into the hallway.)", "CUT TO", "[SCENE_BREAK]", "[INT. SARA'S BATHROOM]", "(SARA in the shower washing her hair using lemons to get rid of the smell that plagued her throughout the show.)", "INTERCUT WITH:", "[INT. CSI -- UNCLAIMED REMAINS VAULT]", "(NICK is on the top of the ladder extracting John Doe's metal box of possessions from the file.)", "[SCENE_BREAK]", "(SARA in the shower.)", "[SCENE_BREAK]", "(Close up of the \"TRANSFER TO CITY CEMETERY ORDER FOR RELEASE\" Form containing the following information: )", "TO: Sheriff-Coroner Order for release of the body of: 2nd Lt. William Cartsen", "Coroner: ROBBINS Date: 09/20/01 Case #", "Case Reported: Date: 09/18/01 Time: 0830", "Decedent Data Name: 2nd Lt. William Cartsen Date of Birth: 2/6/49", "s*x: M", "(NICK finishes the form and places a hand on the metal box.)", "Nick: (quietly) Rest in peace, Lieutenant. Rest in peace.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT]", "(GRISSOM sits behind his desk busy filling out a purchase of requisition form with the following information: )", "Mrs. Alder Phone # (826) 555-1874", "Cyranose 320 $10,000", "(Electronic Nose)", "(He puts it in an envelope to: )", "FEDERAL GRANT DEPARTMENT", "WASHINGTON, DC 20004", "(from) Las Vegas Metro Police", "(He begins opening his desk drawers, searching for something.)", "(Without a word, CATHERINE walks in, opens a container on his desk and pulls out a roll of stamps. She walks out.)", "(WARRICK walks by the office door and sees GRISSOM sealing the envelope. He smiles and walks away.)", "(Camera hold on GRISSOM'S look of satisfaction.)" ]

[ "Grissom and his team investigate a murder suspect who is caught red-handed -- burying the victims -- while Catherine and Warrick take on the case of a woman found dead in a hotel spa. As Grissom, Nick and Sara investigate the seemingly clear-cut murder case, Grissom questions the simplicity of the evidence when he discovers that the suspect burying the victims is the brother of a convicted felon. Meanwhile, Catherine and Warrick must determine if the woman found dead in the hotel spa was the victim of negligence, foul play or heat-induced natural causes." ]

[ "COLD OPEN", "[EXT. LAS VEGAS CITY (STOCK) --NIGHT]", "[EXT. LAS VEGAS DESERT (STOCK) -- NIGHT]", "[EXT. SUV ON ROAD - NIGHT]", "[SCENE_BREAK]", "[INT. SUV -- NIGHT]", "(A PARK RANGER driving along the road route and notices a car parked on the side of the road. He stops the car to check it out. Garbled radio transmissions can be heard in the background.)", "(He gets out of the car and puts on his park ranger hat. The officer walks to the edge of the road, slips and rolls down the hill. When he comes to a stop, he lands next to a dead body. In the shadow of the bright light, there's a man holding a shovel, digging a hole - caught in the act trying to bury the body.)", "(Frozen for a moment, the man springs into action. He throws the shovel aside and tries to run, the officer stops him.)", "Benjamin Jennings: No! No!", "WHITE FLASH CUT TO:", "[SCENE_BREAK]", "(GRISSOM and NICK make their way down the ledge to the crime scene. There are five police vehicles there and a swarm of officers near the crime scene looking for further evidence on the grounds. Kneeling next to the body is a Technician with a clipboard. SGT. O'RILEY meets up with GRISSOM and NICK.)", "Grissom: Call said one dead body.", "Sgt. O'Riley: Caught him red-handed. Ben Jennings.", "(Off to the side, BENJAMIN JENNINGS stands hands cuffed behind his back with three officers standing watch over him. NICK and GRISSOM approach the men.)", "Nick: Nick Stokes, Gil Grissom, Las Vegas Crime Lab. You want to tell us what's going on? What happened here?", "(BENJAMIN JENNINGS doesn't respond.)", "Grissom: You have anything to say?", "(He still doesn't respond.)", "Grissom: You don't have to talk to us.", "(GRISSOM shines the light of his flashlight on the dead body.)", "Grissom: He'll talk to us.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT -- NIGHT]", "(Camera opens on the body. GRISSOM and NICK are crouched low examining the body. Garbled radio transmissions can be heard in the background.)", "Nick: See that lividity? Blood settled at the time of death.", "Grissom: Body's been moved from the murder scene. Impound his car.", "(SARA shows up.)", "Sara: Sorry, guys. I lost you at the fork.", "Nick: My bad, Sara.", "(GRISSOM looks up at BENJAMIN JENNINGS.)", "Grissom: Let's process this guy shall we? Officer, would you uncuff him, please?!", "(The officer uncuffs BENJAMIN JENNINGS.)", "(GRISSOM takes out a black light and begins examining him from the back. NICK puts his CSI kit down.)", "Nick: Okay, make like a scarecrow for me, partner.", "(BENJAMIN JENNINGS doesn't move. NICK spreads his arms out to show him what he means. BENJAMIN JENNINGS copies him.)", "Nick: Arms out, away from your body. That's it. Stay just like that.", "(SARA crouches low on the ground to collect his shoe prints.)", "Sara: Give me your right foot. Other right. Put it down. Lift it up.", "(NICK checks out the front and begins collecting. GRISSOM finds something on his back.)", "Grissom: Hold still.", "(He finds a single strand of hair and holds it up.)", "Grissom: Possible secondary transfer ...", "Nick: Got some red fibers.", "Sara: Other foot. Lift it up. Put it down.", "(GRISSOM examines BENJAMIN JENNINGS' arms.)", "Grissom: No defensive wounds. No hematomas.", "Nick: Victim didn't fight back. Probably didn't see it coming.", "Grissom: Matthew ... tag that body for special processing, VIP room. Don't wash it till I get there, and don't touch his fingernails.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. MEDITERRANEAN HOTEL AND CASINO -- NIGHT]", "(WARRICK'S SUV stops outside the hotel. CATHERINE is holding a piece of paper and reading as she and WARRICK enter the hotel.)", "Catherine: \"D.B. ... Mediterranean Casino ... Women's Spa.\"", "[SCENE_BREAK]", "[INT. MEDITERRANEAN HOTEL AND CASINO - LOCKER ROOM -- NIGHT]", "(BRASS is already there when WARRICK and CATHERINE enter the locker room area. BRASS meets them and they all start walking to the body.)", "Brass: Body is Shelley Danvers. DOB: 10/10/81. Employee walked in to get towels ...", "[SCENE_BREAK]", "Brass: ... found her here.", "[Clips of the crime scene from various perspectives flash in quick pulses. Flash to white: * Red spot on right thigh. Flash to white. * Magazine open on the floor. Flash to white. * View of victim on the locker bench. Flash to white.]", "Catherine: A young woman, healthy, just reading a magazine and all of a sudden she DFO'S?", "Brass: Done fell out. That's what the night manager says.", "(WARRICK turns his head and sees the Night Manager talking with an officer.)", "Warrick: Miss?", "(WARRICK approaches the Night Manager.)", "Kim Marita: (to officer) Excuse me.", "Warrick: We're from the Crime Lab. You found the deceased?", "Kim Marita: Yes, I was, um ... just getting some towels and I walked in and she was there.", "(CATHERINE looks at the body and notices the knot on the robe on the deceased.)", "Catherine: Hey, Brass ... you touch this body?", "Brass: Yeah, I was born yesterday.", "Catherine: Well, it looks as if the sash may have been tied by somebody else.", "Catherine: Miss ... you know anything about redressing the body?", "Kim Marita: Well, she was naked. I-I-I thought she should be covered", "Catherine: Did you move the body here, too?", "Kim Marita: Guests were looking in. I put a robe on her. It's not like it's a crime or anything.", "Catherine: Actually, it is.", "Warrick: Makes us doubt the circumstances surrounding the victim's death.", "(Camera holds on KIM MARITA'S concerned look.)", "[SCENE_BREAK]", "[INT. CSI - VIP ROOM]", "(SARA scrapes off something from the dead body's forehead.)", "Sara: Flour, maybe?", "Grissom: But what kind? All-purpose? Self-rising? Pastry?", "Sara: Trace will probably have a better idea. I'll get DNA to see if there's bits of Ben under the fingernails.", "Grissom: What about the neck? Any fibers in the wound?", "Sara: You told me to wait for you.", "Grissom: Well, that hasn't stopped you yet.", "Sara: I did observe some fibers in the wound. I didn't collect them, though.", "Grissom: Be my guest.", "(SARA picks up the fibers from the dead body's neck. Camera close up on the fibers.)", "Sara: Yellow. Not cotton; satin, maybe.", "(GRISSOM straightens and looks down at the body. He notices something.)", "Grissom: Dress shirt ... but no tie.", "Sara: Strangled with his own tie?", "Grissom: Find me on the flour.", "(GRISSOM leaves.)", "[SCENE_BREAK]", "[INT. MEDITERRANEAN HOTEL AND CASINO - RECEPTIONIST AREA]", "(A red-bordered bar scrolls down the spa's appointment list of names on the computer for that night.)", "[LIST OF NAMES: APPOINTMENT CLIENT] 06:10 pm Kimberly Fram 06:20 pm Natalie Elam 06:25 pm Mina Valdez 06:40 pm Charlotte Meridian 06:45 pm Jessica Long 07:15 pm Patsy Cambra 07:20 pm Arabella Perrin 07:30 pm Lea Anderson 07:45 pm Richna Jason 07:50 pm LillyMae Westerbrook 08:00 pm Shelley Danvers 08:20 pm Tami Payburn 08:20 pm Genisa Tamburiane 08:40 pm Maria Reyes", "Warrick: \"Shelley Danvers\" -- appointment 8:00.", "Catherine: Ms. Marita, did the deceased use the jacuzzi facilities this evening?", "Kim Marita: Not that I remember, no. (A gurney clangs as the coroner's office removes the body.) What? You don't believe me?", "Warrick: Well, you lied to us before.", "Catherine: It's, uh, not uncommon to drown in a jacuzzi. Hair gets caught in the whirl a person gets dragged under. The hotel wouldn't be considered unsafe.", "Kim Marita: Well, that didn't happen here. She did not drown on these premises.", "Warrick: Well, if she did, the coroner would find water in her lungs but it'd be worse hearing it from him than from you.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "Robbins: Oliver Dunne. Corporate lawyer. Father of two.", "Grissom: You get all that from his ... uh ... dentals?", "Robbins: His wife-- widow. She came down to I.D. His property.", "Grissom: .380s?", "Robbins: Last one I recovered entered through his abdominals ...", "(CGI POV flash to white as the bullet penetrates an x-ray black & white replication of the body. Resume to present. Camera on GRISSOM.)", "Robbins: (V.O.) ... pierced the liver, lodged in the oblique.", "Grissom: That's not what killed him, is it? We pulled a yellow fiber out of the neck wound. I think it's from his tie.", "Robbins: You might be right. He died of asphyxiation. Tie probably closed the windpipe.", "(White flash to CGI POV as an x-ray bluish-white replication of a hand grasping a neck. Sounds of a person choking. Camera moves up the body through the mouth, down the throat, through the windpipe, into the lungs to a magnification of red and black colored air sacs. End of CGI POV. Resume on ROBBINS.)", "Robbins: Without oxygen, the alveoli capillaries wither and dry up. Whole pulmonary system shut down. What you may have here is the smallest sliver of the murder weapon.", "Grissom: Why would a guy shoot a man three times and then strangle him with his own tie?", "(SARA enters holding the file folder with the results of the flour test.)", "Sara: I cannot tell you why, but I might be able to tell you where. A pizza shop. The flour on Oliver Dunne has a low gluten content -- seven percent protein -- it's typical of flour used to make cakes, pizzas, that kind of thing.", "Grissom: So, why did you rule out bakeries?", "Sara: Well, the subtype of flour is another subtype -- double zero. It's a very fine flour used only in pizza-baking ovens. Oh, and trace picked up some oregano in the sample. When are you set to interview Ben?", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Brass: You're the registered owner of a Lorcin .380. Takes the same caliber bullet as the slugs we took out of the victim. So, I'm going to ask you one more time. Where's your gun?", "Benjamin Jennings: I lost it.", "Brass: Do you think we believe that? Do you think ...", "Grissom: Are you employed, Ben?", "Benjamin Jennings: Yeah... yeah, um ... it's a place called Dante's Pizzeria. It's behind the Strato'.", "Grissom: You make pizzas?", "Benjamin Jennings: Well, I deliver the pizzas. It's too hot back there with all the ovens and stuff.", "Grissom: Do you, uh ... ever come into contact with the baking flour at Dante's?", "Benjamine Jennings: Mostly pizza boxes. Why?", "Grissom: Well, 'cause we found flour on the victim and it's the kind that's used to make pizza. Can you explain that?", "Benjamin Jennings: No.", "Grissom: Ben, why don't you earn yourself some points by telling me what the science is going to tell me anyway?", "Benjamin Jennings: Well, I don't have to talk.", "Grissom: No ... but we're going to figure it out.", "Benjamin Jennings: Look, if you know so much about these murders what do you need me for?", "Grissom: Murders? There are more bodies?", "(Camera holds on BENJAMIN JENNINGS.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT -- NIGHT]", "(GRISSOM, NICK, SARA and a group of other officers start sweeping the area where OLIVER DUNNE'S body was found. NICK is pushing a GeoRadar Inc. machine. SARA walks next to him holding a laptop that shows the various items being scanned by the machine. As it approaches various items, the laptop beeps.)", "Nick: I feel like I'm mowing a lawn.", "Sara: What is that? A beer can? Soda can?", "Nick: Zilch.", "Sara: Zilch.", "Nick: Don't tell me, more zilch?", "(On SARA'S laptop, the figure of a hand appears.)", "Sara: Whoa... whoa. Point of disturbance.", "Grissom: Hold up.", "(More arm and body appears on the radar's screen.)", "Grissom: Isolate it.", "(Finally, we definitely see the shape of a person's head. They've definitely found a body.)", "Sara: Grissom ...", "(GRISSOM turns around to look at BENJAMIN JENNINGS standing off in the distance with SGT. O'RILEY and three officers. His face is grim. He makes his way back to BENJAMIN JENNINGS and stops behind him.)", "Grissom: Any more bodies you want to tell me about?", "Benjamin Jennings: (shakes head) No.", "Grissom: We're going to radar this whole hillside.", "(BENJAMIN JENNINGS nods his head.)", "Grissom: (softly) Sometimes ... when I leave a crime scene where I've been particularly involved with a dead body, I sit in my car and it hits me -- how close I was ... how heavy the body is ... the texture of the body ... how it feels... you know?", "(GRISSOM leaves to go back to the site and stops when BENJAMIN JENNINGS speaks.)", "Benjamin Jennings: Mr. Grissom ... I'm not a bad person.", "(GRISSOM turns around.)", "Grissom: You're not a bad person?", "(BENJAMIN JENNINGS shakes his head.)", "Grissom: Then, what are you?", "(GRISSOM turns and walks away.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(CATHERINE enters and sees DAVID PHILLIPS pushing a gurney toward her down the hallway.)", "Catherine: Oh, I hope that's Shelley Danvers the woman from the hotel spa.", "David Phillips: Yep, she's next.", "Catherine: Well, it's about time. You guys finished with day-shift runover, huh?", "(DAVID pushes the gurney into the Forensic Autopsy Room. CATHERINE follows him into the room.)", "David Phillips: I hate it when you CSI guys get territorial.", "[INT. CSI - FORENSIC AUTOPSY - DAY -- CONTINUOUS]", "Catherine: Yeah, well, the victims' families hate it when we don't.", "Robbins: I'll take it from here, David.", "Catherine: Good morning.", "Robbins: Catherine.", "(ROBBINS lifts up the sheet covering SHELLEY DANVERS.)", "Robbins: No serosanguineous fluid expunged from the mouth or nose.", "Catherine: She didn't drown?", "Robbins: Rules out your jacuzzi theory.", "Catherine: Anything probative?", "Robbins: Bright red lividity extending down the body.", "Catherine: From?", "Robbins: Well, heatstroke possibly. Stroke could cause multiple organ failure and if I'm right ...", "Catherine: ... cover-up.", "(CATHERINE walks out of the room.)", "Robbins: Hey, I still have to do the post. Catherine?", "[SCENE_BREAK]", "[INT. CSI - HALLWAY JUST OUTSIDE FORENSIC AUTOPSY - MORNING -- CONTINUOUS]", "(CATHERINE pulls out her cell phone and dials.)", "Catherine: Brass, I need you to get records from that hotel spa -- a warrant, if we need it. Yep, that's right. Bye.", "(She hangs up just as WARRICK walks to meet her. He turns around when he catches up with CATHERINE.)", "Warrick: Oh, it's on.", "Catherine: Yeah. Was our girl staying with anyone at that hotel?", "Warrick: Uh, yeah. Tina ... Tina Kolas. Best friends from Terre Haute, Indiana. Flew here in a package. Why?", "Catherine: We need someone to give us the truth about last night.", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT -- MORNING]", "(The body is being excavated from the site. NICK is inside the hole with the body and is using a shovel to remove the dirt. GRISSOM stands up above with SARA and other Foresnic personnel. SARA is sifting the dirt around the site looking for evidence. Behind them, FATHER POWELL approaches.)", "Father Powell: Gil Grissom?", "Grissom: Father?", "Father Powell: Benjamin's a member of my parish. The officer won't let me talk to him. He said you were in charge.", "Grissom: Of this crime scene.", "Father Powell: He needs spiritual guidance.", "(GRISSOM glances over at BENJAMIN JENNINGS in handcuffs standing by the police cars with two officers. He glances back down at the dead body and looks back up at FATHER POWELL.)", "Grissom: Yeah, I imagine he does.", "Father Powell: Ah ... then you'd have no problem with my talking to him.", "Grissom: It's the 11th hour. I wouldn't expect anything less.", "Father Powell: Eleventh hour?", "Grissom: When the reality of their actions set in, they usually turn to religion.", "Father Powell: Can you think of a better time?", "(GRISSOM watches as FATHER POWELL walks away to talk with BENJAMIN JENNINGS. GRISSOM turns around and looks at NICK'S progress.)", "Grissom: Okay, hold it. That's enough. Let's dust him.", "(NICK puts the shovel aside. SARA puts her stuff aside and grabs the camera. She begins to photograph the body.)", "Nick: No ligature marks.", "Sara: Different from the first guy.", "Grissom: See if this laceration on this guy's forehead is consistent with the kid's shovel.", "Nick: Hey ... I feel a wallet here.", "(NICK pulls out the wallet from the dead body's front pocket and under some folded cash, removes a NEVADA DRIVER LICENSE with the following information: )", "(on left) 180063222900 (numbers on right over photo id) 050492", "R360021", "RAMIREZ, KENNY", "2672 W. 6TH STREET LAS VEGAS, NV 89109", "(class) C (endorse) blank", "(???) A (s*x) M (height) 5-09 (weight) 180 (hair) BRN (eyes) BRN (dob) 10/30/76 (expiration date) 10/30/02", "Nick: Ramirez Kenny. A 25-year-old Latino and a 42-year-old white guy?", "Sara: Strangers. Doesn't make sense. There's no connection.", "Grissom: Well, it obviously wasn't a robbery.", "(SGT. O'RILEY approaches.)", "Sgt. O'Riley: Hey.", "Nick: Hey, O'Riley. What's the matter, man? A/C not working?", "Sgt. O'Riley: I was on with dispatch. Oliver Dunne's car was just found by the highway patrol abandoned at an Avcon station off 215.", "Grissom: They didn't happen to find another car there, did they?", "Sgt. O'Riley: Yeah. Registered to a \"Ramirez.\"", "Nick: Yeah ... gas station.", "(SARA helps NICK out of the ditch, then puts her camera down. They're off to the gas station. GRISSOM bends in low to look at the body.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. MEDITERRANEAN HOTEL]", "Catherine: And you can verify that when Shelley went to the hotel spa last night, she was going to use the dry sauna?", "Tina Kolas: We'd been drinking apple martinis for, like, three days straight. Shelley said the sauna would detox her you know, clean her out.", "Warrick: Cath. Whose shirt is this?", "(WARRICK holds up a pink-colored blouse ripped in the middle.)", "Tina Kolas: Mine. Shelley and I got in a fight over it.", "Warrick: When?", "Tina Kolas: Yesterday. I caught her trying it on and I said \"give it back,\" and then we started fighting over it, you know, tug of war and the whole thing ripped right in two. We fell back laughing.", "(Quick flashback to the two girls tugging on the shirt. The shirt ripping, and the two girls laughing. End of flashback. Resume on TINA KOLAS.)", "Tina Kolas: I'd give anything to have her back.", "Warrick: We're going to take this shirt, if you don't mind.", "Tina Kolas: No, go ahead, if it'll help.", "Catherine: You said you have proof that Shelley used the dry sauna.", "Tina Kolas: She called down from this phone. Do they tape phone calls here?", "Catherine: Hotel surveillance would love that. You're sure she used that phone to make the appointment?", "Tina Kolas: Yeah.", "(CATHERINE picks up the note pad on the desk next to the phone. She hands it to WARRICK. It's a blank typical complimentary hotel note pad with light blue logo, name and address of the hotel on it.)", "[MEDITERRANEAN HOTEL & CASINO 436 PYRAMID WAY, LAS VEGAS NV (89108) and (702)555-.... ]", "Warrick: We're going to take this as well.", "Tina Kolas: Okay... but it doesn't have anything on it.", "Warrick: Well, that's okay. We do magic.", "[SCENE_BREAK]", "[EXT. AVCON GAS STATION OFF 215 -- DAY]", "Sara: Two men were shot and killed and you didn't see anything?", "Kirk (Avcon Attendant): Sorry.", "Nick: You don't just miss something like that. What was going on?", "Kirk: A friend of mine came with his new car. We took it for a drive. I'm afraid my boss will find out. I was only gone five minutes.", "Nick: Okay, all right. Just-just walk us through it. When did you know there'd been a crime committed?", "Kirk: Well, my buddy dropped me back here and I noticed these two cars. I went to check them out.", "(Quick flashback to KIRK walking toward the two cars near the gas pump island. Both driver side doors are open. He reaches the first car and shuts the driver's door close. He looks around and doesn't see anyone. He does, however, notice a puddle of blood on the ground.)", "Kirk: Oh, my god.", "(End of flashback. Resume present.)", "Nick: I don't see any blood.", "Kirk: Yeah, I hosed it down.", "Sara: You what?", "Kirk: It was freakin' me out.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(Through the plastic sheeting, we see FATHER POWELL enter the CSI Garage. GRISSOM is under the sheeting examining BENJAMIN JENNINGS' car. FATHER POWELL approaches the car and puts his hands on the plastic sheeting to see who's inside the car.)", "Father Powell: H-hello? Mr. Grissom?", "(FATHER POWELL lifts up the plastic sheeting and walks underneath it.)", "Father Powell: Uh ... they told me out front I'd find you here.", "Grissom: I don't see your, uh ... visitor's badge.", "Father Powell: Priest's collar. People trust it. (Off GRISSOM'S look) Most people. Even ... lapsed catholics.", "Grissom: What makes you think, uh ... I was ever a catholic?", "Father Powell: First time we met, you called me \"Father.\" Only Romans do that. Everybody else, it's \"Reverend\" or \"Minister.\" I wanted to know how your investigation against Ben is going.", "Grissom: This is his car. You know, you really shouldn't be here.", "Father Powell: I didn't come here to tamper with your evidence.", "(GRISSOM puts his goggles back on and starts spraying luminol in the car's front passenger seat. As he sprays, the blood evidence begins to glow in the light. GRISSOM collects it.)", "Father Powell: He was a good kid, all through school still comes to mass every Sunday. If he has a problem ... it's trying to please people.", "Grissom: Is that a problem?", "Father Powell: It can be.", "(GRISSOM opens the back door of the Bronco and begins spraying. As he sprays, he recites. FATHER POWELL peers in to see the results.)", "Grissom: This luminol reveals dried blood.", "(The blood evidence begins to glow. There's blood all over the back seat. FATHER POWELL looks shocked at the evidence he sees.)", "Father Powell: He wouldn't do this.", "Grissom: I believe the car.", "Father Powell: \"To whom much is given, much will be expected.\"", "[Quote Note: \"But he that knew not, and did commit things worthy of stripes, shall be beaten with few [stripes]. For unto whomsoever much is given, of him shall be much required; and to whom men have committed much, of him they will ask the more.\" ~Luke 12:48 (KJV)]", "Father Powell: I leave you to your work.", "(FATHER POWELL leaves.)", "[SCENE_BREAK]", "[INT MEDITERRANEAN HOTEL & CASINO - WOMEN'S SPA - RECEPTION AREA -- DAY]", "Kim Marita: I told you we have no record Shelley Danvers specifically used the dry sauna.", "(CATHERINE opens a Las Vegas Metropolitan Police Department Evidence folder with the following information:", "(Date) 10-25-01, (Time) 08:05 and (Number) 48913-5B. She pulls out the note pad taken from SHELLEY DANVERS' room.)", "Catherine: That's okay, 'cause we do. ESDA can read this blank paper ... see what's written on it. Up to 14 layers.", "Warrick: Sometimes a simple flashlight will do the trick.", "(WARRICK pulls out a flashlight and uses it on the pad. We see the following: SAUNA - 8:00 PM.)", "Catherine: That's Miss Danvers' handwriting. We confirm that.", "Kim Marita: So she took a dry sauna. What does that prove?", "Warrick: She died of a heat stroke. The coroner just called in with the results of his final post. Your sauna's kept in the optimal condition for heat stroke -- 182 degrees.", "(Quick CGI POV flash to a hand on a thermostat temperature dial twisting it to the right. End of CGI POV. Resume on KIM MARITA.)", "(BRASS walks in.)", "Warrick: That could kill a person if you left them longer than two straight hours.", "Brass: Especially if no one checks up on them. A hotel employee is supposed to check on the various saunas every 15 minutes. Hotel regulations, right? We, uh, we got a copy of the check-up sheet.", "(Camera holds on KIM MARITA'S look.)", "[SCENE_BREAK]", "[INT. MEDITERRANEAN HOTE AND CASINO - WOMEN'S SPA - SAUNA ROOM]", "(BRASS walks into the sauna. WARRICK, CATHERINE and KIM MARITA follow.)", "Brass: No hotel employee checked in on the sauna after 7:30 P.M.", "Catherine: So, Shelley was in here from 8:00 until ... what time did you call 9-1-1?", "(KIM MARITA sighs.)", "Kim Marita: I, um ... I came in at closing. 10:00.", "(Quick flashback to SHELLEY DANVERS in the sauna sitting on the bench propped up against the wall. KIM MARITA reaches out to nudge the woman when she falls over.)", "Kim Marita: Miss? Miss? Oh, my god.", "(Flash to white. End of flashback. Resume on CATHERINE and WARRICK.)", "Catherine: You moved her into the locker room? Put the robe on her?", "Kim Marita: I was just trying to protect the hotel.", "Catherine: From negligent homicide.", "Kim Marita: They drill into us that the reputation of this hotel is everything.", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI - LAB-- DAY]", "(NICK and SARA report back to GRISSOM.)", "Nick: Murder scene was compromised.", "Sara: Pump jockey wasn't very helpful but bullets pulled from victim one and victim two.", "(SARA puts the two plastic baggies in front of GRISSOM.)", "Sara (cont.): Identical striations. Bullets in both victims were fired by the exact same weapon.", "Nick: A Lorcin .380. The same pistol registered to a Benjamin Jennings.", "(NICK hands a copy of the pistol registration to GRISSOM.)", "Sara: P.D. Can prove through credit cards that Ben frequents the AvCon gas stations where both vics were killed.", "(GRISSOM sits down.)", "Nick: And we can prove he transported those bodies in his vehicle based on the blood you found.", "Sara: And fibers.", "(Quick flashback to SARA collecting fibers off the body. SARA pulling off the sock from the victim's left foot. SARA lifting the fibers off of that sock. White flash to End of flashback.)", "Sara: I recovered a burgundy fiber from the sock of victim one. Found the same fiber on the sock of victim two.", "Nick: We I.D'd the fibers using the FTIR. It's a polymer commonly used in vehicle carpeting.", "Sara: So we went back to Ben's car.", "(Quick flashback to NICK cutting out a sample from BENJAMIN JENNINGS' car. SARA looking at the sample. End of flashback. Resume to present.)", "Nick: They're identical.", "Sara: We got the master standards from the car manufacturer. The assigned name for the material is \"12-ounce Merlot-Poly.\"", "Nick: Bottom line ... he killed them.", "Grissom: Good work, you guys. Very good. But you haven't proved murder. You've proved burial.", "Nick: Excuse me?", "Sara: Victim blood on his clothes ... Under his nails.", "Grissom: From burying them.", "Nick: Victim blood in his car?", "Grissom: He transported them. Show me the gun with Ben's prints on it. Gun shot residue, the ligature, the ...", "Sara: ... The holes in Christ's hands, Doubting Thomas?", "Grissom: Yes. Empirical evidence. St. Thomas was ahead of us all.", "Sara: Does this have anything to do with the priest that's been coming around here?", "Grissom: No. It has to do with the evidence.", "Nick: It's our job to present the D.A. with the best evidence possible. Let a jury decide. Anything else, we're playing judge. The evidence doesn't get any better than this.", "(GRISSOM looks at NICK and SARA. Though he has his hesitations, GRISSOM relents.)", "Grissom: Okay. Ship it. Show it to the D.A.", "Nick: Right.", "(NICK starts collecting the evidence on the table. Camera holds on GRISSOM'S concerned look.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(WARRICK and CATHERINE are headed home. They walk down the hallway toward BRASS who waits by the counter. He's just gotten off the phone.)", "Brass: Anyone up for breakfast?", "(CATHERINE passes BRASS.)", "Catherine: I'm up for a shower and tucking my daughter in.", "(WARRICK slaps BRASS on the shoulder as he, too, heads out the hallway.)", "Warrick: Football-- wide-screen.", "(BRASS sighs.)", "Brass: Well, I guess I'll go see Tina alone. Hotel tells me she's down playing quarter slots.", "(Both intrigued at BRASS' remark, CATHERINE and WARRICK turn around.)", "Catherine: I thought we solved this case. What'd you get?", "Brass: Well, my guy in the hotel lounge tells me that Tina and Shelley were having a catfight over some dude named Jeremy the day she died. That's probably how the shirt really got ripped.", "Catherine: Don't ring her bell till we re-examine our case.", "(CATHERINE and WARRICK head back to work.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is at the laptop doing background checks on the suspect. NICK is standing in front of the screen on the wall.)", "Nick: Misunderstood the priest? How?", "Grissom: I looked deeper into the evidence. I should have looked deeper into Ben's character.", "(COMPUTER SCREEN READS the following: )", "[ FELONY RECORD Name: Benjamin Corey Jennings DOB: 2/3/76", "s*x: M Race: Caucasian height: 5'9\" or 5'8\"? weight: 162 or 165? eyes: blue hair: brown", "[SCENE_BREAK]", "LVMP: Las Vegas CMT: DV [alpha-numeric #] NRS 205.275 Receiving Stolen Property Current Status: paroled Dispo: Completed Sent: 2 years Suspended, Community Service Employment: Dante's Pizza", "24558 Desert Way Known Associates: None. No prior criminal history.", "[SCENE_BREAK]", "Address: 397? ???hill Rd. ???? Las Vegas, NV 89107 ]", "Nick: \"Benjamin Corey Jennings.\" Nonviolent crimes.", "(GRISSOM pulls up a second computer screen with the following information: )", "[ FELONY RECORD Name: Roger Jennings DOB: 10/27/74", "s*x: M race: caucasian height: 5'8\"", "weight: 170", "eyes: blue hair: blond", "[SCENE_BREAK]", "LVMP: Las Vegas CMT: DV: [alpha-numeric #] NRS 29.03 Armed Robbery Current Status: paroled 09/27/2000", "Dispo: Completed Employment: Dante's Pizza 29538 Desert Way Past Convictions: Breaking and Entering Assault with Great Bodily Harm", "[SCENE_BREAK]", "Address: 493 Briar Way #??? Las Vegas, NV 89123? ]", "Nick: \"Roger Jennings ... armed robbery. Past convictions, breaking and entering. Assault with Great Bodily Harm. Paroled 9/27/2000.\"", "(GRISSOM stands and leaves.)", "Nick: This guy is hard-core. He's looking at his third strike here.", "(NICK notices that GRISSOM left. He turns back to look at the screen in front of him. SARA enters the room. NICK looks concerned.)", "Sara: What's going on?", "(NICK turns around and sighs. He looks at the door where GRISSOM just left.)", "Nick: You know how we pushed him to file on Ben?", "Sara: Yeah.", "Nick: We might have been wrong.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT HOLDING CELL]", "(GRISSOM is sitting on the chair outside the jail holding cell. SGT. O'RILEY is standing on the side. BENJAMIN JENNINGS sits in the cell.)", "Grissom: (quietly) Tell me about your brother. We know that you only buried the bodies. So, what happened? Did he threaten you?", "(BENJAMIN JENNINGS shakes his head and says nothing.)", "Grissom: (prompting) Ben?", "(Tears run down BEN'S face. Still, he says nothing.)", "[SCENE_BREAK]", "[INT. DANTE'S PIZZA -- KITCHEN]", "(GRISSOM and SGT. O'RILEY approach ROGER JENNINGS in the kitchen. ROGER JENNINGS is rolling pizza dough.)", "Grissom: Did you learn to throw pizzas in prison, Roger?", "Roger Jennings: Who the hell are you guys? Get out of my kitchen.", "Sgt. O'Riley: \"Roger Jennings -- armed robbery, breaking and entering.\" You sound like the kind of guy it wouldn't be a big jump to murder.", "Roger Jennings: Hey, what is this?", "(SGT. O'RILEY throws two photos on the table. The top photo is of Oliver Dunne and the injuries on his abdomen.)", "Sgt. O'Riley: Your first stop the AvCon gas station. See these two guys?", "(ROGER JENNINGS pushes the photos away from him. With barely a glance, he continues to knead the pizza dough.)", "Roger Jennings: Nope. Don't know what you're talking about. My little brother got me this job. I'm staying clean.", "Sgt. O'Riley: Suppose I told you your brother said you did these guys.", "(ROGER JENNINGS stops kneading the dough and looks at GRISSOM. GRISSOM meets his gaze.)", "Roger Jennings: Ben wouldn't do that.", "(ROGER slowly continues to knead the dough.)", "Grissom: You did it directly after work using a .380 pistol and then you strangled one of the victims with his own tie.", "(ROGER JENNINGS takes a breath. He looks at GRISSOM.)", "Roger Jennings: Ben did it.", "Grissom: Did you witness this?", "Roger Jennings: He told me about it.", "(Quick flashback of BENJAMIN JENNINGS in a panic. Cut to two dead bleeding bodies in the back of BEN'S bronco.)", "Benjamin Jennings: Look what I did -- I just lost my head. What am I supposed to do now?", "Roger: I'm on a short line, all right? You're on your own, Ben.", "Benjamin Jennings: Roger, you've got to help me.", "Roger: You know I can't. What am I going to do? Huh? It's your mess. You got to deal with it.", "(Flash to white. End of flashback. Resume on ROGER JENNINGS.)", "Sgt. O'Riley: (o.s.) What started the beef with the victims?", "Roger: I don't know. Tempers, I guess.", "(Quick flashback to KENNY RAMIREZ pumping gas. From across the way, BENJAMIN JENNINGS gets out of his car and approaches KENNY RAMIREZ, yelling.)", "Benjamin Jennings: Hey! Hey, man! I was here first. You want to wait your turn?", "Kenny Ramirez: What are you going to do, huh?", "(KENNY RAMIREZ pushes BENJAMIN JENNINGS who falls back against his car. He reaches into the waistband of his jeans and pulls out a pistol and fires three shots at KENNY RAMIREZ.)", "(Flash to white. Resume to present. Camera on ROGER JENNINGS.)", "Roger: Bystander gets a little too nosy ... (he shrugs)", "(Quick flashback to OLIVER DUNNE getting out of his car and witnessing the murder with a shocked look on his face. BENJAMIN JENNINGS turns to look at OLIVER DUNNE. He then shoots him, too. End of flashback. Resume to present. Camera on ROGER JENNINGS.)", "Roger: ... and he gets it, too.", "(GRISSOM nods at the story.)", "Grissom: The perpetrator's hands left flour on the victim's face. This is not from a gunshot. This was something a little more intimate.", "(Quick flashback to ROGER JENNINGS approaching the wounded OLIVER DUNNE, ripping the man's tie from off his shirt, twisting it around his hands, and wrapping it around OLIVER DUNNE'S neck. OLIVER DUNNE expels his final breath. End of Flashback. Resume to GRISSOM.)", "Grissom: When a person changes his mode of murder from pistol to ligature it's for one of two reasons - entertainment ... or necessity. Which was it for you?", "Roger: Neither. I told you, Ben strangled that guy.", "Grissom: The flour said you did.", "Roger: I don't know what you're talking about.", "(ROGER JENNINGS turns back to his pizza dough. Camera holds on ROGER JENNINGS look.)", "[SCENE_BREAK]", "[EXT. ROGER JENNINGS' TRAILER -- NIGHT]", "(SARA and NICK walk across the way toward ROGER JENNINGS' trailer.)", "Sara: Anything on the list besides the tie?", "Nick: Nope.", "(They approach the two officers standing outside.)", "Sara: Hey, guys.", "Nick: Hey, guys. You can go ahead and take off. I think we got it.", "Officers: Thanks.", "[SCENE_BREAK]", "[INT. ROGER JENNINGS' TRAILER - NIGHT -- CONTINUOUS]", "(SARA opens the trailer door and enters. NICK is right behind her.)", "Sara: Whoa.", "(SARA looks around and finds some dry cleaning.)", "Sara: Hey. Dry cleaning. The trailer's low-rent. Dry cleaning's expensive.", "(SARA checks out the clothes. They find a spot of blood.)", "Nick: Sara?", "Sara: This man's not as smart as he thinks. Dry cleaning bakes in blood stains.", "Nick: Could be red sauce.", "Sara: Oh, now you're cautious.", "Nick: I'm just trying to put our mistake to good use.", "Sara: Okay. You check the perimeter and I'll see if we have blood stains or red sauce.", "Nick: Okay.", "(NICK leaves the trailer to check outside. SARA puts the dry cleaning down to get her stuff from her kit.)", "[SCENE_BREAK]", "[EXT. ROGER JENNINGS' TRAILER- NIGHT -- CONTINUOUS]", "(NICK walks out of the trailer and looks around. Doing a visual sweep of the place, he finds a canister of burned rubbish. NICK walks to the can to check it out. He grabs the thick wooden stick in the can and begins poking through the ash and burnt materials.)", "INTERCUT WITH:", "[INT. ROGER JENNINGS' TRAILER - CONTINUOUS]", "(SARA opens her kit. She uses a scissors and cuts out a small triangular-shaped sample of the questionable area. She takes that sample and puts it in a test tube.)", "[SCENE_BREAK]", "(Meanwhile, NICK uses the stick to swish through the ash and rubbish. He finds something.)", "[SCENE_BREAK]", "(SARA conducts her test.)", "Sara: Hemoglobin. (louder) Take a look at this.", "(SARA doesn't get a response from NICK. She puts the cap on the test tube and puts it aside to go find NICK. She grabs her flashlight and stands.)", "Sara: Nick?", "[SCENE_BREAK]", "(SARA exits the trailer just as NICK lifts out his find from the trash.)", "Sara: Hey, Nick.", "(SARA approaches NICK and sees what he sees. It's the missing murder weapon.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- JAIL]", "(The jail doors open. An officer leads ROGER JENNINGS into the area. He's followed by SGT. O'RILEY and GRISSOM. BENJAMIN JENNINGS watches as his brother walks by. ROGER JENNINGS looks up at BEN. Their eyes meet as they two brothers pass each other. Camera holds on BEN.)", "[SCENE_BREAK]", "[INT. CSI -- BALLISTICS LAB]", "(A gunshot is heard. A bullet breaks the surface of the water. A second gunshot is fired. The third shot is stuck.)", "(GRISSOM is conducting the ballistics test on the gun. He manages to get a sample before the gun jams. Through the wire cage, NICK watches.)", "Nick: Looks like it jammed, huh? Get anything instructive?", "Grissom: (fiddling with the gun) Possibly.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Greg: Blood from Jennings's denim shirt.", "(GREG pulls the results sheet off the printer and hands it to SARA.)", "Sara: Is the printer out of ink? (reading) \"ND, ND, ND.\"", "Greg: It means \"None Detected.\" The dry cleaning baked in the blood and it also degraded it to a degree that I just can't get a result.", "Sara: (insistent) Try again. This could be victim blood. Try again.", "Greg: I have tried. It's chemically impossible, Sara. Nothing from nothing is nothing.", "(GREG hands SARA the test results. SARA leaves.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(Under a microscope, two different bullets are being compared side-by-side. It's obvious that they don't match.)", "Bobby Dawson: The striaions are different. See?", "(BOBBY DAWSON stands and moves away from the scope, allowing GRISSOM to compare the bullets himself. NICK is also in the room, standing on the side, listening to the results of the comparison.)", "Bobby Dawson: There's no way I can say that the bullets taken from the victims were fired by Jennings's gun.", "Grissom: So, he altered the barrel somehow.", "(SARA walks into the room just in time to hear the final conclusion.)", "Bobby Dawson: Yeah. Changed how the bullet relates to the barrel so when the bullet emerges, its fine stria are altered.", "(CGI POV of the bullet emerging from the barrel of the gun and rubbing the sides of the barrel on its way out. End of CGI POV. Resume to present.)", "Nick: Any idea what he used?", "(Flash to white. CGI POV of ROGER JENNINGS using a tool and rubbing the tool in the gun barrel. Cut to close up of the tool from the inside of the gun. End CGI POV. Resume on BOBBY DAWSON.)", "Bobby Dawson: Whatever it was ... did the job.", "Sara: My evidence is no better. Total loss.", "Nick: We present this to the D.A.", "Grissom: Unfortunately, we've had this discussion before.", "Nick: The guilty brother's going to walk.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - JAIL HOLDING CELLS]", "(The bars slide open and ROGER JENNINGS is allowed out of the holding cell. He is accompanied by an officer.)", "(A property bag is given to ROGER JENNINGS. He takes out his chain and puts it around his neck. BENJAMIN JENNINGS watches in the background, bewildered at the turn of events. ROGER JENNINGS glances over at BENJAMIN, he grabs his things and leaves. On his way out the door, he passes GRISSOM.)", "Roger Jennings: He's never been in any real trouble before. They'll go easy on him.", "(ROGER JENNINGS walks out the door.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY]", "(GRISSOM follows ROGER JENNINGS out the doorway and into the hallway. He leans against the doorway.)", "Grissom: The bullet jammed in the feed, didn't it?", "(Quick Flashback to ROGER JENNINGS pointing and firing the gun at the victim. Cut to a close up of the pistol jamming. Cut to ROGER JENNINGS using the tie to suffocate OLIVER DUNNE. Flash to white. Resume on GRISSOM.)", "Grissom: So, it was necessity.", "(ROGER JENNINGS doesn't say anything. He smiles and then he walks away. Camera holds on GRISSOM'S grim look.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[INT. MEDITERRANEAN HOTEL ROOM]", "Tina Kolas: Wait, are you saying Shelley didn't die in the sauna?", "Warrick: She died of heat stroke.", "Catherine: But the stroke covered up an underlying medical catastrophe.", "Tina Kolas: Like what? Shell was always healthy.", "Catherine: She went into anaphylactic shock. Coroner says some of the indicators are the same as a stroke: renal failure, cerebral edema.", "Warrick: We missed it until Captain Brass brought your room service records to our attention.", "Tina Kolas: I don't understand.", "Brass: Well, maybe this will help -", "(BRASS opens a file he's holding. The paper inside contains the following information: )", "[EMERGENCY CONTACT: MR. DANVERS (812) 555 ... RELATIONSHIP: FATHER MEDICATIONS: NONE ALLERGIES TO PRESCRIPTION DRUGS: ALLERGIC REACTIONS TO FOOD: SHELLFISH, ... OTHER ALLERGIES: NONE EMERGENCY INFORMATION FOR: T. KOLAS ]", "Brass: The travel agency contract you and Shelley signed. Under \"allergic reactions to foods\" for Shelley Danvers -- shellfish.", "Warrick: As her best friend, you would know that.", "Brass: And then we have this from the hotel computer for your room 7:01 P.M., On the day: \"A Taste From the Sea a lovely tureen of mild bisque with pureed bits of Maine lobster.\" Pureed, two bowls. She didn't know what she was eating when it arrived, did she?", "Catherine: Because she didn't order it; you did.", "Catherine: We've got a machine known as the ESDA machine which can read pen imprints.", "(CGI POV to the ESDA machine gliding over the paper. Flash to white. Brush dusting the paper. Close up of the paper reveals the following information: )", "\"ROOM SERVICE EXT 219\"", "(Resume to present. Catherine holds the notepad paper out and shows the following to TINA KOLAS.)", "\"JEREMY DRINKS 10\"", "Catherine: Well, the machine isolated this. \"Jeremy, drinks, 10:00.\" Shelley made that date. That's her handwriting. Were you in the room when Jeremy call?", "Tina Kolas: I answered the phone. He asked for her.", "Warrick: You killed her over a guy you two met at a bar?", "Tina Kolas: I didn't mean to kill her. I thought that she would just have an allergic reaction and she wouldn't be able to make her date that night, you know ... like, get hives or something.", "Catherine: Well, her allergy kicked in in the sauna under the worst possible conditions --", "(White flashback to SHELLEY DANVERS in the sauna gasping for breath. End of flashback. Resume on WARRICK.)", "Catherine: (V.O.) ... trachea... larynx ... tongue swelled.", "Warrick: Her pressure got so low her blood quit running through her organs. They shut down.", "(TINA KOLAS slowly sits on the bed, overcome with grief at what she has done.)", "Tina Kolas: I didn't even like the guy. I just ... I didn't want to be left out.", "Brass: Miss Kolas, you're under arrest.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "Sara: Hey. D.A.'S looking for you.", "Grissom: About?", "(SARA hands GRISSOM a note.)", "Sara: What, you think I read your messages?", "Paula Francis: (in background on tv) Wall street Analysts, though, say stocks ... Good investments for the long term.", "Sara: \"Top Secret\" and \"Urgent\"? It's a gift, reading upside down.", "(Both are distracted by the television news.)", "Paula Francis (TV Anchorwoman): The Las Vegas District Attorney is reportedly preparing to file homicide charges against Benjamin Corey Jennings in the so-called Burial Murders Case. Jennings has been in police custody for the last ...", "Sara: Guess we know what she was calling about.", "Paula Francis: ...Since he was caught burying the first victim, Oliver Dunne in the national forest.", "(GRISSOM puts down his food and leaves the room.)", "[SCENE_BREAK]", "[INT. DISTRICT ATTORNEY'S OFFICE -- DAY]", "Robin Childs (district attorney): Don't you have enough cases over at CSI now you're going to start telling me which ones I should take to court?", "Grissom: There isn't one piece of evidence that says that kid was even present at the murders.", "Robin Childs: As a matter of fact that is why I was hunting you. Jennings brought it in about an hour ago. Chain of custody; I can't touch it. The first victim was ligatured, right?", "(ROBIN CHILDS pushes an envelope on her desk toward GRISSOM. GRISSOM opens the envelope and pulls out the missing tie used to strangle OLIVER DUNNE.)", "Robin Childs: Jennings says his little brother asked him to hide the tie.", "Grissom: Well, how convenient. The older brother brings it in explaining why his epithelials are all over the murder weapon.", "Robin Childs: A jury doesn't understand epi-whatevers, okay? They understand a twisty tie and blood all over Ben's car seat.", "Grissom: He set up his brother.", "Robin Childs: Oh, come on, Grissom, they're both part of it and if I can get one of them, I will.", "Grissom: He's a good kid, Robin. He hero-worships his brother, but he's a good kid.", "Robin Childs: Yeah? Then his epithelials shouldn't be on that tie. You'd better check with your lab.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "(A photograph of the injuries on OLIVER DUNNE'S neck hits the table.)", "Grissom: Explain how bits of your skin got on the ligature used to strangle that victim.", "Benjamin Jennings: I don't know.", "(A second photograph of the tie hits the table. BENJAMIN JENNINGS picks it up.)", "Grissom: Your brother brought this in to the district attorney.", "Benjamin Jennings: What?", "Sgt. O'Riley: He's framing you.", "Grissom: Unless you can tell us how your epithelials got on that tie.", "Benjamin Jennings: I don't know. I swear I don't know. I ... he ... I just picked up the bodies at his place.", "(Quick flashback to BENJAMIN and ROGER standing by the car. ROGER slams the back door closed after putting the bodies in.", "Roger Jennings: Grab that guy's tie, little bro. I like that thing. (BENJAMIN JENNINGS removes OLIVER DUNNE'S tie from his body. He hands it to ROGER JENNINGS.) Bury them deep, all right? You get into any trouble you don't have to say anything, all right? I'm counting on you, man.", "Benjamin Jennings: Yeah, yeah, man, I'm there all the way.", "Roger Jennings: Go, get out of here. Go on.", "(End of flashback. Resume on SGT. O'RILEY.)", "Sgt. O'Riley: I got to ask you ... how does somebody bury two bodies as a favor?", "Benjamin Jennings: 'Cause he's my brother. (panicking) He told ... He told me that if I didn't talk to you guys and if he didn't talk, then this would all just blow over; it'd all just go away.", "Sgt. O'Riley: You're looking at two counts of murder, special circumstances. The best you can hope for is life without parole.", "(BENJAMIN JENNINGS starts to cry.)", "Benjamin Jennings: I don't ... I don't think I can do that kind of time.", "Grissom: Do you have any physical evidence linking your brother to the murders? Anything?", "(BENJAMIN shakes his head ... no.)", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "(Quick pulses of a series of legal forms with court proceeding sounds in the background. Sounds of a judge speaking ... a gavel pounding ... and words such as \"guity\" and \"life\" are heard as the forms flash one by one in front of us.)", "LEGAL FORM 1", "SUPERIOR COURT CLARK COUNTY IN THE STATE OF NEVADA", "People of the State of Nevada, Plaintiff, vs. Benjamin Corey Jennings, Defendant", "FLASH TO WHITE.", "LEGAL FORM 2", "JUSTICE COURT, GOODSPRINGS TOWNSHIP Clark County, Nevada", "(left side) The State of Nevada, Plaintiff vs. Benjamin C. Jennings, Defendant", "(right side)", "CASE NO. 102501-736", "DEPT. NO. F DOCKET 01-93789", "FLASH TO WHITE.", "LEGAL FORM 3", "JUSTICE COURT CLARK COUNTY, NEVADA", "(left side) NEVADA, Plaintiff JENNINGS, defendant", "(right side)", "CASE NO. 102501-736", "DEPT. NO. F DOCKET 01-93789", "NOTICE OF INTENT TO SEEK DEATH PENALTY \" ...OW, the State of Nevada, through ROBIN CHILDS ...ant to the provisions of Supreme Court Rule ... llowing Notice of Intent to Seek the Death ... part as follows:", "FLASH TO WHITE.", "Close up of \"SEEK DEATH PENALTY\" in LEGAL FORM 3", "FLASH TO WHITE.", "LEGAL FORM 4", "\"... declaration subject to the penalty of perjury.\"", "\"REQUEST FOR BAIL: DENIED (box being checked)\"", "\"AMOUNT OF BAIL ... \"", "FLASH TO WHITE.", "LEGAL FORM 5:", "... CASE ARE ... ... committed by a person with ... convicted of another felony.\" ...risk of death to more than one portion \"by ... ...ld normally be hazardous to the lives of more than one ...", "Respectfully submitted, Robin Childs District Attorney Nevada Bar #00149330", "(The form being signed.)", "(As the file is being closed, the following can be seen: )", "LEGAL FORM 6:", "\"... found that presumption ... ... of deaf-muted as a class violated the ... ... rights of petitioners in that case, so, too, ... ... court should have found that presumptions ... ... abilities of quadriplegics as a class ... ... petitioner's equal protection rights. ... ... rt's presumptions about the limitations. ... ... petitioner's handicap, ...", "(single spaced quote)...for the boys himself ... ... and teach them ... ... it's not ...", "LEGAL FORM 7:", "SUPERIOR COURT", "... COURT IN THE STATE OF NEVADA", "DOCKET NO. S 809 20942", "(The file is stamped with a circular file mark on document. SUPERIOR COURT * CLARK COUNTY, NEVADA * FILED.)", "[SCENE_BREAK]", "[INT. FATHER POWELL'S CHURCH -- DAY]", "(GRISSOM walks into the church. FATHER POWELL is near the front of the church speaking with someone. GRISSOM'S entrance is brought to FATHER POWELL'S attention and approaches him. GRISSOM sits down on the pew.)", "Grissom: I know that we've arrested the wrong brother.", "(FATHER POWELL sits on the pew in front of GRISSOM.)", "Grissom: He came to see you as soon as Ben was in custody.", "Father Powell: I tried to help ... without breaking my vows.", "Grissom: (sighs) We both have jobs that begin after the crime.", "Father Powell: After the \"sin\".", "Grissom: Some people would call that a career in futility.", "Father Powell: Some call it a \"vocation\".", "Grissom: A hundred years ago we didn't have the technology for fingerprints. Fifteen years ago, we didn't have DNA. Hopefully one day, we'll have foolproof means by which to put the right man in jail in this case.", "Father Powell: Someday, we won't need jails.", "(GRISSOM looks at FATHER POWELL.)", "Father Powell: I celebrate mass every Thursday night, 7:00.", "Grissom: Thank you ... but ... (he shakes his head) ... no.", "Father Powell: You don't believe?", "Grissom: In religion? I believe in God, in science ... in Sunday supper. I don't believe in rules that tell me how I should live.", "Father Powell: Even if they're handed down by God?", "Grissom: How many crusades were fought in the name of God? How many people died because of someone's religion?", "Father Powell: Fanaticism. Not religion.", "Grissom: Semantics. They're still dead. I'm sorry about Ben, father.", "(GRISSOM stands up.)", "Father Powell: You still suffer like a catholic.", "(FATHER POWELL also stands up.)", "Father Powell: Light bulb goes out other people fix it, get a new one. Light bulb goes out for the Catholic he stands in the dark says, \"What did I do wrong?\"", "Grissom: That guilt's not in me anymore.", "(GRISSOM leaves.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY -- NIGHT]", "Grissom: Hey.", "Catherine: Oh. You're going to be getting a call from the local papers about spa safety.", "Grissom: Spa safety?", "Catherine: We had a victim die of an allergic reaction at the Mediterranean. Some foul play ... some negligence.", "Grissom: So what am I supposed to say?", "Catherine: That it was an isolated incident ... that in no way should it be a mark against The Strip's other fine hotel-casinos.", "Grissom: CSI supports Las Vegas.", "Catherine: Bottom line.", "(CATHERINE leaves GRISSOM at the hallway counter. In the background, OFFICER rush to the jail holding cell area.)", "Officers: Need some help in here!", "Officers: Get his arm!", "Officers: Hold his head!", "(GRISSOM looks up and notices the commotion. GRISSOM runs to the cell.)", "Officers: Hold his head!", "Officers: I can't stop the bleeding.", "(GRISSOM rushes to the cell. On the cell floor, BENJAMIN JENNINGS lies in a pool of blood. His breathing labored as he looks at GRISSOM.)", "Grissom: Oh, no, no, no. How did this happen?!", "Officer: Incisor. He used his teeth.", "(GRISSOM tries to help, but gets pushed aside as the MEDICS arrive. The commotion builds to a frenzy as they all work to save BENJAMIN JENNINGS.)", "Medic: Clamp down. MEDIC: Keep him with us.", "Medic: (to GRISSOM) Get out of the way! Out of the way! MEDIC: (to GRISSOM) Sir, step back. Sir.", "Medic: He's bleeding out. MEDIC: He's bleeding out here.", "Medic: We need to stop this. Compression. MEDIC: Keep him with us. Get the head up. MEDIC: We're losing him, we're losing him ...", "(With his final breath, BENJAMIN JENNINGS dies. All sound stops abruptly.)", "Medic: I'm going to pronounce. 22:04.", "(GRISSOM'S left standing there with blood on his hands.)" ]

[ "Grissom and Catherine investigate the apparent violent death of a woman found in a sandbox. Their investigation leads them to the underground world of s and m clubs. Meanwhile, Warrick and Sara are called to a crime scene to investigate a shooting, which initially appears to have taken place during a robbery." ]

[ "DUE TO BRIEF NUDITY AND ADULT THEMES, VIEWER DISCRETION IS ADVISED", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY (STOCK) - MGM -- NIGHT]", "[SCENE_BREAK]", "[EXT. PARK - NIGHT]", "(A Young Man and a Young Woman are playing in the park. He's chasing her and she's running through the various park equipment. She laughing.)", "Butchy: You're going down!", "(She playfully weaves her way through the swings, laughing as she goes.)", "Butchy: I got you, I got you! I got you! I got you.", "(BUTCHY finally catches up to the girl. He pulls her down to the ground in the sandbox. They start kissing. He glances up and sees something. He stops kissing the girl, his eyes glued to whatever it is that he sees.)", "Girl: Butchy. keep going.", "(The girl turns her head to look. Partially exposed in the sand is the face of a dead person. She starts to scream.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. PARK -- NIGHT]", "(GRISSOM walks around the body. It still hasn't been touched.)", "Brass: You've been walking in circles for ten minutes.", "Grissom: There's no sign of struggle. Whatever happened, happened somewhere else. This is a secondary scene.", "Brass: Body dump?", "Grissom: Textbook. David, when we dig her up, I want you to tag her special processing.", "David Phillips: Yes, sir.", "Grissom: The only person who knows where the crime scene is has her mouthful of sand.", "Brass: A thousand square miles of desert in Vegas and this perp dumps the body in a sandbox.", "Grissom: He didn't put it here to hide it. He put it here to be found.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. PARK -- SANDBOX- NIGHT]", "Grissom: What do you think?", "Catherine: I think we got a van full of tools we can't use. Sand's a nightmare.", "(CATHERINE and GRISSOM sit off to the side looking at the scene trying to figure out the best way to get to the body.)", "Grissom: To get to the evidence, we may destroy the evidence.", "Catherine: You get these haikus out of a book or do they just come to you?", "Grissom: Every time you find a body, you have to choose a path and when you take that path, Grasshopper, you risk destroying the evidence.", "Catherine: We grab a trowel and some fine mesh screens and we just pretend like we're panning for gold ... Master.", "(Cut to GRISSOM scooping up some sand and sifting through it. GRISSOM finds a barbie doll half buried in the sand. He picks it up.)", "(Cut to CATHERINE sifting through the sand.)", "(Cut to GRISSOM dusting sand off of the body.)", "(Cut to CATHERINE sifting through the sand. The body is partially uncovered. GRISSOM is brushing sand off and away from of the body.)", "(Dissolve to a top view of the sandbox with the body fully uncovered.)", "[SCENE_BREAK]", "[EXT. ASTRO CASH CHECKING -- PARKING LOT -- NIGHT]", "(A dark SUV parks. SARA and WARRICK exit the car. DET. SAM VEGA meets them.)", "Det. Sam Vega: Gunshot victim shipped to desert palms. Santee Cherna, 32. Runs this check-cashing joint.", "Warrick: Cash business, huh?", "Det. Sam Vega: You bet. Was shot in the leg making his weekly bank run.", "(They cross the crime scene tape.)", "Sara: Let me guess -- the guy makes his run same time every week.", "Det. Sam Vega: Night deposit.", "Warrick: He's either stupid or suicidal.", "Det. Sam Vega: We can't arrest people for that, unfortunately.", "Sara: Whole thing went down here?", "Det. Sam Vega: Sister heard a gunshot, saw a car take off.", "Sara: Okay, I'm going to do a once-around.", "Warrick: All right, I'll take the lot.", "(WARRICK settles in. SARA leaves.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(The body found in the sandbox is now on the table. GRISSOM starts to take pictures. He makes special notice of the restraint marks on her ankles.)", "(Flash to white. The body is flipped over and GRISSOM continues to take pictures. He notices something on her back. He picks it up and puts it in a bindle.)", "(GRISSOM puts on his goggles and turns off the lights. He uses the ALS down her body. He finds something on the back of her calf. He picks it up and looks at it.)", "(Cut to GRISSOM washing the body. He sees multiple bruises on her back and thighs. GRISSOM also notes the restraint marks on her wrist.)", "(Cut to GRISSOM mixing a mold mixture and putting it on the marks on her wrist.)", "[SCENE_BREAK]", "[EXT. ASTRO CASH CHECKING - PARKING LOT -- NIGHT]", "(WARRICK is bagging the items found on the ground.)", "(WARRICK also finds a small orange flyer on the ground. He looks up and notices that there are small orange flyers on the wind shields of the parked cars ... all except one.)", "(WARRICK stands and approaches DET. SAM VEGA.)", "Warrick: You run this car already?", "Det. Sam Vega: Oh, yeah. The RO's our vic. That's his spot.", "Warrick: Right here?", "Det. Sam Vega: Mm-hmm.", "(Cut to SARA kneeling in the alleyway behind the store. She calls out to WARRICK.)", "Sara: Hey, Warrick! Check this out!", "(WARRICK walks over.)", "Warrick: We're dealing with some criminal genius here.", "Sara: Grab the money bag, slice it and run.", "Warrick: You forgot the \"leave the evidence on the ground.\"", "Sara: Let's see.", "(SARA opens the bank bag left behind on the ground and leafs through the contents.)", "Sara: We got some checks, no cash ... and a deposit slip for $22,500.", "Warrick: So, our victim breaks out of the store with a bag full of dough ...", "Sara: Same time every week.", "Warrick: Guess somebody was casing the joint, huh?", "Sara: Or... it was an inside job.", "[SCENE_BREAK]", "[INT. CHECK CASHING STORE -- NIGHT]", "Carla Delgado: This morning everything was fine. Then some pendejo attacks my brother and we're out god knows how much money and now I'm stuck running this place alone.", "Sara: Um, Ms. Delgado, I know you're upset ...", "Carla Delgado: Upset? Upset is for white people, lady. I'm pissed off. My brother was just shot in the thigh, okay? That's awful close to serious if you know what I'm saying.", "Warrick: Ms. Delgado, how long have you been here?", "Carla Delgado: Six years.", "Warrick: You have insurance?", "Carla Delgado: You better have insurance. You take 15% of a man's paycheck just to cash it. People use us, but they don't like us.", "Warrick: Thank you.", "(CARLA DELGADO leaves. WARRICK, SARA, and DET. SAM VEGA walk out of the store.)", "[EXT. CHECK CASHING STORE - PARKING LOT - NIGHT - CONTINUOUS]", "Sara: So ... you think the brother might be behind this?", "Warrick: Well, I might bet my own paycheck on that one.", "Det. Sam Vega: But if that's true then our vic gets to collect the insurance money plus he gets to keep the money he stole for himself.", "Sara: Nice scam.", "(WARRICK holds up a sheet of colored paper advertisement for LUCKY LEE'S Chinese Restaurant.)", "Warrick: Check it out. What's the first thing you do when you see one of these on your windshield?", "Det. Sam Vega: Chuck it.", "Warrick: Exactly. But the only guy to chuck his was the victim. I found one on the ground next to his car.", "Sara: That means whoever put these here wasn't gone long when the brother was shot.", "(WARRICK nods.)", "Sara: Potential eyewitness.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "Robbins: She died two to four hours before she was discovered. Jury's still out on cause of death but considering the whip and ligature marks it's no stretch to say it was violent. Some of the scars on her back are years old. Some are fresh.", "Grissom: So what are we looking at? Rape, multiple sexual assaults?", "Robbins: That's the strange part. Her body's a road map of abuse but there's no sign it was sexual. She hasn't had intercourse in months.", "Catherine: I'm thinking trade-in. Some lowlife gets tired of beating on the old model so he punches her ticket and starts shopping around for a version 2.0.", "Grissom: Here's a woman who's been beaten on a regular basis but look at the care she's lavished on herself.", "(GRISSOM holds out her hands.)", "Grissom: Manicured fingernails, manicured toenails. Perfect teeth, hair.", "(CATHERINE lifts up the sheet.)", "Catherine: Not to mention some serious breast augmentation. That is not a Tijuana boob job. Those puppies are top-of-the-line", "(Quick CGI POV camera angles down to the deceased's chest, through her breast and to the saline enhancement underneath with the serial number 414-55-5401 on it.)", "Catherine: (V.O.) ... at least we've got a pair of saline leads.", "(End of CGI POV. Resume to present.)", "Catherine: (to ROBBINS) Can you grab me one of those?", "Robbins: Left or right?", "Catherine: Dealer's choice.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GREG is grounding up something in a mortar. NICK walks in and peers over his shoulder to see what he's doing.)", "Nick: What up, Einstein? Ooh, you got anything there?", "Greg: You think Einstein had people hovering over his shoulders all the time? If he did, do you think that we'd be walking around with e=mc squared t-shirts?", "(NICK remains silent. He leans in to see what GREG is working on. GREG looks over his shoulder and gets annoyed.)", "Greg: Would you step back? Just give me some breathing room?", "Greg: Maybe I'll tell you something about the silver sliver that Grissom found on sandbox girl's back.", "Nick: It's all yours.", "(GREG puts the mixture on the card and puts it in the machine.)", "(Quick CGI POV as the machine processes the mixture on the card.)", "Greg: Let's see what the library has to say.", "(The computer screen flashes the results.)", "Greg: Tempered steel with aluminum coating.", "Nick: Then she was chained up.", "Greg: If she was, she was wearing something pretty funky.", "Nick: She was in the raw.", "Greg: Yeah, in a matter of speaking. Remember that sparkly stuff that Grissom got off her body?", "Nick: Yeah.", "Greg: I broke it down -- tree sap, ammonia and water.", "Nick: Sounds like frat house gravy.", "Greg: Liquid latex.", "Nick: Never heard of it.", "Greg: Really? It's all the craze right now, man. Girls paint it on guys. Guys paint it on girls. You can paint it on yourself if you want if that's what you're into. You can't get a date.", "Nick: I got it.", "Greg: Like I would know.", "Nick: Sure, sure. I got it, man.", "(NICK leaves.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. PARKING LOT -- DAY]", "(A man is busy putting flyers under the parked cars windshields. SARA and DET. SAM VEGA round the corner to the parking lot. They're carrying cups of coffee.)", "Sara: Hey, is that our guy?", "Det. Sam Vega: Detective Vega, LVPD. Can I see some ID?", "Businessman: I am a legitimate businessman. My card.", "Sara: How often do you distribute around here?", "Businessman: On this street? Every Thursday and Friday. Is that a crime?", "Sara: Well, that depends. Did you see anything unusual last night? In the parking lot at Flamingo and Rhodes?", "Businessman: I don't know what city you live in, Missy but in Las Vegas, unusual is what happens when you leave the house.", "Det. Sam Vega: We can do this down at the station, if that works better for you.", "Businessman: Okay, okay. Um, some jerk told me if I touched his car he'd shove a flyer down my throat. Does that count:?", "Det. Sam Vega: Maybe. Did you get a good look at him?", "Businessman: Them. There were two. A couple of lowlifes in baseball caps.", "Sara: What about the car? Did you notice the make?", "Businessman: Honda, maybe. All those tin boxes look alike.", "[SCENE_BREAK]", "[INT. DR. CORNFELD'S OFFICES -- HALLWAY]", "(DR. SIDNEY CORNFELD walks down the hallway. CATHERINE calls out from behind him. He stops and turns around.)", "Catherine: Dr. Cornfeld? Catherine Willows, Las Vegas crime lab. I believe this is one of yours.", "(CATHERINE reaches into her bag and pulls out a plastic container with the implant in it.)", "Dr. Sidney Cornfeld: Oh, yeah. 414 series. Firm, but plenty of give.", "Catherine: Spare me the sales pitch. We removed that from a homicide victim. I've got a photo.", "Dr. Sidney Cornfeld: Judging by the size she had a pretty decent pair to start with.", "(CATHERINE opens the file she's carrying and shows the Doctor the photograph of the deceased inside.)", "Dr. Sidney Cornfeld: Oh, she was a pretty girl.", "Catherine: I'm going to need her name.", "(DR. SIDNEY CORNFELD reaches into his jacket pocket and checks his palm pilot.)", "Dr. Sidney Cornfeld: Let's see. Oh, yeah, here we go. Third-party billing, but I do recognize the address. They send me a lot of business. Mona Taylor. She must have worked there. Real shame.", "Catherine: I'll tell you what's a shame -- that she was so pretty and perfect and still thought she needed implants.", "Dr. Sidney Cornfeld: You shouldn't judge Mona for wanting to improve herself. Competition's intense especially for a young woman living in Las Vegas. Why don't you put yourself in her shoes.", "Catherine: Trust me-- I've been in her shoes. I got out of them.", "Dr. Sidney Cornfeld: Oh, yeah, why is that?", "Catherine: They were killing me.", "(CATHERINE leaves.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. LADY HEATHER'S DOMINION -- NIGHT]", "(GRISSOM, BRASS and CATHERINE walk up the driveway to an impressive home.)", "Grissom: Are you sure the surgeon said this is where Mona Taylor worked?", "Brass: Maybe she was a domestic.", "Catherine: No domestic has a $10,000 rack. Not even in Vegas.", "Brass: Well, the DMV records indicate that she hit town from South Dakota three years ago. I figure the bright lights faded and she snagged a sugar daddy.", "Catherine: How much business can one sugar daddy give a plastic surgeon?", "(They ring the doorbell.)", "Grissom: The eternal question to which we're about to find the answer.", "(The door opens and LADY HEATHER appears. Both CATHERINE and GRISSOM are casually taken aback. BRASS doesn't seem surprised at all.)", "Lady Heather: Let me guess -- three police officers looking for respite from having to control and dominate our big, bad city?", "Brass: Close-- one police officer, two criminalists. May we come in?", "(LADY HEATHER steps aside and they all enter the foyer.)", "(In the background, a whip cracks and a man groans.)", "Lady Heather: Another happy customer.", "(GRISSOM turns to look at LADY HEATHER.)", "Lady Heather: Now, would you prefer individual sessions or would you like to enjoy each other's submission?", "(GRISSOM turns to look at CATHERINE. She laughs.)", "Lady Heather: You don't have to decide now. Please, make yourselves comfortable and welcome to Lady Heather's Dominion.", "[SCENE_BREAK]", "[EXT. LADY HEATHER'S DOMINION -- NIGHT]", "(The flashlight shines on a car's Nevada License Plate, IAM4FUN, with registration for 12/2001.", "Nick: That's her.", "Catherine: \"I'm for fun\". Right.", "Nick: She drove herself to work.", "Catherine: But she didn't drive home.", "(NICK walks away and starts looking around. CATHERINE checks the car driver's side door.)", "Catherine: It's still locked.", "(NICK opens the trash can. He picks through it. CATHERINE peers into the car from the window.)", "Catherine: Looks clean.", "(NICK finds something in the trash can. He picks it up to examine it.)", "Nick: Hey, Catherine .... come check this out.", "Catherine: What's that?", "Nick: Liquid latex. Grissom found some on the victim. Sanders did a trace analysis. Stuff peels off like a glove.", "Catherine: Handy.", "Nick: Yeah. What do you think that is there? Watch?", "(NICK notices the impression on the inside of the scrap of latex.)", "Catherine: Bag it. We can get a mold and try and track it down.", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION -- NIGHT]", "(GRISSOM and BRASS follow LADY HEATHER up the staircase.)", "Lady Heather: Never lost one of my girls.", "Grissom: You don't seem very upset about it.", "Lady Heather: What you see and what I feel are two different things.", "Brass: Really? Were there any disturbances last night? Did you hear screams?", "Lady Heather: It's when I don't hear screams that I start to worry.", "Brass: Well, then can you tell us what time Mona got off?", "(The reach the top of the staircase. LADY HEATHER turns around to answer.)", "Lady Heather: Knowing Mona, every couple of hours. She enjoyed her work.", "Brass: There's no sexual contact or anything illegal going on here, of course.", "Lady Heather: Captain Brass, surely you don't think sexual contact is the only means of fulfillment.", "Brass: Lady Heather you don't what to know what I think.", "Lady Heather: Her last client was at 11:00. She would have left at midnight.", "Brass: Do you have any kind of log book? Some record of who was working that night? What they did with their time? That sort of thing?", "Lady Heather: Would that get you excited?", "Brass: Not particularly. But it might help us catch the creep who murdered Mona.", "Grissom: We need names and addresses. We also need to know which rooms she worked last night so we can examine them.", "Lady Heather: Mona worked the pool house. Give me a minute, I'll have to move some clients around.", "(CATHERINE and NICK appear on the bottom.)", "Catherine: Oh, there you are. Mona's car is in the driveway. It looks clean.", "Grissom: Okay, tow it to CSI and then start processing the rooms in the pool house where Mona worked last night.", "Catherine: And you will be...?", "Grissom: I'll be with Lady Heather.", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - LADY HEATHER'S ROOM -- NIGHT]", "(GRISSOM is looking around the room. He picks up a silver-plated mask from the dresser.)", "Lady Heather: Does all this fascinate you?", "Grissom: Yes. I find all deviant behavior fascinating in that to understand our human nature we have to understand our aberrations.", "Lady Heather: And you think what goes on here is aberrant?", "Grissom: I would say that whip marks and ligature contusions on a young woman are aberrant. Wouldn't you?", "Lady Heather: Every job has it's peculiar hazards. Rock stars damage their ear drums. Football players ruin their knees. In this business, it's scars. But no one who works for me has ever sustained a serious injury.", "Grissom: Mona did. She died.", "Lady Heather: Not because she worked here that's your assumption. What happens here isn't about violence. It's about challenging preconceived notions of victorian normalcy. Bringing people's fantasies to life. Making them real and acceptable.", "Grissom: Like the theatre.", "(GRISSOM puts down the mask he's holding and walks across the room.)", "Lady Heather: It's people who don't come to places like this that I worry about. The ones who don't have an outlet. Say ... someone like yourself.", "Grissom: Oh, I have outlets. I read. I study bugs. I sometimes even ride roller coasters.", "Lady Heather: And your s*x life?", "Grissom: It doesn't involve going to the theater.", "(LADY HEATHER smiles.)", "Lady Heather: In my experience, Mr. Grissom, some men go to the theater ... some men are the theater. Either way, what I offer is a chance for submission or control, whichever's required. Sometimes a client doesn't know what he wants until I show him.", "(LADY HEATHER takes a seat.)", "Grissom: \"No man is a complete mystery except to himself.\" Marcel Proust.", "Lady Heather: I bet he'd have enjoyed himself here.", "Grissom: Probably. No crime is a complete mystery, either. The whip marks on Mona Taylor were fresh.", "(LADY HEATHER stands up surprised by this piece of information.)", "Lady Heather: That can't be. Mona was Dominant with her clients. (thoughtful) I know that she sometimes saw clients off the books. I let her because she brought in so much business, but I just assumed she knew what she was doing.", "Grissom: My guess is that one of her off-the-book clients ... is a regular. I mean, it is a repeat business, is it not?", "(GRISSOM picks up another mask, this one made of leather.)", "Lady Heather: Does that one interest you?", "Grissom: Yes, it does. May I borrow it?", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - POOL HOUSE -- NIGHT]", "(CATHERINE and NICK enter the pool house. A Dominatrix is there with RANDOLPH in a schoolroom setting. On the chalkboard behind her is the phrase, \"I'm a Dirty Little Sink Boy.\" written multiple times. The Dominatrix looks up and sees CATHERINE and NICK up above them. She slaps RANDOLPH'S rump and instructs him.)", "Dominatrix: Okay, Randolph, You may lick my boots and go.", "Randolph: Because I'm naughty?", "Dominatrix: Randolph, shut up!", "(CATHERINE looks at NICK. He smiles a bit.)", "Dominatrix: Get up.", "(CATHERINE and NICK move along.)", "Catherine: I feel like I'm trapped in the Marquis De Sade's brain pan.", "Nick: I guess Lady Heather hasn't quite cleared this room yet.", "Catherine: Waiting for recess.", "(NICK laughs. They pass by another room that's still occupied by a Dominatrix and her Submissive. They turn the corner and enter the pool room Mona used.)", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - POOL ROOM - NIGHT -- CONTINUOUS]", "(CATHERINE and NICK look around the room. Hanging along the walls are various whips and paddles. In the back of the room is a cage and hanging from the ceiling in the middle of the room is a large silver chain.)", "Catherine: Didn't Grissom say he found some flecks of silver on the victim's back?", "Nick: Yeah.", "Catherine: I may have found the source.", "Nick: Mm-hmm.", "(CATHERINE starts taking photographs of the chain. NICK wanders around some more. In the cage at the back of the room, he finds something.)", "Nick: Hey, hey. Liquid latex. Like the kind we found in the dumpster and on the vic. Hand me a bindle will you? You know what I just realized?", "Catherine: Hmm?", "Nick: None of this weirds me out anymore.", "Catherine: People are just as twisted in their own living rooms. The props are different here. That's all.", "NICK, Well, not everybody's twisted.", "Catherine: Everybody, Nick. Wake up and smell the species.", "Nick: Catherine, do you really think that those freaks out there, running around with their little dog collars on getting spanked are the same as you and me?", "Catherine: Just because you never did it doesn't mean you never could.", "Nick: No way, never gonna happen.", "(CATHERINE turns the camera on NICK. She looks at him for a moment through the lens, then puts the camera down.)", "Catherine: Hey, relax, Nick. All I'm saying is you're human.", "Nick: Hey, man, my mom and dad are human, and ...", "Catherine: There's one thing you learn on this job is that human beings are capable of anything.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(AMY YOUNG walks over to the printer. WARRICK stands off by the doorway.)", "Amy Young: A smudge of dirty tire on a ratty piece of paper?", "(AMY YOUNG picks up the test results and looks at it. WARRICK walks into the lab.)", "Warrick: I know, I know, it sucks. You couldn't get anything off of it, huh?", "Amy Young: Just because I'm a newbie, doesn't mean I'm not good. Your tire print from the strip mall.", "Warrick: Wow.", "Amy Young: Common to a lot of compacts and subcompacts. But one manufacturer who uses it standard off-the-lot: Honda.", "Warrick: So, that confirms what Sara's eyewitness said. What else you got?", "Amy Young: I've got incidental marks from where the tire ran over something. Left an impression.", "(AMY YOUNG holds out the LUCKY LEE'S CHINESE RESTAURANT flyer and points to the tire impression.)", "(Quick CGI POV to a tire running over a bottle cap. End of CGI POV. Resume to present.)", "Amy Young: All you have to do is find the tire attached to the vehicle your shooter was driving.", "Warrick: Thanks.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(Microscope view of the bullet.)", "Bobby Dawson: Okay, now. Look at the bullet from your vic's thigh. Five lands and grooves on it. That would be a colt. .38 caliber.", "Sara: According to Vega the vic owns a colt.", "Bobby Dawson: And?", "Sara: And ... since he mysteriously got shot in the leg instead of a vital organ I'm thinking I should go visit him.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(ROBBINS pulls out the body from storage.)", "Robbins: Mona Taylor didn't die from the beatings but cause of death was equally as slow: Asphyxia. You look like you expected it.", "Grissom: I considered it.", "Robbins: Well, there's something else. She had some odd scaring in the inside of her nose. Some small red circle.", "(Quick CGI POV from the exterior to MONA TAYLOR'S nose to the red circle inside her nose. Resume to present.)", "Robbins: She worked in a s*x club, it could be caused by anything.", "Grissom: Like a straw?", "Robbins: Maybe I lack imagination but why would you need a straw at a s*x club?", "Grissom: Well, it's not a s*x club, actually. It's a fetish club.", "Robbins: There's a difference?", "Grissom: Like a straw is not used for sipping mint juleps.", "Robbins: Cocaine?", "Grissom: Air.", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - BACK ROOM]", "(LADY HEATHER leads CATHERINE to the sink with apparatus in them.)", "Lady Heather: Anything from last night would be in here. Masks, the usual accouterment.", "Catherine: We don't technically have a warrant.", "Lady Heather: Not necessary. I want to help.", "(LADY HEATHER moves to the back. CATHERINE puts her things down by the sink. CATHERINE glances back at LADY HEATHER who happens to look up and see CATHERINE'S glance. CATHERINE turns back around and opens her kit. She pulls out a pair of latex gloves.)", "Lady Heather: Go ahead, ask. \"How can I do this for a living?\"", "Catherine: Oh, that's not what I was thinking. How much does this place clear a week?", "Lady Heather: Ten grand.", "(CATHERINE turns around and looks at LADY HEATHER. She hardly believes that one.)", "Catherine: I'm not with the IRS.", "(LADY HEATHER smiles.)", "Lady Heather: Okay, twenty.", "Catherine: I don't make that in three months.", "Lady Heather: s*x pays a lot better than death.", "Catherine: Plus, the outfits are cooler.", "LADY HEATHERWell, I have this genius tailor. Worked at the Desert Inn back in the day. I let him come in weekends and play human ashtray. He designs for me and my girls. It's a fair trade.", "Catherine: You got a good thing going here. And the best part is that these guys think getting slapped around and getting humiliated is their fantasy.", "Lady Heather: It's like I always tell my daughter ...", "Catherine: You got a daughter?", "Lady Heather: (smiles proudly) Eighteen this month; freshman at Harvard.", "Catherine: Really? Mine's seven.", "Lady Heather: Oh, that's a great age.", "Catherine: Yeah.", "Lady Heather: When I thought Zoe was ready to hear it, I told her, \"Honey, there are a lot of things you can give a man -- your body, your time, even your heart. But the one thing you can never, ever, ever let go of is your power.\"", "Catherine: All my mother ever said to me was \"Cash up front.\"", "Lady Heather: Don't take this the wrong way, but I think you've got everything it takes to make a great Dominatrix.", "Catherine: I take that as a compliment.", "Lady Heather: Well, you should. It's just about knowing yourself, being strong and not taking any crap from powerful jerks who are used to giving it all day long.", "Catherine: Well, death is still a man's business and I don't have to tell you about police work.", "Lady Heather: So, how do you survive?", "Catherine: By knowing myself and working hard ... and by not taking any crap from powerful jerks who are used to giving it all day long.", "(LADY HEATHER smiles and nods her head.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Catherine: These are the masks and straws I took out of the sink at Lady Heather's.", "Greg: None of which have been washed.", "Grissom: Mona was a Dominatrix at the fetish club. But my guess is that she was a switch for her off-the-books clients.", "(GREG chuckles.)", "Greg: You know what a \"switch\" is?", "Grissom: Someone who's dominant as well as submissive.", "(GREG is thoroughly impressed. He turns to CATHERINE.)", "Greg: Oh, he's even got the lingo down.", "(CATHERINE nods her head. He imitates cracking a whip. GRISSOM doesn't crack a smile.)", "Grissom: If Mona's DNA is in one of these masks, then she was the submissive on the night she died.", "Greg: You're so dialed into this case, I'll bet you don't need me to tell you which mask had her DNA.", "Grissom: Yes, I do, Greg. I also need to know which straw she used.", "(GREG turns around. GRISSOM looks at CATHERINE. CATHERINE shrugs. GREG turns back around with two sharpie pens in his nose. One red and one blue. GRISSOM still doesn't crack a smile.)", "Catherine: Oh, nice. Mmm. Yeah, that's the idea, Greg. Two straws per mask.", "(Quick flashback to the leather mask being put on. Someone zipping it down with the two straws attached. Resume to present.)", "Greg: You can't get any air through pens.", "Catherine: And not much more through straws.", "Grissom: And even less if someone's fingers are on the other end.", "(Quick flashback to someone blocking the ends of the two straws and the person inside struggling to breathe. Resume to present.)", "Greg: I found the victim's DNA on this mask and ... these two straws. Red mark: Victim; blue mark :...", "Grissom: Our killer. Now we just need a suspect.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE is making a mold impression of the latex that NICK found in the trash can.)", "Grissom: You got the yin. I've got the yang.", "(GRISSOM pulls out the mold he made from the deceased's wrist. He tapes it to the table top.)", "Catherine: Actually, I've got the yang and you've got the yin. This is as far as our watch will go. So that's on her wrist. No air bubbles. Good job.", "Grissom: Thank you. Now we'll see how yours turns out.", "Catherine: Hm-mmm. That's from the trash can.", "(CATHERINE lifts up the mold and looks at it.)", "Catherine: Wow. Looks like there's a few carats around that bezel. And the band. Major bucks.", "(CATHERINE tapes her impression next to GRISSOM'S mold.)", "Catherine: Oh, and, uh, computer graphics system keyed up the video system. Just hit it.", "(GRISSOM hits the keyboard and the two sides are scanned into the computer system.)", "Catherine: Yin and yang. Top and bottom. It's definitely not a man's watch, but unique.", "(GRISSOM hits more keys and the two sides are combined into one very expensive looking watch on the monitor.)", "Grissom: You know any fine jewelers?", "[SCENE_BREAK]", "[INT. HOSPITAL - SANTEE CHERNA'S ROOM -- DAY]", "(SARA and DET. SAM VEGA walk into the hospital room. It's 3:28 in the afternoon.)", "Santee Cherna: You have my pants? You know, I wake up, I look around I can't find my damn pants.", "Sara: You cant' wear them out of here, so what? You want them as a souvenir?", "Santee Cherna: I want my stuff.", "Det. Sam Vega: Why don't we start talking about your pistol.", "Santee Cherna: I have one gun.", "Det. Sam Vega: It wouldn't happen to be a colt.", "Santee Cherna: It's on a shelf behind the cash register.", "(CARLA DELGADO walks in with her husband, HECTOR, carrying get well flowers and balloons.)", "Carla Delgado: Ay, mi hermano. I was so worried about you.", "Hector Delgado: Yo, papi, huh?", "Santee Cherna: Hey, don't worry. Doctor said everything was going to be okay.", "[SCENE_BREAK]", "[EXT. NELSON'S RESIDENCE - DAY]", "(CAMERON NELSON is standing in front of the door carrying his son, Dylan.)", "Cameron Nelson: Burglary? In this neighborhood?", "Catherine: Well, are you missing any personal property? Jewelry? Small valuables? A watch, perhaps?", "Cameron Nelson: No. My wife, didn't mention anything either.", "(CAMERON NELSON notices the smell.)", "Cameron Nelson: Again? Look, I'm sorry. I have to go change Dylan.", "Catherine: Before you do, Mr. Nelson, in the last year, did you buy a diamond watch at Maarten's jewelers at the forum shops?", "Cameron Nelson: Yeah, in my spare time between the grocery store and the park and baby jamboree. No, no, this ... this is my life. Sorry.", "Grissom: Thanks for your help.", "(CAMERON NELSON leaves.)", "Catherine: Why do men always make everything look so tough?", "(GRISSOM shrugs.)", "Grissom: If the dad didn't buy the watch then the mom did. Brass has the credit card receipt.", "Catherine: A $20,000 watch and he didn't discuss it? He's lying.", "(GRISSOM and CATHERINE leave.)", "[SCENE_BREAK]", "[INT. EILENE NELSON'S OFFICE -- DAY]", "Eilene Nelson: I thought my husband answered all your questions.", "Catherine: He tried.", "Grissom: Gustav Stickley. Very nice furniture. No pictures of your family though.", "Eilene Nelson: I know what they look like.", "Grissom: Most people keep pictures of their loved ones in their office.", "Eilene Nelson: Well, I would hope that I'm not like most people. Is there a point to this?", "Catherine: Did you order a $20,000 custom made watch from a jeweler at the Forum shops?", "Eilene Nelson: I did. Is there a problem?", "Catherine: No. We'd just like to see it.", "Eilene Nelson: Do you have a warrant?", "Grissom: Do we need one?", "Eilene Nelson: The truth is I lost it on a business trip. I'm waiting to find out from the hotel if they found it.", "Catherine: Is that the trip you look to L.A. with your boss, Ronald? Let me refresh your memory. You shared a suite. Very cost-effective. What'd you save there, two-three hundred dollars?", "Eilene Nelson: I'm a corporate litigator. It's going to take a lot more than that to rattle my cage.", "Grissom: Okay. How about this? Are you familiar with the gal who calls herself Lady Heather?", "Eilene Nelson: No.", "Grissom: Well, one of the girls who works for Lady Heather was found dead with an imprint of your watch on her wrist. That's why we'd like a sample of your DNA.", "Eilene Nelson: That's a big leap. Lost watch to a DNA request. I think we're done here.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Sara: What do you know about the money bag?", "Amy Young: Clean cut, quick way in.", "Warrick: Can you tell us anything about the tool that may have been used?", "Amy Young: BFK.", "Sara: Big knife. Great. Tell us something we don't know.", "Amy Young: I found materials on the cut.", "Sara: Nice.", "(SARA looks into the scope.)", "Sara: It's gotta be transfers from the knife. Red fibers. All uniform length.", "Amy Young: The refractive index of the fibers is 1.544. It's a synthetic. Fiberglass.", "Warrick: Like the insulation in my attic.", "Amy Young: Close. But those amber beads are catalysts. Resin-- which causes the fiberglass to harden once its poured into a mold?", "Sara: A mold? To make what?", "[SCENE_BREAK]", "[EXT. FIBERGLASS MANUFACTURERS - DAY]", "Warrick: Hey.", "Det. Sam Vega: There's three fiberglass manufacturers here in Vegas. This is the largest one for prefab baths and showers. Twenty-four employees.", "Sara: Everybody in the bath business uses isophthalic resin because it's got the highest water resistance. Downside is the stuff gets everywhere. Hair, clothes, skin ...", "(Over behind SARA, WARRICK notices a familiar face and calls the others' attention to it.)", "Warrick: Hey.", "(SARA turns around to see HECTOR DELGADO working some distance away from them.)", "Warrick: Small world, huh?", "(The group walks over to HECTOR DELGADO.)", "Warrick: Hey, that's ironic, Hector. We're investigating your brother-in-law's shooting and look where we end up.", "Sara: We found traces of fiberglass and resin in Santee's money bag.", "Hector Delgado: So?", "Sara: So, how many knives in Vegas come into contact with both those materials?", "(DET. SAM VEGA notices the knife hanging from HECTOR DELGADO'S waist.)", "Det. Sam Vega: Dame la navaja.", "(HECTOR DELGADO hands the knife to DET. SAM VEGA.)", "Sara: Thanks.", "(DET. SAM VEGA hands the knife to SARA. SARA checks it.)", "Hector Delgado: Hey, could be anybody's knife.", "Warrick: We also have a tire print.", "(The group walks out to the parking lot.)", "Hector Delgado: See? You got the wrong car.", "Sara: We never said what model we were looking for.", "Warrick: We're looking for a Honda, Hector.", "Det. Sam Vega: Do you have one? Because we can check your house. We can check your neighborhood. Why don't we just start right here in this parking lot?", "(HECTOR DELGADO pushes DET. SAM VEGA aside and makes a run for it. WARRICK takes off after him. HECTOR runs and tries to get away, but WARRICK is just as fast. HECTOR DELGADO runs straight into the wire fence blocking his path and tries to climb it, but WARRICK catches up to him and grabs him.)", "Warrick: You know it don't look good when you run, man. You want to tell us who that Honda belongs to?", "Hector Delgado: I don't know. Okay, okay! It's a friend of mine. He told me nobody would get hurt.", "Warrick: I guess that makes everything okay.", "[SCENE_BREAK]", "[EXT. NELSONS RESIDENCE -- DAY]", "(EILENE NELSON opens the door.)", "Eilene Nelson: You again. I thought you people would've gotten the message.", "Grissom: We did. We also got a warrant.", "(GRISSOM hands the warrant to EILENE NELSON. She reads it and starts to laugh.)", "Eilene Nelson: Is this some kind of joke? This is limited to my watch box.", "Catherine: Sometimes, that's all it takes.", "(In the background, DYLAN NELSON cries. CAMERON NELSON appears behind EILENE.)", "Cameron Nelson: Eilene, honey? Everything okay?", "Eilene Nelson: Cameron, go see what Dylan needs.", "(CAMERON leaves. EILENE turns to GRISSOM and CATHERINE.)", "Eilene Nelson: I think my watch box is in my glove compartment.", "Grissom: Is the watch in the box?", "(Cut to CATHERINE inside the car. She is opening the glove compartment. She takes out the watch box. She opens it and ands it to GRISSOM where finds a small piece of liquid latex stuck in the crease of the box. He holds the piece up so that CATHERINE can see it.)", "Catherine: Latex. Like Hansel and Gretel, we just followed the bread crumbs all the way home.", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION -- DAY]", "(LADY HEATHER enters her room carrying a tea pot. She walks over to the table set for tea. She pours the tea and puts the tea pot on the table. GRISSOM is standing off to the side. He turns around when she walks in.)", "Grissom: Afternoon tea. How nice.", "Lady Heather: I like a bit of civility before dark ... when all the needy little boys show up.", "Grissom: Well, I'm a little needy myself today. My lab pulled skin cells from Mona Taylor's straws.", "Lady Heather: A DNA sample? I have several clients in law enforcement. X-X or X-Y?", "Grissom: They're male.", "(GRISSOM shows LADY HEATHER a photograph he brought with him. It's of CAMERON and EILENE NELSON at a formal function. Both are speaking with a man.)", "Grissom: Have you ever seen either of these two people?", "Lady Heather: Not the wife, but I have seen the husband.", "Grissom: I didn't say they were married.", "Lady Heather: It's obvious. Look at the way he's clenching her hand with both of his and leaning toward her. And see how she's twisting away presenting herself to the wealthy alpha male? She's insensitive; he insecure. That's a setup for matrimony, not passion. She wants the dominant male to choose her so she can stop being dominant.", "Grissom: You're very good. You could work for me.", "Lady Heather: You want to be my boss?", "Grissom: You never know. We both might learn something.", "Lady Heather: Oh, I'm sure of that.", "(They both sit down at the table.)", "Lady Heather: I can read anyone who walks through this door and know their desires. Sometimes even before they do. Why do you think I selected china and table linens?", "Grissom: You like fine things.", "Lady Heather: Or maybe I knew you'd like them. Same way I know you enjoy most of the superficial trappings of civilization.", "Grissom: I'm that obvious, huh?", "Lady Heather: Only because you try not to be. You spend your life uncovering what goes beneath the surface of civility and acceptable behavior. So it's a release for you to indulge in something like high tea when it seems, if only for a moment, the world really is civilized.", "(GRISSOM doesn't respond.)", "Lady Heather: The most telling thing about anyone is what scares them. And I know what you fear more than anything, Mr. Grissom.", "Grissom: Which is?", "Lady Heather: Being known. You can't accept that I might know what you really desire, because that would mean that I know you. Something, for whatever reason, you spend your entire life making sure no one else does.", "Grissom: Lady Heather, you're an anthropologist.", "Lady Heather: More tea?", "(LADY HEATHER picks up the tea pot and refreshes GRISSOM'S cup of tea.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "Hector Delgado: But, see, I could give the money back. But my wife doesn't even know it. If, I like, give the money back to her brother I could go home, right? Right?!", "Det. Sam Vega: Tell us how it happened-- then we'll talk about the future.", "Hector Delgado: When I picked Carla up from work on Wednesday, I doubled back and I lifted the piece that Santee keeps by the register. I figured I'd return it Friday. Nobody would know.", "Sara: Pretty smart, Hector.", "Hector Delgado: I couldn't use my car, 'cause Santee knew my car, so I hit up on a buddy.", "(Quick flashback to a red Honda stopping and a masked man jumping out to attack SANTEE CHERNA. The masked man holds a gun to SANTEE CHERNA. SANTEE CHERNA hits the man.)", "Santee Cherna: No ... ow!", "(The man falls to the ground and fires the weapon at SANTEE CHERNA. He drops the money bag. The masked man picks it up and runs. End of flashback. Resume to present.)", "Hector Delgado: Look, it's not like they're out of anything. They're insured. For the money and his health. Nobody loses.", "(SARA looks at WARRICK. WARRICK looks over at HECTOR DELGADO.)", "Hector Delgado: (hopeful) So can I go now?", "[SCENE_BREAK]", "[INT. CHERNA CHECK CASHING - DAY]", "Carla Delgado: Hector's my husband, but I hope you keep him in jail a long time.", "Santee Cherna: He's not going anywhere, right? You commit a crime, you pay the price.", "Warrick: You got that right.", "Sara: Oh, by the way we found the $5,000 you skimmed from this business in your jeans pocket.", "Carla Delgado: What?", "(Quick flashback to WARRICK taking the jeans out of the evidence paper bag. He finds a wallet, some keys and a wad of cash. End of flashback. Resume to present.)", "Carla Delgado: You self-righteous b*st*rd. You stand there and bad-mouth my husband while you're robbing me behind my back?", "Santee Cherna: I was just borrowing it, I swear.", "(CARLA DELGADO takes a step back and looks at DET. VEGA.)", "Carla Delgado: You going to arrest his ass?", "Sara: Yeah.", "[SCENE_BREAK]", "[EXT. PARKING LOT -- DAY]", "(GRISSOM and CATHERINE go through the NELSON'S car. CATHERINE finds a coat jacket with sand on it. They look at each other.)", "(EILENE NELSON drives up in her convertible.)", "Cameron Nelson: They had a warrant. I didn't want to bother you at work.", "Eilene Nelson: This qualifies as a harassment suit.", "Catherine: Too late.", "Grissom: \"Grains of golden sand.\"", "Eilene Nelson: What?", "Grissom: Edgar Allan Poe. Another man who was familiar with murder.", "Catherine: Played in any sandboxes lately Mr. Nelson?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]", "Eilene Nelson: As my husband's attorney, I'm advising him not to speak with you.", "Cameron Nelson: Eilene ...", "Eilene Nelson: Shut up, Cameron. I'll handle this.", "Cameron Nelson: No. No, I will not shut up. You know, I didn't ask you to be my attorney. You're just doing this to look out for yourself.", "Eilene Nelson: I'm looking out for our family. I'm the only one who's qualified.", "Cameron Nelson: Really? And how exactly is sleeping with Ronald looking after your family?", "Eilene Nelson: Cameron ...", "Cameron Nelson: Cameron ... what? What? You never gave a damn about me. And our child ... our child is just some yuppie pet designed to make you look better at the firm. Which happens to be the only family you probably really care about.", "Catherine: Mr. Nelson, you're very emotional right now. Why don't you just take a moment collect yourself. Let me get you a glass of water.", "(CATHERINE stands up. She pauses by the door.)", "Eilene Nelson: No! No water, no gum, no anything. If you think you can trick him into giving you some DNA, you're mistaken.", "(CATHERINE looks over at GRISSOM. GRISSOM stands and pulls out an evidence bag from the file he's holding. He holds it out to EILENE NELSON.)", "Grissom: Liquid latex.", "(GRISSOM puts the bag on the table.)", "Eilene Nelson: What is that supposed to mean?", "Grissom: Your husband made Mona Taylor wear it every time that he paid to humiliate her.", "Eilene Nelson: Why would he do that?", "Catherine: Psychologically, she was a surrogate. In fetish club terms, she was a slave. Cameron would put a mask on her face and cover her body in liquid latex.", "(Quick flashback to MONA TAYLOR in chains and in the mask. CAMERON NELSON puts the watch on MONA TAYLOR'S bare wrist. Flash to white.)", "(CAMERON NELSON painting liquid latex on MONA TAYLOR'S wrist. End of flashback. Resume to present.)", "Grissom: He made her into nothing in order to make her into you.", "Eilene Nelson: My watch.", "Grissom: I guess that made it more real.", "Catherine: Cameron couldn't dominate you, so he dominated Mona. Only his last appointment, he got carried away.", "(Quick flashback to CAMERON NELSON striking MONA TAYLOR and yelling at her.)", "Cameron Nelson: Corporate bitch! You still think you're too good to touch your own husband? How about I make you beg for air? Huh? How about I make you ... beg for it?!", "(Cut to CAMERON NELSON holding the end of the nose straws. MONA TAYLOR is struggling and screaming.)", "Cameron Nelson: Are you begging for it? Huh? I can't hear you, Eilene.", "(MONA TAYLOR struggles and screams. She goes lax. CAMERON NELSON releases the straws. End of flashback. Resume to present.)", "Cameron Nelson: I had to pay some girl to pretend to be my wife.", "Eilene Nelson: Cameron, be quiet! If this is all you have, I am ... happy to go to trial.", "Grissom: Mrs. Nelson, we're going to match Cameron's epithelials to the ones on the end of the straw.", "Cameron Nelson: Wait, wait, wait. Epithelials -- that's like ... that's like DNA, right? That's DNA?", "(CAMERON NELSON turns to his wife.)", "Cameron Nelson: Okay, I got an idea. Why don't we test little Dylan's epithelials? Huh? See if his daddy isn't really your law partner. 'Cause, god knows, you haven't let me touch you in three years.", "(CAMERON NELSON stands up.)", "Cameron Nelson: I'm out of here.", "Eilene Nelson: Where are you going?", "Cameron Nelson: Away from you. Other than that, I really don't care.", "(CAMERON NELSON leaves the room escorted by an officer.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY]", "(CATHERINE and GRISSOM turns the corner and walk through the hallway.)", "Catherine: I just realized that you and I have a very healthy relationship.", "Grissom: We do?", "Catherine: Well, when we have a problem, I don't paint Greg Sanders in latex and stick a straw up his nose.", "Grissom: Good. He'd probably like it.", "(CATHERINE puts and arm on GRISSOM'S shoulder, stopping him.)", "Catherine: Gil ... you're supposed to say something revealing back to me.", "Grissom: Okay. I never told anybody this, Catherine ..." ]

[ "Grissom and his team investigate a casino heist during which innocent victims were shot, while Catherine and Sara are called to the scene of a murder in a remote part of the desert. The evidence found at both crime scenes -- the crowded local casino and the isolated desert convenience store where a clerk was murdered -- has the CSI team drawing a correlation between the two crimes." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY - FIREWORKS (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[INT. CASINO (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CASINO - NIGHT]", "(The camera gives us various shots inside the casino - of the gaming tables, of the people at the slots, of the craps table.)", "Craps Player: Five! Baby, go!", "Craps Player: Seven. Whoo!", "(A player puts a bill flat on the table and slides it over to the DEALER. The DEALER looks over at the manager who is standing nearby. She calls out to him.)", "Dealer: Changing $100.", "(The Manager, MAX DUNCAN, gives his approval.)", "Max Duncan: Change $100, go ahead.", "(The DEALER puts the hundred in the table slot. The MANAGER stands off to the side watching the casino proceedings.)", "(A SECURITY OFFICER pushes the cashbox equipment to the table. They remove the table's cash box and puts it on the metal rack. A cash box is removed and put under the DEALER'S table. The SECURITY OFFICER looks up at the surveillance camera, raises his hand and signals.)", "[SCENE_BREAK]", "(Camera POV of the SECURITY OFFICER signaling to the camera.)", "Security: Section G-3 all clear. On route to H-4. And then soft count.", "(Cut to: Camera view of the entrance stairs into the casino area.)", "[SCENE_BREAK]", "(Three women walk into the casino: One blonde, One brunette, and One red-head. The blonde stops near the entrance. The brunette and red-head continue on into the casino.)", "(The SECURITY OFFICERS continue to push the metal cart full of cash boxes through the casino.)", "(The blonde woman pulls out a gun and shoots at the huge chandelier hanging from the ceiling, hitting it and making it crash to the floor below.)", "(Customers start screaming and scrambling for cover.)", "(The brunette and the red-headed woman both pull out their guns and start to fire. They both manage to hit the two SECURITY OFFICERS.)", "(The two women continue to the metal cart with the cash boxes. They start to put the cash boxes into a bag. The woman at the entrance continues to watch their escape route.)", "(Another SECURITY OFFICER rushes down the entrance stairs. The red-haired woman shoots and hits the SECURITY OFFICER.)", "[SCENE_BREAK]", "(In the security camera office, SECURITY OFFICERS call for additional help as all hell breaks loose on the multiple monitors in front of them.)", "Security: Section G-4. SECURITY: Security three intersect at G-5. SECURITY: Where the hell is metro?!", "[SCENE_BREAK]", "(The three women have their cash boxes and start to leave. The gunfire increases exponentially as they make their way to the exit. Additional SECURITY OFFICERS start to fire from behind the bar.)", "(The red-headed woman gets shot and falls to the ground. The other two escape.)", "[SCENE_BREAK]", "[INT. HOTEL CASINO -- NIGHT]", "(GRISSOM and BRASS walk down the entrance stairs into the casino. GRISSOM carries his kit while BRASS fills him in.)", "Grissom: And the body count?", "Brass: Five guards, three civilians wounded. One dead bad guy. Armed robbers snatched the lock boxes from the two high-stakes tables right off the rolling cage.", "Grissom: Cash on wheels.", "Brass: Busiest time of night. Three women-organized and muscled.", "Grissom: Small time crooks, Jim.", "Brass: Hey, they got away with 250K.", "Grissom: Yeah? That's a mere pittance to a Vegas casino. Cashiers alone are sitting on a million and change.", "(They reach the red-haired woman.)", "Brass: Small time or not these ladies are dangerous.", "(GRISSOM glances down a the body. He puts his kit down and kneels down next to the body. The looks up at BRASS.)", "Grissom: Dangerous, yes. Ladies ...", "(GRISSOM reaches over and pulls the red-haired wig off of the \"woman\". He holds it up to BRASS and shakes his head.)", "Grissom: ... no.", "(BRASS shrugs.)", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT CASINO - NIGHT]", "(The wounded are being tended to. WARRICK and NICK go through the scene. WARRICK is kneeling on the floor looking through a small instrument measuring the base of a discarded bullet.)", "Warrick: These guys packed enough .45 caliber ammo for a small army.", "(NICK picks up a bullet from the floor near marker #6.)", "Nick: Security managed to return a few rounds. Nine millimeter.", "Warrick: Less than a year ago security couldn't even carry guns.", "Nick: Times have changed.", "Warrick: Yeah.", "[SCENE_BREAK]", "(BRASS and GRISSOM talk in the casino.)", "Brass: The same M.O. as Laughlin. Last month, cottage casino, men dressed as women shot the place to hell. In and out in under five.", "Grissom: My bet was that that was the practice run.", "Brass: And the more you practice ...", "(BRASS and GRISSOM walk up to MAX DUNCAN talking with an OFFICER. They overhear part of what he says.)", "Max Duncan: I don't know what the hell's going on with the world. Everything's crazy. I risk my life just coming into work. Makes you miss the mob days, huh? Back then, this never would've happened. And if it did, those scumbags, they'd be dead, every last one of them and we would never know about it.", "Brass: Mr ... Mr. Duncan -- take a deep breath and tell us what happened.", "Max Duncan: We'd just made a money transfer to the rolling cages. Then, bang-- the chandelier comes crashing down. Sounded like an explosion. So I dropped to my knees-- I took cover.", "Brass: Anything else?", "Max Duncan: Yeah, I started praying for the gunfire to stop.", "Brass: Okay. Thanks a lot. And check in with triage before you leave.", "(MAX DUNCAN leaves.)", "Brass: Well, that was helpful.", "Grissom: (looking at the chandelier) Actually, it was. Gives us a starting point.", "(Quick flashback to: The chandelier flares and starts to fall from the ceiling. People run for cover. The \"woman\" in red pulls out her gun and shoots the guards.)", "Grissom: (V.O.) The falling chandelier distracts the guards. Makes them easy targets.", "(End of flashback. Resume to present.)", "Grissom: The armed robbers load up, head for the exits.", "Brass: Quick escape.", "Grissom: Chaos moving in one direction, the money moving in the other.", "[SCENE_BREAK]", "[EXT. ROADWAY - NIGHT]", "[SCENE_BREAK]", "[INT. CAR - NIGHT]", "(CATHERINE and SARA drive to the crime scene.)", "Catherine: Can you imagine living out here?", "Sara: It's peaceful.", "Catherine: Peaceful? The town just lost five percent of its population.", "Sara: I thought you said this was a single homicide.", "Catherine: Yeah, in a population of 20.", "(SARA smiles. The car turns into the parking lot.)", "Sara: We made it. State trooper.", "(CATHERINE parks the car. They get out of the car.)", "Officer Spencer: Two hours to drive 75 miles. You guys got lost.", "Catherine: What's the rush? Crime scene's not going anywhere.", "Officer Spencer: Yeah, but I am. Body's behind the counter. Dustin Bale -- store clerk. Bullet through the chest. The register's empty.", "Sara: Officer Spencer, did you touch anything?", "Officer Spencer: Fourteen years as a state trooper. I know how to secure a crime scene without contaminating the evidence.", "Sara: Sorry.", "Officer Spencer: It's okay. Look, I cover 97.5 square miles. I got to book.", "(CATHERINE and SARA head for the store.)", "[SCENE_BREAK]", "[INT. GENERAL STORE - NIGHT -- CONTINUOUS]", "(They enter the store and look around. The sign in the door says \"Closed\". They put their kits down and look at the stuff on the floor.)", "Sara: Vomit?", "(CATHERINE picks up a sample and smells it. She shakes her head.)", "Catherine: Not an expectorate. Potato. Blown to smithereens.", "(SARA thinks about it.)", "Sara: A poor man's silencer.", "(Quick CGI POV to: A side view of a gun firing through a potato and the potato shattering into bits. End of CGI POV.)", "Catherine: Now, why would an assailant need silencer way out here?", "(SARA stands up and picks up a potato from the stand. She goes behind the counter. She sees the body on the floor. She steps over the body and checks the cash register slip.)", "Sara: Last paying customer -- eight hours ago.", "Catherine: We just got the call. The place is open 24 seven. Why'd it take so long?", "(Quick flashback to: A person leaving the store and turning the sign in the door over.)", "Sara: (V.O.) The assailant flipped the sign on the way out, buying him time to get away.", "(End of flashback. Resume to present.)", "(CATHERINE looks up and sees the security camera high in the ceiling.)", "Catherine: But now without getting his picture taken first.", "(SARA steps up and checks the camera.)", "Sara: It's plastic.", "Catherine: You're joking.", "Sara: Nine volt attached to a blinking light.", "Catherine: Real or fake, it didn't work.", "[SCENE_BREAK]", "[INT. CASINO -- NIGHT]", "(BRASS takes notes as he interviews a FRATERNITY GUY.)", "Fraternity Guy: There was three of them. (pointing) They come from around the corner, guns drawn ...", "(Quick flashback to: The three women walk into the casino. They raise their weapons. End of flashback. Resume to present.)", "Cocktail Waitress: I think they came from over there. (indicates side) There were two of them.", "(Quick flashback to: The two \"women\" in wigs walk through the casino. End of flashback. Resume to present.)", "Elderly Woman: I said four.", "Brass: Right.", "Elderly Woman: There were four of those lunatics. They were everywhere.", "Brass: Right.", "Elderly Woman: (insistent) Write it down.", "Brass: I got it. Thank you very much. Excuse me.", "(BRASS walks away from the ELDERLY WOMAN. GRISSOM walks up to BRASS.)", "Brass: (clears throat) I've interviewed 17 people. No two accounts are alike.", "(He puts his notebook away.)", "Grissom: A Harvard Professor conducted an experiment. Asked a bunch of students to watch a basketball game -- count the number of times the ball was passed.", "Brass: Yeah, groundbreaking.", "Grissom: During the game a person dressed in a gorilla suit ran across the court. Afterwards, the professor asked his students if they noticed the gorilla. Fifty percent responded, \"What gorilla?\"", "Brass: That's wonderful, Gil. If I see a gorilla, I'll arrest it.", "[SCENE_BREAK]", "[EXT. CASINO -- NIGHT]", "Valet: The car was sitting right here.", "Nick: Did you get a good look at it? Make, model?", "Valet: No. It was beige, beat up. Hazards flashing. People leave their cars here all the time. I wait ten minutes then call for a tow.", "Nick: Car peel out?", "Valet: No. The driver gunned it but I didn't hear a screech.", "(NICK looks at the small oil spill on the ground. He smells it.)", "Nick: Smells like burnt wood.", "Valet: Motor oil?", "Nick: No. No, transmission fluid. But it's brown, not red.", "Valet: Which means?", "Nick: (shakes his head) It's not the right color.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(ROBBINS removes the bullet from the body. GRISSOM walks into the room.)", "Grissom: Extraction is an art, Albert.", "Robbins: I like to think so. So this is our cross-dresser in thee ? I.D.'d as Adam Brower, shot in the back with a hollow point -- close range. Mushroomed upon impact maximizing trauma.", "(Quick CGI POV to: The bullet enters the flesh and opens up. End of CGI POV. Resume to present.)", "Grissom: Caliber?", "Robbins: Forty-five.", "(He puts the bullet in the tin.)", "Grissom: The guards were armed with nine millimeters and they weren't hollow point. So ... he was shot in the back by one of his own partners?", "Robbins: Someone didn't want to share.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. GENERAL STORE -- NIGHT]", "(CATHERINE prints the \"Closed\" sign. SARA watches her from behind as she clears the counter.)", "Sara: Wow. A fumette. Did you get that out of some museum?", "Catherine: Hey, don't knock it. It's still the best tool for lifting prints off cardboard.", "(The sign shows many prints.)", "Catherine: (quietly) Blow and print.", "(SARA finishes clearing the counter and kneels down to look at it closely.)", "Sara: If you were in a hurry how would you get back there?", "Catherine: Easy. Jump the counter.", "Sara: Exactly what I'm thinking.", "(SARA pulls out a machine and checks the counter.)", "(Quick CGI POV to: Top view of the thin film placed on the counter. Camera moves downward under the film to show the prints adhering to the film. End of CGI POV. Resume to present.)", "Sara: Shoe prints.", "Catherine: Lay it out.", "Sara: Suspect entered ...", "(Quick flashback to: Person walks into the store. Picks up a potato. The clerk turns around. The gun fires. The clerk falls to the ground. The person hops over the counter, takes the cash from the register and leaves.)", "Sara: (V.O.) ... shoots the clerk through the potato... then hops up and over, leaving behind shoe prints ... grabs the cash ... flips the sign from \"open\" to \"closed\" and exits.", "(End of flashback. Resume to present.)", "Catherine: How old is the killer?", "Sara: (shakes her head) What are you thinking?", "Catherine: Shoe size is five, six tops.", "Sara: We may be looking for a minor.", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(GRISSOM walks into the lab and joins WARRICK in front of the monitor.)", "Grissom: You want to see me?", "Warrick: Yeah.", "Grissom: This is the video surveillance from that heist. This camera was trained on their entrance.", "(On the monitor, the three \"ladies\" walk into the casino. The blond stays by the stairs, the Red and Blue walk into the casino.)", "Grissom: All the disguises in the world and they dress like women.", "Warrick: Ski masks are played out. Red and blue teamed up together and took out the guards and their rolling cage.", "(On the monitor, the Red and the Blue walk across the floor and shoot the guards. The players duck down for cover.)", "Warrick: Black shot down that chandelier.", "Grissom: Well, Blue's the decedent I.D.'d as Adam Brower ... so enlarge red.", "(On the monitor, the frame is on pause and the picture of the woman in Red is enlarged.)", "Warrick: No amount of makeup in the world could cover up that chunk of adam's apple.", "Grissom: That must be the one that killed Brower. .45 in the back at close range.", "(Quick flashback to: The Red shooting the Blue in the back.)", "Warrick: No honor among thieves.", "Grissom: Photoshop black.", "(WARRICK highlights and enlarges a close up of the blonde-haired woman in Black.)", "Warrick: No stubble ... no adam's apple.", "Grissom: Dressed as a woman among men dressed as women. Now, see? That's a disguise.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. GENERAL STORE -- DAY]", "(SARA kneels down next to the counter and dusts the countertop for prints. CATHERINE lingers in the doorway. She finishes printing the glass on the door. She turns around and sees SARA dusting for prints.)", "Catherine: Fluorescent powders?", "Sara: Eh, why not? They're in the kit.", "Catherine: Protocol's black.", "Sara: Since when do you care about my choice of powders?", "(CATHERINE takes off her gloves. She's irritated.)", "Catherine: Assistant coroners is four hours late and we are stuck out here until he transports the body. And I haven't heard from Grissom ...", "Sara: (picks up a power container and looks at it) You know, I've never tried green ...", "Catherine: I should've never been sent to this remote scene in the first place. I've got seniority. I deserve -- no, I've earned the right to pick my cases.", "(Without a word, SARA walks over to the front of the counter and hands CATHERINE a candy bar. CATHERINE opens it.)", "Catherine: (reasons) If I start eating, I will shut up.", "(SARA walks around the counter and looks at the body.)", "Sara: Do you have a mirror?", "Catherine: Since when do you care about your appearance?", "(CATHERINE takes a bite of the candy bar and starts to chew. SARA'S jaw drops. She stares at CATHERINE. CATHERINE digs into her kit and hands her a mirror.)", "Sara: Crime scene?? It's not for me.", "Catherine: Sorry.", "(SARA kneels down next to the body. CATHERINE stretches to look over the counter.)", "Catherine: We can't touch it.", "Sara: I'm just getting a better look.", "(SARA uses the mirror and looks at the victim on the floor. The door opens. DAVID PHILLIPS walks in.)", "Catherine: Oh, thank god. It's about time.", "David Phillips: Nice to see you, Catherine. Well, I smell the body. Where is he?", "(SARA stands up from behind the counter.)", "Sara: Hey, David. I wasn't touching him.", "David Phillips: (smiling) I know you better than that.", "Catherine: So, uh, what took you so long?", "David Phillips: (simply) I made a wrong turn back at the fork.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG sits in his lab reading a \"Sand and Surf\" magazine. NICK walks in. He looks at the magazine over GREG'S shoulder.)", "Nick: You're a surfer now?", "Greg: Dude, I rip.", "Nick: We're 300 miles from the nearest beach.", "Greg: Surfing's just a state of mind.", "Nick: I got your page. Where's my report?", "Greg: Oh, relax, bro. The gc mass spec's working on it. Should be done, um ...", "(The spectrometer beeps.)", "Greg: ... now.", "(He grabs the results and looks at it.)", "Greg: Transmission fluid.", "(He hands the sheet to NICK.)", "Nick: Yeah, thanks. (reads it) Type \"f\" with dexron.", "Greg: So?", "(NICK grabs the magazine.)", "Nick: So ... you should be reading Car & Driver instead of Sand and Surf. Someone put the wrong type of fluid transmission. See, Ford automobiles use a thick red Type-F transmission fluid. General Motors uses a thinner, yellow fluid with dexron. Now, when dexron's put into a ford it thins that Type-F fluid. Friction builds, gears grind.", "(Quick CGI POV to: Close up of the transmission fluid in a car.)", "Nick: (V.O.) The second gear is usually the first to go. Friction causes the engine to overheat, in turn cooking the transmission fluid turning it brown.", "(End of CGI POV. Resume to present.)", "Nick: Leak on the pavement is the first clue you've got a problem.", "Greg: Congratulations--you're looking for a Ford with a leak.", "Nick: Not just Ford. The getaway vehicle has a stubborn second gear.", "Greg: Which means it can't get very far.", "Nick: My guess is it's already been dumped.", "[SCENE_BREAK]", "[INT. APARTMENT - HALLWAY -- DAY]", "(BRASS and WARRICK make their way to ADAM BROWER'S apartment.)", "Brass: Before Mr. Brower dressed up as a woman and heisted a casino, he was a janitor at an office park off Flamingo. Before that, he was \"out of town.\" Fours years for grand larceny.", "(They stop in front of the apartment door.)", "Warrick: Well, the manager's not in?", "Brass: I got a warrant.", "Warrick: I got a key.", "(WARRICK uses the tool and punches out the door lock.)", "[SCENE_BREAK]", "[INT. ADAM BROWER'S APARTMENT - DAY -- CONTINUOUS]", "(WARRICK and BRASS enter the apartment.)", "Brass: Whoo, tidy little camper, isn't he?", "Warrick: Yeah.", "(WARRICK starts looking around.)", "Brass: What are we looking for?", "Warrick: Anything that links Brower to his co-conspirators.", "(WARRICK puts his kit down and lifts up a pair of jeans.)", "Brass: Dirty laundry?", "Warrick: I'm thinking trace elements in the clothes could tell us where he was before the heist. I'm going to take it all back to the lab.", "Brass: Okay. Let's see ...", "(BRASS opens the closet door. He lifts up a bra.)", "Brass: Well, while you're at it don't forget his wigs and bras.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA scans the shoe print into the computer. She runs a database search on it.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- DAY]", "(SARA walks into the lab. CATHERINE is already there with the Technician.)", "Catherine: Anything on the shoe print?", "Sara: Skechers. Adult size five. Female.", "Catherine: Well, at least, we're not chasing a kid.", "Sara: How's the prints coming?", "Technician: You two lifted 82 suspect prints. 43 are partial.", "Catherine: We ID'd on from the \"open/closed\" sign.", "Sara: Great.", "Catherine: No. Not so great. State trooper.", "Sara: You got to be kidding me. \"Officer Moron\" contaminated the scene.", "Catherine: Yep. Well, I'll just beef him to his captain.", "Technician: Tough. I like that.", "(The computer beeps.)", "Technician: Match. Print off the register.", "Sara: What have you got?", "Catherine: (reading) Tammy Felton.", "Sara: Who's Tammy Felton?", "Catherine: A fugitive and clinical psychopath that Grissom and I put behind bars. She tried to play but I didn't bite.", "[Scenes from 1X17: Face Lift. (Quick flashbacks of TAMMY FELTON with a pleading look on her face, of CATHERINE as she turns around, and of TAMMY between the jail cell bars. End of flashback. Resume to present.)]", "Catherine: Her biological parents posted bail and then she bailed on them.", "Sara: Biological parents?", "Catherine: Tammy was kidnapped as a child. Raised by her kidnapper. When she found out the truth, she killed him. Hey, finish running the prints.", "(CATHERINE stands up and heads out the lab.)", "Catherine: Tammy uses people. She wasn't alone.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY -- CONTINUOUS]", "Catherine: (o.s.) Grissom!", "(GRISSOM turns around and sees CATHERINE walking toward him. He turns around and continues down the hallway. CATHERINE chases after him.)", "Grissom: If you're going to badger me about your crime scene location, put it in a memo.", "Catherine: You don't read memos. Do you remember Tammy Felton?", "Grissom: I always remember the ones that get away.", "Catherine: She's back.", "(GRISSOM stops and turns around. CATHERINE catches up with GRISSOM.)", "Catherine: She's been to Calnevari. She's a prime suspect in our convenience store homicide.", "(GREG enters the end of the hallway and calls out to GRISSOM.)", "Greg: Grissom ... (They turn to look at GREG.) I need you, ASAP. Please.", "(GRISSOM pulls CATHERINE down with him as he follows GREG.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG sits in his chair. On the table in front of him are bullet samples.)", "Greg: So, ballistics sent me a bullet from the casino. It's a .45 so we know it came from one of the \"ladies'\" guns.", "Grissom: And this is a special bullet?", "Greg: No, but there was a foreign substance adhered to it.", "Grissom: And the substance is special?", "Greg: Not exactly.", "Catherine: Just get to the point, Greg.", "Greg: Tomato, to-mah-to, potato...", "Catherine: Wait a second. There was potato on the bullet?", "(GRISSOM turns to look at CATHERINE. He knows she knows something.)", "Greg: You bet. Strange, huh?", "Catherine: There was potato on the bullet because there was potato inside the barrel of the gun.", "Grissom: This bullet is from my investigation.", "Catherine: Right. One of your armed robbers may have used a potato as a silencer prior to the heist.", "(Quick CGI POV to: Close up of the gun firing and the bullet shattering the potato, passing through the potato and some of the potato getting back into the nozzle of the gun. End of CGI POV. Resume to present.)", "Grissom: Tammy Felton?", "Catherine: (shakes her head) Maybe.", "Grissom: Three armed robbers. Adam Brower-- killed at the scene Tammy Felton ... we're still one suspect short.", "(SARA enters the lab. She pulls out the photo sheet from the envelope. She gives it to CATHERINE.)", "Sara: Cath, got another match from the convenience store. The print on the outside doorknob belongs to an ex-con, Darin Hanson.", "(GRISSOM looks at CATHERINE. They both look at each other. SARA recognizes the look.)", "Sara: You know this guy, too?", "Catherine: He ran with Tammy's father, mostly from the law.", "Grissom: So Tammy kills dad ... and she and Darin Hanson run off together.", "[Scenes from 1X17: Face Lift - TAMMY FELTON on the side of the road as a car pulls up to pick her up. DARIN HANSON gets out of the car. They smile at each other.]", "Catherine: A regular Bonnie and Clyde. Just what Vegas needs.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB -- DAY]", "(BOBBY DAWSON goes over the bullet comparisons with GRISSOM and CATHERINE.)", "Grissom: Let me see, Bobby.", "Bobby Dawson: Yeah.", "(BOBBY moves aside so that GRISSOM can look into the scope.)", "Bobby Dawson: Projectile on the left, .45 hollow point courtesy of Adam Brower's back. On the right ...", "(SCOPE VIEW of the two bullets.)", "Bobby Dawson: ... a .45 hollow point extracted from Dustin Bale -- dead clerk at the convenience store.", "Grissom: Bullets confirm the story told by the potato.", "Catherine: Same gun. Two crimes. One case.", "Grissom: Three suspects. Adam Brower, deceased. Tammy Felton, Darin Hanson, still at large.", "(NICK enters the lab.)", "Nick: Hey, guys. I just got a call from Brass. We got a possible getaway vehicle off I-93.", "Catherine: What makes you think it's the right car?", "Nick: It's beige abandoned, '77 mercury cougar. Mercury's a division of Ford. I'll drive.", "[SCENE_BREAK]", "[EXT. OFF I-93 -- DAY]", "(Open on the car in the bushes. BRASS stands off to the side looking at the car in the bushes. On the road, the CSI'S get out of their Tahoe. They approach BRASS. BRASS turns to meet them.)", "Brass: A trucker called it in.", "Grissom: Well, if that's the getaway car there would have been a secondary vehicle parked nearby.", "Nick: Yeah. Check for treads, Jim?", "Brass: Yeah.", "(BRASS turns to join NICK.)", "Grissom: (to CATHERINE) Shall we?", "Catherine: (nods) Let's go.", "(GRISSOM makes his way to the front of the car. He looks inside.)", "(Cut to: NICK and BRASS are topside looking for the second vehicle.)", "Nick: If you were stashing a car, where would you hide it?", "Brass: All these bushes would provide good cover.", "Nick: Oh ... check out that dirt displacement.", "Brass: Yeah. Skid mark; one tire.", "Brass: Where's the other one?", "Nick: (realizes) There isn't one.", "(Quick flashback to a single rider on a motorcycle. The engine revs and it drives off. End of flashback. Resume to present.)", "Nick: Dirt to pavement, then the trail goes cold.", "(Cut to: CATHERINE helps GRISSOM back on top of the hill.)", "Grissom: No damage. This car was barely moving.", "Catherine: It was dumped.", "(A piece of cloth is caught in the trunk hood.)", "Catherine: Detail ... pop the trunk.", "(The MAN pops the trunk open.)", "Catherine: Thanks.", "(They open the trunk and find TAMMY FELTON inside. Eyes wide open and dead.)", "Catherine: It's Tammy.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(ROBBINS examines TAMMY FELTON.)", "Robbins: Contusions on the anterior neck. Streaking erythema on the lateral aspect of zone one. Cartilaginous tracheal rings are crushed.", "(CATHERINE walks in.)", "Catherine: Hey, Doc.", "Robbins: Catherine.", "Catherine: She didn't put up a fight, did she?", "Robbins: How'd you know?", "Catherine: She was killed by the one person in life she trusted.", "(Quick flashbacks to: TAMMY FELTON in her blonde wig kissing DARIN HANSON. TAMMY takes off her wig. She and DARIN stand close to each other. DARIN puts his hands on her shoulders. TAMMY smiles. DARIN'S grip starts to tighten and TAMMY starts gagging. They fall to the ground as he chokes her. End of flashback. Resume to present.)", "Catherine: Darin Hanson stared her in the face and she never saw it coming.", "Robbins: Put his thumbs around her air pipe and pushed.", "(Quick flashback to TAMMY FELTON on the ground and gasping as DARIN HANSON chokes her. End of flashback. Resume to present.)", "Robbins: I swabbed her neck. Affirmative for epithelials.", "(ROBBINS hands the swab box to CATHERINE.)", "Catherine: I'll run them against Darin Hanson's DNA.", "Robbins: Parents called. They're on their way in to I.D.", "Catherine: How did they sound?", "Robbins: Oddly, relieved.", "Catherine: They finally know where she is.", "(CATHERINE sighs.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(NICK walks around the car to stand in front of WARRICK who gets out of the front seat. He holds out his index finger to NICK. NICK looks at it and shakes his head.)", "Nick: I'm not pulling it.", "Warrick: I found similar dust on Adam Brower's dirty clothes. Check it out.", "(NICK uses the magnifying glass and looks at the dust on the tip of WARRICK'S finger. Camera zooms to the magnifying glass view of the dust on the tip of WARRICK'S finger. Camera zooms in further to show a microscope view of the dust crystals.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG looks up from the scope.)", "Greg: Real-life fairy dust.", "Nick: Yeah, it turns grown men into criminals.", "Warrick: What's the composition?", "Greg: S-I ... O-2. Silica dust. Each particle's a hundred times smaller than a grain of sand.", "(GRISSOM walks into the lab.)", "Grissom: I thought you guys were processing the car?", "Warrick: Yeah, um... what do you know about silica?", "Grissom: It's used to make glass. It's mined in open pits. Why?", "Nick: Silica found both on Adam Brower's clothing and the getaway vehicle.", "Grissom: There's an abandoned silica mine outside calnevari.", "Greg: (impressed) What don't you know?", "[SCENE_BREAK]", "[EXT. SILICA MINE]", "(Police cars drive up to the abandoned silica mine. NICK, WARRICK and GRISSOM exit the Tahoe. They start looking around. Officers also start looking around the place.)", "Grissom: Come here.", "(NICK and WARRICK join GRISSOM to see what he found. GRISSOM points. Across the way, a motorcycle is parked next to a shed.)", "Nick: Motorcycle tracks at the vehicle dump site.", "(They make their way toward the shed. On the ground are silica crystals.)", "Nick: Yeah, that smells nice.", "Warrick: Shouldn't smell at all, if this place is abandoned.", "(Behind GRISSOM, NICK and WARRICK both get their guns out. GRISSOM stands in front and looks at the shed.)", "Grissom: Get your guns out.", "(They approach the shed. GRISSOM reaches out and opens the door. Inside is a dead MAN shot in the forehead.)", "Grissom: Say hello to Darin Hanson.", "(WARRICK picks up a shell casing from the ground.)", "Warrick: Shot with a .45. Execution style.", "Nick: Adam, Tammy ... now Darin... all dead.", "Grissom: And ... we're out of suspects.", "[SCENE_BREAK]", "[INT. CSI -- LOUNGE]", "(GRISSOM hands out photographs on the table.)", "Grissom: Three armed robbers hold up the casino. Tammy's in black, Adam was the one in blue and that leaves us Darin.", "Catherine: We found Darin and Tammy's prints at the convenience store. Hours before the heist, gets murdered.", "(Quick flashback to: The clerk turns around and gets shot. End of flashback. Resume to present.)", "Nick: Shot with the same gun used to kill Adam at the casino.", "Grissom: The surveillance video tells us that Darin was the only one in position to shoot Adam.", "(Quick flashback to: The \"Woman\" in Red shooting the \"Woman\" in Blue\". End of flashback. Resume to present.)", "Nick: Why did Darin kill Adam?", "Sara: Greed. Fewer slices. Bigger pieces.", "Catherine: Which explains why he killed Tammy.", "(Quick flashback to: TAMMY FELTON on the ground, gasping and being choked by DARIN HANSON. End of flashback. Resume to present.)", "Nick: That's confirmed?", "Catherine: Epithelials on her neck are a match to Darin's DNA.", "Nick: So, Darin thought he was getting the whole score.", "Sara: But now he's dead. So, who killed him, and where's the money?", "Grissom: And we still don't know why Darin and Tammy took out the convenience store clerk.", "Catherine: Why kill a man for a few hundred bucks when you're about to steal a hundred thousand?", "Sara: We've got more questions than answers.", "(WARRICK enters the room.)", "Warrick: I just got off the phone with the Laughlin CSI assigned to last month's cottage casino case. He told me the casino's cameras captured four assailants, not three.", "Nick: Maybe Tower Club surveillance missed something.", "Warrick: Actually, it didn't. We did.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(Everyone is back in the A/V Lab. WARRICK is in front of the computer showing them the surveillance video.)", "Warrick: Tower casino surveillance. The screen on your left the camera's trained over where Tammy, Darin and Adam entered. The screen on your right is trained on the gaming tables. Okay, check it out.", "(On the monitor, the video plays.)", "Sara: What are we looking for?", "Warrick: What, you missed him? All right. I'll play it again ... slower, just for you. (WARRICK smiles. NICK throws SARA a glance and smiles.) Now, keep your eye trained on the pit boss and the chandelier.", "(On the monitor, the video plays in slower motion. It's apparent that MAX DUNCAN drops before things happen.)", "Sara: He ducked before the chandelier fell.", "Nick: Yeah, before Tammy drew her gun.", "Catherine: Play it again.", "(WARRICK plays the video for a third time.)", "Grissom: Well done, Warrick. You found our mole.", "Warrick: Yeah. Pit boss' name is Max Duncan. Started working there about three weeks ago. Before that ...", "Catherine: Let me guess. Laughlin, cottage casino?", "Grissom: Yeah. I'll call Brass. He can make the arrest.", "Catherine: I'll meet him at the station. Call you with an update.", "(CATHERINE stands. She and GRISSOM leave the lab.)", "[SCENE_BREAK]", "[EXT. DUNCAN RESIDENCE -- DAY]", "(MAX DUNCAN hurriedly leaves his house (#23519) carrying a golf club set and duffle bag. He puts them into the back of his car.)", "(Police cars pull up and block his exit. BRASS and CATHERINE get out of the car.)", "Brass: Max Duncan?", "Max Duncan: Yeah. What the hell is going on here?", "Catherine: You going somewhere?", "Max Duncan: What's it to you?", "Brass: I'll tell you how this works: I'll ask the questions; you give the answers downtown.", "Max Duncan: I'm calling my lawyer.", "(An officer cuffs MAX DUNCAN. CATHERINE walks up to the side of MAX DUNCAN'S car and notices the thin film of dust on it. She runs her finger along the car side.)", "Catherine: Good idea.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS and CATHERINE question MAX DUNCAN. His lawyer sits next to him.)", "Brass: Max ... are you clairvoyant?", "Max Duncan: Excuse me?", "Catherine: Surveillance tape from the Tower Club Casino. You ducked before there was a reason to cover.", "Max Duncan: I saw a gun; I hit the ground.", "Brass: Okay, let's try this. Why were you leaving town? Trying to beat a murder rap?", "Max Duncan: No. I didn't kill anyone.", "Catherine: You forget about Darin Hanson? Your car was covered with gray dust- - silica. It places you at the murder scene.", "Max Duncan: Well, I didn't kill him.", "Lawyer: (warning) Max ...", "Max Duncan: I went there, but ...", "Lawyer: I'm advising you not to say another word.", "Max Duncan: No, I want to clear this up. All right, I went out to the mine, but I didn't kill Darin. He was already dead. All right, look, I ... I'll admit I helped him out. I ... I told him when and where to hit. That's why I ducked. But that's it.", "Brass: That's a lot.", "Catherine: And it still doesn't explain why you went to see Darin.", "Lawyer: Max, that is enough.", "Max Duncan: Well, I went to collect my share, but the money was gone. Darin was dead, and I panicked, but I didn't shoot him. You can't get me for murder on this.", "Brass: When someone is killed during the commission of a felony all the conspirators are liable.", "Catherine: Darin Hanson shot Adam Brower but you might as well have pulled the trigger.", "Lawyer: (looks at MAX DUNCAN) Let's make a deal.", "Brass: Tell me, who else was involved? Who killed Darin?", "Max Duncan: Look, Darin was the only one that I spoke to. I never even met the other three.", "Brass: Then we got no deal. Officer.", "(The OFFICER puts a hand on MAX DUNCAN'S shoulder. MAX DUNCAN and his LAWYER leaves with The OFFICER. BRASS sits down.)", "Brass: You know what? I kind of believe him.", "Catherine: Yeah, me, too. He confirmed a fourth. Darin plus three. Just like Laughlin.", "Brass: So, the last man standing killed Darin.", "Catherine: And he's still out there ... flush with cash and a .45 caliber.", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(On screen are photo shots of the robbers from the surveillance video of the Laughlin robbery.)", "Archie Johnson: Surveillance stills from the laughlin heist. Four perps; we've identified three: Darin, Tammy and Adam. All deceased.", "Grissom: Yeah. All murdered.", "Archie Johnson: That leaves one.", "Sara: I.D. the \"unknown\", good chance we solve both cases: Laughlin and Vegas.", "Grissom: Except all we got is a gun in drag.", "Archie Johnson: (smiling) Well, that's why I'm here.", "(ARCHIE gets to work on the photos on screen.)", "Archie Johnson: I've divided the photo into segments removed the disguise and rebuilt the original image based on male physiological norms. Now, it's not exact but you'll have an idea of what your guy looks like.", "(SARA recognizes the man on screen.)", "Sara: That's Dustin Bale.", "Grissom: The clerk from the convenience store.", "Sara: Whoa. Hold on. He was killed hours before the tower club heist. In on Laughlin, out on Vegas. So, Darin took him out first. They cleared the register just to make it look like a robbery.", "Grissom: But the pit boss said it was Darin plus three.", "Sara: Because he knew there were four at the Laughlin heist.", "Grissom: Well, maybe he didn't know that the clerk wasn't there. He wasn't counting wigs. He was hiding under a blackjack table.", "Sara: And we're back to who killed Darin Hanson.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(CATHERINE and NICK walk into the lab.)", "Catherine: Bobby D.", "Bobby Dawson: Yeah?", "Catherine: We need your help.", "Bobby Dawson: Another round from the casino heist?", "Nick: Indirectly, yeah.", "(CATHERINE hands BOBBY the envelope. He takes the bullet out and looks at it.)", "Bobby Dawson: Well, tip didn't blossom. Not a hollow point, so it's not from Darin Hanson's gun.", "Nick: No, it's from his head.", "(BOBBY DAWSON looks at NICK, surprised. He weighs the bullet.)", "Bobby Dawson: All right, 230 grains gives us a .45 automatic.", "Catherine: What else?", "Bobby Dawson: Okay, normally, lands and grooves are highly delineated. (The monitor shows the side of the bullet.) These are smooth, polished, which means that your projectile was fired from a polygonal barrel. Be right back.", "(BOBBY goes into the cage and takes out two gun samples.)", "Bobby Dawson: These are the only types of .45 automatics with polygonal barrels. So, the gun that fired your bullet was either a Heckler & Koch USP or a Glock.", "(BOBBY looks at the bullet again.)", "Catherine: Narrow it further.", "Bobby Dawson: (smiling) Well, that's what I'm doing: Dissecting your bullet.", "Bobby Dawson: Hey, Nick.", "Nick: Mm-hmm.", "(BOBBY steps back and lets NICK count the stripes on the monitor.)", "Bobby Dawson: Count the stripes.", "Nick: One, two, three, four, five, six.", "Bobby Dawson: Six lands angroves with a right-hand twist.", "Nick: Mm-hmm.", "Bobby Dawson: Glock's got eight; Heckler and Koch-- six. You got your gun.", "Nick: Let's run ATF.", "Bobby Dawson: Pretty unique weapon. Expensive. Not exactly what you'd buy out of the back of a van.", "(He inputs the information into the database.)", "Bobby Dawson: Only take a second.", "(The printer beeps and prints the results.)", "Bobby Dawson: (smiling) See? Can I call it? Only 18 registered in-state. Ten in Clark County; seven of them still in circulation.", "(CATHERINE looks at the results.)", "Nick: Any names jumping off the page?", "Catherine: Just one. It's out of left field. About 75 miles out.", "(CATHERINE looks at NICK.)", "[SCENE_BREAK]", "[EXT. CLARK COUNTY - NIGHT]", "[SCENE_BREAK]", "[INT. -- DAY]", "(BRASS, GRISSOM and CATHERINE question the State Trooper, OFFICER SPENCER.)", "Officer Spencer: You're accusing me of murder?", "Brass: And absconding with a quarter of mill stolen money.", "Catherine: Where did you stash the cash?", "Officer Spencer: I'm a state trooper.", "Brass: How does a cop hook up with an ex-con like Darin?", "Catherine: I can answer that. It's all in a day's work.", "(Quick flashback to: OFFICER SPENCER rides in his vehicle and sees the car parked outside the store. He hears the gunshot. He gets out of his vehicle and draws his gun. End of flashback. Resume to present.)", "Catherine: A potato silencer muffles a bullet but won't silence it. You went in your gun drawn.", "(Quick flashback to: OFFICER SPENCER enters the store with his gun drawn. He sees TAMMY FELTON behind the counter and DARIN HANSON points his gun at OFFICER SPENCER.)", "Darin Hanson: Take it easy, pal.", "(End of flashback. Resume to present.)", "Catherine: You should have arrested them. But something happened, didn't it? My bet, Tammy made you an offer.", "(Quick flashback to: TAMMY FELTON walks around the counter carrying some cash.)", "Officer Spencer: Drop the weapon.", "Tammy Felton: Hey, uh, let's be smart about this. You can take us in or we can cut you in.", "(End of flashback. Resume to present.)", "Catherine: They still had pockets full of cash from the Laughlin job. They offered you a finder's fee.", "(Quick flashback to: SPENCER looks at the cash that TAMMY FELTON holds out to him.)", "Officer Spencer: This isn't going to do it.", "Darin Hanson: It'll hold you over ... till tomorrow.", "Tammy Felton: Deal?", "(Cut to: TAMMY and DARIN walk across the parking lot toward their car. SPENCER leaves the store and flips the sign over on his way out. The door closes behind him.)", "(End of flashback. Resume to present.)", "(CATHERINE kneels and looks at SPENCER'S shoes and pants.)", "Officer Spencer: What are you doing?", "Catherine: You patrol on 97.5 square miles. Is the calnevari mine a part of your jurisdiction?", "Officer Spencer: No. I'm east of the mine.", "Grissom: But you've been there haven't you?", "(Quick flashback to: At the Calnevari mine, OFFICER SPENCER looks at the motorcycle. He draws his gun and approaches the shed. He opens the shed door and catches DARIN HANSON inside. He aims and shoots. He closes the door and looks around. He puts his gun back in his holster and leaves.)", "Brass: Where is the cash?", "(OFFICER SPENCER doesn't say anything.)", "Grissom: Jim, hit the overhead, will you?", "(BRASS turns the lights off.)", "Grissom: Silica is a crystal. It reflects the light. Even trace amounts will show up. (chuckles) Huh. How about that?", "(GRISSOM follows the silica trail into the hallway and into the locker room. He pushes the door open and follows it to the locker.)", "(He opens the locker. OFFICER SPENCER still doesn't say anything. He watches as GRISSOM finds the false bottom on the locker floor. He removes the locker and pulls out the bag with the money inside.)", "(SPENCER kneels down.)", "Officer Spencer: More than I'd make in a lifetime.", "Grissom: Was it worth it?", "Officer Spencer: You wouldn't understand.", "Catherine: That's right. We make the big bucks.", "Officer Spencer: Look -- I was never \"that\" guy. You know, that guy that wins the jackpots gets promoted, catches the breaks? It was right there.", "Brass: Yeah, well, you're still not that guy. Get him out of here.", "(The OFFICER escorts SPENCER out of the room.)", "Catherine: $250,000 turned a career cop bad.", "Grissom: Yeah, well, he had his price.", "Catherine: We all do.", "(GRISSOM turns to look at CATHERINE. She smiles at him. Camera holds on GRISSOM.)" ]

[ "With Grissom away, Warrick is in charge for the first time as the team investigates the murder of the con artist, who has run off with some tourists' money only to get shot and killed in the parking lot. The prime suspect in the case turns out to be Captain Brass' daughter, which causes Brass to take himself off the investigation professionally, but not personally." ]

[ "[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]", "[EXT. LAS VEGAS CITY MGM (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[EXT. JUST OUTSIDE CASINO - NIGHT]", "(A man and a woman walking by sees a young man just outside a casino in distress. They look at each other and decide to try to help him.)", "Matthew Orton: You all right?", "Vincent Avery: I'm barred. I've got, like, ten thousand dollars in chips and I cannot cash it. Look, if I kept my eye on you two, could you please just go in there and claim my money?", "Cindy Orton: Sure, we can do that for you, but you don't have to keep your eye on us ...", "Matthew Orton: We're honest people.", "Vincent Avery: I'm sure you are, but ... come on. If I'm going to be giving you ten grand in chips, I've just got to know that you're coming back.", "Cindy Orton: We could give you a deposit.", "Matthew Orton: What kind of deposit?", "Vincent Avery: Two thousand dollars ... would give me peace of mind. Tell you what, you two come back and I will give you back your deposit plus another thousand?", "[SCENE_BREAK]", "[INT. CASINO - NIGHT]", "(The hotel cashier holds up the $500 blue dummy chip and examines it.)", "Cashier: I'm sorry sir, I can't cash this for you.", "Matthew Orton: What? Why?", "Cashier: (he shakes his head) They're worthless.", "(The couple run out of the hotel to look for the young man.)", "[SCENE_BREAK]", "[EXT. CASINO - NIGHT - CONTINUOUS]", "(The couple exit the hotel looking for the man, but he's long gone. They look up and down the strip. There's no sign of him.)", "(Sound of a gun shot coming from the parking structure followed by sounds of car tires screeching can be heard.)", "[SCENE_BREAK]", "[INT. TROPICANA -- PARKING GARAGE -- NIGHT]", "(As they walk toward the crime scene, BRASS fills GRISSOM in.)", "Brass: Guy was running one of the oldest scams in Vegas. Would have gotten away with it, to until the getaway driver put a nickel in the guy's jukebox.", "(BRASS turns around and indicates the couple talking to DET. SAM VEGA. He's showing the couple an evidence bag. CINDY ORTON nods her head, yes.)", "Brass: That's the Ortons from Florida. The, uh, couple ID'd the deceased as the con man.", "(They both arrive at the crime scene. GRISSOM puts his CSI kit down and crouches low to get a better look. He notices three hundred dollar bills next to the body.)", "Brass: That's the Ortons' money.", "(GRISSOM looks up at BRASS.)", "Grissom: It's mine now.", "(GRISSOM looks around.)", "Grissom: Surveillance?", "Brass: Not in the garage.", "Grissom: Banana skids and fresh blood -- that helps. Oil slick doesn't hurt us either.", "Det. Sam Vega: Hey, Jim. Got these from the cage.", "(DET. SAM VEGA hands BRASS the evidence bag full of dummy gambling chips.)", "Brass: Thanks, Sam. The chip clip. Haven't seen that one in a while.", "(He hands the bag to GRISSOM.)", "Grissom: Striking resemblance to Judas.", "Brass: How's that?", "Grissom: Both men lost their lives over a worthless bag of chips.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GRISSOM maneuvers his way through the hallway traffic while carrying a plastic bottle of cockroaches and a large pexi-glass container. He's also sporting a traveling bag over his shoulder.)", "(He passes by GREG'S LAB. GREG is busy at work while punk rock music plays loudly inside. GRISSOM opens the door.)", "Grissom: Hey, Sanders, no punk rock.", "Greg: What about black flag?", "(GRISSOM glances down at his container full of cockroaches.)", "Grissom: Are you nuts?", "(He closes the door and continues down the hallway. As he hurries to his office, he nearly runs into CATHERINE who just turns the corner in front of him.)", "Grissom: Whoa. Careful. Livestock.", "(He holds up the container of cockroaches.)", "Grissom: Hissing roaches from Madagascar.", "Catherine: Sorry.", "Grissom: These babies run two and a half miles an hour.", "Catherine: I don't doubt that for a minute.", "Grissom: Fifth annual entomological convention in Duluth. Cockroach racing finals.", "(GRISSOM pushes the door to his office open and walks in. CATHERINE follows.)", "Catherine: You're roach racing", "Grissom: Actually, I'm giving a tutorial in preserving mass crime scenes. The sideshow is racing these guys.", "Catherine: Ah.", "Grissom: I mean, to have a chance to run against legendary roaches like Cocky Balboa; The Drain Lover; Priscilla, Queen of the Gutters. It's huge.", "Catherine: What do you feed those guys?", "Grissom: Dog food.", "Catherine: And who's ... supervising night shift?", "Grissom: You are.", "Catherine: Me? I am on the red-eye to Reno. The Braun Family is opening a new casino. I am Sam's date.", "Grissom: That's tonight?", "Catherine: I told you once, memo'd you twice.", "(CATHERINE sighs. GRISSOM is distracted by the roaches in the container.)", "Grissom: Man, these guys are primed.", "(CATHERINE leaves the room. On her way out, she reminds him ... )", "Catherine: Better get somebody.", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM]", "Warrick: \"A\" slash? Acting supervisor? What about Nick? He's got seniority. Or Sara -- she'd jump at the chance.", "Grissom: If it was about seniority, I'd ask Nick. If I needed someone to stay up for three straight days I'd ask Sara. Instead, I want you.", "Warrick: And if I ask why?", "Grissom: Your curiosity would be better served on the case.", "(GRISSOM hands the assignment sheet to WARRICK.)", "Grissom: The shooting death of a con man at the Tropicana. Our guys are already there.", "(He turns to leave the room.)", "Warrick: Hang on! Have you told NICK and SARA about this?", "Grissom: No.", "(WARRICK sighs. Camera holds on WARRICK.)", "[SCENE_BREAK]", "[INT. TROPICANA - PARKING GARAGE - LEVEL 5 -- NIGHT]", "(NICK sets up a camera on a tripod. SARA walks around the crime scene looking for evidence.)", "(Camera cuts to an oil spot on an oil spill on the ground. Two evidence markers #1 and #3 are coned next to the spill. Cut to NICK snapping a picture of a white strip. Flash to white. Cut to SARA still looking for evidence. She sees something.)", "(Cut to NICK moving the tripod over to another spot. He sets up the camera pointing it straight downward over the tire treadmarks. He snaps a picture. Flash to white. He takes another photo of the treadmarks. He moves the tripod over to another spot along the treadmark. He does this several times to get one continuous picture of the treadmark.)", "(SARA notices the film container under the car. She kneels in low to get a better look at it. She picks it up.)", "(Cut to NICK continues to snap pictures of the treadmark.)", "(Cut to SARA notices that there's something inside the film container. She opens it and empties it out into the palm of her gloved hand. Out pours nine pill-sized black capsules. She smells it.)", "(WARRICK pulls up to the crime scene in his car. He exits the car and approaches the crime scene.)", "Nick: I got one left. Smile. (He snaps the camera.) Lovely.", "(SARA sees WARRICK approach. He steps over the crime scene tape.)", "Sara: Hey.", "Warrick: Hey.", "Sara: Nice of you to show up.", "Nick: Yeah, we're done here, brother.", "Warrick: Yeah, I'm sorry, I got detained. I guess you did a \"one-to-one\" on these treads already?", "Nick: Yeah, I just finished it.", "Warrick: Put together an evidence list?", "Sara: No.", "Warrick: You've got to do it.", "Nick: You were late.", "Warrick: Ah, I don't think so. I got to go back with the body. Sara, can you get back to the lab and put a rush on this analysis?", "Sara: Who died and made you boss?", "Warrick: He's not exactly dead.", "Sara: Grissom gave you shift tonight.", "(SARA goes back to the body to finish up.)", "Warrick: (to NICK) Anything you want to say?", "Nick: Yeah. Good luck.", "(NICK snaps the empty camera and it flashes at WARRICK. He leaves. Camera holds on WARRICK.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY -- TROPICANA & MGM (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(WARRICK enters the room. He tosses on his scrubs and puts his gloves on.)", "Robbins: Get a speeding ticket?", "Warrick: Side roads. So ... this is our con artist?", "Robbins: Vincent Thomas Avery. I.D.'d him from his prints.", "Warrick: Did it tell you anything?", "Robbins: No mystery in cause of death. Gunshot wound to the outer ear.", "(Quick CGI POV to the left side of VINCENT AVERY'S head. Camera moves in for a close up of the entry wound. Flash to white. Resume to present.)", "Robbins: Left ear at that.", "Warrick: Well. Probably when he was getting into the car.", "(Quick Flashback to VINCENT AVERY running up to the car. Getting into the front passenger seat.)", "Vincent Avery: All right, go, go, go!", "(Cut to close up of a shadowed figure holding the gun to VINCENT AVERY'S head (left side). Flash to white. Resume to WARRICK.)", "Warrick: He knew the driver.", "Robbins: Soot depiction on the skin surrounding the entry wound tells the story.", "(Quick CGI POV of the left side of VA's outer ear. Camera moves in closer, through the outer ear, into the ear, following the path of the bullet. The bullet stops. Flash to white. Resume to ROBBINS.)", "Robbins: (V.O.) Bullet entered the external auditory meatus fracturing the skull base. Cracked the hardest bone of the skull.", "Warrick: You got any pictures of that?", "Robbins: Hot off the fluoroscope. Haven't had the pleasure yet.", "(ROBBINS holds up the film. They both see the location of the bullet.)", "Warrick: Whoa.", "Robbins: There is your bullet. Deformed projectile in the right side of the calvarium.", "Warrick: Can you fish that out for me?", "Robbins: You bet.", "(WARRICK glances at the other x-ray film. He sees something.)", "Warrick: Wait a minute.", "(WARRICK walks over to the light board and snaps the film in place. Several small balloon-shaped figures show on the film.)", "Warrick: There's something in his stomach.", "SHORT TIME CUT TO:", "(ROBBINS starts the Y-incision and opens the chest to extract the stomach contents.)", "(Quick CGI POV from inside the stomach looking up and out at both WARRICK and ROBBINS. The camera swings around inside the stomach to show several small white balloon-like capsules coated with green goo. One white balloon is ruptured. The forceps extracts the ruptured white balloon. End CGI POV.)", "(ROBBINS holds up the white balloon.)", "Robbins: Something tells me, this isn't filled with white sugar.", "Warrick: How many more are there?", "Robbins: I'd say about 50 balloons. Green dye you see here is probably from lime flavored gelatin. Makes them much easier to swallow.", "Warrick: He's a mule. Why is a guy trafficking in big-pay drugs wasting his time on some nickel-and-dime chip scam?", "[SCENE_BREAK]", "[INT CSI -- LAB]", "(NICK is using a magifying glass to examine the developed photos of the tire treadmarks from the garage. BRASS walks in.)", "Brass: Hey, I got the horsepower on your Vic. Vincent Avery. Age 28, con man out of Atlantic City. Got enough petty thefts and grand larcenies on his record to choke a hippo.", "Nick: Hey, Jim ... what do you make of that void? Nail?", "Brass: Either that or a spot on your lens.", "Nick: Don't say that.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GREG carefully puts a black powder from a mortar into a test tube. SARA walks in.)", "Sara: Hey. Are you baking a cake? What's the hold up on my pills?", "Greg: Process. Just because you got passed over, don't take it out on me.", "Sara: He didn't pass me over.", "Greg: Really? What would you call it, then?", "Sara: Grissom.", "Greg: Ah.", "(GREG puts a sample on the card. Sample A is placed ON THE SPECTRATECH CARD (PTFE) then placed in the machine. It's closed, then processed.)", "(Quick CGI POV of blue light passing through the sample for analysis. End of CGI POV.)", "(The following results show on screen: COAL [b289372] with short write-up and chemical break-down on the bottom. )", "Greg: (reading) Coal.", "(Cut back to computer screen.)", "WOOD [wo83.20982] with short write-up and chemical break-down on the bottom.", "Greg: (reading) Wood.", "(Cut to computer screen.)", "COCONUT SHELLS [cpd_93-049-023]", "Greg: And ... coconut shells.", "Sara: Activated carbon. Activated charcoal pills. Best antacid in the world. Coats the stomach and absorbs all impurities.", "(WARRICK enters the lab.)", "Warrick: It's great if you're a mule transporting drugs into the states.", "Sara: Our con man's a mule?", "Warrick: We found balloons of cocaine in his stomach cavity.", "(Quick CGI POV of a see-through x-ray like skeleton swallowing several balloon-shaped items. It goes down its throat and into the stomach where a white cloud of gastric acid fills the stomach. End of CGI POV.)", "Sara: Without the pills, one bite of a chocolate bar would produce enough gastric acid in his stomach to eat away the balloon. Causing him to O.D.", "Warrick: Then he went out and got shot.", "Sara: Speaking of which I found airline stubs in Avery's shirt.", "Warrick: What?", "Sara: Vincent Avery was four-A, Ellie Rebecca was four-B. Strange, right, using two first names?", "Warrick: No, what's strange is going into the evidence locker after post and not finding anything left.", "Sara: Hey, don't make me feel bad for doing my job.", "Warrick: If it was your job, you couldn't feel bad.", "Greg: Well, I think I hear some coffee perking.", "(GREG stands up and leaves the room.)", "Sara: What do you want from me? I'm working the case, the case is hot.", "Warrick: It's my case. Tonight, I'm the primary. I have to process it. If you have a problem with that, you can clock out now. Am I clear?", "Sara: Clear.", "(SARA nods and leaves the room.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK dusts the airline ticket boarding pass stub for prints. He finds one. The boarding pass stub has the following information on it: )", "MONUMENT AIRLINES BOARDING PASS REBECCA, ELLIE", "(He lifts the print and scans it into the computer. He does a database search on it.)", "(He types in: )", "REF#42_23: VINCENT THOMAS AVERY. (ON LEFT SCREEN)", "(On the right screen, it returns: )", "REF#33_A: ELLIE REBECCA BRASS", "Warrick: It couldn't be.", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT - NIGHT]", "(BRASS gets out of his car and starts making his way across the parking lot to the police department. WARRICK emerges from the building. He's carrying a file and meets up with BRASS.)", "Warrick: Hey.", "Brass: Hey.", "Warrick: You have a daughter?", "Brass: Where you going with this?", "Warrick: Her prints came up on airline stubs relating to tonight's homicide.", "Brass: Well, there's got to be more than one Ellie Brass in the world.", "Warrick: Ellie Rebecca Brass. DOB 9/24/82. Essex County, New Jersey. Last known address 554 Applegate Way.", "(BRASS grabs the file from WARRICK and closes it.)", "Brass: Okay, you told me.", "Warrick: Well, I've got to bring her in. You know that.", "Brass: PD brings in suspects. I'll put Vega on it.", "(BRASS starts to walk toward the building.)", "Warrick: You're hands off.", "(BRASS turns around.)", "Brass: Of course.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERROGATION ROOM]", "(DET. SAM VEGA accompanies ELLIE REBECCA BRASS along the hallway toward the interrogation room. WARRICK is there waiting for them.)", "Warrick: Just go right in here.", "(DET. SAM VEGA opens the interrogation room door and holds it open for ELLIE BRASS. They are all just about to enter the room when BRASS rounds the corner. He sees ELLIE BRASS. ELLIE BRASS turns and sees him.)", "(He stands some distance away from them. She smiles and approaches him. When she reaches him, she stands there a moment, then spits on his badge.)", "(WARRICK starts to move toward them. DET. SAM VEGA stops him. BRASS holds up a hand.)", "Brass: I'm fine. I'm fine.", "(He looks back down at his daughter.)", "Brass: (softly) So, we're going to pick up right where we left off huh, Ellie?", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA sits at the table with rows of hundred dollar bills in front of her. RONNIE LITRE walks in carrying a box. He sets it down on the table.)", "Ronnie Litre: You still documenting the money from the con man?", "Sara: Every serial number -- evidence. (she sits up) Did you know that ninety-seven percent (97%) of all hundred dollar ($100) bills have traces of cocaine on them?", "Ronnie Litre: I was the one that told you that.", "Sara: Oh, yeah.", "(SARA laughs. She turns back to the money.)", "Sara: Hey, Ronnie you know what the intaglio script is.", "Ronnie Litre: Engraving on Ben Franklin's collar?", "Sara: I don't see it on this bill. Do you?", "(RONNIE LITRE looks through the magnifying glass.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Ellie Brass: Everyone I sleep with dies.", "(ELLIE BRASS looks down at the photographs of VINCENT AVERY on the parking lot ground.)", "Warrick: Excuse me?", "Ellie Brass: I slept with this sailor once when I was fourteen. He died overseas somewhere.", "Det. Sam Vega: What was your relationship to Vincent Avery?", "Ellie Brass: There was no relationship. I barely knew him.", "Det. Sam Vega: You knew him enough to fly to Baja with him.", "Ellie Brass: He invited me for the weekend. I figured as long as he didn't chop me up I'd have some fun.", "(ELLIE BRASS reaches into her bag and pulls out a cigarette pack.)", "Ellie Brass: Mind if I smoke?", "(She hits the pack intending to extract a cigarette. Instead, a single blue $500 dummy chip falls out onto the table.)", "Warrick: Yeah.", "Det. Sam Vega: Plain sight.", "(Using his pen, WARRICK pulls the chip in front of him.)", "Warrick: It's a dummy chip. No casino logo.", "Det. Sam Vega: Exactly the same kind of chips Vincent Avery used to scam the casinos.", "(SAM VEGA looks at ELLIE BRASS.)", "Det. Sam Vega: Before he got shot.", "Warrick: So, you two fly down to Baja, pose as a married couple brought back home a stomach load of blow and then you run chip scams? Who's taking your drug profits?", "Ellie Brass: Man, I wish I knew what you were talking about.", "Det. Sam Vega: Someone catch you and Vincent working on the side? Shoot him?", "Ellie Brass: I wasn't even there.", "Det. Sam Vega: Where were you?", "Ellie Brass: Home. In the bathroom.", "Warrick: Yeah, she was passing pellets of cocaine.", "Ellie Brass: I'm out of here.", "(ELLIE BRASS stands and heads toward the door. DET. SAM VEGA also stands and stops her.)", "Det. Sam Vega: Sit down.", "(ELLIE BRASS moves back to the table and sits down.)", "Det. Sam Vega: Thank you.", "Warrick: With your permission, we need to take some x-rays.", "Ellie Brass: As long as you're the one doing them.", "Det. Sam Vega: We'd also like to take a look at your car.", "Ellie Brass: I lent it to my boyfriend.", "Warrick: And what is his name?", "Ellie Brass: You know, you have this whole Lenny Kravitz thing going on. I'm not one for brothers, but ... damn.", "Warrick: His name.", "(She smiles.)", "Ellie Brass: Keith Driscoll.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "Brass: Now you're telling me to get involved.", "Warrick: You were behind the glass. This evidence against your daughter doesn't look good.", "Brass: Hey, listen, nothing places her at the murder.", "Warrick: She mules drugs for a guy who ends up dead ten hours later? A BS chip scam, a lousy alibi?", "Brass: Vega's on it, he'll find her boyfriend and if I know my daughter, that's your shooter.", "(BRASS starts on down the hallway and stops when WARRICK calls to him.)", "Warrick: Brass. It's a big city. Boyfriend could disappear. But, hey, it's your kid.", "(WARRICK leaves. Camera holds on BRASS.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA is looking at the bills through the microscope. RONNIE LITRE stands next to her.)", "Ronnie Litre: Left scope is a government- issued $100 bill. Right scope is the money from your tourists. Scope confirms what you saw with the naked eye.", "Sara: On a genuine bill, the words \"United States of America\" are written on the border of Ben Franklin's portrait. On the Ortons' bill the intaglio script is blacked out.", "(Camera view through the microscope of both the genuine bill, then cut to the Orton's bill with the intaglio script smudged. Resume to present.)", "Ronnie Litre: It's called microprinting. A little trick treasury uses to thwart photocopying a U.S. bill.", "Sara: What about pigmentation? Treasury seals and serial numbers are the same color, right?", "Ronnie Litre: They are ... on the bill on your left.", "(Camera close up of two hundred dollar bills side-by-side. The bill on the left #B3915497L. The bill on the right is B471152 ... The bill on the right doesn't hold the green pigmentation.)", "Ronnie Litre: No printer on the market can make a true green. Blue and yellow hues always bleed in. Our monetary system depends on it.", "Sara: Who do we notify? Treasury?", "Ronnie Litre: Secret Service branch. They've got a field office in Vegas.", "Sara: I'll put these back in the evidence room.", "(SARA puts the counterfeit bills back in the evidence bag.)", "Sara: Wait till the Ortons find out what we do with counterfeit money.", "[SCENE_BREAK]", "[INT. CSI - X-RAY ROOM]", "(ELLIE BRASS has a chest x-ray taken. CGI superimposes a skeletal frame on her bare back to give us a glimpse inside.)", "FADE INTO:", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(X-ray film on the vertical light board. There's no evidence of drugs inside ELLIE BRASS.)", "X-ray Technician: Nothing.", "Ellie Brass: Told you I was clean.", "Warrick: So you gave up your drugs to your boss, huh?", "Ellie Brass: Boss?", "Warrick: Do you realize every time you ingest one of those pellets that you risk dying from an overdose?", "Ellie Brass: Only if I eat. Releases gastric acids, blah, blah, blah...", "Warrick: So you can just not eat?", "Ellie Brass: Well, you see, the thing with me is I'm mind over matter. I can imagine a hamburger, and I'm full. Will you fill me up, Warrick?", "(Camera holds on WARRICK.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "Warrick: I don't think I can handle this. I got to call Grissom.", "(WARRICK pulls out his cell phone and turns it on. NICK stops him.)", "Nick: Then call him.", "Warrick: But?", "Nick: I didn't say anything.", "Warrick: I heard it, bro -- a \"but\" in there.", "Nick: You know how Grissom is. If you ask him for the keys to the car he's going to ask you if you've done your homework.", "Warrick: Yeah, that's what I was thinking.", "Nick: It's like a multiple choice question. You know? Go with your first choice.", "Warrick: Sack up.", "Nick: Sack up.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAYLIGHT]", "[SCENE_BREAK]", "[INT. BRASS CAR]", "(BRASS is driving. He punches in some information on the ElectroCom Communication Systems L.P. monitor. The following information returns: )", "LICENSE NO: QLF 084", "YR: 1976", "TYPE: CAMARO", "VEHICLE REGISTERED TO:", "ELLIE REBECCA BRASS", "(A cell phone rings. BRASS answers it.)", "INTERCUT WITH:", "[EXT. PARKING LOT - DAY]", "Brass: (over phone) So, what, did Warrick tell you to call me?", "Catherine: Do you think you're the only friend I've got in the police department? I'm just telling you, be careful.", "(CATHERINE opens her car door.)", "Brass: What am I supposed to do? Hold my breath and count to ten?", "Catherine: Hey, look, we all get a little crazy when our kids are involved.", "Brass: Look. I go on the job, it's standard police work. Enjoy Reno. I got this.", "Catherine: Okay. Hey, but listen. If you find the boyfriend, don't go it alone.", "(Suddenly, a red camaro pulls up in front of BRASS. It's tires squealing. BRASS notices the license plate: NEV 428 RQV and registration 3/2002. BRASS begins to pursue the car.)", "Brass: (to CATHERINE) Don't worry, I won't.", "(He hangs up. He picks up his police radio and calls it in.)", "Brass: (to radio) Dispatch, Navaho 41 niner seven. In pursuit of a '78 red camaro. Suspect wanted for questioning.", "(A car chase ensues. BRASS' black car, license # 29979 chases the red camaro. The red camaro does a 180 then manages to turn off into a deserted site. BRASS catches up with the red camaro as it comes to a halt.)", "[SCENE_BREAK]", "[EXT. CONSTRUCTION LOT -- DAY]", "(BRASS exits the car. He swings and breaks the driver side window and opens the door. He grabs the driver and looks in the car at the passenger.)", "Brass: Which one's Keith Driscoll?", "Hitchhiker (Marty Gillmore): I was just hitchhiking. I told the guy to let me out. I begged him.", "Brass: Get lost.", "(The Hitchhiker opens his door, unbuckles his seat belt and runs out of the car.)", "(BRASS pulls the driver out of the car and holds him against he car.)", "Keith Driscoll: Easy man.", "Brass: I'm only going to ask you once. What are you and Ellie into?", "Keith Driscoll: What do you mean?", "Brass: You got her muling in drugs from Mexico. You got her mixed up in homicide over at the ...", "Keith Driscoll: No, you got it backwards, man. She turned me on to coke so I could stud for her.", "(BRASS pulls out his weapon. Sirens can be heard in the distance. Three cop cars approach the two cars.)", "Keith Driscoll: Hey, you can't just shoot me, man.", "(BRASS reholsters his weapon and takes a step back. DET. SAM VEGA emerges from his car - license #574-6ZI.)", "[SCENE_BREAK]", "Det. Sam Vega: Brass! Yo, Jim we got it.", "Brass: Everything's cool.", "Keith Driscoll: Hey, this guy was going to kill me, man. He pulled his gun.", "Det. Sam Vega: (interrupting) I'm sure the officer felt his life was in imminent danger, sir. We're detaining you for questioning related to the murder of Vincent Avery.", "Keith Driscoll: I'm not riding with him.", "Det. Sam Vega: You're right. You're not.", "(DET. SAM VEGA walks past BRASS. Their eyes meet. Camera holds on BRASS.)", "[SCENE_BREAK]", "[EXT. HOTEL POOLSIDE -- DAY]", "Matthew Orton: What do you mean, you can't give it back? That's all the money we have for our vacation.", "Sara: Well, it's counterfeit. We have to take it out of circulation.", "Cindy Orton: What?", "Sara: Mr. Orton, you don't look so surprised.", "Cindy Orton: Matt? Honey?", "Matthew Orton: I went to the gas station. The attendant told me the hundred I gave him was phony so I went to our branch bank here and I tried to exchange the bad money for the good but they said we couldn't do it. I mean, why would anybody turn in bad money if they can't get reimbursed for it?", "Sara: Because it's in violation of Title 18, Section 473 of the United States Code punishable by up to fifteen years for knowingly passing on bad money.", "Cindy Orton: Oh, my! God.", "Matthew Orton: I just didn't want to get stuck holding the bag.", "Sara: Do you have a $20 bill?", "Cindy Orton: No, our wallets are up in the room.", "Sara: Uh, I may have something. You see that ghost? Right there on the right?", "(SARA fishes out a $20 bill #BC66600758B. She holds it up to the light.)", "Cindy Orton: Oh, yeah.", "Sara: Government embeds them in all bills. Protects against forgeries. You should see Lincoln on the five; he looks really stressed out.", "(SARA hands the bill to MATTHEW ORTON who takes a look at it also.)", "Matthew Orton: Wish I had met you last week.", "Sara: A Special Agent from Secret Service is going to want to talk to you about the final disposition of this case.", "(CINDY ORTON and MATTHEW ORTON look at each other.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(While walking down the hallway, WARRICK drops off a file at the main desk. He's stopped by a man waiting at the counter.)", "Special Agent Beckman: Warrick Brown? Special Agent Beckman, Treasury Department. You're subbing in tonight, right?", "Warrick: Treasury department?", "Special Agent Beckman: Wanted to be sure CSI's on the same page on this counterfeit case.", "Warrick: Counterfeit?", "Special Agent Beckman: Our lab's going to want to analyze that money, too.", "Warrick: What money?", "(SARA approaches the group.)", "Sara: You were with Brass's daughter. I didn't want to interrupt you.", "Warrick: On a federal case?", "Sara: Agent Beckman? I'm Sara Sidle. We spoke on the phone. Could you excuse us for a minute?", "(SARA and WARRICK move to the side. SPECIAL AGENT BECKMAN gives them some privacy.)", "Sara: Warrick ...", "(NICK meets up with them.)", "Nick: You got to turn on your pager. I got Brass' daughter's car in the garage.", "Warrick: Hold up. I'm dealing with something.", "Sara: This is why I didn't bring this to you.", "Nick: Hey, Vega says we won't be able to hold the suspect more than half an hour.", "(SPECIAL AGENT BECKMAN interrupts the group.)", "Special Agent Beckman: Did Sidle hold back information on this money?", "Sara: I didn't not tell him. I ran with the case. I do it with Grissom all the time.", "Warrick: Well, I'm not Grissom!", "Nick: Guys ...", "Sara: I didn't say it.", "Warrick: Sara, brief Special Agent Beckman on the funny money. Nick, the garage.", "(WARRICK leaves the group. NICK looks at SARA.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(Music fades up.)", "Lyric:", "[\"Time Has Come Today\", by W. Chambers / J. Chambers]", "\"Time has come today / Young hearts can go their way / Can't put it off another day / I don't care what others say / They say we don't listen anyway / Time has come today / hey / oh / The rules have changed today / hey / I have no place to stay / hey / Thinking about the subway / hey / My love has flown away / hey / My tears have come and gone / Oh, my Lord, I have to run / hey / I have no home / hey / I have no home / hey ... \"", "(NICK and WARRICK work on getting the car (NEV license #428 RQV) tires printed. They grease the tires.)", "(Cut to WARRICK measuring the diameter of the tire. Cut to them cutting the paper. Cut to the paper being slid under the car. Cut to the tires being marked. Cut to the car being lowered onto the paper. Cut to them rolling the car forward. Cut to them putting black powder on the paper.)", "(They examine the car tire print. NICK notices the void.)", "Nick: Tire plug. That's a nail in sheep's clothing.", "(NICK hands a photo to WARRICK for comparison. He himself picks up a photo for comparison.)", "Nick: Treads from the crime scene.", "(NICK compares the void in the photo to the void on the tire print.)", "Nick: The void on the one-to-one matches the void on Ellie's left rear tire. Siamese twins.", "Warrick: Proves one thing. This was the getaway car used in the murder.", "Nick: Yeah.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "(Two tire print photos are placed on the table. There is an additional woman there, KEITH DRISCOLL'S LAWYER. She picks up the photographs to examine.)", "Warrick: We printed the vehicle your client was found driving. It puts the car at the scene of Vincent Avery's murder less than twelve hours ago.", "Lawyer: Come off it. The car's not even registered to him.", "Det. Sam Vega: Right. It's registered to the girl he bought tickets to Baja for.", "Warrick: Bought tickets for Victor Avery as well.", "Det. Sam Vega: Tickets were bought with your credit card but we have no proof he ever went down there.", "Lawyer: He's a generous guy.", "Det. Sam Vega: Till Avery made him mad.", "Lawyer: You want to talk out the gun your captain pulled on my client -- an unarmed man? That's got P.D. brutality written all over it.", "Warrick: Vega?", "Det. Sam Vega: Safety precaution only. We're done.", "Lawyer: Let's go.", "(KEITH DRISCOLL stands and leaves. WARRICK and DET. SAM VEGA look at each other.)", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE VAULT]", "Special Agent Beckman: They don't have any money in their bathing suits so you suspect them of a high-end counterfeit operation.", "Sara: No, but it did get me thinking. If something doesn't feel right it probably isn't. Take a look. This is the money we got from the con man. See the serial numbers? Each one is different.", "(White flash close up to the serial numbers on the bills: AB84954856G ... AB33915497L ... AB58365105R ... AB49705903A ... AB66465742I ... AB23494506R ... AB48302606X ... AB47063492G. White flash to present.)", "Special Agent Beckman: Just like real money.", "Sara: That's what threw Ronnie and I off the scent. This couple didn't make one bill and run off 100 copies with the same serial number.", "(Quick Flash to a single hundred dollar bill #AE49705903A(E5) being photocopied. Resume on SARA.)", "Sara: They had to burn separate plates for each serial number.", "(Quick Flash to a single hundred dollar bill without serial number having the following serial nos. lasered into it: AB49705903A ... AB66465742I ... AB58365105R ... Resume to present.)", "Sara: Much harder to catch.", "Special Agent Beckman: Very high-end. The Duffys are major counterfeiters.", "Sara: You mean the Ortons.", "Special Agent Beckman: Our investigators tell me they're the Duffys from Las Vegas County. Orton's their assumed names.", "Sara: How long have you known that?", "Special Agent Beckman: As soon as you phoned me I went on a T-Department Database. They've each done time for interstate fraud. And, yes, high-end counterfeiting.", "Sara: You federal guys are sneaky.", "Special Agent Beckman: Access. So, what do you want to do with the money?", "Sara: It's your money now. Well, the Treasury's.", "Special Agent Beckman: Thanks. I'll take it from here. Find their operation and shut it down.", "(SPECIAL AGENT BECKMAN gathers up the bills and starts to leave the room. He turns around when SARA protests.)", "Sara: Hey! I'm still part of this.", "Special Agent Beckman: Not really. But you're making me look good to my superiors so if you want to tag along ...", "Sara: I don't \"tag\" along.", "Special Agent Beckman: Suit yourself.", "[SCENE_BREAK]", "Warrick", ": (V.O.) We got bad news from the garage.", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(WARRICK and BRASS walk down the hallway.)", "Brass: Give it to me.", "Warrick: The tire evidence puts Ellie's car at the murder scene. We'll be pressing charges, murder of Vincent Avery.", "Brass: Oh, come on -- you know she didn't kill him. Keith Driscoll did.", "Warrick: Maybe so, but we don't have Driscoll.", "Brass: What?", "Warrick: Vega had to turn him loose after your gun episode.", "Brass: Oh, I get it. So Vega thinks she'll eventually rat out Driscoll.", "Warrick: That's what you cops think.", "Brass: Yeah, well, let me tell you something about my daughter.", "(They stop walking. BRASS turns to WARRICK.)", "Brass: Never happened.", "(BRASS leaves. Camera holds on WARRICK.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- BRASS' OFFICE - CONTINUOUS]", "(ELLIE BRASS stands by the shelf. She fingers one of the numerous awards. BRASS walks in. She turns around.)", "Ellie Brass: Are they arresting me?", "Brass: I'm going to bail you out. You can stay at my place.", "Ellie Brass: I have a place.", "Brass: You have a place?", "Ellie Brass: Keith and I do. We share everything.", "(BRASS signs and moves around the desk to stand in front of ELLIE.)", "Brass: Ellie, why do you do this to yourself? You're better than that. You're better than him.", "Ellie Brass: No, I'm not.", "(Camera holds on BRASS.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- NIGHT]", "(WARRICK is alone in Grissom's office. He's going through the file when the phone rings.)", "Warrick: (to phone) Grissom's office. CSI ... Warrick speaking.", "Det. Sam Vega: Warrick. It's Vega. We've got a four-forty-four.", "Warrick: Officer-involved shooting? Who?", "Det. Sam Vega: One guess.", "(WARRICK hangs the phone up and leaves.)", "[SCENE_BREAK]", "[EXT. DRISCOLL RESIDENCE -- NIGHT]", "(Police officers and an ambulance is there. BRASS is sitting alone on the low brick fence. He's holding an ice pack to the back of his head. Behind him, the coroner wheels out a bagged body on a gurney. It's KEITH DRISCOLL.)", "(ECKLIE follows the body out. WARRICK and NICK arrive at the scene.)", "Ecklie: Congratulations, Brown. You just bounced off the glass ceiling.", "Warrick: Excuse me?", "Ecklie: Brass buys his daughter a get out of jail free card and her boyfriend ends up on a gurney. Good call.", "Warrick: Ecklie, you're day shift. And you're here because ...", "Ecklie: I'm dedicated.", "Warrick: Yeah, picture that.", "(WARRICK and NICK pass ECKLIE. They're met up by DET. SAM VEGA who fills them in.)", "Warrick: What the hell happened?", "Det Sam Vega: Keith Driscoll shot in the throat. First officer here found Brass in the apartment, woozy. Keith Driscoll on the floor, lights out.", "Nick: Where's his daughter?", "Det. Sam Vega: No one knows. I got guys out looking for her right now.", "Nick: Check his weapon?", "Det. Sam Vega: Waiting on you guys.", "(DET. SAM VEGA holds out the gun. NICK puts his case down and takes the weapon. He pauses and looks up at WARRICK. NICK gives the gun to WARRICK. WARRICK releases the cartridge and hands the gun to NICK. WARRICK counts the rounds. NICK hands him the bullet from the chamber. Fifteen total.)", "Warrick: There's one round missing.", "(They all turn to look over at BRASS.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Det Sam Vega: It's just you and me talking now, Jim. Off the record. You went to the apartment?", "Brass: Yeah.", "Det Sam Vega: You notify dispatch?", "Brass: It was a personal visit.", "Det. Sam Vega: You went looking for Keith Driscoll?", "Brass: No. I went looking for Ellie.", "(Quick flashback to KEITH DRISCOLL opening the front door and BRASS pinning him up against the wall.)", "Brass: Where is she?!", "Driscoll: She's not here, man! Hey, you got a warrant?", "(BRASS tosses him to the sofa.)", "(BRASS leaves KEITH DRISCOLL to look in the back room. KEITH DRISCOLL knocks BRASS out with a baseball bat. BRASS falls to the floor. Flash to white. Resume to present.)", "Brass: Everything's a blur after that.", "Det Sam Vega: Do you remember drawing your gun?", "Brass: No.", "Det Sam Vega: But you're leaving something out.", "(Quick flashback to KEITH DRISCOLL on the sofa.)", "Driscoll: Hey, you got a warrant?!", "(BRASS ignores KEITH DRISCOLL and goes to look in the back room. KEITH DRISCOLL grabs the baseball bat and gets off of the sofa. BRASS pushes the beads aside.)", "Brass: Ellie, are you here?", "(KEITH DRISCOLL hits BRASS with the baseball bat on the back of his head. BRASS falls to the floor unconscious. End of flashback.)", "Brass: I'm not leaving anything out.", "Det. Sam Vega: Your daughter lives there. She probably saw what happened. We're going to pick her up eventually.", "Brass: Careful, she spits.", "(BRASS puts the ice pack back to the back of his head.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK swabs the gun handle. NICK stands next to the table.)", "Nick: One shot?", "Warrick: Fifteen bullets left in brass's gun. There should be sixteen.", "Nick: What kind of cop doesn't empty his magazine? They're trained to shoot to kill.", "(NICK slowly walks out of the lab. WARRICK stops him.)", "Warrick: Hey. Look where I just located this blood? Back of the grip.", "Nick: Novice shooters get their hands pinched in the slide.", "(Quick CGI POV of the gun firing and the slide leaving blood behind. End of CGI POV.)", "Warrick: Slide bite. Man, Brass didn't shoot this guy.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Warrick: I need you to show me your hands.", "Brass: You going to test for gunshot residue? It's a little late for that.", "Warrick: Your hands, Captain.", "(BRASS holds out his hands. WARRICK checks BRASS' right hand. He steps back.)", "Brass: Satisfied?", "Warrick: I'm going to need to take your badge.", "Brass: It not your job to take my stripes. In this case it is.", "Warrick: Detective Vega.", "(BRASS holds up his hand.)", "Brass: No.", "(BRASS pulls out his badge and places it on the table. WARRICK puts it in an envelope.)", "[SCENE_BREAK]", "[INT. THE ORTONS'/DUFFYS' PRESS ROOM -- NIGHT]", "Sara: AB Dick forty-nine ten (4910). Eleven by fourteen (11x14) offsets this is the Rolls Royce of printers. Closest thing to what the government uses. Multiple inks. Disaperf computer paper.", "Special Agent Beckman: Heavy rag. Twenty-five percent (25%) content. Makes for durability.", "Sara: Mr. Duffy, can Agent Beckman and I see your burn plates please.", "(MATTHEW ORTON/DUFFY goes to the printer to get the burn plate. He hands it to SARA.)", "Sara: Press, ink, paper, burn plates ... the only question now is ... where's the money? Mr. and Mrs. Duffy?", "Cindy Orton (Duffy): There isn't any.", "Sara: Oh, come on. You can print a million dollars a day with this operation. Where is it?", "Special Agent Beckman: There is no money.", "Sara: Excuse me? I don't get this. Beckman ...", "Special Agent Beckman: Congratulations, Sidle. You passed.", "Sara: Passed?", "Special Agent Beckman: Duffy is their code alias. This is Special Agent Conners. This is Special Agent Tessari. We're all with service. Quality control.", "Sara: I don't ...", "Special Agent Beckman: We put bait money in the hands of bad people. In this case, a reputed con. Our directive is to see how the money leads to law enforcement.", "Sara: What if Vincent Avery wasn't murdered in that parking lot?", "Special Agent Tessari (Cindy Orton/Duffy): Murder wasn't on the agenda.", "Special Agent Beckman: However, in light of unpredictable events this sting still upheld. It came to you, Sidle, and you didn't take. You should be very proud.", "Sara: Wow. I don't feel that at all.", "Special Agent Beckman: It never feels right when it works. Only feels wrong when it doesn't.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- NIGHT]", "Greg: First, I have the saliva sample taken from captain Brass's badge. Better known as Ellie's DNA. Take a good look at her markers. Second, blood sample from Jim Brass.", "Warrick: They're nothing alike.", "Greg: From parent to child seven of thirteen markers should match up minimum. In this case there's not a single marker in common. I don't have Ellie's mother's DNA on file but my guess is ...", "Warrick: What, is she adopted?", "(WARRICK sighs.)", "Warrick: What about the blood on Brass's gun?", "Greg: Not Brass's, not Ellie's.", "Warrick: Not Ellie's?", "Greg: No, or her boyfriend Keith Driscoll. You still got a shooter out there.", "Warrick: With a pinch on his hand. All right. Where's that manifest?", "[SCENE_BREAK]", "[INT. CSI]", "(WARRICK goes through the manifest matching credit card numbers to names.)", "MANIFEST:", "PASSENGER NAME / SEAT ASSIGNMENT TREASDEN, ALICE / 1A SHELTON, CARRIE / 1B MC MANUS, BARON / 1C GLOVER, JANE / 1D LADD, FRED / 1E GRIMSAW, LANA / 2A GRIMSHAW, LANEY / 2B WHITING, LARRY / 2C VALPO, NICK / 2D HANSON, DALLAS / 2E REYES, MARIA / 3A CONNORS, TYRONE / 3B / CREDIT CARD / 5479 ... CONNORS, TYRELL / 3C / CASH ANDERSON, LUCY / 3D / CHECK / 83398", "WHITING, NANCY / 3E / CASH AVERY, VINCENT / 4A / CC / 5412 4023 8092 2034", "REBECCA, ELLIE / 4B / CC / 5412 4023 8092 2034", "BENNETT, MEL / 4C / CHECK PACQUETTE, DAVID / 4D / CHECK", "(WARRICK finds VINCENT AVERY'S name and also the credit card number.)", "Warrick: Vincent Avery ...", "(He flips to page two of the manifest.)", "PAGE 2 OF MANIFEST", "??? / 9C / CREDIT CARD / 5439 3939 3839 383", "TRUMAN, SIDNEY / 9D / CASH / ***", "FRAM, KIMBERLY / 10A / CHECK / 9727", "ARAGON, SHERYL / 10B / CHECK / 9727", "BENNETT, MARK / 10D / CASH / ***", "LAMBERT, ERIC / 11A / CHECK / 1425", "ZIEGLAR, TAYLOR / 11C / CASH / ***", "GILLMORE MARTY / 11D / CREDIT CARD / 5412 4023 8092 2034", "BELL, DUSTIN / 12A / CASH / ***", "HOLOWELL, JAMES / BLANK / CREDIT CARD / 5429 3839 ... NEWSOME, BERRY / 12C / CREDIT CARD / 5428 ... ARRINGTON, THOMAS / 12D / CREDIT CARD /", "ROCKWELL, AL / 13A / CHECK /", "MC FEE, WILLESTSA / 13B / CHECK /", "DOYLE, JAMES / 13D /", "Warrick: Two-zero-three-four ... two-zero-three-four...", "(WARRICK finds a match to the credit card number. He puts an \"X\" by \"GILLMORE, MARTY'S\" name.)", "Warrick: Marty Gillmore.", "[SCENE_BREAK]", "[EXT. MARTY GILLMORE'S RESIDENCE -- NIGHT]", "(MARTY GILLMORE is on his bike. He's starting the engine when two cop cars pulls up the drive to block his exit.)", "Brass: Hold it. Hold it.", "Warrick: Game's over, Marty.", "Brass: The hitchhiker.", "Warrick: You know this guy?", "Brass: Yeah, we met. When the three of you got back from Baja.", "Warrick: You conned the captain. I got to shake your hand.", "(WARRICK holds out his hand.)", "Marty Gillmore: What? Is this a joke?", "Warrick: No, on the real.", "(MARTY GILLMORE takes WARRICK'S outstretched hand. WARRICK flips it over to check for the slide bite. There is one.)", "Warrick: You shot Driscoll ... ...with his firearm.", "Brass: That was you in the other room.", "(Quick flashback to MARTY DRISCOLL coming out of the room after BRASS is unconscious on the floor. )", "Keith Driscoll: I think I killed him.", "(MARTY GILLMORE checks BRASS' pulse and takes his gun at the same time.)", "Marty Gillmore: Wrong ... he killed you.", "(He turns around and fires at KEITH DRISCOLL. Camera close up on the gun slide cutting MARTY GILLMORE'S hand. MARTY puts the gun back in BRASS' grip as KEITH DRISCOLL falls to the floor dead. MARTY GILLMORE leaves the room. Flash to white. End of flashback. Resume on WARRICK.)", "Warrick: So you off'ed Driscoll to take over his drug op. What about Ellie?", "(MARTY GILLMORE doubles over.)", "Marty Gillmore: She's supposed to be in jail for shooting Avery at the casino.", "Warrick: You eat something?", "Marty Gilmore: I took a laxative.", "Warrick: Oh, god, he's going to OD. Can we get a medic?", "(BRASS doesn't move. WARRICK looks at BRASS.)", "Warrick: Can we get a medic?", "(BRASS still doesn't move.)", "Warrick: Brass?!", "(BRASS pulls out his cell phone and makes the call.)", "Brass: (to phone) I need rescue. 826 Herrick Lane. Overdose. Send an ambulance.", "Marty Gillmore: Oh, my god, I'm going to die.", "Brass: No, worse-- you're going to live.", "[SCENE_BREAK]", "[INT. HALLWAY]", "(BRASS walks through the double doors. WARRICK runs to catch up to him.", "Warrick: Brass. Hang on.", "(WARRICK returns BRASS' shield to him.)", "Warrick: I only took it to get Ellie's DNA off of it. That's it.", "Brass: A man's got to do ...", "(WARRICK nods slightly and says nothing. He does look as if he has something else on his mind.)", "Brass: What is it, Rick?", "Warrick: We were checking out the blood from your gun. We compared your DNA to her DNA.", "Brass: Yeah?", "Warrick: You never said anything about her being adopted.", "(BRASS looks around and puts his badge back on. He looks up at WARRICK.)", "Brass: She's not. Call it the mailman. Ellie doesn't know.", "(WARRICK nods. BRASS walks away. Camera holds on WARRICK.)", "[SCENE_BREAK]", "[EXT. FOUNTAIN -- NIGHT]", "(ELLIE walks by the fountain on her way somewhere. She's carrying a large traveling shoulder bag with her. She stops when BRASS calls out to her.)", "Brass: Ellie.", "(ELLIE signs.)", "Ellie Brass: How'd you find me?", "Brass: I'm a detective. Listen, I heard that you never went back to Driscoll's apartment that night.", "Ellie Brass: It's true.", "Brass: I could have sworn I heard you in that other room.", "Ellie Brass: No, dad. I was never there. Never.", "Brass: I guess I've been doing that since you've been born. I mean, I know I was never around, but ... you know, no matter where I am ... no matter what I'm doing ... I always think that you're there. Even if you're not. Come back to me, Ellie.", "Ellie Brass: Dad, it's way too late. I got to catch a flight to Jersey. Midnight. Mom says that I can stay with her for awhile.", "Brass: Sure. Okay. You need a ride to the airport? I can get you there fast.", "Ellie Brass: Thanks. I'm taking the shuttle.", "Brass: Oh. Yeah. Okay.", "(ELLIS starts to walk away.)", "Brass: Catch you later.", "(ELLIE turns around and smiles at BRASS. Camera holds on BRASS.)", "[SCENE_BREAK]", "[INT CSI - HALLWAY]", "(SARA walks through the hallway. She carries her CSI kit with her and passes WARRICK as he walks in the opposite direction.)", "Warrick: Hey, Sara.", "Sara: Hey.", "(WARRICK stops and turns around calling back to SARA.)", "Warrick: Hey ... I'm a little short on cash. Can you loan me a hundred?", "Sara: Funny, very funny.", "(SARA deliberately glances down at her wrist watch.)", "Sara: Oh, look, shift's over. Guess you're one of us again.", "(SARA smiles and walks away.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(GRISSOM walks though the hallway, his traveling bags slung over his shoulder and container of cockroaches in his left hand. As he passes the Break Room, WARRICK calls out to him.)", "Warrick: Hey, Griss. How'd it go?", "(GRISSOM detours into the Break Room to stop to talk with WARRICK.)", "Grissom: The seminar was fine. Every one of my roaches got stage fright. They came in fourth, third, second and dead last. How about you? How'd you do?", "(GRISSOM puts his bags down.)", "Warrick: Well, the job is fine. It's the other stuff -- the personalities.", "Grissom: \"I love mankind, it's people I can't stand.\"", "Warrick: Is that Einstein?", "Grissom: Linus.", "Warrick: Charlie Brown. Figures. Is that why you put me in charge?", "Grissom: You think I like dealing with people? Remember when you asked me what I was in high school?", "Warrick: Yeah, you said \"A Ghost\".", "(GRISSOM sits down.)", "Grissom: When I leave CSI, there won't be any cake in the break room. I'll just be gone. So I wanted to see if you could step in.", "(WARRICK nods.)", "Grissom: Tell me ... all of it, from the top.", "Warrick: From the top?", "(WARRICK sighs and sits down across GRISSOM.)", "Warrick: I don't know where to start. It was wild.", "Grissom: Couldn't have been that bad.", "(Camera pulls back down the hallway on the two men.)" ]

[ "The CSI team is called in when a famous real estate entrepreneur is found dead in a hotel elevator. When the body of Bob Fairmont, the real estate developer, is found, the team discovers that the crime scene has been tampered with and that the victim has been re-dressed. After tracing the cause of death to a lethal poison, the team is shocked to discover that Fairmont's organs have already been removed and donated, making the case a bit more difficult to solve." ]

[ "[EXT. LAS VEGAS (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[INT. DEVON HOTEL -- LOBBY -- NIGHT]", "(A MAN and A WOMAN walk through the lobby, their arms around each other.)", "Man: You're going to like my room. You can see the entire strip from my balcony ... and the bed.", "(He turns her around, her back against the wall. Her hands come up against his chest.)", "Woman: (nervously) I usually don't do this. I-I mean, especially with somebody that I just met.", "Man: Yeah? Well, I could tell that just by looking at you.", "(The MAN presses the elevator door button. The elevator bell dings.)", "Woman: Uh ...", "Man: Come on, don't worry, all right? You can trust me. Okay?", "Woman: Promise?", "Man: I never lie.", "(The MAN starts to kiss the WOMAN. He backs her up into the elevator.)", "Woman: You are so bad.", "Man: Yeah, I am.", "(He lifts her up and carries her into the elevator. He presses her against the elevator wall and starts kissing her. After a moment, the woman looks down and sees the dead body on the floor ... )", "[SCENE_BREAK]", "[INT. DEVON HOTEL -- NIGHT]", "(SARA and GRISSOM arrive at the scene. They duck under the crime scene tape and walk toward BRASS who is already there.)", "Sara: Hey. Dispatch said suspicious circs.", "Brass: Yeah. We got an anonymous call to 9-1-1 at the same time the couple found him. A male voice said: \"A man has collapsed at the Devon. Hurry.\"", "Grissom: Where's the man?", "(GRISSOM looks at the empty elevator. There are two cones on the floor ... and no body.)", "Brass: Oh, he's unconscious, but breathing. So paramedics took him to Desert Palm Hospital. There was no bullet wounds, no knife ... nothing.", "Sara: You got a name?", "Brass: Bob Fairmont. Upscale home developer.", "Sara: \"A Fairmont Home, You'll Never Roam?\" Those billboards are everywhere.", "Brass: Well, they took these pictures before they moved him.", "(BRASS hands GRISSOM a stack of photos. GRISSOM puts his kit down and looks through the photos.)", "Grissom: Well, this is as phony as a chappaquiddick neck brace. See how the clothes are all bunched.", "Sara: Collar's off to the side, leg fabric's gathered.", "Grissom: It's impossible to redress an unconscious person to make it look like they dressed themselves. You notice anything about the suit coat?", "(GRISSOM shows the photo to BRASS. BRASS takes it and looks at it.)", "Brass: Well, unless he's going to court or to church, there's no way he buttons all three buttons.", "(BRASS gives the photo back to GRISSOM.)", "Grissom: Very good, Jim. (to SARA) Why do they think they can fool us?", "HARD CUT TO BLACK. END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. DEVON HOTEL - LOBBY -- NIGHT]", "(SARA takes pictures of the elevator. GRISSOM studies the photos.)", "Brass: I'm going to go to the hospital to talk to Fairmont's wife.", "(SARA continues to take pictures.)", "Grissom: Call me if you learn anything.", "(BRASS leaves. NICK walks up to them.)", "Nick: Hey, guys. I just pulled the manager out of a restaurant. Bob Fairmont was staying in room 2927. Catherine's parking the car.", "Grissom: Let's go up.", "Sara: We'll meet you there.", "Nick: Okay.", "[SCENE_BREAK]", "[INT. DEVON HOTEL - HALLWAY -- NIGHT]", "(GRISSOM walks toward room 2927. In front of them is the door to the stairs. NICK, SARA and CATHERINE follow. They all stop in front of the closed room door.)", "Grissom: Mr. Fairmont was staying in Murder Central.", "Catherine: (agrees) Mmm.", "Nick: \"Murder Central\"?", "Sara: You never heard that phrase?", "Nick: (exasperated) Well, if I did, would I have asked the question?", "(SARA looks smug as she got a reaction from NICK.", "Grissom: Sara, you're with me in here. (to CATHERINE and NICK) You guys get the elevator.", "Catherine: All yours, girl.", "Sara: Thanks.", "(GRISSOM unlocks the hotel room door. He and SARA enter. CATHERINE and NICK walk back down the hallway.)", "Nick: (disgruntled) Sara doesn't know what Murder Central means any more than I do.", "Catherine: (puts a hand on NICK'S shoulder) Oh, Nick, give it up. We got a death imminent to worry about.", "[SCENE_BREAK]", "[EXT. HOSPITAL EMERGENCY ROOM -- NIGHT]", "(BRASS questions JULIA FAIRMONT)", "Julia Fairmont: My husband's in surgery. Can't this wait?", "Brass: I'm sorry, no. He was found under suspicious circumstances. Do you have any idea who may have redressed him or moved him?", "Julia Fairmont: (shakes her head) He usually goes with women who look a lot like me ... only younger. And I'm embarrassed to say that I've been flattered by that, at times.", "Brass: Do you have a name?", "Julia Fairmont: I was very much on the outside of that part of his life.", "Brass: I see.", "(BRASS puts his notebook back in his jacket pocket.)", "[SCENE_BREAK]", "[INT. DEVON HOTEL - ROOM 2927 -- NIGHT]", "(Standing side-by-side, GRISSOM and SARA look at the room in front of them. They're silent as they look around the room.)", "Sara: I know. The room's talking to us. They had champagne.", "(SARA walks into the room, GRISSOM remains by the door.)", "Sara: They were celebrating something.", "(She looks at the glasses.)", "Sara: No lipstick on either glass. 9-1-1 did say it was a man's voice that placed the call.", "Grissom: Smell the musk? Hint of bleach?", "(GRISSOM looks up at the mirror over the bed. He notices that the bed is mussed.)", "Grissom: Sexual intercourse.", "(SARA turns around to look at GRISSOM.)", "Sara: They kept the drapes open. A married man who's not worried about ... photographs, long lenses ...", "Grissom: Well, he's either careless or arrogant, maybe.", "Sara: Or he has a death wish. (SARA looks down and picks up a bra.) 34 C? If he was with a woman, who was the guy on the 911 call?", "[SCENE_BREAK]", "[INT. DEVON HOTEL - ELEVATOR -- NIGHT]", "(CATHERINE and NICK work on the elevator.)", "Catherine: Hand me that magnifier. (NICK hands her the magnifier.) Thank you.", "Nick: What do you got?", "Catherine: See those white specks?", "(Camera zooms for a close up of the white specks. Resume to present.)", "Nick: What do you think, cocaine?", "Catherine: No, I don't think so.", "Nick: How can you tell just by looking?", "Catherine: Never you mind.", "(CATHERINE takes a tape lift of the white specks.)", "Catherine: Let's just get this to trace.", "[SCENE_BREAK]", "[INT. DEVON HOTEL - ROOM 2927]", "(NICK opens the hotel room door and walks inside. GRISSOM and SARA are just putting on their goggles and taking out the ALS.)", "Nick: Okay, we're done in the elevator. You guys need a hand?", "Grissom: Yeah, you want to dust the champagne bottle?", "Sara: The average American hotel room is covered with stains invisible to the naked eye.", "Grissom: Yeah, but they're not all biological. Some are soda stains, food stains, whiskey stains, you know.", "Sara: No matter how clean or expensive the room seems that why always travel with nonoxinol nine.", "(They stand up.)", "Grissom: You sound like you're making a commercial. Nick, hit the lights, will you?", "(NICK turns the lights off.)", "Grissom: Okay, we're looking for the freshest stains.", "Sara: Soda, maybe ... maybe champagne ... oh! Someone's little soldiers ... more champagne.", "(They look up at the walls.)", "Grissom: Hmm ... \"starlight, star bright, first star I see tonight.\"", "(GRISSOM takes off his goggles and heads for the door.)", "Grissom: Okay, I'll let you guys do the collection.", "Nick: Thanks a lot.", "(GRISSOM turns around.)", "Grissom: Oh, and Sara?", "Sara: Hmm.", "Grissom: Last hotel room nearest the stairwell -- easy entry and egress for an intruder and if the victim fights back, fifty percent less chance of being heard.", "Sara: Rooms only on one side. Murder Central.", "(GRISSOM nods his head and leaves the room. The door closes behind him.)", "Nick: (smiling) You are so busted.", "(SARA turns around to look at NICK. She smiles.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- NIGHT]", "(Camera close up of a scope view of the \"white specks\" found on the elevator floor. The magnification view is increased. Camera turns around and goes back up the viewer to the eye looking through the scope. End of scope view.)", "Catherine: I gave this to trace. Why do you have", "Greg: Well, because I deal in DNA. The smallest sliver of epidermal tissue.", "Catherine: This is skin.", "Greg: Scalp skin. Itchy. Can be embarrassing in social situations especially if one is wearing a dark shirt.", "Catherine: Dandruff.", "(GREG reaches out and brushes non-existent dandruff from CATHERINE'S shoulder.)", "Greg: Good chance whoever moved the guy into the elevator ...", "Catherine: Had a bad case of seborrhea.", "(CATHERINE deliberately leans forward and brushes the non-existent dandruff from GREG'S shoulder.)", "Catherine: Thanks.", "(CATHERINE turns to leave the lab. GREG stops her.)", "Greg: Hey, Catherine? Do you think Sara would ever go out with me?", "Catherine: (thinks about it) Sure. (deadpans) As long as you don't tell her it's a date.", "(CATHERINE leaves the lab.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]", "(CATHERINE exits the DNA lab and walks down the hallway. WARRICK catches up with her.)", "Warrick: Hey, Cath... are you on this Fairmont case?", "Catherine: House mogul caught with his pants on? Yeah, I'm just rolling to the hospital to get his clothes. Why?", "Warrick: You know the Fairmont house was one of my first calls three years ago?", "Catherine: You serious? For what?", "Warrick: Shots fired. He shot himself while he was cleaning his gun.", "Catherine: Wow!", "Warrick: Yeah. And after hearing about tonight I'm wondering if that's what really happened. I'm going to pull his file and check it out.", "Catherine: Let me know.", "Warrick: I will.", "[SCENE_BREAK]", "[INT. DEVON HOTEL - ROOM 2927]", "(NICK picks up the used condom from the fixture on the wall.)", "Nick: Nice shot. (looks inside) Reservoir's still wet.", "(NICK bags it.)", "Sara: Why did he throw it?", "Nick: Mmm. I'm only impressed if he aimed.", "Sara: I wonder if the woman has any idea she left her DNA behind?", "Nick: Not rocket science. Man's inside, woman's out.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(BRASS fills GRISSOM in about the 911 tape.)", "Brass: Wife says the guy's a player. She doesn't know the women.", "Grissom: You tell her about the 911 tape?", "Brass: The male voice? Oh, I just got back from central dispatch. The tape's lost. New computer system.", "Grissom: Any ear-witnesses?", "Brass: The dispatcher says it could've been a woman whispering. Or a very old person, gender indeterminate.", "Grissom: That's about as good as an eyewitness.", "(GRISSOM'S phone rings. He answers it.)", "Grissom: Grissom. (pause) What? (pause) I'll be right there.", "(He hangs up and looks at BRASS.)", "Grissom: No lunch.", "(GRISSOM turns around and heads back down the hallway.)", "[SCENE_BREAK]", "SCENE #13", "[INT. CSI - FORENSIC AUTOPSY]", "(ROBBINS goes over the findings with GRISSOM.)", "Grissom: We got a time?", "Robbins: Well, all indications are he was brain-dead from the time he collapsed at the hotel", "Grissom: From?", "(Quick CGI POV to: A camera close up of the deceased's forehead. White flash to a view of the brain where blood starts to leak out.)", "Robbins: (V.O.) An artery out-pouches blood floods the subarachnoid space.", "(End of CGI POV. Resume to present.)", "Robbins: Heart still beats, but the brain's dead. And it doesn't regenerate.", "Grissom: Aneurysm from trauma ... infection...?", "Robbins: Genetic predisposition. Both parents went that way. It increases a person's chance of stroke ten-fold. He looks like an athlete.", "Grissom: Brain dead at 38, otherwise healthy and strong. Is this a Frankenstein?", "Robbins: I was wondering when you'd ask. Prime donor candidate. Next of kin signed off.", "Grissom: How many organs they take?", "Robbins: Eight in under two hours.", "Grissom: Man, those harvest doctors move, don't they?", "(Quick flashback to: The heart monitor beeps. The doctor puts the first organ in the pan.)", "Doctor: Kidneys, stat! DOCTOR: Go, go, go!", "(Various flashes of the organs being removed and of various machinery monitoring the donor.)", "Doctor: Here comes the liver. Ready with a basin, please. Nurse: For ... DOCTOR: Right now. DOCTOR: And here we go!", "(The second organ goes into the pan marked: \"Liver\".)", "Doctor: Clamp it. DOCTOR: Get it back, get it back. DOCTOR: Ready and got it. DOCTOR: Here we go.", "(The final organ is placed in the pan. End of flashback. Resume to present.)", "Grissom: (nods) All right, I'll notify the PD about the organs.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG takes a swab from the condom. SARA reads through some papers as she waits.)", "Greg: So I was thinking. Maybe we could take our break at the same time. (beat) Later this shift. (beat) Together.", "Sara: Sure.", "Greg: (surprised) Really.", "(GREG tests the swab. SARA leans in to look.)", "Sara: Semen. No surprise there.", "Greg: Well, without the DNA sample from the hotel guy this test is pretty useless.", "(SARA goes back to looking at the photos.)", "Sara: I'm more interested ... in who the woman is.", "Greg: Well, just like the bra, I'm going to need a reference of her DNA in order to do anything, and that's not going to happen until ...", "(SARA rifles through the autopsy photos. She sees something.)", "Sara: What the heck?", "Greg: What?", "Sara: (looking up) Stripes.", "(Without further explanation, SARA walks out of the lab.)", "Greg: Stripes.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(SARA and GRISSOM walk through the hallway. SARA shows GRISSOM the photos.)", "Sara: Transverse white bands that appear six weeks after the onset of symptoms of toxicity.", "Grissom: You got a closer view?", "(SARA hands GRISSOM the photo she was looking at. Camera zooms in to the fingernails to show the white stripes.)", "Grissom: Uh ...", "Sara: They look like mees lines to me.", "Grissom: Could be livor mortis.", "Sara: Or white striae, indicative of heavy metal poisoning.", "Grissom: We can't count on a photo to draw that kind of conclusion. We need the body.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(SARA, GRISSOM and ROBBINS look at the empty table.)", "Sara: Don't take this wrong, Dr. Robbins, but ... how do you release a body that's been redressed and dumped in an elevator?", "(ROBBINS pushes the table back into the cabinet.)", "Robbins: I deal with cause of death, which was an aneurysm and therefore, a natural, and based on that his body is released to a mortuary.", "(ROBBINS sits down at the computer monitor.)", "Sara: The whole transplant thing didn't raise a flag?", "Grissom: I thought I'd raised a flag with the good doctor when I told him I was going to notify the police department but evidently, I mis-communicated again.", "Sara: Great.", "(ROBBINS enters the search in the computer database.)", "(The results are as follows:", "[Name: FAIRMONT, ROBERT Cause of Death: Natural Date: 12/13/01", "Time of Death: 4:00 a.m. Case #: 29574", "Destination: Desert Haven Mortuary ]", "Robbins: All may not be lost. Here... body of Robert Fairmont released at 0400 hours to the Desert Haven Mortuary.", "Sara: I know that place.", "Grissom: Well, if they haven't embalmed him we can still get a blood sample test for heavy metal poisoning.", "Sara: Good. I'll drive.", "(SARA heads for the door. She turns around when she realizes that GRISSOM isn't moving.)", "Sara: You're not coming?", "Grissom: (looks up) You found it, you run with it.", "(SARA seems surprised.)", "Grissom: You can do it. Take Nick.", "Sara: Okay.", "(SARA leaves.)", "[SCENE_BREAK]", "[INT. DESERT HAVEN MORTUARY]", "(FURNACE POV: SARA looks in through the window. Her face shows her shock and surprise.)", "Sara: How long's he been in here?", "Randy Gesek: 92 minutes at 1,600 degrees. At, exactly, was it that you wanted to see?", "(SARA turns around to look at RANDY GESEK.)", "Nick: His fingernails.", "Randy Gesek: I'm very sorry.", "Nick: Who approved this cremation?", "(RANDY looks at his clipboard and sighs.)", "Randy Gesek: His wife, Julia Fairmont.", "Sara: Same person who approved the organ transplants.", "(RANDY nods. SARA turns to look at the furnace.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Camera opens on the evidence bag of ROBERT \"BOB\" FAIRMONT'S ashes. The bag is dated 12/6. Case # 81585171. Labeled: \"Ashes of Bob Fairmont\" and \"DOB 2-25-", "(SARA picks up a piece of ash and places it in a mortar. She grounds it with a pestle.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM]", "(BRASS and SARA JULIA FAIRMONT.)", "Brass: You told me your husband was in surgery.", "Julia Fairmont: He was.", "Brass: Surgery to take his organs not to save his life.", "Julia Fairmont: He was technically ... dead. He wanted to donate his organs. I was following his wishes. Why are you being so hostile?", "Brass: Someone was poisoning your husband.", "Julia Fairmont: What?", "Sara: We don't know the dose or the duration but we do know the type of poison. We processed your husband's remains.", "(Quick series of flashes to match SARA'S narration. SARA in the lab taking the piece of ash. SARA testing a sample of the ash in the analyzer. SARA pressing the button to start the machine.)", "(Machine test results read as follows for \"Alignment Mode Lamp 1\":", "[Name: Se-02-196.1-lib3 Pulse: Wide Lamp: Se Buck sci Bkgnd: Off Wavelength: 196.0- Slit: 0.2", "Pnt: 304.9V Energy: 2.652 ]", "Sara: (V.O.) Most poisons would be completely burned off by cremation but heavy metals are very resistant to heat. This heavy metal -- selenium.", "(White flash to the fire in the furnace. Printer prints results. End of flashback. Resume to present.)", "Sara: Did you notice that your husband's breath might have been garlicky?", "Julia Fairmont: Garlicky?", "Sara: The body will excrete demethyl selenide -- smells just like garlic.", "Julia Fairmont: Uh... no.", "Sara: The white stripes on his fingernails--did you notice those?", "Julia Fairmont: Um ... we didn't see each other a lot. Bob was busy building his company.", "Sara: That bother you, him never being home?", "(JULIA FAIRMONT looks at BRASS.)", "Julia Fairmont: I think it would bother any woman.", "Sara: Did you know that the most common choice of premeditated murder among women is poison? They cite its passivity.", "Julia Fairmont: I did not poison my husband.", "Sara: You cremated his body.", "Julia Fairmont: He wanted to be cremated. I cremated him. He wanted to donate his organs. I did that, too. Now, if there's nothing else, I will be at home preparing for my husband's memorial service. Excuse me.", "(Angry, JULIA FAIRMONT grabs her jacket and stands up to leave. SARA stops her.)", "Sara: Do you want us to notify you?", "(SARA and JULIA turn around to look at each other.)", "Julia Fairmont: Of what?", "(SARA stands up and walks toward JULIA FAIRMONT.)", "Sara: When we find out the exact amount of selenium given to your husband and over what period of time?", "Julia Fairmont: I thought you couldn't tell.", "Sara: Your husband's gone, but his organs are still out there.", "Julia Fairmont: (nods) Well, good. Yes, I would like to be notified.", "(SARA turns to look at BRASS.)", "[SCENE_BREAK]", "[INT. HOSPITAL]", "(NICK stands behind the physician as they explain the situation to the PATIENT, CARL MERCER, in the bed.)", "Carl Mercer: Straight up, am I going to die?", "Physician: You have only a small fraction of the poison that was in your donor's body--one organ. With nothing new coming in it should work its way out.", "Carl Mercer: I must've had 100 tests. How'd you doctors miss this?", "Nick: A heavy metal like selenium presents so rarely that it's", "Carl Mercer: You don't look like a doctor.", "Nick: (smiles) No, sir, no, I'm not. I'm Nick Stokes. I'm with the Las Vegas Crime Lab.", "Physician: I'll be right outside.", "Nick: Thank you, doctor.", "(The doctor leaves. NICK steps up toward the bed.)", "Nick: I was hoping I might be able to get a sample of that new kidney of yours.", "Carl Mercer: A sample?", "Nick: Biopsy. A sliver.", "Carl Mercer: You mean open me up again?", "Nick: Maybe an invasive scope. The only way I can get an accurate barometer of the poison in Mr. Fairmont's system is through one of his organs.", "Carl Mercer: I'm sorry, young man but this is my kidney now. (He shakes his head.) I waited four years. I can't have anyone cut into me for it. I just can't.", "Nick: Hey, I understand. Thank you for your time.", "(NICK glances down at the watch on the railing.)", "Nick: I like your watch, man, that's cool.", "Carl Mercer: It broke while I was down in surgery--stuck on 11:00. Think the Lord's trying to tell me something?", "(NICK chuckles.)", "Nick: Yeah, get it to a watch repair shop. (pause) I hope you get to feeling better, Mr. Mercer.", "(NICK leaves the room.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(SARA updates GRISSOM.)", "Sara: Nick struck out on the kidney. I got four \"no's\" over the phone. One yes from a recipient in Illinois-- heart.", "Grissom: Useless-- heart has no memory for poison.", "Sara: Why can't we cut the middle man and just check the wife's house for selenium? (GRISSOM looks at SARA.) All right, I know, something about constitutional law. Get probable cause, then get a search warrant ...", "(GREG walks on into the hallway, directly in front of SARA and GRISSOM.)", "Greg: Sara! I was just looking for you. Still up for break?", "Sara: Sorry, Greggo-- hot case. I'm going to go look at Nick's champagne bottle. How you doing with our DNA?", "Greg: Uh ... inside-outside we're still looking for a reference for comparison but the epidermals are looking promising.", "Sara: Nice.", "(SARA leaves.)", "Grissom: You want to clue me in?", "Greg: Sara and I were just going out for dinner.", "Grissom: On the case, \"Greggo\".", "Greg: Oh. Right.", "(GREG turns back in to his lab. GRISSOM follows.)", "[SCENE_BREAK]", "[INT. HOSPITAL]", "(CLAUDIA GIDEON walks in and heads for the Nurse's station. CATHERINE is standing next to the station, waiting.)", "Claudia Gideon: Excuse me ... I'm Claudia Gideon, Bob Fairmont's secretary. I came to pick up his property.", "Nurse: Oh, I'm sorry, but Ms. Willows already asked for them.", "Catherine: His property is part of our investigation. I'm afraid I have to take it.", "Claudia Gideon: Oh, fine. I was just doing my job.", "Catherine: Yeah, me, too. Did you work for the Fairmonts three years ago, when Mr. Fairmont was shot?", "Claudia Gideon: I was out sick that day.", "Catherine: Interesting.", "(CATHERINE sees something on CLAUDIA'S sweater.)", "Catherine: You have dandruff.", "(CATHERINE turns to get tape from her kit.)", "Claudia Gideon: Is that really proper etiquette?", "Catherine: It is when I'm on a case. Do you mind?", "(CATHERINE takes a tape lift.)", "Claudia Gideon: Where did you say you worked?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS questions CLAUDIA GIDEON.)", "Brass: I'm going to ask you again -- were you in that hotel room with Bob Fairmont?", "(CATHERINE enters the room and closes the door.)", "Claudia Gideon: I was not, no.", "Catherine: But you did redress him and place him in the elevator.", "Claudia Gideon: You don't know what you're talking about.", "Catherine: Well, that's dangerous to say to a scientist.", "(CATHERINE puts her file on the table.)", "Catherine: Dandruff is nothing more than sloughed-off skin. It has a nucleus just like a cell on your arm or your big toe.", "(CATHERINE puts the test results and photo in front of CLAUDIA GIDEON.)", "Catherine: These 13 DNA markers from this dandruff cell are a match to the dandruff that I recovered from your sweater. You were there. At that hotel.", "Claudia Gideon: Okay, Mr. Fairmont told me earlier that day to meet him in his hotel room at 9:00 to pick up some papers, okay? When I got there, he was in bed -- naked,", "(Quick flashback to: CLAUDIA GIDEON finds BOB FAIRMONT in bed naked. She looks shocked.)", "Claudia Gideon: (V.O.) ... unconscious.", "(CLAUDIA moves and picks up his clothes.)", "Claudia Gideon: (V.O.) He always told me reputation before health -- no scandals. I dragged him to the elevator.", "(CLAUDIA drags BOB FAIRMONT into the elevator. She leaves him there. The elevator doors close. End of flashback. Resume to present.)", "Catherine: Let me guess -- you snuck out down the stairwell.", "(She nods.)", "Brass: Who was Fairmont partying with in that room?", "Claudia Gideon: I don't know.", "Catherine: Well, we won't mind if we compare your DNA to the vaginal contribution of a condom that we recovered from Mr. Fairmont's room?", "Claudia Gideon: (nods) Sure, go ahead.", "Catherine: Good. We'd like to show you something else -- about that accidental shooting three years ago at your boss' house.", "[SCENE_BREAK]", "[INT. CSI - OFFICE]", "(On the monitor is a computer reinactment of the first shooting years ago. The green figure is sitting down at a table when the gun falls down and shoots the victim in the groin.)", "Warrick: In this reinactment, Fairmont shot himself while cleaning his gun? In this reenactment the story just doesn't add up. I think I fell for it because I was new and I wasn't too eager to talk to another guy about him almost shooting off his manhood.", "(BRASS sighs. WARRICK straightens the monitor.)", "Warrick: This is the room as it was then based off of my crime scene photos. This is crime scene reconstruction, new school. Works backward, reverse time.", "(On the monitor it shows a different scenario with the green figure standing in the foyer.)", "Warrick: The bullet hit here.", "(The screen backs up showing a red figure (the shooter) sitting in a chair and shooting the green figure (the victim) in the groin.)", "Warrick: The only logical place for that bullet to have been shot from is four meters away, one meter high. He didn't actually shoot himself. Someone shot him.", "Catherine: We're thinking it was you.", "Brass: Admission form from the ER, 9/6/98. The person who brought Fairmont in on the accidental shooting... was you.", "(BRASS puts a copy of the Record of Admissions Form from the Desert Palms Hospital in front of her. The application Information reads as follows:", "[Name: FAIRMONT, BOB Local Residence - Street: 41733 Calle Matria City - Town: Las Vegas State: NV County: Clark Date Admitted: 9/6/98", "Time Admitted: 10:32", "Patient Accompanied by: CLAUDIA GIDEON Address: 311 Sephill Rd, Las Vegas, NV 89109", "Attending Physician: Dr. Tommy Liu Address: 826 Herrick Ln, Las Vegas, NV 89109", "Alternate Physician: Dr. Sheryl Aragon Address: 311 Sephill Rd, Las Vegas, NV 89108", "Next of kin or representative/Relationship: Tyson Green Brother-in-law Address: 493 Fairmark, Las Vegas, NV 89108", "Person to notify in Emergency/Relationship: Tyson Green Brother-in-law Address: Same as Above ]", "Claudia Gideon: I didn't shoot him.", "Brass: You didn't poison him, either. All these bad things just happen to you.", "Claudia Gideon: I'm on call 24 hours a day, okay? Mr. Fairmont beeped me. I drove out to the house, and I took him in.", "Catherine: Where was his wife?", "(CLAUDIA shakes her head.)", "Claudia Gideon: You'd have to ask her.", "[SCENE_BREAK]", "[INT. CSI - INTERVIEW ROOM]", "(CATHERINE, WARRICK and BRASS requestion JULIA FAIRMONT.)", "Julia Fairmont: Yes, I shot him. He was supposed to go riding with me and he didn't show up till two in the morning. No calls, nothing. I was ... hurt.", "Catherine: So, you just sat there in the dark and aimed south of his belt.", "Julia Fairmont: I just wanted to scare him.", "(Quick flashback to: BOB FAIRMONT returns home and finds his wife angry and holding a gun on him.)", "Bob Fairmont: It was a business meeting. BOB FAIRMONT: I swear. BOB FAIRMONT: I-it wasn't like before. BOB FAIRMONT: I was thinking about you the whole time.", "(She shoots. He grunts from the impact. End of flashback. Resume to present.)", "Brass: So, why didn't you tell the truth then?", "Mrs. Fairmont: I wanted to, but Bob wouldn't let me. He said that it would ruin his career -- Fairmont Family Estates.", "Warrick: I'm presenting this case to the D.A., even if it is three years old.", "Claudia: My husband's dead. We had our problems but I loved him I don't ... I don't much care what you do now.", "Brass: Well, there's only two reasons a woman shoots a man. She either loves him or hates him.", "Catherine: Or both.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GRISSOM looks through the scope at the dandruff sample.)", "Greg: That's the sample Catherine pulled off of the secretary's blouse and the hotel man's clothes -- same source.", "Grissom: Secretary moved the body.", "Catherine: We just interviewed her. She copped to moving him. We're looking hard at the wife on the poisoning.", "Grissom: The secretary has dandruff.", "Catherine: We know. Dermatomycoses seborrhea -- we got it.", "Grissom: Pical eczemas like that require prescription medication. The primary ingredient of those medications -- selenium sulfide.", "(CATHERINE sighs at missing the obvious. She heads out the lab.)", "[SCENE_BREAK]", "[INT. FAIRMONT RESIDENCE -- NIGHT]", "(BRASS and CATHERINE are on the porch talking with JULIA FAIRMONT.)", "Julia Fairmont: I don't really feel right about doing this.", "Brass: Oh, this is your residence. Everything in Claudia's office is your property.", "(CATHERINE and BRASS step inside.)", "Catherine: She could be back from dinner at any moment. This shouldn't take long.", "(The door closes behind them. CATHERINE and BRASS walk into the office and start looking around. JULIA FAIRMONT waits by the door. CATHERINE opens the cabinet and finds a large brown bottle in the back. She picks it up and looks at the label.)", "(The label reads:", "[Pharmacy / 493 Fairmark Ave., Las Vegas,NV 89107", "CLAUDIA GIDEON Fill Date: 7/21/01", "Phone: (702) 555-0150", "Rx No: 4529975", "Dr: Doty", "\"USE AS NEEDED FOR SEBORRHEA\"", "NIZORAL A-D", "24 OZ DATE: 11/07/01", "DISCARD AFTER: REFILL: 1 BY: 11/7/02 ]", "(The front door slams shut. CLAUDIA GIDEON walks in carrying a storage box.)", "Claudia Gideon: That's mine.", "Brass: Could you tell us why you keep your shampoo in your office?", "Catherine: Shampoo full of the same poison found in Bob Fairmont's remains?", "Claudia Gideon: I don't know.", "Brass: Aw, you have to do better than that.", "Claudia Gideon: Maybe I pied it up at the pharmacy on lunch and put it there. I don't know.", "(CATHERINE opens the refrigerator and looks inside. She finds a small tub of garlic cream cheese.)", "Catherine: Cream cheese.", "(CLAUDIA scoffs.)", "Catherine: Garlic cream cheese ...", "Brass: Hides the bitter aftertaste.", "(Quick flashback to: BOB FAIRMONT eating a bagel loaded with cream cheese. End of flashback. Resume to present.)", "Catherine: It explains away his bad breath.", "(Quick flashback to: BOB FAIRMONT finishing the bagel with cream cheese and laughing. End of flashback. Resume to present.)", "Claudia Gideon: I did not poison him.", "(The cabinet door closes.)", "Catherine: We'll see.", "Julia Fairmont: Aren't you going to arrest her?", "(CLAUDIA scoffs.)", "Claudia Gideon: I haven't done anything.", "Julia Fairmont: Other than poison Bob.", "Claudia Gideon: Poison? I'm the one who looked out for him.", "Julia Fairmont: You? I ran his home. I entertained his clients.", "Claudia Gideon: Who made all of his dental appointments, huh? His haircuts? Who got his taxes in on time?", "Julia Fairmont: You covered for his mistresses ...", "Claudia Gideon: Why did he need mistresses?", "Brass: Ladies ... don't go there.", "Catherine: This is yours ... and these are yours. (CATHERINE hands each woman a key.) There's the door. We build a case before we make any arrests.", "[SCENE_BREAK]", "[INT. HOSPITAL]", "(NICK walks into CARL MERCER'S hospital room.)", "Nick: Hey, Mr. Mercer. I got your message. You wanted to talk to me?", "Carl Mercer: Did you find out who poisoned Mr. Fairmont?", "Nick: No. No, sir. ,I have found selenium in his office but... without actually knowing how much was in his system ...", "Carl Mercer: What if I could tell you? My body's rejecting the organ. Doctor says it's got nothing to do with poison. It's antibodies.", "Nick: I'm sorry.", "Carl Mercer: I told you this watch stopped while I was down in surgery? It's funny ... it's like it knew all along the kidney wasn't going to take. Anyway... there's one last good thing I can do before I leave this earth. So ... how do we do this?", "(NICK nods. Camera holds on CARL MERCER.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(NICK talks to GRISSOM about CARL MERCER.)", "Nick: I can't even talk Warrick into splitting a sandwich with me and this guy's willing to give us his kidney?", "Grissom: You asked for it.", "Nick: Yeah, that's my point. Carl Mercer risks dying sooner to help our investigation but who protects his rights?", "Grissom: He has free will.", "Nick: Well, so do I. I want to retract our request. I don't think any investigation for the dead is worth hurting the living.", "(GRISSOM turns around. He doesn't say anything.)", "Nick: What?", "(SARA calls out to them from the doorway.)", "Sara: Guys? You're not going to believe this.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(SARA runs the print through the database.)", "Sara: Funny sometimes it is the simplest things that seems so difficult. I've been trying to match the partial from the champagne bottle to these known prints. It was upside down.", "(The computer beeps.)", "Grissom: Must've grabbed the bottle ...", "(Quick flashback to: BOB FAIRMONT in bed with someone. She reaches over and grabs the champagne bottle.)", "Grissom: ... upside-down to pour.", "(End of flashback. Resume to present.)", "(On the monitor, it shows that a match was found. The prints match up. GRISSOM looks at SARA.)", "Grissom: So ... who was he with?", "Sara: Mrs. Fairmont.", "Nick: (surprised) What? Player was in the hotel cheating with his own wife?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS re-interviews JULIA FAIRMONT.)", "Julia Fairmont: I was trying to ... rekindle our marriage. I ... got the room ... brought the champagne.", "(Quick flashback to: BOB FAIRMONT in bed with his wife.)", "Bob Fairmont: (moaning) Oh, yes. Yes.", "(End of flashback. Resume to present.)", "Julia Fairmont: He squeezed me in between business meetings at the hotel.", "Brass: And you didn't think to tell me that when we first talked?", "(In the observation room, GRISSOM, SARA and NICK listen in on the questioning.)", "Julia Fairmont: No, because you asked me about him being redressed in an elevator ... and, besides, when I left him, he was ... alive watching the news.", "(Quick flashback to: JULIA kisses BOB FAIRMONT and leaves. The news can be heard on the television. End of flashback. Resume to present.)", "Brass: Oh, so, he had a stroke alone, after you left.", "(Quick flashback to: BOB FAIRMONT puts a hand to his forehead and collapses back on the bed. End of flashback. Resume to present.)", "Julia Fairmont: I'm not a doctor. I don't know when he had it.", "Brass: Well, CSI is testing that champagne bottle for selenium.", "Julia Fairmont: I didn't think poison caused strokes.", "Brass: You seem to know a lot about poison for not being a doctor.", "Julia Fairmont: I know a lot of things about a lot of things, but that doesn't mean that I killed my husband.", "[SCENE_BREAK]", "[OBSERVATION ROOM]", "(Upon hearing this, GRISSOM looks at SARA.)", "Grissom: Yeah ... but what never lies?", "[SCENE_BREAK]", "[INT CSI - EVIDENCE ROOM]", "(GRISSOM sifts through BOB FAIRMONT'S ashes. SARA sits on the table next to him and looks at the file.)", "Sara: Fairmont had three gold crowns. They should've survived the cremation.", "Grissom: At least partially. Heavy metal, after all.", "Sara: His wife ... had them removed at the mortuary. That adds new meaning to the phrase \"gold digger.\"", "Grissom: Actually, that's how the phrase got started. People used to dig up the bodies to extract the gold.", "Sara: Now they just marry them. In some countries, this would be enough to have her arrested for murdering her husband.", "Grissom: What's the most important component in a poisoning.", "(Hmmm ... trick question. SARA thinks about it.)", "Sara: Poison.", "(GRISSOM looks up at SARA.)", "Grissom: Patience.", "(SARA smiles and shakes her head.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT]", "(JULIA FAIRMONT makes her way to her parked car. She staggers a little and appears to have difficulty walking. She makes it to her car and tries to unlock the door. NICK sees her duress and calls out to her.)", "Nick: Ms. Fairmont ... Ms. Fairmont, you feeling okay?", "(She waves him away.)", "Julia Fairmont: Yeah, I'm, I'm ...", "(JULIA doubles over in pain. NICK rushes over to help her.)", "Nick: Whoa, whoa, whoa, whoa, whoa, whoa.", "Julia Fairmont: Hey ... maybe I just need to sit down... for a minute.", "Nick: Yeah, yeah, let's sit down here in the car for a sec.", "(NICK opens the door and helps JULIA FAIRMONT sit inside.)", "Nick: There you go. Relax, relax, relax.", "(NICK takes out his cell phone and makes a call.)", "Nick: yeah, I need an ambulance. Uh, Vegas PD, west parking lot.", "[SCENE_BREAK]", "[INT. CSI -- OFFICE]", "(GREG is on the computer. NICK walks in through the hallway. He stops when he sees GREG at the computer, pauses for a moment, then walks by.)", "(GREG does a web search for \"Julia Fairmont\". He finds 900 matches.)", "(He narrows the search to \"Julia Fairmont\" in \"Nevada\". He finds 4 matches.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(NICK continues through the hallway. He meets up with CATHERINE and GRISSOM.)", "Catherine: Hey, what's going on? We called the hospital. She's been released.", "Nick: ER doc gave her a shot of hydropazeen ... sent her on her way.", "Grissom: Hydropazeen? That's an antiemetic used to counteract heavy metal poisoning.", "Nick: Which means ... somebody's been poisoning our suspect.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT]", "(BRASS questions CLAUDIA GIDEON.)", "(CLAUDIA GIDEON shakes her head: No.)", "Claudia Gideon: I don't know how it happened. Maybe she poisoned herself.", "Brass: Why would she do that?", "Claudia Gideon: (scoffs) Why would she hide my shampoo in my office?", "Brass: What, you know she did that?", "Claudia Gideon: Well, it wasn't her husband. He was already dead. She's trying to frame me for killing him.", "Brass: I mean, do you have anything beyond your suspicions that she did kill him?", "Claudia Gideon: She had his gold fillings removed. Doesn't that tell you something about her?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS questions JULIA FAIRMONT.)", "Julia Fairmont: I had his watch and ring removed, too. Do you want to see them? They're in a box at home.", "Brass: You realize that doesn't look good?", "Julia Fairmont: It can look however it wants. I have nothing to hide.", "Brass: You mean since you yourself have been poisoned?", "Julia Fairmont: Yeah, why aren't you asking Claudia Richards about that? First my husband, then me?", "Brass: Why would she want to kill either one of you?", "Julia Fairmont: I don't know. Maybe because he refused ... to leave me for her.", "[SCENE_BREAK]", "[INT. POLICE DEPARMTENT - INTERVIEW ROOM]", "(BRASS questions CLAUDIA GIDEON.)", "Claudia Gideon: I had to wash his grungy coffee mug every night. I had to clean his toenail clippings off of his desktop. Why would I ever ask Bob Fairmont to leave anyone for me?", "Brass: So, you think it was all in Mrs. Fairmont's head?", "Claudia Gideon: He always said she was crazy.", "Brass: (scoffs) Okay, that's it. All right ... look, we're not leaving here till we get to the bottom of this.", "Claudia Gideon: Then I hope she talks soon.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- OFFICE]", "(SARA walks by the offices. She looks and sees GREG will working on the computer. She walks into the office.)", "Sara: Greg?", "Greg: (smiles) Hey. I was just printing something out for you ... on your hot case.", "(SARA steps inside and looks at the monitor.)", "Sara: From the internet?", "Greg: Yeah, I ... I was... on break, had some time ... thought ... hey ...", "(GREG gives SARA the print out of his finds. SARA looks at it.)", "Greg: Sorry, I drew a blank on the wife.", "(SARA leans in toward GREG.)", "Sara: (thrilled) I could really, really just kiss you right now.", "(Smiling, GREG bashfully turns his head away from SARA. SARA leaves the office. He sighs. When he turns back, SARA'S gone.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(SARA shows GRISSOM the information. GRISSOM looks at a photo of \"Claudia and John Gideon\".)", "Grissom: So, this is Claudia.", "Sara: The secretary, ten years ago her husband, John Gideon.", "(Across the hallway, CLAUDIA GIDEON takes a drink from the water fountain. GRISSOM and SARA turn around to look at her. CLAUDIA GIDEON smiles back at them. She leaves.)", "Sara: Claudia's rich husband also died young-- 35.", "(GRISSOM looks down at the Obituary for \"John Gideon, dies at 35\".)", "Grissom: She donated his organs and cremated his body.", "Sara: We don't have to chase down these organs. Ralph Parks rejected the organ that he got from Claudia's husband.", "Grissom: An organ with a memory, maybe?", "Sara: The most. Liver.", "(SARA show GRISSOM the report. It reads with the following information:", "BLOOD TYPE: A-POS Rh: NEG DATE: 4-13-93", "RECIPIENT INFORMATION: NAME: RALPH PARKS ORGAN(S): LIVER STATE: ARIZONA TRANSPLANT DATE: 5-3-93", "DOB: 5-30-62 / GENDER: M / BLOOD TYPE: A-POS Rh: Neg", "NAME: JASON JUNG ORGAN(S): AORTA", "TRANSPLANT DATE: 4-15-93 ]", "Sara: He died two months after receiving it back in '93. Lived one state over in Arizona. I have the cemetery address.", "(NICK rushes up toward them holding a piece of paper.)", "Nick: Hey, Sara, got the warrant.", "Sara: Awesome. We'll keep you posted.", "(GRISSOM nods as SARA and NICK leave. He looks up at CLAUDIA GIDEON sitting in the waiting room.)", "[SCENE_BREAK]", "[EXT. CEMETARY]", "(A large crane lifts the coffin out of the ground as SARA and NICK watch.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(ROBBINS holds the sheet over the body up. NICK looks up at the ceiling.)", "Robbins: Embalming certainly retards the decomposition process.", "Nick: Yeah, But it doesn't stop the smell.", "Robbins: The liver's degraded but any metal should still be there.", "(ROBBINS lifts the cloth over the metal pan to show NICK the liver inside.)", "Nick: We'll find out.", "(NICK takes the liver and leaves.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK cuts pieces of the liver off. He puts them into a blender and crushes them. He takes the liver mixture and puts it in a small container. He takes a small sample of the mixture and puts it in the machine to analyze. The results read on the monitor.)", "(The printer prints the results.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA walks into the lab. NICK reads the results off of the printout.)", "Sara: Nick, did you get anything", "Nick: Hey, Sara. Yeah. Sodium selenite-- selenium. 280 milligrams for a 180-pound man...", "(NICK gives the printout to SARA. She looks at it.)", "Sara: That's murder.", "Nick: Yeah, well, it would have been murder for a 300-pound man.", "Sara: This is different than the shampoo compound.", "Nick: Yeah, it contains polysorbate 80 and vitamin E. That combination's found in selenium supplements injected in animals.", "Sara: Animals? Like cats, dogs?", "Nick: Mostly livestock, grazers.", "Sara: To make up for the lack of selenium nutrient in the soil. How did Claudia get access to this stuff?", "Catherine: (o.s.) A dairy farm.", "(SARA and NICK look up to see CATHERINE standing in the doorway reading a file.)", "Catherine: \"Gideon Dairy and Cheese.\" Largest supplier of milk in Connecticut, in fact. Brass talked to a local chamber-of-commerce type about Claudia's husband. You want to know who his secretary was?", "Sara: Yeah.", "(CATHERINE puts the open file on the table for NICK and SARA to look at. The photograph in the picture is of John Gideon and Julia Fairmont.)", "Sara: Our Julia Fairmont.", "(SARA looks up at CATHERINE and smiles.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(CATHERINE and SARA interview CLAUDIA GIDEON and JULIA FAIRMONT, together. SARA puts the photographs of each woman with JOHN GIDEON in front of each of them.)", "Sara: Ten years ago, you played secretary and you played wife.", "Claudia: We have never represented we didn't know each other previously.", "Julia: And I wasn't playing. I was a hard-working secretary.", "Catherine: And you loved your husband Right up to the day he died ... of 240 milligrams of selenium.", "Sara: Animal selenium, the kind used for cattle.", "Claudia: Well, we did live in grazing country although, I have to say, Julia knew more about livestock than I did. She rode horses.", "(CLAUDIA smiles.)", "Julia: I took the job because Mr. G let me board my horse at the family stables.", "Claudia: Oh, I hated the stables. The smell. Never stepped foot in them.", "Sara: Implicating you, the secretary.", "(SARA sits down.)", "Sara: I don't believe this.", "Catherine: Bravo. Ladies. You have got this down to a science. (CLAUDIA looks at JULIA. JULIA continues to look at CATHERINE.) Why did it happen the first time? Hubby ignored you or abused you or you got sick of him fooling around so you started slipping the ...", "(Quick flashback to: CLAUDIA stands in front of the table. In one hand she holds the bottle of selenium. In the other, she grabs the glass of drink. JULIA walks in on her.)", "Catherine: (V.O.) ... cow stuff into his chocolate milk? Julia must have caught you.", "(End of flashback. Resume to present.)", "Catherine: So the two of you struck a deal.", "(Quick flashback to: CLAUDIA looks at JULIA. JULIA puts the scenario in front of her together.)", "Claudia: I'm, uh ... I'm coming into a lot of money.", "(JULIA puts the things she's carrying down. She sits down and looks at CLAUDIA.)", "Julia: No, we are.", "(CLAUDIA smiles. End of flashback. Resume to present.)", "Sara: And then what? The two of you realized how quickly you could run through a couple million? So you went looking for another mark here in Nevada?", "Catherine: But the difference is that you actually loved Bob Fairmont.", "(Quick flashback to: JULIA in bed with her husband. End of flashback. Resume to present.)", "Catherine: You shot him because he was cheating but that didn't get in the way of your long-term goals, did it?", "(GRISSOM peers through the door and taps on the glass. CATHERINE looks up. She and SARA go to see what GRISSOM wants.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]", "(SARA and CATHERINE walk out of the interview room.)", "Grissom: I just came from the D.A. Their attorneys were there as well. Based on everything we have the D.A. Is not going to move forward. He says it's a reject.", "Sara: Brass doesn't have anything?", "Grissom: Brass is still in the field.", "(GRISSOM looks into the interview room and tells the two women: )", "Grissom: You're free to go.", "(They stand up to leave. SARA looks at GRISSOM. She's not happy with the outcome of the case. CATHERINE is taking it in stride.)", "Julia: (to CATHERINE) Where's the ladies' room?", "Catherine: It's down the hall to your right.", "Julia: Thanks.", "Claudia: Pardon me.", "(The two women leave.)", "Catherine: Well, no big surprise. We have proof of poison but no way to prove which one of them did it.", "Sara: I like either one of them for the murder-- so will a jury.", "Catherine: She-said/she-said defense? It's never going to fly. They'll raise each other as a viable suspect just like they did with us.", "Grissom: That's what the D.A. said verbatim.", "Catherine: See you back at CSI.", "(CATHERINE leaves. SARA is completely unhappy with the results.)", "Sara: Wait. What? So, what, and just let them move on to another state, another husband?", "Grissom: It's not always up to us.", "(Without another word, SARA walks out into the parking lot. GRISSOM turns and watches her leave. He takes off after her.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT -- PARKING LOT - NIGHT -- CONTINUOUS]", "(SARA walks across the sidewalk and heads for her car. GRISSOM rushes out to catch up with her.)", "Grissom: Sara ... look ...", "(SARA stops and finally turns around to look at GRISSOM. She's disillusioned.)", "Grissom: I know this isn't news to you but sometimes science isn't enough.", "Sara: What are we doing? Digging up graves, chasing prints -- if it's no good in court ... if the killers win ...", "Grissom: It isn't a competition. We don't win. (SARA turns her head as GRISSOM continues.) The courts are like dice. They have no memory. What works one week doesn't work the next.", "Sara: (nods and looks at GRISSOM.) I know that. I do. I know that. That's why I'm mad.", "Grissom: But, see, if you get mad, then they do win.", "Sara: You just said ... This is one of your riddles isn't it?", "Grissom: (gently) One of life's riddles ... (GRISSOM turns around to head back to the building. He turns back to SARA.) ... But, hey ... the good news? There's no statute of limitation on murder.", "(GRISSOM makes his way back to the building. SARA turns and walks away.)" ]

[ "Grissom and Sara are called to the crime scene when two murder victims are found hidden in pipes at a construction site in the middle of an alfalfa field, while Catherine and Nick investigate an ostensible hunting accident. The investigation of the construction site murder reveals that the victims were sisters and the relationship of one of the sisters to a former prison inmate is a cause for suspicion -- especially when his presence is traced to the scene of the crime. Meanwhile, Catherine and Nick begin to doubt seriously that the body found in the woods was the victim of a hunting accident." ]

[ "[EXT. LAS VEGAS CITY OUTSKIRTS (STOCK) - DAY]", "(Overhead view of dry land outside the city.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS FIELD - LATE DAY]", "(Camera cuts to a view of open plains and dry fields. Just over the hill is an empty construction site with large machinery, white pipes and other materials.)", "(In the background, we hear a horse neighing and off in the distance, we can see a single horse and rider approaching the site.)", "(Cut to a closer view as the horse and rider approach the site.)", "(The horse starts to struggle against the rider.)", "Rider: What is wrong with you?", "(She gets off of the horse, puzzled at what could have gotten the horse spooked. As she checks out the large pipe directly in front of the horse, she finds a dead body hidden inside.)", "[SCENE_BREAK]", "[EXT. CONSTRUCTION SITE - NIGHT]", "(BRASS and GRISSOM check the dump site out. All around them, the field is covered with officers.)", "Grissom: A girl in a culvert pipe ... at a highway construction site in the middle of an alfalfa field.", "(BRASS waits for GRISSOM to finish. GRISSOM looks at BRASS.)", "Grissom: You got anything to add?", "Brass: Nothing as poetic.", "(BRASS reaches into his coat pocket for his notebook and starts to read from it.)", "Brass: Just, uh, road crew took off at 3:00. Body was discovered 5:15.", "Grissom: Who found the body?", "(BRASS turns to indicate the girl standing next to her horse just beyond the police tape.)", "Brass: Our friend, Flicka.", "Grissom: Well, there goes that theory.", "Brass: What's that?", "Grissom: Whoever finds the body is the first suspect.", "Sara: (o.s.) Uh, Grissom ...", "(GRISSOM turns to see SARA standing next to another culvert pipe. He and BRASS walk over to her.)", "Grissom: What do you got?", "Sara: The one thing you don't want to find at a murder scene.", "(On the ground next to the culvert pipe, he sees it.)", "Grissom: A second body ...", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(GRISSOM and ROBBINS stand between the two bodies on their respective tables. The wall clock reads 6:00.)", "Robbins: Who'd you like to start with?", "Grissom: Which one died first?", "Robbins: Identical body temps and vitreous humor. Both women died approximately 12 hours ago.", "Grissom: My Uncle Phil used to say you can't kill two birds with one stone.", "Robbins: All I can tell you is cause of death. Injury to the cervical spine. Looks to be hands-on.", "(Quick POV of the dark-haired deceased's neck. View changes to an X-Ray POV where we can see her spine and neck. Her spine breaks. End of POV. Resume to present.)", "Grissom: Somebody snapped her neck.", "Robbins: She died instantly. Now, the blond.", "(They turn to the other body.)", "Robbins: Contusion to the forehead, not fatal. Whatever cut her face cut her arm. I found glass in all the incised wounds. Except for these abrasions on her neck.", "(Camera close up of the scratches on her neck.)", "Grissom: Fingernails maybe. Possible sign of struggle.", "Robbins: I swabbed the abrasions for foreign DNA sent it to the lab.", "Grissom: Cause of death?", "(ROBBINS shows him the cut on her upper right arm. Camera close up of the cut moves to a CGI POV of the artery and a piece of sharp glass cutting the artery. The artery bleeds. End of CGI POV. Resume to present.)", "Robbins: Severed brachial artery. She bled out.", "Grissom: Something doesn't seem right.", "(GRISSOM turns to the dark-haired body.)", "Grissom: Brunette ...", "[CLOSE-CAPTIONED-GRISSOM: Look at her neck.]", "Grissom: Elaborate tattoos ... perfectly dyed hair.", "(He shows ROBBINS her left ear with multiple piercings. He lifts up the sheet and shows him her pierced navel and scorpion tattoo.)", "Grissom: Multiple body piercing. Tells me she craved attention.", "Robbins: Sure.", "Grissom: Blonde ... seems almost prosaic. She doesn't even have pierced ears.", "(GRISSOM looks under the sheet.)", "Grissom: She didn't shave her legs.", "Robbins: A wildflower and a wallflower.", "Grissom: So, besides time of death, what do our dead flowers have in common?", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. PARK WOODS - NIGHT]", "(The PARK RANGER leads CATHERINE, NICK and DAVID PHILLIPS out to the dead body leaning against the tree. DAVID puts his kit down and checks out the body.)", "Park Ranger: Found his SUV in the turnout after closing so I scoped out the area. He should've been wearing his orange vest.", "Nick: Well, it looks like a through and through.", "Catherine: He bled out.", "(NICK picks up the rifle.)", "Nick: Hunting rifle. Winchester 70.", "(DAVID takes out a thermometer and moves the deceased's arm aside. The PARK RANGER leans in curious.)", "Park Ranger: Wait, what are you doing there?", "David Phillips: Checking liver temperature. Estimating time of death.", "(DAVID sticks the thermometer into the bullet hole.)", "Park Ranger: Should be a total of five bullets.", "Nick: Four in the magazine, one in the chamber. All accounted for. This rifle was never fired.", "(CATHERINE snaps some pictures. DAVID removes the thermometer and checks it.)", "David Phillips: 88.6 -- ten degrees below normal.", "Catherine: So he died approximately ten hours ago.", "Park Ranger: That would make it about 2:00 P.M.", "David: Nick, Catherine, he's all yours.", "Catherine: Thanks, David. Okay, let's see who you are ...", "(DAVID moves aside. CATHERINE reaches for the deceased's wallet and checks his identification.)", "Catherine: Nevada license.", "[The Nevada Driver's License reads:", "JASPER, JAMES", "2974 WESTFALL AVE. LAS VEGAS, NV 89156", "CLASS A ENDORSE ]", "Catherine: James Jasper.", "Nick: When's hunting season?", "Park Ranger: Deer season opened last week. Record number of permits.", "Catherine: Well, you were right -- he should've been wearing his orange safety vest. (Quick flashback to a hunter with a rifle looking through its scope.", "Catherine: (V.O.) Hunter lays in wait, spots a deer. Hunter fires ...", "(The hunter looks down the scope and fires.)", "Catherine: (V.O.) ... deer takes off ... but the bullet keeps going until it stops.", "(The camera follows the bullet. The dear takes off, but the bullet pierces whatever is in its path. The bullet, in this case, pierces some brown-colored material. End of flashback. Resume to present.)", "Nick: No bullet in the body.", "(NICK kneels down and checks the tree.)", "Nick: No bullet in the tree.", "Catherine: It's got to be somewhere.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM walks into his office reading a file and carrying his case. He's smiling. He closes the file. SARA walks in.)", "Sara: I processed the crime scene. Lots of treads and tracks, but nothing salient.", "Grissom: What about the culverts?", "Sara: I came up empty. I worked from the victims out till I hit the highway. Nothing. Nothing to process, no follow-up, zip.", "(GRISSOM turns around and gives SARA the \"look\" which she recognizes immediately.)", "Sara: You have something.", "Grissom: Print lab ID'd one of the vics.", "Sara: Blond or brunette?", "Grissom: Brunette. Joan Marks. At 18, she was booked for felony shoplifting. Lived at home, we got the address. Warrick grabbed a uniform. He's on his way there with a warrant.", "[SCENE_BREAK]", "[EXT. PARK WOODS -- NIGHT]", "(Through a night scope POV, NICK scans the woods hoping to find something. He takes a couple of steps, turns and tries again. This time, he finds a bullet lodged in a tree. He smiles.)", "(NICK walks up to the bullet in the tree. He calls over his shoulder.)", "Nick: Catherine!", "Catherine: You find the bullet?", "(CATHERINE walks over.)", "Nick: Yeah. But how am I going to get it out of there without damaging it.", "(NICK sighs.)", "Catherine: You know what the textbook says -- if you're not a hundred percent sure how to collect it, bring the whole thing in.", "(NICK looks up at the extremely tall tree.)", "Nick: Yeah, I'll figure it out.", "(CATHERINE smiles, pats him on the shoulder, then leaves.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS RURAL COMMUNITY (STOCK) - DAY]", "[EXT. MARKS' RESIDENCE - HOUSE - DAY]", "[SCENE_BREAK]", "[EXT. /INT. DONNA MARKS' RESIDENCE -- GARAGE - DAY]", "(GRISSOM and SARA check in with the officer outside. They walk into the garage carrying their kits.)", "(Cut to: SARA opens the car door and sits in the car behind the wheel. GRISSOM opens the passenger door and kneels down to look inside.)", "Sara: Twelve hundred miles and it's an older model. Driver doesn't get out much.", "(GRISSOM opens the passenger door and looks in the glove compartment. He pulls out the car registration paper.)", "Grissom: Registered to a Donna Marks.", "Sara: Could be our blond. Related to Joan Marks. I'll check with DMV.", "(WARRICK walks up to the car. GRISSOM and SARA stand up.)", "Warrick: I already did. 28 years old, blonde, blue eyes, 125 pounds, five-six ... sound familiar?", "Sara: That's her.", "Warrick: Uniform's talking to a neighbor. Donna is Joan's older sister.", "Grissom: (chuckling): Well ... we know what they have in common now, don't we?", "Warrick: Genetics. House belonged to their mother. Donna's lived here alone since their mother died. Joan lived in Henderson. The real action's around back.", "[SCENE_BREAK]", "[EXT. DONNA MARKS' RESIDENCE - BACKYARD - DAY - CONTINUOUS]", "(On the outside patio floor, there is broken glass everywhere. Markers are on the ground where evidence needs to be examined. WARRICK shows GRISSOM and SARA the broken glass door.)", "Warrick: If the highway was the dump site, this is the primary.", "Grissom: Makes sense. The blonde's lacerations were filled with glass.", "Sara: She went through that door.", "Grissom: From inside out.", "(GRISSOM and SARA walk into the kitchen and look at the broken door. WARRICK crosses under the police tape.)", "Sara: To take out one of these doors you need some serious momentum.", "Warrick: No doubt. I'm going to collect the glass. And then I'll start with the doorframe.", "Grissom: How are you at solving puzzles?", "Warrick: You're the puzzle guy.", "Grissom: I have a hint for you. When they cool sheet glass, they lay it out on tin.", "Warrick: So the side that kissed up to the tin will fluoresce under UV.", "Sara: Still going to be a long couple of days at the lab.", "Warrick: I got some imprints on these blood spots here.", "(GRISSOM and SARA both kneel to look at what WARRICK'S looking at. In front of marker #2, there's a partial shoe print in blood.)", "Warrick: Looks like the killer may have stepped in Donna's blood.", "Sara: Or maybe her sister stepped in it. There was some blood on Joan Marks' right shoe.", "(Quick flashback to SARA looking down at the body's right shoe. End of flashback. Resume to present.)", "Warrick: Hmm. That would place Joan at the house.", "Grissom: And establish a timeline.", "Sara: If Joan did step in Donna's blood that would mean that Donna was injured and bleeding while Joan was still walking around.", "[INT. DONNA MARKS RESIDENCE - KITCHEN - DAY - CONTINUOUS]", "(GRISSOM stands and walks into the kitchen. He stops to look at the refrigerator and notices the take out order sheets pined to the door. The first is for \"Pizza Land #2\" (Italian Kitchen), the second for \"Capt Krauser Cookin\"", "(Free Delivery) and the third for \"Free Delivery [(702)-555-2438]. SARA also stands to see what GRISSOM'S looking at.)", "(GRISSOM puts on his gloves and opens the refrigerator door. Inside are containers of take-out food. He reaches in and opens the top container. He smells it and holds it out for SARA to smell.)", "Sara: Sweet and sour pork.", "Grissom: It smells fresh.", "(He puts it back on the shelf. He grabs another opened container in the back of the refrigerator, smaller than the first. He smells it.)", "Grissom: More sweet and sour.", "(He holds it out for SARA to smell. She immediately reacts to the age of the food.)", "Grissom: Mostly sour.", "Sara: Single servings in the back, spoiled. Family sized boxes in front, one or two days old.", "(GRISSOM picks up another container and opens it. Inside there are four spring rolls.)", "Grissom: What do you think? Increase in appetite, or ... perhaps a guest?", "[SCENE_BREAK]", "[INT. DONNA MARKS OFFICE - DAY - CONTINUOUS]", "(SARA pushes the door to the study open. She and GRISSOM both walk inside. Against the far wall behind the door are a stack of fedex boxes. The computer on the desk is still on.)", "Grissom: Universal remote. She could do everything she wanted from this chair but cook a roast.", "(GRISSOM sits down behind the desk.)", "Sara: Well, we already know she cooks like I do -- takeout on speed dial.", "(SARA riffles through the stack of catalogs on the desk.)", "Sara: Pottery barn, Lillian Vernon magnolia, Yafa Pen ... She's a catalogue junkie -- we're on the same mailing lists.", "Grissom: Catalogues, the internet, mail order, takeout ... 1,200 miles on her car. Agoraphobic maybe? Or she just doesn't like people?", "Sara: (smiling) Ah, that's you talking.", "(GRISSOM looks at SARA.)", "Sara: I'll haul in her PC, check her e-mail look in on her social life.", "(SARA turns around and looks at the bathroom.)", "Sara: Hey ... the toilet seat's up.", "(GRISSOM turns around and looks at the bathroom. He sees it, too.)", "Sara: There was a man here.", "FADE TO BACK.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY - DAY]", "(CATHERINE turns the hallway corner.)", "Catherine: Nick.", "(CATHERINE walks up to NICK.)", "Catherine: Tell me what you got?", "Nick: Coroner said it's cut and dry. Bullet severed an abdominal artery.", "Catherine: Trajectory?", "Nick: Front to back. Straight across. Round entered one inch to the right of the umbilicus. Bullet's with ballistics. Vega's got the widow. They're ready for us.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM - DAY]", "(CATHERINE, NICK and DET. VEGA interview MRS. JASPER. She speaks slowly, still stunned by the news.)", "Mrs. Jasper: Jimmy left early, before I got up. When he didn't come home for dinner I just figured that he got himself a deer.", "Nick: Did he go by himself?", "Det. Vega: He took a day off of work in the middle of the week?", "Mrs. Jasper: Well, um, we had both been laid off recently. He was in insurance. He was an auditor.", "Catherine: And how was your husband handling that?", "Mrs. Jasper: Well, you know, he was okay. I mean, uh ... we had to borrow money from his folks to pay the rent. That was hard on him.", "(She turns to CATHERINE.)", "Mrs. Jasper: I have to call them. I haven't called them, I ...", "(She moves to stand up. CATHERINE stops her.)", "Catherine: Mrs. Jasper, was your husband an experienced hunter?", "Mrs. Jasper: Yes. Since he was a kid. (sighs) He always looked forward to deer season. But, with the baby and all, he missed the last few.", "(She starts to cry.)", "Mrs. Jasper: It's me. Isn't it? I encouraged him to go. I thought that it would help him take his mind off things. Oh ... what am I going to do?", "(DET. VEGA and NICK look at each other.)", "Nick: Can you think of any reason James wasn't wearing a safety vest?", "Mrs. Jasper: (sighs) No. I mean, he was always so careful. That doesn't sound right.", "[SCENE_BREAK]", "[INT. CSI -- DNA LAB]", "(GRISSOM turns the corner and enters the lab. He stops and stands in front of GREG. GREG looks up from his scope.)", "Greg: If you're here about the blood on Joan Marks' shoe, I already told Sara. I'm backed up.", "Grissom: I'm here about foreign DNA on Donna Marks' neck.", "Greg: Oh. Well, on that, I got an ID.", "Grissom: You found a match in CODIS?", "Greg: Nope, but I ran a DNA profile on both victims. What do all sisters have in common? DNA.", "(GREG hands GRISSOM the test results.)", "Grissom: You're saying that Donna's sister scratched her?", "(Quick flashback to: Close up of DONNA MARKS' neck. A woman yells out. Another female hand scratches the neck leaving behind bloodied marks. End of flashback. Resume to present.)", "(GREG makes a cat hissing sound complete with hand motions.)", "Greg: So, did I solve the case?", "Grissom: No, Greg, you didn't. But you've helped.", "(GRISSOM leaves. Camera holds on GREG.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(BRASS turns the corner and walks rapidly down the hallway. SARA turns the corner behind BRASS and shouts to get his attention. She rushes to catch up with him and together they continue down the hallway.)", "Sara: Hey, Brass. Heard the database kicked out a Temporary Restraining Order. Joan Marks against her old boyfriend.", "Brass: I'll do you one better. The old boyfriend, Gavin Pallard had one against her.", "Sara: Tit for tat.", "Brass: They both filed last month.", "(BRASS stops in front of a room. He turns to look at SARA.)", "Brass: Want to find out why?", "(SARA smiles at the invitation.)", "Sara: Don't mind if I do.", "(BRASS opens the door and they both enter the room..)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY - CONTINUOUS]", "Gavin Pallard: See this? (GAVIN PALLARD points to a small scar to the right of his chin.) Didn't get this french kissing. Joanie had a temper. Punctuated her sentences by throwing furniture. Made it hot, you know. We'd break up to make up.", "(BRASS and SARA interview GAVIN PALLARD, JOANIE MARKS' (ex)-boyfriend.)", "Brass: What about the last time?", "Gavin Pallard: Look, the whole T.R.O. business ... she'd been in and out of my house three times. Couldn't stay away.", "Sara: According to you. When did you see her last?", "Gavin Pallard: Yesterday. I dodged a coffee pot. She hit the road.", "Sara: What was she driving?", "Gavin Pallard: My Thunderbird. I'd lent it to her, and used my bike. But, um, you know ... I'd like it back now.", "Brass: When we find it.", "Sara: Did she tell you she was going to her sister's?", "Gavin Pallard: No. Why would she go there? It's oil and water. And Joanie liked action. Real partier. Last party Donna went to was her third birthday.", "Sara: What about you? You been to Donna's house recently?", "Gavin Pallard: No. Boring. Was always glued to her computer. Plus Joan thought Donna owed her rent and ... the house was in both their names, so ...", "Sara: May I ... see the bottom of your shoes?", "Gavin Pallard: Why?", "Sara: Why not?", "(Thinking nothing of it, GAVIN PALLARD swings his legs up and rests his feet on the table, soles of his shoes facing SARA. SARA uses her flashlight and examines the bottom of his shoes. She finds blood stains.)", "Sara: (smiles) I like the shoes. I like them enough to get a warrant.", "(Camera holds on GAVIN PALLARD.)", "[SCENE_BREAK]", "[INT. CSI -- BALLISTICS LAB]", "(NICK and CATHERINE walk to the Ballistics Lab. BOBBY DAWSON sees them coming.)", "Bobby Dawson: I was just calling you.", "Catherine: You were?", "(NICK and CATHERINE walk into the lab.)", "Bobby Dawson: Yeah, carved your bullet out of that hunk of tree. Ah ... you know, a bullet's only this big.", "(BOBBY holds his index finger and thumb an inch apart to show the length of a bullet.)", "Bobby Dawson: Y'all gave me a pound of redwood.", "Catherine: That's cottonwood.", "Bobby Dawson: You should know. (beat) Heard you wanted Nick to chop down the whole tree.", "(BOBBY grins.)", "Catherine: (smiling) I did.", "Nick: Tell us about the bullet now. Striations, lands, grooves?", "Bobby Dawson: I found some discoloration on the bullet's tail. Check it out.", "(CATHERINE looks at the bullet BOBBY DAWSON'S holding under the magnifying glass.)", "Catherine: Ah, oxidation.", "Bobby Dawson: Yeah, copper jacketed. The tail was exposed.", "Nick: Oxidation takes a lot more than 24 hours.", "Bobby Dawson: Yeah, no way to backdate it, but it's definitely older than y'all's crime scene.", "(DET. VEGA knocks lightly on the door and enters the lab. He has a clipboard with him.)", "Det. Vega: How's it going?", "Catherine: Well, we've got the wrong bullet but the case still seems like a write-off.", "Nick: Yeah, nothing we have says that it wasn't a hunting accident.", "Det. Vega: Insurance policy, two months old. A million bucks goes to the widow.", "(DET. VEGA hands the clipboard to CATHERINE.)", "Nick: She was crying poverty when she was in the money?", "Det. Vega: There's more. It wasn't purchased by Mr. Jasper.", "Catherine: She bought it?", "Det. Vega: Monthly installments taken on Mrs. Jasper's credit card.", "Catherine: He's in the insurance business and she buys a policy behind his back.", "(NICK looks at CATHERINE.)", "Nick: We've got to find that bullet.", "(She nods.)", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM]", "(WARRICK starts to flip over the pieces of glass taken from the patio floor.)", "(Using the hint given to him by GRISSOM earlier, he turns the light off and uses a hand-held ALS. He flips the pieces over to make them face the right way.)", "(Dissolve to WARRICK making sure that all the pieces are flipped the right way.)", "(Dissolve to top view of WARRICK, under regular light, putting the glass pieces together like a big puzzle.)", "(Dissolve to WARRICK standing and working on the left side of the table. More of the glass is in order.)", "(Dissolve to WARRICK standing and working on the back side of the table. Most of the glass is in order.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(Camera close up of the front page to Internet Online. SARA clicks on \"Mail Shop\" and it takes her to DONNA MARKS' e-mail.)", "Sara: (o.s.) Donna Marks was a telecommunicator. Liked to shop. Mail order, over the phone. I retrieved lots of email confirmations.", "(SARA is speaking to GRISSOM who looks at the monitor over her shoulder.)", "Grissom: If she shopped online why'd she place orders over the phone?", "Sara: Need for human contact.", "Grissom: Without physical contact?", "Sara: She spent time in chat rooms. Book clubs, home crafts collected fountain pens.", "Grissom: Personal e-mails?", "Sara: Only one buddy on her buddy list. Screen name's \"Apollo.\"", "Grissom: Pull up his most recent.", "Sara: That would be three days ago. (reading) \"I know it sounds weird, but ... my life began when I first heard your voice ...\"", "(Quick flashback to DONNA MARKS sitting in front of her computer reading the e-mail out loud.)", "Donna Marks: \"... when you said my name, it felt so right. Did you feel it, too?\"", "(End of flashback. Resume to present.)", "(SARA and GRISSOM look at each other.)", "Sara: It's easy to wear your heart on your sleeve when you're not looking in his eyes. He said her name so their relationship must've extended beyond the computer.", "Grissom: So, what do we know about this \"Apollo\"?", "(SARA pulls up another screen.)", "Sara: You know that garbage those numbers at the bottom of every email?", "Grissom: Yeah.", "Sara: It's actually a unique number that registers the location of the sender's terminal.", "Grissom: An address?", "(The screen runs a program to search the location for the IP Address: 417.216.55.69. After a moment, the computer beeps that the IP Address has been \"located\".)", "(The computer spits out seven IP Addresses. It blinks on screen as it locates the street address and location.)", "Sara: Internet Protocol Address. CSI has access. Seven different IP addresses means he used seven different computers.", "Grissom: That's strange.", "Sara: Could be a network.", "(The computer beeps.)", "Sara: \"23000 Ganza Avenue, Ely, Nevada. Western Nevada Correctional Facility.\"", "Grissom: Her greek god is in the slam.", "(SARA turns to look at GRISSOM.)", "[SCENE_BREAK]", "[EXT. WESTERN NEVADA CORRECTIONAL FACILITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. WESTERN NEVADA CORRECTIONAL FACILITY - DAY]", "(The WARDEN escorts GRISSOM into the facility from the outside. They walk through the hallway)", "Warden: Like it or not, prison is a business. This facility is privately owned. Contract with the state. Our aim is simple: Customer Satisfaction.", "Grissom: The key to any successful business, huh? Word of mouth.", "Warden: A body in every cot. Criminals are cutting deals to get sent here.", "Grissom: I imagine. It's like a theme park.", "Warden: More guys through the turnstile, more money we make.", "(They come to a door and a guard buzzes them in.)", "Grissom: So, as long as I'm in business, you're in business.", "Warden: K'ching.", "[NT. - COMPUTER ROOM - DAY - CONTINUOUS]", "(They enter a room where the inmates are telephone operators and work on computers. There are guards posted inside the room.)", "Grissom: Are your inmates allowed to use e-mail anywhere else but here?", "Warden: No, personal computers are prohibited. But they're allowed to surf the web, send and receive e-mail? Only at these terminals. And all internet activity is strictly monitored.", "(GRISSOM looks around the room. We can hear some of the inmates taking down telephone orders.)", "Inmate #1 (operator): The blouse comes in Laguna Blue, Amazon Green and Tahitian Red, which is our most popular color.", "Inmate #2 (operator): How would you like that shipped? UPS? Second day air? Overnight?", "(GRISSOM turns around and faces the WARDEN.)", "Grissom: Something tells me state funds aren't your only source of revenue.", "Warden: We have contracts with several retailers. Perfectly legal.", "Grissom: So, let me get this straight. I receive a catalog in the mail. I call a toll-free number to place an order and I'm giving my personal credit card information to a \"Hello, I'm doing 'time-life'\" operator?", "Warden: Once the order's routed to the fulfillment center only the retailer has access.", "Grissom: All right, let's cut to the chase. I'm investigating the deaths of two young women one of whom was having a \"relationship\" with an inmate at this facility. I need to speak to that inmate. His e-mail alias is \"Apollo.\"", "Warden: I'll check the log.", "(The WARDEN walks off to one of three clipboards hanging on the wall. He takes the clipboard and returns to GRISSOM.)", "Warden: I'm sorry, I can't help you.", "Grissom: I can get a warrant.", "Warden: Won't do you much good.", "Grissom: Why?", "Warden: Mickey Rutledge, aka \"Apollo,\" was released three days ago.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK picks off a dark-colored fiber off of a piece of clothing. He cuts the tip off of the fiber and looks at it again under the magnifying glass.)", "(SARA enters the lab.)", "Sara: Hey.", "Warrick: Hey.", "Sara: How's the glass puzzle going?", "Warrick: Still putting it together. I'm just doing a trace on Donna Marks' clothing and I came across this fiber. Look at this cross section.", "(SARA leans in and looks at what WARRICK is holding. Camera zooms in to the fiber for a close up.)", "Sara: Triangular. That means it can't be clothing fiber.", "Warrick: Yeah, short and coarse. Car upholstery?", "(SARA takes a couple of steps back.)", "Sara: Yeah ... but that still doesn't get us anything. We found both vics near the freeway. We've been thinking vehicle transport from the start.", "Warrick: Well, it's from black upholstery. What color was the boyfriend's missing thunderbird?", "Sara: I'll ask him ... and his lawyer. The blood from his shoe was consistent with Donna Marks' DNA-- he lied. He was at the house.", "Warrick: Really? What about the blood from Joan Marks' shoe?", "Sara: Also a match. Joan and Gavin ... both stepped in Donna's blood.", "(WARRICK nods as he thinks about it.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]", "(SARA and BRASS question GAVIN PALLARD with his lawyer sitting next to him.)", "Gavin Pallard: Fine, I went there.", "Sara: We already know that.", "Brass: We're looking for, \"Fine I went there ... and...\"", "Lawyer: My client went there after the fact. He was looking for his girlfriend -- didn't find her.", "Brass: Right ... he found a crime scene.", "Sara: Broken glass a pool of blood.", "Brass: But you didn't call 9-1-1.", "Gavin Pallard: I was scared. I took off. Besides, there was a restraining order against me.", "Sara: Gavin, what color's your car? Your missing Thunderbird?", "Gavin Pallard: Blue, why?", "Sara: Interior?", "Gavin Pallard: Black ... did you find it?", "Brass: Not yet.", "Sara: But we will.", "[SCENE_BREAK]", "[EXT. WOODS - DAY]", "(CATHERINE and NICK prepared to look for the missing bullet. They both wear their orange safety vests.)", "Catherine: (o.s.) Okay, the tree is a point of reference.", "Nick: Yeah, and since the bullet didn't hit the tree, and the blood's to the west, then the through-and-through defines our search area. The furthest drop of blood is here ... (NICK indicates where he's standing.) ... The spatter seems to be confined to a 45 degree angle.", "(CATHERINE stretches a rope in one direction ... )", "Catherine: So the bullet should be somewhere between your rope and mine.", "Nick: Yeah, we've reduced a 360 degree crime scene to a 45 degree angle.", "( ... NICK takes his rope and stretches it in another direction.)", "Catherine: Congratulations to us. Still a needle in a haystack.", "(NICK laughs.)", "[SCENE_BREAK]", "(CATHERINE and NICK both look for the bullet on the ground using metal detectors. For each time the metal detector beeps, they drop a marker.)", "(CATHERINE walks by marker #2. The next marker she holds in her hand is marker", "(Cut to: NICK sweeps the ground and hears a beep. With his foot, he straightens marker #13.)", "(Cut to: CATHERINE hears a beep and places marker #6 on the ground. Cut to CATHERINE straightening marker #8 on the ground. She stands.)", "(Cut to overhead view of the two sweeping the 45 degree roped off area.)", "[SCENE_BREAK]", "(CATHERINE stops sweeping and pulls off her earphones.)", "Catherine: Nick.", "Nick: Yeah?", "Catherine: Let's just pack it up. The bullet couldn't have gone this far.", "(NICK turns off his equipment and heads back. CATHERINE also heads back.)", "[SCENE_BREAK]", "(CATHERINE and NICK bump into the PARK RANGER.)", "Park Ranger: Hey... saw your, uh, Tahoe. I didn't expect to see you guys back here.", "Catherine: Yeah, just tying up a few loose ends.", "Park Ranger: Well, maybe this will help. Your dead hunter, James Jasper, didn't purchase a hunting license.", "Nick: Well, he was out of work. Maybe he was trying to save money.", "Park Ranger: A license is 24 bucks. Hunting without one is a $1,000 fine and up to six months in jail.", "Nick: Whoa. Well, that's not worth the risk. Maybe he wasn't up here to hunt?", "Catherine: We haven't heard a single shot all day. Where are these hunters that you talked about?", "Park Ranger: You only hunt deer at dusk and at dawn.", "Nick: Right, right ... feeding time, it's ... when they're out in the open. What about other game?", "Park Ranger: This time of year, only deer's in season. You can take off those vests if you want.", "Catherine: No one hunts during the day but the coroner placed Jasper's time of death at 2:00 P.M.", "Nick: Yeah, that's an odd time for a hunting accident.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY]", "(SARA walks down the hallway. She turns a corner and bumps into GRISSOM.)", "Grissom: Hey.", "Sara: Hey. Brass is holding the boyfriend on a TRO violation. I'm going back to the lab to process the prints we lifted from the toilet seat. Guy claims he was in and out. I'm thinking no time to make a pit stop.", "Grissom: I processed the prints.", "Sara: (surprised) You did?", "Grissom: They're not a match to Joan's boyfriend.", "Sara: What?", "Grissom: But ... we do have a match.", "Sara: Donna's cyber boyfriend? I thought he was in jail.", "Grissom: Released last week. His parole officer brought him in.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]", "(GRISSOM and SARA interview MICKEY RUTLEDGE, aka \"Apollo\". His lawyer sits next to him.)", "Mickey Rutledge: You're fishing, I just got out of the joint. I was never at Donna's house.", "Grissom: We found your fingerprints on the toilet seat in her bathroom.", "(The lawyer turns to look at MICKEY RUTLEDGE.)", "Mickey Rutledge: What, are you going to do? Arrest me for flushing a toilet?", "Grissom: Well, unfortunately I can't arrest you for lying.", "Mickey Rutledge: (to his lawyer) Help me out here, will you?", "Lawyer: Mickey, you have the right to an attorney. But if you're not hiding anything I suggest you answer their questions.", "(He turns back to GRISSOM and sighs.)", "Mickey Rutledge: Look, we met over the internet. We had a lot in common -- Donna understood my situation. When I told her I was getting out ... well, she invited me over.", "CUE: DOORBELL (PRELAP)", "(Quick flashback to: DONNA MARKS opens her front door. MICKEY RUTLEDGE is standing in the front porch holding a bouquet of flowers.)", "Donna Marks: (shyly) Hi. No one's ever brought me flowers.", "(MICKEY RUTLEDGE smiles, pleased with her response.)", "(End of flashback. Resume to present.)", "Mickey Rutledge: She served take-out ...", "(He smiles as he remembers. He even chuckles a little.)", "Mickey Rutledge: ... But what do I care? It wasn't chipped beef.", "(Quick flashback to: MICKEY RUTLEDGE and DONNA MARKS eating dinner. He has an appetite. She's pleased.)", "Donna Marks: (smiling) How is it?", "Mickey Rutledge: Sweet and sour pork ... my favorite.", "(End of flashback. Resume to present.)", "Sara: So she invites you for lunch everything's great. And somewhere between the fortune cookies and sunset ... Donna and her sister are both murdered. Thoughts?", "(MICKEY RUTLEDGE stares at SARA for a moment. He gives a nervous chuckle.)", "Mickey Rutledge: I think the sister's a piece of work. Soon as we finish eating, she shows up ... with an attitude.", "(Quick flashback to: JOAN MARKS standing in the kitchen and yelling at her sister.)", "Joan Marks: This is my house, too!", "(DONNA MARKS finishes putting the food containers in the refrigerator and turns around to look at her sister.)", "Donna Marks: I'm paying the taxes.", "(DONNA MARKS looks past JOAN. JOAN turns around and sees MICKEY RUTLEDGE standing there. She turns back to her sister.)", "Joan Marks: Who the hell is this?", "(End of flashback. Resume to present.)", "Mickey Rutledge: First thing I learned in the joint -- when inmates are fighting, you make yourself invisible. So I got out of there.", "Grissom: Six months ago, Donna Marks ordered a sweater and two scarves from Magnolia Apparel. You took the order.", "Mickey Rutledge: I took fifty calls a day.", "Grissom: How many of your callers invited you home and served you Chinese food?", "(MICKEY swallows. He glances over at SARA.)", "Grissom: When Donna placed her order for the clothes she gave you her email address, didn't she?", "Mickey Rutledge: (nods) Yeah ... she was lonely. She struck up a conversation with me. Reached out. (to SARA) Hey -- you know, I don't usually meet girls like Donna. She was nice.", "Sara: She was vulnerable. No social life, no friends, not even a cat. All she had was her work. She ordered from catalogs to give herself something to look forward to.", "Grissom: You know, Mickey. I don't think your intention was to kill. All of your priors are for non-violent activities, right?", "Mickey Rutledge: Look, I've been in the system, I know the law. I admit, I was there. So what?", "(He looks over at SARA and at GRISSOM. He stands up and heads out the door.)", "Mickey Rutledge: You know where to find me.", "(He opens the door and leaves.)", "LAWYER (to GRISSOM) I'll keep my eye on him.", "(The LAWYER closes his notebook and heads out the door.)", "(SARA turns to GRISSOM.)", "Sara: Joan's boyfriend, Gavin Pallard -- blood on his shoe and a TRO. Donna's boyfriend, Mickey Rutledge -- opportunity and a rap sheet. Both hid the truth ... until confronted with the evidence.", "(GRISSOM looks away and considers it for a moment.)", "Grissom: Well, we know we have two liars. Do we have a killer?", "(GRISSOM looks at SARA.)", "[SCENE_BREAK]", "[INT. CSI - LAYOUT LAB]", "(WARRICK continues to work on putting the glass pieces together. GRISSOM walks in. WARRICK looks up and sees GRISSOM.)", "Warrick: Hey. Point of impact. It's, uh ... (WARRICK takes out a tape measures and measures the point of impact.) ... sixty-... five inches from the base.", "Grissom: So what does that tell us?", "Warrick: Well, Donna was five-six. If she was thrown through that glass, the point of impact would've been lower closer to the ground.", "(Quick flashback to someone throwing DONNA MARKS through the glass door. It is noted that she falls through the glass low to the ground, lower than what it actually is. End of flashback. Resume to present.)", "Grissom: She had multiple incised wounds. But the only contusion was on her forehead suggesting that that's where contact was made. So she was standing upright when she went through the door.", "(Quick flashback to: DONNA MARKS on the inside of the kitchen. She's standing upright, turns, and walks into the glass door. Once outside, she falls to the ground. End of flashback. Resume to present.)", "Grissom: She walked through it.", "Warrick: Are you saying it was an accident?", "Grissom: It's your science.", "(SARA walks into the lab. She looks at the completed glass on the table.)", "Sara: Nice work.", "Warrick: Thanks.", "Sara: P.D. Found GAVIN PALLARD'S Thunderbird hidden off the I-69 five miles from the dump site.", "Grissom: Hook up with auto detail, tow it in.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(Something yellow drips down on SARA'S goggles. She wipes it away with her finger.)", "(She rolls out from under the car. GRISSOM is kneeling next to the front tires waiting for her. SARA sits up and removes her goggles.)", "Sara: Radiator's cracked.", "Grissom: Well, that might explain why Joan bought coolant twice in the last week from a convenience store. We ran her credit cards.", "Sara: Well ... whoever drove this puppy last filled up the radiator fluid but, instead of coolant, they used water.", "Grissom: Either someone unfamiliar with the car, or ... someone in a desperate situation maybe.", "Sara: Radiator cap. I'll print it.", "Grissom: Good. (GRISSOM reaches up and grabs a container, which he hands to SARA.) Grab me a sample of fluid, too, will you?", "(GRISSOM stands and leaves.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(NICK sprays something on JAMES JASPERS' clothing.)", "Nick: Gunshot residue.", "Catherine: Expect the unexpected. GSR on the clothing means the victim was shot at close range.", "(Quick flashback to: A gun being fired and hitting clothing. End of flashback. Resume to present.)", "Nick: So now what? We're thinking murder?", "Catherine: Or suicide.", "Nick: He never fired his rifle. What'd he shoot himself with?", "Catherine: Okay. But if he was murdered, we should've found some evidence of the killer at the crime scene.", "Nick: Yeah, not to mention whoever shot him would've been eyeball-to-eyeball. Who could've gotten that close without Mr. Jasper putting up a struggle?", "(CATHERINE looks at NICK, waiting for him to reach the same conclusion she's reached.)", "Nick: Somebody he knew. I'm going to call O'Riley see if he's checked out Mrs. Jasper's alibi. I'll meet you at the car.", "(NICK leaves the lab.)", "Catherine: All right.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE LAB -- CONTINUOUS", "(SARA walks down the hallway. She passes by NICK as he leaves the lab.)", "Sara: Hey, Nick.", "Nick: Hey, Sara. (He turns around.) Hey, how's your case going?", "(SARA stops and turns around.)", "Sara: You ever try to print a radiator cap? Smudge city.", "Nick: Yeah. Yeah, I know, it's impossible. But it's just a radiator cap so give yourself a break.", "Sara: Thank you.", "(SARA starts to leave.)", "Nick: Hey, Sara ... (she stops and turns around again.) ... you gotta get out more.", "(SARA stares at him. NICK slowly backs away from SARA till he leaves the hallway. SARA turns back and continues down the hallway.)", "[SCENE_BREAK]", "[INT. CSI -- DNA LAB]", "(GREG holds up the sample of radiator water as he looks at it. GRISSOM leans against the table.)", "Greg: So you got this water from a radiator?", "Grissom: Yes.", "Greg: Well, it ain't no Rocky Mountain Spring.", "Grissom: What is it, Greg?", "Greg: Nasty sodium count. Potassium, phosphorus.", "(GREG hands the test results to GRISSOM to look at. GRISSOM looks up, thinking.)", "Greg: (smiling) You've got that look. What did I say right?", "(GRISSOM doesn't say anything. He puts the test results back on the table and leaves the lab.)", "[SCENE_BREAK]", "[EXT. WOODS - DAY]", "(CATHERINE and NICK walk through the woods. NICK finishes up his phone call and hangs up.)", "Nick: (on phone) Okay. Thanks for the info. We'll keep you posted. (hangs up) Well, Mrs. Jasper's alibi checks out. She was at work from 2:00 A.M. To 6:00 P.M. Ate lunch at her desk.", "(They reach the scene and put their kits down.)", "Catherine: She didn't kill her husband.", "Nick: Murder for hire?", "Catherine: A pro would've shot him in the heart.", "Nick: This guy was shot in the gut. Bullet didn't even come close to his spinal cord.", "(Quick CGI POV of the bullet piercing through the cloth, through flesh and exiting out the back and through into the woods. End of CGI POV.)", "Nick: Wait a minute now. Abdominal injuries take time to bleed out. But it would've taken at least ten minutes for hemorrhagic shock to set in and he would've been mobile.", "Catherine: Right. But he never moved. He was standing in front of this tree when he was shot. He didn't try to get to his car, get help, he just ... sat down and waited to die.", "Nick: Yeah. Yeah, I see where you're going here. His injuries and his behavior aren't consistent with murder. But they're not consistent with suicide either.", "Catherine: Ninety-nine out of 100 suicides by gun ... muzzle to the mouth, bullet to the brain. But there's always just that one.", "Nick: Look, suicidals want it quick and painless. Bleeding to death is slow and painful. Not to mention, he never fired his rifle.", "Catherine: No, the weapon we found was never fired.", "Nick: (laughs) That-that's a big stretch. He brought his rifle plus a spare?", "Catherine: He shoots himself in the gut leaving himself time to hide the weapon.", "Nick: Yeah, but there's no blood trail. What'd he do with the spare, throw it up a tree?", "(NICK looks up at the trees above. CATHERINE takes a walk out toward the lake.)", "Catherine: How about the lake?", "(NICK turns around. He's starting to see the possibilities.)", "Nick: Yeah. Yeah, okay-- heads up.", "(NICK motions for CATHERINE to move aside. He picks up a rock and tosses it into the lake from where the body was found. The rock lands in the lake with a splash.)", "Nick: I just marked our search area.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. WOODS/ LAKE - DAY]", "(Under the water, a metal rod prods along the bottom of the lake. They're looking for the gun.)", "(Cut to above water: NICK and CATHERINE are in their rubber swim gear, each carrying a metal rod and prod it along the bottom of the lake.)", "Nick: You know, even if your theory's right, we still haven't explained the insurance policy purchased by the wife.", "Catherine: Hey.", "(CATHERINE hits something. She looks up at NICK. NICK makes his way to CATHERINE.)", "Catherine: Metal on metal.", "Nick: Hold up, let me give you a hand.", "(NICK reaches into the lake and picks up the gun.)", "Catherine: Okay. Right there.", "Nick: Yeah. I got it. I got it.", "Nick: Whoa ... water pistol.", "Catherine: Well, we never found the bullet, but we found the gun.", "(Still standing in the lake, NICK and CATHERINE look over at the tree where the body was found. As if they were watching it replay on the big screen, they see the events unfold.)", "(Quick flashback to JAMES JASPER holding the pistol aimed at his abdomen. He fires. He doubles over in pain, but before he collapses, he tosses the gun into the lake. He then falls to his knees. End of flashback. Resume to present.)", "(Cut back to NICK and CATHERINE imagining it happening in front of them.)", "Catherine: Mr. Jasper committed suicide.", "Nick: And the wife's out a million bucks.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM - NIGHT]", "(DET. VEGA brings MRS. JASPER a cup of coffee. She's sitting in the waiting room. CATHERINE sits in the seat across and facing her. VEGA remains standing.)", "Mrs. Jasper: Thank you.", "Catherine: Mrs. Jasper, you purchased a life insurance policy on your husband in which you are the sole beneficiary.", "(She shakes her head.)", "Mrs. Jasper: I don't know what you're talking about.", "Catherine: We have the actual application for the policy with your signature.", "Det. Vega: Ma'am, you are aware that insurance policies exclude suicide?", "Catherine: Your husband staged his death to look like a homicide. As a beneficiary, if you knew of his intentions to take his own life, that would constitute fraud.", "Mrs. Jasper: If I knew, I would've stopped him. Jimmy was everything to me. (CATHERINE glances over and sees NICK signaling to her through the window.) I didn't buy the policy. I didn't know about his plans.", "(NICK walks into the waiting room area holding a file folder.)", "Catherine: Hi.", "(NICK hands CATHERINE the file. She opens it and reads it. She looks up at NICK.)", "Catherine: (to NICK) You want to explain this?", "(CATHERINE holds the folder out for NICK to take.)", "Nick: Sure. Mrs. Jasper, when you claimed your husband's personal possessions, you signed a release form, yeah?", "(She nods her head slightly.)", "Nick: I ran that same form through our questionable documents lab and I cross-checked your signature with the signature on the insurance application here. It's not yours. Your husband must've forged it. I also checked with the insurance company. Your husband opened the account.", "Mrs. Jasper: (stunned) Why ... ? Why? I don't understand that. Why did he do that?", "Catherine: Because he knew that if he had bought the insurance himself it would've sent up a red flag.", "Mrs. Jasper: (voice breaking) So what you're saying is ... that my husband killed himself for me?", "Nick: Yes, ma'am.", "(MRS. JASPER puts a hand to her forehead and cries.)", "[SCENE_BREAK]", "[EXT. CONSTRUCTION SITE - DAY]", "(GRISSOM walks with WILLOUGHBY.)", "Willoughby: Well, it may sound funny but I'm proud of it. Took almost a year to put in my new fertigation system. In automatically mixes the fertilizer with the irrigation system.", "Grissom: How about that? Economical and practical.", "Willoughby: What you're looking for is over here.", "(WILLOUGHBY points to something off to the side. They stop walking near a water pipe.)", "Willoughby: Cars are always overheating on this stretch and everyone thinks water's free.", "Grissom: What do you use in your fertilizer? Nitrogen, phosphorous and potassium?", "Willoughby: Standard 6-10-10 mixture.", "Grissom: Mr. Willoughby, would you mind if I fingerprint your spigot?", "Willoughby: No one's ever asked me that before.", "[SCENE_BREAK]", "(GRISSOM dusts the spigot.)", "(Dissolve to GRISSOM lightly removing the print off of the spigot.)", "(Dissolve to GRISSOM taking a sample of the water from the pipe.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "(GRISSOM pushes a pitcher full of fertilizer water across the table toward MICKEY RUTLEDGE. The water in the pitcher looks unclean.)", "Grissom: Thirsty?", "Mickey Rutledge: I'm good, thanks.", "Grissom: Yeah, I wouldn't drink it either. I wouldn't even put it in my radiator. I don't have all the pieces yet, Mickey, but, uh ... I'll tell you what we do have.", "(Quick flashback to: JOAN MARKS yelling at MICKEY RUTLEDGE in DONNA MARKS' kitchen.)", "Joan Marks: You're an ex-con -- get the hell out of here!", "(DONNA MARKS steps between her sister and her guest.)", "Donna Marks: Don't listen to her, Mickey. This is my house. This is my life!", "Joan Marks: You're so desperate you've got to get a date through the computer and then you end up with him-- pathetic!", "(MICKEY RUTLEDGE turns and walks away. End of flashback. Resume to present.)", "Grissom: We know that Joan scratched Donna. We also know that Donna died first.", "Mickey Rutledge: I didn't kill her.", "Grissom: That's right, you didn't.", "(Quick flashback to DONNA and JOAN struggling in the kitchen. MICKEY RUTLEDGE stands outside the glass door watching.)", "Joan Marks: You are so selfish!", "Donna Marks: Stop it! Get your hands off me!", "Joan Marks: No!", "(End of flashback. Resume to present.)", "Grissom: Donna's death was an accident.", "(Quick flashback to: DONNA MARKS turns around to get out of her sister's grip and she accidentally walks into the glass door, breaking it and killing herself. End of flashback. Resume to present.)", "Sara: But Joan went off on you. And up to that point, you hadn't done anything wrong.", "Brass: So what went wrong?", "Mickey Rutledge: It wasn't my fault.", "(Quick flashback to MICKEY RUTLEDGE over DONNA MARKS' body. He looks up at JOAN MARKS.)", "Mickey Rutledge: She's dead.", "Joan Marks: You're going right back where you came from.", "(She turns to leave the kitchen. End of flashback. Resume to present.)", "(MICKEY RUTLEDGE rests his chin on his clasps his hands, elbows on the table. He sighs heavily.)", "Mickey Rutledge: Rehabilitation was working for me. But you put a guy in that position ...", "Grissom: ... He's got to go all the way.", "(Quick flashback to: MICKEY grabs JOAN from behind and breaks her neck. She falls to the floor, dead. End of flashback. Resume to present.)", "Sara: You figured if you hid the bodies, you'd be in the clear.", "Brass: But you didn't have a car. Joan did.", "(Quick flashback. to: The car's radiator overheats. Smoking, the car stops. MICKEY gets out of the car.)", "(Cut to: He takes the bodies out of the trunk and puts them in the pipes.)", "(Cut to: Thinking that it's water, he fills a bucket with fertilizer to use on the car.)", "(Cut to: He pours the liquid into the radiator. End of flashback. Resume to present.)", "Sara: (shakes her head) You could've just backed off, let Joan make the call.", "(MICKEY gives off a skeptical chuckle. He looks up at SARA.)", "Mickey Rutledge: I would've landed myself right back in the joint.", "Sara: you don't know that.", "Mickey Rutledge: Come on. Who's going to believe a guy like me?", "Grissom: A guy like me.", "(MICKEY looks at GRISSOM and SARA.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY - NIGHT]", "[SCENE_BREAK]", "[INT. SARA'S HOME - NIGHT]", "(SARA walks in and closes the door. She puts the keys on the counter, puts her bag down and takes off her jacket. Without hesitating, she takes the nearest trashcan, opens the refrigerator and throws away all the take-out boxes on the shelves. That done, she takes down all the menus from the refrigerator and throws those away, also. She picks up the stack of catalogues on her counter and tosses them away as well.)", "(She looks at her answering machine and notices that there are no messages for her.)", "(She picks up the phone and dials.)", "Sara: (on phone) Hey, it's Sara. I was, uh, thinking ... You want to go out ... somewhere?" ]

[ "Grissom's nemesis, serial killer Paul Millander (Matt O'Toole), reappears and claims a third victim in this gripping episode. The latest slaying matches Millander's previous killings in that it recreates his father's murder, which Millander witnessed as a boy. In each case, the victim is shot once through the chest while lying in a bathtub. A nearby tape recorder contains the person's supposed suicide message. All three victims share the same birthday of Aug. 17---the date Millander's father was slain---with the years in descending order from 1959. So presumably, the killer's next target was born Aug. 17, 1956...which just happens to be Grissom's birthday." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "(Lightning flashes and thunder crashes. It's raining in Nevada tonight.)", "[SCENE_BREAK]", "[INT. CAR -- NIGHT]", "(The driver drives through the rain. There's a small film reel charm hanging from his rear-view mirror. It's a heavy rain outside.)", "(The driver sees a hitchhiker standing outside the side of the road carrying a sign, \"VEGAS\". The driver passes him by, slows the car down and thinks about it.)", "(He reverses the car and stops to pick up the hitch-hiker. PETE WALKER opens the car door and calls out.)", "Pete Walker: Hey, you need a lift? (The hitchhiker climbs into the car and closes the door.) So, where are you headed?", "Paul Millander: It's not where I'm headed.", "[SCENE_BREAK]", "[EXT. GOOD SPRINGS - WAREHOUSE -- NIGHT]", "(Police cars park in the front of the home, their lights flashing. CATHERINE exits the vehicle. She and GRISSOM meet up with the DETECTIVE.)", "Det.: Welcome to Good Springs.", "Catherine: Long drive.", "Det.: Well, I know it's out of your jurisdiction, but your name is on the tape.", "Grissom: Where is he?", "Det.: Inside. We left the recorder where we found it.", "Catherine: Anything else?", "Det.: Victim's wallet.", "(The DETECTIVE hands the wallet to CATHERINE. He lifts up the crime scene tape for GRISSOM and CATHERINE.)", "Grissom: Thank you.", "(They head into the warehouse.)", "[SCENE_BREAK]", "[INT. GOOD SPRINGS - WAREHOUSE -- NIGHT -- CONTINUOUS]", "(Inside, the place is empty except for a single bathtub in the center of the large room. GRISSOM and CATHERINE walk to the tub.)", "Catherine: (reading) Pete Walker, California. Date of birth: August 17, 1957. It's got to be the work of Paul Millander. What do you think brought him back out?", "Grissom: (looks around) The rain?", "Catherine: Hasn't changed his M.O .-- Kills men whose birthdays are on the anniversary of his father's murder.", "Grissom: In descending order -- first victim was August 17, 1959; second victim, August 17, 1958; this guy, 1957.", "(CATHERINE picks up the micro cassette tape recorder.)", "Catherine: Ready for this?", "Grissom: I have a pretty good idea what it's going to say.", "Pete Walker: (anxiously) (on tape) My name is Pete Walker. I reside at 715 Lady El Sol and I'm 44 years of age. I'm going to kill myself. I'd like to say \"I love you\" to my mother. I'm so sorry, I never wanted to put you through this. I just can't do it anymore.\"", "(On the tape, there's a gunshot.)", "Paul Millander's Voice: (on tape) Happy... birthday, Mr. Grissom.", "Catherine: Isn't your birthday in August?", "Grissom: August 17, 1956.", "(CATHERINE looks shocked. GRISSOM doesn't.)", "HARD CUT TO END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. GOOD SPRINGS - WAREHOUSE -- NIGHT]", "(SARA, NICK and WARRICK walk in and up to GRISSOM and CATHERINE who are already working on the bathtub.)", "Warrick: Hey. Is it true? Millander?", "Sara: Yeah, it's true. Gunshot, suicide script leaves the body in a bathtub.", "(GRISSOM bags the tape recorder.)", "Grissom: Paul Millander. Remember the first victim? Royce Harmon?", "(Quick flashback to: Scene from 1X01: Pilot and of ROYCE HARMON in the bathtub.)", "(Quick flash to: Scene from 1X08: Anonymous and of STUART RAMPLER in the bathtub.)", "Grissom: (V.O.) Stuart Rampler, second ...", "(End of flashback. Resume to present.)", "Grissom: ... and now ... Pete Walker.", "Sara: Grissom, Catherine briefed us about your birth date.", "Warrick: Yeah, what's up with that?", "Grissom: Coincidence. Make anything more of it gives Millander more power than he deserves.", "Nick: We work together; he can't outsmart all five of us.", "Grissom: Yes, he can.", "(CATHERINE looks at GRISSOM.)", "Catherine: (takes over) Plan of attack -- split up. Nick, take the tape over to A-V. Break it down. Warrick, Sara -- examine the perimeter. We need to know how he got in and got out. We'll stay with the body.", "(NICK, SARA and WARRICK pick up their kits and leave.)", "Grissom: (to CATHERINE) Thanks.", "Catherine: Anytime.", "[SCENE_BREAK]", "[EXT. GOOD SPRINGS - WAREHOUSE -- NIGHT]", "(SARA walks up to WARRICK.)", "Sara: Rain washed away everything. What I got will never hold up in court.", "Warrick: Well, I got some mud prints. Check these out.", "Sara: This is the point of origin. They stop at the warehouse threshold.", "Warrick: He must've taken off his boots before he stepped in.", "Sara: Only one set of prints ...", "Warrick: Check out the depth of the impression compared to mine.", "Sara: He carried the body in. The extra weight explains the deeper impression.", "Warrick: Shoot it.", "(WARRICK puts a ruler down next to the print and SARA snaps a picture.)", "[SCENE_BREAK]", "[INT. GOOD SPRINGS - WAREHOUSE - NIGHT -- CONTINUOUS]", "(CATHERINE snaps a photograph.)", "Grissom: Cath ... Come here, take a look at this.", "(GRISSOM looks at the body in the bathtub. CATHERINE stands up to see what he wants her to look at.)", "Grissom: It's not lividity.", "Catherine: He's got stippling on the side of his face.", "(Camera close up of the stippling on the skin.)", "Grissom: From what I can tell, he was shot once in the chest. Unburned gunpowder wouldn't plume this way.", "Catherine: No entry wounds near his face.", "Grissom: I'll have Robbins check for leaks. Maybe he can find a hidden bullet.", "(CATHERINE stands up and walks over to the other side of the body. She finds a strand of hair.)", "Catherine: Wait ... wait a minute. I got something.", "(CATHERINE picks it up.)", "Catherine: Hello, Dolly. Dark hair, 12 inches. Female?", "Grissom: So another victim ... or an accomplice?", "[SCENE_BREAK]", "[INT. CSI - A/V LAB -- NIGHT]", "(NICK and ARCHIE go over the tape recording.)", "Pete Walker: ( Recorded voice ): My name is Pete Walker. I reside at 715 Lady Del Sol ...", "Archie Johnson: First things first. This tape was not recorded in the warehouse. No auditory echo.", "Nick: Contained quarters first.", "Archie Johnson: Yeah, a car, a small SUV. The tape was an inch from his mouth. Sibilant pops bear that out. Helps that the killer uses hi-fi mini-cassettes. Picks up everything let me get rid of the wipers.", "(ARCHIE clicks on the keyboard and plays a sound extracted from the main tape. It's a low whirring noise.)", "Nick: What is that, that whir sound?", "Archie Johnson: I don't know yet. But ... recognize this?", "(ARCHIE extracts another sound from the main tape. He plays it. It's a country song.)", "Nick: Oh, yeah. Willie Hank's \"Don't Pay the Ransom.\" I'll contact the local country and western stations get a time and tape on when the song aired. Establish a timeline. What else?", "Archie Johnson: Now, here's where it gets funky. Watch my sensor levels.", "Pete Walker: (on tape) My name is Pete Walker. I reside at ...", "Archie Johnson: See how the color wands gravitate towards the bottom right corner?", "Nick: Mm-hmm.", "Archie Johnson: There's an auditory imbalance.", "Nick: From what, a blown speaker?", "Archie Johnson: A blown left speaker. Sounds like the driver's side one blew.", "Nick: Pulling all of the sound bottom right. Now if that were true the victim may have been sitting in the passenger seat.", "Archie Johnson: What does that get you?", "Nick: Millander was driving.", "[SCENE_BREAK]", "[EXT. GOOD SPRINGS - ROADSIDE -- NIGHT]", "(SARA and WARRICK walk up to BRASS who is holding the \"VEGAS\" sign.)", "Sara: I believe hitchhiking is illegal in Clark County.", "Brass: Yeah, you got me. Came with the car along with the registration. The R.O.'S our vic Pete Walker.", "Warrick: Who flagged it?", "Brass: Nevada State Patrol.", "Sara: So, this is Walker's car. Millander was hitchhiking. Guy stops to do a favor ... ends up dead.", "Warrick: Yeah, but how would Millander know that the guy who'd pick him up had a birthday August 17, 1957?", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(ROBBINS goes over the initial findings with GRISSOM. He does a scan on the body and stops over the bullet hole.)", "Robbins: There's the initial bullet hole. No other leaks. Died from a single gunshot wound to the chest just like the others.", "Grissom: The others didn't have stippling on the side of their faces. Unburned gunpowder doesn't change direction and stick.", "(Quick CGI POV of a gun shot in the chest and the gunpowder puffing away from the bullet hole. End of CGI POV. Resume to present.)", "Grissom: Unless ... he turned his face away from the gun.", "Robbins: Not likely due to the origin of the facial burn.", "(Quick flashback to: Stippling adhering to the side of the victim's face. End of flashback. Resume to present.", "Grissom: Nobody misses from this distance.", "Robbins: True.", "Grissom: I think this might be intentional.", "(Quick flashback to: Scene from 1X08:Anonymous. Inside Halloweird, PAUL MILLANDER shows a sculpture to GRISSOM. Half of the face is normal, the other half is deformed.)", "Paul Millander: I-I-I call it \"good versus evil.\"", "(End of flashback. Resume to present.)", "Grissom: He's telling me he's going to show me both sides.", "[SCENE_BREAK]", "[INT. PETE WALKER'S CAR -- NIGHT]", "(SARA and WARRICK examine PETE WALKER'S car.)", "Warrick: I found some G.S.R.", "Sara: Nice.", "(WARRICK takes a sample.)", "Warrick: That's why Grissom didn't find a bullet.", "Sara: It went out the window.", "Warrick: It went out the window.", "(Quick flashback to: PETE WALKER sitting in his car reading from the script. The window is rolled down. PAUL MILLANDER turns the gun on PETE WALKER and fires.)", "Pete Walker: I'm so sorry. I never wanted to put you through this. I just can't do it anymore. I've lost hope.", "(End of flashback. Resume to present.)", "Warrick: I'm going to call Nick, tell him we found out what that unidentified whir sound was -- the window going down.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(Scope view of the hair tag.)", "Sanders: Your planted hair is full of information. It's got a complete follicular tag.", "Catherine: Well, the vic had light brown hair so we know it's not his.", "Grissom: Could be Millander's.", "(GREG shows CATHERINE the results.)", "Greg: Well, that's impossible. The amelogenin on the follicle came back xx-- female.", "Catherine: So, back to that again. Another victim, or an accomplice?", "Grissom: Yeah, but what decade?", "Catherine: What do you mean?", "Grissom: Look under 400-X. The tag cell is aged.", "(CATHERINE looks at the scope. Scope POV shows the follicular tag.)", "Catherine: So Millander planted an aged hair? But once exposed, the tag would dry up and fall off, especially in transport.", "Grissom: Not if he nurtured it. Kept it in a freezer.", "Greg: That would work.", "Catherine: Okay, so what's he trying to tell us? That he used to kill women?", "Grissom: Maybe just one.", "Catherine: Grounds?", "Grissom: (shakes his head) I don't know yet.", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(NICK examines PETE WALKER'S car. He checks out the glove compartment, the dash and finds receipts in the front seat divider.)", "(In the background, someone enters the garage.)", "Greg: Is this the car the guy was killed in?", "(NICK is startled by GREG.)", "Nick: He was killed in the warehouse -- and don't sneak up on a person like that.", "Greg: Now you know how I feel, like ten times a day. So what's this Millander guy's thing?", "Nick: He saw his dad killed when he was a kid over some money dispute. Ends up killing guys himself.", "(On the bottom of the front seat divider, NICK finds a number, 909987-23.)", "Nick: Check that out. Eight digit number with a dash.", "Greg: Hmm ... Pep boys receipt? Dry cleaning tags?", "Nick: Well, whatever it is it happened during the summer. Paper only burns itself into plastic in high levels of heat.", "Greg: So what kind of paper item would you she into the center console in the heat of summer?", "Nick: Something you didn't want. Or something you had to keep.", "(NICK'S pager beeps. He checks it.)", "Nick: Pow-wow.", "(NICK gets out of the car and leaves the garage.)", "Nick: Later.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Everyone's in the lab around the table. They're talking about the case. Their voices muted. GRISSOM sits there thinking.)", "Catherine: (muted) Nevada state patrol found the victim's vehicle here. Found the body in good springs here.", "Sara: (muffled) Warrick and I found stippling on the passenger side seat back.", "Warrick: (muffled) We were thinking Millander posed as a hitchhiker overpowered Walker, and then faked a gunshot in the car.", "(The audio clears when NICK speaks.)", "Nick: I put a call into three area country and western stations. Got the FCC list ... during the time of the victim's suicide recording KWV had Willie Hank's \"Don't Pay the Ransom\" playing from 1:47 A.M. To 1:51 A.M.", "Catherine: And what time was sunrise this morning?", "Nick: 5:13 A.M. So that's about a three hour window. He was racing daylight.", "Catherine: So in that time he had to get the recording and get rid of the body.", "Nick: Made the recording in the car killed him in the warehouse.", "Warrick: No, he carried him into the warehouse.", "Nick: Yeah?", "Sara: Mud prints -- one set in, one set out.", "(SARA puts the footprint photos on the table. NICK looks at them.)", "Catherine: Are we sure he didn't kill him in the car? He was shot in the warehouse. He was incapacitated in the car.", "Sara: Okay, how?", "(CATHERINE looks at GRISSOM.)", "Catherine: Grissom, you want to add something to this?", "Grissom: Yeah. None of it matters. It's one of those few cases where physical evidence isn't helping us much. I mean, put it in context. The victim's birthday is always on the anniversary of the murder of Millander's father. Staged like his father's death. A planted hair, a planted fingerprint ... it's all biographical. He's using the evidence to tell us a story.", "(BRASS appears in the doorway.)", "Brass: Hey... Peter Walker, our victim worked for cinema road services in Valencia, California. Drives the newly released film reels back and forth to Vegas.", "(BRASS walks into the lab and joins them around the table.)", "Brass: Drops off the new reels every Tuesday for Friday's release. Brings the old one back.", "Warrick: Drives the same route all the time?", "Brass: Yeah, according to his mileage log.", "Sara: Did Walker have any kind of record?", "Brass: Pretty much a boy scout except for a speeding ticket.", "Nick: Speeding ticket? How long ago?", "Brass: July 2, last year.", "Nick: (nods) Summer.", "[SCENE_BREAK]", "[INT. - BRASS'S OFFICE]", "(BRASS does a search for the speeding ticket on the computer.)", "Nick: 909987-23...", "[Computer Screen 1: Searched OL DEPARTMENT OF MOTOR VEHICLES, NV Dates searched 01/01/1992 THROUGH 12/20/2001", "IDENTIFICATION INFORMATION ON FILE", "NAME: PETE WALKER DOB: 08/17/1957", "ADDRESS: 715 LADY DEL SOL, SANTA CLARITA, CA", "REMARK/OTHER: DRIVER RECORD SERVICE REPORT FOR CALIFORNIA", "Report Date: 05/26/01 142227422-000", "*** DRIVING RECORD HISTORY *** ]", "Brass: Pete Walker. Excessive speed. July 2, 2001.", "Nick: Walker's birth date's on the ticket. August 17, 1957.", "Grissom: Run the other two vics. Royce Harmon.", "[Computer Screen 2:", "STATEWIDE, NV Searched DL DEPARTMENT OF MOTOR VEHICLES, NV Dates searched 01/01/1992 THROUGH 09/20/2001", "IDENTIFICATION INFORMATION ON FILE", "NAME: ROYCE HARMON", "DOB: 08/17/ ....", "ADDRESS: 7642 CARPENTER ST.", "EMPLOYMENT: DINNERS DELIVERED Remark / Other Driver Record Service Report for California ]", "Catherine: Employment -- Dinners Delivered. Need a car for that.", "Nick: What about his driving record, Jim?", "[Computer Screen 3: Type -- Viol/Sus -- Conv/Rei -- Description", "VIOL -- 10/14/98 - EXCESSIVE SPEED", "STATUTE: VC", "DOC#: 1893345 VEH LIC#928A83A9?", "CT LOC: Nevada Officer on Duty: T. Knoll, NHP.", "VIOL - 06/14/97 - EXCESSIVE SPEED", "STATUTE: VC", "DOC#: 1893345 VEH LIC#:928A83A9", "CT LOC: Nevada Officer on Duty: Kevin Yarnell, NHP.", "SUSP - 08/07/97 - SUSPENDED", "FAILTURE TO APPEAR NOTICE", "SERV-TYPE: 1 SERV-DTE: 080598", "FILE# MAILED:070898", "RETURN UNCLAIMED", "DRIVER RECORD SERVICE REPORT FO-", "DEPT 602/03/99 ACTION TERM EFFECTIVE ]", "Brass: He drove himself right out of a license.", "Catherine: Try Stuart Rampler.", "[COMPUTER SCREEN 4:", "STATEWIDE, NV Searched DL DEPARTMENT OF MOTOR VEHICLES, NV Dates searched 01/01/1992 THROUGH 12/20/2001", "IDENTIFICATION INFORMATION ON FILE", "NAME: STUART RAMPLER", "DOB: 08/1...", "ADDRESS: 818 BOEING HILL COURT", "EMPLOYMENT: TAPFORD PHARMACEUTICALS", "Remark / Other: Driver Record Service Report For California", "Report Date: 05/26/01 142227422-000", "Computer Screen 5: Type - Viol / Sus - Conv / Rei - Description", "VIOL - 6/05/00 - EXCESSIVE SPEED", "STATUTE: VC", "DOC#: 1893345", "VEH LIC#029836274", "CT LOC: Nevada Officer on Duty: Kevin Yarnell, NHP.", "VIOL - 2/11/97 - EXCESSIVE SPEED", "STATUTE: VC", "DOC#: 1893345", "VEH LIC#029836274", "CT LOC: Nevada", "Officer on Duty: N. Phillips, NHP.", "VIOL - 10/03/91 - BASIC SPEED LAW", "STATUTE: VC", "DOC#: 1893345", "VEH LIC#029836274 ]", "Nick: There's a few tickets.", "Brass: Last violation -- excessive speed, June, 2000.", "Grissom: So what's the commonality?", "Catherine: Besides birth dates.", "Brass: Beside birth dates ...", "[COMPUTER SCREEN 6:", "Box 1: NAME: PETE WALKER DOB: 08/17/1957", "ADDRESS: VIOL 07/02/01 - EXCESSIVE SPEED", "Officer on Duty: Kevin Yarnell, NHP", "Box 2: NAME: ROYCE HARMON DOB: 08/17/58", "ADDRESS: VIOL ??? - EXCESSIVE SPEED", "Officer on Duty: Kevin Yarnell, NHP", "Box 3: NAME: STUART RAMPLER DOB: 08/17/59", "ADDRESS: VIOL 06/05/00 - EXCESSIVE SPEED", "Officer on Duty: Kevin Yarnell, NHP", "Brass: All the tickets were written by the same cop.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT -- DAY]", "(GRISSOM and CATHERINE question OFFICER KEVIN YARNELL.)", "Grissom: Excuse me. Officer Yarnell?", "Officer Kevin Yarnell: Yeah.", "Grissom: My name's Gil Grissom, with the Las Vegas Crime Lab. May I ask you how many speeding tickets you issue a day?", "Officer Kevin Yarnell: Why is it any business of yours?", "Grissom: You wrote tickets to three people who ended up dead.", "Officer Kevin Yarnell: You think I had something to do with it? Look, I'm a good cop. I protect and serve. I even go to court on my days off.", "Catherine: You mean court dates for speeding tickets?", "Officer Yarnell: Yeah. Sometimes, believe it or not, people actually contest them and I'm there fighting it tooth and nail.", "Grissom: Court.", "Officer Yarnell: Yeah. In fact, I just responded to a challenge this morning.", "Catherine: Always the same judge?", "Officer Yarnell: No, there's three traffic court judges. Session's about to start. Why don't you go bother them.", "(GRISSOM and CATHERINE leave.)", "[SCENE_BREAK]", "[INT. JUDGE MASON'S COURTROOM -- DAY]", "Bailiff: All rise. Honorable Judge Douglas Mason presiding ... Municipal Court, City of Mulberry, State of Nevada.", "(Behind the BALIFF, the Judge enters the room and makes his way to his chair.)", "(GRISSOM watches as he looks up at the JUDGE and instantly recognizes him.)", "(The JUDGE looks up. It's PAUL MILLANDER.)", "(Quick flashback to: Scenes from 1X08: Anonymous. Flash of PAUL MILLANDER; Flash of PAUL MILLADER at Halloweird; and Flash of PAUL MILLANDER waving to the security camera at CSI. End of flashback. Resume to present.)", "(GRISSOM is completely surprised. JUDGE DOUGLAS MASON looks up from the bench.)", "Judge Douglas Mason (aka Paul Millander): You may be seated.", "(CATHERINE and everyone sits. GRISSOM doesn't move. He stares at JUDGE MASON.)", "[SCENE_BREAK]", "[INT. JUDGE MASON'S COURTROOM]", "(GRISSOM stands in the middle of the courtroom staring at JUDGE DOUGLAS MASON. Everyone waits for GRISSOM to take his seat. They all stare at him. CATHERINE looks at GRISSOM'S odd reaction with confusion.)", "Catherine: Gil.", "(Without taking his eyes off of JUDGE DOUGLAS MASON, GRISSOM removes his ID and makes his way to the officer standing off to the side.)", "(He shows his ID to the officer.)", "Grissom: Excuse me, Officer. I'm with the Las Vegas Crime Lab. I need you to arrest a murder suspect.", "Court Room Officer: Where's the suspect?", "Grissom: Judge Mason. His real name is Paul Millander.", "Court Room Officer: You don't want to do this.", "Judge Douglas Mason (Paul Millander): (to GRISSOM) Sir, please take a seat.", "Grissom: Officer, this man is not who he's pretending to be.", "Judge Douglas Mason (Paul Millander): Take a seat now or I'll have you removed from this courtroom and charged with contempt.", "Grissom: He's wanted in Clark County for murder.", "Judge Douglas Mason (Paul Millander): You are now in contempt of court. Bailiff?", "Officer: Come on.", "(The OFFICER leads GRISSOM out of the Courtroom. CATHERINE stands up to follow. JUDGE MASON stops her.)", "Judge Douglas Mason (Paul Millander): I apologize for the disruption. Let's proceed. (to CATHERINE) You may be seated, Miss. You can leave this court when it has concluded its business. Or find yourself in contempt along with your friend.", "(CATHERINE watches JUDGE MASON. She turns around and heads back to her seat.)", "[SCENE_BREAK]", "[INT. JAIL CELL - DAY]", "(GRISSOM sits on the bed in the cell ... thinking. JUDGE DOUGLAS MASON walks up to the cell. GRISSOM turns to look at him.)", "Judge Douglas Mason (Paul Millander): Where are you from?", "Grissom: You know where I'm from ... and I know who you are.", "Judge Douglas Mason (Paul Millander): I'm not who you think I am. Local police have been out here twice this past year about this man -- Paul Millander, is it? Every time his story's in the paper. I've heard I look like him.", "Grissom: Identical.", "Judge Douglas Mason (Paul Millander): You've heard of the doppelganger syndrome?", "Grissom: That every person is supposed to have an exact double somewhere in the world?", "Judge Douglas Mason (Paul Millander): Do you believe in it?", "Grissom: Never been proved.", "Judge Douglas Mason (Paul Millander): A swiss neurobiologist recently published papers supporting its viability. Brugger, I think his name is. Stands to reason this Millander is my doppelganger. The monkey wrench for you is that we're both here in the State of Nevada.", "(GRISSOM stands up.)", "(JUDGE MASON grabs a-hold of the cell bar and leans in.)", "Grissom: Well, you know, we could always do a DNA test.", "Judge Douglas Mason (Paul Millander): You know, if you keep that up people are going to start calling you crazy. Guard.", "(The jail cell door opens. JUDGE MASON hands GRISSOM back his things and ID.)", "Judge Douglas Mason (Paul Millander): I trust you won't go near my courtroom again.", "(JUDGE MASON turns to leave.)", "Judge Douglas Mason (Paul Millander): Before you go back to Las Vegas why don't you come to dinner. I tell my wife stories about my day and this one she may need to hear in person. Six o'clock. (He gives GRISSOM a slip of paper.) That's my address. We live right here in Mulberry.", "(The JUDGE leaves.)", "(GRISSOM eyes the cell bar as he puts his jacket on. CATHERINE appears.)", "Catherine: Any chance he's got a twin?", "Grissom: A doppelganger, evidently. Do you have your mentholatum?", "Catherine: Why, you getting a cold?", "Grissom: No. The judge just got sloppy. (CATHERINE hands GRISSOM the container.) Thanks.", "(GRISSOM opens the container and fumes the bar. Fingerprints appear.)", "Catherine: Ah, fuming. (CATHERINE pulls out a tape.) I'll lift it and get it to the lab.", "Grissom: Go ahead and take the Tahoe. Call me later. I'm going to dinner.", "(As CATHERINE takes the prints, GRISSOM caps the container and walks out of the cell.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(SARA walks into the lab.)", "Sara: Greg, did you look at the female hair from the crime scene tub?", "Greg: When you say \"jump I say \"how high?\" I found testosterone in female hair. Post pubescent female hair.", "Sara: Well, men and women both have testosterone in their systems. No big deal, right?", "Greg: Well, this is. This testosterone's endogenous.", "Sara: What? What do you mean? Like outside the body?", "Greg: Injections. Supplements.", "(SARA looks at the results.)", "Sara: So our mystery lady was trying to enhance her athletic performance?", "Greg: Or increase her s*x drive. (beat) You know women do that. I read. None that I've ever met.", "Sara: Not yet anyway. Okay, I'm not sure what this means yet, but thanks.", "[SCENE_BREAK]", "[EXT. MASON'S RESIDENCE -- NIGHT]", "(GRISSOM gets out of the darkened police car. He double checks the address with the slip of paper. He approaches the house.)", "[PORCH OUTSIDE FRONT DOOR - NIGHT -- CONTINUOUS]", "(GRISSOM rings the doorbell. As he waits for an answer, he looks down and sees the boots. He picks up the boots for a better look. The door opens and a woman answers.)", "Mrs. Mason: Mr. Grissom?", "Grissom: I was admiring these rain boots.", "(GRISSOM puts the boots down.)", "Mrs. Mason: Please come in.", "(GRISSOM walks in.)", "[INT. MASON'S RESIDENCE - NIGHT -- CONTINUOUS]", "(He turns around.)", "Grissom: You have a lovely home.", "Mrs. Mason: We like it.", "Grissom: May I ask how long you've lived here?", "Mrs. Mason: We bought the year we adopted Craig, so that would be '92.", "(She turns to look at the little boy in the living room.)", "Mrs. Mason: Craig, what did I tell you you had to do when our dinner guest arrived?", "Craig Mason: Hi, I'm Craig Mason. Nice to meet you.", "Grissom: Nice to meet you, Craig.", "Craig Mason: Want an I.D. Tag for safety?", "(DOUGLAS MASON appears behind GRISSOM.)", "Mrs. Mason: (explains) Craig's school is sponsoring an identification program for students. Parents get one, too.", "Paul Millander (Judge Mason): Can't be too safe out there, can we, Mr. Grissom?", "(GRISSOM turns around.)", "Grissom: No, we can't.", "Paul Millander (Judge Mason): Hungry?", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[INT. MASON RESIDENCE - KITCHEN -- NIGHT]", "(Everyone is sitting at the dinner table finishing up dinner.)", "Mrs. Mason: That reminds me, Doug. Be sure to tell Mr. Grissom where you bought your rain boots. He was admiring them earlier.", "Paul Millander (Judge Mason): Was he?", "Mrs. Mason: My husband's only hobby is driving around the state looking for bargains, rain or shine. And I tell him, \"you're a Judge now. We don't need bargains.\"", "Paul Millander (Judge Mason): To which I reply, \"old habits die hard.\"", "Mrs. Mason: Truth is, I think he just enjoys his private time.", "Paul Millander (Judge Mason): Dear. As a Judge, I don't want the outside world privy to my private life because they'll use it against me.", "(A camera flashes in GRISSOM'S face. CRAIG MASON pulls the polaroid picture from the camera and puts it next to his dinner plate on the table.)", "Craig Mason: You'll be safe now.", "[SCENE_BREAK]", "[INT. CSI -- PRINT LAB - NIGHT]", "(CATHERINE runs the print taken from JUDGE MASON on the database.)", "(The computer finds a match.)", "[SCENE_BREAK]", "[INT. MASON RESIDENCE - KITCHEN -- NIGHT]", "(GRISSOM'S phone rings and steps away from the table when he answers it.)", "Grissom: Excuse me. I'm sorry. (on phone) Grissom.", "INTERCUT WITH:", "Catherine: You're never going to believe who Judge Mason's fingerprints match. Judge Mason. As printed when he was sworn before the bar Nevada State Superior Court.", "Grissom: Okay. Thank you.", "(GRISSOM hangs up. He turns around.)", "Paul Millander (Judge Douglas Mason): My prints came back sound.", "(GRISSOM looks surprised.)", "Mrs. Mason: Douglas?", "Paul Millander (Judge Douglas Mason): As I told you earlier, dear, Mr. Grissom has confused me with a very bad man. I left him fingerprints so that he could confirm that I am who I say I am.", "Grissom: Uh, I have to get back to my lab right away. I'm sorry. Thank you for a lovely dinner, Mrs. Mason.", "(DOUGLAS MASON stands.)", "Grissom: Craig ... your honor.", "(CRAIG MASON looks down at the photograph next to his plate. Camera holds on the photograph as it develops into a picture of GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(GRISSOM walks through the hallway with CATHERINE.)", "Grissom: I don't care what the computer says, that guy is Paul Millander.", "Catherine: Yeah, we know that. How do we prove it?", "Grissom: We have to disprove this Judge Mason. Birth certificate -- was he born in Mulberry?", "Catherine: Well, that's the first thing Brass looked into. Apparently, the records building burned down in 1982.", "Grissom: Burned down?", "Catherine: Ruled arson. No suspects ever found.", "Grissom: So Judge Mason has no birth certificate. How convenient. Man, this guy plays way out in front.", "Catherine: Here's some good news. Brass went to the new records building looking for anything on a Millander. Found current property-tax accounts.", "(CATHERINE hands the file to GRISSOM.)", "Grissom: (reading) In the name of Paul and Isabelle Millander.", "Catherine: Mm-hmm.", "[SCENE_BREAK]", "[EXT. MILLANDER RESIDENCE - NIGHT]", "(GRISSOM and CATHERINE knock on the door. The door opens.)", "Catherine: Isabelle Millander?", "(The woman nods.)", "Grissom: We're with the Las Vegas crime lab.", "Isabelle Millander: Are you here about my husband? That happened over thirty years ago.", "Catherine: It's our understanding that your child witnessed your husband's murder.", "(ISABELLE MILLANDER steps aside. CATHERINE and GRISSOM walk into the house.)", "[INT. MILLANDER RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]", "(ISABELLE MILLANDER closes the door.)", "Catherine: Thank you.", "Isabelle Millander: My child was only ten years old. So brave to testify against those men. But it didn't matter. The Judge ruled it a suicide and those men went free.", "Catherine: I hope we're not interrupting. It looks as if you're expecting someone for dinner.", "Isabelle Millander: I always set an extra place for Paul.", "Grissom: Your son?", "Isabelle Millander: My husband. My way of being together.", "(GRISSOM turns and looks at some pictures on the table.)", "Isabelle Millander: Those are from his best years. He started a company out in Hollywood in the 1930s.", "(Cut to: Camera close up of the building shop name: Halloweird.)", "(Quick flashback to: Scene from 1X01: Pilot. GRISSOM walks through Halloweird, PAUL MILLANDER walks behind him.)", "Grissom: (V.O.) Halloweird.", "(End of flashback. Resume to present.)", "Isabelle Millander: Movie makeup. He used himself as a model.", "(Quick flashback to: Scene from 1X01: Pilot. GRISSOM holds up a rubber hand.)", "Isabelle Millander: (V.O.) He made hand molds and masks, everything. Like a one-man company.", "(End of flashback. Resume to present.)", "Catherine: May I use your bathroom?", "Isabelle Millander: Last door down the hall.", "Catherine: Thank you.", "(CATHERINE leaves the room.)", "Grissom: Would you happen to have any of his work still?", "Isabelle Millander: I kept only what's most sentimental.", "Grissom: Might I take a look at it?", "[SCENE_BREAK]", "(CATHERINE walks down the hallway. She opens a closed door to a bedroom. She walks out and opens the closed door at the end of the hallway to the bathroom. She closes the bathroom door and opens a third closed door to a pink little girl's room.)", "(CATHERINE takes off her hat and looks around. She looks at the picture on the wall and a name plate for \"PAULINE\".)", "[SCENE_BREAK]", "[INT. MILLANDER RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]", "(ISABELLE MILLANDER unwraps a hand mold and shows it to GRISSOM.)", "Grissom: Hmm, it's rudimentary. Almost childlike.", "Isabelle Millander: Our child made it.", "Grissom: It's an ashtray?", "Isabelle Millander: My husband used his own hand to imprint the center.", "(GRISSOM thinks.)", "Grissom: May I?", "(ISABELLE MILLANDER hesitates, but doesn't say anything. GRISSOM looks at the hand mold.)", "(Quick camera zooms in to show a green substance at the tip of the finger impression of the mold. End of camera zoom.)", "Grissom: I wonder what this green discoloration is.", "Isabelle Millander: I was often curious about that.", "Grissom: I could take this back to the lab and analyze it. I promise to bring it back.", "(ISABELLE MILLANDER consents.)", "[SCENE_BREAK]", "[INT. MILLANDER RESIDENCE - PAULINE'S BEDROOM - NIGHT - CONTINUOUS]", "(CATHERINE looks around the bedroom. She opens the top drawer and looks inside. Underneath the little girl dresses, she finds a stack of baseball cards.)", "(She closes the dresser drawer. She walks to the closet and opens it. She turns on the closet light and looks through the clothes on the hangers. On the clothes, she finds a strand of hair. She picks it up.)", "Isabelle Millander: (from the doorway) What are you doing in my daughter's room?", "(CATHERINE turns around and looks at ISABELLE MILLANDER. She smiles at being caught.)", "Catherine: Oh ... I have a daughter myself. I was admiring the old clothes.", "(GRISSOM appears in the doorway.)", "Catherine: (indicating the photo on the wall) She's beautiful.", "(ISABELLE MILLANDER turns to look at the photo.)", "Isabelle Millander: She died.", "Catherine: (sadly) I'm sorry.", "Grissom: When did she die?", "Isabelle Millander: A long time ago. A lifetime ago.", "Grissom: What about your son Paul?", "Isabelle Millander: I think it's time for you to go now.", "Catherine: Mrs. Millander we're just trying to clarify ...", "Isabelle Millander: (upset) Please?", "(CATHERINE walks toward the door. GRISSOM turns to the hallway.)", "[SCENE_BREAK]", "[EXT. MILLANDER RESIDENCE - FRONT WALK - NIGHT]", "(CATHERINE and GRISSOM leave the house.)", "Catherine: So, Paul Millander killed his sister.", "Grissom: It's plausible. It's not provable ... yet.", "[SCENE_BREAK]", "[CONTAINER POV]", "(Camera close up of green goo being poured into a container.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GRISSOM lifts the green goo from the mold. He examines it closely.)", "Greg: No, you were right. The substance is microcil-like but it's really old-school-- alginate. The book says that, uh ... makeup people used it up to the '70s to make molds and impressions. It's green, hence the \"algin\" in \"alginate.\"", "(Quick flashback to: Scene from: 1X01: Pilot. In Halloweird, GRISSOM looks at the rubber hand and listens to PAUL MILLANDER explain about the mold.)", "Paul Millander: We sold 10,000 of those units last Halloween. Even used my own hand for the mold.", "(End of flashback. Resume to present.)", "Grissom: These were his father's prints. He was planting them as if they were his own.", "(Quick flashback to: PAUL MILLANDER standing in the warehouse over the tub and placing a print on the tape recorder. The tip of his finger is green.)", "Greg: (V.O.) The guy's pretty shrewd.", "(End of flashback. Resume to present.)", "Greg: Every murder comes back to a dead man.", "Grissom: Greg, if I refer to Millander as smart, it's one thing but I mind if other people do it, okay?", "Greg: (nods) Got it.", "Grissom: What have you got on the hair Catherine recovered?", "Greg: Processing it next, sir.", "Grissom: Find me.", "(GRISSOM takes off the latex gloves and leaves the lab.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- CONTINUOUS]", "(GRISSOM walks into the lab to check with CATHERINE.)", "Grissom: Did I miss something?", "Catherine: It's a kid's fingerprint from the baseball card.", "Grissom: Clear ... concise ... anonymous.", "Catherine: Brass found no prints from little Pauline no birth records, no death certificate. I'm going to use the prints from the only other kid who lived in the Millander house.", "Grissom: Here come de Judge.", "(The computer shows a comparison match.)", "Catherine: Ridge analysis proof. Judge Mason is ...", "Grissom: ... Paul Millander.", "(GRISSOM'S pager beeps. He checks it.)", "Grissom: It's ... it's Greg.", "(GRISSOM turns around to look at the DNA lab.)", "Grissom: (to CATHERINE) Come on.", "(GRISSOM heads back to the DNA lab. CATHERINE follows.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - CONTINUOUS]", "(GRISSOM and CATHERINE walk into the lab. SARA is already there with GREG.)", "Greg: Okay. The hair you found in Pauline Millander's bedroom two x chromosomes-- female.", "Grissom: You didn't beep me for that.", "Greg: Well, Sara had me compare it to the hair found in the tub at the crime scene. They're a perfect match. (beat) DNA identical.", "Catherine: So her brother planted it?", "(GREG looks at SARA.)", "Greg: Well ... not exactly.", "Sara: Yeah, he planted it. He planted his own hair.", "Catherine: Millander. It's a female hair.", "Sara: With endogenous testosterone. Pauline was taking male hormone injections.", "(GRISSOM looks at the test results.)", "Grissom: Why?", "Sara: My theory? s*x change.", "Catherine: You know, when I was back at the house I saw several photographs of Pauline and nothing of Paul. In fact, the only proof of Paul is a hidden baseball card.", "Sara: There is no birth or death record for Pauline.", "Grissom: Paul killed Pauline. But he didn't murder her.", "[SCENE_BREAK]", "[INT. MILLANDER RESIDENCE - LIVING ROOM -- NIGHT]", "(Camera opens on the dining room table set for two.)", "Grissom: So that's what you've been hiding? That your daughter is now your son?", "Isabelle Millander: Pauline went away and came back a very strange man.", "(Quick flashback to: PAULINE MILLANDER walking into the elevator carrying a yellow suitcase. The elevator doors open and a young PAUL MILLANDER in a wheelchair is wheeled out of the hospital carrying a yellow suitcase. End of flashback. Resume to present.)", "Isabelle Millander: And I wouldn't let him stay here -- not like that.", "Grissom: Mrs. Millander, we believe that your son has murdered three people and that he's living under the assumed name of Judge Douglas Mason. I need your permission to collect some hairs from Pauline's bedroom for use in court.", "(ISABELLE MILLANDER looks at GRISSOM.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(GRISSOM questions PAUL MILLANDER. They both sit at opposite ends of the table.)", "Grissom: We took this hair from your childhood bedroom when you used to be Pauline.", "Paul Millander (Judge Douglas Mason): They told my parents I had an \"endocrinic ambiguity.\" My chromosomes said female, but my body wasn't that sure. The doctors told my parents to raise me as they saw fit. Unfortunately, they disagreed.", "Grissom: So, uh ... you were a girl when you were inside the house and a boy when you were out in the world?", "Paul Millander (Judge Douglas Mason): I managed. Until ... that night.", "(Quick flashback to: PAULINE looks out from a crack in her bedroom door. She sees her father thrown into the bath tub and hears a gunshot fired. She watches as two men leave. End of flashback. Resume to present.)", "Paul Millander (Judge Mason): (upset) A boy ... could have saved his father.", "Grissom: You did what you could do. You testified against them.", "(Quick flashback to: PAULINE MILLANDER up on the courtroom stand.)", "Lawyer: Do you see the man who killed your father in this courtroom?", "(PAULINE stutters and struggles to get the answer out. End of flashback. Resume to present.)", "Paul Millander (Judge Mason): (stuttering) Y ... yes.", "(GRISSOM watches in surprise. PAUL MILLANDER sits back in his chair and looks at GRISSOM.)", "Paul Millander (Judge Mason): They went free.", "Grissom: And you started to identify with the aggressors.", "(PAUL MILLANDER looks at GRISSOM and smiles proudly.)", "Grissom: Why are you smiling?", "Paul Millander (Judge Douglas Mason): I am ... comfortable sharing this with you. My, uh ... my mother wouldn't hear it. Against her wishes, I cut off my hair. Started wearing big shirts. Big boots. If I got tough enough ... no one would ever hurt me. I went to the clinic ... and became a man.", "Grissom: Sexual reassignment. Not just a man, though-- a Judge. Doesn't get much more powerful than that", "(PAUL MILLANDER sighs.)", "Grissom: But none of it solved your problems, did it? Or else you wouldn't have killed three innocent men.", "(PAUL MILLANDER doesn't respond. GRISSOM stands up and carries the warrant to PAUL MILLANDER. He puts it on the table in front of him and takes out a swab.)", "Grissom: I have a warrant for your DNA.", "Paul Millander: Identity is so fluid, you know.", "(Holds out his hand for the swab.)", "Paul Millander: May I?", "(GRISSOM hands the swab to PAUL MILLANDER. PAUL MILLANDER takes the sample and caps the swab. He hands it back to GRISSOM.)", "Grissom: See you in court.", "(GRISSOM heads back to his seat to get his things.)", "Paul Millander (Judge Douglas Mason): Aren't you wondering about your birthday? August 17, 1956.", "Grissom: No.", "(GRISSOM picks up his things and heads for the door.)", "Paul Millander (Judge Douglas Mason): Why I didn't kill you, since you were next?", "Grissom: No.", "(GRISSOM opens the door.)", "Paul Millander (Judge Douglas Mason): I've already picked my next victim, if you're curious.", "(GRISSOM turns around and looks at PAUL MILLANDER.)", "Grissom: It doesn't matter, Paul -- you'll be in jail.", "(PAUL MILLANDER smiles. As GRISSOM walks out he signals the guard. The guard walks into the room.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - EVENING]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. COURTROOM -- NIGHT]", "Bailiff: Next up, People V. Landry. Are all the parties present?", "(GRISSOM walks up to CATHERINE who is speaking with the prosecutor.)", "Grissom: What is going on? I thought Millander was supposed to be arraigned at", "Catherine: Oh, this is just ridiculous. I mean, you'd think they'd make an exception in this case -- three murders. This guy's telling me that Millander is representing himself. Pro pers are always last on the docket.", "(This concerns GRISSOM. He walks out of the courtroom. CATHERINE watches GRISSOM leave.)", "[SCENE_BREAK]", "[INT. - HALLWAY -- NIGHT]", "(GRISSOM walks through the hallway. He shows his ID to the guard and continues to walk through the hallway. He seems to know where he's going.)", "(GRISSOM opens the door to the room and looks inside. On the chair in the small room is the red prison clothing and a cut ID wrist band. GRISSOM picks up the wrist band.)", "(CATHERINE enters the room behind GRISSOM. He shows her the wrist band and levels her with a look. PAUL MILLANDER is gone.)", "[SCENE_BREAK]", "[INT. CSI - A/V LAB - NIGHT]", "(GRISSOM goes over the security camera video. BRASS stands behind GRISSOM and looks at the video over his shoulder.)", "Brass: A clean-cut guy in a suit -- no one looks too close. He must have got a fake I.D.", "Grissom: He had my I.D.", "(Quick series of flashback to: PAUL MILLANDER copying GRISSOM'S ID badge. He smiles as he takes it off of the machine.)", "(Cut to: The polaroid picture of GRISSOM taken by CRAIG MASON at dinner on the table among the other badge making pictures. PAUL MILLANDER cutting out his picture from his own \"School Safety ID\".)", "(Cut to: PAUL MILLANDER walking through the front security door and showing the officer his badge which reads: )", "(Picture of PAUL MILLANDER on the left with \"C.S.I.\", \"Level 3\". [On the right:", "LAS VEGAS POLICE DEPARTMENT CLARK COUNTY, NEVADA", "Gil Grissom: PN 8690 EYES BRN / WEIGHT HAIR BRN / HEIGHT ]", "(Cut to: PAUL MILLANDER looks up at the security camera and just as he did back in 1X08: Anonymous, he salutes to the video camera and walks out.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(CATHERINE catches up with GRISSOM as he's on his way out.)", "Catherine: You going home?", "Grissom: Yeah. They know where to find me.", "Catherine: I re-read the backgrounds of Millander's victims. I think that he slipped up. You know how every victim read the suicide note \"I'd like to say 'I love you' to my mother\"? Well, Pete Walker had no mother. (beat) She died in childbirth.", "(With this information, GRISSOM thinks.)", "Grissom: He never slips up.", "(GRISSOM starts for the door, gaining speed with every step.)", "[SCENE_BREAK]", "[EXT./INT. MILLANDER'S RESIDENCE - NIGHT]", "(GRISSOM walks up the front walkway. It's quiet inside. His gun in his hand.)", "(He pushes the door open and enters the darkened foyer.)", "(The door closes behind him. GRISSOM turns on the flashlight. He takes a couple of steps forward and turns to look in the Dining Room. ISABELLE MILLANDER is sitting at the Dining Room Table with her back facing GRISSOM.)", "Grissom: Mrs. Millander?", "(She doesn't respond. GRISSOM walks up to her and sees the knife in her abdomen. The food in front of her is untouched.)", "(GRISSOM turns and continues to look through the rest of the dark house.)", "(He walks down the hallway toward the open bathroom door. He pauses briefly in front of PAULINE'S bedroom, but doesn't go inside. He continues toward the bathroom.)", "(He pushes the door open and finds PAUL MILLANDER dead in the bathtub, a tape recorder left behind.)", "(GRISSOM turns the tape recorder on.)", "Paul Millander: My name is Paul Millander. I reside at 13891 Sand Creek Road. I'm 46 years of age and I'm going to kill myself. I'd like to say \"I love you\" to my mother, Isabelle.", "(On the bathroom floor next to the tub is a piece of folded paper. GRISSOM picks it up.)", "[It a birth certificate. It reads:", "LINCOLN COUNTY, NEVADA DEPARTMENT OF HEALTH BUREAU OF VITAL RECORDS CERTIFICATION OF BIRTH", "DATE OF BIRTH: AUG 17, 1956", "TIME OF BIRTH: 4155 PM CERTIFICATE NO.: 158-60-1443", "DATE ??? 08-20-56", "DATE ??? 08-", "NAME PAULINE PAUL MILLANDER s*x: FEMALE MOTHER'S NAME: ISABELLE MILLANDER FATHER'S NAME: PAUL MILLANDER", "Paul Millander: (on tape) I'm so sorry. I never wanted to put you through this. I just can't do it anymore. I've lost hope.", "(The gun fires.)", "(GRISSOM flinches when he hears the gunshot. He turns his head incredibly saddened by it all.)" ]

[ "Catherine is ordered by a kidnapper to accompany a man who is to deliver $1 million in ransom to him or else he will kill the man's mistress. But when the million is paid, they learn that his mistress is already dead." ]

[ "[EXT. LAST VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. BANK - DAY]", "(ROY LOGAN walks into the bank. He takes off his sunglasses and looks around. He's carrying a metal briefcase and appears to be very nervous. He glances up at the security camera, then approaches the bank teller.)", "Teller: Good afternoon.", "(ROY LOGAN puts his metal briefcase down.)", "Roy Logan: I need to ... uh ... make a withdrawal.", "(He places a withdrawal slip on the counter. It's dated 1-30-02 and for the amount of one million dollars ($1,000,000). There's a red smudge of blood on the bottom right corner of the slip.)", "(The teller takes the withdrawal slip.)", "Teller: I'll need to see some identification.", "(ROY LOGAN nervously clears his throat and reaches for his wallet. He takes out a Nevada Driver's License and puts it on the counter. The teller glances down at the license. She picks it up and turns to her monitor.)", "Roy Logan: There's sufficient funds in my account.", "Teller: Just have to clear it with my manager.", "(He picks up his metal briefcase and drops it flat on the counter, startling the teller.)", "Roy Logan: Is that going to take long?", "Teller: I'll be right back.", "(The teller leaves ROY LOGAN and meets with her manager. She interrupts him while he meets with another client where they have an indistinct conversation in the back. The client walks away. The TELLER and the MANAGER glance over at ROY LOGAN. The conversation in the back continues. ROY LOGAN looks nervous and impatient.)", "Roy Logan: (yells) Is there a problem here?!", "Manager: It's a lot of money, Mr. Logan. It's going to take some time.", "(ROY LOGAN nods his head and looks down at the ground. He's trying to be patient. He glances up at the bank's clock. 4:50 p.m. He breathes out. He glances at the security camera again.)", "(Cut to Security Camera black and white POV of ROY LOGAN at the counter with a time stamp on the bottom right corner: 4:50 PM.)", "(Dissolve to same Security Camera POV with time stamp reading: 5:14 PM. ROY LOGAN hands the metal briefcase to the manager over the counter.)", "(Dissolve to time stamp reading: 5:22 PM. ROY LOGAN impatiently glances at his watch.)", "(Dissolve to time stamp reading: 5:36 PM. ROY LOGAN is still waiting for the briefcase.)", "(Dissolve to time stamp reading: 5:49 PM.)", "RESUME TO REGULAR CAMERA VIEW:", "(Cut to Close up of the MANAGER'S hands stacking the bills into the briefcase. He finishes and closes the case. ROY LOGAN sighs with relief. The MANAGER puts the case on the counter in front of ROY LOGAN.)", "Manager: Mr. Logan, would you like an escort to your car?", "(ROY LOGAN doesn't say anything. He takes the case off the counter and leaves.)", "(Cut to top view of ROY LOGAN walking toward the front door. The security guard opens the doors for him.)", "[SCENE_BREAK]", "[EXT. PARKING LOT OUTSIDE BANK - NIGHT -- CONTINUOUS]", "(ROY LOGAN walks out along the sidewalk and to his car. He's just about to get into his car when he turns and sees a police car in the background. We can hear the indistinct sounds of the police radio transmissions.)", "(ROY LOGAN pauses for a moment, then opens his car door and gets inside. He puts the metal briefcase on the passenger seat next to him. He closes the door and starts his engine. The tires screech as he reverses out of the parking stall.)", "(As he exits the parking lot, the police car in the background turns into the bank's parking lot. The sirens and lights turned on, the police car follows.)", "(ROY LOGAN goes out the other exit and is blocked by a parked car in front of him. Sandwiched between the cars, one in front and the other behind him, he slams on the breaks. He hits his steering wheel with his hands in frustration.)", "(The POLICE OFFICER gets out of his car and cautiously approaches ROY LOGAN.)", "Police Officer: Everything all right, sir?", "(ROY LOGAN'S cell phone starts to ring. The POLICE OFFICER glances at the phone in the car.)", "Police Officer: Do you want to get that?", "(ROY LOGAN doesn't move to answer the phone. The POLICE OFFICER looks inside the car and notices the blood on ROY LOGAN'S hands.)", "Police Officer: I think you should step out of the car. Keep your hands where I can see them. Let's go.", "(The POLICE OFFICER opens ROY LOGAN'S car door. ROY LOGAN gets out of the car with his hands raised. He doesn't say anything and stands against the wire fence.)", "Police Officer: Up.", "(Camera focuses briefly on ROY LOGAN'S frustrated look and then to the dried blood stains on the palms of his hands.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(CATHERINE and GRISSOM walk through the hallway to the interrogation room. They're both carrying their kits.)", "Catherine: So how rich is this guy?", "Grissom: Well, he had a million dollars in his checking account.", "Catherine: Who doesn't?", "Grissom: He's a real estate developer. On the mayor's committee to revitalize downtown.", "Catherine: And he hasn't said a word to anyone?", "Grissom: Nope. That's why we're here.", "(They open the door to the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - NIGHT - CONTINUOUS]", "(ROY LOGAN sits at the table. He looks up when the door opens. GRISSOM and CATHERINE walk in. They set their kits down at the back of the room.)", "Roy Logan: No... I'm not saying anything without my lawyer.", "(GRISSOM turns around and continues to get ready.)", "Grissom: You don't have to say anything.", "(They both put on their latex gloves.)", "Catherine: Mr. Logan ... would you please put your hands out? Palms up.", "(CATHERINE opens a bottle. ROY LOGAN puts the glasses that he was fiddling with down on the table. He nervously looks up at the wall clock. It reads 6:20 pm. He holds out his hands. Palms up.)", "(CATHERINE swabs his left palm then caps the swab tip.)", "Catherine: I'm also going to need you to strip.", "Roy Logan: What?", "(CATHERINE looks down at ROY LOGAN. ROY LOGAN looks over at GRISSOM. GRISSOM shrugs.)", "Grissom: Vegas.", "(Camera holds on ROY LOGAN'S confused look.)", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - NIGHT]", "(CATHERINE snaps a photo of MR. LOGAN'S bare back.)", "Catherine: Thank you, Mr. Logan. You can put your shirt down. Left arm out, please.", "(ROY LOGAN sighs. He holds out his left arm. CATHERINE looks at it. She take a picture of it. Behind them, GRISSOM is looking through ROY LOGAN'S clothes.)", "Catherine: Right arm.", "(ROY LOGAN drops his left arm and holds out his right arm. CATHERINE again looks at it then takes a picture.)", "Catherine: No visible injuries.", "Grissom: No blood on his clothes.", "Roy Logan: How long is this going to take?", "(GRISSOM holds out ROY LOGAN'S clothes. ROY LOGAN takes them from him. The clock on the back wall reads: 6:30 PM.)", "Grissom: Sorry for the inconvenience.", "(ROY LOGAN puts his clothes down on the table intending to put them back on. The door opens and PAUL, ROY LOGAN'S ATTORNEY, walks in.)", "Paul: What the hell is going on here?", "Roy Logan: Paul, get me out of here, now.", "Paul: Roy, put your clothes back on. Don't say another word to these people. (to the CSIs) I'm taking my complaint directly to the District Attorney. You had no grounds to detain Mr. Logan let alone disrobe him.", "(PAUL hands GRISSOM a business card. ROY LOGAN hurriedly puts on his clothes. GRISSOM looks at the card.)", "Grissom: His hands were covered in blood and he had a million dollars in his briefcase.", "Paul: It's not a crime to be rich.", "Roy Logan: Where's my car?", "Paul: It's right up front. My secretary drove it here.", "(ROY LOGAN grabs his cell phone, picks up the metal briefcase and follows PAUL out the door.)", "Paul: (to GRISSOM) You're going to be hearing from us.", "(The two men leave.)", "Catherine: Didn't Shakespeare say \"let's kill all the lawyers\"?", "Grissom: Yeah. Henry VI. Where is he when we need him?", "[Quote Note: William Shakespeare's, The Second Part of King Henry the Sixth, Act IV, Scene 2: Dick the Butcher: The first thing we do, let's kill all the lawyers. ]", "(CATHERINE puts on her coat. She hands something to GRISSOM.)", "Catherine: Yeah. Hey, can you do me a favor and drop this off at the lab? I'm due at a nursery rhyme recital. Lindsey's going to play the girl in the moon.", "Grissom: What happen to the man in the moon?", "Catherine: He got the mumps.", "(CATHERINE picks up her case and heads toward the door. She glances back at the room and notices that ROY LOGAN left his sunglasses on the table.)", "(She sighs and heads to pick them up.)", "[SCENE_BREAK]", "[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT]", "(CATHERINE exits the building. She sees ROY LOGAN unlocking his car door and heads toward him.)", "Catherine: Mr. Logan!", "(His car alarm chirps and he has his car door open. He puts his case down and turns around. CATHERINE waves his sunglasses at him.)", "Catherine: You forgot your sunglasses.", "(She walks over to him and holds it out.)", "Catherine: Service-oriented policing.", "(ROY LOGAN shuts the car door closed and turns angrily to CATHERINE.)", "Roy Logan: You don't understand. Get away from me.", "(CATHERINE doesn't say anything. She puts the sunglasses in his left breast pocket and turns to leave. His cell phone rings. CATHERINE lingers.)", "(ROY LOGAN reaches into his jacket and answers it.)", "Roy Logan: Hello.", "(He pauses and listens. CATHERINE still hasn't moved. He turns to her and looks at her. He holds the phone out to her.)", "Roy Logan: It's for you.", "Catherine: What?", "(CATHERINE takes the phone from ROY LOGAN.)", "Catherine: (on phone) Hello", "Voice: (high-pitched and altered) Who are you?", "Catherine: (to phone) CSI three Willows. Who are you?", "Voice: (over phone) Are you a cop?", "Catherine: (to phone) Criminalist.", "Voice: (over phone) Good. Because if you had been a cop she'd already be dead.", "Catherine: (to phone) Who would be dead?", "Voice: (over phone) Do you have a weapon?", "Catherine: (to phone) Yes.", "Voice: (over phone) Then put it on the ground, along with your pager, cell phone and that case you're holding.", "Catherine: (to phone) Who is this?", "Voice: (over phone) Do it! We're watching you, CSI three Willows. Attempt to go back into the police station and we'll kill her.", "(CATHERINE looks around and doesn't see anything or anyone. She slowly puts her kit down on the ground.)", "Voice: (over phone) Attempt to contact any coworkers and we'll kill her. Any false moves at all, and Amanda is dead.", "(CATHERINE reaches into her coat pocket and takes out her cell phone and puts it on the case. She looks around again.)", "Voice: (over phone) Now get back in the car. You drive, anywhere but here and await my next call.", "(The person on the other end hangs up. CATHERINE pulls the cell phone away from her ear and closes it.)", "Roy Logan: What did he say? Is Amanda all right?", "(CATHERINE grabs the keys from ROY LOGAN.)", "Catherine: Let's talk in the car.", "(ROY LOGAN looks at CATHERINE for a very brief moment, then grabs his metal briefcase and heads for the passenger side of the car. CATHERINE opens the driver door. She gets in, starts the engine, then drives off.)", "(GRISSOM exits the building. He's surprised to see CATHERINE driving ROY LOGAN'S car. He watches the car exit the parking lot. He puts his kit down and pulls out his cell phone. He dials and listens as it rings.)", "(From somewhere to the left of him, he hears the chirp of a cell phone. He turns and sees CATHERINE'S stuff on the parking lot ground. He pulls the phone away from his ear, thoroughly concerned.)", "FLASH TO WHITE.", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM grabs his file from the reception area in the hallway and heads toward GREG. Through the glass, GREG sees GRISSOM and motions for him to come talk to him.)", "Grissom: What'd you find?", "Greg: The blood's female. Definitely not Logan's.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(BRASS and GRISSOM walk through the hallway.)", "Brass: I ran Roy Logan. No criminal record; no wants; no warrants.", "Grissom: The blood on his hand was female.", "Brass: The guy's married. He lives in Summerlin. He bucks up; got a seven year-old son. But I'll check him out.", "Grissom: What about the car?", "Brass: Code five: Keep vehicle under surveillance; do not make contact with occupants. You know, Catherine had a gun. She could've used it.", "(GRISSOM doesn't respond to this. He turns and walks away.)", "[SCENE_BREAK]", "[INT. ROY LOGAN'S CAR -- NIGHT]", "(The car speeds down the street.)", "Catherine: You never answered my question. Who's Amanda?", "Roy Logan: Amanda's my girlfriend.", "(CATHERINE turns and looks over at ROY LOGAN, disapproval written all over her face.)", "Roy Logan: Yeah. I know, I know. My, uh, my wife doesn't know.", "Catherine: Somebody does. How did they make contact?", "(ROY LOGAN opens something. CATHERINE watches.)", "Roy Logan: I, uh, I probably left a dozen messages for her and, um, she, uh, never called me back so I went over to the condo ... to the condo and, uh ... this was waiting for me on the bed. I ... uh ...", "(ROY LOGAN holds out a small Altoid's shaped metal container with a severed index finger in it. CATHERINE looks at the finger for a long moment. A car horn beeps drawing CATHERINE'S attention back to driving.)", "Catherine: Got your attention.", "Roy Logan: My cell phone rang; it was the kidnapper. He said, uh, he wanted a million dollars in cash by the end of the day, or he would ... he would send me the rest of her. He said if I ... talked to he cops ...", "Catherine: Yeah, I heard that part. I need a drink.", "[SCENE_BREAK]", "[INT. DINER -- NIGHT]", "Hank Peddigrew: I can't believe you called. I actually got you outside of work.", "(SARA smiles.)", "Sara: This is nice.", "Hank Peddigrew: I don't normally date women from work but there was ... something about you. And it definitely wasn't your perfume.", "(SARA laughs and coughs.)", "Sara: I cannot believe you brought that up.", "(Cut to CATHERINE and ROY LOGAN getting out of the car just outside the diner.)", "(Cut back to SARA.)", "Sara: Yeah, that-that-that, uh, day we met that-that was, that was very gross.", "(Cut to CATHERINE and ROY LOGAN crossing the street toward the diner.)", "Sara: Um... I mean, not for me but for everyone else ... for you ...", "(The door to the diner opens. CATHERINE and ROY LOGAN walk in. SARA and HANK occupy the first booth closest to the door. SARA definitely notices that it's CATHERINE.)", "(CATHERINE doesn't acknowledge SARA. She and ROY LOGAN take two seats at the counter. SARA watches them walk by.)", "Hank Peddigrew: Isn't that one of your coworkers?", "Sara: Yeah.", "[SCENE_BREAK]", "[INT. DINER - COUNTER - NIGHT -- CONTINUOUS]", "(CATHERINE grabs a menu off the counter.)", "Catherine: We don't know how long it's going to be before he calls. Why don't you order something?", "Roy Logan: You expect me to eat? We should be in the car, waiting by the phone.", "Catherine: I have the phone. Do us both a favor: Relax.", "Waitress: What can I get you?", "Catherine: Um, two glasses: One with ice; one without. Roy?", "Roy Logan: Uh, coffee. Black.", "Catherine: So, let's get to know each other. You first.", "(ROY LOGAN looks at CATHERINE without saying anything.)", "Catherine: You were born; you came home from the hospital. Then what?", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM sits behind his desk. WARRICK and NICK stand in front of it.)", "Warrick: Maybe he wanted to confess. Take her to the body.", "Nick: Catherine wouldn't have left her stuff behind.", "(BRASS appears in the doorway.)", "Brass: Hey. I sent a patrolman to Logan's house. Talked to Mrs. Logan. She's in perfect health. She's not our vic.", "Warrick: So what do we do now?", "Nick: We wait. Right?", "Grissom: Yeah. We don't have a crime yet.", "[SCENE_BREAK]", "[INT. DINER -- NIGHT]", "(CATHERINE pours some of the ice into the empty glass.", "Catherine: Give me the finger.", "(ROY LOGAN looks at CATHERINE. CATHERINE meets his look. ROY LOGAN reaches into his pocket and takes out the case with the finger in it. He passes it to her under the counter. CATHERINE takes one of the glasses.)", "Roy Logan: What if somebody sees you?", "Catherine: I got to preserve this evidence.", "(She reaches for the other glass of ice. The cell phone rings. CATHERINE puts the empty glass back on the table then reaches for the cell phone.)", "Catherine: Hello.", "Voice: (altered) (from phone) Take Boulder Highway South till it intersects ninety-three. Take the Yucca Exit, East, one mile. You'll see a sign: Horseshoe Tavern. You have one hour.", "(CATHERINE hangs up and puts the cell phone back down on the counter.)", "Roy Logan: What'd he say?", "(CATHERINE reaches into her pocket and pulls out some bills. She tosses the money on the counter.)", "Catherine: Let's go.", "(ROY LOGAN takes his metal briefcase and stands up. CATHERINE also gets up to follow. She's holding the glass of ice with the finger in it.)", "(As she passes SARA'S table, she casually and deliberately puts the glass in front of SARA.)", "Hank Peddigrew: Is that a finger?", "(SARA picks up the glass and looks at it. She then looks up at the door.", "(Cut to SARA exiting out the Diner (#25861). She sees ROY LOGAN get into the passenger side of the car, the car door close and drive off. SARA looks down at the glass in her hand.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. ROY LOGAN'S CAR -- NIGHT]", "Catherine: Open the briefcase. I've got an idea.", "(ROY LOGAN opens the briefcase and CATHERINE reaches inside. She takes out a glo-paint marker.)", "Catherine: I use this to paint my daughter's face. She was playing the moon tonight in the school play. I missed it. Mark the edges of the money.", "(CATHERINE hands the glo-paint marking tool to ROY LOGAN. He doesn't say anything. He starts to mark the money.)", "Catherine: Do you got any kids?", "Roy Logan: Yeah, I've got a son. He's a soccer freak. His life's ambition is to be Roberto Baggio.", "(Up ahead, ROY LOGAN sees a cop car parked on the side of the road.)", "Roy Logan: Hey, there's a cop. There's cop. Slow down. Come on. We don't want to be pulled over. If we're seen with a cop, Amanda's dead.", "(Cut to the officer inside the car as he notices the car passing him by. Nothing out of the ordinary. The car continues down the road.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "Nick: (o.s.) Catherine didn't say anything?", "Sara: She barely made eye contact. She dropped the finger on the table and walked out.", "Grissom: Where is it?", "Sara: Locked up at the coroner's lab, waiting for Dr. Robbins. Unless you want me to wake him up in Kansas City. Brother's wedding, back tomorrow ...", "Grissom: It was the right index finger?", "Sara: Top half severed just below the right inter-costal joint.", "Grissom: Any hemorrhagic tissue?", "Sara: Yeah, I couldn't tell. There was blood, though.", "Grissom: How did Catherine seem?", "Sara: Like I told Nick, she completely ignored me.", "Grissom: And her behavior toward Logan? Was she under duress? Agitated?", "Sara: No ... no, looked to me like Catherine was running the show.", "Grissom: A severed finger, a million bucks. And Catherine's not allowed to talk to anyone.", "Nick: Kidnapping?", "Warrick: So, who's worth one mil?", "Grissom: It's time to speak to his wife.", "Nick: I'll call Brass.", "(NICK pulls out his cell phone.)", "Sara: (wondering) It's a bit of a coincidence, though, don't you think? Catherine just showing up at the diner. It's not like she knew I was going to be there.", "Nick: I knew.", "(NICK puts the cell phone to his ear and walks away. WARRICK looks at SARA who in turn gives him a stern look and whacks him on his shoulder as she leaves.)", "[SCENE_BREAK]", "[INT. ROY LOGAN'S CAR - NIGHT -- CONTINUOUS]", "(The car drives up to the US 93 intersection. To the left, Yucca Ravine, to the right, Carson City.)", "Roy Logan: That's it-- yucca.", "Catherine: One more mile.", "(CATHERINE clears the odometer from the current reading 9762 and sets it back to zero. She turns right and continues down the highway.)", "(Cut to a close up of the odometer at 0.9. Just as soon as CATHERINE sees the horseshoe marker, she hits the breaks sending the car into a screeching halt. ROY LOGAN looks at CATHERINE in surprise.)", "Roy Logan: Are you crazy?", "Catherine: Sorry, it's been a while since I've driven a sports car.", "(CATHERINE reaches over and takes the marking tool back from ROY LOGAN.)", "Catherine: Thanks.", "[EXT. HORSESHOE TAVERN - NIGHT - CONTINUOUS]", "(They get out of the car. CATHERINE casually turns and looks at the skid marks she left behind. CATHERINE shuts her car door. They both start walking toward the meet site. CATHERINE reaches into her pocket and takes out a pair of gloves. As she walks, she drags her feet making large impressions in the direction she's walking.)", "(She glances back at her impressions and continues.)", "(They soon reach a wire fence with a \"No Trespassing\" sign on it blocking the road. They pass the gate. Over on the hill, another car with its lights on is parked. A figure wearing a rabbit outfit emerges from the car. The figure pauses by the car door and inhales something from a tube. The figure turns and makes its way over the hill wearing the rabbit mask, a trench coat and carrying a rifle at its side.)", "Voice: (altered) The briefcase.", "(ROY LOGAN takes a step forward. CATHERINE stops him.)", "Catherine: First we need to see Amanda.", "Voice: (altered) Hand over the money get back in the car, and drive to a pay phone. The gas-and-go station Highway 582, South of Henderson. I will call you. I will tell you where she is.", "Catherine: No. We need something more than just your word.", "Voice: (altered) Then she's dead.", "(The figure turns to walk away. ROY LOGAN rushes forward.)", "Roy Logan: No, wait!", "(ROY LOGAN reaches the figure and hands over the briefcase. CATHERINE sighs. He backs up and returns to CATHERINE.)", "Roy Logan: The gas-and-go station, Highway 582, South of Henderson.", "(CATHERINE shakes her head. ROY LOGAN hurries past CATHERINE and heads back to the car. Up on the hill, the rabbit-figure turns and walks back to the car.)", "[SCENE_BREAK]", "[EXT. MRS. LOGAN'S HOUSE - DRIVEWAY - DAY]", "(MRS. DIANE LOGAN exits the house. She walks to the car in the driveway. BRASS and NICK walk up the driveway.)", "Brass: Mrs. Logan?", "Diane Logan: Yes? Uh, one minute, please. (to her son) Oh, come on, honey, last time you got food all over the place, your father spent a fortune detailing the car.", "(DIANE LOGAN shuts the car door.)", "Brass: Mrs. Logan, I'm Jim Brass, Las Vegas PD. This is Nick Stokes, crime lab.", "Nick: Hi.", "Brass: Have you heard from your husband?", "Diane Logan: No.", "Brass: When he didn't come home last night did you find that unusual? Or maybe you're used to it.", "(NICK peers into the car where he sees the little boy eating his sandwich. The little boy looks up at NICK.)", "Diane Logan: Look, our lawyer has advised me not to speak to the police.", "(DIANE LOGAN shuts the back door closed.)", "Diane Logan: And until I hear from Roy, that's exactly what I'm going to do.", "Nick: How about if we just have a look around?", "Diane Logan: I don't think so.", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT (STOCK) -- DAY]", "[SCENE_BREAK]", "[EXT. GAS 'N GO STATION - DAY]", "(The old gas station is closed and abandoned. ROY LOGAN and CATHERINE park their car outside and squeeze through the fence to gain entrance to the gas station.)", "(They look inside the windows.)", "Roy Logan: I don't see a phone.", "(They search around the area.)", "Roy Logan: Where's the phone?", "(Out behind the gas station is an old telephone booth. ROY LOGAN spots it and runs to it. He lifts the phone and notices that it's severed from the box.)", "Roy Logan: (frustrated) Dammit. They set us up. She's dead. I knew it!", "Catherine: (reasons) He had a shot gun. If all he wanted was the money, we'd both be dead.", "(ROY LOGAN steps out of the telephone booth. CATHERINE steps inside and looks around. She notices something stuck in the yellow pages. It's a map of the location where AMANDA FREEMAN can be found. From the I-93 through the Texas Acres, through the Easelwood Hwy, toward the Easelwood Reservoir.)", "Catherine: Give me the phone.", "Roy Logan: (resists) No, no, no-- no, no! He said no phone calls. They may be watch ...", "Catherine: We're past that. Give me the phone!", "Roy Logan: Listen, please. What if it was someone you loved? What if it was your daughter?!", "(CATHERINE doesn't say anything.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GREG is going over the blood test results with GRISSOM and NICK.)", "Greg: The blood from the finger was diluted due to the ice. But I made a positive match.", "Grissom: To the blood on Logan's hands.", "Greg: So it was kind of like Getty's ear? They cut it off, sent it to the house?", "Nick: Wife was way too cool to have seen a severed finger. I don't think so.", "Grissom: He's a real estate developer. Does he own any other properties?", "(NICK looks down at the papers in his hand.)", "Nick: Townhouse off Flamingo. Under the company name, not rented.", "Grissom: But occupied?", "Nick: I'll get a warrant. See if anybody's missing a finger over there.", "(NICK leaves the room. He bumps into WARRICK who is just stepping inside.)", "Nick: (to WARRICK) Hey.", "Warrick: (to NICK) Hey. (to GRISSOM) State troopers just spotted Logan's car on the 582. Drove past him earlier this morning. Five minutes later, drove past him again other direction.", "Grissom: Grab Sara. We're gone.", "[SCENE_BREAK]", "[EXT. HORSESHOE TAVERN - DAY]", "(GRISSOM'S Tahoe comes to a stop. Behind him is an accompanying officer car. GRISSOM, WARRICK and SARA exit the car. They immediately notice the tire treadmarks on the road.)", "(A camera flashes. SARA is kneeling next to the tire treadmarks and is snapping pictures.)", "(Quick CGI POV to the oil discharge in the treadmarks. End of CGI POV. Resume to SARA.)", "Sara: Thank you, Catherine.", "(SARA stands and heads further inside to where WARRICK is past the wire gate.)", "(SARA stops midway and looks down. She takes a picture and picks up the glo-marker tool from the ground. SARA stands and continues on her way toward WARRICK. WARRICK also snaps photos of the footprints in the ground.)", "Sara: She was burning some serious rubber. Definitely high-end tires -- there's colored flecks on the treads and they're fresh.", "(Up on the hill, GRISSOM examines the ground where the other car was. He looks down and finds a small discarded tube. He picks it up.)", "(Cut back to SARA.)", "Sara: It's got to be the Lexus. Does this mean anything to you?", "(SARA shows the glo-marker to WARRICK.)", "(Cut to GRISSOM examining the metal tube he found.)", "(Cut back to WARRICK.)", "Warrick: Looks like some kind of glow paint stick. I think Catherine dragged her heels a little bit here.", "Sara: Yeah.", "(GRISSOM starts to walk back to WARRICK and SARA.)", "Grissom: Helium canister.", "Warrick: You mean like helium for balloons? You can also use it to change the pitch in your voice.", "Grissom: The Lexus stopped there.", "(GRISSOM points behind them.)", "Grissom: Catherine walked up to here.", "(GRISSOM points to where WARRICK and SARA are standing. He turns around to look behind him.)", "[CLOSED CAPTIONED: GRISSOM: So the second set of fresh tire treads on the access road ... ]", "Grissom: Could be the kidnapper's.", "Sara: Looks like the drop-off went down.", "Warrick: Then why hasn't Catherine contacted us yet?", "(GRISSOM shakes his head slightly and doesn't respond.)", "[SCENE_BREAK]", "[INT. AMANDA FREEMAN'S RESIDENCE -- DAY]", "(NICK walks up to the front door. He knocks on it and pushes it open.)", "Nick: Criminalistics. Anybody home?", "(NICK enters the house. He puts his kit down near the door. He moves in further and pulls out a pair of gloves.)", "Nick: Okay ... talk to me.", "(NICK jumps as a loud squawk comes from behind him. He turns around and sees a white cockatoo in a cage. The bird squawks softly at NICK. NICK looks around and sees the answering machine on the counter.)", "(NICK checks the messages.)", "Roy Logan: (answering machine) Amanda, hi, it's Roy. Where are you? Call me on the cell.", "(NICK sees the purse on the table and picks up the wallet. He opens it. It's AMANDA FREEMAN'S Nevada Driver's License. In the background the answering machine beeps and the next message comes on.)", "Roy Logan: (answering machine) Amanda, I thought you'd be home all day. I wanted to swing by. Call me.", "(NICK sees two wine glasses on the table next to an open bottle of wine.)", "(Quick camera close up to the lipstick stains on both glasses.)", "Mark: (answering machine) Amanda, it's Mark. At the gym. You missed your session. Call to reschedule.", "(The answering machine hits a dial tone. NICK is once again startled by the cockatoo's squawk behind him. He turns around.)", "Nick: Too bad you can't talk. Maybe you could tell me where she is.", "(NICK walks over to the bird cage. He smiles at the bird then notices something else ... blood on the front of the bird's feathers.)", "(Camera holds on NICK.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT - DAY]", "[SCENE_BREAK]", "[EXT. EASELWOOD RESERVOIR -- DAY]", "(ROY LOGAN'S Lexus pulls up to the old abandoned Reservoir.)", "(Cut to CATHERINE and ROY LOGAN walking through the area searching for AMANDA FREEMAN.)", "Catherine: Well... according to the map she should be somewhere around here.", "Roy Logan: (yells) Amanda! Amanda!", "(CATHERINE looks around and sees the grill.)", "Catherine: Why don't you give me a hand?", "(They open the grill. They look inside and on the bottom, floating in some water, is AMANDA FREEMAN. She appears to be dead.)", "(ROY LOGAN gets up and staggers around, distraught.)", "Roy Logan: Oh, god ... oh, god ...", "(CATHERINE isn't happy with the discovery.)", "(Cut to a view of the body floating in the water.)", "(ROY LOGAN sits down some distance away. He puts his head in his hands. CATHERINE gets up, walks over to him and puts her arm around his shoulders.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "Robbins: The finger was severed postmortem. No hemorrhagic tissue at the point of injury. And they used a serrated blade. Jagged teeth patterns on the bone. Not much else I can tell you. It's just a finger.", "(GRISSOM'S cell phone rings.)", "Grissom: (to phone) Grissom. (pause) Thank god.", "INTERCUT WITH:", "Catherine: There was a kidnapping.", "Grissom: I know -- Amanda Freeman. She's dead ... and whoever touched the money probably has glow-in-the-dark paint on their hands.", "Catherine: You got my clues?", "Grissom: Yeah, nicely done. I know just about everything except ... where are you?", "[SCENE_BREAK]", "[INT. CSI - HALLWAY TO BREAK ROOM]", "(CATHERINE and WARRICK walk through the hallway to the break room.)", "Warrick: She ate, but she didn't fall asleep till way late. We had her helping Greggo out in the lab.", "Catherine: I bet she loved that.", "Warrick: Yeah.", "(They reach the break room. Through the glass window, CATHERINE sees LINDSEY asleep on the couch. CATHERINE turns to WARRICK.)", "Catherine: I owe you. Thank you.", "(CATHERINE gives WARRICK a kiss on the cheek, then opens the door and slips inside the room. WARRICK leaves. CATHERINE sits next to her daughter and watches her sleep. She reaches out and touches her daughter's forehead. LINDSEY doesn't wake up.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Just outside the doorway to the autopsy room, CATHERINE and GRISSOM are about to enter.)", "Grissom: So, you couldn't see what he looked like?", "Catherine: You're assuming it was a \"he.\" Rabbit mask. Full-beam headlights. Truman Capote voice. Who can tell gender?", "(They enter the autopsy room and walk up to the table.)", "Robbins: Amanda Freeman.", "(ROBBINS matches the finger to her right hand. It appears to be a match.)", "Robbins: My guess is, she's been in the water about 24 hours.", "(ROBBINS turns and lifts the blanket covering the feet. It's big and wrinkled.)", "Robbins: Washerwoman effect. But no saponification.", "(ROBBINS opens the deceased's mouth and lifts up her tongue. GRISSOM leans in to get a better look. The camera moves in to show a bunch of puffy rice-shaped eggs under her tongue.)", "Grissom: Blowfly eggs?", "Robbins: Mm-hmm.", "Grissom: Unhatched ova. They're waterlogged.", "Robbins: I found some in her nose and trachea, too. The decomposing body would need time to attract the bugs before submersion. Well, she's been dead 48 hours 24 hours above water, 24 hours under.", "Catherine: Bloody nose, ecchymosis. She took a beating. Cause of death?", "Robbins: Blunt-force trauma. Back of the head.", "(ROBBINS puts his hand to the back of the deceased's head.)", "(Quick CGI POV camera moves from the back of her head, through the hair and to the bloodied scalp. A pair of tweezers pick up something small stuck in the scalp.)", "Robbins: Look at this.", "(ROBBINS holds it up.)", "Grissom: What is it?", "Robbins: You'll have to get it under the microscope. My guess is some form of stone. Granite maybe.", "Catherine: I'm going to head over to the townhouse check out those blood spots with Nick.", "(CATHERINE leaves the autopsy room.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY JUST OUTSIDE AUTOPSY ROOM -- CONTINUOUS]", "(CATHERINE steps out of the autopsy room carrying her jacket. ROY LOGAN is leaning against the wall waiting for her. He straightens when she walks out.)", "Catherine: Mr. Logan?", "Roy Logan: I need to see her. Please.", "(CATHERINE shakes her head.)", "Catherine: I wouldn't advise that.", "Roy Logan: Look, she ... was my life. I loved her. Please?", "[SCENE_BREAK]", "[INT. CSI -- FORENSIC AUTOPSY]", "(ROY LOGAN enter the autopsy room. GRISSOM and ROBBINS look up from the body. GRISSOM looks concerned at the interruption. ROY LOGAN walks up to the side of the table.)", "Roy Logan: Ooh ... ooh ... it's my fault. If I'd only ... gotten to her sooner. If I'd only paid them sooner ...", "Grissom: It wouldn't have made any difference. She was killed long before you could have helped her.", "Roy Logan: When? Where?", "Catherine: You've got to give us time. Why don't you go home, get some sleep?", "Roy Logan: (to CATHERINE) I-I don't think I can face my wife right now.", "(CATHERINE escorts ROY LOGAN out of the room.)", "Catherine: This town is full of hotels.", "Roy Logan: All right. You can find me at the Tangiers.", "[SCENE_BREAK]", "[INT. AMANDA FREEMAN'S RESIDENCE -- DAY]", "(NICK is in the living room spraying the rug looking for blood evidence. The rug glows. NICK also notices the crack on the table in the area where the blood is.)", "Catherine: Marble.", "Nick: Good to see you again. Yeah, somebody hit the table. There's obvious signs of a struggle.", "Catherine: Kidnapper probably broke in. She made a run for it. Got hit in the face. Went down.", "(Quick flashback to someone hitting AMANDA FREEMAN in the face. She falls to the floor and hits to table on her way down.)", "Nick: Blood pool here. Spatter all the way to the bird. Birds have blood feathers and flight feathers. Flight feathers don't bleed. No capillaries, just cartilage.", "Catherine: And you know this from ... ?", "Nick: Discovery channel.", "Catherine: So, how did the killer get the body out of the house?", "Nick: There's no blood trail from here to the door, so my guess is he wrapped her in something.", "Catherine: Bedsheets?", "Nick: Checked. Bed's still made. Linen closet's full. Not to mention, a wet sheet leaks.", "Catherine: Plastic, maybe. If she was murdered here her finger was severed here where are the knives?", "(NICK picks up one of the wine glasses. CATHERINE checks the kitchen drawers. Nothing. CATHERINE opens the dishwasher and finds all the knives in them washed clean.)", "Catherine: Clever. Kidnapper washed all the knives.", "Nick: Why wash the knives and leave the wine glasses?", "Catherine: Get those glasses to Greg.", "(CATHERINE looks around the apartment. She looks at the photos on the refrigerator. One of them shows AMANDA FREEMAN posing for the cameraman in the shower.)", "CUT TO BATHROOM:", "(NICK pushes the shower curtain aside. Camera focuses on the top of the shower hook where a piece of the liner is still attached to the hook. NICK picks off the piece.)", "Nick: Yeah, looks like someone ripped the liner out.", "Catherine: He wrapped her in it.", "Nick: Must've gotten dumped when she did.", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. STORM DRAINS -- DAY]", "(WARRICK turns the corner. SARA'S behind him.)", "Warrick: Watch your step.", "Sara: Thank you.", "(They find the shower liner caught in the storm gate. WARRICK picks it up.)", "Warrick: All right.", "(SARA nods.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(BRASS and GRISSOM walk through the hallway.)", "Brass: Ran Amanda Freeman's phone records. Creature of habit. Mother, gym, Logan, pizza. But the last call made from that house was to a cell phone we traced to Mrs. Logan.", "(They meet up with CATHERINE who stops them.)", "Catherine: Greg got saliva off the wine glasses. Ran the DNA. One was Amanda, and the other a woman.", "Grissom: Mrs. Logan, maybe. They would have had a lot to talk about.", "Catherine: Or fight about.", "[SCENE_BREAK]", "[INT CSI - LAYOUT LAB]", "(SARA and WARRICK examine the shower curtain liner they found.)", "(SARA finds something.)", "Sara: Looks like a small tear.", "(Camera close up of the tear.)", "Warrick: Looks more like a slice. Could've happened when he cut through her finger.", "(Quick CGI POV of a finger being sliced off and blood. End of CGI POV. Resume to present.)", "(SARA looks at WARRICK.)", "(WARRICK moves to another spot on the curtain.)", "Warrick: Does this look like blood to you?", "Sara: If the body was wrapped with this side that's on the outside.", "(SARA flips the portion of the sheet over. They put on their protective eyewear and turn on the ALS. It doesn't glow.)", "Sara: It's not blood.", "Warrick: Yeah.", "(SARA takes a sample of it.)", "Sara: This is a grease stain. It's got an oily residue.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(The Agilent Technologies (tm) machine picks up the vial and starts processing its contents. The machine prints out the results. GREG looks at it.)", "Greg: Did you guys clean the table before putting the curtain on it?", "Sara: Yeah.", "Greg: 'Cause I think your evidence got contaminated.", "Warrick: With what?", "Greg: Oleic acid. Goes well with jelly.", "Sara: Peanut butter.", "Warrick: Great.", "(WARRICK looks up and sees NICK walking by.)", "Warrick: Hey, Nick?", "Nick: Yeah?", "Warrick: Have you been eating peanut butter in the layout room?", "Nick: No, man, I hate the stuff.", "Warrick: Well, we found it on the back of that shower curtain.", "(Quick flashback to ROY LOGAN'S son eating his sandwich in the car. End of flashback. Resume to present.)", "Nick: Mrs. Logan scolded her son for eating in the car. Peanut butter and jelly. Said her husband just had the car detailed.", "[SCENE_BREAK]", "[INT. CSI -- GARAGE]", "(SARA, WARRICK and NICK are examining the LOGANS' car.)", "Warrick: I need to take my car to this detailer. Not bad.", "Nick: Come on.", "(Quick CGI POV to the car carpet being detailed. End of CGI POV. Resume to present.)", "Nick: (V.O.) You know that treating the surface with a carpet cleaner only pushes the dirt further down?", "(They find the stain.)", "Nick: Warrick, you got those box cutters?", "(NICK cuts out the carpet with the stain in it. He holds it.)", "Nick: Did I mention how much I hate peanut butter?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]", "Catherine: Mrs. Logan, do you know Amanda Freeman? Because she called you on your cell phone the day she was murdered.", "Paul: Could have been a wrong number.", "Grissom: Then, uh, what did you talk about for three minutes and fifty-five seconds?", "Catherine: We could compel a DNA sample which would confirm that you had a glass of wine with her that night.", "Paul: Is it your intention to charge my client with Miss Freeman's kidnapping?", "Grissom: I think you went to your husband's townhouse -- a townhouse you probably didn't know he had - and a civilized drink turned into a violent brawl.", "(Quick flashback to the two women fighting. AMANDA FREEMAN gets hit and falls down. She hits her head on the table before hitting the floor. End of flashback. Resume to present.)", "Catherine: You tore down the shower curtain wrapped the body in it.", "(Quick flashback to AMANDA FREEMAN'S body on the shower curtain and DIANE LOGAN wrapping her up in it. End of flashback. Resume to present.)", "Grissom: Cut off her finger, stuck it in a mint tin and left it for your husband.", "Catherine: You transported the body to the reservoir in the back of your SUV where some of your son's PB and J made it onto the shower curtain.", "Diane Logan: Are you finished?", "Paul: Diane?", "Diane Logan: I had my drink with Miss Freeman. I listened to her rantings about how she and Roy were getting married.", "Paul: That's enough, Diane.", "Diane Logan: And I set her straight. Roy was not going to leave me for her. He loved his money more than both of us. I told her I was going to evict her from that tacky little townhouse and then Roy came in. You should have seen the look on his face.", "(Quick flashback to DIANE LOGAN turning around to find ROY LOGAN in the doorway. End of flashback. Resume to present.)", "Diane Logan: And I-I left them there to work it out.", "Paul: Okay ... if you don't have anything else?", "Catherine: One more thing. Mrs. Logan, can you hold your hands out palms up? Jim, can you hit the lights?", "(BRASS turns off the room lights.)", "Paul: We don't have time for these games. Okay, you satisfied?", "(PAUL reaches up to pull DIANE LOGAN'S hands away from the table when GRISSOM immediately spots it.)", "Grissom: Whoa!", "(GRISSOM reaches over and pulls PAUL'S hand over the light where we see the glo-stick marker all over the palms of his hands.)", "Paul: Look, I can explain.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - DAY]", "(The rabbit mask hits the table. PAUL nervously takes off his glasses.)", "Paul: Look, I put on a mask I made some phone calls I took the money but I did not break any laws.", "Catherine: You killed Amanda Freeman.", "Paul: Oh, no. I didn't kill anybody. I didn't even know she was dead. I'm a lawyer. I work for my client. I did what he asked me to do.", "Catherine: Your client?", "Paul: Roy Logan.", "Catherine: What are you saying? That Mr. Logan paid you to dress up as a bunny rabbit?", "Paul: That was my idea.", "Grissom: So, Roy Logan set this whole thing up?", "Paul: Yes. It started with a phone call. I just did what my client asked. I just played a part.", "(Quick flashback to PAUL in his car putting on the rabbit mask and holding a presumably fake rifle. Flash to white. ROY LOGAN handing the metal briefcase to PAUL. End of flashback. Resume to present.)", "Catherine: So, basically, this was a stage play written by Mr. Logan.", "Paul: That's right. Now you got it.", "Grissom: During this elaborate farce you never thought to ask him why he was making you jump through these hoops?", "Paul: I don't get paid to ask. I get paid to do.", "Brass: What about the money? A million dollars cash?", "Paul: Well, Roy was having marital problems so I figured he was just hiding his assets.", "Brass: Where's the money now?", "Paul: In a locker.", "(PAUL puts the locker key on the table.)", "Paul: At his Country Club.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY]", "Brass: Where did Logan say he was staying?", "Grissom: The Tangiers.", "Catherine: I'll drive.", "Grissom: I'll follow the money.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - TANGIERS - DAY]", "[SCENE_BREAK]", "[INT. TANGIERS - HOTEL ROOM #1003- DAY]", "(CATHERINE knocks on the door.)", "Catherine: Mr. Logan? Open the door. Please.", "(The manager with the key unlocks the door. BRASS opens the door. No one's there. The room doesn't look like it's been used. CATHERINE checks the bathroom. Everything's bare.)", "Brass: I'll call down, see if his car's in the parking lot.", "Catherine: Fat chance. Son of a bitch. He had me completely fooled.", "Catherine: I bet that locker's empty, too.", "[SCENE_BREAK]", "[INT. LOCKER AT COUNTRY CLUB -- DAY]", "(GRISSOM opens the locker door. The camera is inside the locker facing GRISSOM. We see his unsurprised reaction at finding the locker empty. He shuts the door.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "Grissom: Okay, let's run this. Amanda was tired of being number two, so she calls up Mrs. Logan to discuss her affair with her husband.", "(Quick flashback to AMANDA FREEMAN and DIANE LOGAN drinking wine from the wine glasses. End of flashback. Resume to present.)", "Grissom: But Mrs. Logan doesn't just discuss it she throws down the gauntlet.", "(Quick flashback.)", "Diane Logan: He's not going to leave me for you.", "Amanda Freeman: He already has.", "Diane Logan: No, he ...", "(AMANDA FREEMAN looks up past DIANE LOGAN. DIANE LOGAN turns around and sees ROY LOGAN standing in the doorway. End of flashback. Resume to present.)", "Catherine: Amanda broke the only rule. Don't call the missus.", "(Quick flashback to ROY LOGAN fighting with AMANDA FREEMAN and knocking her down. AMANDA FREEMAN hits the table before hitting the floor. End of flashback. Resume to present.)", "Nick: Now he really has a problem.", "Warrick: Two problems. His wife is going to leave him, take half his money and he was going to jail.", "Sara: You got to admit, his solution was ingenious.", "(Quick flashback to AMANDA FREEMAN on the ground, dead. ROY LOGAN sitting on the couch thinking about his next move.", "Grissom: (V.O.) Most killers take their time planning a murder. He took his time covering it up.", "(ROY LOGAN looks at his watch and starts planning.)", "Grissom: (V.O.) Forty-eight hours to be precise.", "(ROY LOGAN taking down the shower curtain liner. ROY LOGAN kneeling down and cutting AMANDA FREEMAN'S finger off. Flash to white. End of flashback. Resume to present.)", "Grissom: So Logan cleans up the crime scene and calls his lawyer. Asks him to help him with his little charade. I mean, what better way to protect your assets than to pay a kidnapper who's already on retainer?", "Catherine: Everything from that point on was calculated.", "(Quick flashback to ROY LOGAN making sure that there's blood on his hands. Flash to white.)", "Catherine: (V.O.) Blood on his hands ...", "(Cut to ROY LOGAN looking at the security camera in the bank. Flash to white.)", "Catherine: (V.O.) ... he's the last customer of the day at the bank Acting suspiciously ...", "(Cut to ROY LOGAN trying to get away from the police officer while leaving the bank parking lot. Flash to white.)", "Catherine: (V.O.) ... driving recklessly.", "(End of flashback. Resume to present.", "Warrick: He knew he'd get hauled in to the cops.", "(Quick flashback to ROY LOGAN picking up his cell phone off of the table and deliberately leaving his sunglasses behind. Flash to white. Resume to present.)", "Catherine: You bet your ass. He didn't leave those sunglasses behind by accident. His cell phone rang on cue. The call's for me.", "(Quick flashback to CATHERINE on the cell phone with the kidnapper. Resume to present.)", "Catherine: He practically forced that money into his lawyer's hands.", "Grissom: Out of one pocket into the other.", "(Quick flashback to ROY LOGAN chasing after the kidnapper and handing the briefcase to him at Horseshoe Tavern. Resume to present.)", "Grissom: I especially liked the little show he did for us in the coroner's lab. Trying to find out how much we knew.", "(Quick flashback to ROY LOGAN asking ... )", "Roy Logan: When? Where?", "(End of flashback. Resume to present.)", "Nick: Why make the map? Why lead Catherine to the body?", "Grissom: Because without the body, Logan would always be under suspicion.", "Sara: If not by the police, by his wife.", "Warrick: So, he left these wine glasses for you to find.", "Catherine: Sure, we wanted us to suspect the wife. That's why he used her SUV", "(Quick flashback to AMANDA FREEMAN'S body wrapped in the shower curtain being dragged into the SUV'S back seat.)", "Catherine: (V.O.) to transport the body.", "(End of flashback. Resume to present.)", "Catherine: And he let me mark the money because he knew that eventually his lawyer would touch it.", "Sara: Why though? The money was in a suitcase.", "Warrick: A million dollars. Pretty tempting.", "Grissom: I saw the locker", "(Quick flashback to inside the locker at the Country Club and to someone trying to fit the large metal briefcase into it. PAUL taking the money out of the briefcase and stacking it inside the locker. His hands are all over the money.)", "Grissom: (V.O.) ... and I saw Logan's briefcase. It was too big to fit inside. His lawyer had to remove the cash by hand.", "(End of flashback. Resume to present.)", "Sara: How could he possibly know that Catherine was going to mark the money?", "Warrick: He didn't. He probably thought the bank marked it.", "Nick: Besides, there's always fingerprints.", "Catherine: So I did everything in my power to help him.", "Nick: Yeah, and he's probably long gone by now.", "(CATHERINE'S cell phone starts ringing. She answers it.)", "Catherine: Willows. (pause) Yeah.", "INTERCUT WITH:", "Officer: That's a beautiful car, that SC-430. Don't get to see a nice car like that in these parts too often. So when I see one twice in two days, I notice. Especially when the driver's exceeding the speed limit.", "(The officer looks at ROY LOGAN who's sitting in the back seat of his police car.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HOLDING CELL -- DAY]", "(The doors open. CATHERINE walks in. She walks up to the bars of the holding cell with ROY LOGAN in it.", "Catherine: Bravo.", "(ROY LOGAN looks at CATHERINE and walks up to the bars.)", "Roy Logan: You know, with all that money on my lap we could've driven to Mexico.", "Catherine: That's right. You're short one mistress. I got to hand it to you that was a brilliant performance. But then again, any man who juggles a wife and mistress and god knows what else has to be a pro.", "Roy Logan: I don't know. You get so used to lying you figure, what's one more?", "Catherine: Try explaining that to your son.", "(CATHERINE leaves.)" ]

[ "When Terry Rivers barrels into the opposing team's goalie, a fight breaks out and Terry ends up at the bottom of a huge pile of bodies. After the players are separated, he is found dead...with a deep, bloody gash across his neck. Grissom, Catherine and Sara are called in to investigate. Across town, Warrick and Nick look into the apparent drug-related death of a sax player at a casino. While working on the case, Warrick finds himself drawn to a rising young singer who worked with the dead musician." ]

[ "[EXT. LAS VEGAS CITY (VARIOUS STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOCKEY GAME - NIGHT]", "(A hockey game is being played on the ice. A player gets smashed against the safety glass smearing blood on it. The crowd surges to its feet.)", "Terry: What are you waiting for? Call it!", "(The REFEREE blows the whistle. The game is on hold as the player makes his way to the bench. The DOCTOR pushes his way to get to the player. He puts his bag down.)", "Doctor: Come on, come on. Coming through.", "(The player steps off the ice.)", "Doctor: Sit down and let me have a look. Okay, you're out. DOCTOR: Myles will move in from the second line.", "Terry Rivers: Forget about Myles, I'm going back in. Stitch me.", "Doctor: Terry, will you relax? It's a weekend league, it's not the NHL.", "Terry Rivers: It is to me.", "Doctor: You're not 100%.", "Terry Rivers: What are you, a doctor or a coach? Do me a favor, stitch.", "(The game commences on the ice. The doctors stitches up the cut under TERRY'S left eye.", "Terry Rivers: Come on.", "(The DOCTOR hands TERRY some pills and he swallows them. TERRY goes back out on the ice. The game continues.)", "(TERRY gets control of the puck. He takes it to the goal. He hits the puck toward the goal, but doesn't stop. He slams into the Goalee and flies feet over head. He lands in front of the goal. The other players tackle him and pile up on him. It's a big mess in front of the goal.)", "(The REFEREE blows the whistle stopping the game as the players get on their feet.)", "(On the bottom of the stack, TERRY lies there unmoving. His eyes are open.)", "Referee: Hey Jack, get over here. He's hurt bad.", "(The woman player takes off her helmet. The other player looks down at TERRY, not liking how he looks just lying there on the ice.)", "Player: (worried) Get the doc.", "(Camera holds on TERRY RIVERS.)", "[SCENE_BREAK]", "[INT. HOCKEY RINK]", "(GRISSOM and CATHERINE walk out onto the ice. BRASS is already there in the center. GRISSOM looks around.)", "Grissom: Where's the body?", "Brass: On the bench -- he was moved there after he collapsed in front of the net. Apparently, uh the guy was responsive enough to be helped off the ice. He died a few minutes later.", "(BRASS, GRISSOM and CATHERINE cautiously walk toward the bench. BRASS removes the blanket covering the body on the bench. GRISSOM leans in to look at it.)", "Grissom: (pointing) This looks fresh.", "Brass: Well, according to the on-site doctor, he took on across the cheek earlier in the second period.", "(CATHERINE points to the large gash in the side of the neck.)", "Catherine: Well, I guess is must be from the third period. Looks like that other team worked him over pretty good.", "Brass: Hockey, rough game.", "Grissom: Yeah, it's murder.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. HOCKEY RINK - STANDS -- NIGHT]", "(GRISSOM and SARA sit side-by-side in the stands.)", "Grissom: Two minutes for elbowing. Four minutes for high sticking. Ten minutes, unsportsman-like conduct.", "Sara: Boys will be boys.", "Grissom: Yeah, sounds like these boys went to a fight and a hockey game broke out.", "Sara: You just don't like sports.", "Grissom: That's not true-- I've been a baseball fan my whole life.", "Sara: Baseball. Well, that figures. All those stats.", "Grissom: It's a beautiful game.", "Sara: Since when are you interested in beauty?", "Grissom: (without looking up) Since I met you.", "(Startled, SARA turns to look at GRISSOM.)", "Grissom: So, we'll start at the opposite goal work our way across the blue line to center ice.", "Sara: Sure.", "(GRISSOM stands up and leaves.)", "[SCENE_BREAK]", "[INT. ICE RINK -- CONTINUOUS]", "(GRISSOM and SARA start to methodically walk the ice looking for evidence. They start at the far end of the ice.)", "(Dissolve to: SARA and GRISSOM are at the middle of the ice ring.)", "(Dissolve to: GRISSOM is up front. His kit is open and he puts his gloves on. SARA is in the middle of the rink and busy taking pictures.)", "(Dissolve to: SARA is up front to the right of the rink. She's taking pictures of something on the ice. GRISSOM is in the middle to the left on his hands and knees looking at something.)", "(Camera close up of a sliver of something off-white being picked up and put into a bindle.)", "(Dissolve to: GRISSOM and SARA both on their feet and walking in opposite directions up and down the ice.)", "(Dissolve to: GRISSOM on his hands and knees in the front left of the ice. SARA is on her feet in the middle right of the ice.)", "(Dissolve to: SARA walks backward down the center of the ice. GRISSOM is way back on the left standing still.)", "(Cut to: GRISSOM takes a swab sample of the blood on the safety glass. He caps the swab, turns and looks over at SARA. He walks over to her and kneels down looking at something on the ice. SARA puts something in a bindle.)", "(GRISSOM takes a sample of the blood on the ice.)", "Sara: It's not much to go on. Maybe we should be looking off the ice.", "(And with that, an engine starts. SARA and GRISSOM turn their heads and see the zamboni machine enter the ice.)", "[SCENE_BREAK]", "[INT. LOCKER ROOM]", "(CATHERINE talks with the", "Catherine: So, why did you move the body?", "Doc: You ever tried treating someone on the ice wearing just street shoes?", "Catherine: Then Mr. Rivers was still breathing?", "Doc: When I brought him back to the bench, yes. Then I performed CPR, and he didn't respond.", "Catherine: Did you also do the stitch work?", "Doc: I'm the on-site doctor for this facility. The stitches held, and I advised Terry not to go back on the ice.", "Catherine: So, if he'd listened, he'd still be alive.", "(The DOCTOR sighs. CATHERINE turns around and looks at all the players in their towels.)", "Catherine: What do these guys play for? A little money? Imitation Stanley Cup?", "Tommy Sconzo: (quietly) We play for the pride of it.", "(CATHERINE turns around to talk with the player dressing.)", "Catherine: And the joy of kicking ass. You are...?", "Tommy Sconzo: Tommy Sconzo.", "(TOMMY turns around.)", "Tommy Sconzo: Right wing, first line. Hitting's part of the game. Take away the physical aspect you've got figure skating. Guys out there doing triple lutzes.", "Catherine: Is that how you lost the, uh...? The sit spin?", "Tommy Sconzo: Second period, number nine. The guy's a real McCracken.", "Catherine: Which means?", "Tommy Sconzo: He gave me a high stick to the mouth. That's why my guys crashed the goalie. An eye for an eye, you know?", "Catherine: That why your guy ended up dead?", "(The question unsettles TOMMY.)", "Tommy Sconzo: What can I tell you, lady? It all happened so fast, you know?", "(He turns back to his locker.)", "Catherine: Usually does.", "[SCENE_BREAK]", "[INT. BACK ROOM]", "(GRISSOM and SARA walk the hallway. At the end, they come upon the zamboni.)", "Grissom: \"There are three things in life that people like to stare at. A rippling stream, a fire in a fireplace and a zamboni going round and round.\"", "Sara: Charlie Brown. \"I love a zamboni.\"", "Grissom: We all do.", "(Cut to: GRISSOM uses a mirror and looks under the machine at its tires.)", "(SARA looks at the zamboni's engine.)", "(GRISSOM finds something. He picks it up.)", "Grissom: The thing I love about zambonis is they pick up everything. Hey.", "Sara: Yeah?", "Grissom: I'm afraid the other part of this tooth might be in there.", "(SARA turns to look at the large pile of ice against the wall.)", "Grissom: Time to combine Foyeer's Law of Conduction with Newton's Law of Cooling.", "Sara: Pile of ice measures nine feet by five feet ... by ... nine feet. Without the calculus, I'd estimate ... a hundred cubic feet. Current temperature, one degree celsius.", "Grissom: The heaters max out at 90 degrees, but the variables are constantly changing.", "Sara: Let's ballpark it.", "Grissom: I don't know, 50-cubic-foot melt per hour, if we're lucky?", "Sara: 120 minutes for a tooth ... the whole tooth ... and nothing but the tooth.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOTEL]", "(NICK and WARRICK cross the lobby. They hear bells ring and an excited woman screaming at her win.)", "Warrick: Whoo! There's a winner.", "Nick: Easy come, easy go.", "[SCENE_BREAK]", "[INT. HOTEL - LOUNGE]", "(LILLIE IVERS sings.)", "Lyric: If I should die this very moment / I wouldn't fear / for I've never known completeness / like being here / wrapped in the warmth of you / loving every breath of you / still my heart this moment / oh, it might burst / could we stay right here / to the end of time / till the earth stops/turning?", "(WARRICK and NICK enter the lounge. NICK meets up with LOCKWOOD.)", "Lockwood: Lockwood, Homicide. DFO's in the back.", "Nick: Lead the way.", "(NICK turns around to look at WARRICK who is simply mesmerized by the lounge singer. NICK leaves to follow LOCKWOOD. WARRICK remains behind and watches the lounge singer.)", "Lyric: ...Seas run dry / I've found the one / I have waited for / all this time ...", "(WARRICK leaves the lounge.)", "[SCENE_BREAK]", "[INT. HOTEL - BACKROOM - NIGHT -- CONTINUOUS]", "Lockwood: Stan Grevey, 35. Backup sax player. One of the waitresses found him.", "(NICK and WARRICK put their kits down and look at the scene.)", "Nick: Tiny scrubbing bubbles.", "(Camera zooms in to show the white powder at the corner of the victim's mouth.)", "Warrick: Yeah, after somebody wiped them down. Paramedics?", "Lockwood: Nope. Just pronounced, that's it.", "Warrick: Just pronounced?", "(NICK reaches over and lifts the victim's lip up. There's something caught in between his teeth.)", "Nick: Had an interesting diet. Cowhide.", "(WARRICK checks STAN GREVEY'S arm and finds needle marks.)", "Warrick: He tied himself off.", "Nick: Yup.", "Warrick: All the signs of an O.D ... without any of the paraphernalia.", "Nick: Your waitress say anything about a needle butane torch, that sort of thing?", "Lockwood: No, not a word just said he reminded her of Coltrane.", "Warrick: Coltrane, huh?", "(WARRICK takes a sample of the powder on the table.)", "Warrick: See if I can get this back to Gregor at the lab. He could tell us what we're dealing with. Two coasters, one glass?", "Nick: What do you think? Our guy having a little party with the waitress?", "Lockwood: She was just coming on shift. She came through me. Already cleared her.", "Nick: Well, somebody was here ... grabbed the stuff took their glass.", "(WARRICK takes the extra coaster. He looks over and also finds a soft contact lens on the table.)", "Warrick: Forgot this on the way out.", "Nick: Bet the contact wasn't his.", "(LILLE IVERS walks into the back room checking up on her friend. She's smiling.)", "Lillie Ivers: Hey, how's he doing?", "(WARRICK stands up and stops LILLIE IVERS from walking in further to the room.)", "Nick: Whoa, miss.", "Warrick: Whoa, whoa ... miss, you can't come in here.", "Lillie Ivers: Why not?", "Warrick: I'm sorry, he's dead.", "Lillie Ivers: (surprised) He's dead? What are you talking about? They told me he wasn't feeling well. He was backing me up an hour ago. (shocked) What happened to him?!", "Warrick: (quietly) Miss ... why don't we step outside for a minute?", "(NICK watches as WARRICK leads LILLIE IVERS out of the room. LILLIE turns her head to look back at STAN GREVEY.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(GRISSOM walks into the room.)", "Robbins: What took you so long?", "Grissom: I was watching ice melt.", "Robbins: Tox screen came up empty except for quinine. Must have had malaria in the past six months. Either that or he's a big gin and tonic drinker. I've ordered up his medical records. If I was this guy I'd have been popping pain pills. Hairline fracture of the ulna bruised kidney, ten stitches off the orbital bone fractured nasal bone, all recent. Healed rib fractures.", "(ROBBINS opens TERRY RIVERS' mouth.)", "Robbins: He should have worn a cage.", "(Holds up the tooth. He puts it on the side.)", "Robbins: I bet he was proud of every last battle scar. What is it about organized sports?", "Grissom: Well, organized sports is the paradigmatic model of a just society. Everyone knows the same language everyone knows the rules. And there's a specific punishment handed out the moment someone tries to cheat. Instant morality.", "Robbins: So, uh, what did this guy do in real life?", "Grissom: Stockbroker.", "Robbins: Competition junkie.", "Grissom: Aren't we all?", "Robbins: Not me, not anymore.", "Grissom: No? How'd you get to be Chief Medical Examiner? Look, we're all carrying prehistoric genes in a postmodern world. We get our meat from the grocery store instead of with a club or a knife. We have to work off our, uh, testosterone somehow.", "Robbins: Foibles of youth.", "Grissom: Yeah. So, cause of death?", "Robbins: Not sure. (ROBBINS sighs. He points to the cut in the neck.) This cut nicked his carotid. Double-edged, clean blade, hockey skate, uh ...", "(Quick flashback to the hockey skate cutting the neck. End of flashback. Resume to present.)", "Robbins: Fun continues. Basilar artery also suffered significant trauma. Evidence of blood in the intimal space. Possibly enough to cause syncope.", "Grissom: Loss of consciousness.", "Robbins: Well, it could explain why the vic ended up in the bottom of that pile.", "Grissom: So did his death cause his fall or did his fall cause his death?", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. ICE RINK - BACK HALLWAY]", "(CATHERINE talks with BRASS. CATHERINE collects the team's gear.)", "Catherine: What'd you get from area 51?", "Brass: Terry Rivers was an instigator. Always stirring the pot.", "Catherine: Every fire needs a match. So, I guess this is their equipment?", "Brass: Yeah, down to the last stick. Here's a copy of the team roster.", "(BRASS hands CATHERINE the list.)", "Catherine: Okay.", "Brass: See you later.", "Catherine: Okay.", "[SCENE_BREAK]", "[EXT. ICE RINK -- NIGHT]", "(CATHERINE looks at the list and calls out.)", "Catherine: Ms. Gallagher?", "(The woman near the motorcycle turns around.)", "Jane Gallagher: Yeah.", "Catherine: Catherine Willows Crime Lab. I understand you play for area 51. Did you see much ice time during the game?", "Jane Gallagher: No, they just let me take off my cheerleader uniform and warm the bench.", "Catherine: You know what? Been there, done that. Just asking a question here.", "Jane Gallagher: I played 24 minutes, 12 seconds -- about my season average. I also lead the team in assists.", "Catherine: Oh ... you've got good peripheral vision. You see the ice really well.", "Jane Gallagher: I didn't see what happened to Terry.", "Catherine: You're a real teammate. Down the line, just one of the guys.", "Jane Gallagher: You're looking in the wrong direction. Now, we may have disliked Terry, but his own teammates ... hated him.", "Catherine: Any reason why?", "Jane Gallagher: How would I know? I'm just a girl. Can I go now?", "(JANE GALLAGHER sits on the bike and puts on her helmet.)", "Catherine: Nice bike.", "(She rides off.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG looks at the eye chart with one hand covering his right eye. NICK and WARRICK walk into the lab. NICK clears his throat.)", "Greg: Just getting into the mind of a potential killer.", "Warrick: Potential killer?", "Nick: Why don't you just catch us up there, boss?", "Greg: In a minute. First things first -- your contact lens was worn by a near-sighted person. And since I was born with perfect eyesight I'm experimenting with what it would feel like to be near-sighted.", "Warrick: Don't tell us you're wearing our evidence.", "Nick: Come on, Greg.", "Greg: Give me some credit. Borrowing a pair of lenses from Archie in A/V. Giving me a headache, though.", "(GREG picks up the results from the printer and hands it to WARRICK.)", "Warrick: Mannitol-- that's that baby laxative used to cut heroin with.", "Nick: China white? You sure?", "Greg: The GSMS does not kid around.", "Nick: West coast heroin is MEXICAN BROWN. 20, 30% pure, tops. What's china white, 75%?", "Greg: Uh, your sample's 91.", "Warrick: 91%? No wonder the guy O.D.'D. That's a death sentence.", "Nick: Doesn't make any sense, man. The money from dealing heroin comes from the cutting. The more you cut, the more money you make. There's no profit margin in selling stuff that's too pure.", "Warrick: Unless you're looking to kill someone.", "[SCENE_BREAK]", "[INT. TERRY RIVERS' RESIDENCE]", "(CATHERINE and GRISSOM walk into the apartment.)", "Catherine: So, this is what being a stockbroker buys you.", "(CATHERINE sighs. She looks at GRISSOM.)", "Catherine: How do men live like this?", "Greg: What's wrong with it?", "Catherine: Well, it's a cave with hardwood floors.", "Greg: It's clean. Television, couch. What else does a guy need?", "Catherine: Well, how about a plant? Anything to makes it a little more ... human. I mean, it doesn't seem like this guy had any ... connection to anybody.", "Grissom: (looking at the bed) I don't know about that.", "(He walks into the closet. CATHERINE takes out her ALS and starts examining the bed.)", "(CATHERINE clears throat.)", "Catherine: It's never a good sign when the number of women a guy sleeps with is more than the number of chairs he owns.", "Grissom: So, what's the ratio here?", "Catherine: Well, uh, ballparking it, I'd say ... four women to every one piece of furniture he owns including the TV.", "(She stands up and sighs.)", "Catherine: So... I guess our guy is about three things - pucks, bucks, and ... chicks.", "Grissom: Well, we still don't know how or why he died.", "Catherine: Well, we know how he lived.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA stands in the middle of the lab looking at the jerseys and hockey gear. GREG walks in.)", "Greg: Any blood?", "Sara: Take your pick. Testing for blood on a hockey jersey it's like handing out jaywalking tickets at a marathon.", "Grissom: Well, speaking on a meta-level ... isn't it obvious? The overbearing patriarchal structure of modern organised sports represents a socially palatable sublimation of what Jung refers to as the \"Shadow of the Unconscious.\"", "Sara: You sucked at team sports, huh?", "Greg: I was captain of the high school chess squad.", "(SARA turns to look at GREG.)", "Sara: Chess is not a sport, Greg.", "(SARA walks to the first set of shoes and starts spraying them with luminol. GREG follows.)", "Greg: Then why is there a World Chess Champion?", "Sara: I think sports are physical by definition.", "Greg: Well, s*x is physical. Is that a sport?", "Sara: Not to me.", "(She continues to luminol the skates.)", "Sara: These blades skated through the blood pool.", "(SARA continues to spray luminol on the skates. She finds something. She picks up the skate.)", "Sara: Blood spatter. Good guess -- this is the one that did the damage.", "Greg: You know, I had a roommate in college freshman year, from Edmonton, went on to play for the Swedish Elite league. Anyways, he set his blade at half an inch, tops. And I should know, because he made me get them sharpened.", "Sara: These blades are probably set at a quarter of an inch.", "(Quick flashback to: Skate blades being sharpened.)", "Greg: (V.O.) Well, that's as sharp as it gets.", "(End of flashback. Resume to present.)", "Greg: It's a tough blade to skate on. We're talking Wayne Gretzky style", "Sara: And deadly in a fight.", "(SARA looks down at the card attached to the skate. It reads: \"Hockey Skates / JANE GALLAGHER / ICE STATION / 493 PYRAMID WAY, L.V. NV / Date 2-27 / TIME:", "1420 / C. WILLOWS\")", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. HOTEL]", "(WARRICK and NICK go through the garbage bags.)", "Warrick: Yeah, that victim was out of L.A. and I don't think the singer, Lillie met him before last night, so she may be in the clear.", "Nick: Sure you don't want to start in the dressing room?", "Warrick: (chuckles): Right ... like you're going to take dumpster duty alone.", "Nick: Hey, just 'cause I've been on a personal losing streak with the ladies doesn't mean you should be, too.", "Warrick: Man, I don't even know if I'm going there the odds haven't gone my way in a long time.", "Nick: I'm talking about chicks, not gambling.", "Warrick: Same difference.", "Nick: (testing) Mind if I go for her, then?", "(WARRICK turns around and looks at NICK. Point taken. NICK turns back to his garbage bags. WARRICK return to his garbage bins. NICK finds something.)", "Nick: Warrick.", "(Wrapped in a black scarf is the drug paraphernalia.)", "[SCENE_BREAK]", "[INT. HOTEL - DRESSING ROOM]", "(NICK and WARRICK question LILLIE IVERS.)", "Lillie Ivers: It's mine -- but anybody could have lifted this scarf from my dressing room.", "Nick: It's still yours.", "Lillie Ivers: You trying to pin this on me, now?", "Warrick: We're just doing our jobs here.", "Lillie Ivers: Well, did you find my fingerprints on anything?", "Warrick: We won't know till we print you.", "Lillie Ivers: Oh I'm not worried. What you see is what you get.", "[SCENE_BREAK]", "[INT. BASKETBALL COURT]", "(GRISSOM, SARA and BRASS question JANE GALLAGHER.)", "Jane Gallagher: You're putting words in my mouth.", "Brass: You said everybody hated him-- now we know why.", "Grissom: We opened up terry's hard drive. It turns out he had your entire roster knee-deep in the stock market.", "Jane Gallagher: I don't play for the rat pack.", "Sara: Not now ... but you used to.", "Jane Gallagher: Okay, so I changed teams. Big deal. I wanted to win.", "Brass: The fact that Terry Rivers churned and burned your brokerage account out of ten grand that didn't enter into it?", "Jane Gallagher: Terry was a stockbroker. He did really well for himself -- Rolex, Beemer. He said he could do the same for me. I gave him some money. If I wasn't willing to take a risk I'd have put it in a bank.", "Brass: You weren't the only one, were you?", "Jane Gallagher: No. All the guys had money with him. I mean, Terry was a salesman. You listened to him talk for five minutes and your hair was on fire.", "Grissom: Ms. Gallagher, your skate had a certain blood spatter on it. It indicates that you're the one that nicked Terry River's carotid artery.", "Jane Gallagher: Look, it was pileup.", "(Quick flashback to: The pile up in front of the goal. TERRY RIVERS on the bottom of the pile up with a cut in his neck.)", "Jane Gallagher: (V.O.) Everything was a blur.", "(End of flashback. Resume to present.)", "Jane Gallagher: That's ten guys with blades on. Hey, I was just looking out for myself.", "Sara: He was a stationary target. Terry was on the bottom of all those bodies.", "Brass: Like you said, nobody saw anything.", "Grissom: Including your skate intentionally coming down on his neck.", "(JANE GALLAGHER starts to look nauseated.)", "Jane Gallagher: Oh, god.", "(She throws up on the floor.)", "Sara: You okay? You all right?", "Jane Gallagher: (chuckles): I knew I shouldn't have had that shrimp salad for dinner last night. If you'll excuse me I'll get that cleaned up.", "(JANE GALLAGHER walks away. GRISSOM looks at the mess on the floor for a moment. He moves to gather it.)", "Brass: Wait, you're not going to ... what are you doing?", "(GRISSOM looks up.)", "Grissom: It's evidence. Food poisoning especially anything with spoiled mayonnaise can induce vomiting within 15 minutes. She said last night -- that was 12 hours ago.", "(GRISSOM takes a sample of the mess.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG holds up an evidence container of the sample GRISSOM took from JANE GALLAGHER. GREG shares his findings with GRISSOM and SARA.)", "Greg: She's a liar, and a mother.", "Sara: Morning sickness?", "Greg: Yep.", "Grissom: And you know this how?", "Greg: Well, first I tested for the presence of shellfish -- crustacean free. And then I figured if she's hiding that what else is she hiding?", "Sara: Little lie, big lie.", "Greg: There was blood in the sample. Not uncommon in early pregnancy. Women get mucosal tears in their esophagus because they yak so much. So, I tested the blood for the presence of human choriogonadotropins. She is definitely with child.", "Sara: She wasn't showing. She's skinny as a rail. But ... still, why lie about it?", "Grissom: Maybe she didn't know she was pregnant. If she had, would she have gone out on the ice?", "Sara: I wonder if she would know who the father is... or was.", "Grissom: Well, if it was Terry Rivers he was definitely deadbeat dad material. Which speaks to motive.", "Sara: It's enough to get us a warrant.", "Grissom: Except you can't safely test for paternity before the baby's born.", "Sara: We could search Jane Gallagher's apartment. See if Terry Rivers might have left anything behind.", "Grissom: Yeah. Say goodbye to Greg.", "(GRISSOM walks out of the lab.)", "Sara: Bye, Greg.", "(SARA walks out of the lab.)", "[SCENE_BREAK]", "[INT. HOTEL - LOUNGE -- DAY]", "(NICK and WARRICK question BILL, STAN'S friend.)", "Nick: I've got twins here, Bill -- one set of prints from your work card; another set from the drug paraphernalia we found in the dumpster.", "Bill: Look, what can I say? He's got a son.", "Warrick: Well, that's fine. That's not the issue. You tampered with the evidence.", "Bill: He's eight years old. I didn't want Stan's son to hear that he died in a lounge. Foam coming out of his mouth a needle in his arm. That's too much for a boy.", "Nick: Yeah, but you got him the gig. You didn't know he was a junkie?", "Bill: So am I. Former. Hell, we met in A.A. I thought he was clean. I got my fourth coming up.", "Warrick: Could have lost your job.", "Bill: Besides, Lillie's going places. You know, she's on her way up. I want to be along for the ride.", "Warrick: So, you cleaned him up, threw away his works ... why Lillie's scarf?", "Bill: I grabbed the first thing I could find.", "Warrick: Lillie's scarf was there?", "Bill: Yeah.", "Warrick: Really? You mind rolling up your sleeves for us?", "(BILL laughs softly. He rolls up his sleeves and shows NICK the scars on his arms.)", "Bill: I've always had good veins.", "Nick: Yeah, okay.", "Warrick: Thanks.", "Nick: Hey, one more thing, Bill. You wear contacts?", "Bill: Not anymore. Lasik surgery.", "Nick: How's that working out for you?", "Bill: Great. One less thing I'm dependent on.", "(BILL leaves.)", "[SCENE_BREAK]", "[INT. HALLWAY TO LOUNGE]", "(LILLIE IVERS walks through the hallway. She hears soft jazz piano music coming from inside the lounge. She pauses, curious. She follows the music.)", "(She walks into the lounge and sees WARRICK playing piano. When WARRICK sees her, he stops playing and stands up.)", "Lillie Ivers: No, no, no, no. Don't stop.", "Warrick: (shyly) I don't like playing in front of an audience.", "Lillie Ivers: It's just me. What, are you uncomfortable in front of strangers or something?", "Warrick: No, I just came by to ask you a few questions and I got a little carried away.", "Lillie Ivers: Oh. (LILLIE sits down.) Well, if you keep playing I'll keep talking.", "(WARRICK sits down and starts playing again.)", "Warrick: So, um, how well do you know these people you play with?", "Lillie Ivers: Oh ... well enough. (listening to the music) Who is this?", "Warrick: I thought I was the one asking questions here.", "(After a moment, he answers anyway.", "Warrick: Warrick Brown.", "Lillie Ivers: Lillie Ivers. So I guess we're not strangers anymore.", "(LILLI stands up and leaves.)", "Lillie Ivers: Maybe you should come by later ... so we can talk some more.", "(She smiles at him.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(GRISSOM and SARA examine JANE GALLAGHER'S bed sheets.)", "Grissom: Well, Jane may play hockey, but her sheets are distinctly female.", "Sara: There are semen stains everywhere. Not very Victoria Secret.", "Grissom: What is Victoria's Secret, I wonder?", "Sara: Beauty, Grissom. Remember? (SARA takes off her goggles and examines the sheets.)", "(GRISSOM looks through the sheet and a nail falls out. He picks it up and looks at it.)", "Grissom: Sheets may be female, but this toenail belonged to a man.", "Sara: With all the s*x these people are having maybe I should take up hockey.", "(GRISSOM looks at SARA. She smiles back at him.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOTEL -- LOUNGE]", "(LILLIE IVERS and WARRICK talk.)", "Lillie Ivers: I told you what I make. What do you bring in? Fifty, Sixty a year?", "Warrick: So, that's what you're all about?", "Lillie Ivers: No, that's what the business is all about.", "Warrick: Then run.", "Lillie Ivers: Hmm. I just thought that with your kind of talent you know, I could dial you in. I've got a manager with a pipeline to god.", "(She laughs.)", "Warrick: Sounds like you're pretty dependent on him.", "Lillie Ivers: I've been booked solid for the past two years. Next stop ... blue note, motown ... anything I want. Studio time, recording contracts ...", "Warrick: Great.", "Lillie Ivers: I'm a musician, Warrick, and I recognize talent. And the way you look ... you might as well be dipped in gold.", "Warrick: I don't know about all that.", "Lillie Ivers: What are you holding back for? You could be out there making a difference.", "Warrick: I already do make a difference.", "Lillie Ivers: Yeah, riding around chasing ghosts with that partner of yours. Nobody even knows you exist.", "Warrick: You do.", "Bill: Show time.", "Lillie Ivers: (to BILL) Okay. (to WARRICK) Okay ...", "Warrick: So ... knock 'em dead.", "Lillie Ivers: I'll try.", "(WARRICK turns his attention back to the bar. He sees the BARTENDER take something out of his pocket and slip it between two coasters. He puts the two coasters under the drink and serves it.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GREG catches up with CATHERINE in the hallway.)", "Greg: Catherine ... you seen any guys with a broken tooth lately?", "Catherine: Yeah, I saw ten of them.", "Greg: Yeah, well, one of them is your suspect.", "(SARA catches up with them.)", "Sara: I got your page. What's the big news?", "Greg: Oh, that tooth that you found at the bottom of the snow pile ...", "Catherine: You got a match. To what?", "Greg: To the nasty-ass toenail that Sara found.", "Sara: What? I thought it belonged to the dead guy.", "Greg: No, it belongs to a live guy.", "Catherine: So, what you're saying is whoever was in Jane Gallagher's bed was on the ice the night Terry Rivers died.", "Greg: Gold.", "[SCENE_BREAK]", "[INT. RESTAURANT KITCHEN ]", "(SARA and GRISSOM interview a hockey player.)", "Tommy Sconzo: It's a temp.", "Grissom: What about the girl? Is she a temp, too?", "Tommy Sconzo: You know, I treated Jane better than that Mutt Rivers ever did. And it never cost her a cent.", "Sara: Is that why you hated Terry?", "Tommy Sconzo: He was on my short list, yeah.", "Grissom: You know, I got a list. It's got a negative figure of 12,000 after your name.", "Tommy Sconzo: Well, money's kind of like my tooth. It don't grow back.", "Grissom: Did you ever hear the story of the 19th century chinese goldsmith? He lost a lot of money for his goldsmith buddies due to his shoddy business practices so they decided to kill him by biting him to death. 123 goldsmiths took a bite out of the victim insuring that no one individual could be blamed for the murder. For who would know which one administered the lethal bite.", "Sara: You're the captain of the rat pack. You make it so everyone gets a shot in and no one takes the blame -- it's a win-win situation.", "Tommy Sconzo: Well, it's a nice little bedtime story for your kids, but it doesn't have a lick of truth.", "Grissom: Well, there's truth in this: Your friend Jane is pregnant.", "Tommy Sconzo: I'm going to be a dad?", "(GRISSOM'S pager beeps. He pulls it out of his pocket and looks at it.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY TO FORENSIC AUTOPSY]", "(GRISSOM and ROBBINS walk down the hallway.)", "Grissom: What kind of coronary anomaly?", "Robbins: W.P.W.: Wolff-Parkinson-White syndrome. Interferes with the heart's electrical system.", "Grissom: I never heard of it.", "Robbins: Well, it didn't show during the post, but I looked at the tissue sections in histopath.", "(Camera close up of the atrium as seen under the magifying glass.)", "Robbins: They showed a small defect in the atrium of the heart.", "(Camera zooms in to the defect.)", "Grissom: So, the game had nothing to do with it? It was the heart?", "Robbins: Not necessarily. You know the quinine I found in his system? Lethal for someone with W.P.W. Big scars didn't do him in. It was the little scar.", "Grissom: Someone still gets an assist.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK is in the lab. NICK walks in.)", "Nick: Hey, \"Sara\". If you come up here on your nights off, people are going to start confusing the two of you.", "Warrick: You're here.", "Nick: (clears throat) What's up?", "Warrick: New lead. The bartender. Purple.", "Nick: Marquis Mecke Froede.", "Warrick: Test for opiates.", "(WARRICK tests a sample of the coaster.)", "Warrick: Purple. You know what that means.", "Nick: The coasters test positive for heroin.", "(Quick flashback to: The BARTENDER puts a coaster down on the counter. He pours the drink. He serves the drink with the two coasters.)", "Warrick: (V.O.) He sandwiched the drugs between the coasters. That's how he hid it. He was dealing from behind the bar.", "(End of flashback. Resume to present.)", "Warrick: When we found those two coasters in Stan Grevey's dressing room, we assumed that there was two people -- either a user or supplier. There weren't. Just our guy -- the victim.", "(NICK is thoughtful and quiet.)", "Warrick: What's wrong?", "Nick: He wasn't the only one with two coasters, man.", "Warrick: What do you mean?", "Nick: Remember when we talked to Lillie about the scarf?", "Warrick: Yeah?", "(Quick flashback to: LILLIE holding a drink.)", "Nick: (V.O.) She had a drink with two coasters.", "(End of flashback. Resume to present.)", "Warrick: So what? There could be a hundred reasons why she ...", "Nick: Did you not hear me? She might be involved. You got to walk away from this fast.", "Warrick: We got the dealer -- the bartender. Let's just take him out.", "Nick: And we will. What about her?", "Warrick: : What about her? Why don't you ... Why don't you just let me handle my business.", "Nick: Then handle it.", "(WARRICK walks out of the lab.)", "[SCENE_BREAK]", "[INT. BASKETBALL GYM]", "(In the stands, SARA and GRISSOM interview JANE GALLAGHER.)", "Jane Gallagher: We were in the sack. Right in the middle of it. Next thing I know, he stopped ... how do I say this? He stopped ...", "Grissom: ... \"Doing it\".", "Jane Gallagher: Yes. Thank you. His face was flushed. He was sweating. It was all good, and then he just ...", "(Quick flashback to: JANE GALLAGHER and TERRY RIVERS in bed. TERRY RIVERS passes out.)", "Jane Gallagher: (V.O.) ... he went soft and passed out.", "(End of flashback. Resume to present.)", "Jane Gallagher: I was scared. I called the team doctor. The paramedics came and rushed him to the E.R.", "Sara: You know we got his medical records. Let me ask you a question. When Terry came to did he tell you what had happened to him?", "Jane Gallagher: He didn't tell me anything. Neither did the doctors. I wasn't family.", "Sara: What did you do?", "Jane Gallagher: Took off. I didn't want anybody to know I'd been with him.", "Grissom: Worried that the father of your child might find out?", "(Stunned that they know, JANE GALLAGHER sits down.)", "Jane Gallagher: I was sleeping with Terry, but I was dating Tommy.", "Sara: ... and what's the difference?", "Jane Gallagher: Terry was a bad boy. The kind of guy you just can't get out of your system. who's on your mind all the time. He used to drive my friends crazy. Tommy ... husband material.", "[SCENE_BREAK]", "[INT. CSI -- LOUNGE]", "(CATHERINE fills GRISSOM and SARA in on what she's found.)", "Catherine: So we just double-checked the search warrant returned from Terry Rivers apartment. There was no quinine found in the location. He never had a prescription for quinine.", "Grissom: Well, according to Doc Robbins he never had malaria.", "Catherine: Do you have his medical file?", "Sara: Yeah.", "Catherine: Let me see it.", "Sara: Right here.", "(SARA hands CATHERINE the file.)", "Grissom: So Jane Gallagher is officially no longer a suspect.", "Sara: Didn't have access to quinine let alone know it would kill him.", "Grissom: So who did know?", "Sara: Terry was a roughneck. He dished it out so the other players dished it out harder.", "Grissom: Which they wouldn't have done if they had known about his heart. They would have played tentatively. Which in hockey is a sacrilege.", "Sara: Someone besides Terry had to know.", "(CATHERINE finds something.)", "Catherine: Somebody did. You can withhold medical information from your friends all you want but it's still going to be in your hospital record.", "Sara: Anyone with access to Terry's medical records knew how to kill him.", "[SCENE_BREAK]", "[INT. OFFICE]", "(BRASS, GRISSOM and SARA question the TEAM DOCTOR)", "Grissom: How many patients do you have with malaria?", "Team Doctor: I'm an orthopedist. None.", "Brass: Not according to the pharmacy in your medical building. Last month you wrote a prescription for quinine -- an anti-malaria medication.", "Sara: Malaria in Las Vegas. No wonder they were out of stock.", "Team Doctor: Look, a friend of mine was going to Africa. I did him a favor. That's it. Now, is there a crime in that?", "Grissom: Well ... a man is dead.", "Team Doctor: It hurts getting stitched. It hurts even more when you get home. I always give the guys something for the pain.", "Sara: So you're the go-to guy?", "Team Doctor: I am the on-site doctor for this facility. Nothing more and nothing less.", "(GRISSOM picks up a framed photograph of the TEAM DOCTOR with JANE GALLAGHER.)", "Grissom: Is this Umbria or Tuscany?", "Sara: Italy. That's pretty serious.", "(The TEAM DOCTOR stands up and takes the photo from GRISSOM. He doesn't say anything.)", "Grissom: But Jane's had a couple of boyfriends since that trip, right?", "(Quick flashback to: JANE kissing TERRY RIVERS in the locker room. The TEAM DOCTOR is in his office and he sees this. He seems upset by it. Cut to: JANE kissing TERRY RIVERS in the car and the TEAM DOCTOR walking outside and seeing JANE in the car with him. End of flashback. Resume to present.)", "Grissom: Terry was an injury waiting to happen, wasn't he? And when it did, you were there on the bench with two little pills in your hand.", "(Quick flashback to: TERRY RIVERS gets his cut stitched up. The TEAM DOCTOR reaches into his bag and pulls out the quinine. He gives TERRY RIVERS two pills. TERRY swallows them and heads back out on the ice. End of flashback. Resume to present.)", "Team Doctor: So what? So what if I gave him quinine?", "Brass: It's like giving a candy bar to a diabetic if you know he's a diabetic.", "Sara: And you knew, doctor. Terry Rivers had a heart condition.", "(Quick flashback to: TERRY RIVERS in the hospital with the doctors working on him. The TEAM DOCTOR stands out in the hallway with JANE GALLAGHER.)", "Jane Gallagher: I need you.", "Team Doctor: Oh, yeah, since when?", "Jane Gallagher: Look, we tried it out, it didn't work. We're friends. I don't want the whole world to know that I've been with Terry. Please?", "(JANE reaches up and kisses The TEAM DOCTOR. He agrees.)", "Team Doctor: Okay, okay. I'll stay with Terry.", "(End of flashback. Resume to present.)", "Brass: You were always cleaning up her messes weren't you, Doctor?", "Sara: Jane told us she paid you a visit a couple of days ago. She thought she had the flu ... but she didn't. She's pregnant. And with the father out of the way, you knew who she would turn to.", "Grissom: But Tommy Sconzo is the father.", "(The DOCTOR turns around to look at GRISSOM. This news surprises him. GRISSOM nods.)", "Grissom: You killed the wrong guy.", "(The DOCTOR hangs his head and takes a deep breath.)", "Brass: (o.s.) Let's take a little drive.", "(The DOCTOR stands and leaves. BRASS follows him.)", "[SCENE_BREAK]", "[INT. BAR]", "(NICK and WARRICK talk with the BARTENDER. The BARTENDER takes his contact off.)", "Nick: You're nearsighted? I bet this is going to match the contact lens we found at the crime scene. Let me ask you another question. Why deal 91% pure china white? Did you have a beef with the victim, or what?", "Bartender: I never met the guy.", "Nick: You're going to have to do better than that. You intentionally sold him stuff that was too pure.", "Warrick: We know he's not the only guy you dealt it to.", "Bartender: Look, I didn't mean to harm anybody, all right? I didn't know what I was cutting. Probably got a bad batch.", "Warrick: Bad batch?", "(LOCKWOOD puts the cuffs on the BARTENDER.)", "Nick: Hey, do yourself a favor, slick. If you don't know enough about something, stay out of it.", "Lockwood: It's too late for that.", "(LOCKWOOD takes the BARTENDER away. NICK and WARRICK remain behind. NICK looks at WARRICK.)", "Nick: You want to talk about it?", "Warrick: No.", "Nick: Okay.", "Warrick: I'm going to meet Lillie. I'll see you back at the lab. Okay? You don't know me.", "(WARRICK leaves. NICK watches him leave.)", "Nick: (quietly) Obviously.", "[SCENE_BREAK]", "[EXT. BALCONY -- NIGHT]", "(LILLIE leans on the balcony railing. She looks out into the night sky.)", "Warrick: (o.s.) You hiding from me?", "(LILLIE turns around and sees WARRICK walking toward her.)", "Lillie Ivers: Are you looking for me?", "Warrick: Yeah. (LILLIE smiles at him.) I wanted to talk to you.", "Lillie Ivers: Oh, yeah? About what? (WARRICK hesitates.) Come on, tell me. We're not strangers anymore, remember?", "(LILLIE puts a hand on WARRICK'S cheek.)", "Warrick: Yeah, you're right.", "(WARRICK reaches out an cups LILLIE'S cheek. She leans into his hand and smiles.)", "Lillie Ivers: Warrick Brown. (WARRICK looks at LILLIE. He's not smiling anymore.) What?", "(WARRICK reaches over and pushes LILLIE'S sleeve up. He sees the needle marks up her inner arm.)", "Warrick: I'm sorry, Lillie. Life's too short. Good-bye.", "(WARRICK lets her go and he takes a step back. He turns around and walks away from her. WARRICK leaves LILLIE on the balcony.)", "[SCENE_BREAK]", "[INT. HOTEL CASINO LOBBY]", "(WARRICK walks across the lobby. He looks at the gaming table. He sits down. He pulls out his wallet and slides a bill at the dealer.", "(NICK takes the seat next to him.)", "Warrick: What are you doing here?", "Nick: I'm playing cards ... with my friend.", "(WARRICK looks over at NICK.)" ]

[ "A bus carrying 23 passengers from Los Angeles to Las Vegas crashes less than 40 miles from its destination, killing nine people. Before he dies, the driver recalls that, moments before the wreck, the steering wheel began vibrating like a jackhammer in his hands, making it impossible for him to control the speeding vehicle. When the bus finally did come to a stop, it was on its right side on top of a sports car that was following it. At the scene, the CSIs discover that a recent parolee was on the bus, but is now unaccounted for---and that there's evidence of foul play." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS DESERT (STOCK) - NIGHT]", "[EXT. LAS VEGAS DESERT HIGHWAY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. THE BUS - NIGHT]", "(GWEN MURRAY sits behind the driver, MARTIN DRAPER, talking to him.)", "Gwen Murray: (black woman) So, what do you think? Come on, I earned this vacation. You ever been married? When it's good, it's great. When it's over, it's even better, hmm?", "Man (light tan suit & tie): I'm telling you, the seven comes up every six rolls. I've got a system.", "Man (dark brown jacket): You know what the casinos say about guys with systems? Man (light tan suit & tie): What?", "Man (dark brown jacket): Welcome.", "Heavy-set Man: He doesn't know what he's talking about. Everything you need to know about craps is right in this book.", "Woman (in red): I was talking to Shirley -- she said the only way to make money in that town is slots.", "(Cut to the \"Mojave Express\" bus driving on the roadway.)", "(Cut back to inside the bus where a kid is listening to rock music on his walk-man.)", "Walter: (old white haired man): I'm up 1,500.", "Old Woman (red-haired): That's nice, dear. Oh, now. I've found the pictures. Now look at this.", "(The young women around her gasp when they see the pictures.)", "Blonde-haired Woman: Oh, look at him.", "Old Woman (red-haired): He's just learning how to walk. Here's another one with his sister.", "(Camera cut back to the photo album and a picture of two blonde-haired children.)", "Old Woman (red-haired): Oh, there it is.", "Tracy Logan: (dark-haired young woman): You have a beautiful family.", "Old Woman (red-haired): Thank you.", "Walter: We've been blessed.", "Old Woman (red-haired): Yes, we sure have been blessed.", "(Couple necking at the back of the bus. Dark-haired, bearded man comes out of the lavatory and makes his way to the front of the bus.)", "Martin Draper: (driver) Well, folks, we just hit mountain pass.", "(CALVIN McBRIDE, the man drinking, walks up the aisle. He bumps into the young blonde-haired woman. She looks up at him annoyed.)", "Martin Draper: (driver): (o.s.) Means we're about 40 miles outside of Vegas. Some of you are going to be driving back with me.", "(The camera continues to follow the drinking man as he continues up to the front of the bus.)", "Martin Draper: (driver): Some of you are going to be flying back with all the money you're going to win. In any case you just sit back, relax, we'll see if we can't get you there ahead of schedule.", "(The drinking man makes it to his seat. He sits down and puts his earphones on. The driver puts the hand-held mike away. The drinking man takes a drink of the bottle in the paper package. He looks across the aisle at the driver.)", "Calvin McBride: (drinker) Hey. Want a nip?", "(The driver looks at the man, he smiles and shakes his head, no.)", "Martin Draper: (driver): No, I know my limits.", "(The driver continues to drive. The man watches him. The driver steps on the gas and the bus increases speed. The odometer reads 65 mph. 70 mph.)", "(The bus starts to shake. The driver holds on to the bus. He looks down at the odometer which reads 75+ MPH. The steering wheel shakes some more. The passengers look up at the driver as they notice that something's wrong.)", "(Cut to the outside of the bus with the camera on the tires.)", "(Cut to a long angle of the bus as the wheel pops and the bus swerves out of control.)", "(Cut to inside the bus with the passengers screaming.)", "(The bus turns as the driver struggles to regain control of the bus.)", "(The passengers scream.)", "(The bus hits the guard rail and sparks fly.)", "(The passengers inside the bus are being tossed around.)", "(The bus continues to drive the guard rail.)", "(The bus driver hits the brakes trying to stop the bus.)", "(The bus drives over the side of the road.)", "FADE TO BLACK:", "[SCENE_BREAK]", "[EXT. CRASH SCENE -- NIGHT]", "(Camera close up of the red road-side flare burning behind the CSIs standing on the edge of the roadway looking down upon the crash site below. Large generators power bright lights as the rescue team works to find any survivors.)", "(The CSIs stand aside and watch. Down below, a rescue worker instructs the other workers.)", "Rescue Worker 1: Everybody stand by. We do not touch this car until every victim is off the bus.", "Rescue Worker 2: Got it.", "(The CSIs watch as a rescue workers helps an injured man to the make-shift first aide area. A woman sits on the gurney comforting another woman. A rescue worker assists a woman to the aide area. Another rescue worker puts a body bag down among the many already piling up on the side.)", "(The CSIs continue to stand on the side ... and watch.)", "Sara: I feel so useless.", "Catherine: It's still a rescue operation.", "(Down below a group of rescue workers carry an injured survivor strapped tightly in a basket.)", "Warrick: We're not running the show.", "Nick: Yeah. Not yet.", "(The basket carrying the injured man is being carried and pulled up the hillside. As it passes, the CSIs see that it's a dark-haired young man.)", "Grissom: They do their job and then we do ours.", "HARD CUT TO BLACK. END OF TEASER ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. CRASH SITE -- NIGHT]", "(The rescue workers are in the bus still removing bodies. They have the old man, WALTER, strapped to a basket and they struggle to get him out of the bus. DAVID PHILLIPS stands just outside the bus' broken window.)", "Rescue Worker 1: Okay, you got him there?", "Rescue Worker 2: Yeah", "David Phillips: Mine are lined up right over there.", "(DAVID points to somewhere over behind him.)", "Rescue Worker 1: Yeah.", "(A second set of rescue workers carry a basket with the old woman strapped in it.)", "Rescue Worker 2: Let me get under. All right. There we go.", "Old Woman: Walt? Where's my husband? (calls out) Walter? Walter...", "(The old woman cries out for her husband as they carry her off in the basket. The camera moves to the side and we now note that the CSIs are down in the crash site area. GRISSOM, SARA, and WARRICK watch as she's carried away.)", "Grissom: All right, I want everybody thinking worst case scenario. The highway's finally ours. Cones and pictures, skid marks, ice patches, loose asphalt, anything and everything.", "Warrick: All right.", "Sara: It's a pretty wide area up there. Are we clear to call in for help?", "Grissom: Every Las Vegas CSI is on their way here.", "Warrick: Cadets?", "Grissom: Call them.", "(And with that, WARRICK and SARA pick up their kits and head back up the hill to the highway.)", "(GRISSOM starts walking around. He hears women crying. He sees an old man lying with the other dead bodies as someone puts a tag around his neck. He sees a woman crying over a dead body in a bag.)", "Woman (over radio): ... 1-25 roger ...", "(GRISSOM continues to survey the site area. Off in the distance, he sees the survivors being tended to by the medics.)", "Nick: You the only trauma doc?", "Trauma Doctor: That's right. Lucky me. I personally black-tagged six. Excuse me. My line of work, that's a bad night.", "Nick: Yeah, mine, too. (NICK glances over at the large man on the gurney.) That the bus driver over there?", "Trauma Doctor: Big surprise. The only person on the bus wearing a seat-belt.", "Nick: Only one on a tour bus required to wear one. Thank you.", "(GREG appears next to NICK.)", "Greg: Hey. Got here as soon as I could.", "Nick: Whoa, what are you doing here, Greg?", "Greg: All hands on deck. That was the call, right? Crims on the scene.", "Grissom: Crims with \"field training\".", "Greg: (to GRISSOM) Come on. I'm capable.", "Grissom: (to NICK) He does no collection.", "(GRISSOM walks away. NICK reaches into his jacket pocket and pulls out a notepad and pen. He gives it to GREG.)", "Nick: You're taking my notes. You didn't bring a warmer jacket?", "Greg: No.", "(NICK doesn't say anything. He walks away from GREG who has a concerned look on his face. In the background, we hear indistinct voices over the radio.)", "[SCENE_BREAK]", "[CONTINUOUS]", "(LARRY MADDOX talks with BRASS.)", "Larry Maddox: Listen, I'll, uh ... I'll do anything that I can. I just want to help. Please.", "Brass: No, sir, just, uh, uh, stick around.", "Larry Maddox: I'll be right here. Thank you.", "(BRASS walks away. In the distance, CATHERINE makes her way toward BRASS.)", "Brass: Hey. Uh, Larry Maddox. Owns the bus company.", "Catherine: Got here quick. That should tell you something.", "Brass: Yeah, he coughed up the passenger manifest including the driver, Martin Draper. Twenty-four passengers, one PAL.", "Catherine: Parolee-At-Large.", "Brass: Calvin McBride. Seat one-C. California state pen, two years aggravated assault. He was paroled last week.", "Catherine: And already over state lines.", "Brass: It was news to his parole officer.", "Catherine: I'm sure it was.", "Brass: You know, my guys are matching names to faces both here and at the hospital. McBride tops the list. I'm going to talk to Maddox.", "(BRASS walks away leaving CATHERINE standing there.)", "[SCENE_BREAK]", "[EXT. HIGHWAY - NIGHT -- CONTINUOUS]", "(Back up the highway, SARA, WARRICK and two others search the roadway for evidence.)", "Sara: Four-point sweep.", "Warrick: Let's roll.", "(WARRICK signals and they start walking. As they walk, they mark the evidence with markers.)", "[SCENE_BREAK]", "[EXT. CRASH SITE - NIGHT -- CONTINUOUS]", "(CATHERINE walks up to GRISSOM who is looking at the tire.)", "Catherine: Fire department says the driver of the Camaro's dead.", "Grissom: Yeah, I heard, but I think I know why the bus pulled to the right.", "Catherine: Now that is a serious blowout. And the front left tire's still intact.", "Grissom: Newton's third law: \"For every action there is an equal and opposite reaction.\"", "Grissom: Tire to rim. Rim to axle. Axle to suspension. Suspension to frame. And the lower radius rod arm ... which connects the axle to the frame.", "Catherine: Not anymore.", "(Quick flashback to: View of under the bus as the car tires screech. The rod iron falls and drags along the road. End of flashback. Resume to present.)", "Grissom: So, if the rod arm broke while he was driving ...", "Catherine: Driver tried to maintain control. Veered to the left.", "Grissom: But turning the wheel was probably going to make things worse.", "Catherine: Putting pressure on the right front tire causing it to blow. The ... the bus then veers to the right and goes off the road.", "Grissom: And we're back to Newton. The Theory's correct if the rod arm was the first action.", "Catherine: I'm going to go see what's going on with that Camaro.", "(CATHEIRNE leaves. GRISSOM continues to look at the bus.)", "[SCENE_BREAK]", "(CATHERINE walks to the smashed Camaro around the bus #65326. She walks around the camaro looking around. She leans in and sees a male body inside the back seat of the car.)", "Woman (b.g. on radio): ... 1-41 north ...", "(As she looks inside, the MAN'S hand reaches up. CATHERINE'S eyes widen with shock that he's still alive. She reaches out and grabs the man's hand.)", "Catherine: We're going to get you out of here, okay?. Rescue!", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. LAS VEGAS RESIDENCE - NIGHT]", "(The man is on the gurney and is being pushed to the medic area. He's holding on tightly to CATHERINE'S hand.)", "Catherine: (loudly) Can you tell me your name?", "(They begin working on the man.)", "Rescue Worker: Miss, you need to let him go.", "(The rescue worker pulls the grip apart.)", "Rescue Worker: Let's go on three. RESCUE WORKER: One, two, three, in.", "(CATHERINE watches as they put the man in the ambulance and close the doors shut. She stands there and stares at her hands covered with the man's blood.)", "[SCENE_BREAK]", "(NICK questions MARTIN DRAPER, the bus driver, while GREG takes notes.)", "Martin Draper (bus driver): This never happened to me before. The wheel just s-s-sh-shook right out of my hands.", "Nick: How long after your scheduled stop in Barstow?", "Martin Draper: We, uh, we-we always stop in Barstow.", "(He takes off his glasses and rubs his eyes. GREG watches and takes notes.)", "Martin Draper: Uh, McDonald's the, uh, the train station one.", "Nick: I understand that, Mr. Draper, but how long after that did the wheel start to shake on you?", "Martin Draper: (confused) Uh. (shakes his head) I don't, uh ... I don't ...", "Nick: Sir, are you okay?", "Martin Draper: (shakes his head) No. We're behind schedule. I got to get back to the bus.", "(MARTIN DRAPER stands up and puts a hand out on GREG. Both GREG and NICK takes steps forward to catch MARTIN DRAPER.)", "Nick: Hold on, hold on. Wait a second. Mr. Draper ...", "(NICK looks at MARTIN DRAPER'S eyes.)", "Nick: Mr. Draper, have you had anything to drink tonight? (pause) I'm going to do a preliminary field breath test. (to GREG) Keep an eye on Mr. Draper, will you, for me? Mr. Draper, you sit tight.", "Martin Draper: I, uh, I got to go.", "(NICK moves aside to get the things.)", "Nick: Won't take a minute. I understand. I understand. Hang tight.", "Martin Draper: See, uh, there's people ...", "Nick: I understand. I want you to take a deep breath, and I want you to blow into the end of this for me, okay?", "(NICK holds out the breathalizer and puts it toward MARTIN DRAPER'S mouth.)", "(Martin Draper coughs up blood. He collapses against NICK who catches him and holds him up.)", "Nick: I need a doctor over here. Greg, get some help.", "(GREG doesn't move; he's frozen. His eyes are glued to MARTIN DRAPER.)", "Nick: Greg!", "(NICK struggles with MARTIN DRAPER who continues to cough. He looks up at GREG.)", "Nick: Greg! Get some help!", "(Camera holds on GREG.)", "[SCENE_BREAK]", "[EXT. HIGHWAY HILLSIDE - NIGHT]", "(NICK and GREG walk down the hill.)", "Nick: It's all right, man. Stop apologizing.", "Greg: Oh, I feel bad. I just froze up.", "Nick: That's why we have fielding training, Greg. No disrespect, but you're not qualified to be out here.", "Greg: I guess I just wasn't expecting blood to look like that. Pre-collection, so different.", "Nick: Yup. I remember my first time in the field. CSI One. Green as could be. Initial call was a robbery. I get there, triple homicide. Blood all over the place, mother and two kids.", "(NICK puts on his gloves as they reach the bottom of the hill, GREG close behind him.)", "Greg: How do you deal?", "Nick: You just do.", "(GRISSOM is standing hear the front of the overturned bus. He's looking at the passenger list on a clipboard when NICK and GREG join him.)", "Nick: Okay, what's next?", "Grissom: Well, we're missing a passenger. The only one unaccounted for is an ex-con named Calvin McBride. According to Brass, he wasn't admitted to the hospital and he's not in any of the body bags.", "Nick: What about the rest stop in Barstow", "Grissom: CHP and the Barstow P.D. are looking.", "(NICK nods.)", "Greg: Anybody check the bus?", "(NICK and GRISSOM look at each other.)", "Nick: I'll find out.", "(NICK takes off his jacket and walks inside the bus. He pulls out his flashlight and looks around. He sees the embroidery on the floor, blood spattered on it. A row behind that, he sees the magazines. A row behind that, he sees a photo album. He also sees a lot of blood on the bus.)", "(Cut to: GRISSOM and GREG as they wait outside.)", "Grissom: Firefighters only look in the obvious spots.", "Greg: Just out of curiosity, what are the unobvious spots?", "Grissom: For bodies?", "Greg: Yeah.", "Grissom: Walls, hot water heaters stuffed in the box spring of a hotel room bed. (adds) I found a head in a bucket of paint once.", "Greg: I get the picture.", "(Cut to: Inside the overturned bus, NICK checks out the lavatory. GRISSOM peers in and calls out to NICK.)", "Grissom: What do you see?", "Nick: Well ... McBride's not on the bus.", "(NICK makes his way back to the front of the bus. He finds a paper package with the broken bottle of liquor inside.)", "(Quick CGI POV of: The camera slowly zooms into the package and to the bottom of the broken bottle inside. End of CGI POV.)", "Nick: Hey, Grissom. Cheap whiskey. Broken bottle. Brown paper bag. You know, I never gave the bus driver a breath test.", "(GRISSOM holds out a bag to GREG.)", "Grissom: Greg, bag this, take it to the lab, swab the rim for DNA.", "(Automatically, GREG takes the evidence bag. He opens it and NICK puts the paper bag into it.)", "Grissom: (to GREG) You should be wearing gloves.", "Greg: Sorry.", "(GREG seals the evidence bag and leaves. GRISSOM looks down at the passenger list.)", "Grissom: This guy was in 1C.", "(GRISSOM and NICK both look at the seat.)", "Nick: Seat 1C was the only seat with an unobstructed path through the windshield.", "(GRISSOM looks at the windshield. The windshield opposite the driver's side is completely missing. He turns around and checks the ground.)", "Grissom: Where's the other half of this windshield?", "(GRISSOM turns around and starts searching the area for the windshield. NICK walks out of the bus. They both look around for the windshield. They find it with an impact crack and blood on it.)", "Nick: Laminated safety glass, pops in, pops out.", "(They walk further and find CALVIN McBRIDE.)", "Nick: Hello, Mr. McBride.", "Grissom: I'm afraid our ex-con just got the death penalty.", "FLASH TO WHITE:", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. HOSPITAL - NIGHT]", "(CATHERINE is at the nurse's station trying to get information about the Camaro driver.)", "Catherine: He's one of the victims in the bus crash. He was in the Camaro. He was driving the Camaro.", "(CATHERINE turns and sees them wheeling the Camaro driver into the ER on a gurney. She heads toward them.)", "Catherine: Excuse me.", "ER Doctor: (shakes his head) Ma'am, not now.", "Catherine: Catherine Willows with the Las Vegas Crime Lab. This will just take a second. Can you tell me your name?", "Eric Kevlin: Eric.", "Catherine: Eric?", "Eric Kevlin: I just wanted to surprise her. That's all. If I don't make it, please tell her I'm sorry.", "ER Doctor: Ma'am, this is the operating room. You need to leave.", "(The ER DOCTOR stops CATHERINE. They wheel ERIC into the OR and leave CATHERINE out in the hallway.)", "[SCENE_BREAK]", "[EXT. CRASH SITE - DAY]", "(GRISSOM instructs two men from DETAIL on what he wants taken back to the lab. The two men study the overturned bus.)", "Grissom: I need the two front wheels, axle, suspension, all of it. The whole front undercarriage.", "Detail: You got it.", "(GRISSOM turns around and sees a woman pacing the dirt road aimlessly. She has her arm in a sling. GRISSOM walks up to her.)", "Grissom: Excuse me, miss. This is a crime scene. It's off limits.", "Woman: (short blk hair) (dazed) I know. I was, uh, I was on the bus.", "Grissom: Why are you here?", "Woman: I don't ... I don't know. (She starts to cry.) I'm sorry.", "[SCENE_BREAK]", "[EXT. HIGHWAY - DAY - CONTINUOUS]", "(Up on the highway, SARA walks the road looking at the rubber from the bus tire scattered along the road. WARRICK kneels down next to the guardrail taking pictures of the marks.)", "(SARA kneels down and picks up a piece of rubber (evidence marker #41) and looks at it.)", "(She sighs.)", "Sara: Shreds of rubber everywhere. Between the crash, and all the other interstate traffic it might as well be the Indy 500. This stuff could be from any vehicle.", "Warrick: There's no doubt that this bus body-checked this k-rail.", "(SARA bags the piece of rubber she's holding and walks along the road looking at the tire treadmarks. She stops and kneels.)", "(She pulls off her glasses and visualizes the buss and camaro coming down the road.)", "(She turns to look at WARRICK walking toward her and still she visualizes the bus as it sideswipes the guardrail and heads straight for her and off the road, tires squealing.)", "(Cut to: WARRICK follows the treadmarks and takes pictures along the way. He lifts his head from the camera and looks at SARA who is still deep in thought about the bus.)", "Warrick: You've got that \"Sara\" look.", "Sara: You mean that \"Grissom\" look? (WARRICK walks between the bus skid marks. Sara points.) Second set of skid marks. Camaro.", "(SARA stands.)", "Warrick: I got a theory. Grissom said the suspension gave on the bus, right? Broken rod arm.", "(SARA walks toward WARRICK, her eyes on the skid marks.)", "Warrick: Well, I'm thinking when that rod arm hit the pavement it made this great first impression here.", "(Quick flashback to: Under the bus view of the rod arm dragging on the road. End of flashback. Resume to present.)", "Sara: If this is the bus ... the bus begins to slide right. Driver overcorrects.", "(Quick flashback to: On the road, the bus swerves to the left, the bus turns right. End of flashback. Resume to present.)", "Warrick: Crosses the highway slams into the k-rail.", "(Quick flashback to: On the road, the bus hits the guardrail, sparks fly. End of flashback. Resume to present.)", "Sara: Meanwhile the Camaro's holding steady in the right lane heading straight for us.", "Warrick: Bus bounces off this k-rail ...", "(Quick flashback to: On the road, the bus heads away from the guard rail. End of flashback. Resume to present.)", "Warrick: ... heads back towards us.", "Sara: Taking out anything in its path.", "(Quick flashback to: On the road, the bus crosses lanes and into the Camaro. Both go off the highway. End of flashback. Resume to present.)", "Sara: Bus crosses four lanes of traffic and only takes out the car behind it?", "Warrick: Yeah. Someone upstairs was looking out big-time.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY / DNA LAB]", "(GRISSOM walks through the hallway. In the DNA Lab, GREG sees GRISSOM and comes out of the lab to intercept him.)", "Greg: Hey, boss. I had a feeling you were coming. I ran the DNA on that whiskey bottle. You'll never guess. It's not the bus driver but I do have an answer behind door number two. Seat number 1C. (He hands GRISSOM the results.) Calvin McBride. He's an ex-con. Found his DNA in CODIS.", "(GRISSOM looks at the results.)", "Grissom: Good, Greg. Did you enjoy being in the field?", "Greg: (warily) You heard about it, too?", "(GRISSOM looks at GREG, puzzled.)", "Grissom: What?", "Greg: That I ... messed up.", "Grissom: No.", "Greg: (nods) Well, then ... I enjoyed it fine.", "(GREG returns to his lab. GRISSOM watches him.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY - DAY]", "(ROBBINS goes over his findings for MARTIN DRAPER, the bus driver, with NICK.)", "Nick: You're telling me this guy wasn't intoxicated.", "Robbins: Not a drop of ethanol in his system not even from cough syrup.", "Nick: He could barely put a sentence together. If he wasn't drunk, then what was he?", "Robbins: My guess, hungry. Driver's medical eval taken just last month. Martin Draper, 40. (ROBBINS hands NICK the clipboard.) Overweight. One of 15 million people in this country suffering from Type II Diabetes.", "Nick: On any medication?", "Robbins: Primary course of treatment would have been exercise and weight loss to lower blood sugar.", "Nick: Doesn't look like he was hitting the gym.", "Robbins: But he was dieting.", "(GRISSOM walks into the room.)", "Robbins: Crash dieting. Didn't find any food in his stomach. Means he hadn't eaten anything in at least six hours. An empty stomach invites hypoglycemia.", "Grissom: Symptoms of which can mirror intoxication.", "Robbins: And in extreme cases?", "Grissom: Loss of consciousness and seizure. Do I pass?", "Robbins: Cum Laude.", "Grissom: Cause of death?", "Robbins: Just what you'd expect. Massive injuries, internal bleeding.", "Nick: So, it's not the driver ...", "Grissom: We're looking at the bus.", "[SCENE_BREAK]", "[EXT. HIGHWAY - DAY]", "(WARRICK kneels down and places evidence marker #11 on the road next to a bolt he finds near the guard rail. He takes a picture of it.)", "(He picks up the bolt and stands up. He looks at the tip and walks over to SARA.)", "Warrick: Check this out.", "(She shows SARA the bolt.)", "Sara: A bolt? Nice. I got twenty of them.", "Warrick: Well, this one's sheared.", "(SARA looks at the bolt again.)", "Sara: It is, isn't it?", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA and WARRICK are in the lab running a test on the bolt found on the road. WARRICK puts the bolt in the machine. He starts running the test.)", "[READINGS ON MONITOR:", "[ MEAS HRC", "CONV 67 HRA", "APPROX 123 KSI", "CYL OFF ]", "(Camera zooms in on the bolt.)", "[NEW READINGS ON MONITOR:", "[ MEAS 25.37 HRC", "REMOVE PART", "APPROX 123 KSI", "CYL OFF ]", "(The machine finishes the test. WARRICK and SARA look at the results then turn to look at each other.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE ]", "(NICK walks in with a fax.)", "Nick: Bus company just faxed over a maintenance report. Bus was in perfect working order. Serviced last week.", "Grissom: Does this look like it's in perfect working order?", "(NICK looks down at the parts GRISSOM has on the garage floor. SARA and WARRICK walk into the garage.)", "Nick: Uh ... no.", "Grissom: What'd you get?", "Warrick: Three-quarter inch bolt. It matches the bolt on the specs for this suspension system. The hex head says it's a grade eight.", "(WARRICK hands the baggied bolt to GRISSOM. He looks at it and notices the sheared end.)", "Grissom: Snapped in half?", "Sara: Bolts are graded according to their hardness. The higher the grade, the stronger the steel.", "Nick: A grade eight bolt shouldn't snap like a toothpick.", "Grissom: Did you do a Rockwell hardness test?", "Nick: Yeah, I hit it with the tru-blue. It's not a grade eight. It's a grade five.", "(GRISSOM look at the three bolts lined up on the parts on the floor. He picks on of the three bolts up and holds it up.)", "Grissom: Often when there's one ... there's another one.", "Sara: Bus company was using bogus bolts.", "Grissom: Inferior bolts would cause the suspension to give the bus veers off the road. If the sheared bolts were the first action.", "Warrick: No, the bolts snapped midway through the skid after the bus hit the k-rail.", "Grissom: Proof?", "Sara: The gouge in the road.", "(GRISSOM looks at the rod arm.)", "Grissom: Broken rod arm, maybe?", "Nick: Okay. Driver hits the brakes, initiates the skid.", "(Quick flashback to: On the road, camera close up of the bus tire in skid. End of flashback. Resume to present.)", "Grissom: Why'd he hit the brakes?", "Nick: Another vehicle.", "Sara: Nope, only two sets of fresh skid marks on that stretch of highway.", "Warrick: And the Camaro's skid marks place it behind the bus.", "Grissom: So I ask again -- why'd he hit the brakes?", "(NICK chuckles.)", "Nick: Man, there could be a million reasons.", "Grissom: Well, fortunately, we're just looking for one.", "[SCENE_BREAK]", "[INT. HOSPITAL WAITING ROOM / HALLWAY - DAY]", "(CATHERINE is sitting in the waiting room reading a file. BRASS turns the corner and walks toward her. CATHERINE sees BRASS and stands up.)", "Brass: The kid in the Camaro didn't make it.", "Catherine: Eric Kevlin, 32. He was a resident at the UCLA Med Center. He was on his way to Vegas to surprise his girlfriend.", "Brass: Only to end up pinned under a bus.", "Catherine: But he's rescued. Given a second chance on life. and, uh ... he signs this.", "(CATHERINE hands BRASS a form. It reads: )", "[EMERGENCY MEDICAL SERVICES PREHOSPITAL DO NOT RESUSCITATE (DNR) FORM", "An Advance Request to Limit the Scope of Emergency Medical ... (print patient's name) ERIC KEVLIN, request limited emergency ... ... DNR means that if my heart stops beating or if I stop breathing, m ... ... or heart functioning will be instituted. ... will not prevent me from obtaining other emergency ... ... personnel and/or medical care directed ... ]", "Catherine: It's a pre-op DNR.", "Brass: \"Do not resuscitate\"? It doesn't make sense for a young person. Why refuse CPR?", "(CATHERINE shakes her head.)", "[SCENE_BREAK]", "[INT. MOJAVE EXPRESS - GARAGE - DAY]", "(WARRICK and GRISSOM talk with LARRY MADDOX.)", "Larry Maddox: Our company has an excellent safety record.", "Warrick: Until last night.", "Larry Maddox: Look, you own an airline or a bus company -- any transport business -- accidents are inevitable.", "Grissom: Criminal acts, however, are another matter.", "Larry Maddox: Wait a minute. I've got a family. Sometimes they ride my buses. I don't take a chance with their lives or anybody else's. I screen all my drivers. Zero tolerance for drugs or alcohol. I keep strict maintenance records. Vehicle inspection every 45 days as required by law. You're not going to find anything criminal here.", "(GRISSOM show LARRY MADDOX the bolt.)", "Grissom: I believe this belongs to you.", "(LARRY MADDOX looks at the bolt carefully.)", "Larry Maddox: Bolt, grade eight. Sheared. It doesn't happen.", "Grissom: The front suspension was riddled with these.", "Warrick: We have more questions about the accident but one thing we know: the suspension didn't hold.", "Larry Maddox: I buy all my spare parts from reputable companies.", "Warrick: We only care about the bolts.", "Larry Maddox: Brillway Bolt Company. (thinks again) I just switched; they were low bid.", "Warrick: The consequences of saving a buck.", "Grissom: I think maybe it's time for another inspection.", "Larry Maddox: (nods) I'll ground the fleet.", "(LARRY MADDOX steps away from them.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA is in the lab with a piece of the tire found on the road. She holds it up against the tire sample on the monitor. She puts the piece in a large plastic container marked: \"MATCH TO BUS\". On the table, there's a second large plastic container marked: NO MATCH TO BUS\".)", "(SARA picks up a second piece of tire and compares it to the computer monitor. It's not a match. She puts it in the second plastic container.)", "(She picks up a third piece of rubber and continues to compare it to the monitor.)", "(Dissolve to: SARA continues to separate the rubber pieces. She's halfway through.)", "(Dissolve to: SARA continues to separate the rubber pieces. She's almost through.)", "(Dissolve to: SARA finishes and pushes the large container with the NO MATCHES to the side. She puts the other bin in front of her and takes a seat. She picks up a piece of rubber and examines it closely.)", "[SCENE_BREAK]", "[EXT. GAS STATION -- DAY]", "(BRASS questions various people at the GAS STATION.)", "Brass: I get it. It's busy here in Barstow. But you do remember the bus?", "Gas Station Attendant (man): Yeah, I knew the driver. Marty. Always fill him up on the return trip.", "SHORT TIME CUT TO:", "Woman: I remember this one guy kept checking me out. Bought a lot of turkey jerky. Oh, and this one couple was having a fight.", "Brass: Did, uh, did they come off the bus?", "Woman: I don't know.", "Brass: But you do remember the bus?", "SHORT TIME CUT TO:", "Sean: Of course. Mojave Express. Always on time. Ten-minute rest stop, right back on the road.", "Brass: Did you see a couple arguing?", "Sean: No. But it was really busy.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA picks up a piece of rubber tire and looks at it under a magnifying glass.)", "[SCOPE VIEW OF THE TIRE]", "(She finds something unusual on the tire. She takes a swabs of it, marks the box and stands up to leave the lab.)", "[SCENE_BREAK]", "[EXT - CRASH SITE -- DAY]", "(CATHERINE walks up to NICK who is sitting in the Camero examining the car.)", "Catherine: Hey, Nick. We making any progress?", "Nick: Just this jacket so far. Passenger seat. And you?", "Catherine: We checked Kevlin's property at the hospital. There's no wallet.", "Nick: Guy drives from L.A. Four and a half hours -- I got an idea.", "(NICK reaches behind him and tries to open the middle seat divider. He grunts with the effort.)", "Nick: Hand me that, uh, crowbar there, please.", "(CATHERINE hands NICK the crowbar.)", "Nick: Thank you.", "(NICK opens the middle seat divider and pulls out a black leather wallet.)", "Nick: Ha. Bingo. (He hands it to CATHERINE.) I always take mine out. Pain in the ass.", "Catherine: Literally.", "(CATHERINE checks the driver's license.)", "[CALIFORNIA DRIVER'S LICENSE V833255", "EXPIRES 12-15-02", "ERIC KEVLIN", "2440 GREENWOOD AVE LOS ANGELES, CA 90019", "s*x: M / HAIR: BRN / EYES: GRN HT: 6'0\" / WT: 185 / DOB: 01-05-74]", "Catherine: Yeah, that's him.", "Nick: Yeah.", "(CATHERINE looks at the photos in the wallet. )", "Catherine: Nice-looking girl.", "(NICK takes a look at the pictures and recognizes the girl.)", "Nick: Wait. I've seen her.", "(Quick flashback to: On the night of the crash, a woman in a neckbrace is carried off in a gurney. End of flashback. Resume to present.)", "Nick: Yeah. Yeah, I've seen her. She was in the accident.", "[SCENE_BREAK]", "[INT. HOSPITAL ROOM -- DAY]", "(CATHERINE and NICK question TRACEY LOGAN at the hospital.)", "Catherine: He said he wanted to surprise you.", "Tracy Logan: He did. In Barstow at the rest stop. It was supposed to be a girls' weekend.", "(Quick flashback to: At the rest stop, ERIC KEVLIN meets up with TRACEY LOGAN just outside the bus.)", "Eric Kevlin: Come back to L.A. with me, huh?", "Tracy Logan: No! This is my weekend. If this is going to work, I need my space.", "Eric Kevlin: I don't want to lose you.", "Tracy Logan: Then go back home.", "(End of flashback. Resume to present.)", "Tracy Logan: I saw him pull out. Drive off.", "Nick: Well, he didn't drive back to L.A.", "Tracy Logan: (shakes her head) I wish I hadn't yelled at him.", "Catherine: Is there any reason why Eric, in a medical crisis would refuse resuscitation?", "Tracy Logan: What are you talking about?", "Nick: He consented to lifesaving surgery, but ... signed a DNR.", "(She closes her eyes and shakes her head.)", "Tracy Logan: Oh, god. (explains) It's because he was a doctor. He saw it every day. People hooked up to machines waiting to die. He swore he wouldn't let anyone he loved go through that. And if his life was at stake, he wanted to make the hard decision so no one else would have to.", "[SCENE_BREAK]", "[INT. CSI -- A/V LAB]", "(GRISSOM is in the lab looking at the tire skidmarks on the monitor. He works on trying to find what's underneath.)", "(After several passes, he finds the grooves.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB - DAY]", "(SARA paces the floor as she waits for her results. GREG watches her.)", "Greg: I thought I told you I'd page you with the results.", "Sara: I know. I want to wait.", "(SARA continues to pace. She stops and looks at GREG.)", "Sara: Greg? You're really good at what you do.", "(GREG stops and is about to say something, but doesn't. The results are printed. SARA picks it up and looks at it.)", "Sara: Sabotage.", "(SARA walks out of the lab.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE - DAY - CONTINUOUS]", "(GRISSOM is back in the garage surrounded by bus parts. He picks up a part and sighs. SARA enters the garage.)", "Sara: Grissom.", "Grissom: I finally know the first action. What initiated the skid? The right front tire started to come apart. When it blew, it left an indentation in the pavement.", "(Quick flashback to: Camera close up of the tire rim on the asphalt. End of flashback. Resume to present.)", "Sara: I didn't see it.", "Grissom: You and me both. The Treads from the right rear tire obscured it.", "(Quick flashback to: Camera close up of the bus tires skidding over the grooves in the asphalt. End of flashback. Resume to present.)", "Grissom: So, the driver overcorrects but since there's no more tire, all that force is displaced on the suspension system. The bolt snaps, the rod arm breaks and the bus broadsides the camaro.", "(Quick flashback to: The bus hits the Camaro and both vehicles go over the edge of the highway. End of flashback. Resume to present.)", "Sara: But why did the tire come apart in the first place?", "Grissom: I don't know.", "Sara: I do. Chloroform. Inside the tire.", "(SARA hands GRISSOM the test results. He takes it and reads: )", "[\"No further materials can be found on related subject ... subject and info related to csi labeled \"classified ... all relevant database files will continue search and ... State and Federal Institutions yielded similar ... no other agencies have responded at this time Information must go through department with ...", "Findings: Chloroform", "Reported by /s/ GREG SANDERS ]", "Grissom: Newton's Third ... with a twist.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(GRISSOM, SARA, WARRICK and NICK walk through the hallway.)", "Grissom: Yeah, the front right tire was compromised.", "Sara: I found chloroform in the interior fragments of the rubber.", "Warrick: Oh, that's original. What happened to slashing tires?", "Grissom: It wasn't vandalism. It was an act of premeditation.", "Nick: Why chloroform?", "Grissom: Chloroform destroys the elasticity of the rubber. Sooner or later, the air pressure inside the tire causes it to explode.", "Nick: How much later?", "Grissom: Well, that's what we're going to find out. We need a treadmill -- a big one.", "Nick: All right, to do what?", "Grissom: Exercise a bus. Warrick, tell Larry Maddox it's in his best interest to lend us one of his ...", "Warrick: Right.", "Grissom: ... and set it up in the empty police warehouse next door. Sara?", "Sara: Yeah, I'll be at trace. They're going to love this.", "[SCENE_BREAK]", "[INT. CSI - LAB - DAY -- CONTINUOUS]", "(GRISSOM walks into the lab. BRASS and CATHERINE are already there.)", "Catherine: Chloroform in the tire?", "Grissom: Yeah. Weird, huh? So, where are we?", "Brass: Body count jumped to nine dead.", "(BRASS holds up a small photo of a blond-haired woman.)", "Brass: Sabrina Wright, law student, 7-B.", "(He tosses the photo on two other photos on the table. Underneath is a list of people with \"DEAD\" written in red at the top.)", "Brass: Pronounced an hour ago.", "Catherine: 23 passengers, plus the driver.", "(On the table in front of them is a picture schematic of the bus seating and a list of names.)", "[ PARTIAL LIST OF BUS SEATS:", "MARTIN DRAPER / DRIVER", "GWEN MURRAY 1B", "JORDAN YOUNG 2B", "NICK VALPO 3B", "JACK FORBES 4A", "MEL BENNETT 5A", "EMPTY SEATS - ROW 6", "KIMBERLY FRAM 7A", "SABRINA WRIGHT 7B", "NANCY WHITING 8A", "TRACEY LOGAN 8B", "CARRIE SHELTON 9A ]", "Catherine: Whoever tampered with that tire was playing Russian roulette with people's lives.", "Grissom: Or maybe one of them was a target.", "Brass: Hmm .... Gwen Murray, 1-B ... was unemployed, but was clearing a bundle in alimony. Also got the porsche and the vacation home.", "(Quick flashback/fade over to teaser with GWEN MURRAY smiling and talking with the driver, MARTIN DRAPER. End of flashback/fade over. Resume to present.)", "Brass: Michael Goodman, 10-C was picked up a couple times by vice for making fake IDs.", "(Quick flashback/fade over to teaser with MICHAEL GOODMAN reading a book and eating something. End of flashback/fade over. Resume to GRISSOM.)", "(Quick flashback/fade over to teaser with RYAN HYDE smiling and talking with the person sitting across the aisle. End of flashback. Resume to present.)", "Brass: Ryan Hyde, a Money Manager in 4-C, filed bankruptcy last year but carried a hefty life insurance policy. I mean, I could go on.", "Catherine: Right. You look hard enough everybody's got a skeleton.", "(GRISSOM picks up a photo of TRACEY LOGAN off of the table and shows it to CATHERINE.)", "Grissom: What was her skeleton?", "Catherine: Tracey Logan? Seat 8-B? Her boyfriend was Eric Kevlin, the camaro driver. He was a doctor. He followed her from L.A. They had an argument in Barstow.", "Brass: He didn't want her in Vegas. First step to stopping her is stopping the bus.", "Grissom: And he has access to chloroform.", "Brass: Chloroform can be picked up at any chemical supply store.", "Catherine: Wait a minute. Eric Kevlin was a nervous boyfriend. He wasn't a criminal.", "Grissom: Still possible. Motive, access, opportunity.", "Brass: Well, his car should be towed in by now.", "Catherine: I'll check for residue.", "(CATHERINE leaves the room.)", "Grissom: So, who do you like?", "Brass: The bus company. Larry Maddox -- he talks a good game but, he cheaped-out on his supplies and he's been way too helpful.", "(GRISSOM nods slightly.)", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB -- DAY]", "(VINCENT is working when SARA walks in.)", "Sara: You busy?", "Vincent: I got three minutes and, uh, five seconds.", "Sara: Then I have a question for you.", "Vincent: Bus case?", "Sara: Uh-huh.", "Vincent: (without looking up) I heard Sanders broke out of here, fared poorly and disgraced us all.", "Sara: No, he didn't.", "(VINCENT looks up at SARA.)", "Sara: Listen, I-I found chloroform on the inside of a steel-belted radial and I need to know how it got there.", "(VINCENT puts what he's working on down and stands up to look at SARA.)", "Vincent: You ever hear the expression \"pissing up a rope\"?", "Sara: Not in a scientific context, no.", "Vincent: Well, I don't know if you can urinate up a rope but you can urinate against a rope and the urine will dribble down. Answer your question?", "Sara: Yes.", "[SCENE_BREAK]", "[INT. POLICE WAREHOUSE -- DAY]", "(WARRICK leans down next to the bus tires checking his clipboard. GRISSOM walks around the bus toward WARRICK.)", "Warrick: You know we need to document this for the journal of forensic science, right?", "Grissom: Is this the twin?", "Warrick: Yeah, this is the rear trailing tire of the crash bus. It has the same maintenance record as the tire that blew.", "(SARA gets her supplies and walks toward them.)", "Sara: Chloroform, glass rod, valve core remover .... (SARA kneels next to the bus tire.) according to Vincent and Trace, it's like pissing down a rope.", "Warrick: Gravity, huh?", "(SARA shakes her head at the comparison. She demonstrates how the chloroform was added to the tire.)", "(Quick CGI POV of: Camera zooms through the valve, follows the glass rod and into the tire where the liquid shoots out. End of CGI POV.)", "Sara: Reattach the valve ... reinflate the tire ...", "(The air hisses. SARA finishes up.)", "Sara: ...and you're done. Minute, minute and a half tops.", "(SARA puts a hand on the tire rim and pushes herself up. GRISSOM doesn't move.)", "Grissom: Did you see that?", "Warrick: Yeah. You used your left hand to prop yourself up. The perp may have done the same.", "Sara: Ah, yeah, I'm going to go dust that right rim. I'll see you guys.", "(SARA gets her jacket and turns to leave the warehouse.)", "Grissom: Okay. \"Drive,\" he said. Just the speed limit.", "(The bus motor whirls.)", "(Dissolve to: The bus tires on the treadmill.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(SARA dusts the tire rim. She finds a hand print.)", "[SCENE_BREAK]", "[INT. CSI - LAB - DAY]", "(SARA runs the print through the database and finds a match.", "[MATCH FOUND: NOLAN, SEAN DOCKET#: 09273-4972-54 City: Las Vegas DMV INFORMATION: ON RECORD Case#: 23574 ]", "(SARA clicks on the \"DMV INFO\" button. The following screen and information pops up: )", "[Searched DL DEPARTMENT OF MOTOR VEHICLES, NV IDENTIFICATION INFORMAITON ON FILE", "NAME: SEAN NOLAN DOB: 10/2... ADDRESS: 41733 CALLE MATRIA", "LAS VEGAS, NV 89233", "REMARK / OTHER: Class B license with passenger endorsement Report Date: 3/12/02", "# on right corner: 187362733-320", "**DRIVING RECORD HISTORY **", "TYPE -- VIOL / BUS -- CONV / REL -- DESCRIPTION VIOL - 1/02/02 - EXCESSIVE SPEED", "STATUTE: VC", "DOC#: 15627-20 VEH LIC #: 0476362793", "CT LOC: Nevada Officer on Duty: P. Leblane, NHP.", "VIOL - 2/11/97 - excessive speed", "STATUTE: VC", "DOC#: 72850-04 VEH LIC #: 0476362793", "CT LOC: Nevada Officer on Duty: M. Sabga, NHP.", "VIOL - 10/03/91 - BASIC SPEED LAW", "Staute: VC", "DOC#: 318274-34 VEH LIC#: 0476362793", "CT LOC: Nevada Officer on Duty: D. Denver, NHP.", "DRIVER RECORD SERVICE REPORT FOR N... AUTHORITY: 13365 ***End of Report*** ]", "(SARA leans back in her seat satisfied.)", "[SCENE_BREAK]", "[INT. POLICE WAREHOUSE - DAY]", "(The bus on the treadmill continues.", "TIME READS 01:03:21-25", "MPH: 65.0 )", "(Camera refocuses. In front of the machine is a chess game between GRISSOM and WARRICK.)", "(WARRICK'S cell phone rings. He answers it.)", "Warrick: Warrick. Okay. (pause) Yeah, okay. (pause) I'll be there.", "(WARRICK hangs up.)", "Warrick: Sara. She's at the print lab. (beat) She needs me.", "(GRISSOM looks at WARRICK. WARRICK studies the chess board and moves.)", "Warrick: Checkmate.", "(WARRICK stands up and grabs his jacket. He slings it over his shoulder and saunters off, leaving GRISSOM to study the board.)", "(Cut to: The treadmill machine. TIME reads: 01:03:48-50.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA fills WARRICK in on what she's found.)", "Sara: Print off the rim maybe he had a work card on file-- a Sean Nolan.", "Warrick: So, why are you paging me?", "Sara: I pulled up his DMV records looking for an address. I found one, not recent, but ... he's got a class B license with passenger endorsement.", "[ADDRESS: 41733 CALLE MATRIA", "LAS VEGAS, NV 89233", "REMARK / OTHER: Class B license with passenger endorsement Report Date: 3/12/02", "# on right corner: 187362733-320 ]", "Warrick: Oh ... so he can drive a vehicle with over ten passengers.", "Sara: I cross-checked his name with the employee roster from Mojave Express.", "Warrick: Mm-hmm?", "Sara: He's a driver.", "Warrick: Well, I guess I'll grab a uniform and pay Mr. Maddox another visit.", "(SARA smiles. WARRICK leaves.)", "[SCENE_BREAK]", "[INT. POLICE WAREHOUSE -- DAY]", "(The bus continues to run on the treadmill. NICK and GRISSOM are in the warehouse. GRISSOM looks at the laptop monitor.)", "Nick: Bus logged into Barstow at 8:03 P.M. Target would be two hours later.", "Grissom: No, if the tire was tampered with in Barstow it should blow any minute.", "Nick: If not, it was sabotaged in L.A. And we've got another two hours and 13 minutes.", "(SARA and CATHERINE enter.)", "Sara: Hello.", "(GRISSOM watches the bus and sighs.)", "(As if on cue, the bus starts to creak and groan. The tire gives out and explodes completely. The motor stops.)", "Sara: Cool.", "Grissom: Well, I guess it's Barstow.", "Catherine: Listen I scanned Eric Kevlin's car and clothing with an ion detector. There was no chloroform. He was clean.", "Sara: And I got a hit off that print -- a Sean Nolan, employed by Mojave Express.", "Catherine: Any chance he was in Barstow yesterday?", "Sara: Uh, his route is ... Vegas/Grand Canyon but I'll call Warrick. He's on his way to the bus company right now.", "Nick: You know, if this guy Nolan ;worked for the bus company, his print on the wheel could be legit.", "Grissom: Well, I wish we had a \"who\" but at least we have a \"where.\"", "[SCENE_BREAK]", "[INT. MOJAVE EXPRESS - OFFICE - DAY]", "(WARRICK talks with LARRY MADDOX.)", "Larry Maddox: I have a zero tolerance policy. I found marijuana in Mr. Nolan's locker. He was out of here that afternoon.", "Warrick: Well, we're still going to need those maintenance records.", "(LARRY MADDOX nods his head and goes to the filing cabinet. He takes out a file and gives it to WARRICK.)", "Larry Maddox: Everything from fill-ups to tune-ups the last six months.", "Warrick: Thank you.", "(WARRICK leaves.)", "WHITE FLASH TO:", "[EXT. LAS VEGAS DESERT HIGHWAY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. BARSTOW - DAY]", "Catherine: There were security cameras behind the counter but none of them were pointed out here.", "Grissom: Five buses have pulled in in the last ten minutes.", "Brass: Not to mention all the private vehicles, truckers-- nothing's changed since I was here yesterday.", "Catherine: Forget about getting a usable print off that airhose.", "Brass: Yeah, a guy putting air in a tire at a rest stop does not draw attention.", "(GRISSOM'S cell phone rings. He answers it.)", "Grissom: Grissom.", "INTERCUT WITH:", "[EXT. MOJAVE EXPRESS]", "Warrick: Sean Nolan was fired two months ago. Maddox says he's working in Barstow and since then three of Maddox's buses had blowouts. They all went through Barstow.", "Grissom: Did you check their maintenance records?", "Warrick: Yeah, only last night's bus had been serviced since Maddox changed suppliers.", "Grissom: Way to go, Warrick. I owe you.", "Warrick: Yeah, you do. See you.", "(GRISSOM hangs up.)", "Grissom: We got a suspect. Sean Nolan.", "[SCENE_BREAK]", "[EXT. BARSTOW - DAY -- CONTINUOUS]", "(GRISSOM, CATHERINE and BRASS walk across the way to SEAN NOLAN.)", "Brass: That's him. That's our boy. Sean Nolan?", "Sean Nolan: Can I help you?", "Grissom: Yeah, there was a bus crash up the road. About nine people died.", "Sean Nolan: Yeah, it's all over the news. I already talked to him.", "Brass: I forgot what you told me. Wasn't much to tell.", "Catherine: Your prints were on the bus.", "Sean Nolan: Not following.", "Catherine: Front right wheel hub.", "Sean Nolan: I work here.", "Grissom: Julius Caesar, murdered in 44 B.C. Legend has it that the molecules from his last breath spread all over the world. Probably like your fingerprints, right? They're everywhere.", "Catherine: Uh ... Mr. Nolan, have you handled any chloroform lately?", "Sean Nolan: No.", "Catherine: You mind?", "(CATHERINE checks.)", "Sean Nolan: What are you doing?", "Catherine: Would you turn around, please?", "(As she nears the gauge in his back pocket, the monitor beeps rapidly.)", "Grissom: Whoa. Is that a pickle in your pocket or are you just happy to see us?", "(CATHERINE takes out his pressure gauge to check. She looks at it.)", "(Quick flashback to: SEAN NOLAN uses the pressure gauge to put chloroform in the bus tire. He glances around and caps the tire. End of flashback. Resume to present.)", "Sean Nolan: Just wanted to stick it to him. Give him a few problems.", "Brass: Maddox?", "Sean Nolan: Yeah. I smoke one joint on the weekend... my time. Now I got a jacket as a junkie. Can't get a job driving a bus to save my life.", "Catherine: So, you figured, \"I'll just blow a couple of his tires.\"", "Sean Nolan: Even if a tire blows the suspension system should keep the bus on the road. I been driving buses for ten years. I've never seen a flat take out a bus.", "Brass: Well, there's always a first time. You're under arrest.", "(BRASS signals the officers to cuff SEAN NOLAN.)", "Sean Nolan: I didn't mean to hurt anyone, okay?", "(They take him away.)", "Catherine: Well, I'd hate to be a juror on a case like this.", "Grissom: Second-degree murder.", "Catherine: Reckless disregard for safety and human life mitigated by bad bolts.", "Grissom: Yeah, which was mitigated by greed.", "(They turn and walk away just as the next bus pulls into BARSTOW.)", "MAN (OVER P.A.): Well, folks, we're about two hours and 45 minutes from Vegas. Let's see if I can get you there ahead of schedule." ]

[ "Jane Galloway is a nervous breakdown waiting to happen. She has completely shielded herself from the outside world, but that doesn't stop a stalker in her attic from killing her. When CSI arrives, they find her hair dyed and her face shoved in the toilet. This image has a heavy impact on Nick, and they soon realize that this stalker is well acquainted with Nick, which makes the CSI the next target." ]

[ "[EXT. LAS VEGAS (STOCK) - NIGHT]", "(Off Screen, a phone rings.)", "[EXT. LAS VEGAS (STOCK) - NIGHT]", "(Off Screen, the phone continues to ring.)", "[EXT. LAS VEGAS (STOCK) - NIGHT]", "Answering Machine: No one is available. Please leave a message.", "[CLOSED CAPTION READS: ANSWERING MACHINE: This is 469-5256. Please leave a message at the beep.]", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT JANE HALLOWAY'S RESIDENCE -- NIGHT]", "(The answering machine beeps.)", "(Camera close up of a telephone. There are 64 messages on the answering machine.)", "Man: (over phone) Jane, you there? Pick up. Okay ... I'll call back later.", "(JANE GALLOWAY, a blond-haired woman, sits crouched and cowering on the floor against the hallway wall next to the answering machine table. She clutches a baseball bat tightly. The person on the answering machine hangs up. The phone begins ringing immediately. It rings once. The answering machine picks up.)", "Answering Machine: No one is available. Please leave a message.", "[CLOSED CAPTION: ANSWERING MACHINE: This is 469-5256. Please leave a message at the beep.]", "(The answering machine beeps.)", "Man: (over phone) Slut. You can't hide from me, bitch. Jane, you there?", "(JANE GALLOWAY is terrorized by the sudden change of message. She looks at her front door. The three locks on her door don't move. She clutches her baseball bat and nervously chews on her fingernails.)", "Man: (over phone) Now, didn't I tell you ... not to bite your nails?!", "(JANE GALLOWAY freezes. She realizes that this person over the phone can see her. She gets up and rips the phone cord from the wall, stands and runs to the bathroom at the end of the hallway. She bangs against the bathroom window, both are covered and nailed shut.)", "(Unable to get the window open, she runs out of the bathroom and back down the hallway into her bedroom and slams the door shut. She frantically looks around and backs herself into her closet. She shuts the door in front of her. She sits in the dark, cowering in fear.)", "(She opens the closet door a crack and looks out. She sees the bedroom door slowly open wider. Other than that, nothing. Her dog whimpers and scratches at the closet door.)", "Jane Galloway: Shoo, Peanut. Go away. Go away.", "(The dog continues to whimper. She opens the closet door and grabs the dog and pulls him in with her. She shuts the closet door again. She pushes herself into the furthest corner of the closet away from the door.)", "(Two gloved hands suddenly appear out of the darkness her and grab her from behind. She screams. The hands stifle her cries, they cover her mouth. She struggles. She screams. She tries to get away. She fights.)", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S RESIDENCE - BATHROOM -- NIGHT]", "(JANE GALLOWAY, is bent over her toilet. Hugging it. CATHERINE snaps a photograph. GRISSOM stands on the side shining his flashlight on the victim. CATHERINE continues to snap photographs.)", "Grissom: Posed?", "Catherine: Reading my mind.", "(CATHERINE moves the camera slightly and takes a picture of something across the room. GRISSOM immediately shines his light there. The bathtub has streaks of red on its rim.)", "Grissom: What do you make of the smears?", "(CATHERINE takes out a swab from her kit and moves to collect a sample.)", "Catherine: It's definitely not blood. Wrong color, texture.", "(She lifts it up to her nose and smells it.)", "Catherine: It's hair dye.", "Grissom: Her hair's still wet. You think the assailant surprised her while she was dyeing her hair?", "Catherine: Who called it in?", "Grissom: Neighbor lady -- doing the dishes with her window open. Heard the dog yelping, evidently. Called the cops.", "(CATHERINE notices the bathroom windows.)", "Catherine: There's no sign of forced entry. The bathroom window's nailed shut.", "(GRISSOM and CATHERINE look around. GRISSOM walks out into the hallway and notices the doggie bed against the wall.)", "Grissom: So, has anyone seen this dog?", "Catherine: Dog bed, dog bowl, dog food ... no dog.", "(They both walk out of the bathroom and through the hallway. CATHERINE notices the front door.)", "Catherine: Triple locks on all the doors. Every shade drawn. State-of-the-art alarm system. As far as we know her place was perfectly hermetically sealed until the cops batter-rammed their way in.", "Grissom: Prisoner in her own home?", "Catherine: So, how did he get in?", "Grissom: A better question -- how'd he get out?", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S RESIDENCE - LIVING ROOM]", "(GRISSOM pushes the curtain away. The living room windows are covered also.)", "Grissom: Aluminum foil.", "Catherine: Keeps the sunlight out. GRISSOM: Keeps the eyeballs out, too.", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S RESIDENCE - BATHROOM]", "(Camera close up on NICK. He's staring intently at the victim poised over the toilet bowl. For some unknown reason, this scene disturbs him. He's so intent on the scene in front of him that he doesn't notice GRISSOM enter the bathroom through the door behind him. He doesn't hear GRISSOM approach.)", "(NICK jumps as GRISSOM appears right behind him.)", "Grissom: Sorry, Nick. You've been staring at this girl for ten minutes. Do you know her?", "Nick: (quietly) No.", "Grissom: Why don't you go do the bedroom? I'll get the coroner in here and finish up in the bathroom.", "Nick: Sure.", "(GRISSOM motions to the bedroom. NICK leaves the bathroom.)", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S RESIDENCE - BEDROOM -- CONTINUOUS]", "(CATHERINE is looking for body fluids on JANE GALLOWAY'S bed with an ALS. NICK walks in and puts his kit down.)", "Nick: Hey, Catherine, I'll get that.", "Catherine: No. I got it.", "(Without taking her eyes off the bed, she holds out her hand to NICK.)", "Catherine: Tweeze me. Thank you.", "(She picks up a single strand of hair and holds it up for NICK to look at.)", "Catherine: So, what do you think?", "Nick: A little thick for a human hair.", "Catherine: No, I've seen them this thick.", "Nick: Really?", "Catherine: Yeah.", "(NICK pulls out a bindle. CATHERINE puts the hair inside.)", "Nick: I'll get it to the lab.", "(NICK turns away. CATHERINE stops him.)", "Catherine: Oh, and don't forget what's under the bed.", "Nick: Why, what's under the bed?", "Catherine: Something that you would have caught eventually ... \"Crime Stopper\" ...", "(NICK chuckles.)", "Nick: No one's going to let me live that one down, are they?", "Catherine: No. You know, now that you're a celebrity, you may want to think about getting a new shirt.", "Nick: Yeah? Well ... I'm short on options. Besides, the dry cleaners keeps losing my stuff.", "(NICK lifts up the bedding and glances under the bed where he finds a plastic bag. GRISSOM enters the bedroom.)", "Grissom: What'd you get?", "Nick: Grocery bag with a red smudge.", "Grissom: Good. Fume it. Tell Sara and Warrick to grab a couple shovels and dig in, too.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(NICK walks through the hallway. As he passes the bulletin board, he stops to glance at the latest issue of the \"Crime Stopper\" newsletter posted on the boards. On the cover is a front page article on \"Nick Stokes\", complete with photograph on the right. He sighs and rips the newsletter off the hanging clipboard.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM]", "(As NICK enters the break room, we can hear laughter and giggling. NICK smiles and shakes his head. WARRICK and SARA are sitting at the break table, huddled over the latest \"Crime Stopper\" issue.)", "Warrick: Who wrote this?", "Nick: You're kidding me, right?", "Warrick: \"Nick Stokes, Crime Stopper.\"", "(NICK chuckles.)", "Warrick: You went Hollywood on me, man.", "Sara: And I quote, \"in his off time, he enjoys creating and inventing toys.\" That's fascinating. What kind of toys do you make, Nick?", "Nick: I thought I got my hands on all those departmental newsletters. Where'd you get those?", "(Both WARRICK and SARA look up innocently at NICK. NICK has the article that WARRICK and SARA were reading.)", "Warrick: Greg.", "Sara: Greg.", "Nick: Yeah, that figures. All right, listen, Grissom wants us to divide and conquer. Blond hair for you, Warrick.", "(NICK hands WARRICK the bagged strand of hair.)", "Warrick: I do love a blond.", "(NICK puts the file folder on the table in front of SARA.)", "Nick: Sara, you're on phone records.", "Sara: Yay.", "(NICK slowly leaves the room. He crumples the newsletter on his way out.)", "Warrick: Hey, I wasn't done reading that.", "Nick: Yes, you are.", "(NICK tosses it into the trash can as he leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "Robbins: We know two things for certain. Jane Galloway died from a lack of O2 and she is a natural blond.", "(ROBBINS and GRISSOM both pause and turn to look at CATHERINE.)", "Catherine: What are you looking at me for?", "Grissom: Sorry. So, what -- suffocation?", "Robbins: It certainly looks that way.", "(Quick CGI POV to close up of an eye being opened by two fingers. The eyes redden and the skin around the eye turns a blue-ish color. Flash to white. Resume to present.)", "Robbins: Uh, petechial hemorrhaging in the eyes, deoxygenation led to cyanosis, hence the blue lips ...", "(Quick Flash to close up of JANE GALLOWAY'S face with focus on her lips turning a bluish-color. Resume to present.)", "Robbins: ... blue fingertips ...", "(Quick Flash to close up of fingertips turning a bluish-color. Flash to close up of face with blue lips turning a bluish-color. Resume to CATHERINE.)", "Robbins: ... and blue face.", "Grissom: No ligature marks on her neck.", "Robbins: If she had struggled with her assailant that effort alone could have limited her oxygen intake causing further O2 depletion of the brain ...", "(Camera close up of JANE GALLOWAY'S head. The camera moves in closer to her forehead and goes through the brain and through the skull to show a tangled maze of nerves and veins as electrical impulses and flashes of light travel its path. Flash to white. Resume to present.)", "Robbins: Easy kill.", "Grissom: Sexual assault?", "Robbins: No physical findings. You'll have to check the kit.", "Catherine: So, he murders her, poses her, yet he doesn't rob her or rape her.", "Grissom: So, what's his agenda?", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK walks into the lab. GREG is sitting at the table reading a \"Teen\" magazine with Pink on the cover. He doesn't move when WARRICK enters.)", "Warrick: How's that platinum blond coming?", "Greg: Wrong question.", "Warrick: Come on, Greg I'm not getting anything out of trace. I was hoping you could help me out here.", "Greg: I took a snip, ran a crossed immuno-electrophoresis.", "(GREG puts his magazine aside and picks up the bag with the hair sample. He tosses it to WARRICK.)", "Greg: Didn't pass.", "(GREG goes back to his magazine.)", "Warrick: Not hair? Not human? What are you reading?", "(GREG turns the cover over and shows it to WARRICK.)", "Greg: This is Pink. Pink, this is Warrick.", "(GREG looks at the cover.)", "Greg: Do you know how hot you are? Ssss!", "Warrick: Bet I know someone who's hotter and I'm not talking about looks.", "(GREG looks at WARRICK.)", "Greg: Yeah?", "Warrick: Yeah.", "Greg: How mad is he?", "Warrick: Watch your back.", "(WARRICK leaves the lab.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(NICK is fuming the plastic bag when GREG walks in. He knocks lightly on the door.)", "Greg: Heard you were looking for me?", "Nick: Greg. Come here. I want to talk to you for a sec.", "(GREG hesitates at the door.)", "Nick: Come on.", "(GREG walks in and stops when he reaches NICK.)", "Greg: What's up?", "(NICK slaps GREG on the back and grasps the back of his neck.)", "Nick: Stop invading my privacy, man, I don't like it. I'm just trying to do my job around here. I don't need the extra attention.", "Greg: Okay. But, I mean, you are the one who's doing the \"Forensic Spotlight\" in the department newsletter.", "(NICK tightens his grip on GREG'S shoulder. GREG winces in pain.)", "Nick: I didn't do anything, man. Someone from the community wrote a letter of commendation. Public affairs ran it. Cool?", "(GREG nods.)", "Greg: Cool.", "(NICK lets go of GREG and walks around the tank. GREG sighs and looks into the tank.)", "Greg: So, uh, what are you fuming?", "Nick: Plastic bag from the crime scene. I'm trying to get lucky -- see if I can get some prints off it.", "(NICK opens the top of the tank and starts to fan the fumes. GREG stares intently at the plastic bag inside.)", "Greg: Did she die of suffocation?", "(NICK stares at GREG, amazed that he got it in one. GREG still stares at the plastic bag inside the tank. He glances up at NICK when he doesn't get a response.)", "(NICK catches on that GREG sees something. He moves back around the tank to stand next to GREG. On the plastic bag is the imprint of JANE GALLOWAY'S face.)", "(Quick flashback to the plastic bag wrapped around JANE GALLOWAY'S head. She struggles and screams. Flash to white. End of flashback. Resume to NICK.)", "(Camera holds on NICK.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(BRASS, GRISSOM and SARA walk through the hallway. GRISSOM is holding an open file folder.)", "Brass: Did some digging on Jane Galloway. Her boyfriend had a TRO against him.", "Sara: And according to the phone records the guy called Jane thirteen times the day of the murder.", "Brass: And that's thirteen times too many according to the restraining order. We're going to check out his house.", "Grissom: I'll be on my cell.", "(GRISSOM hands the folder to SARA. She and BRASS leave. WARRICK appears in the hallway.)", "Warrick: Grissom, you got a second? I got a mystery.", "(WARRICK leads GRISSOM to the lab.)", "[SCENE_BREAK]", "(Microscope view of the strand of \"hair\" found at JANE GALLOWAY'S residence.)", "[INT. CSI - LAB - DAY -- CONTINUOUS]", "Grissom: No becke line.", "Warrick: Yeah.", "Grissom: Hair refracts light under cross polarization but glass doesn't.", "(GRISSOM looks at WARRICK.)", "Warrick: Well, it's not a hair. It's a synthetic fiber. Glass-- what do you think, fiberglass?", "Grissom: Maybe.", "Warrick: This could be a lot of things.", "Grissom: You'll figure it out.", "(GRISSOM leaves. Camera holds on WARRICK.)", "[SCENE_BREAK]", "[EXT. ADAM PIORIO'S RESIDENCE -- DAY]", "(BRASS pounds on ADAM PIORIO'S front door. Both he and SARA wait for a response. There's no answer.)", "Brass: Looks like the boyfriend skipped out on us.", "(SARA and BRASS leave ADAM PIORIO'S house #25054. As they walk away from the house, SARA notices something.)", "Sara: Hey, Brass? Isn't that his car?", "(Sure enough, there's a car parked across the street in front of a Chevron Tahoe with Nevada Plates GRO-480.)", "(BRASS approaches the car with his gun drawn. SARA is on her cell phone calling it in. BRASS knocks lightly on the side of the car as he makes his way to the front seat to let whomever is in the car know that he's approaching.)", "Sara: Control, this is P-9241 requesting backup and medical assistance. The 1800 block of Newhaven Road. Possible 419.", "Dispatcher: P-9241, copy.", "(In the front seat of the car, a man is hunched over the steering wheel, his face bloodied and bruised.)", "(BRASS puts on a latex glove to check the man's pulse. SARA unholsters her gun to cover him.)", "(The man in the front seat jumps as BRASS touches him. This startles BRASS.)", "Brass: All right, all right. Get out of the car, get out of the car.", "(BRASS opens the car door and the man gets out of the car. He appears woozy and disoriented.)", "Brass: Sit down on the ground. Sit down, sit down. Sit down; just sit.", "(ADAM PIORIO sits down on the road, his back against his own car.)", "Sara: Sir, are you okay? You all right? You seem injured.", "Adam Piorio: No, I'm all right.", "Brass: Are you Adam Piorio?", "Adam Piorio: Yes.", "Sara: Any idea how you got this blood?", "(As if he were just made aware that he's been bleeding, ADAM PIORIO pauses to think about it.)", "Adam Piorio: I don't remember.", "Brass: We're going to take you to a place and help you remember.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Brass: Let's start again. What happened last night?", "Adam Piorio: I'm telling you, I don't know.", "Sara: Adam, we're analyzing the blood that we found on your shirt with the blood of your girlfriend. It's going to tell us everything that we want to know.", "Adam Piorio: Look, we broke up a few weeks ago. She ... she started acting weird for no reason.", "Sara: She had a TRO against you. Something must have happened to spook her.", "Adam Piorio: She changed overnight. She... she wouldn't return any of my phone calls. She started calling in sick at work. Barricading herself in her own house.", "Brass: So, you went to Jane's house. What next?", "Adam Piorio: We started arguing.", "(Quick flashback to ADAM PIORIO yelling through JANE GALLOWAY'S chained front door.)", "Adam Piorio: Open this door. What do you mean I can't come within one thousand feet of you? Open the door.", "Jane Galloway: (screaming) Stay away from me!", "(The front door closes. Flash to white. End of flashback. Resume to present.)", "Adam Piorio: I was afraid she was going to call the cops, so I-I left.", "Sara: Well, that's interesting because according to her phone records, she never did ... call the cops.", "Brass: But you called her thirteen times. Once, you're in love. Twice, you're obsessed. More than three, you're a stalker.", "Adam Piorio: We just broke up. All right, I was ... I was rolling on \"e\" last night. Give me a break.", "Sara: Adam? That's not all you were taking last night.", "Adam Piorio: I was on a lot of stuff last night. I was a space cadet. I'm not a murderer.", "(CATHERINE walks in.)", "Catherine: Blood doesn't match our victim. The girlfriend of a Ricco Manzo filed the police report last night. It seems that Adam here put Ricco in the hospital with a broken nose from a fight at bar 9-1-1.", "Brass: Well, that's a lucky alibi. Roll him out of here.", "(Two police officers escort ADAM PIORIO out of the interrogation room.)", "[SCENE_BREAK]", "[EXT. (STOCK) - EVENING]", "[EXT. SIDEWALK TO NICK'S HOUSE - EVENING]", "(NICK walks up the sidewalk and to his driveway. He's reading the mail. He passes a person by on his trek from the sidewalk to the driveway.)", "[SCENE_BREAK]", "[INT. NICK STOKE'S RESIDENCE -- NIGHT]", "(NICK opens his laptop, the basketball game on the television in the background.)", "E-mail: You've got mail.", "(He reaches for the remote and turns the television volume up a bit.)", "On the laptop, the monitor reads:", "FROM: HORNDOG(a)WEBCT.NET", "DATE: THURS, 4 APR 2002 1:46:45 PM E FROM: <HORNDOG(a)WEBCT.NET>", "VIEW PICTURES (284430 BYTES) ...", "--- Original Message ----", "From: Horndog(a)Webct.net", "(NICK chuckles softly and clicks to view the pictures.)", "Nick: (to himself) Horndog? It's a blast from the past.", "(Picture #1's Caption Reads: \"Me (sober) and my Mom\". Two women standing side by side. The taller woman has her arm around the shoulders of the shorter red-headed woman who is dressed up for the night.)", "(NICK takes a bite of whatever he's eating and scrolls to the next picture.)", "(Picture #2's Caption Reads: \"Me and Lisa Cutting a rug\". Two women are standing back to back both in their party dresses, facing the camera as if dancing with each other. One dark-haired and the other the same red-haired woman from picture #1.)", "(NICK smiles and nods his head.)", "(Picture #3's Caption Reads: \"Someone Spiked the Punch\". The red-haired woman from the previous pictures hugging the toilet bowl in her party dress. She appears to be asleep.)", "(NICK smiles at the picture and freezes at the realization that he's seen this before.)", "(Quick flash to JANE GALLOWAY'S crime scene in her bathroom. Flash to white. Resume back to NICK.)", "(Camera holds on NICK.)", "[SCENE_BREAK]", "[INT. CSI -- LOCKEROOM]", "Warrick: What did your prom date say when you called her?", "Nick: She said that she was cleaning out the attic one day stumbled upon them thought she'd send them to me for a laugh.", "Warrick: You think she's a suspect?", "Nick: No. She lives in Bosnia, man. Maine or something. She's got three kids. What's she going to do, fly in for murder?", "(NICK chuckles. Both he and WARRICK are getting ready for work. WARRICK sits on the bench between the lockers and NICK is standing in front of his open locker putting his things on. NICK finishes and closes the locker door. He sits on the bench next to WARRICK.)", "Warrick: Stranger things have happened.", "Nick: I don't know. Something in my gut tells me it isn't right. Hey, what if somebody from work tapped into my e-mail?", "Warrick: No.", "Nick: Yeah. Maybe I forgot to log off one day.", "Warrick: No. You're tripping.", "Nick: No. I'm serious. Somebody had to have read my e-mail.", "Warrick: Change your password.", "Nick: I already did.", "(Camera holds on NICK.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(GRISSOM and BRASS are walking through the hallway.)", "Grissom: How does this relate to the case?", "Brass: Well, he was an eyewitness, sort of. I mean, he says he had a vision of Jane Galloway's murder hours before it happened.", "Grissom: He's a psychic?", "Brass: Well, he has details. He has details that weren't on the news or the press release.", "(MR. MORRIS PEARSON is sitting alone in the waiting room. He turns slowly when GRISSOM and BRASS enters.)", "[INT. POLICE DEPARTMENT - WAITING ROOM -- CONTINUOUS]", "Grissom: Mr. Pearson.", "(Mr. Pearson nods his head and starts to get up then sits down when GRISSOM continues.)", "Grissom: Sit down. Captain Brass tells me that ... uh ... you had some sort of \"vision\" regarding Jane Galloway's murder.", "(GRISSOM takes a seat opposite MORRIS PEARSON. BRASS remains standing.)", "Morris Pearson: Yes, I did.", "Grissom: What kind of vision?", "Morris Pearson: Screaming face in a plastic womb.", "(Quick flashback to someone screaming in a haze of white. End of flashback. Resume to present.)", "Morris Pearson: Blood shower.", "(Quick flashback to a close up of a shower head with red blood-colored water. Another close up of red-blood colored water running down the drain. End of flashback. Resume to present.)", "Grissom: Anything else?", "Morris Pearson: Three hearts beating very fast. Two large, one small.", "(Quick flashback to JANE GALLOWAY struggling against her attacker on the bed. Sounds of hearts beating. Sounds of JANE GALLOWAY'S muffled screams. Peanut, the dog, barks. End of flashback. Resume to present.)", "(MORRIS PEARSON shakes his head. That's all he has.)", "Grissom: Okay. Thank you.", "(GRISSOM stands and starts to leave the room. As he passes BRASS, he whispers.)", "Grissom: This is your eyewitness?", "(GRISSOM continues to leave.)", "Morris Pearson: (o.s.) The dog didn't make it, did it?", "(This stops GRISSOM as he leaves. GRISSOM turns back to MORRIS PEARSON.)", "[SCENE_BREAK]", "[INT. CSI -- BREAKROOM - DAY]", "Catherine: What about Jane's work history?", "(CATHERINE sits down at the table with her cup.)", "Sara: Secretary at a brokerage firm. About three weeks from the day of her death she took a leave of absence.", "Catherine: Medical records?", "Sara: She saw Dr. Slater. Had a prescription for valium and librium.", "(SARA shows the report to CATHERINE who takes it and looks at it.)", "Sara: Severe anxiety due to personal reasons. One day back from leave, Jane quits her job. No notice. Hotel receipts show she checked into the Monaco for two nights.", "(SARA hands the hotel receipts to CATHERINE.)", "Sara (cont.): A week before that she goes on a frightened woman shopping spree.", "(SARA shows CATHERINE the hardware receipts.)", "Sara: Hardware shop receipts for locks. Locksmiths. Alarm installations. Phone screeners. The voice on her answering machine-- electronic. She change her telephone number. She cancels all but one of her credit cards.", "Catherine: It's as if she's trying to make herself disappear.", "Sara: Make no mistake. Jane Galloway was being stalked. Emotional terrorism at its finest.", "Catherine: And her boyfriend had an alibi?", "Sara: Here's the, uh, worst part. Uh, I ran a phone check on all her incoming calls. Guess where they were coming from.", "(CATHERINE looks at the phone record SARA gives her.)", "DATE / TIME / PLACE & NUMBER CALLED 4/16 / 2:44 pm / Las Vegas, NV 555-0146 4/16 / 2:56 pm / Las Vegas, NV 555-0198 4/16 / 5:15 pm / Las Vegas, NV 555-0287 4/16 / 5:18 pm / Las Vegas, NV 555-0188 4/16 / 5:18 pm / Las Vegas, NV 555-0188 4/16 / 5:18 pm / Las Vegas, NV 555-0188 4/16 / 5:19 pm / Las Vegas, NV 555-0188 4/16 / 5:19 pm / Las Vegas, NV 555-0188 4/16 / 5:19 pm / Las Vegas, NV 555-0188 4/16 / 5:20 pm / Las Vegas, NV 555-0188 4/16 / 5:20 pm / Las Vegas, NV 555-0188 4/16 / 5:20 pm / Las Vegas, NV 555-0188 4/16 / 5:21 pm / Las Vegas, NV 555-0188 4/16 / 5:21 pm / Las Vegas, NV 555-0188 4/16 / 5:21 pm / Las Vegas, NV 555-0188 4/16 / 5:22 pm / Las Vegas, NV 555-0188 4/17 / 10:48 am / Summerlin, NV 555-0173 4/17 / 04:16 am / Summerlin, NV 555-0189 4/17 / 3:43 pm / Las Vegas, NV 555-0132 4/17 / 12:04 pm / Henderson, NV 555-0173", "(She looks shocked when she realizes what SARA found.)", "Catherine: Inside her house.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - OBSERVATION ROOM]", "(In the room next door, MR. MORRIS PEARSON calmly dips a tea bag into his cup. In the observation room, BRASS and GRISSOM sit and watch as MORRIS PEARSON watches his tea bag.)", "Brass: So I ran Merlin's, uh, credit card with his permission. Do you know where he was the night of the murder? Monaco Hotel. Room 834. Guess who was in the adjoining room? Jane Galloway.", "(BRASS looks at GRISSOM. GRISSOM looks at the interrogation room next door. MORRIS PEARSON continues to calmly dip his tea bag into his cup. He raises his head and looks at them as if he knows that they're looking at him.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. HOTEL MONACO - ROOM 834 -- DAY]", "(MORRIS PEARSON stands facing the connecting room door.)", "Grissom: Why didn't you tell us you were staying here?", "Morris Pearson: I didn't know she was your victim.", "Brass: According to the front desk you placed a call to Jane Galloway's room at, uh 9:12 P.M.? Lasting 21 seconds?", "Grissom: May I ask what you two were talking about?", "Morris Pearson: Energy.", "(Quick flashback to JANE GALLOWAY in her room unpacking her bag when the phone rings. JANE GALLOWAY gasps and stares at the phone. Cut to JANE GALLOWAY answering the phone.)", "Jane Galloway: Hello?", "(Cut to MORRIS PEARSON on the phone.)", "Morris Pearson: I'm calling from the next room. I don't mean to alarm you but I'm feeling some negative energy coming from your room.", "(Cut back to JANE GALLOWAY slamming the phone on the receiver without responding. Flash to white. End of flashback. Resume on MORRIS PEARSON.)", "(MORRIS PEARSON looks over at GRISSOM.)", "Morris Pearson: S-she wouldn't talk to me. I-I get that a lot.", "Grissom: But evidently, you called her back.", "Morris Pearson: Yes, she picked up, and hung up.", "Brass: Phone records say that she received three calls.", "Morris Pearson: Twice, I believe.", "Grissom: The front desk records also show that she checked out that night. And you checked out shortly thereafter. Why?", "Morris Pearson: Well, she was suffering, and I shared her fear. Seems my intuition was accurate, as it turns out.", "(MORRIS PEARSON turns back to face the connecting room door. He sighs. He puts out a hand to the closed door.)", "Morris Pearson: You don't believe me, do you?", "Grissom: Mr. Pearson, I'm a scientist.", "Morris Pearson: And I am a clairvoyant. You see science without abstractions. I see visions with abstractions.", "(MORRIS PEARSON turns to face GRISSOM.)", "Morris Pearson: Am I less credible than you Mr. Grissom?", "Grissom: These visions that you've had in the past ... nothing specific triggered them?", "Morris Pearson: Sometimes a touch or an object.", "Grissom: Fear?", "Morris Pearson: Sure.", "Grissom: And you were hoping to heal Jane Galloway?", "Morris Pearson: I was only hoping to comfort her. I'm bound by that obligation.", "Grissom: So, these visions you told us about earlier? These are the only ones you've experienced?", "Morris Pearson: I have more.", "(MORRIS PEARSON closes his eyes and takes a deep breath.)", "Morris Pearson: Locks.", "(Quick flashback to the three locks on JANE GALLOWAY'S front door and hands frantically locking them. Flash to white. Resume to present.)", "Morris Pearson: Three locks. Hanging ... ghosts, hanging ghosts.", "(Quick flashback to the inside of a closet. Cut to an attic. Flash to white. End of flashback.)", "Morris Pearson: ... Chest to back, back to chest. A frames, wooden beams ... church dark.", "(MORRIS PEARSON sighs.)", "Morris Pearson: That's it.", "[SCENE_BREAK]", "[EXT. LAS VEGAS SUBURBIA (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S RESIDENCE -- DAY]", "(Close up of JANE GALLOWAY'S front door and its three locks. The door slowly opens. GRISSOM walks in. MORRIS PEARSON follows. An officer stands outside the front door. GRISSOM closes the front door. MORRIS PEARSON looks around and turns to face GRISSOM. GRISSOM points to the locks.)", "Grissom: Are these the three locks you saw?", "Morris Pearson: Yeah ... they-they seem different, though. Perhaps it's the angle.", "Grissom: What do you mean?", "Morris Pearson: It seemed ... I was looking down on them.", "(MORRIS PEARSON looks up at the ceiling. GRISSOM looks up at the ceiling.)", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S RESIDENCE - BEDROOM - DAY -- CONTINUOUS]", "(MORRIS PEARSON walks into the bedroom. GRISSOM follows. He watches MORRIS PEARSON. MORRIS PEARSON stops in front of the open closet door with hanging clothes in it.)", "Grissom: Is this what you saw?", "Morris Pearson: Yes ... only it was ...", "Grissom: ... from above.", "(MORRIS PEARSON nods slightly.)", "(GRISSOM takes out his flashlight and shines the light into it. He looks up into the closet. In the back of the closet behind her things, he sees the hole in the ceiling.)", "[SCENE_BREAK]", "[INT. JANE GALLOWAY'S HOME - ATTIC - DAY]", "(GRISSOM walks gingerly across the attic floor. He sees some areas where the floorboards are removed with the insulation. He kneels down and notices a small corked hole in the board with a label, \"LIVING ROOM\". He uncorks the hole and peers through it.)", "(Cut to CATHERINE walking in JANE GALLOWAY'S living room. She's carrying her CSI kit. Her cell phone rings. She answers it.)", "Catherine: Hello?", "Grissom: (on phone) Pick a number between two and five and indicate it with your fingers.", "(CATHERINE puts her kit down.)", "Catherine: Why?", "Grissom: (on phone) Please humor me.", "(CATHERINE does a complete turn around, scanning the room looking for GRISSOM. She doesn't see him. She holds up four fingers.)", "Grissom: (on phone) Four. Thank you.", "(CATHERINE'S eyes widen at his accuracy. She still can't see GRISSOM.)", "Catherine: Where are you?", "Grissom: (on phone) Look up. Jane's bedroom closet has a door to the attic.", "(Cut back to close up of the hole looking down at CATHERINE one floor below. CATHERINE looks back up at the ceiling. She's holding four fingers up.)", "(GRISSOM turns off his cell phone and puts it away. He notices the fiberglass insulation and picks up a small pinch of it for closer examination. He tosses it aside and continues his search in the attic.)", "(On the far wall near the attic window, he sees a red phone hook-up spliced into the current phone system. He moves closer to look at it. He clips the phone to the exposed wires and picks up the phone.)", "INTERCUT WITH:", "[INT. CSI - LAB - DAY -- CONTINUOUS]", "(WARRICK'S cell phone rings. He answers it.)", "Warrick: Warrick.", "Grissom: Warrick, Grissom. You know that blond fiber we were looking at?", "Warrick: Fiberglass insulation -- comes in pink and yellow. But you already knew that. Is that why you're calling?", "Grissom: Not really. I was checking a phone line. But good work.", "Warrick: Yeah.", "(WARRICK hangs up his phone.)", "(Cut back to the attic. CATHERINE climbs up into the attic.)", "Grissom: He tapped into her second line. He's got a peep hole into every room. They're labeled.", "CATHERINE uncorks the hole labeled, \"BATHROOM\". She peers down at MORRIS PEARSON. He looks back up at her.)", "Catherine: Uh, Gil, there's a, uh ...", "Grissom: (casually) Yeah. He's our psychic -- Mr. Pearson.", "Catherine: Right.", "(CATHERINE stands up and starts looking around the attic.)", "Grissom: You know, I don't think this thing was about s*x at all. I think it was about control, voyeurism. Jane was like his, uh, little goldfish.", "Catherine: Then why kill her? And why ... leave all this stuff behind?", "(CATHERINE looks inside an uncovered box with a lot of electronic equipment inside. GRISSOM joins her.)", "Catherine: Interesting collection of toys.", "(She picks one up.)", "Catherine: Digital camera ... with a fiber-optic lens.", "(Quick flashback to JANE GALLOWAY in her bathroom sitting on the toilet. Flash to white. Resume to present.)", "Grissom: Night vision goggles.", "(Quick flashback to gloved hand uncorking the hole labeled, \"BEDROOM.\" Green-tinged view of JANE GALLOWAY sleeping. Cut to view of person using the camera through the hole in the attic. Flash to white. Resume to present.)", "Catherine: Digital recorder.", "(Quick flashback to person holding the recorder over a hole in the attic. Camera focuses on JANE GALLOWAY'S toes and her painting her toenails red. Flash to white. Resume to present.)", "(CATHERINE puts the camera down.)", "Catherine: I'm guessing he's got microphones all over the house.", "Grissom: Probably.", "(CATHERINE sighs.)", "Catherine: Same question -- how did he get in?", "(GRISSOM looks up at the only window in the attic. CATHERINE stands to check the window latch out.)", "Grissom: Well, this only opens from the inside. So at some point it's possible that Jane let him in.", "[SCENE_BREAK]", "[EXT. JANE GALLOWAY'S ROOF -- DAY]", "(CATHERINE walks down the attic roof. GRISSOM gives her hand.)", "Catherine: Thank you.", "(They both stand on top of the roof looking out at the neighborhood below.)", "Catherine: So. Who do we let into our homes every day?", "Grissom: Well, pretty much ... if you got a uniform on, you can walk right in the front door.", "(On that day alone, the gasman closes his truck door. Across the street, another uniformed man in a yellow truck carrying a kit walks toward a house. The camera angles on the many satellite dishes on roofs of a couple of houses.)", "Catherine: So, we go through her bills and we see which utility companies worked on her house.", "[SCENE_BREAK]", "(SARA walks toward a man standing next to a truck. She's carrying a file folder and stops to speak with him.)", "(Cut to CATHERINE stopping two men carrying a roll of carpet.)", "(Cut to GRISSOM approaches the local meter reader.)", "[SCENE_BREAK]", "[EXT. APARTMENT HOUSE #23422 -- DAY]", "(NICK and WARRICK walk up the driveway to house #23422. NICK instantly recognizes the truck in the driveway. WARRICK follows behind.)", "Nick: Luna Cable. Good company, same as mine. One hundred fifty channels. I'm telling you, you got to get it, man. The last three weeks have been heaven.", "(They both walk up the outside stairs to the second floor front door. Behind them, a man with glasses walks by. He's wearing a utility belt and watches them walk up the stairs.)", "[SCENE_BREAK]", "[INT. NIGEL CRANE'S RESIDENCE - DAY - CONTINUOUS]", "(NICK knocks on the front door. It opens slowly. The door wasn't closed nicely.)", "Nick: Mr. Crane?", "(NICK and WARRICK slowly walk inside.)", "Nick: Nick Stokes, Criminalistics.", "(A cell phone rings. WARRICK answers it.)", "Warrick: Hello. Hello? I-I can't hear you. H-hold on.", "(WARRICK steps back outside the house to answer the phone. NICK continues deeper into the apartment.)", "Nick: Mr. Crane, your door's open. Just want to ... ask you a couple questions.", "(NICK glances down the empty hallway. Cut to WARRICK standing outside the front porch.)", "Warrick: I can hardly hear you. We're at the, uh, satellite guy's house that installed Jane's cable.", "(Cut back to inside the house where NICK notices drops of something on the floor. He puts on his latex gloves and moves toward it to investigate.)", "(The drops end at the cabinet. NICK opens the cabinet and pulls out the trash bin. He digs through the trash. Behind him from above, a pair of legs silently lower themselves to the floor from the pantry ceiling.)", "(NICK continues to dig through the trash where he finds on the bottom buried under everything else, a single red-stained latex glove. Behind him, the man successfully lowered himself to the kitchen floor without NICK noticing him at all. NICK holds up the latex gloves. NICK glances up.)", "[SCENE_BREAK]", "[EXT. NIGEL CRANE'S RESIDENCE - FRONT PORCH - DAY - CONTINUOUS]", "(Just outside the front door, WARRICK is still on the phone. From the window beside him, NICK crashes through the second story window and falls backward to the ground below.)", "Warrick: Nick!", "(WARRICK glances down below at NICK who is not moving. He turns around and pulls out his weapon. He rushes cautiously into the house and peers down the empty hallway. He slowly backs out of the house and calls for assistance on his cell phone.)", "Warrick: (to walkie-talkie) Patrol. Request immediate backup. Immediate backup. Officer down. I need emergency medical assistance! Eight-two-six ...", "(He exits the house and back down the stairs to render aid to NICK who hasn't moved from his position down in the bushes below. WARRICK hangs up and checks NICK who still hasn't moved.)", "Warrick: Nick! Nick.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. HOSPITAL - NICK'S ROOM]", "(The doctor just finishes checking up on NICK who's asleep in the hospital bed. The doctor leaves and walks out of the room.)", "[INT. HOSPITAL - HALLWAY OUTSIDE NICK'S ROOM - CONTINUOUS]", "(SARA and CATHERINE stand as the doctor exits NICK'S room to give them an update. GRISSOM and WARRICK are also there.)", "Doctor: Concussion, two cracked ribs, sprained wrist, five stitches to the forehead. It could have been a lot worse.", "Warrick: But 's going to be all right?", "Doctor: He needs rest. But I don't see why he can't go home relatively soon.", "Grissom: Thank you, doctor.", "(The doctor leaves.)", "Warrick: Damn it. Grissom, this guy was right there. I could have had him.", "Grissom: You helped out Nick. That was the right thing to do.", "Warrick: Doesn't feel like the right thing.", "Catherine: You know, Nick was alone. The Stalker could have killed him and didn't.", "Grissom: Yeah, I wonder why. Let's go back over there.", "(CATHERINE is already walking down the hallway, WARRICK straightens to follow.)", "Warrick: I'm going with you.", "(GRISSOM puts a restraining hand on his shoulder as he turns to leave.)", "Grissom: No, no. You need to calm down a little. Talk to Nick when he wakes up.", "(SARA remains behind in the hallway next to WARRICK.)", "[SCENE_BREAK]", "[INT. NIGEL CRANE'S RESIDENCE -- NIGHT]", "(CATHERINE and GRISSOM stand in front of the living room window. The same window NICK was pushed out from. GRISSOM is reading from a clip board he carries.)", "Grissom: Nigel Crane, age 37. No criminal record. Working for Luna Cable for eleven years. No immediate family, lives alone. Last seen by co-workers two days ago. No priors.", "Catherine: Not a stick of furniture ... except for a computer and a chair.", "(GRISSOM and CATHERINE both look at the laptop on the crate against the wall and the chair in front of it. CATHERINE puts her kit down to examine the window more closely. GRISSOM walks forward examining the ceiling as he goes.)", "(GRISSOM enters the kitchen and immediately notices the step ladder in the pantry. He puts the clip board on the counter and glances up at the door in the pantry ceiling. He turns off his flashlight and turns on the pantry light. He climbs the step ladder and pushes the ceiling door open.)", "[SCENE_BREAK]", "[INT. NIGEL CRANE'S ATTIC - NIGHT - CONTINUOUS]", "(GRISSOM reaches up and turns on the attic lights. He glances around and sees all the comforts of home. He also sees the video tape library and various electronic surveillance equipment. All the video tapes are labeled and dated.)", "CUT BACK TO:", "[INT. NIGEL CRANE'S KITCHEN - NIGHT - CONTINUOUS]", "(CATHERINE opens the cabinet door and pulls out the trash bin. She starts going through the trash when GRISSOM falls to the pantry floor with a loud thud, scaring CATHERINE.)", "Catherine: (startled) What the hell?!", "(GRISSOM points to the attic.)", "Grissom: He lives up there. Not down here. Works, sleeps changes his clothes ... everything in the attic. He looks down on the world separating himself from others. Fascinating, really.", "Catherine: Well ... you're going to love this.", "(CATHERINE points to the side of the trash bin. There's a long streak of red on its inside.)", "Grissom: Red dye.", "Catherine: Yup. Now what?", "(GRISSOM holds up a digital tape.)", "Grissom: Dinner and a movie?", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(On the television monitor, a montage of clips of various people walking on the streets of Las Vegas is shown.)", "(GRISSOM, CATHERINE and ARCHIE JOHNSON watch NIGEL CRANE'S library. The stack of video tapes are on the table in front of GRISSOM.)", "Nigel Crane: (v.o. on tape) Walking pukes. Soulless, lost, useless, sick puppets. Little sheep looking for direction. Gullible ... (video fizz) From an airplane they used to look like ants. And now ... they're all ants all the time. You squash one ...", "(The video clips are intermixed with video clips of NIGEL CRANE himself.)", "Catherine: Well. Just think, this is only tape one.", "Nigel Crane: (v.o. on tape) They all start running around in a panic.", "(Camera holds on GRISSOM as he watches the tape.)", "[SCENE_BREAK]", "[INT. HOSPITAL HALLWAY]", "Doctor: Now, these painkillers are the real deal, okay? Don't overdo it. Plenty of rest. No work for at least a week.", "(The doctor hands the medication to WARRICK. NICK is sitting in a wheelchair and SARA'S behind him.)", "Sara: Will do, thank you, doctor.", "(The doctor leaves. SARA pushes the chair and they all walk down the hallway.)", "Nick: The gloves, you find them?", "Warrick: Catherine thinks he might have got away with them. But, uh, Grissom did find some wacky video collection.", "Nick: Of what?", "Sara: (interrupting) Now, did you not just hear the doctor? You're supposed to rest. We're on it, okay?", "Warrick: Yeah, relax, Ironside.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VIDEO LAB - NIGHT]", "(CATHERINE, GRISSOM and ARCHIE JOHNSON continue to watch the video tapes. The current one in the machine is the night vision view of JANE GALLOWAY sleeping.)", "Nigel Crane: (on video) I see you, Jane. Do you feel me? Do you feel me?", "(The video tape fast forwards.)", "Nigel Crane: (on video) You ... you will never get me. No. Not the way he does. And we all get what we deserve. And I ... I got a friend.", "(SARA and WARRICK enter the lab.)", "Sara: How's it going?", "Grissom: How's Nick doing?", "Sara: Well, groggy. How's the epic?", "Catherine: Epic.", "Warrick: Gotten any clues as to where this guy might be?", "Grissom: Not really, not yet.", "(CATHERINE sees something on the video screen.)", "Catherine: Archie, freeze it.", "(The video tape pauses. CATHERINE points to the screen.)", "Catherine: Do you see that behind him? To the left hand of the screen? Can you focus the pixels?", "(ARCHIE JOHNSON starts typing. He click and drags the area CATHERINE points to and enhances the image.)", "Archie Johnson: Okay, we're now at 26 times magnification. Rendering at 1086 lines.", "(The image enlarges and clears. It's the article of NICK.)", "Catherine: That's the \"Crime Stopper\" article.", "Grissom: Isn't our newsletter for in-house only?", "Catherine: Do you think he knows Nick?", "Warrick: He may know him well enough to read his e-mail.", "Sara: Found that photo of Nick and his prom date. Used Jane Galloway to emulate the photo?", "Grissom: Why would he do that? Why Nick?", "Sara: Nick has satellite cable, right?", "Warrick: Lunar Cable- a hundred and fifty channels.", "Grissom: Wait a minute we've been doing this the wrong way. We need to see the last tape.", "(GRISSOM turns around to the stack of tapes on the table behind him. He digs out the last tape and hands it to ARCHIE JOHNSON.)", "Grissom: Archie, play this.", "(ARCHIE hits play. Video camera close up of NIGEL CRANE instantly appears on screen.)", "Nigel Crane: (on tape) It's like he, he's ... he's the kind of guy I always wanted to, um ... to be. And that's why it's so great, because ... we're friends now. I feel like I can count on him, you know? And you know what? I think if it came right down to it he would lay his life down for me. Ask him. A-a-ask Nick. Nick, would you let me stop your heart?", "[SCENE_BREAK]", "(Camera close up of a prescription container with the following information on it:", "DESERT PALMS HOSPITAL", "(NAME) STOKES, NICK", "(FILL DATE) 4/17/02", "PHONE NO. 555-0190", "TAKE ON TO TWO TABLETS ... EVERY FOUR HOURS. VICODIN", "(EXPIRES) 04/17/03", "(REFILL) 0 (BY) 11/17/02", "[INT. NICK STOKE'S RESIDENCE -- NIGHT]", "(NICK takes some tablets with a drink of water. He settles himself slowly and painfully on his sofa. He leans back and closes his eyes. There's a knock at the front door.)", "Nick: Who is it?", "Morris Pearson: (o.s.) My name is Pearson. Morris Pearson. We haven't met. I worked with Mr. Grissom on the Jane Galloway case.", "(NICK gets up off the sofa and walks to the front door.)", "Nick: It's almost one in the morning. What do you want?", "(NICK peers through the peep hole. It's MORRIS PEARSON.)", "Morris Pearson: I've had more visions. Please let me in.", "(Nick opens the door.)", "Nick: Yeah, maybe but look ...", "(MORRIS PEARSON immediately steps into the house. NICK tries to get him to leave, but MORRIS PEARSON is insistent and continues to walk into the house. He rambles as he walks.)", "Morris Pearson: Please, please let me in.", "Nick: I can't just let you in my...", "Morris Pearson: Please, please, please...", "Nick: Hey, hold up.", "Morris Pearson: I saw this house. I saw this house, I saw the number I saw the street name. Something is wrong here. Something terrible is going to happen here", "Nick: Sir ...", "Morris Pearson: I can feel it.", "Nick: Sir. Sir ... You're going to have to leave.", "Morris Pearson: Please, please, listen to me.", "Nick: Get out of here.", "Morris Pearson: (yells desperately) Listen to me!", "(Both men stop yelling at each other.)", "Morris Pearson: I saw the address. I saw this address.", "Nick: You saw my address?", "(NICK looks at MORRIS PEARSON. He walks slowly toward him. MORRIS PEARSON continues to walk into the house.)", "Morris Pearson: Yeah, but that's not it, that's not it. I saw, I saw ... I saw crashing. I saw ... falling and crashing-- I saw somebody seeing through the back of his head. I don't know, I don't know ...", "(MORRIS PEARSON stops walking in NICK'S living room. He suddenly swings around to look at NICK.)", "Morris Pearson: Green tea! Green tea! Does that mean anything to you? Green tea?", "Nick: I don't know.", "(NICK sighs and shakes his head. NICK'S phone rings.)", "Nick: Just ... (he answers it.) Hello?", "Grissom: Nick, listen, he's been in your house.", "Nick: Who?", "INTERCUT WITH:", "[INT. CSI - HALLWAY]", "Grissom: Nigel Crane, the Stalker. Brass is one his way with two uniforms to put at your door.", "Nick: Yeah, well, I'm not alone.", "Grissom: What?", "Nick: Your psychic's here.", "Grissom: Good, keep him there.", "(GRISSOM hangs up the phone.)", "CUT BACK TO:", "(NICK hangs up his phone. He takes out his weapon from the cabinet beside the phone and turns to find MR. PEARSON. Only, he's not in the living room anymore.)", "Nick: Mr. Pearson. (Gun cocking.) Mr. Pearson. Mr. Pearson ...", "(NICK walks down the hallway. He checks the room. He checks the back door. It's locked and chained. He looks out the window. He doesn't see anything.)", "Nick: Mr. Pearson, you back here?", "(He walks back the hallway and looks in the next room. The wood floors creak. He hears a muffled thump.)", "(NICK stands still and listens. He looks up at the ceiling. He holds his gun pointed at the ceiling and slowly walks back to the living room. From up above, we see that his living room carpet has a large, green letter \"T\" in the center.)", "(NICK holds his gun drawn upward. A body crashes through the ceiling roof and down to the living room floor. Ceiling plaster and dust plumes everywhere. NICK drops his gun. Through the dust, NICK recognizes MORRIS PEARSON. He moves closer to check the man's pulse when NIGEL CRANE jumps down through the hole in the ceiling startling NICK.)", "(NICK notices NIGEL and reaches for his gun. NIGEL'S quicker and picks it up first.)", "Nigel Crane: Oh, man. You got to ... you got to watch who you let in here. Guy was snooping around all over the place. You know, smart move. Spare gun.", "(NIGEL CRANE slaps the side of the gun twice. He moves backward and points to the cabinet by the phone.)", "Nigel Crane: Ah. Keep it right by the phone right? Right next to your address book and, and take out menus.", "(NIGEL CRANE checks the front door.)", "Nick: Cops are on their way.", "Nigel Crane: Yeah. I heard that.", "(NIGEL CRANE moves to the living room and pulls down the blinds. That's when NICK notices it.)", "Nick: You wearing my clothes?", "Nigel Crane: Oh, yeah. I'm ...", "(NIGEL CRANE looks back proudly at NICK. He exhales deeply.", "Nigel Crane: You know, I-I-I picked these up at the dry cleaners and I ... I hope you don't mind. It's just that ... I'm sorry I, I just get a little confused about what's yours and what's mine.", "Nick: You know what? I'm a little confused here myself. Uh, why don't you refresh my memory. When did we meet?", "(NIGEL CRANE looks incredulously at NICK. He snorts.)", "Nigel Crane: Sports package. Hundred fifty channels. I-I-I even threw in a few movie channels. Free. We-we-we talked, like, forever. I mean, it's like I knew you my entire life.", "Nick: You installed my cable.", "Nigel Crane: Yeah. The ... the minute I met you I knew we connected. Because you told me what you did and I knew exactly what you were talking about, because ... that's what I do. I do it, too. You know, I observe people. I-I-I notice everything about them. I watch them. All the time.", "Nick: Like you watched Jane Galloway?", "Nigel Crane: Jane was cool. But, um, it would have never worked out between us, you know. Never. I mean, she had a boyfriend and she was kind of stuck up. And you know what, she would have totally, totally gotten between us. So, you know, consider that a gift.", "Nick: A gift?", "Nigel Crane: Yeah. Prom night. Your date. Melissa.", "(Quick flashback to the photograph of MELISSA over the toilet bowl fast asleep. White flash to JANE GALLOWAY poised over the toilet seat dead. End of flashback. Resume to present.)", "Nigel Crane: Bent over the toilet puking her guts out. Is that ringing any bells, huh?", "Nick: Yeah.", "Nigel Crane: You know, I mean, Jane's hair was the wrong color but, you know obviously, I fixed that. Because I know how much you love redheads. You know, you ... you mentioned her name in your sleep.", "Nick: You watch me sleep?", "(NIGEL CRANE looks down at MORRIS PEARSON.)", "Nigel Crane: You, um ... you want to open him up?", "(NIGEL CRANE crouches low over the body.)", "Nigel Crane: Hmm?", "Nick: No, no, it's, uh ... it's not my job. You should know that. It's the coroner's gig.", "(NICK crouches over the body.)", "Nigel Crane: Are you humoring me, Nick?", "(NICK shakes his head.)", "Nick: No.", "Nigel Crane: You know ... we made friends that day and every time since you just blew me off. Do you know that? You just completely blanked me.", "(Quick flashback to NICK walking up the sidewalk looking through his mail. A man walks by on the sidewalk. NICK passes him and walks up his driveway.)", "Nigel Crane: (V.O.) You are so self-absorbed.", "(White flash to a close up of the man, NIGEL CRANE, looking back at NICK. White flash to NICK and WARRICK walking up the stairs to NIGEL CRANE'S house. NIGEL CRANE is down on the steps below watching them walk up to his front door.)", "Nigel Crane: (V.O.) I was right in front of your face.", "(Flash to white. Resume to present.)", "(NIGEL CRANE stands up. Now that he thinks about it, he's pretty upset at being ignored.)", "Nigel Crane: Manners, Nick! Manners!", "Nick: Hey, now, Nigel, now we got a D.B. here, huh? You're going to help me with the crime scene, right?", "Nigel Crane: No, no, I'm going to ... I'm going to ...", "(NIGEL points the gun at NICK.)", "Nigel Crane: ... give you a brand-new one. I'm going to do better than that. I'm going to give you the best you ever had. Stand up, Nick. Stand up.", "(NICK stands.)", "Nigel Crane: Nick, you know what a nine-millimeter slug does to a skull at close range? You know?", "(NIGEL CRANE pulls his gun back and holds it in front of his face.)", "Nick: Yeah.", "Nigel Crane: Blow it right apart, right? Brains like strawberry swirled. Whipped cream, everywhere. And you.", "(NIGEL points the gun back at NICK.)", "Nigel Crane: You'd have to scoop that stuff up, right? Yeah, little pieces of skull and bone and brains. All in individual baggies with the victim's name on the label.", "Nick: You know I don't want to disappoint you, Nigel, but this isn't the first time I've had a gun in my face.", "(NICK takes a step toward NIGEL.)", "Nick: How do you want this to end, Nigel?", "Nigel Crane: How do I want this to end? I want you to be able to remember my name.", "(NIGEL CRANE pulls the gun back from NICK and toward his own throat. NICK quickly realizes what NIGEL CRANE has planned and lunges for the gun. The two struggle for its possession.)", "(At the same time, POLICE OFFICERS batter ram through the front door crashing it in and splintering the door frame. BRASS and several OFFICERS rush in to the house, their guns drawn.)", "Officer: Gun! OFFICER: Get down! Get down!", "(NICK successfully gains possession of the gun, holds it up at the ceiling and takes a step back. The OFFICERS manage to subdue NIGEL CRANE.)", "Officer: Put him down. OFFICER: Cuff him. OFFICER: Get him secured.", "Brass: Hey.", "(BRASS turns to support NICK, who breathes heavily with the effort.)", "Brass: It's, it's done. All right?", "(NICK nods and breathes heavily.)", "Nick: Yeah.", "[SCENE_BREAK]", "(NIGEL CRANE sits alone at the table in the interrogation room continually murmuring the same line over and over again. Through the reflection in the glass, we see NICK watching from the observation room next door.)", "Nigel Crane: (murmuring) I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I?", "[INT. OBSERVATION ROOM]", "(Also in the Observation room, CATHERINE, GRISSOM, WARRICK and SARA watch with NICK.)", "Nick: Why me?", "Grissom: I don't think it was about you, Nick. Or Jane Galloway, for that matter. I think it was more about Maslow's Hierarchy of Needs. His premise is that social beings strive to belong. In Nigel's mind, Jane Galloway was someone he could control which was okay for a while but you ... you were someone he could actually become. See, Maslow's Fifth Tier of the Hierarchy is Self-Actualization.", "Nigel Crane: (V.O.) I am one, and who am I? GRISSOM: The problem for Nigel is that you would have to die in order for that to happen. Or else he would.", "(In the room next door, NIGEL STANDS up and slowly walks toward the two-way mirror.)", "Nigel Crane: (background) I am one, and who am I?", "(Cut to SARA and WARRICK sitting in the back of the observation room.)", "Sara: Twenty-five years to life, Nick. It's over.", "Nick: It's not over for me. It's over for Jane Galloway.", "Catherine: (sighs) Well, we should get back to the lab.", "(CATHERINE stands an puts a comforting hand on NICK'S shoulder.)", "Grissom: Yeah.", "(GRISSOM also stands. In the back, WARRICK and SARA move toward the door. They slowly exit the room.)", "(NICK hasn't moved yet. Through the two-way mirror, he watches NIGEL CRANE who walks along the mirror murmuring to himself the same line over and over again.)", "Nigel Crane: I am one, and who am I? I am one, and who am I?", "(He holds out both his hands in front of him as if reaching for something in front of him. NICK still doesn't move.)", "Nigel Crane: I am one, and who am I? I am one, and who am I? I am one, and who am I? And who am I?", "(Two officers take NIGEL CRANE away. NICK is left standing there in front of the mirror.)" ]

[ "Grissom and Catherine investigate the stabbing death of an 80-year-old woman who lived in a run-down house full of cats; Nick and Sara comb through the remains of a car bombing that was, apparently, a murder plot gone awry." ]

[ "[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]", "(Camera moves fast and low to the ground. Flash to white.)", "[EXT. RESIDENTIAL AREA (STOCK) - NIGHT]", "(Camera moves swiftly past residential homes. Past a home with a rickety wooden fence. The number painted on the sidewalk indicates that it's property lot #302. The camera turns into the driveway of this home, moving low to the ground. Flash to white.)", "(The camera moves along the path past the lawn and the trash can. The camera moves along the sidewalk, still, low to the ground. It passes by an old car tire and turns up the porch stairs. The camera climbs up the porch stairs and heads straight into the house through the kitty door.)", "[SCENE_BREAK]", "[INT. MRS. RUTH ELLIOT'S HOUSE -- NIGHT]", "(Camera cuts into the house where we see a cat burst in through the kitty door. All during the intro, we were traveling through the eyes of the cat. The cat runs into the house and down the hallway.)", "(The house is dark and unkempt. There are more cats. in the house. The cat we've been following heads to the living room where there are other cats also gathered. Cats meowing. They're gathered at the center of the living room. Growling. Hissing. Feeding.)", "(The camera moves up along and we see that the cats are feeding on a dead body.)", "[SCENE_BREAK]", "[EXT. MRS. RUTH ELLIOT'S HOUSE - NIGHT]", "(Close up on the back of SGT. O'RILEY'S neck. The camera follows behind him as he makes his way toward GRISSOM and CATHERINE, both carrying their CSI kits. Indistinct radio transmissions can be heard in the background.)", "Sgt. O'Riley: Welcome to the wild kingdom. Vic's Ruth Elliot, 80 years old. Had at least 20 roommates, all of them feline. Animal control's rounding them up now.", "Catherine: Who alerted homicide?", "Sgt. O'Riley: Mail was piling up. Mailman looked in the window and called 9-1-1.", "(SGT. O'RILEY turns around and heads back into the house. He calls behind him ... )", "Sgt. O'Riley: Take a deep breath before you go inside.", "(GRISSOM and CATHERINE follow. As they walk up the pathway, several animal control personnel carry cages with cats in them.)", "[SCENE_BREAK]", "[INT. MRS. RUTH ELLIOT'S HOUSE - NIGHT -- CONTINUOUS]", "(CATHERINE and GRISSOM enter the house. CATHERINE'S reaction is instantaneous.)", "Catherine: Oh, god! Ugh! I didn't think anything could mask the smell of a decomp.", "Grissom: Male cat urine ... to us, smelly. To a female cat, it must be like aftershave.", "Catherine: Me-ow.", "(DAVID PHILLIPS walks up to them to give them his report.)", "Grissom: David.", "Catherine: You don't look so good.", "David Phillips: Allergic to cats.", "Catherine: Oh, bummer.", "(DAVID PHILLIPS blows his nose.)", "David Phillips: Rigor mortis has passed. Lividity is fixed. Extensive marbling on her limbs. She's been dead three or four days and I need a Benadryl. Excuse me.", "(DAVID PHILLIPS walks out of the house past CATHERINE and GRISSOM.)", "(GRISSOM hands the camera he was carrying to CATHERINE and turns on his flashlight. They approach the body.)", "Grissom: Whoa.", "Catherine: She could have died of natural causes. Three or four days, pets could have been looking for their next meal.", "Grissom: Sure. Meat is meat.", "(Behind them, a cat meows and hisses. They turn around to see Animal Control catch a white cat.)", "Catherine: Or maybe they turned on her.", "(They both crouch low to get a better look at the body. There are bloody injuries to the body's head and left side, the major feeding sites. Then GRISSOM sees it.)", "Grissom: Whoa. Look at this. Flowing wound.", "(Quick CGI POV from inside the wound as GRISSOM pulls it open with his fingers. The camera is inside the wound and pulls back to show us GRISSOM looking down through the wound. End of CGI POV. Resume on GRISSOM.)", "Grissom: That's a deep wound track. This woman was stabbed. I guess the cats are off the hook.", "FADE TO BLACK. END OF TEASER. ROLL TITLE CREDITS.", "[Captioning sponsored by CBS CBS Productions and Volkswagen.]", "[SCENE_BREAK]", "[EXT./INT. MRS. RUTH ELLIOT'S HOUSE - NIGHT]", "(CATHERINE finds a single footprint on the hardwood floor. She dusts it and takes a print of it. GRISSOM enters the room.)", "Catherine: Floor's covered with trash. Lots of partials. Mostly from animal control boots. But ... I got something here.", "Grissom: Distinctive heel and toe. What, a high heel?", "Catherine: Well ... an old lady wears flats or slippers. I can't imagine that this vic entertained.", "Grissom: You got to be careful with isolation. It can escalate. Before you know it, you're the crazy cat lady living in the rundown house. People stop coming by to visit. You go outside, your neighbors run across the street to get away from you. Eventually, you stop going out altogether.", "(WARRICK enters.)", "Warrick: Whoo, man! It reeks in here. Who lives like this?", "Catherine: Cat lover.", "Warrick: You think? So, what do we know?", "Grissom: Well, there's no signs of forced entry anywhere.", "Warrick: Well, I can see why somebody would want to rob this place. I'll start in the bedroom.", "(GRISSOM nods.)", "[SCENE_BREAK]", "(WARRICK turns the corner and slowly makes his way to the bedroom. He pushes the door open and looks in on the messy bathroom. He turns and notices the bedroom closet. The large wall safe in the closet bears a large black scorch mark. He opens the safe door. It's empty.)", "(Cut to WARRICK dusting the door for prints. He finds a set.)", "[SCENE_BREAK]", "[INT. MRS. RUTH ELLIOT'S HOUSE - KITCHEN -- NIGHT]", "(GRISSOM holds out a large kitchen knife for CATHERINE to test. She swabs both sides of the knife.)", "Catherine: No reaction. Knives are clean.", "Grissom: Well, killer could have brought his own ... took it with him when he left.", "(WARRICK enters the kitchen holding the prints he lifted from the bedroom safe.)", "Warrick: We might want to reconsider \"burglary gone bad.\" I found a busted safe in the bedroom. Empty. I lifted prints.", "Willows: A high-heeled thief who knew exactly what to look for and killed the only obstacle in their path.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[EXT./INT. GARAGE -- NIGHT]", "(NICK and SARA make their way to the garage. They meet up with BRASS who fills them in.)", "Brass: Welcome to a 4-45.", "Sara: Explosives. It's been a while.", "Nick: Fatalities?", "Brass: Just this $50,000 Beemer. Marcie Tobin. Her car. And Marcus Remmick, mechanic, an eyewitness. So, divide and conquer?", "Nick: Yeah, I'll take the rig.", "Brass: I'll take the grease monkey.", "Sara: I guess I got the driver.", "(SARA makes her way to MARCIE TOBIN who is already speaking with a police officer.)", "Marcie Tobin: (to the officer) How does that make any sense? I mean, why would somebody put a bomb in my car?", "Sara: Ms. Tobin? Hi. I'm with the Crime Lab. Mind if I ask you a few questions?", "Marcie Tobin: Have you reached my husband?", "Officer: I'll check on it, ma'am.", "Sara: Thanks. Can you tell me what happened?", "Marcie Tobin: I was on my way to my father's office.", "(FLASHBACK of MARCIE TOBIN driving her car along the street.)", "Marcie Tobin: (V.O.) On Thursdays we have dinner and then I help him with his payroll.", "(Flash to white as MARCIE TOBIN drives, her car begins clanging. Flash to white as MARCIE TOBIN pulls into a garage. She gets out of the car and approaches MARCUS REMMICK, the mechanic.)", "Marcie Tobin: Excuse me?", "Marcus Remmick: We're closed.", "Marcie Tobin: My car is making a really strange noise.", "Marcus Remmick: Take it to the dealership in the morning.", "(End of MARCIE TOBIN'S Flashback. Resume to MARCUS REMMICK talking with BRASS.)", "Marcus Remmick: Lady's driving a brand-new Beemer. First service is 15,000 miles. Things don't go wrong.", "Brass: Yeah. But you checked it out anyway, huh?", "Marcus Remmick: You know how women get.", "(Flashback to MARCUS REMMICK and MARCIE TOBIN at the garage.)", "Marcus Remmick: Go ahead, pop the hood.", "(Flash to white as the hood is up and MARCUS REMMICK checking the car out. MARCUS REMMICK sees the timer. He turns to MARCIE TOBIN.)", "Marcus Remmick: Back away.", "Marcie Tobin: Why?", "Marcus Remmick: Run, run!", "Marcie Tobin: Why?", "Marcus Remmick: Run!", "(Car explodes. End of flashback. Resume on MARCIE TOBIN.)", "Sara: Ms. Tobin, where did you last park your car?", "Marcie Tobin: In my house, in my garage.", "Sara: And who would have access?", "Marcie Tobin: Just me... and my husband. But Johnny had nothing to do with this. He's been at work all day. You can ask him as soon as he gets here.", "[SCENE_BREAK]", "[INT. THE GARAGE - NIGHT -- CONTINUOUS]", "(Still at the same crime scene, NICK is examining the damaged car ... back seat ... front seat. SARA approaches to lend a hand.)", "Sara: Anything probative?", "(NICK signals to her.)", "Nick: Check out this displacement. Detritus blew backwards.", "(Quick CGI POV Flashback of the car exploding from the perspective of the driver's front seat. The explosion blows outward disintegrating the driver's seat. End of CGI POV Flashback. Resume to present.)", "Nick: Right into the driver.", "Sara: Uh-huh.", "(NICK sighs. They both stand.)", "Nick: That's intentional.", "Sara: Bombs are personal.", "Nick: So ... assuming Mrs. Tobin was the intended target the bomber knew what he was doing.", "Sara: Yeah, a hired hit on a housewife.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Camera top view down on MRS. RUTH ELLIOT'S sheet-covered body. ROBBINS, GRISSOM and CATHERINE stand near the table.", "Robbins: Glad I'm a dog person.", "Grissom: You know, house cats have only been domesticated for 4,000 years. They still have predatory instincts.", "Catherine: Only 4,000?", "Grissom: Yeah.", "Catherine: But a cat didn't kill her.", "Robbins: You're right. No vital reactions around the bite marks. Predation is all postmortem. Cause of death: cardiac trauma. She was stabbed lateral to the sternal border, just below the fifth intercostal space", "(Quick CGI POV that starts with a top view of the wound and goes straight down into the wound. Down, down, down into the flesh and past the bone and to the heart. Flash to white. End of CGI POV. Resume to present.)", "Robbins: ... Straight into the right ventricle. Muscle layers decrease with age. Fascia and tissue layers are easy to penetrate. Can't tell you much about the weapon but the wound track is slick.", "(Quick CGI POV that again starts with a top view of the wound and goes straight down into the wound. It stops mid-way and shows muscles slick with dripping clear-colored liquid. Flash to white. End of CGI POV. Resume to present.)", "Robbins: I swabbed the foreign substance sent it to Greg.", "Grissom: Anything else?", "Robbins: Well, vic's lungs were full of fluid. Probably not relevant to your investigation, but the lab cultured her blood. She had a severe staph infection.", "(A cell phone rings. GRISSOM answers it.)", "Grissom: Grissom. (pause) We'll be right there.", "(He closes his phone.)", "Grissom: Homicide has a witness.", "[SCENE_BREAK]", "[EXT. TRENT'S HOME - PORCH -- DAY]", "(On the porch of home #223, SGT. O'RILEY, GRISSOM and CATHERINE question MRS. JANET TRENT'S two daughters.)", "Janet Trent: (prompting) Tell them what you told me. Come on, Jessica. What did you see?", "Jessica Trent: Oh, the lady over there the one that died, she was nice. She had cats. Lots of them.", "Jackie Trent: Yep.", "Catherine: My name's Catherine. What is your name again?", "Jessica Trent: Jessica Rachel Trent. I'm eight and a half.", "Catherine: Oh, eight and a half. So, I bet you're in the third grade?", "Jessica Trent: Yeah. My teacher's Mrs. Armstrong. She's really nice. Except I hate multiplication especially the eight's.", "Catherine: You know, I have a daughter. She hates the eight's, too. So, Jessica, can you tell me what you told your mom?", "Jackie Trent: I can. Jessica and I were playing handball against the garage door. We saw Mrs. Stein go into Mrs. Elliot's house and they were yelling.", "Jessica Trent: When Mrs. Stein came out she looked really angry. K-Kind of like when mommy's boyfriend is late for dinner. She hates that.", "Grissom: And, uh ... who is Mrs. Stein?", "Sgt. O'Riley: Mrs. Elliot's next-door neighbor. Ran a background check. The good neighbor filed three nuisance complaints against the victim.", "(In the house across the street, a woman stands in the window looking out at the crowd on the porch. She moves away when she sees them looking at her.)", "(JESSICA TRENT and JACKIE TRENT whisper in each other's ears.)", "Catherine: Hey, are you girls sharing secrets? Can you share it with me?", "Jessica Trent: All right.", "(JESSICA TRENT motions for CATHERINE to lean in close. She whispers something into her ear. CATHERINE smiles when done.)", "Catherine: (smiles) Thank you.", "Jessica Trent: No problem.", "Catherine: (to GRISSOM) I think that we're done here.", "Grissom: Okay. Thanks for your help.", "Janet Trent: Sure.", "(MRS. TRENT and her two daughters go back into the house. SGT. O'RILEY, GRISSOM and CATHERINE move off of the porch to discuss the case.)", "Sgt. O'Riley: I'll get a warrant for Mrs. Stein's shoes. See if we can place her at the crime scene.", "(O'RILEY walks away and out of screen presumably back to his car to get the warrant. GRISSOM and CATHERINE follow behind at a more leisurely pace.)", "Grissom: Don't you have a secret to share with me now?", "Catherine: Oh, uh, Mrs. Stein? She hates cats.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(NICK and SARA work on the car. SARA picks up a package full of evidence or rather, parts of evidence and empties it all over the table. NICK helps spread it around as they go through it. NICK picks something up.)", "Nick: Another spring.", "Sara: Did you know there's a dozen moving parts inside a ticking clock?", "Nick: I do now.", "(NICK finds something else.)", "Nick: Hmm ... hello, sweetheart.", "Sara: End cap?", "Nick: Pipe bomb.", "(He examines it under a hand-held magnifying light.)", "Nick: End cap at both ends. Either one could have come in contact with the explosive inside the pipe. I'll swab it see if trace can identify it.", "(SARA also found something.)", "Sara: I will see your end cap and raise you a grommet.", "Nick: A grommet? Inside a pipe bomb?", "Sara: Not in the bomb, itself, but embedded in the end cap. The wires from the timing device enter the pipe through a hole in the grommet.", "(Flash to white. CGI-POV of a pipe bomb with end caps on both ends. There's the grommit in one of the end caps with a wire running through the hole, along the side, to the alarm clock attached to the side of the pipe. The clock has a nail where the 12 should be and when the clock alarm hits 12, an electrical pulse emits from the alarm clock, along the wire, in to the pipe through the grommit. The pipe bomb explodes. Flash to white. End of CGI-POV. Resume to NICK.)", "Sara: (V.O.) When the timing device is activated, it sets off an electrical charge that detonates the explosives inside the pipe.", "Nick: Yet the grommet's fully intact. How did it survive the blast?", "Sara: I don't know, but they always do.", "Nick: And just when I thought you knew everything.", "(SARA smiles, embarrassed. BRASS enters.)", "Brass: How's the puzzle?", "Nick: Hey. Pieces are small, but it's coming together.", "Brass: Well, I got a corner piece. The 4-1-1 on Marcie Tobin's husband? Junior foreman on Tobin C & D, Incorporated. The \"C\" stands for \"Construction\" the \"D\" is for \"Demolition.\"", "[SCENE_BREAK]", "[INT. TOBIN C & D -- DAY]", "(JONATHAN CLADDON is speaking with an employee when NICK and SARA enter the garage.)", "Jonathon Claddon: I got to do my job, you got to do your job. So, if this stuff isn't taken down there then we all lose. So, you just make sure that you are in touch with me ...", "(JONATHAN CLADDON sends the employee on his way and starts writing on his clip board when NICK gets his attention.)", "Nick: Jonathan Claddon?", "Jonathon Claddon: Yeah.", "Nick: I'm Nick Stokes. This is Sara Sidle. We're with the Vegas Crime Lab. We're here about your wife's car.", "Jonathon Claddon: Yeah, she told me you might stop by.", "Sara: Mr. Claddon are you a Demolitions expert?", "Jonathon Claddon: That's what we do. You must have seen our work on TV. We imploded most of the old strip hotels.", "Sara: Do you personally know how to make a bomb?", "Jonathon Claddon: It's not hard. Anybody here could show you how.", "Nick: So, I take that as a \"yes\"?", "Jonathon Claddon: If you're implying I had anything to do with all this ... I love my wife.", "Sara: Not enough, apparently, to be there for her last night.", "(BARCLAY TOBIN approaches the group.)", "Barclay Tobin: Johnny, Reynolds needs help loading the truck.", "Jonathon Claddon: (to BARCLAY TOBIN) These folks are from the crime lab. They're here about Marcie.", "Barclay Tobin: I'd like to talk to them. Alone.", "Jonathon Claddon: (to BARCLAY TOBIN) Sorry. (to NICK and SARA) Well, let me know if I can help.", "Nick: Will do.", "(JONATHAN CLADDON leaves.)", "Barclay Tobin: Oh. Barclay Tobin. This is my company. Any leads on my daughter's case? At this point, we're still asking questions.", "Sara: Can you tell us about your son-in-law?", "Barclay Tobin: Well, I got him his first and only job when he married Marcie.", "Nick: You, uh ... you don't think too much of him, huh?", "Barclay Tobin: Even less these days. Marcie says that he's cheating on her but I don't think he has the stones.", "(He sighs.)", "Barclay Tobin: But after last night ...", "Sara: Does Johnny have access to explosives?", "Barclay Tobin: All my foremen have access to dynamite.", "Sara: Mr. Tobin, do you fingerprint your employees?", "Barclay Tobin: Sure do. It's standard for the industry. Just let me know what you need.", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(NICK enters the lab. GREG is looking through the microscope. He stands when he sees NICK.)", "Greg: Before you ask that swab of yours, from the end cap ... let's play \"name that chemical compound.\" Today's category: \"Explosives.\" 30 seconds on the clock.", "Nick: Get ...", "(Using a black marker, GREG starts to compose a compound on the glass board. We see GREG write the following (please note that it's incomplete) ...)", "H", "H - C - ONO -", "H - C -", "H", "Nick: (reading) C-3 ... H-5 ... and three molecules of NO-3... nitroglycerin. The explosive component of dynamite.", "Greg: Now, the other component for dynamite is either silica or sawdust. Your sample contains sawdust.", "Nick: Thanks, Greg. What'd I win?", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(SARA lifts the print off of the end cap and takes a photo of the print, then scans it into the computer.)", "(From the current database on screen, she runs a comparison:", "Tobin Construction *Allen, P. *Barrington, D. *Claddon, J. *Elwes, ...", "From the above list, SARA selects \"CLADDON, J.\")", "(The computer screen immediately brings up JOHN CLADDON'S prints from TOBIN CONSTRUCTION on the left side of the screen, and the extracted print from the end cap on the right - Ref#:_938-2038-4937.)", "(From the TOBIN CONSTRUCTION fingerprint card, she selects a L. Index finger to compare the mystery print from the end cap. The click and drags the end cap print to the Card print. It immediately finds its fit. It's a perfect match.)", "(SARA smiles. NICK enters the Print Lab.)", "Nick: Hey.", "Sara: Hey.", "Nick: Well, you look ...", "Sara: Happy?", "Nick: Smug, actually.", "Sara: I got a perfect print off the end cap. Husband.", "Nick: Nice. I got the type of explosive used in the pipe bomb. Dynamite -- nitro and sawdust. The same kind used at Tobin C & D.", "(They both smile and laugh.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "Jonathon Claddon: You found the end cap? That's not easy.", "Nick: Hey, if I were you I'd worry about my fingerprint. How'd it get there?", "Jonathon Claddon: My father-in-law's company is the largest purchaser of end caps in Nevada. I log inventory.", "Brass: Well, speaking of inventory, I checked the books. As you know, per the ATF every stick of dynamite is catalogued. You logged-out a case of 24. When the demolition project was postponed you returned the case ... one stick short.", "Jonathon Claddon: It was stolen. Look, I'm the one who reported the theft. I kept the dynamite in my SUV, inside a storage magazine.", "Nick: So, you're telling us someone broke into your vehicle and stole a single stick of dynamite?", "Jonathon Claddon: Yes.", "(JONATHAN CLADDON looks at NICK, SARA and BRASS.)", "Brass: Tell about your girlfriend.", "Jonathon Claddon: Is that what Mr. Tobin told you? Marcie's the best thing that ever happened to me. Plus, I've got an ulcer. Do you have any idea what an affair would do to me? I work my butt off for her old man. I barely have enough time to sleep let alone Romeo some other girl. And the truth is, nothing I ever do is good enough. Tobin wouldn't even let Marcie take my name.", "Brass: Cry me a river, Johnny.", "Jonathon Claddon: You're looking at the wrong guy.", "Brass: Then point us in the right direction.", "Jonathon Claddon: Marcie handles the payroll and she has a rep for shortchanging overtime. Talk about pissing people off. Any one of those guys could have put that bomb in her car.", "Sara: Why didn't you tell us this before?", "Jonathon Claddon: Because it's not her fault. She's just doing what her father tells her.", "(Camera holds on SARA as she glances over at NICK.)", "[SCENE_BREAK]", "[EXT. DEBBIE STEIN'S HOUSE -- DAY]", "(Camera starts from MRS. ELLIOT'S front walkway and unkempt lawn and moves one house to the right to a cleaner, neater home. CATHERINE walks up the sidewalk carrying her CSI kit. She knocks on the door. It opens.)", "Catherine: Debbie Stein?", "Debbie Stein: Yes.", "Catherine: I'm here for your shoes.", "(CATHERINE holds out the warrant. DEBBIE STEIN takes it and reads it. She looks up at CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Lined up on the table are DEBBIE STEIN'S shoes. Methodically, CATHERINE and WARRICK print the bottom of every left shoe trying to find a match to their print. WARRICK inks the bottom of the shoe, and CATHERINE puts the shoe to paper.)", "(The next shoe WARRICK inks, he notices the smell.)", "Warrick: Phew. Eau de cat.", "(He hands the shoe to CATHERINE. She prints it. She smiles.)", "Catherine: Eau de match.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Debbie Stein: She was a pig. Her house stunk. She didn't belong in the neighborhood.", "Grissom: So, I guess it's safe to say you weren't friends? Why were you in her house?", "Debbie Stein: I wanted to give her a chance to find homes for her cats before I called the Humane Society. To report her. By law, you can only own three.", "Catherine: Well, a witness heard you scream at her.", "Debbie Stein: She was irrational. I was angry.", "<FLASHBACK>", "Debbie Stein: This is disgusting. Nobody lives like this. You've got to get rid of them.", "Mrs. Ruth Elliot: These cats are my children, and no one's going to take them away from me.", "Debbie Stein: Then you clean up after them. I can smell your house from my kitchen.", "</FLASHBACK>", "Grissom: When, exactly, did you confront Mrs. Elliot?", "Debbie Stein: I don't know. Maybe ... six days ago. Before my trip to L.A. I went to visit my sister. Look, if you have any other questions, I want a lawyer.", "Catherine: You're free to go.", "(DEBBIE STEIN gets up and leaves the room.)", "Catherine: Well, she had an answer for everything.", "Grissom: You know, according to Mark Twain the most striking difference \"between a cat and a lie is that a cat only has nine lives\".", "Catherine: What are you saying? That she's lying?", "Grissom: Unless her alibi checks out.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK makes a casting of the striations found on the end cap. He examines the casting under a magnifying light.)", "Nick: Bomber fastened the cap to the pipe leaving behind tool marks. Check it out.", "Sara: What kind of tool leaves evenly-spaced vertical striations?", "Nick: A vice grip.", "(Flash to white. Quick CGI-POV of a vice grip around an end cap. The vice grip releases and the markings are left behind. End of CGI POV. Resume to present.)", "Sara: A vice grip?", "Nick: Yeah. Let's get a warrant for Johnny Claddon's home and for Tobin C & D.", "(NICK puts the end cap casting in a plastic evidence baggie #1245689. They both exit the lab.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- CONTINUOUS]", "(NICK and SARA walk out of the lab. NICK, carrying the plastic evidence baggie and SARA taking off her latex gloves. They round the corner and encounter WARRICK walking toward them carrying a file.)", "Warrick: Hey, guys.", "(The camera focuses on WARRICK and follows him back up the hallway. He meets CATHERINE in the hallway. They both make their way back to the Print Lab.)", "Catherine: Hey!", "Warrick: Talked with O'Riley. The neighbor's alibi does check out. She was at her sister's in L.A. During the time of the murder.", "Catherine: Well, there goes our only suspect.", "Warrick: Not so fast. I got another one. We have a match on that print that we found on the wall safe.", "Catherine: Right!", "(WARRICK brings up the print and the identification on the bottom reads: )", "TYLER ELLIOT Work Card Status: Non-Gaming Work History: Electrician 1997-1999", "Work Location: Tangiers Age: 45 years", "Warrick: Yeah. He has a non-gaming work card. He's 45 years old. He was an electrician at the Tangiers from '97 to '99. His name is Tyler Elliot.", "Catherine: That's the same last name as the vic.", "Warrick: Victim's son. Only child.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "Tyler Elliot: I wasn't skipping town.", "Sgt. O'Riley: That why you had a duffel bag in the back seat?", "Tyler Elliot: I was going camping out at Red Rock. And suddenly, these cops pull me over. They take me into custody. My car's still up there.", "Grissom: Your mother died and you never claimed the body. How come?", "Tyler Elliot: Funerals are expensive. I'm broke.", "Sgt. O'Riley: Records show he filed for bankruptcy last month.", "Tyler Elliot: I figured ... let the county pick up the tab. No one was going to show up anyway. It's not like we were close.", "Sgt. O'Riley: So, how often did you see her?", "Tyler Elliot: Twice a month. Went over, made sure her bills got paid. Brought her medication. Stocked the fridge. All the stuff any good son is supposed to do.", "Catherine: Mr. Elliot, we found your mother's safe. It was busted open and your prints were all over it.", "(He scoffs.)", "Sgt. O'Riley: Something funny?", "Tyler Elliot: About a month ago, she called me up -- middle of the night -- hysterical. Her precious tabby was locked inside. She couldn't remember the combo.", "(He sees CATHERINE and GRISSOM'S doubtful looks. He elaborates.)", "Tyler Elliot: I didn't steal her money. She didn't have any. The only thing she owned was the house. And she left that to some damn cat sanctuary.", "Grissom: And so ... that's it?", "Tyler Elliot: I'm flat broke and she gives her house to complete strangers. Can, uh ... can somebody drive me back to my car, if we're done?", "[SCENE_BREAK]", "[EXT. TOBIN RESIDENCE -- DAY]", "(MARCIE TOBIN and JONATHAN CLADDON walk outside to meet with NICK and SARA.)", "Marcie Tobin: You know, since my car blew up everybody is in my business. All of a sudden, everybody has something to say. You know, an opinion, a theory. My life is an open book and my father wants me to hire a bodyguard. For what? To protect me From who? You know what I think? Someone put the bomb in the wrong car. I think they confused our house with somebody else's because stranger things have happened.", "Sara: Marcie?", "Marcie Tobin: Yeah. Sorry.", "Sara: Maybe we should talk alone.", "Marcie Tobin: Uh, we don't have any secrets.", "Sara: Okay. Listen - about your marriage -- your father said ...", "Marcie Tobin: ... oh, my god. My father shouldn't have said anything.", "Jonathon Claddon: Your father ran his mouth about our personal life?", "Marcie Tobin: Johnny, you know what? I, um ... a couple of weeks ago I thought that maybe Johnny was fooling around just because he was never home ...", "Jonathon Claddon: I was working.", "Marcie Tobin: And never interested ...", "Jonathon Claddon: Marcie, we talked about this. You know the pressure your father has me under.", "Marcie Tobin: I know. I know.", "Jonathon Claddon: It's not fair.", "Marcie Tobin: And you know what? You shouldn't put too much stock in this because every couple has their problems.", "Jonathon Claddon: Marcie and I have had enough. That's it. Now, you have your warrant, fine. But please no more questions.", "(JONATHAN CLADDON puts his arm around MARCIE TOBIN. Marcie sighs. With a hand to her head, she walks away.)", "Marcie Tobin: Just take what you need.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK is in the lab working on getting samples on the vice grips. SARA walks in.)", "Sara: Hey. You got a head start.", "Nick: Yeah, didn't even have to wait for my warrant. I just rolled over to Tobin C & D and before I could say \"vice grip\" the senior foreman gave me every grip in the house.", "Nick: Bad news, though. No matches.", "Sara: Ah! One more vice grip compliments of the Tobin/Claddon household.", "(SARA gives the baggied vice grip to NICK who immediately takes a sample of the grip markings and makes a casting of it. He compares it to the end cap sample. No match.)", "Sara: Aw ... teeth aren't even the same size.", "Nick: No. And we're out of vice grips.", "Sara: We're out of luck.", "Nick: Let's unwrap the Beemer.", "(SARA smiles.)", "[SCENE_BREAK]", "[INT. CSI -- GARAGE]", "(NICK tears through the plastic wrap covering MARCIE TOBIN'S car.)", "Nick: You know, when I was 16, I begged my mom for a car. Swore she'd come through.", "Sara: What happened?", "Nick: Encyclopedia Britannica.", "(He chuckles at the thought.)", "Nick: All 24 volumes. Still own them, still use them. Okay.", "(NICK and SARA look at the decimated car engine.)", "(CGI POV as the car engine morphs back into its pre-explosion state as NICK speaks.)", "Nick: Mechanic found the bomb next to the engine mount closest point to the driver. Bomb was on a delay. Clock with a ticking second hand and a nail driven into \"12.\"", "(Quick CGI POV camera close up of the alarm clock ticking.)", "Sara: That means the bomb was triggered 60 seconds before detonation, one rotation of the second hand.", "Nick: Question is, what started the clock?", "(NICK and SARA ponder the possibilities.)", "Sara: Something Marcie Tobin touched inside the car?", "(SARA moves to look into the front seat of the car.)", "(Quick CGI POV as the front driving panel and steering wheel morph back into pre-explosion order.)", "Sara: Ignition, door locks window, radio, A/C ... turning signals, hazard lights ...", "Nick: Yeah, but we're only dealing with a 60-second time frame.", "Sara: Okay, she pulls into the lot, she gets out of the car, and she asks for help.", "Nick: Mechanic offers to take a look.", "Sara: So, she pops the hood for him.", "Nick: Hood release.", "(NICK looks at SARA, then looks down at the hood release. The camera moves to close-in on the torn hood release.)", "Nick: Whoa. The latch has been blown apart. Which means the hood was down when the bomb was detonated.", "(Flash to white. Quick Flashback with camera focused on the hood release with the hood closed. The car explodes and the latch tears the hood release. Flash to white. End of flashback.)", "Sara: How is that possible? The mechanic saw the bomb.", "Nick: X-ray vision? (he laughs)", "Sara: Okay, maybe he took one look at it, and he slammed the hood.", "Nick: Sara, if you found a bomb in your car would you close the hood?", "Sara: No, I would back away fast. Um... maybe the hood dropped?", "Nick: No way. BMW has built-in hood shocks.", "Sara: Liar, liar, car on fire.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(The camera moves down the hallway toward GREG'S Lab. The glass doors are closed. GREG'S sitting at his lab table with his back to the door.)", "(Loud music is blaring. GREG is swinging and swaying to the beat of the music.)", "[SCENE_BREAK]", "[INT. CSI - GREG'S LAB - DAY - CONTINUOUS]", "(GRISSOM and CATHERINE enter GREG'S Lab. He's wearing a latex glove blown up on his head, a paper mask with lips and teeth on the front, and plastic glasses. He's playing air drums to the extremely loud pulsating music with a test tube grasped in each hand as drumsticks while wearing thick black rubber gloves.)", "MUSIC Lyrics: ... doesn't exist / I'm not a slave to a world that doesn't give a sh1t / (chorus) And when we were good / You just close your eyes / So when we were bad / We'll ...", "[Note: From Marilyn Manson, \"The Fight Song\"]", "(CATHERINE looks amused. GRISSOM looks ... \"Grissom-ish\". CATHERINE turns the tape off. The music stops.)", "(GREG stops. He takes the paper mask off of his mouth and smiles.)", "Greg: I could have been a rock star.", "Grissom: There's still time, Greg. Tell us about the foreign substance we found in the vic's wound track.", "(GREG removes the goggles and glove from his head.)", "Greg: Uh, well, I like to rub it all over a lady's body. Even better ... I, uh ... like it when she rubs it all over me. And it's also used as a stool softener.", "Catherine: It's also the only open lead in our case. Spit it out, Greg.", "Greg: Mineral oil.", "Grissom: Possibly used as a preservative to prevent rusting of high-carbon steel.", "Catherine: Like the blades of knives.", "Greg: Old knives. New ones are made from stainless steel. Yeah, I'm like a sponge. I just absorb information.", "Grissom: I thought that was my line.", "Greg: Yeah, and I absorbed it.", "Catherine: (clears her throat) Okay, so ... knives, screwdriver, ice pick, letter opener. We're looking for a weapon with a splash of mineral oil. I'll grab the A.L.S.", "Greg: An A.L.S. For mineral oil?", "Grissom: Mineral oil fluoresces at 525 nanometers when filtered through a kv590. A little more absorbing ... a little less rock and roll.", "[SCENE_BREAK]", "[EXT./INT. MRS. RUTH ELLIOT'S HOUSE]", "(A dog can be heard barking outside the house.)", "(Cut to Inside the house. CATHERINE turns the power on and goes through the items on the counter top.)", "(Cut to GRISSOM using an ALS in the bedroom. Opening drawers.)", "(Cut to CATHERINE in the kitchen going through the drawers.)", "(Cut to GRISSOM looking at various items in the bedroom ... glasses ... and umbrella.)", "(Cut to CATHERINE going through the unwashed dishes in the sink.)", "(Cut to GRISSOM moving out of the bedroom and into the hallway.)", "(Cut to CATHERINE finishing in the kitchen. GRISSOM finishes up and hangs in the doorway, leaning on the doorjam.)", "Catherine: Now what?", "(From behind him, a cat trots by past his legs and out the kitty door. GRISSOM looks at the cat thoughtfully.)", "Catherine: I thought animal control rounded up all the cats.", "(CATHERINE takes off her goggles. GRISSOM walks toward the door after the cat and opens it.)", "Catherine: Where are you going?", "Grissom: Following the evidence.", "(He walks out of the kitchen to follow the cat.)", "[SCENE_BREAK]", "[EXT. OUTSIDE TRENT HOUSE -- DAY]", "(JESSICA and JACKIE TRENT are playing jump rope when the cat from MRS. ELLIOT'S house crosses the street toward them. The cat meows.)", "Jessica Trent: Wait.", "(They stop jumping rope and turn their attention to the cat.)", "Jessica Trent: Rascal. Hi. How'd you get out?", "(JESSICA TRENT picks the cat up.)", "Catherine: Hi. Girls.", "Jessica Trent: Say Hi, Rascal.", "(The cat purrs in her arms.)", "Catherine: Hi, Rascal.", "(GRISSOM notices that the cat has an open wound.)", "Grissom: Excuse me, uh ... may I hold your cat?", "Jessica Trent: No. He doesn't like you.", "(From the house, MRS. TRENT opens the door and calls out to her daughters.)", "Janet Trent: Girls, dinner.", "Jackie Trent: Doesn't she see we're playing?", "Jessica Trent: Just ignore her.", "Janet Trent: Girls. I see you've met rascal.", "Grissom: Mrs. Trent, I noticed this cat has a sore on its leg. I'd be happy to swab it for you. Might need medical attention.", "Jessica Trent: No.", "Janet Trent: I don't think that that's really necessary. It's just a cut; it'll heal.", "Grissom: But I mean, for your daughter's sake, wouldn't you rather be safe than sorry?", "Jessica Trent: I think it's time to go inside.", "Janet Trent: Uh, Jessica ... I-I think he might have a point.", "Jessica Trent: I want her to do it.", "(GRISSOM hands CATHERINE the swab and CATHERINE gives him the goggles to hold. He tucks them in his shirt pocket.)", "Catherine: Okay. Rascal.", "(CATHERINE swabs the wound. The cat growls.)", "Catherine: All righty. Thank you.", "Janet Trent: Okay, girls, go wash up.", "Jessica Trent: Come on, Jackie, let's go.", "(The two girls head back to the house.)", "Janet Trent: Kids these days, they just don't listen.", "Catherine: Two against one.", "Janet Trent: Thank you. See you later.", "(MRS. TRENT heads back to the house.)", "Grissom: One thing about my mother even though she was deaf, she was always the boss.", "Catherine: Huh. Well ... single mom ... juggling a job, a boyfriend. It's just easier to say yes than no and then eventually, they just keep asking for permission. You want to tell me why I swabbed their cat?", "Grissom: That cat has an open sore and a missing patch of fur -- both indicative of possible staph infection.", "Catherine: And we know that our victim had a staph infection.", "Grissom: Staphylococcus bacteria can jump the species barrier -- be passed from human to animal.", "[SCENE_BREAK]", "[INT. MARCUS REMMICK'S GARAGE]", "Marcus Remmick: (o. s.) Guess I must have shut it, then. I wasn't thinking; I was reacting, you know? No harm, no foul.", "Nick: No prints.", "Marcus Remmick: Come again?", "Nick: Well, if you were pawing all over the hood then your prints should be on it.", "Sara: And they're not.", "Marcus Remmick: I wear gloves.", "Sara: You're not wearing them now.", "Marcus Remmick: I wear them most of the time.", "Sara: Mind if we take a look around the garage?", "Marcus Remmick: Knock yourselves out.", "(NICK and SARA look around the garage. They spot the vice grips on the table.)", "Nick: Are you thinking what I'm thinking?", "Sara: Mechanics use vice grips?", "(NICK picks up the vice grips from the tool chest and looks at it.)", "Nick: You got any clay?", "Sara: No.", "Nick: Well... we can't just take the tool without a warrant.", "(SARA looks down into the trash bin and picks up a sandwich thrown in there.)", "Sara: But ... we can improvise. Trash is trash.", "Nick: Cheese. Nice.", "(SARA hands the sandwich to NICK who works on making an imprint on the cheese.)", "Nick: I'll compare this with our case toolmark.", "(Behind him, MARCUS REMMICK reaches over the table to pick up a clipboard. He glances at what NICK is doing. He walks away.)", "Marcus Remmick: You guys having fun?", "Nick: A blast. Hey, man ... these yours?", "Marcus Remmick: Don't use vice grips -- pipe wrench has a better feel. Must belong to one of my mechanics.", "Sara: Thanks ... I'll take the prints on those.", "(SARA takes the cheese and walks over to her CSI kit.)", "Nick: Boy, you just have an answer for everything, don't you?", "Marcus Remmick: Yeah, I guess I do.", "(MARCUS REMMICK turns and walks away. Camera holds on NICK.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK takes the cheese out of the plastic baggie and puts it under the microscope for comparison with their existing cast of the end cap. The prints match perfectly. NICK looks up. He walks over to the next lab where SARA is at the computer.)", "Nick: Striae are identical. Auto body vice grip was definitely used to tighten the end cap. Mechanic's prints on file?", "Sara: Marcus Remmick. Arrested for fraud in 1994. He was selling used parts as new. Prints are in AFIS, but they don't match the vice grip. And, in fact, AFIS drew a blank.", "Nick: Hmmm. Then what are you running?", "Sara: I'm running a Tobin C&D database.", "Nick: Oh. Shot in the dark.", "(The computer beeps as it runs a print comparison from their existing print to the prints in the database.)", "(It finds a match.)", "Sara: Even a shot in the dark hits sometimes.", "(SARA smiles.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Marcie Tobin: Why would I put a bomb in my car?", "Sara: Not only did you put a bomb in your car -- you made it yourself.", "Marcie Tobin: Why would I do that?", "Brass: The business registration shows that you own 25% of your father's company. So Nevada's a community property State-- you divorce Johnny he becomes a part-owner of Tobin Construction. That wouldn't sit too well with dad, would it?", "Sara: But if Johnny goes down for attempted murder, he goes to jail and you get to keep everything, because a criminal can't benefit from his own malfeasance.", "Marcie Tobin: This is absurd.", "(MARCIE TOBINS stands to leave. She stops at the door.)", "Brass: You know, for your information, um ... your mechanic friend lawyered up. Guys with records roll fast.", "Marcie Tobin: He's not my friend.", "Nick: Really? Because we found your prints on a tool at the body shop. It was the same tool we know was used to make the pipe bomb.", "Brass: (quietly) Sit down.", "(MARCIE TOBIN sits back down at the table.)", "Sara: You and Marcus tag-teamed us. You never popped the hood; he never shut it-- it was latched.", "Nick: Fortunately for you, you only worked Thursday nights, because your little plan took a lot of extra time and effort.", "(Quick flashback to MARCIE TOBIN taking the one stick of dynamite out of her husband's car. She's wearing thick, black gloves to do the deed. Flash to white as MARCIE TOBIN removes an end cap from the box on the shelf. Flash to white. MARCIE TOBIN and MARCUS REMMICK standing at the work table in the back of his garage. Flash to white. MARCIE TOBIN tightening the end cap to the bomb with the vice grips. Flash to white. The end cap on the pipe bomb. Flash to white. End flashback. Resume on MARCIE TOBIN.)", "Nick: (V.O.) You snagged a stick of dynamite out of Johnny's SUV, took an end cap out of inventory, knowing we'd trace it back to Johnny if we found it. And then at the body shop, you put it all together.", "Marcie Tobin: So what if I made a bomb? That's not a crime.", "Nick: Really? You sure about that?", "(MARCIE TOBIN swallows nervously.)", "(Quick Flashback to MARCUS REMMICK putting the finished pipe bomb in the engine. Flash to white as MARCUS REMMICK shuts the hood of the car. Flash to white as MARCUS REMMICK leans over the driver window.", "Marcus Remmick: Ready.", "(Flash to white as MARCIE TOBIN turns on the car's CD player (Track 12). She smiles.)", "Marcie Tobin: 60 seconds.", "(Quick CGI POV Close up as the electric charge starts with the CD player. Camera moves forward through the dash board and follows the electric pulse through the wires, through the engine, past the engine piece BMW 11.61-1729 / PA66+GF-3 ... )", "( ... all the way through to the alarm clock that sets it off. Cut to clock ticking down 12 - 11 - 10 ... Cut to MARCUS REMMICK and MARCIE TOBIN move to stand behind the wall. Cut to a close up of the alarm clock running down ... 7 - 6 - 5 - 4 - 3- 2- 1. Cut to MARCUS REMMICK and MARCIE TOBIN watching as the car explodes. Flash to white. End of flashback. Resume on MARCIE TOBIN.)", "Brass: You used to own a '92 volvo. I ran your credit card. You owe $20,000 in auto body repairs. Your dad kicked in $30,000. I ran his credit card, too. That's 50 g's for a leaky transmission.", "Nick: You needed Marcus' help to wire the bomb and substantiate your story. So the two of you paid him $50,000 for services rendered.", "Marcie Tobin: Look, I'm fine, and my husband is fine, and it was my car that exploded so does this ... really need to go any further?", "Brass: Ma'am, you and your father conspired to frame your husband for attempted murder.", "Nick: So, you're both looking at, what, uh ... twenty-plus.", "Sara: Oh, and Johnny's getting a promotion.", "[SCENE_BREAK]", "(Camera close up of a petrie dish with culture growing. Time camera on fast forward.)", "(GRISSOM opens the door and removes the petrie dish.)", "Grissom: Girl's cat ... positive for staphylococcus.", "Catherine: You know, I spoke with Janet Trent. She and her daughters are all healthy.", "Grissom: Could their cat have been infected by Mrs. Elliot? Could rascal have been her cat at one time?", "Catherine: What, and she ... gave it to the girls?", "Grissom: No.", "Catherine: So if it was hers, and she... didn't give it away ...", "Grissom: Maybe someone in the Trent house adopted it.", "[SCENE_BREAK]", "[EXT./INT. TRENT HOME -- NIGHT]", "(JESSICA TRENT is holding Rascal. JACKIE TRENT stands nearby. Their front door is open and an officer stands next to it. A blue-ish colored light from the ALS glows inside.)", "(Cut to GRISSOM using an ALS to search for the murder weapon. Camera pans to the framed family photos on the table.)", "(Cut to CATHERINE using an ALS in the girls' bedroom. She searches the shelf and sees something. She puts the light down and picks up a pen. Camera close up notes that the part of the pen that contained water is chipped and the water is missing.)", "(CATHERINE opens her kit and tests for blood on the pen. The test is positive.)", "(Quick CGI-POV close up of the pink floaty pen piercing through MRS. RUTH ELLIOT. End of CGI-POV.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "(CATHERINE holds up a plastic evidence bag with the pen.)", "Catherine: We know that Mrs. Elliot was killed by this pen. Can one of you tell me what happened?", "Child Advocate: Girls, do you understand what Ms. Willows is asking you?", "(The two sisters look at each other.)", "Jackie Trent: I'll tell.", "Jessica Trent: No. You promised.", "Catherine: Jessica, in this room, the only promise you make is to tell the truth.", "Jessica Trent: She didn't mean to do it. I'm sure she didn't.", "Catherine: Who?", "(JESSICA turns her head slightly toward the mirror.)", "Jessica Trent: Mommy.", "(Cut to inside the Observation Room where we see a reflection of JANET TRENT in the mirror. She looks absolutely shocked at what she's hearing. GRISSOM is there in the room standing next to her. CATHERINE looks up at them surprised at the girl's response.)", "Catherine: What did your mother do?", "Jessica Trent: Mrs. Elliot should have just given us the cat.", "<FLASHBACK>", "Janet Trent: He's always at our house. Rascal likes it there.", "Mrs. Ruth Elliot: I won't give them away.", "Janet Trent: Look, then I'll pay you for him.", "Mrs. Ruth Elliot: I'm sorry. Every child should have a cat but these are mine.", "Janet Trent: Just give me ...", "Mrs. Ruth Elliot: Oh!", "Janet Trent: Girls, take the cat and run. Go. Go.", "Mrs. Ruth Elliot: (crying) No! Please... no!", "</FLASHBACK>", "Jessica Trent: So then we ran, and that's when we heard the old lady scream.", "Catherine: Jackie?", "(JACKIE TRENT doesn't say anything. She doesn't even look at CATHERINE.)", "Catherine: Girls, do you ... know about fingerprints? When you ... touch something -- like this floaty pen, for instance -- you leave behind an invisible mark that's special, that's yours. I have a way to ... see these invisible marks. And we found these fingerprints on the pen. And they don't belong to an adult.", "(JACKIE and JESSICA look at each other. JESSICA shakes her head. JACKIE looks back at CATHERINE.)", "Jackie Trent: They're not mine.", "Jessica Trent: Tattletales burn in hell.", "(JESSICA turns to CATHERINE and sits back in her chair.)", "Jessica Trent: The old lady should have just given me the cat. I lied before. She wasn't nice. She was mean.", "<FLASHBACK>", "Jessica Trent: My mom said we can keep him. Please?", "Mrs. Ruth Elliot: These are my babies. I don't give them away.", "Jessica Trent: But you have so many. We don't have even one.", "Mrs. Ruth Elliot: I'm sorry.", "(MRS. RUTH ELLIOT smiles and holds out her hands for the cat JESSICA'S holding. JESSICA doesn't move. MRS. ELLIOT doesn't smile as she realizes that JESSICA'S not going to give her cat back. JESSICA hands the cat to JACKIE.)", "Jessica Trent: Run, Jackie!", "(JESSICA runs toward MRS. ELLIOT and knocks her over.)", "Mrs. Ruth Elliot: I'll tell your mother!", "Jessica Trent: You won't!", "(JESSICA uses her pen and stabs MRS. ELLIOT. She looks down at her hand holding the pen and covered with blood. She rubs the blood off her hands onto her shirt. She stands and runs.)", "</FLASHBACK>", "(CATHERINE sits back in her chair. The CHILD ADVOCATE stands and moves to the two girls where she starts speaking with them.)", "[SCENE_BREAK]", "[OBSERVATION ROOM NEXT DOOR]", "Grissom: Did you know?", "Janet Trent: (crying) I told the girls that they could have a cat if Mrs. Elliot gave them one. I knew she never would. That's why I made the promise.", "Jessica Trent: No, I need mommy. (crying) Mommy. I want my mommy! No!", "Jackie Trent: Jessica!", "Jessica Trent: Please ... mommy ...", "(JANET TRENT watches through the mirror.)", "Jessica Trent: (crying) Mommy ...", "(Camera holds on GRISSOM.)" ]

[ "When a body is found buried in a park, covered in lye , Grissom and Sara discover the man was the victim of a hit and run. Meanwhile Nick investigates the death of a woman who drowned in the middle of the desert." ]

[ "WHITE FLASH TO:", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. SUNSET PARK (STOCK) - DAY]", "(It's a bright, beautiful day at the park. The camera passes by a couple of teenagers walking and holding hands, a family barbeque-ing, a couple of kids with water guns and a group of children running and playing tag.)", "(One particular little boy running and being chased by the others in his group, trips and falls on a patch of dirt. He starts screaming immediately. He gets up, holds his hands out in front of him and starts screaming.)", "Little Boy: Mom! Mom! The dirt burned my hand!", "(The camera focuses on the little boy's hands as it turns red ... burning his skin.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. SUNSET PARK -- NIGHT]", "(The little boy's hands are being wrapped. Sirens blip in the background. GRISSOM and SARA appear at the scene carrying their CSI kit. They meet up with BRASS, the three of them making their way toward the body. They walk between the ambulance on the left and the Clark County Fire Department Hazardous Materials' Truck on the right.)", "Grissom: What's Hazmat doing here?", "Brass: Kid's playing tag, takes a header in the dirt ends up with first-degree on his hands.", "Sara: Wait. We got a call about a dead body.", "Brass: Yeah, I'm getting there. So, Hazmat arrives figuring some sort of chemical spill. Starts removing the toxic soil, and bamm a shovel slams into a shoulder blade.", "(BRASS indicates some area off screen and to his right.)", "FLASH TO WHITE: SHORT TIME CUT TO:", "(The forensic team surrounds the site.)", "Sara: (V.O.) Clothing's been reduced to shreds. Epidermal tissue. Is virtually gone. The body's desiccated.", "(The camera starts at the body's legs and feet then moves slowly up toward the head.)", "Grissom: Viscous fluid the consistency of dishwashing soap. Hazmat guy was right. Killer doused the body in lye.", "Sara: Must have thought it would destroy the body.", "Grissom: Yeah, ashes to ashes, dust to dust. Without the wait.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. SUNSET PARK -- NIGHT]", "(SARA is standing in the grave site with the body. Dispatcher noise can be heard in the background.)", "HazMat: Ma'am, I'm sorry, but I need to neutralize the soil.", "Sara: If you touch the soil you're going to contaminate my crime scene, but I'll let you know when I'm finished.", "HazMat: Okay.", "(The Hazmat man leaves, GRISSOM approaches SARA. He crouches down toward her.)", "Grissom: What'd you get?", "Sara: Vic's wallet, what's left of it. It's a Nevada License. Bob Martin. 31. He lived downtown. There's 20 bucks in the flap. Rules out robbery.", "(SARA is holding a wallet in her hands with the following Nevada Driver's License information showing: )", "(name) BOB MARTIN (address) 45?? ??? MATRIA LAS VEGAS NV 89108", "NONE (weight) 175", "BRN", "(GRISSOM looks around the grave site and notices shiny white flecks. SARA picks up a sample for a closer look.)", "Sara: Look at this.", "Grissom: Looks like a paint fleck or metal chip, maybe.", "Sara: What'd the ranger say?", "Grissom: Nobody saw anything suspicious. Park closes up at 10 p.m. No security, minimal lighting. Basically, a pretty good place to dump a body.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "Robbins: You found this guy in the park?", "Grissom: Actually, Hazmat found him.", "Robbins: Well, that explains the postmortem scar tissue. Lye had a field day on his flesh.", "(Quick flashback to powdery lye being poured over the dead body lying on the ground in a cloud of dust. Camera close up of the dead body's head and its burning flesh. Flash to white. Resume on SARA.)", "Sara: Time of death?", "Robbins: Approximately 24 hours ago. Tell me about the car.", "Sara: Car? What car?", "(ROBBINS pulls the sheet covering the lower body aside to expose the legs. He points to the wounds in the knees.)", "Robbins: Comminuted fractures of the proximal tib-fib. Both legs. Bumper hits right below the knees. Sure sign he was hit by a car.", "(Quick flashback to car headlights on a pair of legs standing in the middle of the road. Cut to side view of the impact of the car on the legs. Flash to white. Resume on present.)", "Grissom: Look at all the bruising. If he was struck and killed, ecchymosis would be nonexistent.", "Robbins: Which suggests he survived the impact. Usual injuries. Ruptured patellar tendon, laceration of the saphenous vein and multiple incised wounds containing slivers of glass ...", "(ROBBINS picks up a piece of glass from the dead body's cheek. He puts it aside.)", "Robbins: ... which I will send over to trace and bruise legs, arms and chest. What I didn't find was arterial lacerations or underlying vessel damage.", "Sara: Just confirms death wasn't immediate?", "Robbins: Correct. Victim was like a leaky water balloon. Heart slowly pumped blood right out of his body and based on the coloration of the bruises, trauma was sustained approximately 48 hours before death. Three days ago, this man was injured. He bled out until he died yesterday.", "Grissom: We didn't find any blood.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT LAS VEGAS DESERT (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT - DIABLO CANYON -- NIGHT]", "(NICK arrives at the site and walks toward the crime scene. He's carrying his CSI kit and is met up by DET. LOCKWOOD.)", "Nick: Lockwood.", "Det. Lockwood: Hey, Stokes.", "Nick: Who called it in?", "Det. Lockwood: BLM chopper pilot. They always buzz diablo canyon looking for hikers in distress. Or worse.", "Nick: He see anyone else in the vicinity?", "Det. Lockwood: No, just the vic: Stacy Warner, 26. Las Vegas resident. I scanned for a missing persons on her. Nothing.", "(They arrive at the site where a woman lies dead on the ground.)", "Nick: No tire treads. Whose are these?", "Det. Lockwood: Paramedics and mine. Same path. Walked straight in, straight out.", "Nick: Engagement ring, no wedding band.", "(NICK puts his kit down and reaches out to brush the hair on the woman's forehead aside. He notes the wounds on the woman's right cheek. He opens her right eye lid to look at her pupils.)", "Nick: Orbital bone looks fractured.", "Det. Lockwood: Could have lost her footing and hit her head.", "Nick: Could've. Hold that for me?", "(NICK hands his flashlight to the Detective beside him. He pulls out forceps to take a sample of some fibers found at the left corner of the woman's mouth. He holds it up to look at it.)", "Nick: Down feather.", "Det. Lockwood: But she's not wearing a jacket.", "(NICK takes the sample. He notices something else.)", "Nick: Shine that right here.", "(DET. LOCKWOOD continues to hold the flashlight. From the woman's ear, he finds a larvae. He puts it in a plastic container.)", "Nick: Grissom should enjoy this. Hey, Lockwood you got any food in your vehicle? Hamburger, anything like that?", "Det. Lockwood: Gum, sugar-free.", "Nick: No, gum'll kill him. I'll stop at the first place I see pick up some jerky.", "(NICK caps the container and pulls out a second container and hands it to DET. LOCKWOOD.)", "Nick: Will you get me a sample of the ground underneath the body?", "Det. Lockwood: Soon as the coroner moves her.", "Nick: Good.", "(NICK picks up his case and leaves the scene. DET. LOCKWOOD follows.)", "[SCENE_BREAK]", "[INT. REED COLLINS' RESIDENCE - LIVING ROOM -- NIGHT]", "(REED COLLINS stands in front of the large screen television set. A baseball game is playing on screen. He turns around.)", "Reed Collins: Bob is dead?", "Brass: His body was found at Sunset Park. His license gave this address.", "Sara: Are you his domestic partner?", "Reed Collins: We're roommates. I got divorced last year. And about six months ago, Bob's wife kicked him out. He needed a place to crash and I needed help with the mortgage. He's two months late on the rent. How do I go about collecting under the circumstances?", "(SARA doesn't say anything. She turns to look at BRASS. BRASS turns to look at REED COLLINS who clarifies.)", "Reed Collins: Look, we were roommates. We weren't really friends.", "Brass: When was the last time you saw him?", "Reed Collins: We both work at the Tangiers. He managed the restaurant, and I work in maintenance. Last monday we drove in together.", "Brass: But you didn't drive home together?", "Reed Collins: Mondays? No. After shift, he'd walk over to the university. He's an amateur photographer. Take the bus home.", "Sara: But he didn't come home Monday night ...", "Reed Collins: I didn't think much of it. He's always going back and forth with Charlotte. His wife. What do I care? As long as the rent's paid.", "[SCENE_BREAK]", "[EXT. UNIVERSITY - PHOTOGRAPHY BUILDING -- NIGHT]", "(Standing at the side of the road outside the Photography Building at the University, GRISSOM looks around. He sees the bus stop across the street. SARA approaches from behind. She's carrying a stack of photographs.)", "Sara: Photo department kept a log. Bob Martin reserved a darkroom on Mondays from 10:00 to 11:00 P.M. He was logged in Monday night.", "Grissom: Good. We got a bus to catch.", "(Taking a-hold of her elbow, GRISSOM guides SARA across the street. SARA is still looking through the photographs. A car beeps its horn as it rushes by them. They stop, startled. They continue across the road. SARA looks through the photos.)", "Sara: He left these photos behind. They're all of the same woman. I bet it's his wife.", "(The photos are of a dark-haired woman. While crossing the street, GRISSOM notices silver flecks on the road. He reaches down and shines his flashlight down the road. SARA notices it also. GRISSOM reaches down and picks one up to look more closely at it.)", "Grissom: Silver flecks ... like the one you found with the body.", "(SARA reaches down and notice something. She picks it up.)", "Sara: I got a piece of plastic. Looks like a headlight cover, maybe. This could be our crime scene.", "(Quick flashback to BOB MARTIN crossing the same roadway while holding a stack of photographs much in the same manner that SARA had. As he crosses, a car speeds by and makes contact with BOB MARTIN. BOB MARTIN flies up and hits the windshield. Flash to white. Resume on SARA.)", "Sara: Assuming this was a hit-and-run how does a guy with two broken legs end up on the other side of town buried in a park, covered in lye?", "(GRISSOM doesn't answer her. He looks around.)", "Sara: What are you looking for?", "Grissom: No sign of blood. No evidence of a cleanup.", "Sara: If this is our crime scene then somewhere between here and Sunset Park, Bob Martin lost eight to ten pints of blood.", "(SARA looks around and shakes her head.)", "Sara: Where is it?", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "FADE IN", "[SCENE_BREAK]", "[INT. CSI - GREG'S LAB -- NIGHT]", "(GRISSOM enters.)", "Grissom: So do want to tell me about the silver flecks I found? Paint chips?", "Greg: Aluminum and melamine in the color coat indicate that it's car paint. Factory job. Uh, body shop paint contains styrene, not melamine.", "Grissom: Mm, what type of car", "Greg: Trick question. Paint won't tell me that. But I do have an answer. It's not technically part of my job description but as you know, I'm always eager to expand my responsibilities. Take a look down the scope.", "(Through the microscope, we see the piece of glass SARA picked up from the roadway. The magnification increases and we now see the cross hairs on the plastic.)", "Grissom: Looks like some sort of insignia.", "Greg: Crosshairs. That's the plastic you collected at the accident site. Now that mark is only found on the S-Class Mercedes. It's all about branding. Now knowing that the headlight came from a Mercedes, I was able to compare the infrared spectra with the paint spectra supplied by the manufacturer. Check this out.", "(GREG hands GRISSOM the test results.)", "Greg: Your vehicle was painted Sarasota Silver. Also, only available on the S-Series '99 models. I checked with the Mercedes State Rep. Five were sold in Nevada. Sara's tracking down the owners.", "Grissom: You've, uh, already shared this information with Sara?", "Greg: Yeah, an hour ago. And she was way more fascinated than you are.", "Grissom: Well, I'm somewhat fascinated by the fact that I'm your boss, but you talked to her first.", "Greg: Well, you were at dinner.", "Grissom: I've been in the lab all day, Greg.", "(Camera holds on GREG.)", "[SCENE_BREAK]", "[INT. CSI - LAB/HALLWAY -- CONTINUOUS]", "(GRISSOM leaves GREG and exits the lab to the hallway where he promptly meets up with SARA. GRISSOM is still holding his file.)", "Sara: I've been looking for you.", "Grissom: Well, it's hard to see me if you and Greg are out ahead of me.", "Sara: Oh, uh, sorry about that but Brass got me a list of those Mercedes owners. One moved to Los Angeles, three are over 50. My guess, they would have stopped and rendered aid. Brass is checking them out which leaves a Ben Weston, 25. Leased the vehicle last week.", "(GRISSOM takes the open file that SARA hands him. They walk out of camera frame.)", "[SCENE_BREAK]", "[INT. BEN WESTON'S OFFICE - DAY]", "Ben Weston: You found my car?", "Grissom: Why? Is your car missing?", "Ben Weston: Yeah, isn't that why you guys are here? I filed a police report a couple days ago. God, I love that car. Hocked my future on it. Tell me it hadn't been stripped.", "Sara: You wouldn't happen to have a copy of that police report, would you?", "Ben Weston: I'm a lawyer.", "(BEN WESTON smiles. He reaches down and hands the file to SARA. There are boxes stacked all over his office. It's as if he just moved into it.)", "Ben Weston: Here you go.", "Sara: Sarasota Silver, S-Series, stolen Monday night.", "Ben Weston: Yeah, I stopped for take-out after work. When I came out, it was gone.", "Grissom: Don't most of these luxury vehicles have security systems?", "Ben Weston: What's with all the questions?", "Grissom: We're investigating a possible hit-and-run.", "Ben Weston: You think the b*st*rd that stole my car hit someone?", "(Instead of answering him, GRISSOM looks around the room and his eyes instantly land on the young lawyer's diplomas. One from St. Ignacias High School and the other from Nevada State Law School.)", "Grissom: Ignacias High, Nevada State University ... are you a local?", "Ben Weston: Yeah. Great town. I studied my ass off in law school. Passed the bar first time.", "Grissom: Good for you. Let me guess -- criminal defense?", "Ben Weston: Everyone deserves representation.", "Grissom: Yes, they do. Would you happen to remember what clothes you were wearing yesterday?", "Ben Weston: A blue pinstripe, a light blue oxford, gray tie -- a gift from my girlfriend. First week as an associate -- firm like this you tend to pay attention to wardrobe.", "Sara: Mr. Weston, we'd like to take a look at those clothes.", "Ben Weston: Really? Well, you need a warrant.", "(BEN WESTON looks at SARA. She shakes her head. She doesn't have one. BEN WESTON smiles.)", "Ben Weston: But I'm a nice guy. I picked them up at lunch. Downstairs -- one-hour dry cleaning.", "Sara: Nice suit.", "Ben Weston: Thank you. I just bought it.", "(SARA and GRISSOM both look at the shirt. Without removing the plastic covering, the both immediately notice the damage.)", "Sara: I hope you didn't just buy the shirt.", "Ben Weston: Oh, come on. I've been meaning to change dry cleaners.", "(BEN WESTON looks at the shirt and takes the cleaning away from SARA.)", "Sara: Well, maybe you shouldn't have gotten lye on it. Lye is an alkali and when it's mixed with water, it eats right through fabric. Mr. Weston ... you mind taking off your shirt?", "Ben Weston: Excuse me?", "Sara: Lye can burn through fabric. It can also burn through skin.", "Ben Weston: I have my limits. You want me to strip, you're going to need a warrant. But since there's no basis for your request you can forget about it.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(The table is pulled out of its storage unit. The sheet is pulled away from the body to show the woman from the desert.)", "David Phillips: She drowned.", "Nick: This is the girl I found in the desert.", "David Phillips: I am aware of that. She drowned.", "Nick: It's not possible, Dave-O. She was found in Diablo Canyon -- miles from the nearest water source. Lake Mead's got to be 20 miles away.", "David Phillips: Desert, no desert -- I don't care. She drowned. Look, if it's any consolation she dry-drowned.", "Nick: Dry-drowned?", "David Phillips: Happens in about ten percent of all cases.", "(DAVID PHILLIPS opens the woman's mouth.)", "David Phillips: When dry-drowning occurs the larynx closes involuntarily ...", "(Quick CGI POV. Camera moves down the woman's open mouth. Down her throat. Down her wind pipe. The wind pipe closes as liquid fills up. Flash to white. Resume on NICK.)", "David Phillips: ... preventing air and water from entering the lungs resulting in hypoxia -- a reduced concentration of oxygen in the blood. Thus, water's kept out of the lungs -- dry-drowning.", "(Quick CGI POV of the camera once again starting above the woman's head. It moves downward through her open mouth, down her throat and down her wind pipe. The wind pipe automatically closes as liquid fills up. The wind pipe relaxes and the liquid passes through, filling her lungs. Flash to white. Resume to present.)", "David Phillips: In wet drowning, hypoxia also occurs but the larynx relaxes and water floods the lungs. Still, the question remains, how does a girl drown in the middle of the desert?", "Nick: She doesn't. She was engaged. The guy never filed a missing persons on her.", "[SCENE_BREAK]", "[INT. HUDSON/WARNER RESIDENCE -- NIGHT]", "Matt Hudson: I didn't file a missing persons report on Stacy, because she wasn't missing. As far as I knew, she was on a solo trek up in Diablo working toward her NESTFS.", "Det. Lockwood: NESTFS.?", "Matt Hudson: Sorry. National Extreme Sports Trainer Finals. I took mine last week. Did it in three days total. So, I didn't expect her back for at least two more days.", "Nick: Okay. You mind if I have a look around?", "Matt Hudson: No, go ahead.", "Nick: Thanks.", "[SCENE_BREAK]", "[EXT. HUDSON/WARNER RESIDENCE - NIGHT - CONTINUOUS]", "(NICK walks outside to the pool area. He puts his CSI kit down and takes a sample of the pool water. He looks around the edges of the pool and notices some blood underneath the far ledge on some tile above the waterline.)", "Nick: Detective.", "(NICK gets his swab kit from his case and sets it down. LOCKWOOD exits the house. )", "Nick: Check that out. You see that?", "Det. Lockwood: Yeah. Mr. Hudson ... you own this house with Stacy Warner, is that right?", "Matt Hudson: That's right.", "Det. Lockwood: Any idea how this blood got there?", "(MATT HUDSON looks at the spot and shakes his head.)", "Matt Hudson: No.", "Nick: Stacy had a head trauma wound. You wouldn't know anything about that either, would you?", "Matt Hudson: I'd never hurt Stacy.", "Nick: No? How do you explain the domestic disturbance call to this address two weeks ago?", "Matt Hudson: We told the officers then it was nothing.", "Nick: I don't know ... the neighbor who filed the complaint said you were really yelling at Stacy. Said it sounded abusive.", "Matt Hudson: We're sports trainers. We say some crazy things to get each other to do one more lap in the pool, one more crunch.", "(Quick Flashback to MATT HUDSON standing over STACY WARNER while she does sit ups.)", "Matt Hudson: Are you a liar?! Or are you going to give me more?! Are you weak? Are you worthless?!", "(Flash to white. End of flashback. Resume on DET. LOCKWOOD.)", "Det. Lockwood: Can you account for your whereabouts this week?", "Matt Hudson: Big Sky Triathlon in Montana. You want to see a picture of me crossing the finish line?", "Nick: No. No. We got what we need.", "(NICK packs up his kit, preparing to leave.)", "[SCENE_BREAK]", "[EXT. SALVAGE YARD -- NIGHT]", "(BRASS, GRISSOM and SARA walk through a car salvage yard. They're headed toward the main office.)", "Brass: So I sent out some bulletins. Got a hit on Weston's missing Mercedes. Sullivan called it in. He's a typical tow guy. I'll run him.", "[SCENE_BREAK]", "[INT. SALVAGE YARD - MAIN OFFICE - NIGHT -- CONTINUOUS]", "Mitchell Sullivan: Yeah, I got a call. \"You want a wrecked S-Class?\"", "(MITCHELL SULLIVAN chuckles.)", "Mitchell Sullivan: You betcha. The parts alone are worth four or five times the blue book value of the car. I asked where do I pick it up. That's all I asked.", "Brass: You didn't ask his name?", "Mitchell Sullivan: Someone throws you three hundred thou in used parts the only response is \"thank you very much.\"", "Sara: So where is the vehicle now?", "Mitchell Sullivan: Look around.", "Brass: You work fast.", "Mitchell Sullivan: Hey, I called it in. What more do you want?", "Grissom: Aristotle said something about the whole being more than the sum of its parts. Of course, he never worked in a chop shop. We want all of the parts.", "(Camera holds on MITCHELL SULLIVAN.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- NIGHT]", "(GRISSOM sits on a stool in the garage. He's holding an open file folder. SARA swabs the passenger seat and checks for blood.)", "Sara: Affirmative for blood -- passenger side.", "Grissom: Well, that's just a trace amount. Where's the rest of it?", "Sara: Want to pass me the luminol?", "(GRISSOM hands SARA the spray bottle and turns off the light. SARA sprays the front passenger seat area. The seat glows.)", "Grissom: Well, you do know how to light up a room. Location of the blood on the seats and the dash indicates that the victim was inside the vehicle.", "Sara: Maybe the driver hit Bob Martin, stopped and put him in the front seat.", "Grissom: Okay. Where'd they go?", "Sara: Well, not to the Emergency Room. Not to Sunset Park for 48 hours. I'll swab the rest of the car -- bring the samples to Greg and have him run it against Bob Martin's DNA.", "Grissom: If you find any blood that isn't his then ...", "Sara: ... maybe it belongs to an injured joyrider and we have a new suspect.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(On the table in front of NICK, there are four water sample containers. He picks up the last container and looks at it. He writes something down. WARRICK walks in.)", "Warrick: The one day I'm due in court and you pull a drowning in the desert.", "Nick: How'd it go?", "Warrick: Oh, it went great. The judge recessed right before my testimony. I'm on call. Catherine's on call.", "(WARRICK opens the file on the lab table beside NICK and leafs through the pages.)", "Warrick: Well, you're making progress. The blood from the poolside matches the female victim.", "Nick: Yeah, the problem is the small amount of blood found in her own home isn't enough to prove anything, you know? People bump their heads and scrape their knees all the time.", "Warrick: Yeah.", "Nick: That musclehead boyfriend --he's a little shady. He's hiding something. I can feel it.", "Warrick: Are you able to prove that he drowned her in their swimming pool?", "Nick: Four samples: One from their swimming pool one from their bathroom, one from Lake Mead and one from Clark County Reservoir but none are consistent with the water I recovered from her stomach.", "Warrick: What else did you collect from the scene?", "Nick: Some rocks from under her body and a goose feather.", "(Also on the lab table are two rocks in two evidence baggies. NICK picks up one baggie with the following information:", "(article): ROCK", "(exhibit No.): 147 (date) 4/29/02", "(???): Under Body", "Warrick: Goose feather? This looks like basalt rock. Didn't it say somewhere in here that she found her at 1,500 feet?", "Nick: The desert, yeah.", "Warrick: Well, you can only find this rock at high altitudes like 4,000 feet.", "Nick: Really?", "Warrick: Yeah.", "Nick: You sure?", "Warrick: Yeah. I went on this field trip up at table mountain in my senior year -- \"rocks for jocks.\" Don't ask me why I remember any of this.", "Nick: Hey, that helps. I think I'm going to head out there. You want to roll?", "(NICK remembers.)", "Nick: You're on call at court, right.", "Warrick: Yeah.", "(NICK gets up and leaves.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(SARA walks in. She's holding a piece of paper. GRISSOM is examining under the car seat.)", "Sara: All that blood belonged to the victim.", "Grissom: Look at this. Visible blood drops under the passenger seat.", "Sara: That's a strange place for blood.", "Grissom: Radiated spatter. What do you think?", "(Quick flashback of a single drop of blood falling and hitting a pool of blood. The blood spatters up onto the car seat. Flash to white. Resume to present.)", "Grissom: Blood pooled onto the floormat. As more drops splashed down the impact projected the blood drops upward.", "Sara: Okay. But where did it fall from?", "Catherine: So Greg said you guys are processing an S-Class.", "Grissom: (to CATHERINE) Yeah, what's left of it.", "Catherine: Now, that's a crime. Oh, this would have broken my ex's heart. Every weekend the guy'd be test-driving another Mercedes. I'd get myself all dressed up make the dealer believe we could actually afford it. Damn.", "(SARA smiles at the story. GRISSOM looks up at CATHERINE. CATHERINE leans in and takes a closer look at the driver dashboard.)", "Catherine: Except if the car was stolen the ignition lock would be punched, right?", "(Immediately, GRISSOM and SARA both look at CATHERINE. They hadn't thought of it from that angle.)", "Sara: Huh?", "Catherine: Anyway, I got to go. Warrick and I are due in court. Later.", "(CATHERINE gets up and leaves the room.)", "Sara: We ... we would have caught that.", "Grissom: We were distracted by what we were looking for.", "Sara: Yeah. So how did the thief turn the engine over without breaking that lock?", "Grissom: Maybe there is no thief.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Ben Weston: All right, you got me. I ran into the Chinese restaurant. I wasn't in there more than two minutes but I left my keys in the car.", "Brass: You left an $80,000 Mercedes idling.", "Ben Weston: Yeah.", "(SARA doesn't believe it.)", "Ben Weston: Stupid, right? That's why I didn't say anything. Besides, if my insurance finds out it's contributory negligence.", "Brass: Let's just cut to the chase.", "Ben Weston: I told you everything. Chinese restaurant near my house. I couldn't find a parking spot. Parked in the handicapped zone, left the motor running. I wasn't in there more than a minute.", "Sara: Take off your shirt, please.", "Ben Weston: You're going to need a warrant, like I said. But you don't have basis.", "Brass: Actually, the issuing judge disagrees.", "(BRASS hands the bench warrant to BEN WESTON. He takes it.)", "Ben Weston: I can call Judge Scott, contest your grounds.", "Brass: But you won't.", "Sara: You want to refuse? One of us will remove it for you.", "Ben Weston: Yeah, all right.", "(BEN WESTON stands and starts undoing the cuffs of his dress shirt. He rolls up his sleeves and holds out his arms.)", "Ben Weston: Here you go. Look, no chemical burns. You satisfied?", "(He unrolls his sleeves. SARA reaches for the warrant on the table and opens it flat.)", "Sara: The warrant is for the whole shirt.", "Ben Weston: Yeah.", "(BEN WESTON takes off his tie and his shirt. From the top of his left shoulder blade down across his chest, he sports a large bruise.)", "Brass: You don't have to be a scientist to know where that came from.", "(Quick flashback to the driver's seat belt as the driver makes a hard stop. Tires screech in the background. Flash to white. Resume to present.)", "Brass: We got enough for a hit-and-run.", "Ben Weston: All right, hold on. It's not what you think.", "(Quick Flashback to BEN WESTON on his cell phone as seen through the reflection from the rear view mirror.)", "Ben Weston: (V.O.) I called in my order. I looked down to put away my phone.", "(Cut to BEN WESTON putting his phone down and his car hitting something. Cut to view of the seatbelt cutting through the driver on impact. Cut to BEN WESTON stopping the car, getting out and walking to the front of the car to take a look around.)", "Ben Weston (cont.) : I hit something. I stopped. I looked around. I couldn't see anything.", "(End of flashback. Resume to present and BEN WESTON continuing to put his dress shirt back on.)", "Ben Weston: I figured it must have been a dog and it ran off. So I drove to the restaurant and that's when my car was stolen. It was a rough night.", "(SARA shakes her head and openly scoffs at the explanation.)", "Ben Weston: (to SARA) Look, my car was stolen. What happened next, I don't know.", "(BRASS holds up a hand.)", "Brass: Save it. You're under arrest.", "Ben Weston: All right.", "(BEN WESTON grabs his tie off of the table and his coat from the back of his chair. He leaves the room.)", "(SARA looks away and shakes her head.)", "Sara: I hate lawyers.", "Grissom: We need a warrant for his house. We need to find something we can use to keep that creep off the street.", "FLASH TO WHITE:", "[EXT. LAS VEGAS DESERT (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT - DAY]", "(NICK and DET. LOCKWOOD hike up the trail STACY WARNER traveled.)", "Det. Lockwood: I'm all for retracing the girl's steps but it wouldn't hurt to bring in some cadets.", "Nick: If it was a little kid or a mass casualty maybe we'd get that kind of manpower but hey, exercise is good for us, right?", "Det. Lockwood: Air feels thin to me.", "(They continue to hike up the side of the mountain. DET. LOCKWOOD finds it.)", "Det. Lockwood: Check it out.", "(Some distance from them, a large jacket is wedged in the rocks. It leaks its down filling into the wind.)", "Nick: Let's go.", "(NICK puts on his gloves and checks out the jacket wedged in the rocks.)", "Det. Lockwood: You said the vic was wearing light layers of clothing, right?", "Nick: Yeah, several layers, tempered cotton. This is a men's extra large. This is too big for her. Goose down like I found on her body. What's this?", "(NICK looks through the pockets and finds a map of Diablo Canyon and the Highlands with the following information: )", "[MATT HUDSON From: request(a)trailmaps.webct.net", "To: matthudson(a)webct.net", "Sent: Friday, April 26, 2002 4:25 PM", "Subject: Trail map request Diablo Canyon, NV", "TOPOl map printed on 03/22/02 from *diablo ... ]", "Nick: Ah. Property of Mr. Muscles.", "Det. Lockwood: You want to run it?", "Nick: Well, maybe he left a day later than he said for his little marathon, you know? Followed her out here, started arguing with her no neighbors around to call the cops.", "(Quick Flashback to STACY WARNER hiking up the mountain and scrambling away from something (or someone) behind her. STACY WARNER hits her head against the rocks. Someone pulling STACY WARNER down the mountain where the two struggle.)", "Nick: (V.O.) She manages to fight her way free finds higher ground, he follows her, takes her down.", "(End of flashback. Resume on DET. LOCKWOOD.)", "Det. Lockwood: So then what? He drowns her with canteen water?", "(Quick flashback to STACY WARNER struggling with her attacker. Sounds of sloshing water from a canteen can be heard in the background. Flash to white. End of flashback. Resume on DET. LOCKWOOD.)", "Det. Lockwood: I'm going to let you run that by the D.A.", "Nick: You should try describing a scuba diver up in a tree, man. This is nothing. No, the evidence tells a story.", "Det. Lockwood: So why'd a cagey guy like our suspect leave his jacket up here?", "Nick: Everybody thinks they have a plan till things start to go wrong.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Matt Hudson: I gave Stacy my jacket the morning she left for Diablo for night layering. Extreme hikers can't carry bedrolls. That's what makes it extreme.", "Det. Lockwood: And she just left your jacket wedged under some rocks.", "Matt Hudson: Maybe. I don't know. Ok, I gave it to her to take care of her. I loved Stacy.", "Nick: Then help us out here, man. I've got prior disturbance calls, her blood in the pool, her body drowned in the middle of the desert with your jacket nearby ... your map.", "(NICK holds up the baggied trail map.)", "Matt Hudson: That's my trail map. I'd like it back.", "Nick: No. No, it's evidence now. You can put a request in for it when we complete our investigation, okay?", "Matt Hudson: Am I free to go?", "Det. Lockwood: You're not under arrest.", "(MATT HUDSON gets up and leaves the room.)", "Nick: I'm getting this to QD. He doesn't want me to have this map and I want to know why.", "[SCENE_BREAK]", "[EXT. BEN WESTON'S RESIDENCE -- DAY]", "(SARA and GRISSOM walk up BEN WESTON'S driveway. They're carrying their CSI kits. Standing out front is BEN WESTON with BRASS.)", "(BRASS sighs.)", "Brass: He made bail.", "Sara: Yeah, that figures.", "(BRASS reaches into his inner coat pocket and takes out a bench warrant. He hands it to BEN WESTON.)", "Brass: Oh, I almost forgot. Here's a warrant to search your premises.", "Grissom: We'd like to start in your garage.", "Ben Weston: Yeah.", "(BEN WESTON takes a step toward GRISSOM.)", "Ben Weston: Look, I'm filing a complaint with your supervisor. You're harassing me.", "Grissom: If you're a lawyer, you should know the legal definition of harassment. Investigating a crime doesn't quite fit the criteria. However, a false accusation of harassment within earshot of my colleagues could be construed as slander. I know the law, too and I've actually been in a courtroom.", "(Camera holds on BEN WESTON.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. BEN WESTON'S GARAGE -- DAY]", "(The garage door opens. GRISSOM, SARA and BRASS walk in. GRISSOM looks at the car.)", "Grissom: This was parked in the driveway, wasn't it?", "Ben Watson: Now that's a crime?", "Grissom: Jim, could you get this car moved for us?", "Brass: Unless the keys are in the ignition hand them over.", "(BEN WATSON hands the keys over to BRASS.)", "Ben Watson: It's a rental. You're not on my policy.", "Brass: I'm a safe driver. Wait outside.", "(BRASS moves the car revealing a large white stain on the concrete underneath. GRISSOM leans in close to smell the stain.)", "Grissom: It smells like bleach to me.", "Sara: I'll check for blood.", "Grissom: Why would he leave his car outside with the sprinklers on instead of putting it in here?", "Sara: Maybe the garage was full.", "(GRISSOM looks around and thinks. SARA does a test for blood.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(MATT HUDSON'S map hangs from the vertical light.)", "Ronnie Litre: What exactly do you want me to look for?", "Stokes: Alterations, erasures, paper content. The guy was really nervous about me having these maps.", "Ronnie Litre: Okay, I'll test the components in the inks and then bombard the paper with different wavelengths of light. We'll see what's up.", "Nick: Sounds good, man. Thanks, man.", "Ronnie Litre: You bet.", "(NICK happens to see GRISSOM passing by the hallway outside. He looks up when NICK calls out to him.)", "Nick: Hey, Grissom ...", "(GRISSOM stops.)", "Nick (to Ronnie): Keep me posted.", "Ronnie Litre: I will.", "(NICK approaches GRISSOM. They talk as they walk down the hallway.)", "[INT. CSI - HALLWAY - CONTINUOUS]", "Nick: Did you take a look at that maggot from e desert yet?", "Grissom: Yes.", "Nick: And?", "Grissom: Well, it belongs to the family of sarcophagids. That's as far as I got.", "Nick: You mind taking another look for me?", "Grissom: Your maggot never developed, Nick. It never will.", "Nick: Why?", "Grissom: It happens to sarcophagids when they're exposed to freezing temperatures before they're allowed to pupate.", "Nick: So, my maggot was stunted?", "Grissom: Probably by frozen air.", "Nick: Yeah, but we found the vic in the desert.", "Grissom: Well, maybe it was a very cold night. Mucho frio.", "(They arrive at GRISSOM'S destination. GRISSOM leaves into the room. NICK turns back down the hallway they just came from.)", "Nick: Muchas gracias.", "(NICK walks out of camera frame.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(GREG stands next to the glass wall to the lab. He faces the large wall monitor that shows what NICK is working on inside the room on the computer. NICK looks up and smiles.)", "Nick: Come on in, Greg.", "Greg: Hey.", "Nick: Hey.", "Greg: So I heard about your cold maggot.", "Nick: News travels fast.", "Greg: I was thinking -- most people figure Las Vegas means the strip. But it really means \"the meadows.\"", "Nick: I'm trying to calculate barometric pressures here, G.", "Greg: Well, my point is Nevada is a Basin-and-Range State. Down in the desert basin, hardly any rain. But up in the mountain ranges, it's 40 inches a year. That's more than Seattle ... more than San Francisco. More than ...", "Nick: Yeah, yeah, I see where you're going. Last week in Vegas -- perfect weather. Warm, steady barometric pressure, but ... out in Diablo, two days before I found Stacy Warner's body ...", "(Camera shows the computer screen NICK works on. Camera moves in toward the screen.)", "Greg: The Mountain Shadow Effect.", "(Quick CGI POV as the camera moves in to the computer screen and through the computer-generated Diablo Canyon. Computer generated clouds above and sounds of thunder can be heard. End of CGI POV.)", "Greg: That's what meteorologists call it.", "(NICK nods.)", "Nick: Right.", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(ROBBINS walks outside toward GRISSOM who is leaning in through the rear window of the car.)", "Robbins: This is Ecklie's Mercedes?", "Grissom: Well, actually, I sold it to him five years ago. It was in much better condition back then.", "(SARA approaches from behind.)", "Sara: Hey. So I checked with auto detail. Uh, obviously, if you fill a car up with enough water or, in our case, blood it's going to leak through the bottom.", "Grissom: Dicing wounds with glass were limited to the upper torso, right?", "Robbins: Top of the head, face, top of shoulders and forearms.", "Grissom: Which would be consistent with a head-on crash.", "Sara: The head of the victim crashed into the passenger side of the windshield.", "Grissom: Well, this isn't the same model or year but it's close enough.", "Sara: Okay, I'm thinking that the car clipped the victim here and he was catapulted ... and he was positioned something like this.", "(SARA climbs onto the hood of the mercedes, her head facing the passenger windshield. GRISSOM looks in from the open driver's window.)", "(Quick flashback to BOB MARTIN slamming head first through the wind shield. Flash to white. Resume to present.)", "Grissom: So now he's bleeding and his blood is dripping onto the mat.", "(Quick flashback to blood dripping from BOB MARTIN'S bleeding face. Cut to close up of blood drop spattering. Flash to white. Resume to present.)", "Robbins: The victim bled out for two days.", "Grissom: Yeah, but he could have been conscious, right? Until he lost a third of his circulating blood volume?", "Robbins: Then the hypovolemic shock would have set in after approximately 12 hours.", "Grissom: So it's possible that he was wedged into the windshield of Ben Weston's Mercedes which was parked in Ben Weston's garage.", "Sara: We know where Bob Martin was. Where was Ben Weston?", "Grissom: My guess? ... at work, making a good impression.", "(Quick flashback to BEN WESTON on the phone in his office. He's smiling and laughing. Flash to white. Resume to present.)", "Robbins: Sometimes I'm glad I only deal with dead people.", "(ROBBINS walks away.)", "Sara: You know ... the tow truck driver said Weston's Mercedes was totaled. But the only damage would have been to the bumper and the windshield. He's lying.", "[SCENE_BREAK]", "[INT. SALVAGE YARD.]", "(MITCHELL SULLIVAN washes the grime from his hands. Reflected in the mirror in front of him, we see BRASS standing there.)", "Mitchell Sullivan: Maybe it wasn't totaled. I don't remember. I was only interested in the parts.", "Brass: You don't know who phoned it in?", "Mitchell Sullivan: It was a guy. What else can I tell you?", "Brass: Mr. Sullivan, in '96 you were arrested for vandalism, right?", "Mitchell Sullivan: I was 18. It was a prank. I hoisted the principal's station wagon onto the roof of the gym.", "Brass: St. Ignacias High School, right?", "Grissom: You know. It's funny, but the registered owner of the Mercedes also went to St. Ignacious. You were in the same class. Ben Weston.", "Mitchell Sullivan: That might ring a bell. So what?", "Grissom: He's been arrested on a hit-and-run. He's also under suspicion for murder. That makes you an accomplice after the fact. Twenty to life.", "(MITCHELL SULLIVAN turns around to face BRASS. He's not too thrilled with this disclosure.)", "Mitchell Sullivan: Okay, look, all I did was take his call, take his car. I don't even like the guy. In high school, he's the one who turned me in. He said he wanted to make it up to me.", "[SCENE_BREAK]", "[INT. CSI - GARAGE - NIGHT]", "(SARA opens the car trunk and uses her flashlight to look inside. Behind her, GREG walks in.)", "Greg: Just remind yourself that usually I bring the case home.", "(GREG hands SARA the test results with the following information: )", "Date: 5/01/02", "PCR AMP #: 198456722", "DNA STR TYPING RESULT ...", "Sample # 1: \"Blood In Concrete\"", "INC. INC. INC. INC. INC.", "NR. NR. INC. INC. INC.", "Greg: If that garage floor stain started out as blood the bleach just degraded it. There's nothing for me to work with. Sorry.", "Sara: There goes the slam dunk. Blood in the garage would have conclusively linked victim to killer.", "Greg: So is this his rental car?", "Sara: Sunset Park is two miles from Ben Weston's house. I was thinking maybe he used this car to transport the body to the dump site.", "Greg: So we should be able to find some of the vic's blood or hair or fibers from his clothes?", "Sara: No visible trace of any kind. Except for this.", "(At the bottom on the trunk is a large screw-like handle. She unscrews it and sticks her finger inside and we notice evidence of white power along the trunk edges.)", "[SCENE_BREAK]", "[EXT. DIABLO CANYON -- DAY]", "Det. Lockwood: So this Mountain Shadow Effect -- the barometric pressure spikes down the temperature strikes down ...", "Nick: Right. Humidity spikes up. Moisture in the air condenses.", "(Quick flashback to CGI recreation of clouds gathering in the canyon at night. Thunder can be heard. End of flashback. Resume to present.)", "Det. Lockwood: The mountains get a flash flood.", "Nick: I checked with the national weather service. This area got three inches of rain in 20 minutes the night Stacy died.", "(Quick flashback to STACY WARNER hiking at night.)", "Det. Lockwood: (V.O.) So, she was up here hiking when the weather changed.", "(Clouds roll overhead. Thunder rumbles. Wind whistles.)", "Nick: (V.O.) Got nasty in a hurry. Nothing she could really do about it.", "Det. Lockwood: (V.O.) Takes one to the head ... on to the basalt rock. She's trying to clear the cobwebs when the rain hit.", "(STACY WARNER hits her head on the rocks. She looks up at the sky. It starts raining. She tries to continue to climb up the rocks and slide down as it continues to rain. Thunder rumbles. She gets caught in the flood of water pouring down from above.)", "Nick: (V.O.) But it was too late. She drowns in the floodwater. Body gets carried to the base of the canyon.", "(STACY WARNER loses her grip and gets swept down from the rocks by the flood water. Cut to CGI POV as the floodwaters push STACY WARNER'S body down to the canyon floor where NICK and DET. LOCKWOOD stand.)", "Det. Lockwood: A couple hours worth of sun water dries up.", "(As the body comes to a halt, it fades out. End of Flashback and CGI POV. Resume to present.)", "Nick: No evidence of the storm anywhere except on the vic who carried traced amounts of basalt rock with her and rainwater in her throat.", "(NICK'S cell phone rings.)", "Nick: (to phone) Stokes.", "INTERCUT WITH:", "[INT. CSI - LAB]", "Ronnie Litre: The map has definitely been tampered with.", "Nick: (over phone) You sure about that?", "Ronnie Litre: Positive. Chemical tag in the ink tells the tale. Then I shot the maps with 300 nanometers just to be sure.", "Nick: (over phone) I need you to get those results to me.", "Ronnie Litre: Thought you would. I have a messenger on call.", "[SCENE_BREAK]", "[INT. HUDSON/WARNER RESIDENCE -- DAY]", "(MATT HUDSON runs on the treadmill.)", "Matt Hudson: Are you telling me Stacy's death was an accident?", "Nick: An accident of nature, yeah. But you still had a hand in her death just the same, didn't you, Mr. Hudson?", "Matt Hudson: What are you talking about?", "Nick: Why don't you take a break. Come on over here for a sec.", "(MATT HUDSON stops running on the treadmill and steps off. He grabs his towel and approaches NICK.)", "Nick: You altered the map. You used the same color ink as the printer but the chemical tags in the ink are different. This is magic marker.", "(Quick CGI POV Flashback to someone using a pen to alter the map.)", "Nick: And when you shine ultraviolet light on it like this ...", "(NICK uses the light and the hand-made changes become apparent.)", "Nick: ... you can see exactly what you did. You made this look like an impenetrable ridge -- no way out, when it's actually a meadow.", "Det. Lockwood: If she had a good map she might have been able to find her way out of the highlands by nightfall.", "Matt Hudson: I didn't want her to die. I didn't.", "Nick: Then why did you alter the map?", "Matt Hudson: We competed. I'd just run the trail in three days. I didn't want her to beat my time.", "(NICK sighs.)", "Matt Hudson: Am I being charged with murder?", "Det. Lockwood: No. You altered the map, but you didn't make it rain.", "Nick: What you did isn't a crime ... but it is criminal, isn't it?", "(NICK and DET. LOCKWOOD leave.)", "[SCENE_BREAK]", "SCENE #30", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Ben Weston: Oh, come on. Your entire case is circumstantial. Your physical evidence is pathetic. You've got, what, a wrecked car -- a white powder in a rental -- and a bleached-out stain in my garage. If that's all you've got you won't even get a filing.", "(From under the file in front of him, GRISSOM pulls out a baggied cell phone.)", "Ben Weston: My cell phone.", "Grissom: Yeah. Mitchell Sullivan found it in your car at his chop shop.", "Ben Weston: I hope he didn't make any long-distance calls. Thanks.", "(BEN WESTON reaches for it. GRISSOM stops him.)", "Grissom: It's evidence.", "Ben Weston: Yeah.", "(SARA walks in. BEN WESTON looks up.)", "Ben Weston: Hey, now it's a party.", "Sara: And I brought the music.", "(She holds up a small micro-cassette recorder. She takes a seat at the table.)", "Grissom: You'll be happy to know that there were no long-distanced calls made on your cell phone. But there was one call made -- to 9-1-1 at 2:30 A.M. On Tuesday morning while your car was still in your possession.", "(SARA turns on the table recorder.)", "911 Operator (woman): 9-1-1. What's your emergency?", "Bob Martin (gasping): Please help me.", "(Flashback to BOB MARTIN hanging over the front seat passenger dash. He's bloodied and gasping for breath. In front of him is the blue glow of the cell phone's LCD panel.)", "Bob Martin: I need help ...", "911 Operator (woman): I can't hear you. You'll have to speak up.", "Bob Martin: Help ...", "911 Operator (woman): Sir, our system is not compatible with your cellular phone. Where are you calling from?", "Bob Martin: (swallows) I'm in a garage.", "911 Operator (woman): Sir, can you see a street sign?", "Bob Martin: It's dark ...", "(BOB MARTIN passes out with the effort. Flash to white. End of flashback. Resume to present.)", "(GRISSOM takes off his glasses.)", "Grissom: Explain it to me, Ben. How does a lawyer rationalize something like this?", "Sara: You know the law. You hit a guy. It was an accident. Nothing criminal. But you let it escalate to first-degree murder. I spoke with your senior partner. It was your first day on the job. Big firm. Big welcome. How many drinks did you have that night?", "(BEN WESTON looks at SARA.)", "Grissom: Let me guess. You wanted the alcohol to wear off before you called it in, right? So you decided to wait it out. Have a cup of coffee, sober up and then call the cops. But unfortunately, Bob Martin woke up.", "(Quick flashback. Door to garage opening. Light goes on. BEN WESTON appears in the doorway. BOB MARTIN is conscious.)", "Bob Martin: Help me. Please, help ... help me...", "(Camera close up of BEN WESTON. Garage lights go out. Garage door closes. End of flashback. Resume to present.)", "Grissom: So what do you do now, hmm? Can't walk into the Emergency Room and say, \"Hey, this guy was bleeding to death in my garage while I was eating mu shu pork.\"", "(A soft knock sounds on the door to the interrogation room just before it opens.)", "Officer Metcalf: (quietly) Sara, there's someone here to see you.", "Sara: Not right now.", "Officer Metcalf: You'll want to talk to him. It's relevant.", "(SARA looks at GRISSOM. She stands and leaves the room.)", "(GRISSOM looks at BEN WESTON.)", "Ben Weston: I sacrificed to get where I am. My whole life was leading up to last Monday.", "Grissom: Yeah. It's tough, huh? Fifteen years to build your dream and a fifteen-second phone call destroys it.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERROGATION ROOM]", "(SARA holds a piece of paper.)", "Sara: Where did you find this?", "Reed Collins: Packing up Bob's stuff. Found it on his dresser. Thought you'd want to see it.", "Sara: Thanks.", "(SARA leaves the hallway and goes back into the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM -- CONTINUOUS]", "(SARA closes the door, sits down and hands the paper to GRISSOM. GRISSOM puts his glasses on to read it. He looks over at SARA. GRISSOM takes off his glasses and turns to BEN WESTON.)", "Grissom: When a driver hits a pedestrian the presumption is the driver is negligent. When a driver's been drinking and he hits a pedestrian it's no longer negligence, it's reckless homicide. But when a pedestrian intentionally throws himself in front of a moving vehicle then the driver's no longer responsible. Legally, he's off the hook.", "Sara: This suicide letter was written by Bob Martin to his wife Charlotte. When you hit him Monday night it wasn't an accident.", "(Quick flashback to close up of BOB MARTIN standing behind the bus stop. As the car driven by BEN WESTON approaches, BOB MARTIN deliberately walks toward it, stops and stands in front of the car waiting to be hit. Cut to BEN WESTON looking to the side presumably to put his cell phone down. The car impacts BOB MARTIN and he crashes in through the passenger wind shield. End of flashback. Resume to present.)", "Sara: You were off the hook.", "Grissom: Until you let him die.", "(Camera holds on BEN WESTON.)" ]

[ "Grissom and his crew handle their highest profile case to date when the city's former chief of detectives is slain execution-style in his house following a wild party. Missing from the residence are the chief's trophy wife and their 7-year-old daughter. When several motorists report seeing the girl along an access road near Miami, Catherine and Warrick fly there and meet that city's top CSI, Horatio Caine, who aids them in the investigation." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY -- MGM (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. LAS VEGAS -- RITTLE RESIDENCE - NIGHT]", "[SCENE_BREAK]", "[INT. (LAS VEGAS) RITTLE RESIDENCE - NIGHT]", "(Inside the residence, the RITTLES are hosting a party. There are lots of food, caviar, good music and conversation. Cut to a camera close up of a champagne bottle opening with a loud 'pop'.)", "[SCENE_BREAK]", "[EXT. RITTLE RESIDENCE -- OUTSIDE - NIGHT - CONTINUOUS]", "(The camera shows the backyard outside. The camera slowly rises up to show a little blonde-haired girl looking out of the second floor window.)", "(Camera cuts to show the little girl's POV as she sees a man and a woman run playfully across the lawn below. They're laughing.)", "[SCENE_BREAK]", "[INT. RESIDENCE - DOWNSTAIRS]", "(A blonde-haired woman is sitting on a man's lap. A dark-haired woman runs up to him. She's laughing and throws herself into the man's arms. So, now he's got one arm wrapped around a different woman.)", "Dark-haired Woman: We should have these parties more than once a month.", "Chief Rittle: I would, but Mina tends to get jealous.", "Dark-haired Woman: I love you, Chief, but if anybody should be jealous, it's you.", "(They all laugh. The man \"Chief\" looks up and sees a dark male figure standing in the shadows. The man walks away.)", "Chief Rittle: Who's that guy?", "(The Dark-Haired woman wants the \"Chief\"s attention. She gently turns his head toward her.)", "Dark-haired Woman: Hey, Chief ... didn't know you were into guys.", "(MINA RITTLE looks up to look for the man. The man is gone.)", "Mina Rittle: What guy?", "(There's no sign on him.)", "[SCENE_BREAK]", "[INT (LAS VEGAS) RESIDENCE UPSTAIRS - SASHA RITTLE'S BEDROOM - NIGHT]", "(The door opens and the little blonde-haired girl peers through the door. She sees a man and two women go into the bedroom across the hall. Before closing the door, the man looks around to see if anyone sees them.)", "(The little girl closes the door, retreating back into her room. She runs onto her bed and gets in under the covers. She glances over at that bedside clock. It reads 12:20 a.m. She settles in to go to sleep.)", "[SCENE_BREAK]", "[INT (LAS VEGAS) RESIDENCE - UPSTAIRS - SASHA RITTLE'S BEDROOM - NIGHT]", "(Camera close up on the alarm clock that now reads: 3:45 a.m.)", "(Through the silence, two gunshots abruptly wake up the blonde-haired girl. She sits up in bed and looks at the door.)", "Sasha Rittle: Daddy?", "(She gets out of bed and takes a cautious step toward the door.)", "(The door opens. The light from the hallway filters in on SASHA RITTLE'S scared face as the camera focuses in on her.)", "[SCENE_BREAK]", "[EXT. RITTLE RESIDENCE - DAY]", "(Multiple police cars are parked in the driveway.)", "[SCENE_BREAK]", "[INT. (LAS VEGAS) RESIDENCE]", "(BRASS walks into the foyer followed by GRISSOM and CATHERINE.)", "Brass: So two nights ago he has a party. High-end guest list, very private. That was the last anyone saw of him. Housekeeper arrives 20 minutes ago. This is what she found.", "(BRASS leads GRISSOM and CATHERINE to the dining room where they find CHIEF RITTLE on the dining room table, naked with an apple stuffed in his mouth. CATHERINE looks at BRASS. BRASS nods.)", "Catherine: Ex-chief of detectives. Left to make the big bucks. Consultant with security at every major casino in town and couldn't even protect himself.", "Grissom: There's only one interpretation for this: \"Kill the pig.\"", "Catherine: And what about the rest of his family?", "Brass: No sign of the wife.", "Catherine: What about the daughter?", "Brass: Housekeeper assumed that she spent the weekend with the grandmother.", "(CATHERINE'S eyes widen at BRASS' choice of words.)", "Catherine: Assumed?", "(She immediately leaves the room and heads for the little girl's room.)", "[SCENE_BREAK]", "[INT. (LAS VEGAS) SASHA RITTLE'S BEDROOM - CONTINUOUS]", "(CATHERINE rushes in to the upstairs bedroom. She walks into the closet and looks inside. She goes to the bed and moves the covers aside.)", "(GRISSOM enters the room, followed closely by BRASS. CATHERINE turns around and sighs.)", "Catherine: She's gone.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. (LAS VEGAS) RITTLE RESIDENCE - DAY]", "(GRISSOM fills the rest of the team in as they walk up the driveway to the main house.)", "Grissom: His wife and daughter are missing. His silver Cadillac DTS is also missing. We're looking for any signs of forced entry in the house, any signs of ransack that's not associated with the party.", "Sara: Okay.", "(SARA leaves. BRASS meets GRISSOM, WARRICK and NICK at the door.)", "Brass: We need serious damage control. When the media gets a hold of it it's going to be bad for morale all around. Watch your step.", "Warrick: I'll take the downstairs.", "Nick: Yeah, I'll be above you.", "(They walk out of frame.)", "[SCENE_BREAK]", "[INT. RITTLE RESIDENCE - DINING ROOM - DAY -- CONTINUOUS]", "(ROBBINS does a cursory exam for GRISSOM. CATHERINE is examining the rest of the room.)", "Robbins: Looks execution-style. At least one shot to the back of the head. A lot of bruising around these handcuffs.", "Grissom: So he probably fought back.", "(Next to the dining room chair on the floor, CATHERINE finds something.)", "Catherine: Found a shell casing.", "(She picks it up and examines it.)", "Catherine: Looks like one of ours.", "Grissom: Nine millimeter standard issue.", "Catherine: So where do you suppose the Chief keeps his gun safe?", "[SCENE_BREAK]", "SCENE #08", "[INT. - RITTLE RESIDENCE - DAY]", "(Camera close up on a safecracking technician using a drill on the door of a safe. BRASS puts on his gloves while he and CATHERINE watch from a distance.)", "(The Technician puts the drill down and pushes a scope through the hole.)", "(Quick CGI scope view of the lock mechanism of the safe inside the safe door. The gears turns. End of CGI POV.)", "(The Technician turns the dial. BRASS and CATHERINE watch.)", "(As he turns the dial, the inside mechanism releases the lock.)", "Scott: We're in.", "(He puts his equipment down and opens the safe. He moves aside.)", "Catherine: Thank you, Scott.", "Scott: No problem.", "(The Technician leaves. CATHERINE looks inside the safe.)", "Brass: What do you got?", "(CATHERINE hands a gun to BRASS. He checks it.)", "Brass: Thirty-eight (.38).", "(CATHERINE hands a second gun to BRASS.)", "Catherine: Nice.", "Brass: Pearl handle Twenty-five (.25).", "(He checks it.)", "Brass: Clear?", "Catherine: Still looking for that Nine (.9).", "(CATHERINE takes out a box and opens it. The gun is gone.)", "Catherine: So you think the Chief might've kept his signature piece someplace else?", "Brass: (reading) \"For Twenty-Five years of distinguished service.\" An honor like that. Keep it in the case.", "Catherine: (nods) Yeah.", "[SCENE_BREAK]", "[EXT. RITTLE RESIDENCE - FRONT DRIVE - DAY]", "(CATHERINE is walking down the driveway with GRISSOM. They're headed toward the gate.)", "Catherine: So I'm thinking that the wife might be in on this.", "Grissom: Why didn't she plan better? Pack the kid's clothes.", "Catherine: What?", "Grissom: The nanny told me that she only took one shirt -- one the kid wouldn't even wear.", "(They reach the gate where DET. LOCKWOOD is questioning the gate security guard.)", "Det. Lockwood: Security guard. No party list but he did see each car that left the night of the party and morning.", "Security Guard: Chief Rittle left around 5:00 A.M. (checking the log) 5:14 to be exact.", "(Quick flashback to the guard at the gate. In slow motion, the car drives pas the guard. He sees a man driving the car and MRS. RITTLE with SASHA sitting in the back seat. End of flashback. Resume to present.)", "Grissom: You saw Chief Rittle leave?", "Security Guard: Yeah, he was with his wife and kid. And he had his baseball cap and sunglasses on like he always does.", "Catherine: So, you saw a baseball cap and sunglasses.", "(A cell phone rings. GRISSOM turns away to answer it.)", "Catherine: Did you actually see the chief's face", "Grissom: (to phone) Grissom.", "Security Guard: Well ... actually, I didn't.", "(GRISSOM hangs up the phone and tells CATHERINE.)", "Grissom: Brass found the Chief's Cadillac.", "[SCENE_BREAK]", "[INT. PARKING GARAGE - DAY - CONTINUOUS]", "(BRASS, GRISSOM and CATHERINE walk under the police tape and into the parking garage.)", "Grissom: Who found it?", "Brass: In-house security. Blue jacket. First time he saw the car was Saturday. Chalked the tires twice. Saw the bulletin on the Chief and called us.", "Catherine: Any bodies, Joe?", "Officer Joe: I already checked inside the car.", "Brass: We were waiting on you to check the trunk.", "(JOE pops the trunk. They find a dead body inside.)", "Brass: Whoa.", "(BRASS' cell phone rings.)", "Brass: Excuse me.", "Catherine: Who is this?", "(CATHERINE and GRISSOM lean in for a better look. GRISSOM takes off the baseball cap and looks inside. The name reads: \"Chief Rittle\".)", "Grissom: \"Chief Rittle\"?", "Catherine: What is his connection to the chief?", "Grissom: I don't know. But if he has gunpowder residue on him, could be our shooter.", "Brass: (to phone) Okay.", "(BRASS hangs up the cell phone.)", "Brass: Florida highway patrol called. Several motorists saw a girl matching Sasha's exact physical description walking along an access road.", "Grissom: In Florida?", "Brass: Miami-Dade county. Chief was shot Friday night. It's a two-day drive if you don't stop. It's national news with national attention. I'm not surprised we're getting call-ins.", "Grissom: Well, if it is our little girl, she's got evidence on her from two Vegas homicides.", "(GRISSOM looks at CATHERINE.)", "Grissom: One of us should be down there to process.", "(CATHERINE nods. She still doesn't get it. She looks up and suddenly realizes what GRISSOM'S saying.)", "Grissom: Take Warrick. I don't think he's ever been to Florida.", "(Off CATHERINE'S surprised look as her jaw drops.)", "[SCENE_BREAK]", "[EXT. MIAMI-DADE CITY - HARBOR (STOCK) - DAY]", "[EXT. MIAMI-DADE CITY - SKYLINE (STOCK) - DAY]", "[EXT. MIAMI-DADE CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) ACCESS ROAD -- DAY]", "(The PATROL CAPTAIN stands next to car #21291 and barks out instructions to the other officers assisting the search. Officers hand out information sheets. The access road is crawling with officers who will be used to look for the little girl.)", "Patrol Captain: She's seven years old! She's wearing a pink shirt! She was last seen by a motorist there! She can be two kilometers in either direction. Think of this area as a quadrant. Divide up. You, north.", "Officer 2: Got it!", "Patrol Captain: You, south.", "Officer 3: We got it!", "(Standing off to the side amidst the scurry of Officers and FBI agents, HORATIO CAINE watches ... and thinks.)", "Officers: All right, this way.", "Officers: Let's go.", "(A large mac truck passes by. He looks around the empty roadway.)", "Officers: Clear out!", "Officers: Watch your back!", "(The road clears as officers go off to look for the little girl. HORATIO CAINE thinks about it for a moment, then starts to walk down the center of the road ... alone. He's startled by the sound of a pig squealing. He looks up and sees a pig crossing the road.)", "(He stops some distance away and watches the pig cross the road.)", "(HORATIO CAINE continues to walk. He looks on the ground and sees something on the dirt road. It's a pink plastic hair clip. He crouches down and picks it up. HORATIO pulls off his glasses to get a better look at it. It's a pink butterfly.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) ACCESS ROAD -- TREE GROVE - DAY]", "(HORATIO CAINE is walking along the roadway, following a path that he suspects they took. It's noticeable that he's walking alone, everyone else is searching elsewhere for the little girl.)", "(HORATIO comes across a well-trodden path between the trees. He stops. Deep inside is a little blonde-haired girl in a pink shirt. She's sitting alone on the ground under a tree.)", "(HORATIO crouches down and pulls off his sunglasses.)", "Horatio Caine: Sasha?!", "(Immediately, the little girl turns her head. HORATIO stands and walks in closer.)", "Horatio Caine: (quietly) Sasha. My name is Horatio Caine. I'm the head of the crime unit.", "Sasha Rittle: Horatio?", "(HORATIO settles himself down next to the little girl.)", "HORTIO CAINE: Yeah. (he smiles) That's a funny name, isn't it? My mother named me after a famous writer named Horatio Alger. Ever hear of him?", "(She sees his badge.)", "Sasha Rittle: Is your badge real?", "Horatio Caine: Yeah. Yeah, that's real.", "Sasha Rittle: My daddy's a policeman.", "(HORATIO nods.)", "Horatio Caine: I know that. (he corrects himself) I \"knew\" that.", "Sasha Rittle: They're looking for me, you know.", "Horatio Caine: Me, too. Me, too. What do you say we sit here and get found together?", "(SASHA RITTLE nods her head. She smiles slightly.)", "(He looks out in the distance and sighs.)", "Horatio Caine: (quietly) What a day.", "(They both sit on the fallen tree stump on the ground, both looking out into the distance.)", "[SCENE_BREAK]", "[EXT. MIAMI-DADE CITY (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) ACCESS ROAD -- NIGHT]", "(A helicopter whirrs overhead. An officer fills HORATIO CAINE in on the investigation.)", "Officer: Burgundy sedan. Caucasian female. Age 32. Traveling with a caucasian male indeterminate age.", "Horatio Caine: I got a female in distress. I want the APB to extend the whole state.", "Officer: Panhandle to the Keys. Yes, sir.", "Horatio Caine: Good.", "(The officer leaves. HORATIO turns and sees the helicopter land. CATHERINE exits the helicopter. WARRICK follows. HORATIO meets them.)", "Horatio Caine: Horatio Caine.", "Catherine: Catherine Willows.", "(They shake hands.)", "Horatio Caine: Caine.", "Warrick: Brown.", "(They shake hands.)", "Horatio Caine: Child services has sent a doctor out.", "Catherine: All right, let's just be clear. This is a Las Vegas case. This is our victim and we do the processing.", "Horatio Caine: Okay, I didn't say he processed her. I just said he was here.", "Catherine: I appreciate the respect.", "Horatio Caine: You sure about that?", "Warrick: Does she know about her father?", "Horatio Caine: Not yet.", "Warrick: Well, I'd like to get started processing. Can you show me who you found?", "Horatio Caine: Okay, I found her right in here.", "(HORATIO points to some area on the left of them.)", "Horatio Caine: And ... this is the young lady right over here.", "(HORATIO CAINE turns around to indicate SASHA RITTLE sitting on the back of a truck taking a sip of something and returning it to the female officer with her. CATHERINE walks up to SASHA.)", "Catherine: Hi, Sasha. I'm Catherine Willows. And ... I need to ask you a few questions. Okay?", "(SASHA nods. CATHERINE puts her kit on the truck back next to SASHA. She opens it.)", "Catherine: My kit. Did the man touch you?", "(CATHERINE starts to take samples off of SASHA'S clothing.)", "Sasha Rittle: He hit my mommy.", "Catherine: Did he hit you? Did he hurt you in any way?", "Sasha Rittle: He acted like I wasn't there.", "Catherine: Well, you know what always happens to bad people? They leave behind a part of themselves and that's how you can help us find your mommy. Now, I need to look underneath your fingernails.", "(CATHERINE glances down at SASHA'S hand. She has it clenched in a fist and pulls it out of CATHERINE'S hold. She's hiding something.)", "Catherine: You want to show me what's in your hand?", "(SASHA looks up at HORATIO CAINE.)", "Horatio Caine: It's okay.", "(SASHA opens her fist revealing a shell casing.)", "Catherine: Where did you get that?", "(Quick flashback to earlier with SASHA outside the car and her mother leaning out the door.)", "Mina Rittle: Go! Run, Sasha, run!", "(Cut to SASH running. The kidnapper firing a gun and a casing hitting the ground. End of flashback. Resume to present.)", "Sasha Rittle: I ran out after they drove off. I picked that up.", "Horatio Caine: I bet it felt cold when you picked it up.", "Sasha Rittle: No. No ... hot.", "Horatio Caine: Hmm.", "Sasha Rittle: You're tricking me.", "Horatio Caine: You're too smart for that.", "(SASHA smiles.)", "[SCENE_BREAK]", "[EXT. SAME PLACE -- SHORT TIME LATER -- NIGHT]", "(Camera close up of a latex-gloved hand holding the casing. The camera pulls back and we see that it's not CATHERINE holding the bullet, but another blonde-haired woman.)", "Calleigh Duquesne: You can spot a Glock cartridge from a block away: rectangular, firing pin impression, breach face shear. This casing's no Glock. It's isn't your chief's weapon.", "Warrick: Well, whoever this guy is, he's a lousy shot.", "Calleigh Duquesne: Five casings, no hits. Oh, by the way, I'm Calleigh Duquesne. Don't ask me how to spell it. Southern.", "Catherine: Catherine Willows. Southern ... Nevada.", "(Without looking up, HORATIO CAINE quietly laughs.)", "Calleigh Duquesne: You got a theory on how the mother and daughter ended up all the way in Miami from Las Vegas?", "Catherine: We don't really work theories. Do we, Warrick?", "Warrick: No, just evidence.", "Calleigh Duquesne: We're much more fanciful down here. Aren't we, Horatio?", "Horatio Caine: I think that's a fair description.", "Calleigh Duquesne: My guess is that this belongs to a Taurus 9, made in Brazil. It's a cheap beretta knockoff and you may not see many of them in Vegas but we get them down here all the time. Which makes me think this guy wasn't fleeing Las Vegas.", "Horatio Caine: He was coming home to Miami.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(ROBBINS is running through the initial findings report with GRISSOM.)", "Robbins: Well, it's no longer \"trunk man.\" Identified him from his dental records. Jason Doyle. Dead for three days; no GSR.", "Grissom: So, I guess he didn't shoot Rittle.", "Robbins: We only recovered one slug from his cranium.", "(ROBBINS turns and picks up a bullet from the side table. He holds it up.)", "Robbins: And I got this fragment from his lower back.", "Grissom: His lower back? I thought he was shot twice in the head.", "Robbins: Vascular embolization. Bullet got into his arterial system.", "Grissom: That's rare.", "Robbins: Well, it took a full-body x-ray for me to find the thing. Bullet entered here ...", "(Camera close up of ROBBINS pointing to the bullet hole just under the deceased's right ear.)", "(Quick CGI POV to the sound of a gun shot and a view of the bullet traveling.)", "Robbins: (V.O.) ... fragmenting at the neck and losing velocity upon penetration", "(End of CGI POV. Resume to present.)", "Robbins: ... of the carotid artery. Tube down the aorta, continually losing momentum.", "(Quick CGI POV of the bullet continuing it's path inside the deceased's body. The bullet travels and breaks through bone and continues to travel.)", "Robbins: As it exited the aorta, it struck the vertebral column and then was swept down to the base of the aorta ...", "(End of CGI POV. Resume to present.)", "Robbins: ... where I recovered it here at the lumbar region.", "(GRISSOM puffs.)", "Grissom: Pinball.", "Robbins: Looks like nines, like we found in the Chief.", "Grissom: I'll call Catherine. Thanks.", "Robbins: Yeah.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(NICK is dusting a champagne bottle. SARA is working on something else on the same table.)", "Sara: Hey, Nick ... ?", "Nick: Mm-hmm?", "Sara: You ever been to a swingers' party?", "Nick: Well, if it's the same thing as a frat party yeah, lots of them. You know, you get enough booze going things can get pretty wild.", "Sara: Frat party, huh? I wouldn't know anything about that.", "(For a moment, the two continue to work in silence.)", "Sara: How wild?", "Nick: Multiple-partner wild. And it'd be no big deal to have two, maybe three girls at once, just ...", "(The computer beeps. A work card appears on the left of the computer screen and a finger print card appears on the right.)", "[The info card on the left reads:", "TIFFANY LANGER 78586 Ambers Avenue Las Vegas, NV 89108", "ID#: 8006389904? DOB: 12/08/69", "s*x: F Ht: 5'5\"", "Hair: Brown Wt: 110 lbs Eyes: Brown Occupation: Showgirl Employer: Orpheus Hotel ]", "Nick: Hit on the rock glass. \"Work card. Orpheus hotel. Tiffany Langer.\"", "Sara: Who's she?", "Nick: Showgirl.", "[SCENE_BREAK]", "[INT. CSI - WAITING AREA]", "(TIFFANY LANGER is being questioned by NICK and GRISSOM. They're sitting in the chairs in the waiting area.)", "Tiffany Langer: Yes, I went to the party. No, I didn't go alone. And no, I'm not telling you my date's name or anyone else who was there. These people are important.", "Grissom: Well, a very important police officer was murdered there.", "Tiffany Langer: I don't care. It took me a long time to get into the circle and I plan on staying there.", "Nick: Was there anybody there you didn't know?", "Grissom: Anybody who wasn't in \"the circle\"?", "Tiffany Langer: Well, my date.", "Nick: Do you know where he is?", "Tiffany Langer: I haven't seen him since that night. He sent me home with a Judge and his wife.", "Nick: So ... your date stayed at the party after you left?", "Tiffany Langer: As far as I know.", "Nick: Where does he live?", "Tiffany Langer: I don't know. I've known him for five days.", "Grissom: Well, that's 120 hours. There must be something you know about him that you could share with us.", "Tiffany Langer: Right-handed, a libra, circumcised, rich ... back-east rich. Which kind of surprised me because he wore really cheap cologne.", "Grissom: Cheap? How?", "Tiffany Langer: Smelled funny ... sweet.", "Grissom: Are you sure it was cologne?", "Tiffany Langer: Or deodorant. Mouthwash maybe. All I know is it smelled sickly sweet. To be honest I thought he could have used a little help in that department.", "Grissom: Would you happen to have an article of clothing of his by any chance?", "Tiffany Langer: The only thing he gave me was a good time.", "Grissom: Hey, guess what? This isn't about you. This is about a missing seven-year-old girl.", "Nick: Why don't you give us his name.", "Tiffany Langer: Adam Van Der Welk.", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) ACCESS ROAD -- DAY]", "(CATHERINE is on the phone with BRASS. She's on the roadway next to the vehicle.)", "Catherine: Uh, no, the chief's little girl is with child services. We're still at the drop-off place. (pause) Yeah, right. Will do, Brass.", "Warrick: I got a pill.", "(CALLEIGH DUQUESNE picks up her case and heads to WARRICK.)", "Warrick: Looks like sedative.", "(WARRICK puts down an evidence marker #11 near the pill and CATHERINE takes a picture of it.)", "Catherine: Okay.", "(WARRICK picks it up.)", "Warrick: Diazapam. Benzos..", "Calleigh Duquesne: That could explain why the mother didn't escape with her daughter. She was incapacitated.", "(CALLEIGH looks over at HORATIO CAINE who is standing off to the side looking away from everyone.)", "(Quick flashback to beaten mother opening the car door for her daughter in the car. Cut to the package of pills falling to the dirt road. Cut to SASHA RITTLE outside the car.)", "Mina Rittle: Go!", "(End of flashback. Resume to present.)", "(HORATIO turns around.)", "Horatio Caine: How'd the little girl get away?", "Catherine: We got some tire treads on the shoulder. Made an easy stop.", "Horatio Caine: And why did he pick such a secluded area?", "Warrick: Seems like a great place to ice someone.", "Horatio Caine: Or take a leak. Maybe that's why he stopped the car here... to take a leak.", "(Quick flashback to mother and daughter in the car. the mother turns her head to check on the man whose back is to them outside the car. White flash to the mother opening the car door. White flash to SASHA RITTLE standing outside the door.)", "Mina Rittle: Run! Run, Sash, run!", "(SASHA RITTLE runs away from the car. Cut to muzzle of gun firing. End of flashback. Resume to present.)", "(HORATIO looks straight down the pathway.)", "Horatio Caine: Let me ask you another question: When you're home alone do you lock the bathroom door?", "Catherine: I don't even know you.", "Horatio Caine: Sure you do. We all do. It's human nature to avoid being vulnerable, isn't it? So, if that's the case then he would look for a tree to shield himself, wouldn't he?", "(They start to walk down the pathway looking for signs.)", "Horatio Caine: So Then the question becomes, how far along this path before he loses sight of them?", "Catherine: Not very far.", "Horatio Caine: Look at this. Bang. Footprints ... and this is urine.", "(Quick flashback to MINA RITTLE in the car looking back. White flash to the man standing off to the side with his back to the car taking a leak. White flash to End of flashback. Resume to present.)", "Catherine: If you're lucky, urethral cells with slough off with urine.", "Horatio Caine: But if we get his DNA, there's a chance we'll get him.", "(CATHERINE starts taking pictures. A cell phone rings. HORATIO answers it.)", "Horatio Caine: (to phone) Yeah. Caine. What do you mean FBI?", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) CITY COASTLINE (STOCK) -- DAY]", "[EXT. POOL]", "(A woman swimming lifts herself out of the pool.)", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) HOTEL - DAY]", "(CATHERINE is on her phone speaking with GRISSOM.)", "Catherine: The guy has B.O.?", "Grissom: (on phone) Body odor, bad breath ...", "INTERCUT WITH:", "[INT. CSI - LAB]", "Grissom: I don't know. There's something about Adam Van Der Welk that makes him smell.", "Catherine: All this because some showgirl said he smelled sweet?", "Grissom: (from phone) \"Sickly sweet.\"", "Grissom: Smells can be like fingerprints, my dear. Hey, what's going on there? (from phone) I thought you were meeting the Feds?", "Catherine: Uh, yeah, we are. They picked the place. The Shore Club. Later.", "(CATHERINE hangs up.)", "Catherine: What's taking so long?", "Horatio Caine: That is a good question.", "(TIM SPEEDLE walks into the waiting area. He checks out the woman in a sarong as he walks by.)", "Tim Speedle: Hey, I just ran into a Fed in the lobby. He told me that apparently the Vegas case fits the profile of a serial the FBI's been tracking. (to WARRICK) Hey, you're from Vegas?", "(TIM SPEEDLE holds out his hand to WARRICK. They shake.)", "Tim Speedle: Speedle.", "Warrick: Brown.", "Calleigh Duquesne: Where was the Fed?", "Tim Speedle: He's right there in the lobby. He's got his little headphone on and his little tie.", "Horatio Caine: And you talked to him?", "Tim Speedle: Yeah.", "Horatio Caine: Do they have an ID yet?", "Tim Speedle: No ID yet, but their perp targets wealthy couples at their playgrounds ... Pebble Beach, Aspen, The Hamptons. Evidently the husbands get murdered first and the wives later. After they've enjoyed 48 hours of fun and games.", "(CATHERINE'S eyes widen at the specific time-frame.)", "Catherine: 48?", "Tim Speedle: (to CATHERINE) Vegas? (he holds out his hand) Speedle.", "Catherine: Willows.", "(They shake. SPEEDLE smiles slightly.)", "Horatio Caine: That's it?", "Tim Speedle: There's also a link to Miami.", "Horatio Caine: (flatly) Of course there is.", "(HORATIO walks out of the room. SPEEDLE spreads his arms wide.)", "Tim Speedle: Or, you know, he could just be some geriatric dude that just digs the weather.", "Catherine: I don't understand. Why didn't the Feds put this out on NCIC?", "Calleigh Duquesne: Because they're Feds.", "(CALLEIGH stands up.)", "Calleigh Duquesne: Excuse me.", "(CALLEIGH walks out of the room.)", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) HOTEL - LOBBY -- DAY]", "(Two Feds walk through the lobby. One is just getting off of the cell phone. Behind them, HORATIO walks in and gets his attention.)", "Horatio Caine: Dennis ... Dennis ... tick-tock, Dennis. While you're waiting to get your ducks in a row the guy with the \"Miami link\" just slipped through my hands.", "FBI Agent Dennis Sackheim: Horatio, I didn't have federal approval ...", "Horatio Caine: I need answers for this little girl. Her father's just been killed, maybe her mother, too. And that's your fault. You understand that.", "FBI Agent Dennis Sackheim: It sounds like you're making this personal.", "Horatio Caine: Dennis, you don't give me this link, I will make this very personal.", "(FBI AGENT DENNIS SACKHEIM takes off his glasses.)", "FBI Agent Dennis Sackheim: All of his victims stayed here in the last year.", "Horatio Caine: Here? This hotel?", "FBI Agent Dennis Sackheim: Rittle and his wife, too. Last winter.", "Horatio Caine: Mm, I wish I would have known that. Maybe they'd still be alive. Yeah?", "(CALLEIGH DUQUESNE approaches and begins to say something to HORATIO CAINE in Spanish.)", "Horatio Caine: (to CALLEIGH) si ... vamos.", "(CALLEIGH leaves.)", "Horatio Caine: (to DENNIS) I had a bad feeling about this.", "FBI Agent Dennis Sackheim: What'd she just say to you?", "Horatio Caine: She just said that you need to learn the language.", "(HORATIO puts on his glasses and runs to catch up with CALLEIGH.)", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) CANAL ROADSIDE -- DAY]", "(Several officers' cars gather. WARRICK approaches ERIC DELKO who is wearing a dive suit.)", "Warrick: I don't see this burgundy car. Where are you looking?", "(ERIC DELKO removes his head gear and points to the ground near the water's edge.)", "Eric Delko: Check the disturbance along the bank and follow it in.", "Warrick: How did you find the disturbance? Drive up and down the canals all day?", "Eric Delko: No, the thing about Miami is the entire city's watched from above. Coast guard choppers. Someone going to cover me?", "Horatio Caine: I got you.", "(CATHERINE stands next to WARRICK.)", "Catherine: Cover you for what?", "Eric Delko: Alligators.", "Tim Speedle: Only way to out run a 'gator is to swim faster than the guy next to you. Isn't that right, Delko?", "Eric Delko: Used to have a partner.", "(WARRICK smiles.)", "Horatio Caine: Guys ... please?", "(DELKO goes into the water. HORATIO puts the rifle up in alert. Several moments go by. DELKO breaks through the surface. He holds a thumb's up sign for a few moments, then sadly turns the thumb down.)", "[SCENE_BREAK]", "(Close up of the tow rope being rolled.)", "[EXT. (MIAMI-DADE) CANAL ROADSIDE - EARLY EVENING]", "(The car is being towed out of the canal. They successfully get the car out on to the roadside.)", "(HORATIO opens the car door. Along with the water, a dead woman tumbles out of the car. Her mouth is taped, she's naked and wrapped in plastic wrap. CATHERINE peers in to the window.)", "Horatio Caine: That her?", "Catherine: Yeah, that's Mina Rittle.", "(CALLEIGH holds the camera up and starts taking pictures.)", "(HORATIO walks off to the side and pulls off his glasses.)", "Horatio Caine: Our guy's still in the wind, folks. Still in the wind.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) FORENSIC AUTOPSY -- DAY]", "(ALEXX WOODS starts the autopsy examination. CATHERINE is there in the room with HORATIO CAINE.)", "Alexx Woods: What's her name?", "Catherine: Mina Rittle.", "Alexx Woods: Who wrapped you, Mina? The plastic wasn't for transport. Covering her intimates -- most likely sexual. Two gunshot wounds, left temple. One shot was a through-and-through. Trace ASAP along with the plastic. My preliminary probe shows water in the lungs which indicates she was still alive when she was put in the canal.", "(ALEXX WOODS looks at the deceased's face and notices something.)", "Alexx Woods: Looks like the eyes are glued shut. Gold crusty substance underneath. What is that, Mina?", "(HORATIO takes a sample of the substance.)", "Horatio Caine: The substance is water-soluble.", "Catherine: But somehow it got preserved in the water. My guess is the plastic was wrapped around her eyes at some point.", "Alexx Woods: Wait a minute.", "(ALEXX WOODS notices that there is the same sticky substance oozing out of the deceased's ears.)", "(Quick CGI POV from outside the ear to inside the ear canal where se can see the yellowish-colored substance deep inside. End of CGI POV. Resume to present.)", "Alexx Woods: There's a lot more of it. What do you want to bet this is in every orifice?", "(ALEXX moves around to the bottom of the table. She checks between the woman's legs and definitely finds what she's looking for. She waves the swab around and looks at HORATIO and CATHERINE.)", "Alexx Woods: You guys got a sick one.", "(CATHERINE looks at HORATIO. Camera holds on HORATIO.)", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) CANAL ROADSIDE -- DAY]", "(TIM SPEEDLE is walking the docks. He's looking down at the water below. He paces the docks. ERIC DELKO breaks through the water surface. He peels off his mask and holds on to a plastic bag.)", "Eric Delko: Aha!", "Tim Speedle: Delko, you've been down there for 45 minutes. Do you know the level of bacteria in the water? You can get all kinds of infections. What do you got?", "Eric Delko: Water pistol.", "(ERIC hands the bag over to SPEEDLE.)", "Eric Delko: One water-logged beretta knock-off.", "Tim Speedle: Suspect's personal gun?", "Eric Delko: That's it.", "Tim Speedle: Congratulations.", "Eric Delko: I'll put it over the wires that he's not carrying that Taurus anymore.", "Tim Speedle: Do that, and take a shower.", "Eric Delko: Nice shoes.", "(SPEEDLE makes his way off the docks.)", "[SCENE_BREAK]", "[INT. (LAS VEGAS) CSI - INTERROGATION ROOM]", "(TIFFANY LANGER is sitting at the table with a composite artist.)", "Composite Artist: Ma'am, you have to concentrate on the face. In parts, not just the whole.", "Tiffany Langer: Ask me what he wore. Ask me if he was good in bed. Just don't ask me how close together his eyes were.", "Nick: You said he kind of looked like Ricky Martin, right?", "Tiffany Langer: Yeah, with a touch of Jude Law.", "Composite Artist: Try to not just picture him. Try to think of an event.", "Tiffany Langer: Okay ... three-way kiss. His lower lip was kind of pouty ...", "(The artist turns to his pad and continues to draw.)", "Tiffany Langer: and he had this Michael Douglas thing working, you know --- a cleft in his chin.", "(The artist outlines a cleft chin and shows it to TIFFANY LANGER.)", "Composite Artist: Kind of like that?", "Tiffany Langer: Yeah. You're right. That is easier.", "(Short time cut to a completed pencil drawing of a man on the pad.)", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) INTERROGATION ROOM]", "(SASHA RITTLE works with a composite artist who is also drawing a picture of the", "(The camera pulls back.)", "(Through the window, CATHERINE observes the proceedings.)", "(Cut back to the little girl and the artist inside the room.)", "(Cut back to CATHERINE as she watches just outside the glass door.)", "[SCENE_BREAK]", "(Close up of fax machine as it spews out the composite drawing from Las Vegas. CATHERINE picks it up and looks at it.)", "[INT. (MIAMI-DADE) CSI OFFICES]", "Catherine: (on phone) Adam Van Der Welk. Little girl saw a monster. Showgirl saw a husband. So this guy could be anybody.", "Nick: Yeah, that's the problem with eyewitnesses. All the more reason to rely on evidence. Tell Warrick hey. Let me know if anything breaks.", "Catherine: You, too.", "(CATHERINE hangs up as she walks down the hallway. HORATIO walks through the hallway toward CATHERINE. He passes WARRICK with a hello.)", "Horatio Caine: Hey.", "Warrick: Hey.", "Horatio Caine: So, how's your colleague Grissom doing on the aroma angle?", "Catherine: I'm sure he's making progress but Grissom rarely says anything until he's good and ready.", "Horatio Caine: Smart man. I just wanted to show you something. The sticky substance we got off the wife is, in fact, honey.", "Catherine: You say that like it means something.", "Horatio Caine: Well, honey on its own is just honey, but when you add plastic wrap, it's ... a different situation.", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) NIGHT CLUB -- NIGHT]", "(A woman in plastic wrap walks the counter-top. There's a crowd around the counter and pulsating techno-pop music playing in the background. The crowd cheers and chants.)", "(The woman in plastic wrap catwalks to the end of the counter where she sits down and lays back on her elbows. Two men hold up containers of honey as they dance to the beat of the music.)", "Crowd: Five... four... three ... ...two... one...", "(When the crowd reaches one, the two men pour the honey on the woman on the counter. Up her legs and on her abdomen.)", "(Another waitress carries out a tray with cut fruit on it. The crowd picks the fruit off the tray. The men stop pouring the honey, and the crowd dips their pieces of fruit in the honey on the woman.)", "Catherine: Yum. This is where he got the idea.", "Horatio Caine: Yep.", "[CLOSED-CAPTIONING: HORATIO CAINE: This is Hives.]", "(HORATIO pulls out a swab from his coat pocket.)", "Horatio Caine: Wish me luck.", "(He leaves CATHERINE'S side and makes his way to the woman on the counter.)", "Horatio Caine: Excuse me. Excuse me.", "(HORATIO reaches the woman. He looks down at her and proceeds to take a swab sample of the honey on her.)", "Horatio Caine: Hi", "Showgirl: Some guys like to lick it off.", "Horatio Caine: Really? I'm partial to the swab myself.", "(CATHERINE appears next to HORATIO.)", "Catherine: Ready, honey?", "Horatio Caine: Coming, dear.", "(The SHOWGIRL smiles deliciously as they leave. Patrons of the club continue to dip their pieces of fruit into the honey on the woman.)", "[SCENE_BREAK]", "[INT. (LAS VEGAS) CSI - GRISSOM'S OFFICE]", "(Camera close-up of DR. ROBBINS as he reads. The camera cuts back and we see that both he and GRISSOM are pouring over text books on the desk in GRISSOM'S office.)", "Robbins: Tuberculosis victims emit breath that smells like wet leaves.", "(Behind them, BRASS appears in the doorway and pauses.)", "Grissom: Maple, elm, ash, what?", "Robbins: I'm not sure.", "(BRASS takes a step into the office.)", "Brass: Miami is pulling cars out of canals -- chasing leads, debriefing the kid -- and you guys are flipping through textbooks?", "Grissom: This is how I work.", "(BRASS picks up the books on the table and reads the bindings.)", "Brass: Tuberculosis ... Cyanide poisoning ... Endocrinology.", "(GRISSOM taps the side of his nose.)", "Grissom: I'm following my nosino.", "Brass: You're closer to this Van Der Welk guy than you're letting on aren't you?", "(GRISSOM slowly looks up at BRASS. Oh yeah, BRASS is catching on ... Satisfied, he nods his head to each man.)", "Brass: (to GRISSOM) Doctor ... (to ROBBINS) Doctor.", "(BRASS leaves the room.)", "Robbins: How about Darier disease?", "Grissom: Doesn't that give you a rash that smells like human excrement we're looking for something a little sweeter.", "Robbins: There's diabetic ketoacidosis. Body has excess glucose which converts to ketone ... Gets expelled through the pores. Has a fruity smell. It would help if we had a piece of the assailant's clothing.", "(GRISSOM'S eyes widen as he realizes something.)", "Robbins: What?", "Grissom: I think I overlooked some evidence.", "(GRISSOM stands and heads out the door.)", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) CSI -- LAB]", "(Close of up the slide under a microscope and a sample of honey being placed on the slide.)", "Tim Speedle: I'm going to isolate it using high-performance liquid chromatography. Once we identify the pollen we'll know if it's floral honey.", "(Camera cut to the scope view of the focus on yellow honey.)", "(SPEEDLE steps aside for HORATIO CAINE to look. HORATIO peers through the scope.)", "Tim Speedle: So, H, when's the last time you were in Hives?", "Horatio Caine: I was there opening night.", "Tim Speedle: I didn't see you there.", "Horatio Caine: I was, uh ... VIP.", "(TIM SPEEDLE smiles and nods - he should have known.)", "Horatio Caine: What is this?", "Tim Speedle: It's tupelo honey. It's the purest of all honeys. Stays in liquid form for life. Doesn't crystallize or harden.", "Horatio Caine: Where'd you get that?", "Tim Speedle: CDC hipped me to it after that africanized bee problem.", "Horatio Caine: Okay, let's swap this out. I want you to take a look at this.", "(HORATIO changes slides.)", "Horatio Caine: We got this off the chief's wife.", "(SPEEDLE focuses the scope. Scope view shows us the yellow honey. SPEEDLE straightens and looks at HORATIO.)", "Tim Speedle: It's a match.", "(HORATIO nods his head.)", "Horatio Caine: It's a match.", "[SCENE_BREAK]", "[INT. THE HIVE -- DAY]", "(HORATIO & WARRICK are rifling through the receipts. WARRICK looks at the honey.)", "Warrick: $500 for five dollars worth of honey? I don't think it's worth it.", "Nightclub Manager: Those are mostly for decoration but once in a while some bigwig comes takes one of them out of here.", "Horatio Caine: Wouldn't it have been easier to put these in order? This is going to take forever.", "Calleigh Duquesne: (o.s.) Maybe not. I've got a receipt from just two nights ago.", "Horatio Caine: Let me see that.", "(CALLEIGH hands the receipt to HORATIO.)", "[SCENE_BREAK]", "(CATHERINE is interviewing the Security Guard.)", "Catherine: Do you recognize this guy?", "Security: Yeah, looks just like every other Joe that comes in here.", "Catherine: Look, you work the door. Anybody come in here in the last 48 hours that bought some of that very expensive tupelo this is Miami.", "Security: Every night's a weekend.", "(HORATIO joins them.)", "Horatio Caine: My people tell me that a customer came in here two nights ago to buy some.", "Security: Wasn't a customer. It was a limo driver.", "Catherine: A limo driver?", "Security: Yeah, Gordon. Gave me a c-note just to double park.", "Horatio Caine: Did this Gordon tell you who he had in back of his car?", "Security: No. Just that it was some rich guy -- some high roller.", "Catherine: Let me guess-- from Vegas.", "Security: Yeah.", "(Suddenly, the pieces are slowly coming together.)", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) HIGHWAY (STOCK) - DAY]", "(Top view of limo traveling along roadway and a police car with its siren on behind it.)", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) -- DAY]", "(HORATIO and CATHERINE exit the car. They meet up with SPEEDLE.)", "Horatio Caine: How'd you find him?", "Tim Speedle: Figured, limo driver -- airport. I spotted Gordon here on Alton -- back way to Miami International. Lit him up, pulled him over here.", "Horatio Caine: Nice work. You got a last name, Gordon?", "Gordon Daimler: Daimler. Look, officer, the Corwins are coming in on their own private jet. They're two of my best customers. I really should be there.", "Horatio Caine: Well, the Corwins are going to have to wait.", "Catherine: We understand that another one of your customers bought some very expensive honey from a club.", "Gordon Daimler: Yeah, well, I've had stranger requests.", "Catherine: This customer of yours have a name?", "Gordon Daimler: Never got it. He paid cash. Never saw a credit card.", "Catherine: Well, did you notice anything unusual about him? Did he smell? Did he ... have an odor?", "Gordon Daimler: Uh, his breath maybe. He'd been drinking a lot.", "Horatio Caine: Remember what he was drinking? Was it sweet like irish whiskey?", "Gordon Daimler: Whatever I have stocked.", "Catherine: Well, we'd like to take a look.", "Gordon Daimler: Sure. Go ahead.", "(HORATIO checks out the front seat of the car; CATHERINE works on the back seat.)", "(CATHERINE climbs in the back seat. She checks the first bottle and smells it.)", "Catherine: Vodka.", "(She smells the second bottle.)", "Catherine: Gin.", "(HORATIO starts the engine and turns on the air conditioner. He puts the window between the front and the back seats down. CATHERINE leans forward.)", "Horatio Caine: Hmm. Smell that?", "Catherine: Sickly sweet. That's exactly how Grissom described it.", "[SCENE_BREAK]", "[INT. (LAS VEGAS) CSI - WAITING ROOM]", "(GRISSOM opens the evidence package and takes out the baseball cap found on the dead body in the back of Chief Riddle's car. He holds it out to TIFFANY LANGER.)", "Tiffany Langer: You want me to do what?", "Grissom: Smell this.", "(GRISSOM holds out the baseball cap. She gives him a look and takes off her sunglasses. She smells it.)", "Tiffany Langer: That's it. That's Adam's smell.", "Grissom: In the five days that you two were together, did you happen to notice what he was drinking?", "Tiffany Langer: Champagne.", "Grissom: Did he ever drink anything sweeter like whiskey or cognac?", "Tiffany Langer: No, Are you kidding me? With him it was all dom, all the time.", "(TIFFANY LANGER puts her sunglasses back on. GRISSOM smiles as he puts the hat away.)", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) - DAY]", "(CATHERINE is speaking on her cell phone. HORATIO CAINE is standing nearby listening in to CATHERINE'S side of the conversation.)", "Catherine: You found a medical condition.", "Grissom: Diabetic ketoacidosis -", "INTERCUT WITH", "[INT. (LAS VEGAS) CSI - DAY]", "Grissom: it's an insulin deficiency. His body's been expelling excess glucose. Makes him smell fruity.", "Catherine: Which I guess could easily be mistaken for whiskey breath. Hey, can you test for diabetic ketoacidosis off urine?", "Grissom: Well, blood's the best but if you had a urine sample, maybe.", "Horatio Caine: Ask him what medication you would take for that.", "Catherine: What would a doctor prescribe?", "Grissom: Novalin insulin.", "[SCENE_BREAK]", "[EXT. MIAMI-DADE CITY - SUNSET (STOCK)]", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) CSI - LAB]", "(HORATIO CAINE makes his way down the steps and into the lab. CATHERINE is behind him.)", "Horatio Caine: Lucky for us we found blood in his urine.", "Catherine: Absence of c-peptide in the blood. Means the insulin in our guy's system isn't natural -- it's synthetic.", "Horatio Caine: And prescribed. Right over here. It's our database.", "(They reach the bottom area where HORATIO CAINE points to a work station on their left. He pulls up a chair.)", "Horatio Caine: Okay, what we're looking for is a patient who's purchased synthetic insulin in the last 48 hours.", "(At the computer screen, HORATIO CAINE does an Advanced Search on Prescriptions on the KeyWord: \"Novalin Insulin\" During the last: \"48 hours - Current\".)", "Horatio Caine: Here we go.", "(The results are immediate.)", "Computer Screen 1: [Your basic search for Synthetic insulin matches:", "Prescription #: / Patient #: / Pr R# 63K1 / McCrary694 R# 916414 / Marie81 R# 783J38 / Bush571 / Order Amt: R# U1456JZ6 / Woodbury49 / Order Amt: R# IZ921 / Ziegler671 R# 15V445 / Reichenbach926 R# 54DT58 / Carlisle392 R# 8DJ223 / McBride654 R# 97H92 / Webber942 R# 69666 / Hutchinson306 R# N6479 / Willman126 R# 16W45S1 / Daimler408 R# 1Y0 / Andreou328 R# 514761 / Bruning 536 ]", "Computer Screen 2:", "[RESULTS RESULTS - PATIENT INFORMATION NAME: GORDON DAIMLER RX: INSULIN RX#44092-1084", "ADDRESS: 2421 RIVIERA DRIVE", "COCONUT GROVE, FL 33154 ]", "Catherine: Gordon Daimler. That's the limo driver.", "(HORATIO CAINE nods.)", "Horatio Caine: That's him. And the reason that old Gordon probably didn't smell when we picked him up is because he'd just taken his insulin, hadn't he?", "Catherine: But the scent was still in the limo's AC system. Well, now we have this guy's address.", "Horatio Caine: Yes, take a look at this address. A limousine driver with a house on the water in Coconut Grove? I don't think so.", "Catherine: Who's the owner of record?", "Horatio Caine: Let's check it.", "(HORATIO CAINE runs a second search.)", "Computer Screen 3: [RESULTS PROPERTY IS OWNED BY:", "NAME: Dylan and Sissy Corwin ADDRESS: 2421 Riviera Drive Coconut Grove, FL 33154", "PROPERTY #: 09472-59573-29175 ]", "Catherine: Sissy and Dylan Corwin. That's the couple he was picking up at the airport when we pulled him over.", "Horatio Caine: That's right.", "Catherine: So then maybe that's how he finds his victims -- driving a limo.", "Horatio Caine: And when they're away at some posh resort he moves into their house, doesn't he?", "Catherine: Hops over to Las Vegas. Visits the couple he met in Miami. Kills the husband...", "Horatio Caine: mm-hmm.", "Catherine: ...Brings the wife back here-- kills her.", "Horatio Caine: And when the Corwins come home ... not good.", "(Off CATHERINE'S look.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) COCONUT GROVE - DRIVEWAY - DAY]", "(A car pulls up and parks behind a black limo parked in the driveway. HORATIO CAINE exits the car, WARRICK behind him. Both of them have their guns drawn.)", "(Cautiously, they approach the house.)", "Catherine: (o.s.) No one's answering inside.", "[SCENE_BREAK]", "[INT. (MIAMI-DADE) COCONUT GROVE - DAY - CONTINUOUS]", "(Through the open doorway, HORATIO CAINE yells into the house.)", "Horatio Caine: Miami-Dade police!", "(There's no response.)", "(HORATIO CAINE, followed by WARRICK and CALLEIGH DUQUESNE who also has her gun drawn, enter the home. HORATIO checks out the right while WARRICK and CALLEIGH head off to the left.)", "(Cut to WARRICK and CALLEIGH walking through the hallway toward the stairs.)", "(Cut to HORATIO rounding the corner. CATHERINE'S walking behind him. HORATIO looks up to the stairs leading to the second floor. He cautiously makes his way up the stairs. He stops at the first landing, gun pointed upward.)", "Horatio Caine: Slowly.", "(CATHERINE walks up the stairs and passes HORATIO as he covers her.)", "Horatio Caine: Slowly.", "(By this time, HORATIO has his gun down and before he follows CATHERINE the rest of the way up the stairs, he looks around and takes special notices of the framed photographs hanging on the stairway wall. The photo closest to him at his eye level is a photo of a plane.)", "[STAIRWELL LEADING TO THE GARAGE]", "(Cut to WARRICK rounds the corner at the top of the stairway leading down. WARRICK takes off his glasses and notices the blood immediately.)", "Warrick: I got a blood trail here. Leading to the garage.", "(He starts to descend the stairs. CALLEIGH follows close behind, covering his back.)", "[MASTER BEDROOM]", "(CATHERINE enters the master bedroom. She puts her kit down and puts on a pair of latex gloves. HORATIO enters the bedroom.)", "(CATHERINE looks around. The bed is in disarray. She lifts up the covers looking for evidence. She finds a scrap of plastic wrap. She picks it up and looks at it.)", "(Quick flashback to SISSY CORWIN on the bed, struggling with her captor. Cut to the assailant hitting her. Cut to SISSY CORWIN unconscious on the bed and the assailant unrolling a section of plastic wrap. End of flashback. Resume to present.)", "[SCENE_BREAK]", "[INT. CORWIN RESIDENCE - GARAGE - DAY -- CONTINUOUS]", "(WARRICK reaches the garage. He takes a few more steps, following the blood trail. CALLEIGH enters the garage.)", "Warrick: He dragged the body to here ...", "(WARRICK looks down at the large blood stain on the garage floor.)", "Warrick: ... put her in that car.", "Calleigh Duquesne: Nine mill.", "(WARRICK turns around and notices CALLEIGH crouched down and staring at a slug in a wall. He joins her.)", "Calleigh Duquesne: One shot's a through-and-through. Scalp hair. He fired this one first.", "(Camera shows a slug in a wall. The wall around the slug is clear.)", "Calleigh Duquesne: I don't know. To terrorize her.", "(WARRICK looks at the second slug, the wall around which is dry with scalp and blood.)", "Warrick: This strike here. That one's all business.", "[SCENE_BREAK]", "[INT. CORWIN RESIDENCE - BEDROOM - DAY -- CONTINUOUS]", "(HORATIO walks around. He turns his head and looks into the bathroom and notices something on the shower tile. He holsters his weapon and opens the door for a closer look. The substance is shiny, sticky-looking and clear.)", "(Quick flashback to a gun being held against SISSY CORWIN'S HEAD. She's cowering on the floor of the shower with her back against the wall. White flash to honey being smeared on SISSY CORWIN'S cheek. End of flashback. Resume to present.)", "(CATHERINE walks up behind HORATIO. She looks at the shower and without saying a word, HORATIO nods his head. They're both thinking of the same scenario.)", "(CATHERINE holds up the piece of plastic wrap she found on the bed.)", "Catherine: He wrapped her in plastic by the bed, raped her.", "Horatio Caine: Then dragged her in here and cornered her like an animal.", "Catherine: If Gordon's true to form, he's going to kill the Corwins.", "(TIM SPEEDLE appears in the doorway and interrupts them.)", "Tim Speedle: You guys should take a look at this.", "[SCENE_BREAK]", "[EXT. CORWIN RESIDENCE - BACKYARD - DAY - CONTINUOUS]", "(TIM SPEEDLE is walking somewhere, leading both HORATIO and CATHERINE out to the backyard.)", "Tim Speedle: Well, people don't really buy these houses for the view. It's a place to put a million-dollar boat.", "Horatio Caine: But what's your point?", "(They reach the docks and CATHERINE notices it first.)", "Catherine: The boat's missing and that's where he's killing them right now.", "Horatio Caine: (urgently) Speed, get on that thing right now. Put the birds in the air and call the coast guard. Right now. Do it.", "Tim Speedle: (on radio) Air and sea, this is Tim Speedle. I need you to be on the lookout for a yacht, T-45. R.O. Dylan and Sissy Corwin.", "Horatio Caine: Commandeered by one Gordon Daimler. Gordon Daimler.", "(SPEEDLE moves off to the back where he continues to call out on the radio.)", "Tim Speedle: (b.g.) Air and sea ...", "Horatio Caine: (quietly) ... Gordon Daimler.", "(Camera close up of HORATIO CAINE.)", "[SCENE_BREAK]", "[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. DOCKS - NIGHT]", "(HORATIO CAINE exits the vehicle and approaches the rest of the team trying to assess the situation from their vantage point behind the police vehicle. Out at the dock, the CORWIN'S boat is docked. No one has approached the boat yet. Behind the second car is FBI Agent DENNIS SACKHEIM and SHARPSHOOTER DETWEILER already set up with his finger behind the trigger.)", "Dennis Sackheim: Coast guard found her adrift!", "(CATHERINE also joins the group.)", "Dennis Sackheim: No radio contact! We hailed her. No response.", "Tim Speedle: Infrared's up. Blue means dead, red means alive.", "(Camera close up of the Infrared's monitor which shows at least one red figure in the cabin. The other figure is ... )", "Calleigh Duquesne: Pink. Body heat's fading. Person's dying.", "Catherine: Identify the other players.", "Horatio Caine: Speed?", "Warrick: (pointing to the screen) Red. Is that our suspect?", "Horatio Caine: I'm not sure.", "Dennis Sackheim: I am.", "(CATHERINE turns around to SACKHEIM.)", "Catherine: How? We haven't identified all the players.", "Dennis Sackheim: He's going back to finish off the job. Detweiler.", "(DETWEILER is manning the gun trained on the red figure inside the cabin.)", "Sharpshooter Detweiler: Getting a bead on him, sir.", "Dennis Sackheim: The M.O. On this guy says husband's already dead. He's going back to finish off the wife. You're good to go.", "Calleigh Duquesne: Body language does not look like an attack.", "(HORATIO looks over at the boat, \"Cor-winds\".)", "(Quick flashback to HORATIO taking off his glasses and looking at the framed photographs hanging on the wall on the stairway. He glances at one photograph of the boat, \"Cor-winds\", and the next photograph of the CORWINS standing in front of a private jet. End of flashback. Resume to present.)", "Horatio Caine: (to SPEEDLE) Wait a minute, wait a minute. Don't the Corwins have a jet?", "(SPEEDLE nods.)", "Horatio Caine: (louder) The Corwins have a jet, right?! Gordon left them here to die.", "[CLOSED-CAPTIONING: HORATIO CAINE: That's where Daimler is. It's the Corwins in there.]", "Horatio Caine: Abort this, Sackheim! Abort this!", "Dennis Sackheim: Interstate case, not your call! (to DETWEILER) Proceed!", "Horatio Caine: Stand down!", "Dennis Sackheim: (to DETWEILER) Take him out!", "(HORATIO walks over to stand next to DETWEILER. He leans in close and proceeds to convince DETWEILER to stand down.)", "Horatio Caine: Detweiler, I know you want to impress your boss but there's an innocent man on that boat. Now, if you take this shot I'm going to be in your grille for the rest of your natural life. I want you to think about what that might be like.", "(Camera close up of DETWEILER considering the options. HORATIO stands up and takes a step back.)", "Horatio Caine: Think about that.", "(DETWEILER continues to consider the options. He looks at the darkness inside the boat cabin behind his scope and finally looks down. He moves his finger away from the trigger.)", "Horatio Caine: (to DETWEILER) Thank you. (to SPEEDLE) Speed, the Corwins have a jet find the jet. Call the FAA and ground the jet by authority of ...", "(HORATIO doesn't look at DENNIS SACKHEIM, but sticks it to him anyway.)", "Horatio Caine: ... Miami-Dade County.", "(CATHERINE is already unholstering her gun.", "Tim Speedle: (b.g.) Got it", "Catherine: Give us thirty seconds.", "(HORATIO, followed by CATHERINE head toward the boat.)", "Horatio Caine: Then send backup!", "(HORATIO CAINE bursts in through the boat and into the cabin as fast as he can get inside. He opens the door and finds ... )", "Horatio Caine: Mr. Corwin!", "(DYLAN CORWIN is performing CPR on his wife. They're both bloodied, remnants of tape restraints are still on her wrists. DYLAN CORWIN looks up at HORATIO CAINE.)", "Dylan Corwin: I tried to save her. It's too late.", "(CATHERINE pushes past HORATIO to get into the cabin. DYLAN CORINW hangs his head down and sobs.)", "Dylan Corwin: (to his wife) I'm sorry.", "Horatio Caine: (to radio) Get me fire rescue.", "[SCENE_BREAK]", "[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CORWIN'S JET -- NIGHT]", "(The pilot looks back at his lone passenger, GORDON DAIMLER.)", "Pilot: Few more minutes, sir, we'll be on our way to Monaco. Sorry for the delay, sir. Technical difficulties. We'll be off shortly.", "(GORDON DAIMLER raises his fluted champagne glass in silent salute to the pilot. He smiles and looks out the window. He takes a sip of champagne just as we hear the sounds of a car driving up and of a door slamming.)", "(GORDON DAIMLER looks up.)", "(HORATIO CAINE boards the plane, gun drawn and aimed at GORDON DAIMLER. CATHERINE also boards the plane.)", "Horatio Caine: Good evening. Mr. Van Der Welk.", "(CATHERINE walks past HORATIO CAINE and up to GORDON DAIMER where she quickly and efficiently pats him down.)", "Catherine: Gordon, did you drive your limo here?", "(GORDON DAIMLER holds his arms outstretched. She finishes.)", "Catherine: He's clean.", "(GORDON DAIMLER shakes his head and explains calmly.)", "Gordon Daimler: The Corwins ... are my friends. They lent me this plane.", "Catherine: Like the lent you their boat?", "(GORDON DAIMLER smiles smugly.)", "Gordon Daimler: Speak to the pilot. Dylan Corwin called him personally. Directed him to fly me to Monaco.", "Horatio Caine: I'd rather call \"Dylan\" at the hospital to confirm.", "(The smile fades on GORDON DAIMLER'S face.)", "Catherine: The husband didn't die. He left us a witness and enough evidence to convict you in two states.", "Gordon Daimler: (smugly) Rich men don't go to jail.", "Horatio Caine: You're not rich, Gordon.", "[SCENE_BREAK]", "[EXT. AIRSTRIP - NEAR THE CORWIN'S JET -- NIGHT]", "(Handcuffed, GORDON DAIMLER is escorted off of the plane, \"Cor-wings\". He's handed to the officer and exits camera frame. CATHERINE exits the plane followed by HORATIO. They walk out some distance away from the plane.)", "Horatio Caine: I'm going to, uh ... I'm going to book this guy. You want to go with?", "Catherine: Nah, you got it. I'll have my D.A. call your D.A.", "(HORATIO chuckles.)", "Horatio Caine: Sounds good. Sounds good.", "(They stop walking.)", "Horatio Caine: Uh ... thank you for your help on this.", "Catherine: Thanks for yours, actually.", "Horatio Caine: Right.", "(CATHERINE smiles.)", "Horatio Caine: You take care of yourself.", "Catherine: (smiles) I always do.", "(CATHERINE extends her hand. HORATIO grasps it. They shake hands.)", "[SCENE_BREAK]", "[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - EARLY MORNING]", "[SCENE_BREAK]", "[EXT. (MIAMI-DADE) THE BEACH - EARLY MORNING]", "(HORATIO CAINE looks out toward the ocean.)", "(Camera cut to two officers standing watch over SASHA RITTLE as she plays in the sand. The two officers leave as HORATIO CAINE sits down next to the little girl.)", "Horatio Caine: Hey.", "Sasha Rittle: My mommy and daddy are dead, aren't they?", "Horatio Caine: Well, your aunt is flying in to talk to you.", "Sasha Rittle: That's a yes.", "Horatio Caine: I lost someone once.", "Sasha Rittle: Who?", "Horatio Caine: Well ...", "Sasha Rittle: Did you feel sick?", "Horatio Caine: Still do. Still do.", "(SASHA turns back to the sand. HORATIO CAINE still has something to say to her.)", "Horatio Caine: Sasha .... people are going to say a lot of things about your mom and dad and some of them are going to be true, but what I want you to remember is that they fought like heroes for you. Will you remember that for me?", "(SASHA nods her head.)", "Horatio Caine: Good. Good for you.", "(The two lone figures continue to sit side-by-side on the beach. HORATIO turns back to look out into the ocean.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(CATHERINE knocks on the door to get GRISSOM'S attention. She walks in to his office. GRISSOM turns around. He's wearing a dark suit and fiddling with his tie.)", "Catherine: Hello.", "Grissom: Hey.", "(CATHERINE stands in the doorway.)", "Grissom: Nice tan.", "(GRISSOM sits down in his chair.)", "Catherine: Nice suit.", "(CATHERINE walks into the office and stops in front of GRISSOM'S desk.)", "Grissom: Yeah, well, I knew you were coming back today, so I dressed up.", "Catherine: (snorts) Yeah. Right.", "Grissom: Really.", "(CATHERINE doesn't respond, although she does continue to look at GRISSOM.)", "Grissom: What?", "Catherine: Nothing. It's just ... unusual to see you dressed like that.", "Grissom: I had to go to the Chief's funeral.", "Catherine: Missed me that much, huh?", "(CATHERINE turns around and heads out the doorway, but not before she looks over her shoulder to cast GRISSOM a final look and smile.)", "(GRISSOM smiles as he watches her walk away. He shakes his head and turns back to his book ... still smiling.)" ]

[ "Season Finale. The CSIs investigate when the body of an unidentified young woman is discovered stuffed in an overturned shopping cart near a freeway underpass. Her horribly disfigured and partially decomposed face is a nightmare of blood, scabs and scars, as if she'd been shoved into a fan. A huge circular hole dominates her left cheek. Someone not only wanted her dead, Grissom reasons, but \"they wanted her ugly.\" Adding to the mystery are the cart's other contents: an expensive handbag, fashion magazines and a leather day planner with notes written in code." ]

[ "[EXT. LAS VEGAS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. BATHROOM - NIGHT]", "(A woman is preparing to take a bath. She wraps a towel around her naked body. She removes her underwear while the water in the tub fills with hot water and bubbles.)", "(She tests the temperature of the bath water with her foot.)", "(She adds bath oil/bath scent to the water.)", "[SCENE_BREAK]", "(Close up of a cosmetics kit being unrolled.)", "[SCENE_BREAK]", "(The woman is sitting in front of a dressing mirror. She is facing the mirror and her back is to us. We can't see her face. She puts her hair up and holds it in place with a hair clip.)", "(She selects a pair of tweezers from the cosmetics kit.)", "[SCENE_BREAK]", "(Top view shot of the bath tub filling with water.)", "(Cut to: The woman starts on her pre-bath ritual.)", "(Cut to: A top view of the bath tub with bath bubbles and a fashion magazine, \"VEGAS\" on the floor nearby. The water flows over the lip of the tub onto the floor. The water and bath bubbles cover the magazine completely from our view.)", "[SCENE_BREAK]", "[INT. WAITING ROOM -- NIGHT]", "(GRISSOM is reading a book. It's very quiet.)", "(The nurse looks up at GRISSOM. GRISSOM looks up at the nurse and we hear a cell phone ring. He answers his phone.)", "Grissom: (on phone) Grissom. (pause) I'll be right there.", "(GRISSOM stands and approaches the nurse.)", "Grissom: Please tell the doctor that I have to reschedule my appointment. Thanks.", "(GRISSOM doesn't wait for an answer. He leaves.)", "Nurse: She should be right with ... you.", "[SCENE_BREAK]", "[EXT. UNDER THE BRIDGE - NIGHT]", "(BRASS is there talking with a man with a clipboard in a jacket. He's standing in front of a shopping cart ... and there's a dead body in the shopping cart, but you don't really notice it.)", "(Behind them, GRISSOM'S SUV pulls up to the police tape, parks and GRISSOM emerges carrying his kit. He locks his car and approaches BRASS and the shopping cart with the body.)", "Grissom: Any I.D. Yet?", "Brass: Nothing but a blanket.", "(GRISSOM flashes his light on the body and we see that it's a woman and she has cuts and blemishes on her face. She's wrapped in a blanket and her eyes are closed. He looks around at the environment. He turns left and right and sees some homeless people sleeping on the ground with their shopping carts near them.)", "Grissom: She live here?", "Brass: Ah ... we don't know. Patrol called it in. Well, whoever she is she's not talking.", "(GRISSOM moves in closer to the body for a better look. As he does, her mouth begins to move. Her mouth suddenly opens and a rat crawls out.)", "Brass: Whoa.", "Grissom: I think she just ratted herself out.", "(Camera holds on BRASS.)", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS", "[Captioning sponsored by CBS CBS productions and Volkswagen. Captioned by media access group at WGBH access.Wgbh.Org]", "[SCENE_BREAK]", "[EXT. GROUND VIEW OF THE HIGHWAY - NIGHT]", "(The camera starts with the billboard and pans around the bridge to stop on an overhead shot of the crime scene. The Coroner's van pulls away. Police Radio Transmissions can be heard in the background.)", "(GRISSOM walks around looking for evidence to mark for collection. In his left hand, he holds yellow markers. The number showing on the next marker is #4.)", "(GRISSOM sees something on the ground and places the number 5 marker down next to something that could possibly be blood on a rock and a small pool of it near by. He continues to look around. He spots the shopping cart and approaches it.)", "(GRISSOM starts looking through the cart. He moves the blanket away and sees a purse underneath. He pulls out a day planner. He goes through the bag and sees six syringes on the bottom of the purse.)", "Grissom: (V.O.) Drug use?", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY]", "Robbins: No visible track marks. Tox screen came up empty except for botulin.", "Grissom: Food poisoning?", "Robbins: I'll know more when I cut open her stomach. Heard about the rat. Hope he didn't have any children. Take a look at these tiny puncture wounds in her forehead. Indicates repeated injections. You sure she's homeless?", "Grissom: Sometimes I'm not sure of anything.", "Robbins: Educated guess: Beautification. She was injected with pig botulism.", "(Flash to white. Flash CGI of syringe penetrating the skin in the forehead to the muscle beneath and liquid spurting out. The needle pulls out. End of CGI.)", "Robbins: Botox ... the ultimate wrinkle cream.", "Grissom: How did it get into her bloodstream?", "Robbins: Bad doctor. Missed the muscle. Shot directly into her supratrochlear vein.", "Grissom: Amazing the advances we make in science and the primitive uses we find for them.", "Robbins: People are still animals. Signs of possible torture. A lot of scarring. Some old, some new.", "Grissom: What about the crater in her check?", "Robbins: The dove-tail abrasion of the margins was caused by the scraping of the handle of some weapon. Tells me the blade was completely inserted -- more than once.", "(GRISSOM looks down at the woman's arm. We see only smooth skin.)", "Grissom: There's no ligature marks anywhere. I'd think she would need to be restrained for something like that, wouldn't you?", "Robbins: Give me a few hours; I'll know more.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "[SARA turns on the light for the overhead projector. She has the day planner open on screen. She flips the page to the date: 05/09/02 written in the top right corner. The page has the following:", "T 3 C 1023 - 10 ok", "X COW -4 A PGOSF", "[SCENE_BREAK]", "QP 4 1 EVO'D ...]", "(WARRICK walks into the lab.)", "Brown: Show and tell. Who?", "Sara: Showing but not telling. I found a day planner in the shopping cart.", "Warrick: Mm-hmm.", "Sara: It's written in code. \"T to the third power. C 1023, minus ten O.K. equals zero.\"", "Warrick: Looks like ginkwork. It's the kind of thing speed freaks do when they've been up for ten days straight and they've already taken apart the radio.", "Sara: Yeah. I write everything down in shorthand. You couldn't read it.", "Warrick: Shorthand?", "Sara: Keeps things in order.", "Warrick: You're not a control freak or anything?", "(SARA doesn't look at WARRICK. She smiles and mumbles ... )", "Sara: No.", "(WARRICK sees something across the room.)", "Warrick: Sara ... what's a homeless woman doing with a day planner and a $300 handbag?", "Sara: That handbag costs $300?", "Warrick: Yeah.", "Sara: How'd you know that?", "Warrick: I bought one for an ex-girlfriend once.", "Sara: Oh.", "(Camera holds on WARRICK as he glances back at SARA and chuckles at her reaction.)", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(CATHERINE walks into DUSTY'S OFFICE. DUSTY is taking a image of the victim's mutilated face and is reconstructing it digitally on the computer.)", "Catherine: Dusty, we got no hits on the fingerprints and no one fitting her description has been reported missing.", "Dusty: Oh, she's not missing? She's in my world. I'm just mirroring some good cheek on top of some bad cheek.", "Catherine: Okay.", "Dusty: I'll fix her forehead.", "(DUSTY works on clearing the injuries off of the victim's face so that they can better identify her.)", "Dusty: Her chin ... what a mess.", "Catherine: Mm-hmm.", "Dusty: I'm going to do a little cloning here. She actually had a really nice complexion. Perfect porcelain face.", "Catherine: What can you do about the hair?", "Dusty: It's a macro. What kind of hair do you want her to have? Blonde? ... like Courtney love?", "Catherine: Sounds good to me.", "Dusty: Let's give her some eyes ... blue.", "(DUSTY finishes the digital reconstruction and looks at the image of the woman. She frowns.)", "Dusty: I know her from somewhere.", "(This surprises CATHERINE.)", "Catherine: You do?", "Dusty: Yeah.", "[SCENE_BREAK]", "[INT. GRISSOM'S OFFICE]", "(CLOSE UP of a \"SHOWBIZ WEEKLY\" magazine cover with a picture of Ashleigh James on it and her name in large type on the right.)", "[Above the magazine title, the headline reads: \"Exclusive: Las Vegas Uncovered\".]", "[On the left side of the magazine it reads: <<the magazine date>> VEGAS.com \"Marvin Mancie / The Man and The Movie\" \"Samantha Coy / Soft-Spoken, But Shrewd\" \"Harlan Joseph / Banks of Success\" \"John Russell / R & B's Rising New Star\"]", "[Headline on the bottom reads: \"Bill Belt: magic act\"]", "[Ad on the back of the magazine: \"Great Expectations\"]", "(GRISSOM glances down at the magazine and then looks back up at CATHERINE who put it there.)", "Grissom: Why are you showing me this?", "Catherine: The cover girl, Ashleigh James -- she's your girl in the shopping cart. P.D.'S tracking down her agency now. Somebody wanted her dead.", "(GRISSOM takes out the post-mortem photograph of Ashleigh James and looks at the two pictures side by side. The magazine cover on the left and the post-mortem picture on the right.)", "Grissom: They also wanted her ugly.", "[SCENE_BREAK]", "[EXT. ASHLEIGH JAMES' LOFT - NIGHT]", "(GRISSOM and CATHERINE get out of the car with their CSI kits just outside ASHLEIGH JAMES' loft. They meet BRASS outside. The officers behind him stand next to door #929.)", "Brass: It's called gentrification.", "Catherine: It's not doing anything to gentrify them.", "Brass: Tell that to the mayor. The landlord's on vacation. It's a good thing because he's got a swimming pool in his basement.", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - NIGHT - CONTINUOUS]", "Brass: Ashleigh James apartment ...", "[CLOSED-CAPTION READS: BRASS: ... tub overflowed.]", "Grissom: Who turned the water off?", "Brass: The first officer on the scene found the door open. After that, he didn't touch a thing.", "Officer: (o.s.) Captain?", "Brass: Yeah, what have you got?", "(BRASS leaves the two alone to see what the officer wants. CATHERINE continues straight on into the loft. GRISSOM turns left and examines the many Ashleigh James pictures on the wall.)", "Grissom: Well, Narcissus would be proud.", "Catherine: Very much a woman, yet still a little girl.", "(The camera notes the three rag dolls on the bed that CATHERINE'S referencing.)", "(GRISSOM stops by a small table with burned candles and candle wax on the table top. There is also some white powdery substance on it.)", "Grissom: I thought Doc Robbins said the victim's tox screen came back negative.", "Catherine: No, she wasn't a user. But maybe the boyfriend was.", "(CATHERINE finds a man's toiletry kit in the cabinet. She opens it and holds out a man's razor.)", "Catherine: Let's hope he nicked himself.", "(GRISSOM holds up a scoop of the white powdery stuff and smells it.)", "Grissom: Smells like mint.", "[SCENE_BREAK]", "[EXT. PARKING LOT -- NIGHT]", "(The camera follows BRASS as he enters the parking lot where NICK and WARRICK are looking at ASHLEIGH JAMES' car. WARRICK is holding a camera.)", "Brass: Hey.", "Nick: Thanks.", "(BRASS tosses the car keys to NICK.)", "Brass: Find anything?", "Nick: No. Nothing.", "Brass: Anything out front?", "Warrick: Just a couple of homeless guys.", "(NICK opens the car and sees it littered with wrappers and other food junk. There are empty drinking cups and carriers. NICK picks up an empty wrapper and turns to BRASS.)", "Nick: You, uh, you sure this is the vic's?", "Brass: You are what you eat.", "(BRASS leaves. WARRICK starts to photograph the car.)", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - BATHROOM - NIGHT]", "(CLOSE UP of substance being scraped off the small side table next to the bathtub.)", "(CATHERINE sees GRISSOM busy collecting the sample and examines the rest of the bathroom.)", "Catherine: Blood in the sink.", "(She glances down and notes ... )", "Catherine: None on the floor.", "(She sees plastic wrapped green and white enema boxes. The label says: )", "[Traynor-Shepherd \"For relief of occasional constipation and bowel cleansing\" Comfortip(c) \"The enema used most often in hospitals\"]", "Grissom: (o.s.) Enema. The secret life of women.", "(GRISSOM holds up an empty plastic enema bottle.)", "Catherine: Don't generalize. It's not very scientific of you.", "Grissom: You're right. I'm sorry.", "[GRISSOM is going through the trash and pulls out a ziploc'd bag of excrement or vomit (don't know which one).]", "Grissom: Catherine ...", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[EXT. PARKING LOT - ASHLEIGH JAMES' CAR -- NIGHT]", "[CLOSE UP of the junk food wrappers filling the back seat and the front seat. WARRICK picks up a magazine in the car. \"POUT\" (August 2001) with cover of ASHLEIGH JAMES.", "Headlines down the right side of the magazine: \"31 secrets for a slimmer bottom half\" (in yellow) \"Test your compatibility with your partner\" (in yellow)]", "Warrick: Hey.", "(WARRICK tosses the magazine to NICK.)", "Nick: Ooh, pretty girl.", "(WARRICK snaps more pictures of the junk food wrappers in the car.)", "Warrick: Yeah. Dangerous being a pretty girl in this town.", "(NICK reaches over and picks up a piece of paper in the car.)", "Nick: Listen to this: \"Babe, he's not good enough for you. He doesn't have the history we do. You mean the world to me. I know you'll live to regret this decision.\"", "Warrick: Hmmm.", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - CLOSET - NIGHT]", "(CATHERINE examines the contents of ASHLEIGH JAMES' closet. She looks through the clothes hanging there ... )", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - LIVING ROOM - NIGHT]", "(GRISSOM takes a photograph of a hand-sized smudge of blood on the wall.)", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - CLOSET - NIGHT]", "(CATHERINE looks around and notices a heavy black coat on the closet floor. She picks it up and examines it.)", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - KITCHEN - NIGHT]", "(GRISSOM opens the refrigerator door. The refrigerator is noticeably bare. There are a couple of yellow boxes on the second rack from the top. On the main shelf, there are bottles of water and a box rack or two of unused ampules. The box identifies it as ampules of \"BOTOX\".)", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - CLOSET - NIGHT]", "(CATHERINE finds a hole in the coat. The coat seems out of place in ASHLEIGH JAMES' closet. CATHERINE exits the closet carrying the coat.)", "[SCENE_BREAK]", "[INT. ASHLEIGH JAMES' LOFT - KITCHEN - NIGHT]", "(GRISSOM opens the utensil drawer and finds dozens of syringes. He picks them up.)", "(CATHERINE walks into the living room with the coat. She holds it up.)", "Catherine: Not exactly the victim's style.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[EXT. SIDEWALK OUTSIDE ASHLEIGH JAMES' LOFT -- NIGHT]", "(NICK and WARRICK are walking back from the parking lot. )", "Warrick: What? You don't like cupcakes and candy bars?", "(In front of them, GRISSOM crosses their path without noticing them.)", "Warrick: Hey, Gris! Grissom!", "Nick: Hey!", "(GRISSOM doesn't respond. He keeps walking away from them.)", "Nick: Where's he going?", "Warrick: I don't know.", "(NICK whistles trying to catch GRISSOM'S attention. It doesn't work.)", "Warrick: Somewhere.", "Nick: C'mon.", "(The two leave him alone.)", "[SCENE_BREAK]", "[GRISSOM WALKING]", "Lyric: ... with eyes afire ...", "(GRISSOM walks a path started from ASHLEIGH JAMES' loft. He sees a homeless woman sleeping on the side of the building. He keeps walking.)", "... I am drawn ...", "(He turns the corner and sees a homeless man playing with a dog on a leash in front of him. He keeps walking.)", "... I am drawn to her ...", "(He turns out of the alleyway and onto the main lit road. He glances back at the alleyway and heads down the sidewalk. He passes the regular nightly foot traffic of well-dressed people enjoying the Las Vegas nightlife. He keeps walking.)", "(He rounds the final corner which takes him to the underpass where he's surprised to see ... )", "[SCENE_BREAK]", "... unbound ...", "(SARA is standing there. She turns when she hears him.)", "[FULL LYRIC: Come on. / With eyes afire / no one can see / the smoke from / the sweet crimes / covers me / I am drawn / I am drawn to her / like a moth to flame / she leaves me now / Unbound.]", "RESUMES:", "[SCENE_BREAK]", "[EXT. UNDER THE BRIDGE - NIGHT]", "Grissom: What are you doing here?", "Sara: Contextualizing. Shopping cart in the lab is like a lion in a zoo. I needed to see it in its natural habitat.", "Grissom: Question: How did Ashleigh James get from her loft to this underpass?", "Sara: She didn't walk.", "Grissom: I'm pretty sure she was pushed.", "(Both SARA and GRISSOM look thoughtfully back in the direction of ASHLEIGH JAMES' loft.)", "(Then, like a dance, GRISSOM looks right, SARA looks right. Then GRISSOM looks left; SARA looks left. They're both thoughtful and thinking. They both turn to look to their right once more. Finally, SARA sees something.)", "Sara: Grissom ... is that Ashleigh James?", "(High above the highway overpass, ASHLEIGH JAMES' picture is on a billboard: )", "[\"Welcome to Las Vegas Yours to Discover. Call 555-JACKPOT\"]", "Sara: She was under her own billboard.", "Grissom: Coincidence?", "Sara: Somebody was making a point.", "CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA'S writing in a note pad copying the code she sees up on screen. The right page of the day planner shows the following: )", "CC/4 1 EVO'D", "242 BC", "304 BF 2 TU'D", "900 S", "16 G 12 noon ------------------------------", "H??O 2 #1", "GP/2 1 EVO'D", "1256 BC 12 G", "40 BF", "2095? S 1 TU'D", "116 TC 2 G", "[SCENE_BREAK]", "(SARA studies her notes when GRISSOM walks in. He's putting on his latex gloves.)", "Sara: Hey. You like crossword puzzles. How are you at deciphering codes?", "Grissom: Aren't you putting the shopping cart before the horse? In order to decipher a code you need to know the alphabet for the code. In order to know the alphabet, you need to know the author.", "(GRISSOM moves to look at the shopping cart.)", "Grissom: So, what's the cart telling us?", "Sara: About the victim?", "Grissom: Well, the victim had no relationship to the cart except for the fact that we found her in it. I'm more interested in the person who used to call this cart home.", "Sara: Well, aside from the leather day runner and the Kate Swan bag -- which appear to be from Ashleigh James's world -- you got mostly collectibles. Newspapers, review journals, the Sun ... various editions going back several months. A couple of tennis rackets ...", "(GRISSOM picks up a newspaper and begins leafing through it as SARA talks.)", "Sara: ... a broom, an umbrella, a pot ... I guess some kind of glove or something.", "(He flips the newspaper over and sees a full page photograph ad of ASHLEIGH JAMES.)", "Grissom: I stand corrected.", "(SARA picks up the next newspaper and notices the same thing: a full page photograph ad of ASHLEIGH JAMES on the back of the paper.)", "Grissom: I have a feeling whoever owned this cart ... was an Ashleigh James fan.", "(SARA grabs two magazines with ASHLEIGH JAMES on the cover: \"SPA FASHION\" and \"POUT\".)", "Sara: Or a fanatic.", "[SCENE_BREAK]", "[EXT. FRANK McBRIDE'S RESIDENCE -- DAY]", "(NICK pounds on the front door and WARRICK peers in through the window. A dog barks in the background.)", "Nick: Well, it looks like lover boy isn't home.", "(NICK peers into the window; WARRICK peers around the side of the house.)", "Warrick: Maybe he wrote her a letter and left town. It's trash day.", "Nick: I don't know, man. We don't even have a warrant.", "Warrick: It's on the street. It's fair game.", "(WARRICK lifts the cover off of the trash can and goes through it. NICK examines the other stuff on the street.)", "(WARRICK finds a paper package and looks inside. He opens it and spills out its contents on the car.)", "Nick: What did you find?", "Warrick: Photographic paper.", "(And like a puzzle, he pieces it together and finds ... )", "Nick: That's Ashleigh James.", "[SCENE_BREAK]", "[EXT. LOCATION SHOOT -- DAY]", "(Models in bikinis & bathing suits and Photographers taking pictures of what's made up to look like boats in Venice.)", "(ROD DARLING, the agent, notices one of his models struggling to get the top clasp hooked on her suit and approaches her.)", "Rod Darling: The cow says, \"moo\".", "Lola: I can hold my breath, I swear.", "Rod Darling: Lola, if you exhale, you'll burst the bloody seams.", "Lola: Rod, I'm sorry. I ...", "(He grabs her arm and leads her to the food table.)", "Rod Darling: The fitting was two days ago. Are you telling me you couldn't keep your face out of the trough for 48 hours? You want me to be your agent you better start doing your part, all right?", "(LOLA leaves upset. BRASS and CATHERINE approach ROD DARLING from behind him.)", "Brass: Rod Darling? Las Vegas Police.", "Rod Darling: You're here about Ashleigh, right?", "Catherine: Yeah.", "Rod Darling: Sorry about what happened but she wasn't a client anymore. I dropped her a couple of months ago.", "Catherine: Did you forget to pack? We found men's clothing and personal items at her place.", "Rod Darling: She was a screwed up kid looking for a father figure.", "(The camera shows BRASS' look then quickly refocuses on the blonde-haired man with glasses standing in the crowd some distance away. The man looks angry.)", "Rod Darling: One minute booking a photo shoot. The next minute, she's screaming for daddy.", "(The blond-haired man from the crowd breaks into a run and launches himself at the agent, attacking ROD DARLING with a knife. He manages to cut his hand.)", "Frank McBride: You son of a bitch!", "(BRASS apprehends FRANK McBRIDE.)", "Brass: All right, that's enough.", "Frank McBride: He killed her. He killed her!", "Rod Darling: (sporting his wounded hand) He's a psycho!", "(Camera hold on CATHERINE.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Frank McBride: Rod did everything he could to make her dependent on him and only him. She shut me out.", "Warrick: Is that why you tore up her photograph and tossed it in the trash?", "Frank McBride: You just don't get it, do you?", "Brass: No, I don't. I mean, I don't know. I care about a woman, I put her picture in a frame. Maybe put it on my desk but to tear it up and throw it in the garbage with old cole slaw that just doesn't say \"love\" to me.", "Frank McBride: If you were in love with an amazing woman and you knew she was throwing away everything that was amazing about her on some scum ... would you still want her picture on your desk?", "Brass: What did you use to cut up the picture? Same knife you were waving around at Rod? The same knife you used to cut up Ashleigh's face?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Rod Darling: If you're suggesting I was sleeping with her, I wasn't.", "Catherine: You run out of drawer space in your place?", "Rod Darling: I was protecting my asset.", "Catherine: I don't know what that means.", "Rod Darling: You can't drive a mile in this town without seeing her face on a billboard on the side of a bus. Up in lights. The mantra in this business is you protect what's bankable in this business.", "Catherine: So you didn't sleep with her. You just \"stayed over.\" You brought a change of clothes, razor blade, toothbrush ... blah, blah, blah.", "Rod Darling: Yeah. She needed constant attention, supervision. Leave her alone for a minute, fill in the blank.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is picking through the coat found in ASHLEIGH JAMES' closet. SARA is looking through the microscope. They're both working quietly, when ... )", "Sara: I got crabs.", "(GRISSOM stops and looks up from his magnifying glass.)", "Grissom: Excuse me?", "Sara: I got crabs. Take a look.", "(Through the microscope view, we see ... crabs. Lots of little crabs moving and moving and moving ... )", "Grissom: Pthirus pubis. Feeds on human blood. They prefer the pubic and perianal regions because their legs are adapted to grasp hairs which are widely spaced. They don't usually nest in clothing. But when the clothing is being worn by someone with substandard personal hygiene ...", "(During GRISSOM'S mini-lecture, a Quick CGI clip of the Pthirus pubis climbing up two hair shafts with skill and grace. Flash to white.)", "Sara: Like one of the victim's neighbors.", "Grissom: We have a high-end handbag found in a street person's shopping cart a jacket covered in crabs in a closet full of designer clothes. What does that tell us?", "Sara: Tells me the victim not only had a visitor but that visitor was most likely homeless.", "Grissom: Tells me that whoever is missing a shopping cart is also missing his jacket.", "[SCENE_BREAK]", "[EXT. ALLEYWAY NEAR ASHLEIGH JAMES' LOFT -- NIGHT]", "(Once again, GRISSOM walks the homeless alleyway. He pulls the collar of his jacket up against his neck. As he walks down the same alley that ASHLEIGH JAMES traveled, he passes the homeless man and his dog. He sees a man digging through a trash can. He moves in closer to the man and looks himself into one of the garbage bins. He reaches inside the garbage bin.)", "Grissom: Good stuff in here.", "Tookie (homeless man): Hey, you got a smoke?", "Grissom: No. Sorry.", "Tookie: So, what good are you?", "(GRISSOM notices the pricey scarf that the man's wearing. It also has a red stain on it.)", "Grissom: It depends.", "(GRISSOM moves in a little closer to the Homeless Man to take a better look at the scarf. The Homeless Man takes a wary step back.)", "Tookie: Ooh, hey. Don't even think that you can play me, my man.", "Grissom: I'm not playing. I've got a gal named Sara, and she would love that scarf. What do you say?", "(GRISSOM takes off his jacket and holds it out to the man.)", "Grissom: Trade me.", "Tookie: Yeah. What the hell.", "(The man takes the scarf off and gives it to GRISSOM. He grabs the jacket as he does so. He turns away and resumes exploring the trash.)", "(GRISSOM turns on his flashlight and takes a closer look at the scarf he holds. A woman witnesses the trade and takes exception. Carrying a green plastic crate full of stuff, she approaches GRISSOM.)", "Cassie James: Hey. Hey, hey, Mister. Hey, Mister, that is Tookie's scarf. That is his scarf.", "(GRISSOM looks up just in time to pull the scarf away from the homeless woman's grasp as she tries to take it from him. He points the flashlight at her face. She shys away from the glare.)", "Cassie James: I gave it to him. That is Tookie's. Are you a Taker ... or are you a Giver, Mister?", "Grissom: I'm a Trader. I traded Tookie my jacket for this scarf.", "Cassie James: Yeah ... and fleas can tell time.", "Grissom: I think fleas can tell time.", "(She laughs and starts muttering to herself. GRISSOM notices the ring on her finger.)", "Grissom: That's a nice ring.", "(He looks back at his flashlight.)", "Grissom: I'll trade you", "(CASSIE JAMES puts down her green plastic crate she's been carrying. GRISSOM notices the rolled up cosmetics kit in it.)", "Grissom: I'll trade you for your kit, too.", "(CASSIE JAMES takes off the ring from her finger with a little difficulty as the ring is a tad too small for her finger and has been rubbing into her skin.)", "Cassie James: Ow.", "(She grabs the flashlight from GRISSOM and puts the ring in the palm of his hand. She holds the flashlight up and around looking here ... looking there ...)", "Cassie James: Now I can see what the dark looks like.", "Grissom: I've been trying to do that for years.", "(GRISSOM looks at the ring while CASSIE JAMES plays with the flashlight.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB]", "(GRISSOM picks up the scarf sealed up in an evidence bag.)", "Grissom: Greg ran the blood on this scarf. It matches the victim's. (He puts the bag down.) How about the blood on the knife?", "Nick: Yeah, we got a match, too, but it's not the vic's.", "Warrick: Yeah, McBride clipped Rod Darling's right hand during his little hissy fit. Blood's his. And McBride's knife does not match these wounds.", "(WARRICK hands the post-mortem photograph of ASHLEIGH JAMES' to GRISSOM. He looks up at the scissors, tweezers and other stuff from the beauty kit GRISSOM acquired from CASSIE JAMES.)", "Grissom: The tools of the trade; the weapons of beauty.", "Warrick: Yeah. If other people inflicted as much torture as women inflict upon themselves, there would be lawsuits.", "Nick: Someone forgot to clean these, too, for a long time. Positive for blood all over the place.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(GRISSOM walks down the hallway reading the file folder he's carrying when GREG catches his attention.)", "Greg: Grissom ... I, uh, ran the DNA on the epithelials from the homeless lady's ring.", "Grissom: Cassie?", "(GREG hands GRISSOM the print out results.)", "Greg: It's like prince and the pauper. No. Princess and the pauper. The Princess is a dead supermodel.", "Grissom: Yeah. And her Pauper sister could be the killer.", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(GRISSOM holds out a hot dog in front of him like bait.)", "Grissom: Hot dog?", "(CASSIE JAMES looks up and takes it from him. He holds up the packet of ... )", "Grissom: Relish?", "Cassie James: (points at the packet and shakes her head) Mmm ... with all those preservatives, no, no, no. I-I don't want to be preserved, thank you very much. No. I mean, I mean ... do you know what-what relish can do to your insides, huh?", "Grissom: I'd have to investigate.", "Cassie James: Yeah, well, you know, you should. I mean, you know because our insides -- they can kill us.", "Grissom: So, you're pretty careful about what you eat?", "Cassie James: Yeah, you know, you-you have to be careful, you know 'cause what goes down, you know it's got to come out. It's got to come up. Out.", "(GRISSOM chuckles.)", "Grissom: Newton's theory twisted again.", "Cassie James: (smiles and points her hot dog at GRISSOM) Everybody's twisted.", "(GRISSOM nods. CASSIE stands up and we note that we are ... )", "[EXT. PARK BENCH -- NIGHT]", "Grissom: How about your sister?", "Cassie James: My-my sister didn't have a sister. Protein's good, you know? C-carbs are bad. This is bad.", "(CASSIE JAMES hands the hot dog bun back to GRISSOM and starts nibbling on the plain hot dog.)", "Cassie James: That's bad.", "Grissom: Hey, Cassie, you know that scarf you gave Tookie?", "Cassie James: Yeah, I know it.", "Grissom: Did your sister give that to you or ... did you steal it from her?", "Cassie James: I should have stole it. Because sh-sh-she stole from me.", "Grissom: What did she steal from you?", "Cassie James: My life.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. MODELING AGENCY -- DAY]", "Rod Darling: I admit I gave up on Cassie. Washed my hands. Ashleigh was the only one who still gave a damn. Get together with her every couple of weeks. Make sure she had a decent meal, shower, clothes on her back.", "Catherine: And what did you do for her?", "Rod Darling: Let me tell you something. For every piece of meat, there has to be a butcher.", "Catherine: So, you led her to the slaughter?", "Rod Darling: Free will.", "(ROD DARLING points to a \"SPA FASHION\" cover hanging on the wall.)", "Rod Darling: Recognize this one?", "Catherine: That's Cassie. It's the homeless sister.", "Grissom: How long ago was this taken?", "Rod Darling: Three years. See, Cassie got deep into freebase. No shortage of sleazebags around to keep her supplied. I knew she had this sister in Wichita falls.", "(Quick Flashback showing us a photo shoot.)", "Photographer: All right, Cassie, let's go. Come on, chin up. Colin, will you get in there and get her hair out of her face?", "Cassie James: (panics and steps away) Don't touch me! (tearing through the clothes rack) I hate this! I hate this place! I hate it! I hate my life! (to ROD DARLING) Get away from me!", "(CASSIE starts muttering to herself. ROD DARLING looks off to the side where we see ASHLEIGH JAMES standing there. She looks worried for her sister. ROD DARLING has a look in his eye when he recognizes untapped money making potential. End of Flashback. Flash to white.)", "(Close up of photograph of ASHLEIGH JAMES.)", "Rod Darling: One look ... that was it. Camera ate her up.", "Catherine: So, in Cassie's mind, she was a victim here. Makes sense that she'd be angry.", "Rod Darling: Angry was five flights up. Cassie was an obsessed basehead. Cocaine already had her paranoid. Once Ashleigh started modeling, everything became this big conspiracy. Naturally, yours truly was Satan.", "Grissom: Cassie threw her life away and her sister Ashleigh recycled it.", "(Camera hold on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(Close up of the following page of the notebook enlarged on the wall. This is only what we can see.)", "[*** BLOCK ONE *** TO 12 NOON ***", "P/2", "1256 BC", "35 BF", "2095 S 1 T'V'O", "116 TC 7 G", "*** BLOCK TWO *** FROM 12 NOON ***", "NAGD", "BFJ3", "EVEN NIAGD!", "PD/4 2 EVO'D", "120 BC 10 G", "30 BF", "850 S 2 T'V'O'", "55 TC 16 G ]", "Grissom: It's like a crossword puzzle, isn't it? Once you pick it up, you can't put it down.", "Sara: And go home? No way. You know, this day runner belonged to Ashleigh.", "Sara: \"BFJ3\". BF: Bellagio Fountain.", "(SARA looks at GRISSOM and smiles. Seems like a challenge is being issued.)", "Grissom: J3? Date? January 3rd? June 3rd? July 3rd? Uh, third \"J\" month, July?", "Sara: That's what I thought at first.", "Grissom: Parking space in a parking garage?", "Sara: Nope. \"Once you pick it up, you can't put it down.\"", "Grissom: J3 ... J3 ... city or state grid map?", "Sara: You're cold. What's one thing a model always knows?", "(GRISSOM shrugs. He doesn't have a clue.)", "Sara: Who's shooting her. Three Js. Jay Jay Jarrett.", "Grissom: Who?", "Sara: Famous photographer. Compliments of P.D.: Ashleigh James's employment contracts for the last year. And, as an aside she stopped working two months ago.", "Grissom: Why?", "Sara: Good question.", "(SARA sighs.)", "Sara: Maybe the answer is in one of these pages.", "(SARA flips through the pages of the day planner.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM]", "Brass: Nobody could blame you for being mad, Cassie. I mean, your sister took your career and you wanted to get back at her. If you couldn't have success, she couldn't either. Isn't that right?", "Cassie James: The v-victims have victims, too.", "Brass: So, which one of you is the victim?", "Cassie James: I-I know... you know, I know, I tried to warn her. About the in-in and-and outing and the ... and the pick-pick. And the-and the and the counting the counting and the counting. I mean, I did, I tried. That's why I tried to really, really save her. I mean, I tried to save her.", "Grissom: You tried to save her? Your sister?", "Cassie James: Right. She could never be, you know ... she could never be ... pretty enough. And she could never b-be ... sk-skinny enough. And sh-she could never be ... perfect enough. And sh-she could never be any-anything enough.", "(Quick Flashback showing us ROD DARLING approaching ASHLEIGH JAMES from behind and whispering in her ear: )", "Rod Darling: Hey, fat girl. I got what you need. I got it.", "(He holds out some cocaine for her to sniff. She does. )", "(End of Flashback. Resume on CASSIE JAMES back in the present in the interrogation room. She's whimpering at the thought ... at the memory. Her eyes blinking rapidly.)", "(Resume Flashback of ASHLEIGH JAMES ... that flashes briefly into CASSIE JAMES then back to ASHLEIGH JAMES. ROD DARLING holds out more cocaine for ASHLEIGH to take and she does.)", "Rod Darling: (to ASHLEIGH) One more.", "(The memory gets confusing as ASHLEIGH changes into CASSIE ... and CASSIE finishes up taking the cocaine.)", "Rod Darling: (to CASSIE) Good girl.", "(End of Flashback. Resume on CASSIE JAMES back in the interrogation room.)", "Cassie James: (whispering) Mm. I mean, that's why I did, I did. I tried to stop her.", "(GRISSOM watches CASSIE, her head turned away from him. Her expression very sad at the memory.)", "Cassie James: (choked up) I tried to stop her. (she looks at GRISSOM) I tried to stop.", "(Quick Flashback to ASHLEIGH JAMES throwing up. Cut to CASSIE JAMES. Both sisters alternately flash in the memory. The switch between sisters continues. Both sisters suffering their own little hell. Each living the same life. Camera holds on CASSIE JAMES. Flash to white. End of flashback.)", "(Resume on CASSIE JAMES back in the interrogation room. She whimpers and breaks eye contact with GRISSOM. He blinks.)", "Brass: She's a needle freak. She doesn't know what she's talking about.", "Grissom: Yes, she does.", "(CASSIE moans. Her eyes blinking rapidly. GRISSOM holds eye contact with her.)", "Grissom: You tried to stop yourself, didn't you? But you couldn't.", "(This is too much for CASSIE to take. She jumps the table and launches herself at GRISSOM. GRISSOM stands, trying to catch her. She grabs his neck and pins him against the wall, screaming and yelling at him.)", "Cassie James: It's you! It's you! It's you! You! You!", "(The officers in the room and BRASS move to restrain her.)", "Brass: That's enough!", "(They pull her off of GRISSOM who's left standing there watching CASSIE.)", "Brass: All right, read her her rights.", "[SCENE_BREAK]", "[INT. FORENSIC AUTOPSY BAY]", "(CLOSE UP of post-mortem ASHLEIGH JAMES' face lying on the autopsy table. Camera moves to give us a lovely top view of the contents of the pan that DOC ROBBINS is working on. Or was working on. We see the red Y-shaped blood stain on the sheet covering the body. GRISSOM walks in.)", "Robbins: I found blisters in the back of her throat.", "Grissom: What? Forced oral?", "Robbins: That's what I thought until I noticed worn enamel on the tooth. (holds up a tooth for GRISSOM to look at) In conjunction with this red mark on the knuckle of her middle finger. (lifts up her right hand from beneath the sheet to show GRISSOM) Which made me realize it wasn't sexual abuse.", "Grissom: Eating disorder.", "(Quick CGI Flash of ASHLEIGH JAMES sticking a finger down her throat. Accompanying gagging track and sloshing water for sound at appropriate cues. Camera continues down ASHLEIGH JAMES' throat ... all the way down till it hits the good stuff coming back up ... and up ... and up all the way back up ASHLEIGH JAMES' throat where the camera stays one step ahead of it ... till we get behind it and see it pass her teeth on its way out. How fun. End of CGI Flash. Resume on DOC ROBBINS.)", "Robbins: She was bulimic and anorexic. Which explains the down on her skin. (he pulls away the sheet from her left shoulder) Lanugo. Characteristic of premature babies and anorexics.", "Grissom: She doesn't seem that skinny.", "Robbins: Not this week. Last week, or the week before, who knows? Binge-and-purge.", "Grissom: Till her entire system is in a state of shock.", "Robbins: You know what's next.", "Grissom: Body starts feeding on its own muscle. Is that what killed her?", "Robbins: Uh, starvation and purging weaken the immune system. But cause of death: Failed kidney, fueled by septicemia.", "Grissom: Blood infection. Caused by the injuries to her face?", "Robbins: Probably, but she's been septic for at least a month. She has anemia borne of chronic disease. Her red cell count's low, iron's low. ESR is extremely high.", "Grissom: So she didn't just die. She's been dying for a long time.", "[SCENE_BREAK]", "[INT. GRISSOM'S OFFICE]", "(Clicking sound of metal balls hitting each other. GRISSOM'S thinking. There's a knock on his door. He looks up as CATHERINE walks in.)", "Catherine: What do you know that's good?", "Grissom: Cassie James's psych profile.", "[He hands the file to her. From what we can see, the report reads:", "LAS VEGAS ...", "2974 WESTFALL AVENUE LAS VEGAS, NEVADA ...", "PSYCHOLOGICAL EVALUATION REPORT / CASE ... NAME: CASSIE JAMES / DATE ... EVALUATION: CLASSIC PARANOID SCHIZOPHRENIC", "... patient appears to exhibit an unstable grasp of reality. During my o... ... multiple disorders while being examined. During routine questioning ... ... further questioning she exhibited classic signs of schizophren... ... a raging hatred of anything beautiful. She ... ]", "Catherine: \"Classic Paranoid Schizophrenic\".", "Grissom: Which explains why the interrogation room was too hard on her. For schizophrenics, you know, the tighter the space, the more unbearable the feelings tend to be.", "Catherine: Well, if you ask me that's not the only psych evaluation we need.", "Grissom: Ashleigh James?", "Catherine: That poor girl. Definitely lacking in the self-image department.", "Grissom: She suffered from septicemia, indicative of chronic abuse. But ... what if Cassie wasn't the one who inflicted Ashleigh's facial wounds?", "Catherine: Well, we know it's not the ex-boyfriend -- no evidence. Not the agent -- wouldn't jeopardize an asset. And if it's not Cassie, who's left?", "Grissom: I don't know.", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB]", "(The camera pans over the evidence on the table: Starting from the left, there are two full page ads from two newspapers side by side. The newspaper on the right has marker #13 on it. Marker #17 free-floats above the newspaper ad on the left. Next to and above that is the stack of mail procured from ASHLEIGH JAMES' car with marker #18 on it. Next to the newspapers are two magazine covers. Next to that are four close-up post-mortem photographs of ASHLEIGH JAMES' face. The rest of the table is covered with junk food containers, cups and various wrappers from the car.)", "(SARA is organizing the things on the table. She's grouping all the wrappers together. She collects the wrappers and stops. Something on the wrapper she's holding catches her eye. She goes back to the notebook on the overhead.)", "Sara: (mumbling to herself) T 3. 1834 BC.", "[The camera closes in on the block of the day planner that SARA'S reading.", "T/3", "1834 BC", "48 BF", "870 S", "90 TC ]", "Sara: 48 BF ...", "(SARA goes back to the table and picks up the stack of wrappers for the snack food \"Tweenks\". She flips it over and looks at the snack contents listed at the back of the package.)", "(She clears a spot on the table and pulls out a pen from her pocket. She begins to chart her theory based upon the information on the wrappers in her hands.)", "Sara: (mumbling to herself as she writes) T 3... 1834 BC ... 48 BF.", "(SARA goes back to the notebook and reads the information on the minus side of the column.)", "Sara: 2 EVO'D ... 8 G ... (she looks up) 1 TU ...", "[The camera shows us the minus side of the day planner:", "2 EVO'D", "8 G", "1 T'U'D", "7 G", "(SARA'S figured out ASHLEIGH JAMES' code. And yet, there is no joy with the revelation. A sad look of sympathy at the knowledge lingers with the discovery.)", "Sara: (quietly) You must have been so desperate.", "(Camera holds on SARA.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(CATHERINE is at the computer. She's running a print comparison. GRISSOM is sitting next to her.)", "Catherine: Cassie James's prints from booking on the left. Prints from the loft faucet on the right. Do we have a prom date?", "Catherine: All right, well ...", "(CATHERINE puts the right print over the left print. The bottom of the screen flashes, \"Match for Cassie James\".)", "Catherine: Cassie James was definitely in her sister's apartment.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GREG walks out of the break room with a cup of saimin (or ramen) and a mouthful of noodles.)", "Nick: Hey, man. What you eatin'?", "Greg: Little college cuisine.", "Nick: That stuff will kill you, you know.", "Greg: Hasn't killed me yet.", "Warrick: Greg-o, find any time between meals to check out Grissom's scrapings?", "Greg: You mean Ashleigh's fingernail scrapings?", "Warrick: Yeah.", "Greg: Yeah.", "Nick: And?", "Greg: Got a match.", "Warrick: To Cassie, her sister.", "Greg: No. To the vic.", "Nick: Ashleigh?", "Greg: Yeah. The DNA under her fingernails was her own. Excuse me.", "[SCENE_BREAK]", "[INT. GRISSOM'S OFFICE]", "(SARA is sitting on a stool next to the image of ASHLEIGH JAMES' day planner on the television monitor.)", "Sara: ... So what I realized was bulimia is a zero sum disease. That's why she has a plus sign over here and a minus sign over there. Whatever went in had to be exactly canceled by what went out.", "Catherine: You're talking about BDD: Body Dysmorphic Disorder.", "Sara: Yes. One theory suggests it's neurobiological. Another psychological -- that people with extreme sexual or emotional anxiety unconsciously displace their feelings into the arena of appearance, because it's more manageable.", "Nick: You feel like crap, blame your face.", "Warrick: Or your skin, or your hair or that zit on your forehead.", "Catherine: I knew this dancer. Every night she'd stare at herself in the mirror for three hours.", "Sara: Meticulous grooming, when a person suffers from BDD becomes a destructive compulsion. There's one line in her daybook that keeps repeating over and over and over again: \"I'm not even.\"", "Warrick: So you're saying she knew she was slipping.", "Sara: No. (she points to the screen) She literally means even. A large number of BDD sufferers are convinced that they're not symmetric. That one side of their body or their face doesn't match the other.", "Grissom: All animals prefer symmetry in their mates. The male Japanese scorpion flies with the most symmetrical wings gets the most mates.", "Warrick: So, really we're not talking about being beautiful at all.", "Grissom: In terms of entomology being beautiful is about being even. It signals the fitness to procreate.", "Nick: So, we're not really talking about looks. We're talking about survival of the species?", "Sara: The bottom line is the same: Control and Perfectionism. That's what her code was all about.", "[SARA adjusts the monitor to focus in on a particular grid in the day planner. This is a different (+)/(-) grid:", "HBWC / 3 3 EVO'D", "1590 BC 14 G", "90 BF 2 T'U'D", "3930 S 9 G", "114 TC", "Sara: Let's take \"HBWC/3, 1590 BC, 90 BF, 3930 S, 114 TC.\" Three hamburgers with cheese.", "(Quick Flashback to ASHLEIGH JAMES eating the hamburgers quickly in her car. End of flashback.)", "Sara: Content 530. 530 times three is where she gets 1590 BC. That's BC for \"bad calories.\" And at 30 grams a pop 90 grams of BF.", "Nick: Bad fat?", "Sara: Yeah. The rest of her formula involves sodium, total carbohydrates and the actual weight of everything she ate.", "(CATHERINE closes her eyes at the thought.)", "Grissom: And so, she was, uh ... operating like a scientist seeking a perfect formula to take her pain away.", "Sara: Or disappear altogether. Which brings me to the minus side of her equation. She would write down the number of times she T'U'D, threw up, in this case twice-- or EVO'D.", "Nick: \"Evo'd\"?", "Sara: Moving her bowels. The directions on her disposable enema box use the term \"evacuate\". So, after her burger binge, she \"3 EVO'd, 14 G, 2 T'U'D, 9 G, 3 #1.\" She evo'd three times. But her calculations didn't stop there ... \"G\" stands for grams.", "(Quick Flashback to ASHLEIGH JAMES carrying a ziploc'd baggie to the scale. Flash to white. ASHLEIGH JAMES looking down at the weight with a worried look on her face. Flash to white. Resume to present.)", "Warrick: Fourteen gram ... wait a minute. You're telling me that she weighed her bowels?", "Catherine: Yeah. We bagged it.", "Sara: Input and output down to the last quarter gram.", "Warrick: Well, that makes sense why the blood and skin under Ashleigh James's fingernails is a perfect match to Ashleigh James.", "Grissom: She attacked herself.", "(Quick Flashback back to the teaser -- to ASHLEIGH JAMES sitting in front of her vanity mirror as in the teaser. Her hair is up. She's wrapped in a towel. She reaches for her cosmetics kit. The reflection in the side mirror shows a reflection of ASHLEIGH JAMES' face mutilated. Flash to white. Blood drips into the sink. Flash to white. Side camera view of ASHLEIGH picking and digging at her own face. Flash to white.)", "Grissom: (V.O.) I mean, Ashleigh was convinced that everything about her needed to be fixed. The real problem was inside her head. She couldn't deal with that so she tried to fix the outside. Hence, the digging and picking and purging and bleeding.", "(End of flashback. Resume to present. Camera on GRISSOM.)", "Grissom: To us, it would be torture. To her ... some sort of release.", "Catherine: Which is why Rod cut her loose. She was no longer \"bankable\".", "Warrick: Also why Frank was so angry at Rod.", "Nick: Yeah, he destroyed Frank's vision of her.", "Grissom: So the victim and the killer became one and the same. The very nature of addiction -- whether it be self-medicating herself or self-mutilating -- is that the very behavior we use to survive it becomes a behavior that ends up killing us.", "Nick: But wait, that still doesn't answer how Ashleigh ended up in a shopping cart by the freeway.", "Grissom: Well, the fingerprints explain that.", "(Quick Flashback to ASHLEIGH JAMES struggling out of the bathroom. She falls against the wall leaving a bloodied handprint behind. Flash to white. She barely makes it over to her bed where she collapses on it in a heap. Flash to white. CASSIE appearing in the doorway and finding her sister on the bed. Flash to white. CASSIE shutting the faucet off. Flash to white. CASSIE crying over her sister and dragging her off the bed. Flash to white. End of flashback. Resume to present on GRISSOM.)", "Grissom: I think Cassie was trying to take care of her sister. She pushed her to a place where she thought she'd be safe. Where she thought she could see herself for how beautiful she really was.", "(Quick Flashback to ASHLEIGH JAMES in the shopping cart. CASSIE is pushing her to the bridge. The billboard can be seen in the distance. Flash to white. CASSIE kisses her sister's hair and cries. Flash to white. CASSIE walking away, leaving her sister in the cart below the billboard. Flash to white. End of flashback.)", "(Resume to present. Camera on pictures of CASSIE JAMES' mug shot on the right and ASHLEIGH JAMES' magazine cover on the left. WARRICK is looking at the photographs he's holding. He asks the final, lingering unanswered question: ...)", "Warrick: What happened to these girls?", "(WARRICK looks up at ... GRISSOM who glances over at ... SARA who looks across to ... NICK who turns to ... CATHERINE who shakes her head and closes her eyes. Everyone is lost in their own thoughts. Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[EXT. BUSY SIDEWALK - DAY]", "(CASSIE is back out on the street. GRISSOM is with her carrying her shopping cart to the sidewalk. He puts it down as CASSIE starts rummaging through the sidewalk garbage bins.)", "Grissom: I'm sorry about your sister, Cassie.", "Cassie James: The dead don't bleed.", "Grissom: True. Death does have some advantages. Would you like me to help you get in a shelter?", "Cassie James: No, I would need a shelter from a shelter. No, no, no. Out here, I can hunt and I can range and I can find the things that I need out here. I mean, you never know what you need until you find it.", "Grissom: Or until you lose it.", "Cassie James: I mean, all we are is what we try to get rid of. Fat and newspapers and loneliness and cat food cans. And there are going-away people and there are left-behind people but, you know, everybody's secrets ... everybody's secrets are the same.", "Grissom: Were your and your sister's secrets the same?", "Cassie James: My sister didn't have secrets. Her secrets had her. That... I told you I didn't ... I don't know. I mean, you know, y-y-you-you can pick through a million lives and never have one of your own.", "Grissom: Looking for things, analyzing them ... trying to figure out the world -- that's a life.", "Cassie James: You never know what you need until you find it. And the next thing I find it might be the thing that changes everything.", "Grissom: What will you do when you find it?", "Cassie James: Sleep ... the most perfect sleep.", "(GRISSOM stops walking and watches CASSIE continue on ahead of him pulling her cart behind her. She's muttering to herself ... continuing on with her life.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) -- DAY]", "[SCENE_BREAK]", "[EXT. LAS VEGAS - SIDEWALK -- DAY]", "(The camera follows GRISSOM as he walks along the sidewalk. The usual noise of the bustling city is gradually reduced to general muffled sounds and the occasional clear, identifiable sound.)", "(GRISSOM stops to look at the water fountain and we can hear the sounds of the water fountain as he stops to look at it. Even that sound is muffled and unclear.)", "(He moves to cross the street and is startled by the sound of a car screeching to a halt when it's nearly upon him. Only then does he stop. Something's terribly wrong.)", "(GRISSOM continues across the street and stops when he gets to the other side. We still can't hear anything other than muffled unrecognizable sounds. GRISSOM stands there and looks out at the silent world in front of him.)", "Grissom (v.o.): Obviously most of crime scene investigation is about seeing. But much of it is about hearing as well. Listening. Knowing how to listen. Not just to what people are saying but how they say it ... how their tone of voice matches their facial expressions or body posture. So, even if I read lips and know what they're saying ... it's not enough.", "[SCENE_BREAK]", "[INT. DOCTOR'S OFFICE]", "Doctor: We're both scientists, Mr. Grissom, so let me tell you the science. You've got otosclerosis. Basically, this means a bony growth has begun to form around the base of the stapes. What this does is prevent the stapes from moving and passing vibrations to the inner ear effectively neutralizing sound waves.", "Grissom: (nods) It's hereditary -- my mother.", "Doctor: Most doctors think so. But there's no way to know when it's going to show up and there's no way to reverse it once it does.", "Grissom: Right. How long do you think?", "Doctor: (shakes her head) I don't have that answer." ]

[ "Catherine and Nick investigate street racing after one of the drivers is found dead out in the desert at an abandoned airstrip. Back in town, Grissom and his crew look into the death of a poker player who suffered a violent convulsion in the middle of a high-stakes game with three others. As always, things aren't what they seem." ]

[ "[EXT. LAS VEGAS CITY RIO HOTEL (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. RIO HOTEL - BACK ROOM - NIGHT]", "(Camera view looking in on a group of poker players in a quiet room. It's a high-stakes game.", "Dealer: Start with you, sir?", "(GRINDER knocks his fist on the table three times.)", "Grinder: Check.", "Matt: He doesn't bet, but he keeps a beat. You check. Someone's on a flush draw. Mm, I'll take the free card. Check.", "Lita Gibbons: I'll check.", "(LITA puts some eye drops in her eyes.)", "Matt: What do you got, Candyman?", "(DOYLE PFEIFFER, the Candyman, puts some candy in his mouth. The waitress approaches the table to refresh the drinks. She stops by MATT first. He puts a chip on her tray as she serves the drinks.)", "Doyle Pfeiffer: Check.", "Waitress: (to Matt) Thank you very much.", "(The waitress moves to serve DOYLE PFEIFFER. She puts a drink in front of him and he gives her his empty glass. MATT notices the slight.)", "Matt: (mutters) \"Stiff\" ... typical.", "(The Grinder looks at his cards.)", "Grinder: I can bet. Make it ... $2,000.", "(The Grinder puts a short stack of blue chips in the middle of the table.)", "Matt: The Grinder speaks.", "(Matt puts his chips in. DOYLE PFEIFFER doesn't hesitate.)", "Doyle Pfeiffer: We raise $4,000.", "Matt: Call the bet.", "Dealer: $2,000. Raise you $2,000.", "Matt: It's all about you, Grinder.", "Grinder: I'm going to go get a $2,000 slice of pizza.", "(The Grinder folds. LITA GIBBONS smiles.)", "Matt: Well ... might as well make It a poker game. I'm all in. What do you got, Southern Iowa?", "Lita Gibbons: A pain in the ass to my right side.", "(LITA GIBBONS folds. There are only two players left in the game.)", "Doyle Pfeiffer: Um... yeah, you might have a winning hand. You might be just trying to buy it. Johnny Chan thought I was too old, too back in the '86 series.", "Matt: You mean, the series where the ball went through Buckner's legs?", "Doyle Pfeiffer: Save the story, kid. Here's what's what. I got aces. What do you got? Maybe you got trips, maybe king, queen. Maybe you got two pair. Ace hits the board ... I win. Club hits the board ... I win.", "(He pops in a piece of candy.)", "Doyle Pfeiffer: Eight, nine hits the board ...", "(He pops in another piece of candy.)", "Doyle Pfeiffer: I win.", "Matt: Here's the matter old man. Thirteen of every suit in the deck. I see three clubs. That means you've got ten coming 37 cards left in the deck. You like those odds?", "Doyle Pfeiffer: I like 'em a lot better than I like you.", "(DOYLE PFEIFFER moves to gather his chips. His hands freeze and he starts to convulse. His entire body starts to spasm uncontrollably. The players around the table stare aghast at the man.)", "(DOYLE PFEIFFER lands face forward on the table. Dead.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. RIO HOTEL -- CASINO MAIN FLOOR -- NIGHT]", "(GRISSOM is standing next to a machine in the middle of the main floor. WARRICK approaches him.)", "Warrick: You lost?", "Grissom: I'm listening.", "Warrick: For what?", "Grissom: E-C-G ... C major chord. All the slots play the same notes -- perfect harmony. Makes people happy.", "Warrick: Yeah, except when you're losing. Then you don't hear anything.", "(WARRICK leaves. After a moment, GRISSOM follows. WARRICK and GRISSOM walk along the casino floor to the yellow taped off area. EMT HANK PEDDIGREW passes them on his way out.)", "Hank: Hey, guys.", "Warrick: Hey, Hank.", "Hank: Sara with you?", "Warrick: She's over there.", "(WARRICK indicates somewhere in front.)", "Hank: Tell her I said hi.", "(GRISSOM glances back at HANK PEDDIGREW as WARRICK answers.)", "Warrick: Will do.", "Hank: Thank you.", "(HANK continues on his way. WARRICK and GRISSOM reach the crime scene. They duck under the crime tape and head into the private gaming room.)", "[SCENE_BREAK]", "[INT. RIO HOTEL - BACK ROOM - NIGHT -- CONTINUOUS]", "(Camera close up of the body bag being zipped closed. BRASS watches. He turns around just as WARRICK and GRISSOM enter the room.)", "Brass: Doyle Pfeiffer, best poker player in the world. Eighteen hours ago he sits down at the table a healthy man. A half an hour ago, he drops dead in his chair.", "Warrick: That's a big pot. Casino's not satisfied with a heart attack?", "Brass: We're not satisfied. This is high stakes. We're treating it like a murder.", "Warrick: Suspicious circs.", "Brass: Mmm.", "Grissom: You ever played poker, Warrick?", "(WARRICK ducks his head.)", "Warrick: Nah. Poker's not gambling. It's playing against percentages. It's a skill. I like to play for the thrill.", "(GRISSOM reaches for the hand nearest him and flips the two cards over. It's a King of Hearts and a King of Spades.)", "Grissom: Whose hand was this?", "(From beyond the doorway, MATT yells into the room.)", "Matt: Mine! That pot's mine. He dropped dead before he went all in!", "(OFFICERS lead MATT away from the doorway.)", "Brass: Some young, loud-mouthed player thinks it's his pot.", "Grissom: Mmm.", "Brass: Excuse me.", "(GRISSOM reaches for the hand nearest him and flips the card over.)", "Grissom: Two cowboys -- one in the flop, trips.", "(The camera pans slowly across the table to a hand that's flipped over showing a King of Clubs, a Queen of Clubs, an Eight of clubs and an unknown card of diamonds. GRISSOM reaches for another hand.)", "Grissom: Pair of aces.", "(It's an Ace of clubs and an Ace of diamonds.)", "Grissom: No river card, though. Burn one, turn one.", "(WARRICK puts the top card aside and flips over the second card.)", "Warrick: Ace of spades.", "Grissom: The Death Card.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. FRENCHMAN AIR FIELD -- DAY]", "(Camera low on the ground as CATHERINE exits the Tahoe. She joins NICK and they both walk to the body.)", "Nick: Who called it in?", "Lockwood: Western LVU ornithology student. Saw turkey vultures. Got curious.", "(CATHERINE puts her kit down and crouches low to examine the body.)", "Catherine: Birds of prey beat maggots to a body-- impressive. Gunshot. Entry just below the cheek. Not much blood, no blood pools.", "Nick: Means he wasn't shot here.", "Catherine: Where exactly is \"here?\"", "Lockwood: Frenchman airfield -- it's an old landing strip hasn't been used since the '60s.", "Nick: Well, it's flat. You could still land a plane here.", "Lockwood: Yeah, but in the middle of nowhere?", "Catherine: Perfect place to dump a body.", "(Camera holds on turkey vultures.)", "[SCENE_BREAK]", "[INT. RIO HOTEL - BACK ROOM - NIGHT]", "(WARRICK, GRISSOM and SARA examine the room. From outside the room, the camera moves in slow. SARA finds a single abandoned piece of \"Choco-Bees\" on the floor. She picks it up and stands. She holds it out in front of her.)", "Sara: I got chocolate.", "Warrick: What color is it?", "Sara: Green ... You know what they say about the green ones.", "(GRISSOM doesn't look up.)", "Grissom: Bag it separately.", "[SCENE_BREAK]", "[INT. RIO HOTEL & CASINO - OUTSIDE BACK ROOM -- CONTINUOUS]", "(MATT, the person, who played poker against the deceased stands outside the crime scene area with BRASS. He's rather upset that the ownership of the pot is in question.)", "Matt: But you agree with me, right? It's a forfeit. Doyle never went all in. He can wipe his ass with those aces river card or no river card. I beat him. It's a forfeit.", "(BRASS holds up a finger to get MATT'S attention.)", "Brass: Look ... look. Shh ... see this badge? I'm not with the gaming commission. You got a problem with gaming, see the guy in the bad suit.", "(Camera cuts to an older man standing off to the side speaking with an officer.)", "Brass: Here's the deal: Pending an investigation, it's our pot.", "(MATT doesn't like it one bit.)", "[SCENE_BREAK]", "[INT. RIO HOTEL & CASINO - BACK GAMING ROOM -- CONTINUOUS]", "(WARRICK holds an ALS to the seat of a chair. It glows.)", "Warrick: Is that what I think it is?", "Grissom: Urine, maybe. Game like this, leaving the table early could be perceived as a sign of weakness.", "Sara: Tell me they Scotchguard these things.", "Grissom: Why don't you tell me when you take it back to the lab and process it?", "Sara: Yay.", "(SARA picks up the chair and walks toward the exit.)", "Warrick: How is it that you know so much about poker?", "(GRISSOM writes on the plastic bag.)", "Grissom: It's how I financed my first body farm in college.", "Warrick: You're kidding. Wow. I'm impressed. I mean, the fact that you sat at a table with actual living beings.", "Grissom: Well ... poker's not a game of interaction. It's a game of observation. I used to study people. And then I guess I, uh ... got bored. Now I study evidence.", "Warrick: What I don't get is it's not like we've never talked about gambling before. How come you never mention it?", "Grissom: Same reason a good player hides his \"tells.\"", "(WARRICK nods his head.)", "Warrick: He doesn't want to be exposed.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - FAST-MOTION - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "Robbins: You know why Steve Wynn hired Bobby Baldwin to run The Nugget, then The Mirage, The Bellagio? He was a great poker player, Great Thinker.", "Grissom: I did not know that.", "Robbins: Stop the world. No violaceous lividity prominent above the level of the shoulders.", "Grissom: So no heart attack?", "Robbins: Not ruling out stroke, but check out the mees lines in his fingernails.", "(ROBBINS lifts up the deceased's hands to show the fingernails. Camera close-up to the fingernails. Resume to present.)", "Robbins: Milky, vomit-like fluid in the corners of his mouth ...", "(Camera close-up to DOYLE PFEIFFER'S face and the white fluid in the corner of his mouth. Resume to present.)", "Robbins: ... single blue line running across his gums ...", "(ROBBINS opens the deceased's mouth. Camera moves in close-up to focus on the blue line above the teeth. Resume to present.)", "Robbins: ... all the earmarks of lead poisoning.", "Grissom: I haven't seen a case of lead poisoning in years.", "Robbins: What's that look like to you?", "(GRISSOM and ROBBINS move to the viewbox. ROBBINS points to a specific film.)", "Grissom: It looks like he's got a bullet in his thigh.", "Robbins: It's probably been there quite a while leeching lead into his system.", "Grissom: Enough to kill him?", "Robbins: I'll know better when I get the tox screen back and examine the brain.", "(ROBBINS smiles.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(GRISSOM sits alone in the Audio/Visual room viewing the security camera tape of the poker table. He fast-fowards and stops. The VCR whirring is the only sound in the room. GRISSOM doesn't take his eyes off of the screen.)", "(From XX:XX:42 to XX:XX:48, the camera shows the poker game with the Candyman every now and then eating chocolate candies during the game.)", "(From 1:01:XX the game continues.)", "(From 1:03:21 to 1:03:32, camera angles change from directly above the game to a close up of The Grinder.)", "(Fast forward to 1:04 to 1:05, the camera angle changes to show LITA GIBBONS using eye drops.)", "(Something occurs to GRISSOM.)", "Grissom: Everyone has a tell, don't they, Lita?", "(Camera holds on LITA GIBBONS using eye drops.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Greg: A whiskey sour, huh? Yeah, I'm a \"thug passion\" man, myself. It's a Tupack thing. (GREG mispronounces Tupac.)", "Sara: Tupac?", "Greg: So, what does your paramedic like to drink? I bet with a name like \"Hank,\" he's probably got some ho's sipping on 'yac.", "Sara: \"Yac\"? Cognac? No. \"Ho's?\" I'm not going there and, um, that's none of your business. It's nobody's business, as a matter of fact.", "Greg: All right, well, I won't tell Warrick and Nick about Hank on one condition ... you tell me what he's got that I don't got?", "(SARA smiles at GREG just as the printer prints out the test results. SARA picks up the paper and reads it.)", "Sara: There was tetrahydrozoline in the victim's drink.", "(Taking the sheet of paper with her, SARA moves to leave the room. GREG stops her.)", "Greg: Uh, I never got my answer.", "Sara: I got mine. You don't even like Tupac, Greg.", "(Camera holds on GREG.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(Security camera close up of LITA GIBBONS' eye drop label: Tetrahydrozoline Eye Redness re-liever Non-Staining)", "(The VCR whirrs. The camera pulls back to show that LIGA GIBBONS is holding the eye drop container.)", "Warrick: She killed him with eyedrops?", "Sara: Well, it's not that far-fetched. Tetrahydrozoline is the active ingredient in eye drops. It's a vasoconstrictor. Obviously, it's great for bloodshot eyes.", "(Quick CGI POV close up of a right eye with redness. Eye drop liquid is dropped into the eye and the redness disappears. Flash to white. Resume to present.)", "Warrick: I can buy that: You ingest eyedrops it constricts the blood vessels throughout your body maybe even spike your blood pressure perhaps even cause a stroke.", "Sara: It's a perfect poison. It's odorless, colorless, tasteless. Doyle would have never known it was in his drink.", "Grissom: Only one thing.", "Warrick: What's that?", "Grissom: Lita Gibbons was the last one to sit down at the table and she never left her chair. So ... how'd the eye drops get into his drink?", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(CATHERINE enters the room. She's carrying a file.)", "Robbins: Hey, Catherine. Nice timing. I just finished my prelim on your John Doe.", "(CATHERINE walks to the other side of the examining table. She opens the file and reads the information.)", "Catherine: No longer a John Doe. Got a name and a rap sheet. Jace Felder, busted for selling meth in '98. His prints are in AFIS. (She closes the file.) Your turn.", "Robbins: Cause of death: Perforating gunshot wound through and through. Wound penetrated the zygomatic arch exited the right temple.", "(Quick CGI POV of a bullet piercing through the deceased's left cheek and blood spattering out from the unseen right side. End of CGI POV. White flash to present.)", "Robbins: Check out his right eardrum.", "(ROBBINS hands the otoscope to CATHERINE. CATHERINE leans in and examines the deceased's ear.)", "(Quick CGI POV from the outer ear camera moves in through the ear and through the bone. End of CGI POV. Resume to present.)", "Catherine: His eardrum's gone.", "Robbins: Presence of blood indicates the tympanic membrane was blown out shortly before death.", "(CATHERINE hands the otoscope back to ROBBINS.)", "Catherine: We found him on an airstrip. Maybe he was too close to a jet engine.", "Robbins: Jet engine? Well, that would explain his clothing. A gasoline smell. Sent if off to trace. Here's something you don't see every day, though: Perimortem bruising on his torso. Two symmetrical lines.", "(ROBBINS indicates the deceased's chest.)", "Catherine: Looks like it could be from a harness or a seat belt.", "Robbins: (nods) Maybe.", "Catherine: What was this guy? A Top Gun?", "[SCENE_BREAK]", "[EXT. FRENCHMAN AIR FIELD-- DAY]", "(Camera long shot of NICK walking down the center of the air strip. He's carrying his CSI kit.)", "(Dissolve to NICK on the right side of the air strip taking pictures. His CSI kit on the opposite side of the roadway. He's a little closer to the camera.)", "(Dissolve to NICK on the left side of the roadway, camera still in his hands. His CSI kit on the ground on the right side of the roadway. He's working the road.)", "(Dissolve to NICK standing even closer to the camera. He's on the right, his CSI kit on the left.)", "(Dissolve to NICK on the right side of the roadway still closer to the camera. He takes his camera off and crouches low to the ground.)", "(Dissolve to NICK placing his CSI kit down on the road directly in front of the camera. He crouches low to the ground.)", "(Cut to NICK brushing the tire tread marks in the road. The treadmarks are long and pronounced. There appears to be two sets of treads.)", "[SCENE_BREAK]", "[EXT. FRENCHMAN AIR FIELD-- DAY]", "(CATHERINE picks up a smashed passenger side view mirror on the air strip.)", "Catherine: Well, this was no plane. Marks are too narrow. No center wheel, and ... when was the last time a plane lost a rearview mirror?", "(NICK walks closer to CATHERINE.)", "Nick: Actually, we're looking at two.", "Catherine: Two?", "Nick: Yeah, I've got fresh marks at the head of the runway two sets, both parallel, so ... my guess is one car spun out here ...", "Catherine: Man, you are way ahead of me.", "Nick: Yeah, well, I been here a while. Over there another set of treads going straight ahead, so ...", "Catherine: Right. And you only lay down treads when your wheels aren't rolling smoothly. Panic braking? Sudden boost of acceleration? Race?", "(NICK nods his head.)", "Nick: I think so, yeah.", "Catherine: Drag racing?", "Nick: Or street racing.", "Catherine: Ah ...", "Nick: There's a reason it's illegal.", "Catherine: Yeah. Kids end up dead.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY STREET -- NIGHT]", "(NICK and CATHERINE walk through the street. They're carrying their CSI kits. In the background, kids hang and car stereo music blares.)", "Nick: Midnight drags. My brother was a gearhead. Rebuilt a '65 GTO with three carbs. Ran the thing flat out. Zero to a buck-13 in a quarter mile.", "Catherine: So your brother's cooler than you.", "(NICK Laughs )", "Nick: No. No, not really.", "(They meet up with DET. LOCKWOOD.)", "Lockwood: Welcome to pre-game. Every gear-banger in Clark County all with the same question -- \"What are you running under there?\"", "Catherine: Foreplay is foreplay. So, when do they race?", "Lockwood: It's not so much when it's where; racing locations are always in play. Once the call comes in the street will empty out in seconds.", "Catherine: They go all the way out to Frenchman airfield from here?", "Lockwood: Only when it rains.", "Catherine: It rained last night. Rain brings up the oil from the streets. They got to go somewhere to get some traction.", "(CATHERINE looks at NICK. NICK nods.)", "Nick: The desert.", "(NICK moves forward toward the yellow car parked behind DET. LOCKWOOD.)", "Nick: Centrifugal supercharger. Nice.", "(NICK puts his CSI kit down. The owner of the car who was standing on the side with two women, moves toward NICK when he hears NICK'S admiring comment.)", "Turbo Owner: Yeah, it's like the compressor side of a turbo but instead of spinning on the exhaust it goes through a gearset to the crank.", "(The young man's voice fades as he notices CATHERINE standing there.)", "Catherine: More power, no extra weight. Every girl's dream.", "(The young man laughs. He takes a couple of steps forward and points to his car hood. NICK leans in to look at it.)", "Turbo Owner: Ooh. I like that. Yeah, check the nitrous speed.", "Nick: Nos. Nitrous oxide system.", "Catherine: Nitrous oxide as in speed?", "Turbo Owner: Well, speed is ultimately limited by how fast you can mix oxygen with fuel and ignite it.", "Nick: Regular air is about 20% oxygen. Nitrous is 40. Double the burn, double the power.", "(Quick CGI POV white flash to the meter under the hood as the indicator quickly moves from 0 to the red zone. Camera moves in double time through the coils where it ignites and causes the engine to power up. The engine revs. Camera moves out from the car to side close up of the tires moving along the road. Flash to white.)", "Catherine: So the sudden boost of acceleration could account for the treads back at the airstrip.", "(From behind them, another yellow car drives slowly up past them. NICK sees something.)", "Nick: Check out that racing harness. Same as the bruises found on the victim.", "(The yellow car passes them by. From another direction, another dark car drives up with its stereo noticeably louder than everything. There are two men in the car.)", "Lyric: (stereo blasting):", "[\"Lapdance\" by N.E.R.D.] It's so real / how I feel / 'cause this society / that makes A... wanna kill / I'm just straight ill / ridin' my motorcycle down the streets / while politicians is soundin' like strippers to me / they sayin'...", "(NICK and CATHERINE turn around to see where the loud music is coming from. The man in the passenger seat gets out of the vehicle. CATHERINE opens her kit and takes out an AMPROBE(tm) Sound Meter. It reads 131.1dB.)", "(CATHERINE holds up the meter and approaches the passenger who just exited the vehicle.)", "Catherine: Hey! You deaf?", "Thumpy G: Oh, thanks a lot. What's up? I'm Thumpy G.", "Catherine: A jackhammer is about 50 decibels quieter.", "Thumpy G: You know the only way to beat a jackhammer is to bust 15,000 watts of Run DMC's \"dumb girl\" or-or L. L. Cool J's \"Goin' back to Cali.\" You know?", "(Off screen a car horn blares and a voice yells out.)", "Man: (o.s.) Hey, G, what's up?", "Thumpy G: (to the man) Yo, Dog.", "Catherine: So, Thumpy ... you blow out a lot of eardrums?", "Thumpy G: I try to.", "(LOCKWOOD holds out a photo. THUMPY G barely looks at it.)", "Lockwood: You know this cat? Jace Felder.", "Thumpy G: (to LOCKWOOD) Negative.", "(THUMPY G calls out to some women behind and off screen from the group.)", "Thumpy G: What's up, baby?", "Woman: Hi.", "Thumpy G: (to the woman) Hey!", "Catherine: Hey, Thumper! How about we impound your car, seize your stereo system and charge you with disturbing the peace?", "Thumpy G: Oh, she is hot, but now it's real hot. All right. Yo, do. It's coming back to me.", "Nick: We're all ears.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Camera close up of a whirring bone-cutting hand saw turned on, then off. DAVID PHILLIPS is admiring ROBBINS' hand saw.)", "David Phillips: Wow, is this new?", "Robbins: Yup. Turbo.", "(With a scalpel, ROBBINS cuts into the deceased's forehead skin.)", "David Phillips: I like it.", "(DAVID PHILLIPS turns to look at the table.)", "David Phillips: You need any help?", "Robbins: Nope.", "(ROBBINS finishes the cut and peels back the facial skin. It comes off in one beautiful piece. DAVID watches closely. He smiles and nods his head.)", "David Phillips: Cool.", "(ROBBINS glances up at DAVID and puts down his head gear's protective shielding. He holds out his hand for the hand saw. DAVID, still leaning in close, looks up and gives the hand saw to ROBBINS. ROBBINS turns it on and starts to saw into the skull. Blood spatters onto DAVID'S clothes and skin as he neglected to put down his head gear's protective shield. DAVID looks up at ROBBINS. ROBBINS turns off the saw and looks at DAVID.)", "Robbins: Want to step back a little?", "(DAVID puts the head shield down and takes a couple of steps backward.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY -- PALMS HOTEL & CASINO (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. PALMS CASINO -- POKER TABLE -- NIGHT]", "(The man at the poker table throws his hand onto the table. LITA GIBBONS smiles as she collects the pot.)", "Lita Gibbons: Hey, Al.", "(Standing off to the side near the door are BRASS and GRISSOM.)", "Brass: So, how many pots is that?", "Grissom: Too many.", "Brass: Yeah.", "(BRASS approaches the poker table.", "Brass: Lita Gibbons?", "(LITA GIBBONS looks up, her smile freezing on her face. Off on the side still near the door, GRISSOM stands there holding his CSI kit.)", "Brass: Why don't you sit this one out? Come with me.", "(LITA GIBBONS looks at GRISSOM.)", "[SCENE_BREAK]", "[INT. PALMS CASINO - EMPTY BALLROOM]", "(LITA GIBBONS is sitting in a chair in an auditorium like setting in the ballroom. BRASS and GRISSOM stand next to her.)", "Lita Gibbons: Yeah. I live here. Tangiers is a damn smokehouse. Bothers my eyes.", "Brass: You use eyedrops?", "Lita Gibbons: Bottles and bottles.", "Brass: Can we see them?", "Lita Gibbons: Pick a pocket.", "(GRISSOM kneels in front of LITA GIBBONS as she takes out an eye drops bottle from her pocket. She looks up at GRISSOM.)", "Grissom: Miss Gibbons, what color are your eyes?", "Lita Gibbons: Brown.", "Grissom: Well, why are you wearing just one contact lens?", "Lita Gibbons: I have 10/30 vision in my right eye.", "(GRISSOM shines his flashlight at LITA GIBBONS' right eye.)", "Grissom: Why is it tinted? We're going to need to take that contact lens. And your eyedrops.", "[SCENE_BREAK]", "[INT. CSI -- FORENSIC AUTOPSY]", "(Camera close up of ROBBINS holding a bloodied brain. DAVID PHILLIPS is standing next to him. WARRICK enters the room.)", "Robbins: You ever held a legend's brain?", "David Phillips: Brain cried uncle.", "Robbins: Correct spelling: U-N-C-A-L. Uncal herniation-- a swelling at the base of the temporal lobe which compresses the posterior cerebral artery resulting in a stroke.", "(ROBBINS indicates the part of the brain that he's talking about.)", "Warrick: Let's back up here. Victim had chronic lead poisoning from a bullet that was left in his leg.", "Robbins: Tox is pending.", "Warrick: But what you're thinking is the lead from the bullet made his brain swell up with ... uncal herniation?", "Robbins: Wild card was blood pressure. If he kept that under control he might have had another twenty years.", "Warrick: Except that someone put tetrahydrozoline in his drink which made his blood pressure spike and now we got his brain in a bowl.", "Robbins: Yup.", "(WARRICK turns around to look at the examining table.)", "Warrick: Nasty.", "[SCENE_BREAK]", "[INT. GARAGE -- DAY]", "(NICK and CATHERINE enter the garage.)", "Nick: Michelangelo?", "Catherine: Yup.", "Nick: It's an odd name for a mechanic.", "Catherine: Well, Thumpy G said he was an artist.", "(They approach the two men standing next to the open hooded car.)", "Nick: Michael ... angelo. Nick Stokes, Catherine Willows. Vegas crime lab.", "(One man looks up when he hears his name called. The other man leaves. NICK looks at the car with the open hood.)", "Nick: Wow.", "Catherine: Yeah. So how long you been racing cars?", "Michelangelo: I don't race 'em. I soup 'em. And at six-fifty an hour, you're costing me money.", "Catherine: And you're costing us time. We're investigating a murder.", "Michelangelo: Jace Felder, right?", "Catherine: That's right.", "Nick: How do you know?", "Michelangelo: Small world. Shame about what happened. He was the Steve McQueen of Southern Nevada.", "Nick: We're looking for the kid he raced the night he was shot.", "Michelangelo: Why come to me?", "Nick: Thumpy G dropped your name, man. Said he was driving a \"Michelangelo.\"", "Michelangelo: I have many works of art. Which one?", "Nick: A blue honda, blue rims, tinted windows.", "(MICHELANGELO recognizes it immediately. He turns around and close the car hood. He walks away. CATHERINE smiles at NICK.)", "Catherine: \"Works of art\".", "(MICHELANGELO returns carrying a photograph. He hands it to CATHERINE. As MICHELANGELO speaks, she looks at it then hands it to NICK.)", "Michelangelo: Billie Holiday. Built this baby for myself. Sold it to some punk kid. Never should have done that. Sold out. Kid walks in one day $100,000 price tag in his head. Wants a racer off the showroom floor. No custom, no waiting, right now. Paid by check.", "Catherine: Silver spoon kid. You got a copy of the check?", "Michelangelo: Tossed it.", "Catherine: Tossed it?", "Michelangelo: Never should have done that, either.", "Catherine: No.", "Michelangelo: All I know was, it was an insurance company check. Third party. Sat on it till it cleared.", "(CATHERINE'S cell phone rings. She answers it.)", "Catherine: (to phone) Yeah?", "Lockwood: (from phone) Found Jace Felder's car.", "Catherine: (to phone) Where?", "INTERCUT WITH:", "[EXT. HIGHWAY UNDERPASS - DAY]", "Lockwood: Yeah, we were lucky. It was right under our noses. Uniform found it out on Gibson road. Tent sale. The, uh, VIN number was scratched off but I ran the firewall. Came back Jace Felder.", "Catherine: Who's the seller?", "Lockwood: Uh, some guy named Steven Masters. Well, make him an offer.", "Catherine: We'll take the car.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GREG holds up a bottle of eye drops. He looks up.)", "Greg: So, we meet again. Lita Gibbons wasn't putting this on her nipples, was she?", "(SARA stands in front of his lab table.)", "Sara: You have been drinking too many Thug Passions. The woman is twice your age. She may be three times your age, Greg.", "(GREG chuckles and waves his hand.)", "Greg: Old case. Sorry.", "(The printer whirls out the test results. GREG stands and takes the read-out. He looks at it and compares it to the prior read out from the other test. He doesn't say anything.)", "Sara: Well?", "(GREG turns around to glance at SARA over his shoulder.)", "Greg: Well, uh, you'll get your answer when I get mine.", "(SARA doesn't say anything.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(RONNIE LITRE enters the room. He's carrying a small cloth bag and hands it to GRISSOM who is leaning over the table of cards.)", "Ronnie Litre: Hey, Grissom. Hooked you up.", "(GRISSOM opens the bag and pulls out a large blue-tinted eye glass.)", "Grissom: Is this the same color as the contact lens?", "Ronnie Litre: Only bigger. Glass is my life.", "(RONNIE LITRE smiles.)", "Grissom: All right, stick around. I need your eyes.", "Ronnie Litre: As long as they stay in my head.", "(GRISSOM uses the eye glass and looks at the cards spread out back side up on the table in rows. RONNIE stands on the side and watches. He hands the large eye glass to RONNIE.)", "Grissom: Find the aces.", "Ronnie Litre: How many are there?", "(RONNIE takes the eye glass from GRISSOM. He waits for a response and finally looks up at GRISSOM when he doesn't get any.)", "Grissom: Four.", "(RONNIE scans the row nearest him. He notices the slight discoloration of a card's top left hand corner.)", "Ronnie Litre: First row, third card.", "(GRISSOM flips the card over. It's the Ace of Clubs.)", "Ronnie Litre: Second row, fourth card.", "(RONNIE finds the next card with a discoloration on the bottom right corner. It's the Ace of Hearts.)", "Ronnie Litre: Third row, eighth card.", "(The next card has discoloration on the top left corner. GRISSOM flips the card over.)", "Ronnie Litre: And, fourth row, third card.", "(GRISSOM flips that card over.)", "Ronnie Litre: Anaglyphics. Color contrast to see hidden marks.", "(In the background, we see SARA approach and enter the room.)", "Grissom: Lita Gibbons was playing the daub. She was cheating. She marked the corners of the cards with lip balm.", "Sara: And that's all she was doing. The victim's drink contained point-zero-five (.05%) tetrahydrozoline hydrachloride and point-two-five percent (.25%) zinc sulfate. There was no zinc sulfate in any of Lita Gibbons' eyedrops. It's a different formulation.", "Grissom: So she didn't kill Doyle Pfeiffer.", "Sara: No. But someone's eyedrops did.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CASINO -- NIGHT]", "(WARRICK is interviewing NADINE, the waitress at the poker game the night DOYLE PFEIFFER died. GRISSOM stands on the side observing.)", "Nadine: You're costing me money, here. I've got a second shift at the Monaco.", "Warrick: Well, you didn't seem too worried about money the other night. We watched the surveillance tape. Doyle Pfeiffer didn't even pass you a nickel yet you were all over him.", "Bartender: (in background and o.s.) Order's up.", "(GRISSOM turns around and looks at the bar and the bartender. A dark-haired waitress walks over toward the bar. GRISSOM leaves the interview in progress and goes to the bar.)", "Nadine: I can tell you've never served drinks. Catch him in the right mood with the right pot, he can make your month.", "Warrick: Is that why you were giving eyes to the California kid?", "Nadine: I wasn't making eyes with him.", "[SCENE_BREAK]", "[INT. THE BAR - NIGHT]", "(BRASS is interviewing MATT at the bar. MATT was the player in the blue beret.)", "Brass: You tipped some waitress $1,500 the other night? You in business, or you in love?", "(MATT shakes his head.)", "Matt: I was running a hot streak, three kill pots in a row. Sixty grand in forty minutes - I threw her a bone.", "Brass: That all you threw her? Put a shot in her? Anything else I should know? I mean, we're just talking here.", "Matt: All I can say is for fifteen hundred bucks you get great service.", "(MATT bites down on the end of his stirring straw.)", "CUT BACK TO:", "Nadine: I'm a waitress, not a call girl. I was playing one guy against the other. You want to make money? You bait. Besides ... I thought Doyle had a heart attack.", "Warrick: He did, but he had help. Someone put something in his drink.", "[SCENE_BREAK]", "[INT. THE BAR - NIGHT]", "(Camera close up of the drink the bartender is filling. GRISSOM walks over to the bar and stands off to the side waiting. The waitress waiting for her tray looks at him and smiles. The bartender notices GRISSOM. The waitress leaves. GRISSOM walks up to the bartender.)", "Bartender: What can I get you?", "Grissom: I'd like some information.", "CUT BACK TO:", "Matt: Do you know what happens when you beat a legend? People see you different. They-they play you different. I wanted that edge.", "Brass: All right, let's go with that-- an edge.", "Matt: It does not play into my hand to have the guy dead. CUT BACK TO:", "Bartender: The days of comping drinks ... sticking the hotel with the bill, those are done. Everything's computerized down to the last drop. Standard protocol. Down to the way the girls order their drinks: Sodas first, mixers second, beers last. No exceptions.", "(GRISSOM looks around the bar.)", "Grissom: Where's your alcohol? I don't see any bottles.", "(BARTENDER smiles and throws a thumb over his shoulder.)", "Bartender: Back of the house.", "Grissom: Really? May I order a double bourbon on the rocks?", "Bartender: Coming up.", "(The BARTENDER puts a glass filled with ice on the counter. He pulls out the nozzle and begins to fill the glass.)", "(Quick CGI POV as the camera focuses in on the bartender's thumb pressing the button. Camera moves in high speed through the back of the spray, through the pipes, through the various twists and turns to the back of the house where the alcohol is stored. The glass bubbles as liquor is released. The camera zooms back the path, up through the pipes to the front of the house where the bourbon fills the glass. End of CGI POV. Resume to present.)", "(The BARTENDER places in a small stirring straw into the drink.)", "Bartender: Eight dollars.", "(GRISSOM pulls out a bill from his wallet.)", "Grissom: You keep the drink and the change.", "(The BARTENDER takes the bill.)", "Bartender: Thank you.", "CUT BACK TO:", "Warrick: You mind if I take a look in your purse?", "Nadine: Yes, I do mind.", "(She sighs as WARRICK doesn't respond. She reluctantly opens her purse and pulls out a small bottle of \"Original Fast Acting\" eye drops with a red label.)", "Nadine: I'll tell you this. You bust me, you better bust all of us.", "(WARRICK takes the bottle.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. HIGHWAY UNDERPASS -- DAY]", "(NICK walks toward the red car. He opens the passenger car door and crouches low. CATHERINE is already examining the driver's side with the car door open.)", "Catherine: No glass no paint flecks, no personal effects. It's been cleaned.", "(NICK sees something. He pulls out a Leatherman pliers from his pocket.)", "Nick: Hold the phone. I've got what looks like ... ah. ...A nine-millimeter round. No visible body fluid. What do you think? Maybe a miss?", "Catherine: Well, if he was shot in the car there's got to be some blood.", "Nick: Spray it up.", "(NICK stands and closes the passenger door. He puts the bullet in an evidence envelope. CATHERINE begins spraying the driver's side. As she sprays, the blood begins to appear.)", "Catherine: Well, the only void is in the driver's seat. Means it was occupied by our victim, Jace Felder. So he was shot in the head, left to right. Spatter on the passenger door is from the exit wound.", "Nick: Well, what about the rest of this blood? It's everywhere.", "Catherine: He was shot while the car was in motion? Bled out while the car was rolling?", "(Quick flashback to an ext. shot of the car flying and flipping over at high speed. The car hits the ground, parts flying everywhere. End of flashback. Resume to present.)", "Catherine: I want to meet this killer.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Steven Masters: Opportunity knocked. (he laughs) I answered.", "Nick: Okay. Uh, let's back up and start over shall we, Mr. Masters? You and your brother were off-roading.", "Steven Masters: Yes, sir.", "Nick: And you stumbled upon a wrecked racer out near Mercury.", "Steven Masters: Yes, sir.", "Nick: Why didn't you just ... ?", "Catherine: (interrupts) Wait a minute. Let me, uh, let me get in on this.", "Nick: Please.", "Catherine: What were you thinking? You-you took the car?", "Steven Masters: Damn right. Engine alone's worth fifteen grand.", "(Quick flashback to STEVEN MASTERS and ADAM MASTERS out on the air strip approaching the car.)", "Steven Masters: The keys are still in the ignition. See if it runs.", "Adam Masters: What about him?", "Steven Masters: L-leave him here.", "(End of flashback. Resume to CATHERINE.)", "Catherine: And what does a person's life go for?", "Steven Masters: Ma'am, he was already dead. (smiling) I drove the car home, washed it out.", "Catherine: And you didn't think to call 911 or anything like that?", "Steven Masters: No. You guys would have impounded the car.", "CATHERINE Okay, Mr. Masters. You've just confessed to grand larceny. Tampering with a crime scene. Detective Lockwood will get back to you on the murder charge.", "(CATHERINE opens the door and leaves the room. STEVEN MASTERS is not smiling anymore.)", "Nick: Make yourself at home, boss.", "(NICK leaves the room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY OUTSIDE INTERROGATION ROOM - CONTINUOUS]", "Catherine: Jackass.", "Nick: Dumbass.", "Catherine: \"Opportunity knocked.\"", "(From behind them, DET. LOCKWOOD calls out to catch their attention.)", "Lockwood: Hey, guys. I got a name on that third-party check signed over to Michelangelo. Tony Del Nagro. 8824 Sandy Creek Road.", "[SCENE_BREAK]", "[INT. DEL NAGRO RESIDENCE - LIVING ROOM -- DAY]", "Tony Del Nagro: Yeah. I race.", "Catherine: You race Jace Felder the other night?", "Tony Del Nagro: I race a lot of people.", "Mr. Del Nagro: Look, if you're looking to bust my son for street-racing you can get your partner out of my backyard. I mean ...", "Catherine: Sir, we're investigating a murder. Jace Felder was shot and killed.", "Mr. Del Nagro: He doesn't know anything about that.", "Catherine: Tony ... tell me about the race.", "Tony Del Nagro: We went head up.", "(Quick flashback to the race out on the air strip. Two cars side-by-side racing at high speed. End of flashback. Resume to present.)", "Tony Del Nagro: Put my pink slip up against his five grand. Guess you could say I won.", "[SCENE_BREAK]", "[EXT. DEL NAGRO RESIDENCE - BACKYARD - CONTINUOUS]", "(NICK uncovers the car. He holds up a hand at the passenger-side window and immediately notices the difference.)", "Nick: New glass - less tint.", "(Cut to NICK spraying the passenger side seat looking for evidence.)", "(Cut to NICK rubbing the passenger side door just under the window. He looks at the pad in his hand. It's covered in black.)", "[SCENE_BREAK]", "[INT. DEL NAGRO RESIDENCE - LIVING ROOM - CONTINUOUS]", "Catherine: From what I hear, Jace Felder was ... Mario Andretti. Why would you...?", "(The door opens and NICK enters the house.)", "Catherine: Why would you risk your \"Michelangelo\" against the best?", "Tony Del Nagro: The best? Yeah, right. Jace was nothing but a lip-flapper. Told me I was all flash and no dash. He wanted to nut up a title. I took it.", "(Quick flashback to the race in progress. Two cars peeling it down the air strip. One car flips over and hits the ground, parts flying everywhere. Flash to white. Resume to TONY DEL NAGRO.)", "Tony Del Nagro: Everybody scattered. No one wants to be there when the cops show up.", "Nick: Did you replace one of your car windows recently?", "Tony Del Nagro: Yeah. Last week. Some tweeker blew it out doing donuts.", "Nick: Before or after you fired the gun in your car?", "Mr. Del Nagro: All right what is this all about? I mean, look, my son doesn't have to answer any more of your questions.", "Tony Del Nagro: Dad, it's okay. It's fine. Yeah, I popped off a few rounds through the sunroof.", "Nick: The sunroof?", "Tony Del Nagro: Yeah, everybody does it. Music's bumping and everybody's showing off their wheels. You get hyped for a race. Everybody does it.", "Catherine: Where's the gun, Tony?", "Mr. Del Nagro: It's not his; it's mine. It doesn't belong to him. It's registered to me.", "Nick: Well, sir, we have reason to believe this gun was used in a homicide.", "Mr. Del Nagro: Well, sir ... My wife was murdered two years ago and I couldn't even get a cop to return my phone calls and now here you are in my home harassing my son. Get out. Now. Take a walk.", "Catherine: We'll be back with a warrant.", "(MR. DEL NAGRO nods his head. He still wants them to leave. CATHERINE stands and they both leave. Camera holds on TONY DEL NAGRO.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Greg: What do cowboys drink?", "Warrick: Whiskey.", "Greg: And when I chew on a lemon wedge boy, is it ...", "Warrick: Sour.", "Greg: And vacuums are great because they ...", "(GREG puts the test results in front of GRISSOM and WARRICK to look at.)", "Warrick: Suck.", "Grissom: Reverse suction.", "(GREG nods.)", "(Quick CGI POV to the drink in the glass. The eye drop bottle is squeezed to put liquid into the drink, the tip makes contact with the liquid and part of that liquid goes back into the eye drop bottle. Camera close up of the eye bottle tip. End of CGI POV. Resume to present.)", "Warrick: His drink in her eyedrops; her eyedrops in his drinks.", "Greg: Dr. Edmund Locard would be proud.", "Warrick: Well, we got a bonded bartender, eye in the sky, other waitresses. How the hell did she get that into his drink without anyone seeing?", "Grissom: Aye. There's the rub.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM is looking at the list of the Product Drink by Server List. A Mozart Aria playing in the background.)", "(SARA walks in and turns the stereo-player off. GRISSOM looks up.)", "Sara: What do you got?", "Grissom: Suspicious waitress. Standard protocol for ordering drinks -- the sodas, then mixed drinks, then beers. First five rounds, she ordered correctly. The last round, however she ordered Doyle's whiskey sour first.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "Nadine: You can't pin this on me.", "Brass: Sure, we can. You put your eyedrops in Doyle Pfeiffer's drink. That's what killed him.", "Nadine: (chuckling): My eyedrops. Look, you saw the way it works. I didn't have time.", "Grissom: You made the time.", "(Quick flashback to the night Nadine ordered the drinks at the bar.)", "Nadine: Whiskey sour, decaf, bottled water, beer.", "Bartender: Come on, Nadine. Order your drinks in the right order, okay? I'm swamped.", "Nadine: Just give them to me. I am, too.", "(The BARTENDER hands NADINE the Whiskey Sour and she takes it off the bar where she adds the eyedrops to it.)", "(White flash to End of flashback. Resume to GRISSOM.)", "Grissom: You changed the order of your drinks and the switch-up gave you ... opportunity.", "Brass: So, let's talk motive.", "Nadine: You want motive?", "Warrick: Yes.", "Nadine: He was a \"Stiff\". I gave him a standard eyedrop shooter. I was trying to give the guy diarrhea, not kill him. Doyle sat at my table night after night and never even so much as tosses me one of those piddly-ass candies of his my way. In my line of work, there are two kinds of tippers: The \"Georges\" and the \"Stiffs.\" Matt was a \"George\"; Doyle was a \"Stiff\". Now, if you want to charge me with conspiracy of trying to make a guy crap his pants then fine, go ahead. I'm guilty. But I didn't kill him.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY TO LAB]", "(GRISSOM and SARA walk to the lab.)", "Grissom: So, the kid gets the pot but he doesn't get the reputation.", "Sara: Server's revenge.", "Grissom: Yeah, that's what she said.", "Sara: A pissed-off waitress and a rounder with a bullet in him it could be a lethal combination.", "Warrick: Got that tox report back.", "(WARRICK hands the test results to GRISSOM.)", "Grissom: Basophillic stippling?", "(GRISSOM leans in to look at the microscope. Quick POV to the microscope shows red blood cells with white splotches on them. Cut back to present.)", "Sara: Well, that can't be. Coarse basophillic stippling only occurs from massive infusions of lead.", "(GRISSOM looks up from the microscope.)", "Warrick: Yeah, and according to the tox report the bullet in his leg wasn't degraded enough to account for the amount of lead in his body.", "Grissom: So where'd the rest of the lead come from?", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(NICK enters the lab. BOBBY DAWSON is working on the bullet NICK brought in.)", "Nick: What do you got, Bobby?", "Bobby Dawson: Yo, got your bullet. You pulled this out of a CRX, huh?", "Nick: Yeah.", "Bobby Dawson: Well, it's a lead core of a bullet. Looks like a ... medium caliber, just mangled upon impact. Can't get any stria, so, uh ... ... test firing the suspect's weapon's a waste of time.", "Nick: Great, so it's useless.", "Bobby Dawson: Well, I don't know. Take a look at the tip there.", "(NICK looks at the bullet through the lighted magnifying glass. The bullet tip is blunted and there are visible glass particles stuck to the tip.)", "Nick: Bullet's got splinters. Light glass, tinted glass. Thanks, Bobby.", "(NICK slaps BOBBY DAWSON on the shoulder and leaves.)", "Bobby Dawson: Yeah, sure thing.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM, WARRICK, SARA and GREG sit around the table. Each has some playing cards either in front of them or in their hand. Across the room in the deceased's set, the television set plays the security camera tape of the poker game. They're reconstructing the events of the game that night.)", "Grissom: Okay, the last hand. I'm Doyle, I've been sitting in the same chair for thirteen hours. Here comes the cocktail waitress. She serves me my drink.", "(GRISSOM pauses the tape at 03:02:14:00.)", "Grissom: Flashes me then she looks at Matt.", "Sara: Question is, why?", "(The tape resumes.)", "Warrick: Let's not forget the eyedrops are already in the drink; maybe she's giving him a signal.", "Greg: Yeah, maybe they're working together.", "Grissom: It's irrelevant. We've been chasing eyedrops to death. We're looking for lead.", "Greg: Well, maybe the lead came from the glasses. Lead crystal.", "Warrick: Yeah, in a casino? Picture that.", "Sara: Already tested them. Negative.", "(GRISSOM puts a piece of choco-bee into his mouth and takes a bite. On video tape, DOYLE PFEIFFER does the same. GRISSOM makes a connection.)", "(Without a word, he stands and leaves the table.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY TO THE BALLISTICS LAB]", "Catherine: So, I looked into Rita Del Nagro's death. The accident report says hit-and-run. It was a two-car collision. It's still open. An arrest was made, but the suspect was released due to insufficient evidence. Now, guess his name.", "Nick: Jace Felder?", "Catherine: Gives Tony Del Nagro plenty of motive. He lost his mother. Wanted revenge.", "(NICK and CATHERINE reach the Ballistics lab and start to put their head gear on.)", "Nick: Maybe, but why try to gun down Felder he in the middle of a street race?", "Catherine: Well, if it looks like an accident the investigation would be abbreviated..", "Bobby Dawson: All right, stand back, y'all.", "Catherine: No full-on autopsy the bullet could go undetected.", "(BOBBY DAWSON aims the gun and yells.)", "Bobby Dawson: Firing!", "(He fires the gun at a partial simulation of the driver in a car between two sheets of car glass, both of a different tint. He extracts the bullet and examines it.)", "Bobby Dawson: Bullet's nose picked up trace of both windows. Just like the one recovered from Jace Felder's car.", "Catherine: You guys rock.", "(BOBBY DAWSON laughs.)", "Catherine: So, we know the bullet can make the shot ... let's go see if the driver can.", "(CATHERINE looks over at NICK and smiles.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS DESERT (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. FRENCHMAN AIR FIELD -- DAY]", "(CATHERINE and NICK walk away from the Tahoe to the two racing cars waiting for them. They're both dressed in jumpsuits, CATHERINE in a red jumpsuit and NICK in a black jumpsuit. CATHERINE checks her pistol. NICK watches.)", "Technician: You're all set.", "Catherine: Hey, thanks, we'll take care of them for you.", "(NICK puts on his helmet.)", "Nick: Hey, wait, hang on Cath, give me a test fire, will you?", "Catherine: Love to.", "(CATHERINE aims her pistol at NICK'S helmet. NICK stands still as CATHERINE fires. NICK'S car alarm blares. NICK smiles. CATHERINE smiles. NICK reaches into the car and turns the alarm off.)", "Nick: I wired the target to the car's alarm system. Gotta make sure we hear it.", "Catherine: Always thinking there, Nicky, aren't ya?", "(They get into their respective cars and buckle up. CATHERINE puts on her helmet.)", "Nick: Okay, remember full out the fifth then hit the nitrous and hang on.", "Catherine: You just try to keep up.", "(Both drivers rev their engines and start their way down the air strip. As they gain speed, CATHERINE paces NICK'S car. She raises her pistol and takes aim. She paces NICK and fires. NICK'S car alarm blares. NICK slows down and turns off the car alarm. CATHERINE peels past him.)", "(NICK stops and gets out of his car. CATHERINE stops her car some distance away and gets out of her car. She takes out her helmet and raises her arms in mock victory. NICK smiles.)", "Catherine: Thank you. Good night!", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM conducts an experiment to test his theory. He takes a single piece of Choco-Bees chocolate. The exact same chocolate brand that DOYLE PFEIFFER was eating that night. He cuts it in half. He puts the pieces in a test tube and adds clear liquid to it. The chocolate begins to bubble.)", "(GRISSOM appears pleased. He takes a sample of the liquid which is now fizzing and puts it in a small glass bottle. He holds the glass bottle up.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "Tony Del Nagro: Jace killed my mom. Everybody knew it. Everybody knew it, and nobody came forward. It was a street race. Jace's car just slammed right into us.", "(Quick flashback to RITA DEL NAGRO and TONY DEL NAGRO in the car. Headlights beam at them, the sound of a car speeding fast approaching them. RITA DEL NAGRO ducks and screams. White flash to end of flashback. Resume to TONY DEL NAGRO.)", "Tony Del Nagro: Killed my mom instantly. He just plowed right into us. Kept going.", "Catherine: You were in the car. Why didn't you just tell the police?", "Tony Del Nagro: Because I didn't know it was Jace. I found out later on that it was a street racer.", "Nick: And you weren't?", "Tony Del Nagro: Not at the time, no. So I went to a couple of events and hooked into the world. I found out within one hour who killed her.", "Nick: So, let me get this strait. You decide to become one of them. You buy a car with your mother's death benefit toss your hat in the ring and wait for your shot.", "(TONY DEL NAGRO doesn't say anything. He looks at NICK. CATHERINE shakes her head.)", "Catherine: Revenge is best served cold.", "(Quick flashback to the night of the race. TONY DEL NAGRO is driving the car and just as CATHERINE had done, he raises his gun while pacing himself with JACE FELDER. He fires. The glass between the two cars shatters. JACE FELDER'S car goes out of control, hits the ramp and hits the ground scattering pieces everywhere. TONY DEL NAGRO doesn't stop. He keeps on going. End of flashback. Resume to present.)", "Tony Del Nagro: I never stopped. I just kept going. Never looked back.", "Nick: (o.s.) Took his title and then took him down.", "(TONY DEL NAGRO looks at NICK.)", "Tony Del Nagro: He took my mother's life so I took his.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM puts a potted plant in the center of the table. He's wearing an apron over his clothes and is holding a spray bottle. WARRICK and SARA walk into GRISSOM'S office.)", "Warrick: What's up, Griss?", "Grissom: Did you guys know that seventy percent of the world's chocolate is produced in West Africa?", "Warrick: Really?", "Grissom: Yeah. The Ivory Coast, Ghana, Nigeria, and Cameroon.", "Sara: No, I, uh, didn't know that.", "Grissom: Doyle Pfeiffer didn't know either. Chocolate comes from cocoa plants, but in West Africa, the cars still use leaded gas. So when the exhaust fumes disperse into the atmosphere ... and it rains ... It pours lead.", "(For visual effect, GRISSOM sprays the plant with the water. And like a light spray of rain, it falls onto the plant. SARA takes a seat.)", "Sara: Like acid rain.", "Warrick: Whatever's in the atmosphere gets into the soil, gets into the cocoa plants. Capillary action.", "(WARRICK sits down.)", "Grissom: Then the cocoa's harvested, processed, refined, sold into bulk, and eventually ...", "Sara: Choco-bees.", "(Quick flashback to the video tape of DOYLE PFEIFFER popping in a piece of chocolate on a couple of different flashes. End of flashback. Resume to GRISSOM.)", "Grissom: Doyle Pfeiffer's nickname was the \"Candyman.\" He got that name the night he won the World Championship in '86.", "Warrick: Well, if he had those chocolates with him in '86 he's had them every night since. His lucky charm.", "Grissom: By my calculations he might have consumed up to a pound of chocolate a night for sixteen years.", "Warrick: Wow. That would explain all the lead in him.", "Grissom: Ultimately the tetrahydrozoline in the eyedrops triggered it, but essentially, it was ... death by chocolate.", "(Camera holds on GRISSOM.)" ]

[ "Grissom and his team investigate a crime involving a popular actor; one woman is dead in his hotel suite and another is missing. They must perform under not only the media spotlight, but also under the scrutiny of Grissom's mentor, Dr. Philip Gerard, who uses his knowledge of Grissom and the other CSIs to discredit their evidence in his role as hired expert for the defense." ]

[ "WHITE FLASH OPEN:", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "INTERCUT WITH:", "[INT. CASINO -- THE WALLFLOWERS - PERFORMANCE]", "Lyric: [\"Everybody Out of The Water\", performed by The Wallflowers] ... on your mark, get set / let's go / you got to move now, before she explodes / look out the window, lookout below / back away from the glass / well, there she blows / the city's been leveled / the hills are in flames / the streets cracked open / and they're pushing up clay / temperature's dropped / the sky is gray / and it ain't even over / here comes drivin' rain / it ain't me that you feel / it's something moving around in here / well, that's blood, that's tears / this ain't a warning / everybody out of the water...", "[SCENE_BREAK]", "Lyric", ": and up on dry land / take what you can / cuz you won't be here again / everybody out of the water ...", "[INT. PALMS HOTEL & CASINO - NIGHT]", "(A group of young women walk through the casino's lobby to enter the performance area. The camera runs in slow motion. They're dressed up for a night out on the town.)", "(Cut to TOM HAVILAND shooting craps at the crap table. He's surrounded by a group of people and having a wonderful time.)", "(Cut to one of the young women from the group walking through the crowd with her friends. She looks up and sees TOM HAVILAND at the crap table.)", "Fan (woman): Tom Haviland! Oh, my god. It's really him. I loved him in \"I- 95\" and ... and that other movie with Julia Roberts.", "(Cut to the crap table. TOM HAVILAND holds the dice. He blows on the dice and prepares to set his bet.)", "Tom Haviland: Odds on six and eight. Give me thirty-five on the hop and a quarter on the horn for the boys.", "House: Thank you, sir.", "Tom Haviland: All right.", "(TOM HAVILAND shakes the dice, blows on it and lets it go. In slow motion, the dice roll across the crap table, hits the back board and rolls back to where it finally stops on a three and a five.)", "Lyric: ...Now I'm treadin' high water / to get back to you / looking for a little spot of something to cling to / there's too many bodies / there's not enough room / God help me and God help you ...", "(The table crowd lets out a loud cheer.)", "Lyric: ...they say nobody panic / help is on its way, we're already on it / you've got to be brave / if you can fix it now then don't make us wait / man they're ain't nobody coming / back away from the gates ...", "(RAYMOND LESTER walks up to TOM HAVILAND.)", "Tom Haviland: Hey.", "Raymond Lester: How you doing? So what are you in the mood for, huh? A little French, Italian ...", "Tom Haviland: No, man, I had Italian last night. How about Chinese?", "(TOM HAVILAND has his eyes somewhere across the crap table. RAYMOND LESTER follows his gaze and smiles.)", "Raymond Lester: Oh yeah, Chinese. Hey, man. I've got you.", "(RAYMOND LESTER leaves. TOM HAVILAND continues with his game. He blows on the dice and lets it roll. It stops on two fives. The table crowd goes wild.)", "(Across the table, RAYMOND LESTER approaches two Chinese-looking women. He puts his arms around their shoulders and speaks to them. They both smile.)", "Lyric: Everybody out of the water / get up on dry land / take what you can / 'cause you won't be here again / well, I loved you then / like I love you now / that won't matter anyhow / well, this is the new frontier / everybody out of the water ...", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO -- BEDROOM - NIGHT]", "(TOM HAVILAND and the two women from the Casino walk down the sunken bedroom floor to the large bed in the center of the room. They slowly discard their clothing as they reach the bed.)", "INTERCUT WITH:", "[THE WALLFLOWERS PERFORMANCE]", "(The woman in the red dress falls back on the bed. TOM HAVILAND straddles her and the other woman in black straddles her behind him.)", "(Camera close up of the women touching and caressing TOM HAVILAND. Camera close up of TOM HAVILAND in slow motion. Music fades. Slow deep breathing sounds louder.)", "Lyric: ... everybody out of the water ...", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO -- BEDROOM -- NIGHT]", "(GRISSOM is carrying his CSI kit and walking down the short steps to the sunken bedroom. He approaches the bed. BRASS is already there. He turns his cell phone off.)", "Brass: The subject, Tom Haviland, says he had a romp with two ladies between 1:00 am and 2:00 am. Then he left them in the sheets and went back to the crap table. He returned a half an hour later and found Kim like this with her throat slashed.", "(Sprawled out on the bloodied bed is the woman in black. GRISSOM crouches low next to the bed. He shines the light from his flashlight on the victim's neck.)", "Grissom: The extent of the coagulation suggests she died before that. Possibly before 1:00 am.", "Brass: When he puts himself in the room.", "Grissom: You said \"ladies.\" Where's the other one?", "Brass: Uh ... Tonya. He said she was gone when he returned.", "Grissom: Gone? That's an elastic term.", "Brass: Yeah, Mr. Haviland's assistant a Raymond Lester, notified hotel security and called 9-1-1.", "Grissom: What do we know about Raymond?", "Brass: Eyewitnesses place him downstairs at the time this took place. Mr. Lester is in ... LA at a morning meeting. He's flying back this evening.", "Grissom: And Mr. Haviland?", "Brass: He's in the other room.", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - ROOM NEXT TO BEDROOM]", "Man: (o.s.) Do you do your own stunts?", "(TOM HAVILAND holds a stock publicity photograph and signs it. Surrounding him are three men talking with the movie star.)", "Tom Haviland: Yeah, I do my own stunts, but, look, I don't want to dog on the guys who use stunt doubles, right? Believe me, when you're hand gliding over the Grand Canyon, you should think twice.", "(The man laughs at the response.)", "Man: (o.s.) I've always wanted to try that. Would you mind making it out to my girlfriend please ...", "(The camera pulls back. Off to the side some distance away, WARRICK and GRISSOM watch. GRISSOM puts his glasses on and watches with no expression on his face. WARRICK turns from watching TOM HAVILAND and looks at GRISSOM'S non-expression.)", "Warrick: You don't recognize that guy, do you? It's Tom Haviland, movie star.", "(GRISSOM nods slightly.)", "Grissom: Clark Gable was a movie star.", "(GRISSOM approaches the group.)", "Grissom: Excuse me, fellas.", "Tom Haviland: Keep the peace, boys.", "(The mini-crowd leaves.)", "Grissom: Mr. Haviland, my name's Gil Grissom. I'm with the Las Vegas Crime Lab.", "Tom Haviland: (smiles) Oh, well, do you have a sheet of paper? 'Cause I'm kind of running out of things to write on here.", "Grissom: What?", "Tom Haviland: Oh. My bad.", "(TOM HAVILAND looks down and re-caps the pen in his hand.)", "Grissom: I need to ask you did you, by any chance, touch the victim after you found her?", "Tom Haviland: No.", "Grissom: You sure?", "Tom Haviland: Look, I wouldn't want people to know, but I got creeped out. I kept my distance waiting for the ambulance.", "Grissom: That's all you did?", "Tom Haviland: Well, I did ask her who did it. And she said Tonya.", "Grissom: Really? The other girl.", "(TOM HAVILAND nods.)", "Grissom: Hey, Warrick?", "(WARRICK, standing off to the side, walks toward the two men.)", "Grissom: Would you mind if we took a look at your hands?", "Tom Haviland: Yeah, sure.", "(TOM HAVILAND holds both his hands out palms up.)", "Grissom: Palms down, please.", "(GRISSOM turns on his flashlight and shines it on TOM HAVILAND'S fingernails. WARRICK shifts slightly as he knows what GRISSOM is looking for.)", "Grissom: You said you never touched the victim.", "(TOM HAVILAND shakes his head. No. WARRICK uses a swab on TOM HAVILAND'S cuticles. Camera close up on the swab as it picks up a dark residue under the nailbeds. WARRICK looks at the swab tip.)", "Warrick: It's blood. I guess you forgot to scrub the back of your hands, huh?", "Tom Haviland: I get one phone call, right?", "Grissom: Sure, just like in the movies.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - LOBBY -- NIGHT]", "(Camera view in slow motion. TOM HAVILAND, handcuffed behind his back and escorted by BRASS, GRISSOM, WARRICK and an officer, walk through the hallway. They turn the corner and just outside the glass doors in the center of the casino lobby is a large group of reporters intermixed with fans and curious onlookers.)", "(Normal camera speed resumes when the security officers open the glass doors. The crowd pushes against the group of officers there to provide security.)", "Reporter: Tom, did you do it?", "Reporter: Tom! Tom!", "Fan (male): You're the best, Tom. Stay strong.", "Reporter 1 (woman): Captain, can you tell us exactly what prompted PD to arrest Tom for this murder?", "Brass: Conflicting statements and forensic evidence.", "Reporter 2 (man): Could you be more specific?", "Brass: Blood evidence.", "Reporter 3 (man): What kind? Where did you find it, exactly?", "Brass: That's all for now. When we have more information, we'll release it to you. Thank you excuse us.", "(BRASS with TOM HAVILAND push onward through the casino lobby. The reporters follow in their wake shouting their questions at the men. WARRICK and GRISSOM remain behind then turn to move to the side.)", "Reporter: Tom, did you do it?", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - LOBBY - NIGHT -- CONTINUOUS]", "(SARA, CATHERINE and NICK walk across the casino floor and meet up with GRISSOM and WARRICK. Each is carrying their CSI kit. CATHERINE is on her cell phone.)", "Sara: I like his movies. (she shrugs) Some of them are good.", "(GRISSOM has a thoughtful look on his face. CATHERINE pulls the phone away from her ear and puts it away.)", "Catherine: DA just got the call. Tom's manager hired Marjorie Wescott to defend him.", "(GRISSOM considers the news.)", "Nick: \"Soundbite\" Wescott?", "Catherine: Guilty, rich client, high-profile case it's right up her alley. Publicity for her new cable show.", "Grissom: Forget about who's involved. We do this like we do any other case.", "Warrick: Well, I'm going to get this blood evidence to DNA. I'll catch up with you guys later.", "Nick: All right.", "Catherine: So, we'll take the suite. It's the penthouse, right?", "(CATHERINE leaves. SARA follows.)", "Sara: Later.", "(GRISSOM and NICK remain behind.)", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - CRAPS TABLE - NIGHT -- CONTINUOUS]", "(NICK and GRISSOM walk through the crowd. They approach the craps table TOM HAVILAND played at in the teaser. The CASINO MANAGER stands off to the side looking at his watch.)", "Grissom: Witnesses place Tom Haviland at this table before and after the time of the murder.", "Nick: I'll look for transfers.", "Grissom: Yeah, well, he's already admitting to sleeping with the victim so hair and fiber evidence won't mean anything.", "Nick: Okay.", "(NICK ducks under the crime scene tape, turns and holds it up for GRISSOM. GRISSOM doesn't move.)", "Nick: You coming?", "Grissom: I'm just going to supervise on this one.", "Nick: All right.", "(NICK turns around to process the craps table. GRISSOM remains outside the taped area.)", "[SCENE_BREAK]", "[INT. PALMS HOTEL - BEDROOM -- NIGHT]", "(Camera close up of KIM HSU'S body being placed on the gurney for removal A plastic sheet covers her face. The coroners take the body away.)", "(SARA is crouched low next to the bed. She's taking picture of a bra on the bed. HANK PEDDIGREW appears next to her.)", "Hank Peddigrew: Hey, Sara.", "Sara: Hey. I thought you left.", "Hank Peddigrew: I need to talk to you.", "(SARA snaps a photo.)", "Sara: Uh ... can it wait till after work?", "Hank Peddigrew: It's about work. When I tried to revive the victim the bra was in the way, so I repositioned it. I didn't think about it until I was at the elevator.", "Sara: Oh, um ... can you tell me where it was exactly?", "Hank Peddigrew: A little ... a little over here.", "(HANK PEDDIGREW points a little to the right of the bra. SARA moves the bra.)", "Sara: You sure?", "(He nods.)", "Hank Peddigrew: Thanks.", "Sara: Thanks? Thanks nothing. I'm going to have to put it in my report. \"Evidence moved due to life-saving efforts\" with before and after pictures.", "Hank Peddigrew: Sorry.", "(SARA smiles. HANK PEDDIGREW leaves. SARA lifts the camera to take another picture. CATHERINE enters the bedroom.)", "Catherine: I could live in that bathroom. So, I've checked every plumbing fixture in this place. There's no blood.", "(CATHERINE rests her kit down and crouches next to SARA.)", "Sara: Grissom said he found blood under movie boy's nailbeds.", "Catherine: And that sheet looks like a butcher's apron. Movie boy had to wash his hands someplace.", "(CATHERINE thinks about it. She stands and takes her kit. She leaves the bedroom.)", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO -- HALLWAY]", "(CATHERINE exits the TOM HAVILAND'S hotel room. She makes her way through the hall looking for something. A few feet away from the hotel room door on her left, she finds it. The Utility Room (Employees Only). CATHERINE opens the door and turns on the light but doesn't enter the room just yet.)", "(The light above the sink flickers on. CATHERINE puts her kit down and puts a covering on her shoes before entering the Utility room. She uses her flashlight on the floor and carefully enters the room making her way to the sink.)", "(She takes special note of the spot directly in front of the sink. She reaches into the sink and removes the drain stopper. On the underside, she finds blood.)", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - CRAP TABLE]", "(Down in the casino, NICK swabs the crap table. Next to him, the CASINO MANAGER interrupts.)", "Casino Manager: Can the casino do anything to hurry this up, Mr. Stokes?", "Nick: I'm processing as fast as I can, sir. It would help if I had the dice used at this table.", "Casino Manager: We replace the dice every hour.", "Nick: I've got my work cut out for me then, don't I?", "(The CASINO MANAGER nods slightly and leaves to get the dice. Camera holds on NICK.)", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - UTILITY ROOM]", "(Under the sink, CATHERINE works to remove a portion of the pipe. She successfully removes the pipe and looks inside where she sees some evidence of blood.)", "(Cut to CATHERINE dusting the floor between the sink and the door. She manages to successfully lift a bare footprint off the floor. CATHERINE smiles at the find..)", "[SCENE_BREAK]", "[INT. PALMS HOTEL & CASINO - CRAP TABLE]", "(On the crap table in front of him, NICK has five sets of dice evenly spaced. A stack of evidence envelopes is off to the side.)", "(NICK swabs the dice in front of him and it shows up positive for blood. NICK smiles. He looks up directly into the security camera above the table.)", "(Cut to the security camera black and white view of the crap table from above with NICK looking up at it. NICK signals to the CASINO MANAGER standing off to the side that he's finished. NICK starts putting the dice into the envelopes as people start to appear around the crap table.)", "[SCENE_BREAK]", "[INT. WARRICK'S CAR -- ROADWAY IN FRONT OF THE CALIFORNIA HOTEL & CASINO --", "[SCENE_BREAK]", "NIGHT]", "(WARRICK transporting the blood evidence taken from TOM HAVILAND. He drives on the roadway and comes to a stop behind some cars. The street light is red. Cars are honking their horns. In the middle of the intersection, there's a car accident. Indistinct radio transmissions sound in the background.)", "Warrick: Great. What is this?", "(WARRICK stops the car. He sees the accident and also notices the driver's door opening with the driver getting out of the car.)", "Warrick: Oh, great. Here we go. (to phone) This is CSI Brown. I got a T&A, at Ogden and Main. Please send EMS, Emergency Medical Assistance as soon as you can. Hey ...", "(The woman struggles out of the car. She's bloodied and in shock. She's standing on her feet. WARRICK puts his phone away and grabs her trying to steady her.)", "ACCIDENT VICTIM (WOMAN): I can't see.", "Warrick: You all right?", "ACCIDENT VICTIM (WOMAN): I can't see. Help me.", "Warrick: Okay. Okay, all right...", "ACCIDENT VICTIM (WOMAN): Help me!", "Warrick: Okay. Hey, stay with me. Stay with me. Let me look at you...", "ACCIDENT VICTIM (WOMAN): I think I'm going to pass out.", "(The woman collapses against WARRICK. She's still conscious.)", "Warrick: Hey, no, no, no ...", "(WARRICK holds the woman upright.)", "Warrick: Okay. All right. All right, keep your head back. All right, I got to get a towel for your head.", "ACCIDENT VICTIM (WOMAN): No, no, no! Don't leave me, please. Don't leave me, please.", "Warrick: Okay, I'll be here with you for the ambulance, okay? Take a deep breath.", "(WARRICK lifts his head and yells out to the crowd of curious onlookers.)", "Warrick: Can someone give me a towel?!", "(A camera flashes from someone in the crowd. No one moves to assist. A siren can be heard getting louder.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "Robbins: Wound tract tells us the weapon was sharp, irregular with a tight curve.", "(ROBBINS takes off his glasses and looks up at GRISSOM.)", "Grissom: Well, let's see. Hotel suite. Probably a weapon of opportunity. Corkscrew, maybe.", "Robbins: Corkscrew would be consistent with this tissue damage.", "Grissom: Is it all the way down to the larynx?", "Robbins: Transected the superior thyroid artery external carotid, causing exsanguination. Both laryngeal branches of the vagus nerve and her larynx were severed. Vagus nerve controls the muscles in the larynx. Any injury to this nerve and its surrounding muscle results in immediate paralysis of the throat.", "(Quick CGI POV of KIM HSU in a full open mouth scream. The camera zooms in through the mouth and through the larynx. A corkscrew pierces the muscles in the larynx. Blood spurts. The screaming stops. End of CGI POV.)", "Robbins: Voice box was immobilized.", "(GRISSOM doesn't respond. He looks at ROBBINS.)", "Robbins: Why the look?", "Grissom: Tom Haviland claimed that this victim told him the name of her murderer before she died.", "(ROBBINS shakes his head and scoffs.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(A group of people watch the television set both inside the lab across the hall and in the hallway. The camera shifts and a second television set is also on the news coverage inside the CSI Lab.)", "Paula Francis (tv Reporter): (on tv) Detectives and forensics experts are sifting through evidence a this hour, making their case against actor Tom Haviland. We'll recap the story as we wait for a live feed from a downtown news conference with Haviland's attorney. Several witnesses have already spoken to police about Haviland's actions outside the murder ...", "(With the remote, NICK turns of television.)", "Nick: Proceed, sir.", "Grissom: Okay, we got at least one murder charge on Haviland. I imagine we'll add another one.", "Catherine: Tonya.", "Grissom: So, let's run Kim Hsu's murder. Haviland slashed her throat probably with a corkscrew.", "(Quick flashback to the hotel bedroom. A woman is screaming. TOM HAVILAND swings his hand and the woman's screaming stops. She falls back against the bed. Flash to white. TOM HAVILAND holds the corkscrew in his right hand. Flash to white. He opens the palm of his hand and looks down at his bloodied hand. Flash to white. End of flashback. Resume to CATHERINE.)", "Catherine: Then, showing consciousness of guilt he washed the blood off in this room which is right around the corner from his suite.", "(Quick flash back to TOM HAVILAND standing in front of the sink. Flashback is green-tinged to show that it was done without the light on and in darkness. Sounds of water running can be heard. TOM HAVILAND washes his hands and his chest from the blood. He glances behind him. White flash to camera view of TOM HAVILAND'S bare feet.)", "Catherine: (V.O.) We found dilute blood in the sink, pipes and ... footprint ridges there.", "(Flash to white. End of flashback. Resume to present.)", "Grissom: Do we have the results on the blood from Haviland's hands?", "Warrick: I got held up behind a traffic accident. I put it in with Greg. I'm not sure if he's done with it yet.", "(GREG walks in holding the test results. He hands them to GRISSOM and gives his report.)", "Greg: I got it right here. The forensic sample matches the reference. The blood on Tom's hands was definitely the victim's. Triple-checked the data.", "Warrick: We got our guy then.", "Nick: Oh, here she is.", "(NICK picks up the remote and turns the television sound back up. Everyone's attention focuses back on the screen.)", "(Captions on television screen: LIVE \"Murder Charge Unfounded / EYEWITNESS NEWS\")", "Marjorie Wescott: (on tv) Aside from the fact that the other woman in this case also known as Tonya is still at large and is still a likely suspect in this murder the evidence Las Vegas CSI did collect the evidence they're using to railroad my client, Tom Haviland, has been completely and irretrievably compromised. I'm holding in my hand compromised, contaminated evidence, ladies and gentlemen.", "(CATHERINE gasps. She turns to look at GRISSOM who looks equally surprised at the announcement. He turns and looks at NICK who doesn't seem all that surprised at the defense attorney's tactics. He sighs.)", "(Camera cuts back to GRISSOM who processes this information thoughtfully.)", "Marjorie Wescott: CSI should be ashamed; and you, as citizens, should be outraged. This not how we do things in America.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "District Attorney: They're saying the chain of custody was broken. The sample was contaminated when you stopped to help the woman.", "(The District Attorney walks through the hallway. CATHERINE walks next to him, WARRICK and GRISSOM behind them.)", "Warrick: That blood was not contaminated. I recovered it from the back of Tom Haviland's hand sealed it, delivered it to sanders in DNA.", "Catherine: Did you lock your car when you helped this driver?", "Warrick: I was out of my car two, three minutes tops.", "[CLOSED-CAPTIONED: CATHERINE (distantly): Dispatch put you out of your vehicle for seven minutes and 11 seconds.]", "(Camera close up of GRISSOM in slow motion. The sound is extremely muffled as we hear what GRISSOM struggles to hear.)", "(Still in slow motion, the camera cuts to the DISTRICT ATTORNEY from GRISSOM'S POV. We see his lips move only when they are in view. We can't hear what he's saying. Camera cuts back to GRISSOM who tries to follow the conversation. WARRICK speaks indistinctly. The DISTRICT ATTORNEY speaks indistinctly. The voices slowly get louder and clearer.)", "... at the DA if you had.", "Warrick: They day I do that is the day I turn in my badge.", "(GRISSOM follows behind, but he's no longer trying to follow the conversation. He opens the folder he's carrying and begins to leaf through it.)", "Catherine: Our evidence is solid. We can't let 'em take us out of our game.", "District Attorney: That may be difficult. Marjorie's been flooding us with legal motions.", "Catherine: Oh, that's what lawyers do; especially when their clients are guilty.", "(The DISTRICT ATTORNEY stops in the hallway and turns around to face the three CSIs. GRISSOM is now reading a file in his hands.)", "District Attorney: These motions are different.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "Grissom: Tom Haviland's attorneys are not waiving time.", "(NICK is surprised by this.)", "Nick: Are you serious?", "Sara: They're actually exercising their right to a speedy trial?", "Grissom: No requests for continuances, no stall tactics. They're pushing for their day in court.", "Warrick: Good defense attorney always does the last thing you expect.", "Catherine: Yeah. What typically drags on for months has now been put on the fast track and the prelim is less than seventy-two hours.", "Greg: I'm only done processing half the evidence.", "Catherine: You're going to have to call in help, because if the judge thinks that our evidence isn't strong enough to go to trial he's going to dismiss the charges on Tom.", "Sara: Can't the DA drop the charges and we'll refile when we get our evidence together?", "Catherine: Sure, but the odds are that Tom will relocate to Europe and pull a Polanski.", "Greg: And what's a Polanski?", "Grissom: Get-out-of-jail-free card. One more thing: Wescott just added a forensic scientist to their roster. She wants him to examine every piece of evidence we have against Haviland.", "Nick: As soon as it's processed they'll get a copy of our report.", "Grissom: They're entitled to see it as it's processed.", "Nick: I've never done a case where the defendant took advantage of that rule of discovery.", "Grissom: Well, when you can't attack the evidence itself, you attack the method of gathering the evidence.", "Sara: So who's their guy?", "Grissom: Dr. Phillip Gerard.", "Sara: Phillip Gerard? Your mentor is their forensic scientist?", "Grissom: Yeah. Marjorie Wescott's a smart lawyer.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(BRASS and GRISSOM walk through the hallway.)", "Brass: Tom's best friend, Ray -- he's coming in tonight. Volunteering to give a blood sample.", "Grissom: He knows his blood's not on those sheets. They're trying to choke us with evidence.", "Brass: He also lawyered up. Guess who's paying the legal bills?", "Grissom: The movie star.", "Brass: Legalized hush money. Ought to be a law against it.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(NICK works on the security video tape from the camera above the crap table. The time on the monitor reads 11:58:06 PM. The video is of TOM HAVILAND shooting craps at the table.)", "(The keyboard clicks as NICK works on it. His pager beeps. NICK looks at the pager. He turns his head. In the background in the next room, GREG is watching NICK. GREG holds up the pager and waves. NICK sighs and gets up to see what GREG wants.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- CONTINUOUS]", "(NICK pushes the glass door open and enters the DNA lab.)", "Nick: You beeped me from across the hall?", "Greg: Uh, yeah. I waved; you didn't look up.", "(NICK smiles.)", "Greg: The blood contributions on that die ...", "Nick: Yeah?", "Greg: ...Tom Haviland and Kim.", "Nick: So when he blew on the dice, he blew victim blood.", "(Quick flashback to the craps table that night. Close up of TOM HAVILAND holding the pair of dice and raising it close to his lips to blow on it. Cut to CGI POV of TOM HAVILAND blowing on the dice. Extreme camera close up of saliva particles passing from TOM HAVILAND to the dice. Camera moves in closer to a particular saliva particle in through a microscopic view to show red blood cells within the saliva. End of CGI POV. Cut back to TOM HAVILAND turning toward the crap table to roll the dice. End of flash back. Resume to present.)", "Greg: Now, I know I haven't been getting out in the field very much, but how does a guy get a girl's blood in his mouth when he's killing her?", "Nick: Murder's messy, my friend.", "(Quick flashback to TOM HAVILAND in the bedroom on the bed just after slashing KIM HSU'S throat. Flash to white. TOM HAVILAND wiping his mouth using his right arm. Flash to white. End of flashback. Resume to present.)", "Greg: So, now you have to find it on the surveillance tape?", "Nick: If I want to present it to a jury, yeah. Nowadays, people expect a show.", "(NICK hands the test results back to GREG.)", "Nick: I should've gone to film school.", "(NICK turns to leave to go back to the Audio/Video Lab. GREG looks down at the test results.)", "(In front of him, the reflection of an elderly man appears. We don't see the man, but we do know that he's watching GREG through the glass window. Unaware that he's being watched, GREG holds the dice from one hand to the other and rolls it on the table in front of him.)", "(GREG looks up and notices the silver-haired man standing outside the glass window watching him. It's PHILLIP GERARD. GREG doesn't smile. Camera holds on GREG.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA is examining the bloodied bed sheet. It hangs from the ceiling. GRISSOM walks in and stops next to SARA. He holds a flashlight like a pointer and uses it on the sheet as he talks. SARA holds a file folder that she references.)", "Grissom: Okay... so the flowing pattern is from the victim's neck wound. This other pattern, though...", "Sara: The waffle pattern -- I know, I'm trying to figure that out.", "Grissom: No, no. Here-- the blood spatter.", "(SARA looks down at the file.)", "Sara: Vic didn't sustain any trauma that would've caused a medium velocity spatter.", "Grissom: She wouldn't have. I think her throat was slashed, to shut her up.", "(Quick flashback to the hotel bedroom. The girl behind TOM HAVILAND on the bed screams uncontrollably. TOM HAVILAND grabs her and flings her to the bed. There's a ripping sound and the screaming stops. The woman falls back to the bed with a thud. Flash to white. End of flashback. Resume to SARA looking at GRISSOM.)", "Grissom: She was collateral damage. My guess ... these blood patterns mean that Tonya's dead.", "(GRISSOM looks at the blood spatter on the sheet.)", "(Quick flashback to a fist hitting the woman in red on the bed with so much force that blood spatters as she hits the bed. End of flashback. Resume to present.)", "Grissom: And I bet she was the first to die. Rage killing.", "(Quick flashback to the same clip of the fist hitting the woman in red on the bed. Blood spatters against the bed sheet. She falls back against the bed. End of flashback. Resume to present.)", "Grissom: (V.O.) Sudden hand-to-hand combat.", "Sara: I'll get all this to Greg but we are definitely going to need the DNA guy from days to pull all this together in time.", "(Behind SARA and GRISSOM, PHILLIP GERARD enters the Lab. Neither SARA nor GRISSOM notice he's there. He lifts a camera up and takes a picture of the items on the table. The camera flashes.)", "(GRISSOM and SARA turn around.)", "Phillip Gerard: Sorry, Gil. Just doing my job.", "(PHILLIP GERARD smiles. SARA turns slightly toward GRISSOM who makes the introduction.)", "Grissom: Sara, this is Dr. Gerard. Anything you say to him will be considered testimony.", "Phillip Gerard: Then, hopefully, you'll say I'm better-looking than I appear on TV.", "(PHILLIP GERARD smiles. SARA smiles back easily.)", "Phillip Gerard: You're the CSI who recovered the clothes from the crime scene.", "Sara: Yes, and the bedsheets.", "(As SARA answers and glances back at GRISSOM. GRISSOM watches the exchange closely.)", "Phillip Gerard: Did you follow departmental procedures-- transporting this evidence back to the lab?", "Sara: To the letter.", "Phillip Gerard: Took multiple photos at the scene?", "(Camera cuts to GRISSOM who doesn't say anything. SARA answers the question flawlessly.)", "Sara: Our protocols stipulate we take overalls locator shots and close-ups. I took multiples of each.", "Phillip Gerard: That's great. Save your gloves from the scene?", "Sara: Eight pair in the evidence room, in a sealed envelope.", "(SARA nods.)", "Phillip Gerard: Terrific. DA just provided me with copies of pictures of the victim's bra.", "(PHILLIP GERARD holds out a file folder to GRISSOM. GRISSOM takes it. He opens it and replies.)", "Grissom: Well, we already know the bra was moved. Sara filed a supplemental report to that effect.", "Phillip Gerard: I know. I wish she'd mentioned her relationship with the EMT who moved the bra.", "(Camera cuts to SARA who doesn't respond. She turns slightly toward GRISSOM. GRISSOM doesn't look at SARA, his eyes glued to PHILLIP GERARD.)", "Grissom: Relationship?", "Phillip Gerard: A Hank Peddigrew.", "(GRISSOM turns to look at SARA who catches the look and turns away to look at PHILLIP GERARD.)", "Phillip Gerard: We just interviewed him. He says he thanked her for letting him move the bra back.", "(PHILLIP GERARD looks at SARA. SARA responds.)", "Sara: He was just, uh, being polite and, um, it's not a relationship. We go to movies ...", "Grissom: (interrupting) Doc? Why don't you and I go to my office. We can talk there.", "Phillip Gerard: Thank you.", "(PHILLIP GERARD turns to leave the room. GRISSOM walks around SARA and the table to follow. On his way out, GRISSOM stops and turns around to look at SARA.)", "Sara: (subdued) I'll get the blood swatches to DNA identify any additional donors on the sheet.", "(GRISSOM closes his mouth and doesn't say anything. He turns and leaves the room. Camera lingers on SARA.)", "[SCENE_BREAK]", "[INT. CSI - BREAK ROOM -- DAY]", "Paula Francis: When asked about the murder of Kim Hsu a spokesman for Tom Haviland says he sends his condolences to the Hsu family. Certainly, this is an event hat he won't soon forget and neither will the resort where the grisly crime played out. Now it's up to prosecutors ...", "(CATHERINE sits at the break room table looking through some papers. The television is on. GRISSOM walks in.)", "Grissom: Catherine?", "(Behind her GRISSOM opens the refrigerator door and pulls out a bottle of water.)", "Catherine: Marjorie's requesting copies of CSI's proficiency test records, by midnight.", "Grissom: So relax. If any of us had failed the yearly proficiency test, we wouldn't be here.", "(GRISSOM takes a sip of water and leans against the counter. CATHERINE sighs and shakes her head.)", "Catherine: You completely forget, don't you? My test is on appeal.", "Grissom: Oh, right.", "Catherine: Board said I was wrong on one question. I said the question was ambiguous. They're going to rule my way, but not before the prelim.", "(CATHERINE sighs again. She turns back to her papers.)", "Catherine: (softly) Just trying to rattle me.", "Grissom: Is it working?", "(CATHERINE puts her paper down, annoyed.)", "Catherine: Maybe I should just take a page out of your book. If I don't collect or analyze anything I don't have to testify. Of course, it helps to be boss. Very politic. Ecklie must be rubbing off on you.", "(GRISSOM puts the bottle down on the counter.)", "Grissom: Yeah, that's it. Ecklie.", "(GRISSOM leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - DAY -- CONTINUOUS]", "(WARRICK walks down the hallway toward GRISSOM. He's holding some papers, an envelope and looking very unhappy. He sees GRISSOM and turns around to walk with GRISSOM in the direction he just came from.)", "Warrick: I just got served.", "(WARRICK hands the papers to GRISSOM.)", "Warrick: Movie star's lawyer wants the shirt that I wore to the crime scene.", "Grissom: So give it to him.", "Warrick: I had to throw it out.", "Grissom: Why?", "Warrick: It was covered in the blood from the accident victim.", "(GRISSOM and WARRICK stop walking.)", "Grissom: Well, you have to find it; otherwise, it'll look like you've got something to hide.", "Warrick: Oh, CSI's on trial now?", "Grissom: CSI's always on trial, Warrick; you know this. Burden of proof is on us.", "(GRISSOM hands the papers back to WARRICK and leaves. WARRICK sighs.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VIDEO LAB - DAY -- CONTINUOUS]", "(NICK is still working on the camera surveillance tapes over the crap table. Time counter on screen is at 12:15:01 AM. Standing behind him is PHILLIP GERARD. GRISSOM walks into the lab.)", "Phillip Gerard: I want to compliment you on how quickly you've organized the video forensics.", "(Though he doesn't say anything, GRISSOM seems pleased with the comment.)", "(Camera cuts back to the monitor. Time counter on screen indicates 1:31:07 AM. At the crap table, RAYMOND LESTER is shown talking on his cell phone.)", "(Camera on monitor cuts to RAYMOND LESTER exiting the elevator to the lobby carrying a golf club set over his left shoulder while dragging a hard golf club shell bag with his right hand. Time counter on screen indicates 2:21:00 AM.)", "Phillip Gerard: Raymond.", "Grissom: Nicky, wait a minute. Go back. Zoom in on the club bag. He's jammed a lot more clubs into that bag. Without those clubs, the hard-shell bag could be big enough to fit a body.", "Nick: Yeah, Tonya's. Looks like Raymond was disposing of the bodies for your client. You think he ran out of time before he could move Kim's out?", "(Monitor cuts to RAYMOND LESTER passing the front lobby desk with the two golf bags.)", "Phillip Gerard: Or Ray was disposing of them for himself. You've just supplied Tom Haviland with reasonable doubt.", "Nick: No. What I showed you on video is Ray in the casino during the time the murders were committed.", "(For emphasis, NICK, rewinds the video back to the clip of the casino with RAYMOND LESTER at the crap table while talking on his cell phone. A blinking red frame is around RAYMOND LESTER for easy identification. Time stamp on the monitor reads 1:31:12 AM.)", "Phillip Gerard: His zeal is clouding his judgment. It's not what did happen; it's what the jury will believe could have happened.", "(NICK doesn't respond. Neither does GRISSOM. Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "(The hard shell golf bag sits on the interrogation table. GRISSOM looks at it. RAYMOND LESTER and his LAWYER stand off to the side. BRASS is also in the room.)", "Grissom: Very considerate of you to bring this golf bag in without insisting on a warrant.", "Raymond Lester's Lawyer: Ray wants to help the investigation in any way he can.", "Brass: Tell me, counselor does Tom Haviland pay in a timely fashion?", "Raymond Lester's Lawyer: Ray and Tom are friends but we're just looking for the truth here, aren't we?", "Brass: Great. Then you can confirm what we already know from Ray's cell phone records: Tom Haviland called you to his suite at 1:31 A.M. To help him clean up his double murder.", "Raymond Lester: No, he called so I could hear him with the girls. He does that sometimes.", "(GRISSOM examines the case while BRASS questions RAYMOND LESTER.)", "Brass: Okay. We have a surveillance tape of you carrying what appears to be one of the bodies out of the casino an hour later in a golf bag identical to this one. Here are some photos from that tape.", "(BRASS puts a file folder of photos on the table. RAYMOND LESTER'S LAWYER picks it up. Both he and RAYMOND LESTER look through the file folder.)", "Raymond Lester's Lawyer: He was taking Mr. Haviland's clubs to the airport.", "Brass: He's dumping a body. And as we speak the police department is out looking for it.", "(GRISSOM opens the golf bag and notices the smell immediately.)", "Grissom: Solvent. This bag's just been cleaned.", "(GRISSOM turns to look at RAYMOND LESTER.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(NICK turns off the lights and puts on his protective eye wear. GRISSOM starts spraying luminol inside the bag. PHILLIP GERARD stands to the side observing.)", "(The golf bag glows.)", "Nick: Uh, Ray was caddying a dead body. We show him this he'll rat out Tommy Terrific in a heartbeat.", "(Neither PHILLIP GERARD or GRISSOM respond. They all watch as the glow moves across the interior. This isn't good.)", "Nick: Uh-oh.", "Phillip Gerard: Glow's too uniform.", "Grissom: The luminol's cross-reacting with the bleach.", "Nick: I don't believe this.", "Phillip Gerard: Any blood evidence in there has been destroyed.", "Nick: This is B.S., man. Total B.S. This guy, Tom Haviland's, got blood all over his hands ...", "Grissom: (warning) Nick ...", "Nick: ... and friends to lie for him! This is B.S.!", "Grissom: (firmly) Nick! Go get a soda.", "(NICK takes off his goggles, puts it on the table and leaves the room. PHILLIP GERARD takes a step toward GRISSOM.)", "Phillip Gerard: Marjorie's going to take him to the cleaners.", "(PHILLIP GERARD leaves the room.)", "(GRISSOM'S had enough. He takes off his latex gloves and follows PHILLIP GERARD out the room.)", "[SCENE_BREAK]", "[INT. HALLWAY OUTSIDE INTERROGATION ROOM -- DAY -- CONTINUOUS]", "(Out in the hallway, GRISSOM catches up to PHILLIP GERARD.)", "Grissom: Hey. What happened to you? You were a pioneer in forensic science. How many bad guys did you put away in Hennepin County?", "Phillip Gerard: My share. How many innocent men have been locked away since then because of sloppy investigating shortcut forensics?", "Grissom: You look for mistakes in any lab you'll find them.", "Phillip Gerard: I shouldn't be able to, Gil.", "Grissom: Humans are fallible.", "Phillip Gerard: Not this fallible -- compromised blood, sweetheart deals ...", "Grissom: No, no, no, no. You're subverting good evidence. These are good people.", "Phillip Gerard: \"The Accused is entitled to the best defense possible.\"", "Grissom: The Accused is entitled, yeah. He's a movie star, that's why he's entitled. He's killed two women. You know it. But you're willing to decimate these CSIs so that you can spoon-feed a jury into letting him walk.", "Phillip Gerard: A jury believes me because of my reputation just like they do you.", "Grissom: The difference is, Philip, I get the same paycheck regardless of what I testify to.", "(PHILLIP GERARD sighs.)", "Phillip Gerard: I'm saying this as a friend. For the reputation of CSI, tell the DA to drop this, re-file down the road.", "(GRISSOM nods at his former mentor, truly seeing him for the first time.)", "Grissom: What about the victims' families? Who's their friend?", "(PHILLIP GERARD doesn't respond.)", "Grissom: My guys will see you in court.", "(PHILLIP GERARD leaves GRISSOM standing in the hallway. Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(Inside the DNA Lab, the usually boisterous GREG SANDERS is dressed completely covered. From the head wear to the protective mask. He isn't taking any chances.)", "(GREG looks up from the test results on the table back into the microscope. He picks up the paper and heads out the door. He crosses the hallway and heads straight for GRISSOM'S office where GRISSOM sits behind his desk.)", "[INT. CSI - GRISSOM'S OFFICE - DAY - CONTINUOUS]", "Greg: Psst, Grissom. (speaking quietly): We got a development. I went over those swatches that Sara gave me from the bed sheet.", "Grissom: Are you whispering?", "Greg: I don't want that Gerard guy to hear me.", "Grissom: Well, he's not here, so stop it.", "(SARA appears next to GRISSOM'S desk. She looks from GREG to GRISSOM.)", "Sara: What's, uh, going on?", "(GREG straightens.)", "Greg: Well, um ... I was testing those swatches that Sara gave me, and three of the swatches came up Kim. The other four, with the spatter amelogenin results are XY.", "Grissom: Blood's from a male?", "Sara: Tom Haviland's.", "Greg: No. And not his friend Ray's, either.", "Sara: There was another guy in that room. That's, that's great. The defense has us moving so fast we can't make sense of our own evidence.", "(GRISSOM holds up a hand.)", "Grissom: That's what they want.", "Sara: Should we call the DA and let him know?", "Grissom: Tell him what? That we might have found a motive for the movie star?", "Sara: Motive. What are you talking about?", "(Before GRISSOM can respond, NICK interrupts from the doorway.)", "Nick: Hey, Grissom. Brass just called. They found the other victim, Tonya. Briarway golf course.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[EXT. BRIARWAY GOLF COURSE -- DAY]", "(Buried in a sand trap, NICK, along with another Forensic Member slowly digs up the body. Currently, her face is exposed. It's the woman in red from the teaser.)", "Brass: (o.s.) Matches the description of Tonya. Maintenance guy found her a half an hour ago. The golf pro says they've closed the back nine down for months -- improvements.", "(The camera pans back giving a top view of the scene. BRASS, GRISSOM and PHILLIP GERARD observe from the side.)", "Brass: Did, uh, Tom Haviland ever play a boxer? Girl's face looks like hamburger meat.", "Grissom: Looks like uncontrollable rage to me.", "Nick: Grissom, you might want to come down here.", "(GRISSOM doesn't move from the side.)", "Grissom: Just say it, Nick.", "Nick: Beans and franks. Tonya's a man.", "Grissom: Looks like that old Hollywood saying: \"Never get caught with a dead girl or a live boy.\" So, let's see Tom's in bed with what he thinks are two girls. He reaches down on one, becomes very confused.", "(Quick flashback to the hotel bedroom. TOM HAVILAND kissing the woman in red. His hand moves on the woman's body. TOM HAVILAND looks up, confused. White flash to end of flashback. Resume to present.)", "Grissom: Most guys would have just cleared the room and gargled with whiskey. But movie boy, who brags about doing his own stunts, couldn't take the thought of having a man in his bed so he freaked out.", "(Quick Flashback to hotel bedroom. Sounds of a man throwing punches. TOM HAVILAND striking the woman in red on the bed, his chest spattered with blood. Flash to white as TOM HAVILAND doesn't stop and continues to throw punches in fast forward. White flash to end of flashback. Resume to present.)", "(GRISSOM glances over at PHILLIP GERARD.)", "Phillip Gerard: I'm just here to observe CSI's investigating techniques.", "Grissom: Well, Nick is the Primary on this.", "Phillip Gerard: You're not running evidence. Or have you changed your mind?", "(GRISSOM doesn't respond.)", "Phillip Gerard: By the way, tell your mother I say 'Hello' next time you talk. I was so impressed that night we all had dinner. The sign language ... how you interpreted for her. Fluid, didn't miss a beat.", "(Somehow, this doesn't surprise GRISSOM; it only annoys him.)", "Grissom: What'd you do, subpoena my doctor?", "Phillip Gerard: Knowing your genetic predisposition for hearing loss?", "Grissom: You've become a bottom feeder, Philip.", "Phillip Gerard: Your work is dependent upon your five senses. The fact that you're losing one of yours wouldn't bode well for any evidence you introduced.", "Grissom: You know, all those years I worked for you, you never got to know me at all, did you?", "(GRISSOM takes a few steps away from PHILLIP GERARD. Camera cuts to NICK continuing to process the scene with another Forensic member.)", "[SCENE_BREAK]", "[EXT. BRIARWAY GOLF COURSE - DAY -- CONTINUOUS]", "(GRISSOM walks away from the scene. He crosses over a white wooden bridge. His dark glasses are off and he's absently wiping them. Normal sounds associated with the outdoors can be heard as well as birds chirping and GRISSOM walking across the wooden bridge.)", "(Camera changes to slow motion and the sounds are no longer heard. As he walks, GRISSOM notices a group of golfers not too far away from him. The woman swings. He tilts his head as we and he can only hear muffled sounds as they come and go.)", "(Normal camera speed resumes and we hear the woman laugh and the man comment.)", "Man: (o.s.) That shot was great.", "(GRISSOM puts his dark glasses on and walks out of frame.)", "[SCENE_BREAK]", "[INT. CSI - TEMPORARY EVIDENCE VAULT -- DAY]", "(GRISSOM holds a digital camera to a wrist watch band. A close up of it's pattern appearing on the monitor in front of him. He visually compares the pattern to a photograph on the table of the unknown blood pattern found on bloodied bed sheet. It doesn't look like a match.)", "(SARA appears. She folds her arms against her chest and leans against the doorway behind GRISSOM.)", "Sara: I've looked at everything in that hotel room. Nothing matches that pattern.", "(Without looking up at her, GRISSOM responds.)", "Grissom: What about the booking photos of Tom? Were you able to make comparisons off those?", "Sara: I told Brass that I needed them; he hasn't sent me anything yet.", "(GRISSOM sighs and lifts his head up, his back still to SARA.)", "Grissom: This case is a moving target.", "(GRISSOM turns around.)", "Grissom: I'll get ahold of Brass.", "(GRISSOM notices that SARA is dressed for her court appearance.)", "Grissom: You look nice.", "Sara: Thanks.", "(SARA pauses and doesn't smile at the compliment. Her thoughts turned to the upcoming proceedings.)", "Sara: Wish me luck.", "(SARA turns to leave.)", "Grissom: Sara?", "(She stops and turns back to look at GRISSOM.)", "Grissom: Whatever happens in court, it's not because you're seeing this guy.", "(SARA blinks. She doesn't respond.)", "Grissom: You deserve to have a life.", "(GRISSOM turns back to his work. Without a word, SARA leaves. Camera cuts back to GRISSOM as he watches SARA leave, her footsteps fading down the hallway. He turns back to look at the photograph of the unknown blood pattern.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(CATHERINE accompanies NICK down the hallway. She gives him last minute advice. NICK adjusts his tie and smiles.)", "Catherine: Remember, if you get stuck just maintain the same posture. If there's any adjustments, you're seen as squirming. It's going to make you look shifty.", "Nick: Thanks, Cath. You know, I've done this before.", "Catherine: Well, I've done it longer.", "Nick: Yeah.", "(NICK continues down the hallway. CATHERINE turns to look into the locker room where WARRICK is going through the trash to look for his discarded shirt.)", "Catherine: Hey, any luck?", "Warrick: I've been through every dumpster on these premises.", "(WARRICK takes off his latex glove and tosses it.)", "Catherine: Better keep looking.", "(WARRICK sighs.)", "[SCENE_BREAK]", "[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]", "(The door to the courtroom opens and the camera moves inside from the back of the room in slow motion. The courtroom is full with observers. Several of them turn around to see who's entering the courtroom.)", "Bailiff: (V.O.) In the cause now pending before this court, do you swear to tell the truth, the whole truth and nothing but the truth?", "(Cut to: Resume normal camera speed. NICK pushes the barrister door open and crosses toward the witness stand.)", "(Cut to: NICK standing in the witness stand with his right hand raised.)", "Nick: I do.", "(NICK sits down.)", "(Camera cuts to TOM HAVILAND, then to MARJORIE WESCOTT as she whispers something to PHILLIP GERARD. She absently points to NICK and continues to whisper to GERARD. NICK waits.)", "(MARJORIE WESCOTT stands.)", "Marjorie Wescott: Please state and spell your name for the record.", "Nick: (almost inaudible) Nicholas Stokes. S-T-O-K-E-S.", "Judge Peter Croft: (to the mike) Pull it closer, Mr. Stokes.", "(NICK pulls the mike closer and adjusts it.)", "Nick: Oh. Sorry. I'm used to the old ones.", "(He clears his throat and continues.)", "Nick: Nicholas Stokes.", "[SCENE_BREAK]", "[INT. HALLWAY OUTSIDE COURTROOM - DAY]", "(CATHERINE waits in the hallway outside the courtroom. NICK bursts out of the courtroom.)", "Nick: (softly) Damn!", "Catherine: What?", "Nick: Damn, damn, damn. I blew it. I forgot to put case identifiers on my dice photos.", "(Upset, NICK sits down on the bench outside the courtroom doors.)", "Catherine: Date, time and file number?", "Nick: Yeah.", "(CATHERINE looks up and takes a deep breath. She doesn't say anything.)", "Nick: Don't look at me that way, okay? I wrote it down on the evidence envelope. I had to move fast. The casino manager wanted us out of there.", "Catherine: The dice places Tom at the murder. Victim's blood mixed with his saliva.", "(NICK nods his head at his mistake. He puts his head down in his hand and covers his eyes. The poor guy is really not happy with this.)", "(Quick flash back to the courtroom.)", "Marjorie Wescott: How can we be confident in your collection if you can't be confident in your own documentation?", "[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]", "(NICK looks down at a set of four to five photographs of the dice that were tested. Each dice shows the same five dots face up. NICK looks down at the photos. He glances up at MARJORIE WESCOTT. The camera adjusts to show PHILLIP GERARD sitting at the defense table watching NICK struggle.)", "(NICK looks down at the photographs of the dice in front of him. He chooses the fourth photo from the right.)", "Nick: This is it.", "Marjorie Wescott: You're sure you want to go with that one?", "(NICK hesitates and glances back down at the photos. He nods his head.)", "Nick: This is the one.", "(Flash to white. End of flashback. Resume to NICK.)", "Nick: I was sweating bullets looking at those photos.", "Catherine: Did the judge exclude the dice?", "Nick: No. No, just my credibility.", "(NICK looks up at CATHERINE and nods his head. The courtroom doors open and the Bailiff exits. He looks around and calls out.)", "Bailiff: Warrick Brown?", "Nick: Yeah, he's, uh, he's in the men's room.", "Catherine: We'll send him right in.", "Bailiff: Two minutes grace, the court moves on.", "[SCENE_BREAK]", "[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]", "Marjorie Wescott: You're telling us the shirt just disappeared?", "(WARRICK sits on the stand. The stenographer dictating the proceedings.)", "Warrick: It would only prove that I got blood on my shirt from an accident victim. That blood never came in contact with the blood evidence that I was transporting.", "Marjorie Wescott: But we can't verify that now, can we?", "(WARRICK doesn't respond.)", "Marjorie Wescott: Do you still have a gambling habit?", "Warrick: I don't see what that has to do with this case.", "Marjorie Wescott: It goes to the character of the witness, your honor.", "Judge Peter Croft: (o.s.) I'll allow it.", "(The camera cuts to PHILLIP GERARD as he watches WARRICK on the stand.)", "Marjorie Wescott: For the record are you addicted to gambling?", "(Camera holds on WARRICK.)", "[SCENE_BREAK]", "[INT. HALLWAY OUTSIDE COURTROOM - DAY]", "(NICK waits in the hallway outside the courtroom. WARRICK bursts out of the courtroom.)", "Warrick: (softly) Damn! Why didn't I see that coming? Gambling?", "Nick: Hey, we're all in Nevada. It's legal; don't worry about it.", "Warrick: Legal doesn't matter in there. You know the judge is going to throw out our blood evidence, right?", "Nick: Truth is, it is compromised, Warrick.", "Warrick: The blood is fine. It's their methods that are dirty.", "(Quick flashback to the courtroom. Camera close up of WARRICK.", "Marjorie Wescott: (o.s.) For the record are you addicted to gambling?", "(WARRICK takes a moment before answering.)", "Warrick: I am.", "(Flash to white. End of flashback. Resume to WARRICK. He shakes his head.)", "Warrick: It's a low blow. Low blow.", "(WARRICK walks away, disgusted. Camera holds on NICK. NICK turns around to watch WARRICK walk away.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Camera close up of shuffling photographs. The first of a bare chest, the second, the back of a left hand. The next photo is the front palm of a right hand. The camera slowly rises to show GRISSOM perusing through the photos of TOM HAVILAND.)", "Grissom: Your guys didn't get any extended body photos?", "Brass: Chest, hands, arms right there.", "Grissom: I need lower extremities for comparison.", "Brass: Hey, Marjorie Wescott blew in here and shut us down. She said if we wanted full body shots we were going to have to get a court order. So the D.A.'S working on it.", "Grissom: When, between testimony?", "Brass: No kidding. Meanwhile, we're presenting half a case to a judge.", "(Disgusted, GRISSOM sighs, puts the photos aside and walks away.)", "[SCENE_BREAK]", "[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]", "(SARA is on the stand.)", "Marjorie Wescott: Well, it certainly looks posed.", "(SARA doesn't respond. She glances down at the photograph in front of her. It's the photograph of the bra.)", "Marjorie Wescott: You date -- You and Hank. You share a subtle communication. Did he move the bra to where you might have wanted it?", "(SARA responds confidently.)", "Sara: I didn't want it anywhere. I collect evidence without emotion.", "Marjorie Wescott: You do get emotionally involved, though with the men on your cases. Hank Peddigrew isn't the first time.", "(Camera cuts to PHILLIP GERARD who watches SARA on the stand.)", "Sara: Excuse me?", "Marjorie Wescott: A murder investigation at the residence of one Charles Renteria*. Eyewitness stated he saw you and your supervisor Gil Grissom standing alone outside and ... you were touching him in a romantic gesture.", "[*Note: This case mention is referencing \"Scuba Doobie-Doo\" (2X05) regarding Clifford Renteria.]", "Sara: I brushed chalk from his face.", "Marjorie Wescott: Is that what they're calling it now?", "District Attorney: Objection, your honor.", "Sara: (answers) Drywall dust. We were looking for a body.", "Marjorie Wescott: It's a fair question, your honor. Just how far will Ms. Sidle go on the evidence to please her boss, Gil Grissom, whether he returns her attentions or not?", "(SARA doesn't respond. She glances at PHILLIP GERARD who returns the look.)", "[SCENE_BREAK]", "[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]", "(On the courtroom monitor, the image of a large footprint with orange identifying markers is on screen. The camera sweeps to the stand to show CATHERINE peering over to look at the courtroom monitor.)", "Marjorie Wescott: (o.s.) You have a Bachelor of Science from West Las Vegas University, am I right?", "Catherine: Night school, yes.", "Marjorie Wescott: And prior to joining CSI, you worked as an exotic dancer?", "Catherine: That's correct.", "Marjorie Wescott: Took your clothes off for a living.", "(CATHERINE doesn't waiver. She answers the comment confidently.)", "Catherine: For a very good living.", "Marjorie Wescott: No doubt, Ms. Willows. Now, you recently failed your yearly proficiency test, didn't you?", "Catherine: Technically, yes, but it's on appeal. I'm confident that I will prevail.", "Marjorie Wescott: Did you treat this footprint evidence the same way? There's the truth and then there's your interpretation?", "Catherine: No.", "Marjorie Wescott: But you're appealing your test.", "(CATHERINE doesn't respond to the comment.)", "Marjorie Wescott: Actions speak louder than words.", "(CATHERINE slowly and casually turns to look at the JUDGE. She turns back.)", "Marjorie Wescott: (o.s.) I have no further questions, your honor. We are through with this witness.", "(CATHERINE isn't pleased by what she saw in the JUDGE'S look.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE walks determinedly down the hallway. She's unhappy with her day on the stand. She sees GRISSOM rapidly leafing through a stack of photographs. He glances up at CATHERINE then turns back to the photos.)", "Catherine: Grissom ... they're beating our heads in. Judge is going to dismiss -- you can feel it.", "Grissom: Don't get ahead of yourself.", "Catherine: (frustrated) I'm not ahead of myself. I'm up there front and center taking hits along with the rest of CSI. You know, you've turned into a really lousy leader.", "(GRISSOM'S head shoots up and he looks at CATHERINE as she continues on without missing a beat.)", "Catherine: I need your help, and you're on the sidelines.", "(GRISSOM doesn't respond. CATHERINE stops talking. She looks at GRISSOM for some response as he continues to look at her. When he finally does, he throws her a curve.)", "Grissom: Would you know where I could get pictures of Tom Haviland? Full body shots. Like, uh ... an internet site ... or his fan club?", "(As GRISSOM speaks, CATHERINE looks up at him. At first a little annoyed that he doesn't show concern over the case, then intrigued at the possibilities of the question. She glances down and notices the photographs in GRISSOM'S hands. Something's afoot. Camera holds on Catherine's look.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- DAY]", "(GRISSOM, CATHERINE and GREG leaf through a table full of tabloid magazines. They are all looking for photographs of TOM HAVILAND.)", "Greg: Ah, I hid all these when I heard Gerard would be snooping around.", "(GRISSOM tosses a \"The National Informer\" magazine on the table and reaches for another issue of the same tabloid. Each magazine either has a picture of TOM HAVILAND or some mention of the movie star's name on its covers.)", "Catherine: (reading) Tom Haviland ... \"away from the set, between films and ... in paradise.\"", "(CATHERINE puts the \"National Informer\" tabloid she was reading through down flat on the table for GRISSOM to examine. GRISSOM leans in and looks at the pictures.)", "Grissom: Paparazzi; long lens.", "(GRISSOM reaches for the magnifying glass and examines up close a particular photograph of TOM HAVILAND with a dark-haired woman on the beach. CATHERINE leans in. GRISSOM sees it and straightens. He's found what he's looking for. His mind rapidly making connections. CATHERINE looks up at GRISSOM with a glint of anticipation on her face.)", "(GRISSOM turns to CATHERINE.)", "Grissom: I'm going to go to court.", "[SCENE_BREAK]", "[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING - DAY]", "(On a large monitor set up in the courtroom, the image of the full bloodied bed sheet from the crime scene is up. The monitor is hooked up to a laptop in front of GRISSOM who is now on the stand.)", "District Attorney: The defendant's statement is that when he left the room the victims were both alive and well. Now, does that statement support your new evidence?", "Grissom: No, it does not.", "(A small black frame appears around a single blood pattern on the sheet. The black framed blood pattern is enlarged full screen.)", "Grissom: This unique blood pattern which I'm highlighting and resizing for the court's clarification, was made by the defendant during the attack.", "(Quick flashback to TOM HAVILAND striking KIM HSU. She falls to the sheet. TOM HAVILAND continues to hit the woman. Camera view under the bed sheet as something stamps the blood pattern on the sheet from above. Flash to white. End of flashback. Resume to present.)", "District Attorney: Okay, thank you, Dr. Grissom. Nothing further, your honor.", "(The District Attorney sits down.)", "(PHILLIP GERARD leans toward MARJORIE WESCOTT and whispers something into her ear. From the stand, GRISSOM takes note of this.)", "Phillip Gerard: (whispers) Speak in a very soft voice, okay?", "(PHILLIP GERARD sits back in his seat and MARJORIE WESCOTT nods slightly. She looks at GRISSOM and stands. The camera passes PHILLIP GERARD as he looks over at GRISSOM.)", "(MARJORIE WESCOTT looks at GRISSOM and nods as she asks her first question.)", "Marjorie Wescott: (low, almost inaudible): Unique pattern. By what standard are you basing this \"match\"?", "(As soon as she opens her mouth to speak, something is terribly wrong. We can't hear her. The camera cuts to GRISSOM whom we realize definitely cannot and did not hear her question.)", "(GRISSOM remains silent. The camera cuts to PHILLIP GERARD who watches GRISSOM closely.)", "(MARJORIE WESCOTT nods that she's finished asking her question and glances at JUDGE PETER CROFT.)", "Judge Peter Croft: Dr. Grissom, please answer the question.", "(GRISSOM can't answer the question, because he hasn't heard the question. The camera cuts to the CSI Team watching and waiting for his response.)", "Grissom: Could she repeat the question, your honor?", "(The camera once again cuts to PHILLIP GERARD who continues to look unsurprisingly at GRISSOM.)", "Judge Peter Croft: Ms. Wescott?", "(MARJORIE WESCOTT repeats the question once more. Again, we can barely hear her. We know that GRISSOM doesn't hear her at all.)", "Marjorie Wescott: (almost inaudible) By what standard are you basing this \"match\"?", "(GRISSOM watches closely. He almost has it and boldly asks her again to repeat the question.)", "Grissom: One more time, please.", "(Camera cuts to the members of CSI sitting in the audience. First to SARA as a look of concern crosses her face. CATHERINE doesn't take her eyes off of GRISSOM.)", "Marjorie Wescott: (Barely audible) By what standard are you basing this \"match\"?", "(Extreme camera close up of MARJORIE WESCOTT'S lips as she speaks. Now, though we can just barely make out the words as she says them, we definitely know what she's asking. GRISSOM has the question and answers it confidently.)", "Grissom: On visual comparison.", "(Camera immediately cuts to PHILLIP GERARD.)", "Grissom: The Accused has a distinct waffle-like scar characterized by diamond-shaped patterns on his left knee.", "(On the courtroom monitor, the photograph from \"The National Informer\" appears on screen. TOM HAVILAND and an unknown dark-haired woman are sitting on the beach. TOM HAVILAND'S knee is bent exposing an injury. The monitor does a close up on TOM HAVILAND'S scar.)", "Marjorie Wescott: So, Tom has a scar on his leg. Whoop-de-do. There's no forensic database for scars. It's not a discipline.", "Grissom: Yes, but it's unique to The Accused. He says he got it in a stunt on his last film.", "(GRISSOM picks up TOM HAVILAND'S statement from the file in front of him.)", "Grissom: According to Mr. Haviland in his statement and I quote, \"It happened when I was rappelling down the Alps firing an AK-47 with my free hand.\"", "(A soft rumble of laughter ripples through the courtroom's audience. NICK and CATHERINE both smile and laugh softly.)", "Grissom: But he actually got it tripping on his way into the wardrobe trailer.", "Marjorie Wescott: Objection. There's no question to the witness here, your honor.", "Grissom: Your honor, it's a preliminary hearing. May I?", "Judge Peter Croft: The witness may proceed.", "(MARJORIE WESCOTT sighs.)", "Grissom: The production report by the Unit Production Manager on the film that day and I quote, \"Tom Haviland slipped on wardrobe trailer number thirty-eight, step number two. He sustained cuts to his knee and was bandaged by the company medic. The production was shut down for half a day.\" The company medic documented it with Polaroid photos and I have managed to acquire step number two ... from trailer thirty-eight.", "(GRISSOM clicks on the laptop keyboard.)", "Grissom: I think these graphics will help explain my findings.", "(On the courtroom monitor, an extreme close up of the trailer step pattern appears on screen.)", "Grissom: The Step.", "(The full screen image of the trailer step reduces to half-size on the left of the screen with the image of the scar pattern of TOM HAVILAND'S knee appearing on the right half of the monitor.)", "Grissom: The Scar.", "(The image of the scar pattern is watermarked and layered over the image of the trailer step on the right. Digital identifiers appear on screen and mark the matching points on both scar and trailer step. It's a perfect match.)", "Grissom: The Sheet.", "(The blood pattern found on the bloodied bed sheet appears on the right half of the screen. The image of the blood pattern is watermarked and superimposed over the pre-existing image of the trailer step and scar pattern. Digital identifiers appear on screen and mark additional matching points on the cumulative image. There's no denying the evidence. From trailer step to The Accused's scar to the bloodied sheet. It's a perfect match.)", "(PHILLIP GERARD looks at the evidence on the monitor. He blinks and raises his head slightly. JUDGE PETER CROFT glances from the monitor to the defense. MARJORIE WESCOTT turns away from the monitor and looks back at the defense table. TOM HAVILAND swallows. Camera cuts to NICK who looks very pleased with the evidence.)", "Marjorie Wescott: No further questions, your honor.", "Judge Peter Croft: You may be excused, Dr. Grissom.", "(GRISSOM closes the file folder in front of him and stands. He picks up the folder and leaves the stand. The camera follows him as he makes his way through the courtroom. In the background, court proceeds.)", "Judge Peter Croft: (o.s.) I'm binding this case over for trial sixty days from today.", "Marjorie Wescott: (o.s.) We'd like a continuance, your honor.", "Judge Peter Croft: (o.s.) I'll take it under submission.", "(As GRISSOM passes the defense table, PHILLIP GERARD stops him.)", "Phillip Gerard: Gil ... good work.", "Grissom: My Team did it, Philip. I got good CSI's.", "(As he smiles and speaks, GRISSOM signs the following to PHILLIP GERARD.)", "Grissom: Oh, and, uh, my mother says hello.", "(Without a backward glance to his former mentor, GRISSOM looks forward at and proceeds toward his CSI Team sitting in their seats waiting for him. They all stand and quietly slip into the aisle behind him as he walks past them. All of them leaving the courtroom together. In the background, the proceedings continue.)", "Judge Peter Croft: (o.s.) Bailiff?", "Marjorie Wescott: (o.s.) I'd like to make a motion for a bail hearing, your honor.", "Judge Peter Croft: (o.s.) It's a double murder, Counselor. Request for bail is denied.", "(GRISSOM and the CSI Team pause at the doorway. They turn around to look back at the courtroom just in time to hear the JUDGE and to see the Bailiff preparing to handcuff The Accused.)", "Judge Peter Croft: The Accused is remanded into custody of county jail.", "(The gavel sounds the JUDGE'S decision with finality. The CSI Team smiles and one after another they proudly exit the courtroom together. With a smile on his face, GRISSOM follows them out.)" ]

[ "Grissom and Catherine investigate the murder of a wealthy couple who are found outside of their home, which was up for sale. Meanwhile, Sara probes the death of a cheerleader who is found eviscerated on a soccer field, her organs having been ingested by her killer." ]

[ "DUE TO ADULT CONTENT VIEWER DISCRETION IS ADVISED.", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[EXT. LAS VEGAS RESIDENTIAL (STOCK) - DAY]", "FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. LAS VEGAS RESIDENTIAL HOME -- DAY]", "(Camera focuses on a red, white & black \"For Sale\" sign for: \"AUGIE HEITZ Realtor", "Another fine home brought to you by Augie Heitz\")", "(A man, PETER BERGLUND, and a woman, JANINE WOOD, walk up the property walkway.)", "Janine Wood: Wow, I love it already. I can't believe you're doing this.", "(They stop at the front door. PETER BERGLUND goes to the lockbox and starts to open it.)", "Janine Wood: Is that the lockbox?", "Peter Berglund: Realtor gave me the combination. He's doing a walk-through in Seven Hills.", "(JANINE WOOD smiles. PETER BERGLUND gets the lock box open and removes the lock. He looks back at JANINE WOOD and smiles.)", "Peter Berglund: Owners are out.", "(He opens the door and they walk in.)", "[INT. NEWMAN'S RESIDENCE - FOYER - DAY - CONTINUOUS]", "Janine Wood: Wow.", "(JANINE WOOD looks out at the plush living room in front of her. She's thoroughly impressed.)", "Peter Berglund: Wait till you see the master.", "(PETER BERGLUND starts to climb the stairs. JANINE WOOD turns around and playfully runs up the stairs after him.)", "[SCENE_BREAK]", "[INT. NEWMAN'S RESIDENCE -- BEDROOM - DAY -- CONTINUOUS]", "(PETER BERGLUND and JANINE WOOD enter the bedroom.)", "Janine Wood: Oh, my god. This is gorgeous. Wow. Amazing.", "(She sits down on the bed. PETER BERGLUND follows her in the bedroom and also sits down on the bed. He turns to look at her. She catches the look.)", "Janine Wood: What?", "Peter Berglund: Want to snoop around?", "(JANINE WOOD smiles at the thought.)", "(Cut to PETER BERGLUND opening a dresser drawer.)", "(Cut to JANINE WOOD trying on a scarf in the walk-in closet.)", "(Cut to PETER BERGLUND picking something out of the dresser drawer and looking at it.)", "(Cut to JANINE WOOD looking around and taking the scarf off.)", "(Cut back to PETER BERGLUND.)", "(Cut to JANINE WOOD trying on a brown hat.)", "(Cut to PETER BERGLUND in the walk-in-closer.)", "(Cut to JANINE WOOD trying on a black hat.)", "(Cut to PETER BERGLUND trying on a jacket.)", "(Cut to JANINE WOOD coming out of the closet. She's laughing.)", "Peter Berglund: Hey.", "(PETER BERGLUND straightens the jacket he's wearing. He turns to JANINE WOOD.)", "Peter Berglund: What do you think?", "Janine Wood: I don't know, yeah.", "Peter Berglund: It's nice?", "Janine Wood: Looks good.", "(PETER BERGLUND starts to kiss her. She knows what he has in mind and pushes him away.)", "Janine Wood: Cut it out. No, Seriously, I think I hear a car.", "Peter Berglund: Will you relax?", "Janine Wood: No, really.", "Peter Berglund: You're paranoid.", "(PETER BERGLUND resumes kissing her. He keeps on kissing her and backs her up toward the bed. She laughs as he pushes her onto the bed.)", "[SCENE_BREAK]", "[INT. DOWNSTAIRS FOYER - DAY]", "(JANINE WOOD walks out of the bedroom and into the hallway leading to the stairs. She's buttoning her blouse. While she walks down the stairs, PETER BERGLUND is following her. He's adjusting his pants.)", "Janine Wood: (laughing) Ooh, my god. I could get used to this place.", "(JANINE WOOD half-walks, half runs down the stairs in a playful manner. She's carrying her shoes as she goes.)", "Peter Berglund: I bet you could.", "Janine Wood: I could. You're an animal.", "Peter Berglund: The backyard is the best part of the house.", "Janine Wood: Really? Is there a jacuzzi?", "[SCENE_BREAK]", "[EXT. BACKYARD - DAY]", "(The two go out into the back yard. PETER BERGLUND walks past her and stops in front of the pool. His back is to the woman as he takes in the scenery in front of him. JANINE WOOD stops under the canopy.)", "Janine Wood: Oh, my god. Looks like something out of a magazine.", "(Something wet drips down from above and hits JANINE WOOD on the shoulder. She touches it. She looks up.)", "(Directly above her is a large patch of blood on the awning. The camera refocuses on a single drop as it falls directly toward the camera ... )", "FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. NEWMAN'S RESIDENCE -- NIGHT]", "(From the second story top view, MONICA NEWMAN lies on the canopy awning. She's dressed in her underwear and a short robe.)", "(The camera flashes several times. GRISSOM looks down on the dead body while CATHERINE continues to snap photographs of the scene below.)", "(Cut to a black screen with a white-framed photograph of the dead body. Resume to present.)", "(BRASS joins them against the railing. He holds out a framed photograph of the young dark-haired woman and an older man. They both are smiling at the camera.)", "Brass: Cal and Monica Newman. Owners of the house. My guess, second marriage.", "Catherine: 'Cause she's a babe and he's ...", "Brass: He's, uhm ... got a good sense of humor.", "(GRISSOM doesn't seem amused. BRASS returns GRISSOM'S look. CATHERINE, meanwhile, notices something on the floor of the balcony next to her. She picks it up. It's a shell casing. GRISSOM holds the flashlight on it while CATHERINE reads the etching on the bottom, \"380 AUTO WLN\".)", "Catherine: .380 auto caliber.", "(GRISSOM moves his light to the canopy below. Next to the dead body's right hand is a hand gun. He moves the light to the woman's head where the bullet wound is.)", "Grissom: Gunshot, right temple. Women don't shoot themselves in the head, do they, Catherine?", "Catherine: Well, gunshots do a number of your face, so typically, women prefer pills.", "Brass: So what are we calling this, murder, suicide, what?", "Grissom: Is the husband around?", "(GRISSOM looks at BRASS.)", "Brass: No.", "Catherine: Well, you do the math: Dead female spouse plus missing husband ... equals murder.", "HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. NEWMAN'S RESIDENCE -- NIGHT]", "(NICK cuts the canopy around MONICA NEWMAN.)", "Nick: Okay, Warrick, hit it.", "(WARRICK starts the crane support under the awning to remove the body and the canopy area that NICK cut.)", "Nick: White female, multiple bruising ... bullet hole to the temple doesn't help. .380 auto on the side.", "Warrick: Yeah, somebody man-handled her pretty good before they killed her.", "Nick: Hmm ..", "[SCENE_BREAK]", "[EXT. NEWMAN'S RESIDENCE - BACKYARD - NIGHT -- CONTINUOUS]", "(GRISSOM notices the cigarette butts in the flower pot. He looks up at the second story open window directly above it and notices the torn screen. GRISSOM picks up one of the used cigarette butts. BRASS approaches GRISSOM and notices what GRISSOM is doing.)", "Brass: Reminds me of my daughter. She used throw butts out the window, too.", "Grissom: The Newmans have kids?", "(GRISSOM starts to collect the cigarette butts in the flower bed. He puts them in a bindle.)", "Brass: A kid. Son, 15, Max Newman. He's M.I.A. like the father. The secretary said he went out for lunch and never came back. I checked the garage -- three cars. None of the hoods are hot.", "(GRISSOM tucks the bindle in his pocket and continues to look around.)", "Grissom: We're missing something.", "[SCENE_BREAK]", "[INT. NEWMAN'S RESIDENCE -- FOYER DOORWAY - NIGHT - CONTINUOUS]", "(A man is talking to an officer.)", "Augie Heitz: Grissom. A Mr. Grissom. Where would I find Mr. Grissom?", "(The officer points to GRISSOM who is standing behind the man.)", "Augie Heitz: Great, great. Thank you very much.", "(AUGIE HEITZ turns around and walks toward GRISSOM and BRASS.)", "Augie Heitz: Mr. Grissom? Hi, I'm Augie Heitz. This is my listing. Someone died, I know. It's a terrible thing. But you got people knocking down awnings stomping through the flower beds. How am I supposed to sell this house?", "Grissom: You're not. It's a crime scene.", "Brass: Mr. Heitz, you're Mr. Newman's realtor. Have you seen your client lately?", "Augie Heitz: What, you kidding? I mean, this is actually the beauty of the service I provide. My clients never have to see me. They don't even have to be home when I show their house.", "Brass: You always give out the combination to your lockboxes? It's illegal.", "Augie Heitz: It's a hot market. Um ... you know, I had a fish on the line. Potential bidding war. Look ... (he clears his throat) I only give out the combination to people that I really trust.", "(BRASS nods his head as this makes perfect sense to him. He looks over at GRISSOM who doesn't say anything.)", "[SCENE_BREAK]", "[EXT. NEWMAN'S RESIDENCE - DRIVEWAY - NIGHT -- CONTINUOUS]", "(CATHERINE is interviewing PETER BERGLUND and the WOMAN from the teaser. She's holding a bagged laptop in her arms.)", "Catherine: All right, look, I read rooms for a living. That closet was tossed. The carpet lit up. So I'm going to ask you again. What were you doing in there besides copulating?", "Peter Berglund: It was my idea.", "Catherine: Right. Well, we found this laptop on the vanity still on. You didn't play with it, too, did you?", "[SCENE_BREAK]", "[EXT. NEWMAN'S RESIDENCE - BACKYARD - POOL AREA - NIGHT -- CONTINUOUS]", "(GRISSOM shines his flashlight on the ground in front of him as he makes his way to the pool area. NICK is already at the edge of the pool. He's kneeling in front of something on the ground. It looks like something reddish mixed with something else.)", "Nick: Hey, Warrick.", "(WARRICK walks over to where NICK is. He also crouches down to look at what has NICK'S attention.)", "Warrick: Yeah.", "Nick: Check this out.", "(NICK points to the watery-looking liquid substance on the pool side.)", "Nick: It's a little thin for blood, isn't it?", "Warrick: Yeah.", "(NICK watches as WARRICK sticks his finger into the red substance.)", "Nick: What do you ...?", "(WARRICK then tastes it.)", "Warrick: Tastes like sugar.", "Grissom: Erythrosine.", "(GRISSOM stands a distance behind the two men. He has his flashlight pointed up at a hummingbird feeder hanging near the light. It has red liquid in it.)", "Grissom: Red dye number three.", "Nick: Hummingbirds do love the color red.", "Warrick: You've been watching way too much Discovery Channel. (to GRISSOM about NICK) This guy needs a girl.", "(Both WARRICK and NICK stand up.)", "Warrick: I'm going to check out the cabana.", "(WARRICK leaves. NICK continues to look at the pool side.)", "Nick: No visible footprints.", "Grissom: Doesn't mean someone wasn't out here. Grab the ALS.", "Nick: Yeah.", "(At this time, SARA arrives and walks to the pool making her way to GRISSOM. She's carrying her CSI kit. She passes NICK who is on his way to get the ALS.)", "Sara: Hey. NICK: Sara. (SARA stops in front of GRISSOM who is still kneeling by the poolside.)", "Sara: (to GRISSOM) I am so sorry.", "(GRISSOM looks at his watch.)", "Grissom: I paged you two hours ago. SARA: Right. Uh, it's my day off. I was up in Pahrump at some vineyard. You told me to get a life, remember?", "(SARA smiles at GRISSOM.. GRISSOM doesn't return the smile.)", "Grissom: Did I?", "(SARA'S smiles slowly fades. GRISSOM doesn't say anything for a moment. He pulls out his orange-tinted goggles from his kit.)", "Grissom: I'm sorry, but I needed you. Dispatch called in a 419 at Tuscadero High School. You're on your own.", "(At any other time, SARA would jump at the chance. Under these circumstances however, this doesn't please SARA the least.)", "Sara: On my own?", "(GRISSOM looks back up at SARA. Their eyes meet.)", "Grissom: Solo.", "(GRISSOM puts on his goggles intending to go back to work and effectively dismissing her. SARA stands there a moment looking at GRISSOM. She is not pleased by what she just heard.)", "Sara: See you around.", "(SARA turns and leaves. On her way out, she passes NICK who has since returned with the ALS. He watches her with envy at getting a prime assignment.)", "Nick: (to SARA) Solo?", "(SARA shrugs and doesn't say anything. Her back is the only thing we see as she walks out. NICK, in the meantime, can't believe that SARA just walked in and out with the solo assignment.)", "Nick: (to GRISSOM) So does this mean when I come in on my day off I get to work solo?", "(NICK puts his goggles on. GRISSOM points to the equipment at NICK'S feet.)", "Grissom: Process.", "(NICK turns on the ALS and starts to examine the poolside. He sees the footprints immediately.)", "Nick: Whoa. I got what looks like two sets of prints. Ballpark in a size ten from the house. And what looks like a ... size 12, possibly from the pool.", "(NICK puts the portable machine down when he reaches GRISSOM. He kneels down low.)", "Nick: There were definitely two guys here, Griss.", "Grissom: Now we just need to figure out if one of them was Mr. Newman.", "(WARRICK enters.)", "Warrick: Hey, fellas. Looks like the husband pulled a Clark Kent and left all his clothes behind. Couldn't have gone far. I got his wallet, credit card and keys.", "(WARRICK shows them the set of car keys he's holding in his hand. The camera holds close on GRISSOM. Both he and NICK stand up.)", "Warrick: You hear that? What is that?", "(As NICK and WARRICK speak, we're made aware of the sounds of water shloshing and of a generator that sounds stuck. GRISSOM looks from WARRICK to NICK as he tries to follow their conversation.)", "Nick: (o.s.) Oh, yeah, it's the pool. It's been doing it all night.", "Warrick: Sounds like it's clogged.", "(At the mention of the pool, GRISSOM'S eyes look toward it.)", "Grissom: Did someone check this pool?", "Nick: First officer said it was clear.", "(GRISSOM looks at NICK. He points back to the pool.)", "Grissom: Does that pool look clear to you?", "(NICK looks at the pool. The water looks a bit cloudy to the casual observer.)", "Nick: Uh ... no.", "(GRISSOM looks at NICK. He then turns to look at WARRICK. He points to the pool.)", "Grissom: One of you guys is going in.", "(GRISSOM leaves the two men to figure out who of the two it will be.)", "(NICK looks over at WARRICK and points. WARRICK stands across the pool staring at NICK. He's still holding the camera. WARRICK shakes his head and points back at NICK.)", "(NICK takes a deep breath and holds out his fist. They're going to decide who goes in by a brief round of rock, paper, and scissors. WARRICK understands this perfectly. He, too, also holds out his fist as they quickly decide who is going to jump into the pool.)", "(WARRICK shows rock; NICK shows scissors. WARRICK nods and points back at NICK.)", "(NICK nods.)", "Nick: (to GRISSOM) I'll go in the pool.", "(Standing at the edge of the pool, NICK takes his shirt off, tosses it to the side and slowly lowers himself into the pool.)", "(NICK takes a deep breath and goes under the water. He makes his way across the pool. The water is cloudy and he's not able to se across to the other side. He barely can see directly in front of him. He dives in deeper toward the bottom. He pushes his way across the pools length when he swims smack into CAL NEWMAN, dead in the water.)", "(NICK backs away and heads up for the surface.)", "(He breaks the surface and sees GRISSOM and WARRICK standing at the pool's edge.)", "Nick: Oh, man! Male D.B.", "[SCENE_BREAK]", "[EXT. TUSCADERO HIGH SCHOOL - FOOTBALL FIELD - NIGHT]", "(SARA and DET. LOCKWOOD make their way down from the seats and onto the field.)", "Lockwood: You have dinner yet? SARA: Yeah. Why? LOCKWOOD: You might be seeing it again. (Across the field near the end zone, the body of a woman is on the ground. There are police cars at the end of the field. DAVID PHILLIPS stands over the body.)", "Lockwood: Mandy Kirk. Seventeen.", "Sara: Seventeen.", "Lockwood: Senior. Janitor found her.", "Sara: Hi, David.", "David Phillips: Hey.", "(SARA puts her kit down. She pulls out some latex gloves and puts them on.)", "Sara: Eviscerated.", "Lockwood: Maybe a wild animal? They picked up a mountain lion last week in Henderson.", "David Phillips: Suburbs are encroaching on the hinterlands. We'll know more after the autopsy.", "Sara: It's a cheerleader.", "(SARA takes out a tweezer and pulls a piece of ribbon out from the wounds in the cheerleader's abdomen. She holds it up.)", "Sara: She had to have good lungs. How come nobody heard her scream?", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(DAVID PHILLIPS and SARA stand around the body.)", "David Phillips: Didn't have to do much of a \"Y.\" Attack did it for me.", "Sara: Died of exsanguination.", "David Phillips: Bled out. Trauma to her internal organs. Spleen, liver, heart they all sustained multiple mastications.", "Sara: Hmm. You able to isolate the species?", "David Phillip: From the tooth mark on her left ninth rib.", "(DAVID points to the area over the body. Quick CGI top view POV of the body. The camera speeds up and moves down and inward past the skin and to the rib where we can see teeth marks. Flash to white. End of CGI POV.)", "(SARA leans in closer for a better look.)", "Sara: Dog maybe? Teeth marks are too small for a mountain cat.", "David Phillips: They're human.", "(SARA looks up at DAVID.)", "Sara: You're lying.", "(DAVID looks at SARA. He points to the deceased's wounds.)", "David Phillips: You can see the bridgework on this impression of a premolar and an adjoining molar.", "Sara: Can you tell how old the attacker is?", "David Phillips: Well, I can't give you the exact age but wisdom teeth erupt between 15 and 30. And there's no evidence of a wisdom molar on this impression.", "Sara: Thanks.", "(SARA hands the file back to DAVID and turns to leave. She stops at the door.)", "David Phillips: Oh, one more thing. I found an infection in the mucus overlying the large intestine. This girl suffered from the e-coli bacteria.", "Sara: E-coli? Unsanitary conditions?", "David Phillips: Or a bad burger.", "Sara: So whoever did this to her also has e-coli.", "David Phillips: Oh, yeah. Spiked temp, vomiting, lower GI problems, the works.", "Sara: Smoking gun.", "[SCENE_BREAK]", "[EXT. NEWMAN'S RESIDENCE -- BACK YARD POOL SIDE - NIGHT]", "(NICK puts the pump tube into the pool.)", "(Cut to the fire engine out front. The Fireman lifts the lever and the pool water starts to spurt from the nozzle.)", "(Quick CGI POV to the camera moving fast through the nozzle from the fire engine pump in through the tube and out through the filter that NICK is closing. End of CGI POV. Resume to present.)", "(WARRICK is also working on another filter next to NICK who seals his own filter.)", "(Cut to a top view shot of the pool completely filled with water and the two men standing pool side.)", "(Dissolve to same shot of the pool about halfway empty and NICK standing at the pool's edge.)", "(Dissolve to same shot of the pool about a quarter filled and NICK still standing at the pool's edge.)", "(Dissolve to shot of the pool empty with the dead body exposed. NICK and WARRICK detach the suction tubes from the filters.)", "Nick: I mean, I don't get it. She's not even slated to work. She comes in on her day off and she gets to work solo.", "Warrick: You still harping on the solo thing? You know every time you work with me you learn something.", "(NICK starts to laugh.)", "Nick: Is that right?", "(Without looking up, WARRICK responds back.)", "Warrick: Yes.", "[SCENE_BREAK]", "[INT. NEWMAN RESIDENCE - FRONT FOYER - NIGHT - CONTINUOUS]", "(CATHERINE stands in the doorway barring entrance to MAX NEWMAN and JERI NEWMAN, CAL NEWMAN'S ex-wife.)", "Max Newman: I live here. Why can't I go in? I want to see my father.", "Jeri Newman: I'm Cal's ex-wife, Jeri Newman, and this is our son Max. We have the right to an answer.", "Catherine: And we have a right to protect the crime scene.", "Jeri Newman: What's going on?", "Catherine: I can't tell you anything until I get all the details. I'm sorry.", "Officer: (o.s.) Catherine? Can I have a moment please?", "(CATHERINE leaves to talk with the OFFICER.)", "Officer: We need someone to identify the body.", "(CATHERINE looks toward the two people standing in the doorway.)", "Catherine: Ms. Newman. Would you come with me, please?", "Max Newman: What about me?", "(JERI NEWMAN stops her son.)", "Jeri Newman: Uh, no, honey. You stay right here.", "(She steps into the house to follow CATHERINE.)", "[SCENE_BREAK]", "[INT. NEWMAN RESIDENCE - BACKYARD - NIGHT - CONTINUOUS]", "(GRISSOM is on the pool floor examining the dead body, collecting evidence. BRASS is standing above near the pool's edge.)", "Grissom: No skin separation. Minimal gaseous buildup. This guy's been in here under 12 hours. (BRASS looks at his watch.)", "Brass: According to his office, he left work at 1:00. It's about right.", "(GRISSOM looks at the cover near the body. He picks it up.)", "Brass: What is that, some kind of filter?", "Grissom: It's an anti-vortex filter.", "Brass: Hey, I'm from Jersey, we swim at the shore.", "Grissom: It's designed to keep his hand out of that pipe. But it's missing a few screws.", "(CATHERINE and JERI NEWMAN appear next to BRASS.)", "Catherine: Ms. Newman, is this your ex-husband?", "(JERI NEWMAN starts to cry.)", "Jeri Newman: It's Cal.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(On the large monitor, ARCHIE JOHNSON looks at photos of The Newman's residence. CATHERINE enters the lab.)", "Catherine: Virtual tour. Right on, Archie. Before and after photos of the crime scene.", "(ARCHIE smiles. CATHERINE takes a seat next to him.)", "Archie Johnson: (Imitating Elvis Presley): Thank you, thank you very much. (normal voice) It was on the hard drive of the computer you got at the crime scene. Looks like a Peter Croft sculpture.", "Catherine: You know your art. You a collector?", "Archie Johnson: What? On my salary? Guggenheim's as close as I get to something like that.", "Catherine: Oh, I haven't been yet.", "Archie Johnson: Really? Well, if you want a tour, I know a docent.", "Catherine: A docent. So, you think that's legit?", "Archie Johnson: House like this, probably not a knock-off.", "Catherine: You'd be surprised. The rich go cheap to stay rich, you know what I mean?", "Archie Johnson: Yeah. Let me show you the \"after\" photos.", "Catherine: Please.", "Archie Johnson: Same spot.", "Catherine: And, uh, what happened to the sculpture?", "Archie Johnson: Good question.", "Catherine: You saying somebody lifted it?", "Archie Johnson: Well, they don't call them open houses for nothing.", "Catherine: Put your house on the market your privacy's up for grabs, too.", "Archie Johnson: The Newmans unlocked their door to anybody with internet access.", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[EXT. SCHOOL (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. TUSCADERO HIGH SCHOOL - DAY]", "(SARA and LOCKWOOD enter the school.)", "Sara: Soccer bunnies? What are soccer bunnies?", "Lockwood: Well, each cheerleader is assigned a soccer player. (They walk up the stairs.) She's his bunny. Gives him gifts the night before the big game places his wake-up call.", "Sara: Sounds sexual.", "Lockwood: Yeah, that's what I asked the principal but he said no. He said that, uh it's all good, clean fun. (There are kids crying in the hallway.) Gifts are inspirational videos like, uh, Rocky and wake-up calls are pep talks, nothing more.", "(They pass more kids crying in the hallway.)", "Sara: Yeah, well, I'm not sure the principal's up to speed on teenagers' sexual habits.", "Lockwood: Yeah, well, victim Mandy was soccer bunny to a Chuck Darwell. And when I called him on his cell this morning he said that he hooked up with Mandy after every game except last night.", "(They stop in front of MANDY KIRK'S locker which has been turned into a make-shift mini-shrine to the cheerleader. There's a young woman putting a photograph on large pink poster that reads: \"To Mandy, the best cheerleader in heaven. Love Nicole.\")", "(In front of the locker there are candles, flowers, pedals, cards & ribbons.)", "Lockwood: Said he hadn't seen her last night.", "Sara: He in class?", "Lockwood: Hospital. Got rushed there two minutes ago.", "Sara: I bet I know why.", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Stretched out on the autopsy table is CAL NEWMAN.)", "Robbins: No surprise here. He drowned.", "Grissom: We found his right hand caught in a pool filter.", "Robbins: Lack of bruising, no bleeding wounds. Indicates his circulatory system had stopped. This was postmortem.", "(Quick CGI POV to CAL NEWMAN floating dead in the swimming pool. The suction of the pool filter drags his body down. Cut to a camera angle from inside the filter as CAL NEWMAN'S hand gets caught in the hole. Cut back to the bottom of the swimming pool as CAL NEWMAN'S entire arm gets pulled into the filter. Flash to white. Resume to present.)", "Grissom: Any significance to the marks on his chest?", "Robbins: Uh, don't know. Not a rash. Some kind of abrasion. Maybe even a friction burn. Definitely peri-mortem. X-rays reveal several broken ribs and he's got a bruise on his forehead. He could have taken a bad fall.", "Grissom: Or he could have been beaten.", "Robbins: Maybe.", "Grissom: How about the new wife?", "(GRISSOM and ROBBINS turn to the autopsy table behind them and set up next to CAL NEWMAN'S table with MONICA NEWMAN on it.)", "Robbins: No physical findings for sexual assault though I did send a kit to DNA. Looks like cause of death was a single gunshot to the head. I'll know more later.", "Grissom: You always tell me that.", "Robbins: Yes, I do. Depth of bruising gives us a timeline. Apparent thumbprint on her neck came first the, uh, prints on her hands second. Major impression on top. It's some kind of recoil bruise on her palm.", "Grissom: She didn't shoot herself.", "(Quick flashback to an unknown man forcing MONICA NEWMAN to hold the gun. The gun is cocked. MONICA NEWMAN yells. The gun is forced to her temple. Sound of gunshot as we flash to white. Resume to present.)", "Grissom: She had help.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB -- DAY]", "(MONICA NEWMAN walks to the pool.)", "Monica Newman: (on video) Of course, no house is complete without a pool. Why live in Vegas if you don't have a pool?", "(MONICA NEWMAN is wearing a bathing suit and standing in her backyard of the video to showcase her house. She smiles at the camera and steps into the pool.)", "Monica Newman: Mmm ... water's warm.", "(The camera cuts to show ARCHIE JOHNSON and NICK both watching the video.)", "Monica Newman: (o.s.) You want to come by and take a dip?", "(ARCHIE, NICK and CATHERINE are reviewing the sales video. Both ARCHIE and NICK have goofy smiles on their faces. CATHERINE isn't impressed.)", "Catherine: Quite the saleswoman. (They are all in the Audio/Visual Lab watching the sales video on the monitor.)", "Monica Newman: Come on, take a ... (The video fast forwards to the next scene where MONICA NEWMAN is wearing a short robe and is sitting on the sofa in her bedroom.)", "Monica Newman: It's got to be a fantasy of yours, huh?", "Archie: Huh, double feature.", "(MONICA NEWMAN stands up and starts to undo her robe.)", "Monica Newman: You know you want this.", "(She walks out of camera range, however she's still visible through the wall mirror. We see her back as she drops the robe.)", "Nick: Blam.", "Archie Johnson: You can say that again.", "Nick: Blam.", "Catherine: Down, boys.", "(MONICA NEWMAN walks back up to the camera.)", "Monica Newman: I probably should even be saying this, but, uh ... s*x is on my mind all the time.", "Catherine: Hey, Archie, freeze it.", "(ARCHIE hits the keyboard and the video pauses.)", "Monica Newman: And, uh ...", "(CATHERINE points to the screen.)", "Catherine: Who's that in the background?", "Nick: Hmm? Oh, that guy in the mirror. Good. Archie, help us out.", "Archie Johnson: Yup, I got him.", "(ARCHIE isolates a portion of the video reflected in the mirror behind MONICA NEWMAN. He enlarges the framed area and lightens it.)", "Nick: Nice.", "Brass: This is the realtor. I just did a background check on that guy. Half a dozen robberies in the houses he has listed. Art, antiques, stuff like that.", "Catherine: Like the Peter Croft sculpture.", "Brass: Exactly.", "Nick: Looks like Augie was helping himself to a little bit more than the artwork.", "[SCENE_BREAK]", "[INT. HOSPITAL ROOM - DAY]", "Sara: I understand, Mr. Darwell. Have your son's wisdom teeth come in yet?", "Mr. Darwell: What?", "Lockwood: Whoever killed Amanda Kirk ingested her organs, Mr. Darwell. Left teeth marks.", "(SARA notices that CHUCK DARWELL is awake.)", "Sara: Excuse me.", "(SARA turns to the teenager in bed.)", "Sara: Hi, uh, Chuck, I'm with the crime lab. I'm going to ask you to show me your back teeth. Give us an odontological impression.", "Chuck Darwell: I didn't see Mandy last night, I swear.", "Mr. Darwell: You have no legal right to question or to touch my son. I want you out of here. Now.", "(Instead of responding to MR. DARWELL, DET. LOCKWOOD turns to the nurse.)", "Lockwood: Is that stomach contents?", "Nurse: That's right, officer.", "(The nurse stands next to the bed holding a large plastic bag of brownish-colored liquid. She hands the entire bag to DET. LOCKWOOD.)", "Lockwood: Anything he throws up no longer belongs to him. PD, public domain.", "(DET. LOCKWOOD holds the bag out. SARA walks over to him and takes a hold of it. She turns to MR. DARWOOD.)", "Sara: It's going to tell us everything we need to know.", "[SCENE_BREAK]", "[INT. AUGIE HEITZ'S OFFICE -- DAY]", "(AUGIE HEITZ sits in his chair behind his desk.)", "Augie Heitz: Look, anyone could have lifted that Peter Croft. I thought this was about murder.", "Catherine: Oh, it is. (His cell phone rings. He turns to answer it.)", "Augie Heitz: Excuse me. (pause) Yeah? (pause) Hey, yeah ... Hey, can I call you back? (pause) Okay, then. Bye-bye. (He hangs up his cell.) I'm sorry, where were we? BRASS: The tape. It wasn't anybody's face on that tape, it was your face.", "Augie Heitz: I recorded their house for the virtual tour. That's what I do to sell houses.", "Brass: Selling house as a front for porno a little blackmail on the side.", "Augie Heitz: What are you talking about? I have done nothing wrong.", "Catherine: Oh, you're innocent in all this?", "Augie Heitz: I admit to having lust in my heart.", "Brass: Lust doesn't live in your heart.", "Catherine: I'm going to need that DNA sample.", "Augie Heitz: Well, my DNA is your DNA.", "Catherine: Great.", "Augie Heitz: Look, for what it's worth I can tell you at least one guy other than her husband that saw Monica in the buff on a weekly basis.", "(CATHERINE holds out the swab and waits for AUGIE HEITZ to finish speaking.)", "Catherine: Say, \"ah.\"", "(AUGIE HEITZ opens his mouth.)", "Augie Heitz: Ah.", "[SCENE_BREAK]", "[EXT. UNKNOWN RESIDENCE - DRIVEWAY - DAY]", "Warrick: You must get a lot of ass on a job like this, huh?", "Jack Jarvis (poolman): I'm the pool guy, it's one of the perks of the job. One minute I'm scooping leaves the next I'm staring at ...", "Warrick: Yeah, I get it. The last time you were there did you happen to see anything out of the ordinary?", "Jack Jarvis (poolman): What? You mean sexual?", "Warrick: Maybe.", "Jack Jarvis (poolman): No. But, uh ... Newman had a temper. He and his kid Max were always going at it.", "(Quick flashback to JACK JARVIS working at the pool. Up on the second floor balcony, CAL NEWMAN is yelling at his son. He's waving a piece of paper in front of MAX NEWMAN'S face.)", "Cal Newman: What are these, huh? Where did you get these?!", "(Flash to white. Resume to present.)", "Jack Jarvis (poolman): I thought the old man was going to beat his ass but ... Newman just screamed some more and took off.", "Warrick: You mind if I take a look in your cab?", "Jack Jarvis (poolman): Sure.", "(WARRICK opens the driver's side door and looks around. On the clipboard above the dashboard, he finds a plastic ziploc baggie with three screws in it. JACK JARVIS walks to the passenger side window to watch. WARRICK picks up the clipboard and baggie and holds it up for JACK JARVIS to see.)", "Warrick: Well, that's a coincidence.", "(Camera close up of the three screws. Resume to present.)", "Warrick: Newman's anti-vortex filter was missing three screws.", "Jack Jarvis (poolman): I can explain, okay? I remove them screws from the filter so I'd have an excuse to go back.", "Warrick: Oh, you mean, like, a \"leave-behind\"?", "Jack Jarvis (poolman): Yeah, I figured the more I was around ...", "Warrick: The more she'd want you.", "Jack Jarvis (poolman): Oh, yeah.", "(JACK JARVIS smiles.)", "Warrick: Well, the lab wants more of you, too. We're going to need your fingerprints and a DNA sample.", "(The smiles fades from the poolman's face.)", "Jack Jarvis (poolman): Take whatever you want, I've got nothing to hide.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK sorts through the contents collected from the bottom of the swimming pool. He pushes old dry leafs to the side. He finds what looks like a tooth filling. NICK picks it up and looks at it. He ponders his own filling.)", "(On the table next to NICK'S, GRISSOM works on his own evidence. He's looking through the microscope in front of him.", "Grissom: Anything from the pool?", "Nick: Some hairs, may have found a filling.", "(GRISSOM puts his glasses back on and looks up something in the open textbook next to the microscope. NICK reads off of the test results.)", "Nick: Tributlyltin oxide, aluminum sulfate quaternary ammonium. Chemicals in the vic's lungs match the chemicals in the pool water.", "(GRISSOM takes his glass off and looks back into the microscope.)", "Grissom: Anything from his head wound?", "Nick: Trace matches the side of the pool. No surprises.", "(GRISSOM puts his glasses back on and double checks the information in the text book. He picks it up.)", "Grissom: Mildew.", "Nick: Hmm?", "Grissom: Aureobasidium pullulans. One of the very few fungi that can withstand the desert temperature.", "Nick: Gives us possible transfer.", "(Quick flashback to the hummingbird feeder hanging by the NEWMAN'S swimming pool. Camera moves toward the feeder then points straight downward in the direction as one of the red-colored sugar water in the feeder might take if it dropped to the ground.)", "Grissom: (V.O.) Exactly. And here's the basic chemistry of the transfer.", "(The camera speeds up and zooms down following the single drop as it falls from the hummingbird feeder. The drop of red colored sugar water hits the ground.)", "Grissom: Add sugar water spoiled from the heat, ...", "(The camera shows mildew growing on a microscopic level.)", "Grissom: ... mix in some human biofilm you got yourself an all-you-can-eat mildew buffet.", "(A large bare human male foot steps into the wet spot on the ground. End of flashback. Resume to present.)", "Grissom: Cal Newman wore size tens. So assuming our killer wore the size twelve ...", "Nick: He may have transferred mildew from the pool to the house.", "(GREG walks into the lab.)", "Greg: Normally I don't like to speak ill of the dead but, uh, Mr. Newman's sperm had company. Bad company.", "(GREG hands GRISSOM the DNA test results.)", "Greg: Look at D-7. Three alleles.", "Grissom: Genetics only gives you one from each parent.", "Greg: Which can only mean one thing -- menage d'allele.", "(NICK isn't surprised by this.)", "Nick: She was cheating on her husband.", "Grissom: What about stutter?", "(GREG hands GRISSOM another test results.)", "Greg: Percentage is too high. We're looking at a minor and a major sample.", "Grissom: Minor donor?", "Greg: The husband.", "Grissom: Major donor?", "Nick: Pool man.", "Greg: Nope.", "(This surprises NICK. He looks up.)", "Nick: The realtor?", "Greg: Ibid. Major donor is still unaccounted for.", "(Camera holds on GRISSOM who looks up from the test results.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS RESIDENTIAL AREA (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. NEWMAN RESIDENCE -- BEDROOM - DAY]", "(NICK fiddles with the digital camera on a tripod. He's playing the sales video with MONICA NEWMAN'S bedroom segment. WARRICK stands against the wall ... he's a bit impatient.)", "Warrick: How's it coming?", "Nick: Good. I'm almost there. Hang on.", "(NICK adjusts the camera. He's looking for the same moment that AUGIE HEITZ appears in the frame with MONICA NEWMAN.)", "Warrick: Sometime this year.", "(NICK finds the frame and pauses the camera.)", "Nick: Okay, I think that's the angle.", "(In front of the camera, WARRICK stands with his arms crossed.)", "Warrick: All right, where do I stand?", "Nick: Back up.", "(WARRICK takes a few steps back. It's not enough.)", "Nick: Keep going. Keep going.", "Warrick: Big steps? Little steps?", "(WARRICK backs up some more. Behind him are the bedroom closet doors.)", "Nick: Big. Keep going. Keep going.", "Warrick: I go any further, I'll be in the closet.", "Nick: Well, go in the closet.", "(WARRICK turns around and opens the closet door. Leaning against the wall is a cardboard cut out of AUGIE HEITZ.)", "Warrick: Oh, you got to be kidding me.", "Nick: What?", "(WARRICK grabs the cardboard cut out and puts it in front so that NICK can see it too.)", "Warrick: How's this?", "Nick: What the hell is that?", "(WARRICK scoffs. He puts the image on the side and holds out the Realtor Sign.)", "Warrick: These slime will do anything to sell a house, huh?", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB - DAY]", "(Camera shows the frame with MONICA NEWMAN in the bedroom and the AUGIE HEITZ cardboard cut out in the closet.)", "(In the lab with ARCHIE are CATHERINE and GRISSOM. They're reviewing the sales video.)", "Archie Johnson: Sometimes, reflections beget reflections. I figured if I could get a glimpse of the Augie cutout maybe I could get a glimpse of the cameraman.", "(ARCHIE hits a key and lightens the frame a few shades.)", "Archie Johnson: Check out the lamp.", "(ARCHIE frames and enhances a reflection of something on the lamp. He refocuses the frame. He adjusts the angle of the lampshade. By this time, the figure, though still translucent, is identifiable. CATHERINE gasps.)", "(ARCHIE lightens and sharpens the figure while dulling the background.)", "Catherine: Her stepson, Max. Did you get any DNA off the cigarette butts?", "Grissom: Yeah, we did. So, let's get Greg to compare the reference sample and see if we found our major donor.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(SARA is picking through CHUCK DARWELL'S stomach contents piece by piece. It's a gruesome job, but someone has to do it. From the doorway, a familiar voice chimes in.)", "Greg: Driving someone else's porcelain bus?", "Sara: Suspect's dinner from last night.", "Greg: The coroner left this in your mail slot.", "(GREG holds up a large manila envelope. Without looking up from her task, SARA asks.)", "Sara: Can you read it for me?", "(GREG takes a couple of steps into the room. He opens the envelope. SARA pulls out something green and flimsy from the flask of liquidy goo. She holds it up.)", "Sara: What's this look like, Greg?", "(GREG looks at what SARA'S holding. He pulls out the envelope contents.)", "Greg: Uh, Caesar salad.", "(GREG glances down at the test results and without missing a beat, continues.)", "Greg: Oh, and Pele used an interesting dressing. PCP.", "(SARA looks up at GREG.)", "Sara: Angel dust. Hallucinogen.", "Greg: Well, it acts like one. But PCP's such a powerful drug it's in a class all its own: Disassociative anesthetic.", "Sara: Brain disassociates from the body.", "Greg: Yeah, after it takes you through the paces.", "Sara: How many milligrams?", "Greg: Uh ... twenty. Dude's dose was off the charts. I'm surprised he's still alive.", "Sara: Yeah. Too bad everybody didn't make it.", "(GREG doesn't respond. SARA goes back to picking through the stomach contents. She picks up something large, flimsy and pinkish-red. She doesn't look happy with the find. She holds it up for GREG to see. GREG leans in to look at it. He, too, is horrified by what he sees.)", "Sara: Tell me this is raw chicken skin.", "Greg: Well, it's raw ... and it's definitely skin.", "(Camera holds on SARA.)", "WHITE FLASH TO:", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT]", "Jeri Newman: My son was nowhere near that pool. He was at ...", "Brass: Oh, no, no, no. Red Rock Canyon. A field trip. Oh, I'm getting that.", "(BRASS takes a step closer to the table. He's holding a couple of photographs in his hands.)", "Brass: What I'm not getting is this.", "(BRASS places one of the photos he's holding onto the table in front of JERI NEWMAN and MAX NEWMAN. It's a picture of the late MONICA NEWMAN naked. She's leaning over another naked male body - the person who took the photograph - and she's smiling. JERI NEWMAN glances down at the photo. CATHERINE watches MAX NEWMAN. He looks a little worried.)", "Jeri Newman: Oh, now, this is disgusting. Look, whatever Cal wanted to do behind closed doors, that was his business. This is not for my eyes or for his eyes.", "(BRASS walks around to the other side of the table and takes a seat next to CAHTERINE.)", "Brass: This is not the first time, is it, Max?", "(BRASS shows them the second photo he's holding. He places it on the table. MAX NEWMAN sees the photo and sighs. He's busted. JERI NEWMAN pulls the second photo closer. It's a picture of both MAX NEWMAN and MONICA NEWMAN naked. MAX is holding the camera toward the mirror. The photo catches the camera flash.)", "(The photo pains JERI NEWMAN. She closes her eyes. MAX NEWMAN shakes his head.)", "Max Newman: Can I plead the fifth or something?", "Catherine: Max, we found two sperm donors on the sample from your stepmother. Your father's and yours.", "Jeri Newman: Now I know why you were spending all that time at your father's.", "(MAX NEWMAN turns his head to try to explain.)", "Max Newman: Mom, look, I ...", "(JERI NEWMAN reaches out and slaps MAX NEWMAN on the cheek. MAX NEWMAN'S head turns from the force of the contact. CATHERINE gasps.)", "Max Newman: Mom ...", "(JERI NEWMAN holds out a finger silencing her son.)", "Jeri Newman: I don't want to hear a word from you.", "Brass: Well, let me lay it out for you.", "(Quick flashback to MAX NEWMAN swimming in the pool. MONICA NEWMAN sits on the edge of the pool in her short robe. She takes the robe off. She's not wearing anything. MAX NEWMAN sees her and swims to her. Flash to white. Resume to present.)", "Brass: So you must've thought you won the lottery. And the only thing standing between you and the winning ticket was your father.", "(Quick flashback to both father and son fighting on the pool side. They fall into the pool. The son grabs his father's head and slams it against the pool's edge then drags him under. The son swims up toward the surface. The father remains under. Flash to white. Resume to present.)", "Catherine: What's your shoe size, Max?", "Max Newman: Twelve.", "(Quick flashback to a man emerging from the swimming pool, his wet feet leaving footprints behind as he walks toward the house. Flash to white. Cut to MAX NEWMAN sitting on the bed, shaking his head.)", "Max Newman: This can't be happening.", "Monica Newman: Yes, it's happening. Okay, this is a fling. Okay, it's not real. You're confused. You're a kid.", "(MAX NEWMAN pulls out a gun and points it against MONICA NEWMAN'S forehead. He stands and advances on MONICA NEWMAN. She backs away from him.)", "Max Newman: I killed my father for you.", "(Sound of gunshot as we flash to white. End of flashback. Resume to present.)", "(JERI NEWMAN shakes her head.)", "Jeri Newman: That's not possible.", "Brass: How come?", "Max Newman: Because I can't swim.", "Jeri Newman: He's telling the truth. When Max was a child he had this terrible pool accident. He nearly drowned.", "(BRASS turns to look at CATHERINE. Camera holds on CATHERINE'S surprised look.)", "[SCENE_BREAK]", "[INT. HOSPITAL ROOM - DAY]", "(A TECHNICIAN finishes taking a caste of CHUCK DARWELL'S teeth.)", "Sara: We need that report, ASAP.", "(THE TECHNICIAN stands and leaves.)", "Sara: Your temperature is spiking. Of course, you didn't know Mandy had e. coli when you ... ate her, did you?", "Chuck Darwell: No, no, I would never do that.", "Lockwood: You would on PCP.", "(Quick flashback to smoking cigarette. End of flashback. Resume to present.)", "Sara: Normal brain, neurons send a message ...", "(Quick CGI POV to 3-d image of a brain with a minimal amount of light and activity lighting on and off to indicate normalcy. End of CGI. Resume to present.)", "Sara: ... synapses blink on and off. On PCP, synapses never stop firing like ...", "(Quick CGI POV to the same 3-d image of the brain on PCP with an excessive amount of light and hyper-activity flashing on and off to indicate the brain on PCP.)", "Sara: (V.O.) ... your entire brain is on constant DSL.", "(Flash to white. Return to present.)", "Lockwood: You and Mandy were on the soccer field. You were cranked up. SARA: Do you remember anything?", "(CHUCK DARWELL remains quiet. His breathing quickens as he seems to recall something.)", "(Quick flashback to Chuck Darwell eating something meaty with his two hands. His face is stained with blood. End of flashback. Resume to present.)", "Chuck Darwell: Yeah. But I don't remember killing her. I swear to God.", "Sara: (quietly) Lieutenant Lockwood's going to arrest you. We'll assign you an advocate.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(GRISSOM and CATHERINE walk along the hallway.)", "Grissom: So, how does a kid who can't swim drown his father?", "Catherine: The kid didn't do it. Look, we found the father's blood on the underside of the pool ledge.", "Grissom: : And his body at the bottom of the pool with abrasions on his chest.", "(Quick flashback to CAL NEWMAN being dragged under the pool, his chest rubbing against the side of the pool wall. End of flashback. Resume to present.)", "Catherine: So there was a struggle in the water.", "(Quick flashback to someone grabbing and hitting CAL NEWMAN'S head against the side of the pool wall underwater. End of flashback. Resume to present.)", "Grissom: With someone who can swim.", "(Quick flashback to CAL NEWMAN floating face down inside the pool. End of flashback. Resume to present.)", "Catherine: Right.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) -- NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK sits at the laptop computer.)", "Nick: (frustrated) You cannot be serious!", "(Behind him, WARRICK'S in the next lab. He enters the lab NICK'S in.)", "Warrick: Hey, John McEnroe, where's the game?", "Nick: All the prints are accounted for by people who had a reason to be in the Newman house all the way down to the vortex cover. Warrick?", "Warrick: Prints came back to the pool boy.", "Nick: Yeah.", "(NICK rolls his chair over to the other table.)", "Nick: Yeah, so all I've got is an errant blond hair, a tooth filling and some detritus from the bottom of the pool.", "Warrick: All right, now, don't get your panties in a bunch. (WARRICK thinks about it.) Uh, so we got the blond hair, the tooth filling ... that's it, huh?", "Nick: Yeah. I mean, I did identify some neoprene and it was white.", "(Camera close up of the piece of white neoprene in the evidence bag.)", "Warrick: White neoprene.", "Nick: Yeah.", "Warrick: Like in a wet suit neoprene?", "(WARRICK reaches out and grabs the evidence bag from NICK.)", "Warrick: Was the vic a diver?", "Nick: Not that I know of. The son can't even swim.", "Warrick: Let's think about that. Who wears a white wet suit in a pool?", "Nick: Scuba diver. Or a professional.", "Warrick: A professional.", "Nick: No, I mean like a hired gun professional.", "Warrick: Yeah.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "(PETER BERGLUND, the man from the teaser, is in the interrogation room. He's drinking from a glass of water.)", "Grissom: Tooth hurt?", "(PETER BERGLUND looks up at GRISSOM.)", "Grissom: You might, uh, need your filling which we found at the bottom of the Newmans' pool.", "(GRISSOM pulls out a small evidence bag with the filling. He puts it on the table.)", "The information on the evidence bag reads: (Article) TOOTH FILLING 0857 (Date Found) 10-7-02 (Where This Article was Found) NEWMAN POOL DECK (Investigation Officer) N. STOKES", "Brass: We also found your fingerprints and your hair.", "Peter Berglund: Look, I'm sure you'll find me all over the house. I wanted to buy it. I was everywhere.", "Brass: Well, you made sure you were everywhere, too, didn't you?", "Peter Berglund: I wanted to thoroughly inspect the property. Caveat emptor, right?", "Grissom: Or caveat venditor. Let the seller beware. Your prints came back military. Navy seal.", "Peter: Ex-navy seal.", "Brass: Oh, yeah, that's right. You rang the bell. You had the physical tools for the training but not the character.", "Peter: And if you had anything more than a filling and a piece of neoprene we wouldn't be here.", "Grissom: Berglund. That's a Scandinavian name, isn't it?", "Peter Berglund: That's what my parents tell me.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA works on the cast of CHUCK DARWELL'S teeth matching the cast to the rib marks. It doesn't match. From the doorway, a familiar voice chimes in.)", "Greg: Hey, heard you nailed soccer boy for the murder.", "Sara: Not exactly. No match on the bite plate.", "Greg: Well, maybe there was someone else with them.", "Sara: Someone getting sicker by the minute.", "(SARA stands and leaves the room.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GRISSOM walks down the hallway looking for someone in particular. He turns the corner to the locker room and finds him.)", "[INT. CSI - LOCKER ROOM]", "Grissom: Greg.", "Greg: Yeah?", "Grissom: I need you to take off your shoes and socks.", "(GREG is sitting on the locker room bench putting on his jacket, presumably getting ready to leave.)", "Greg: See, now we're getting into this whole strip forensics thing and I'm not so sure I can hang with that even if you are my boss.", "(GREG reaches down and starts to comply with GRISSOM'S strange request.)", "Grissom: Your mother's maiden name is Hojem, correct? Hojem is Norwegian?", "Greg: Yeah. And you know, my grandfather got tossed from Norway for getting my grandmother pregnant before they got married. To this day, he still tells me \"som man reder sa ligger man.\"", "(GREG stops and looks up at GRISSOM. GRISSOM doesn't respond. GREG explains.)", "Greg: \"One must lie in the bed one has made.\"", "Grissom: That's true. Right foot first, please.", "(GRISSOM kneels down and pulls out a swab. GREG takes off his sock and GRISSOM swabs his right foot.)", "Greg: Now, you're sure you want me to do this? Things could get loud in here.", "Grissom: Left foot.", "(GRISSOM swabs GREG'S left foot.)", "Greg: So you want to tell me why we're doing this? GRISSOM: It's an experiment.", "(GREG looks up at GRISSOM unsure whether he likes that particular response. GRISSOM pulls out a clean pair of socks and hands them to GREG.)", "Grissom: Put these on. Come see me in six hours.", "(GRISSOM STANDS AND leaves the room. GREG watches him leave. He looks at the socks.)", "[SCENE_BREAK]", "[EXT. TUSCADERO HIGH SCHOOL - DAY]", "[SCENE_BREAK]", "[INT. TUSCADERO HIGH SCHOOL - HALLWAY TO LOCKER ROOM -- DAY]", "(SARA and DET. LOCKWOOD walk through the high school hallway on their way to look for their other suspect.)", "Lockwood: Nicole Exmoor, 18. School nurse said she couldn't stop throwing up. Teacher found her passed out in the locker room.", "Sara: She have an explanation?", "Lockwood: Said that she ate something that didn't agree with her.", "[SCENE_BREAK]", "[INT. LOCKERROOM - DAY]", "Sara: Nicole, do you know what e. coli is? Your friend Mandy was infected with it. We think we know how you got it. We can test your blood for PCP ...", "Nicole Exmoor: (sniffling) Chuck brought the weed, not me. This guy told him it was a really great high.", "Sara: These photographs are ... of Mandy's ribs. We believe these are your teeth marks.", "(SARA shows NICOLE EXMOOR the photographs of MANDY KIRK'S abdomen. She points out where the teeth impressions are on the photo. NICOLE takes one look at the photo and throws up in the trash can in front of her.)", "Lockwood: Ms. Sidle can make an impression of your teeth or you can help yourself and explain what happened.", "Nicole Exmoor: When Chuck and I went to the field ... we were hooking up ...", "(Quick flashback to NICOLE EXMOOR and CHUCK DARWELL. They're standing close together and smiling.)", "Nicole Exmoor: (V.O.) ... behind Mandy's back.", "(Cut to NICOLE EXMOORE inhaling PCP. Cut to both NICOLE EXMOOR and CHUCK DARWELL smoking and having a grand ole' time. In the background MANDY KIRK crosses the field toward them.)", "Nicole Exmoor: She showed up -- she was like, \"He's my player.\"", "(MANDY KIRK reaches them. She stops and starts yelling at them. CHUCK DARWELL pushes NICOLE EXMOOR off of him, stands and goes to MANDY.)", "Mandy Kirk: What the hell are you doing?!", "Chuck Darwell: Mandy!", "(CHUCK DARWELL reaches MANDY. He puts his hands on her upper arms and tries to explain himself to her. NICOLE EXMOOR is still sitting on the ground. She's watching MANDY and getting angrier with every passing moment.)", "Nicole Exmoor: (V.O.) I don't know what happened. I started to feel weird like my blood was surging through me.", "(End of flashback. Resume to present.)", "Nicole Exmoor: It didn't make any sense I think I wanted to be her.", "(Quick flashback to a montage of clips of MANDY KIRK screaming and of the camera focused on NICOLE EXMOOR watching, NICOLE EXMOOR snarling. Cut to NICOLE slowing standing up and getting a pin from the soccer goal. Cut to MANDY KIRK jumping up at down like a cheerleader. Flash to white. End of flashback. Resume to present.)", "Nicole Exmoor: It felt ... it felt like somebody else walked over and did it. Like she was split from my body.", "(Quick flashback to NICOLE EXMOOR still sitting on the ground where CHUCK DARWELL left her. CHUCK DARWELL is talking with MANDY KIRK. Like an apparition, a see-through version of NICOLE EXMOOR stands up while the rest of her remains sitting. The see-through NICOLE EXMOOR picks up the pin from the soccer goal and approaches MANDY KIRK.)", "(Cut back to a camera close up of NICOLE EXMOOR watching as the see-though NICOLE sneaks up on MANDY and attacks. Flash to white. Resume to present.)", "Sara: It's called psychological detachment. It's a function of PCP.", "(NICOLE EXMOOR has her arms wrapped around her middle. She continues to cry.)", "(Quick flashback to NICOLE EXMOOR sitting over MANDY KIRK'S body. She has a wild-eyed look. Cut to CHUCK DARWELL standing behind her and running his nervous hands through his hair. Cut back to NICOLE as she continues to sit over MANDY'S body. CHUCK DARWELL moves toward her.)", "(NICOLE EXMOOR bends over and takes a bite out of MANDY. NICOLE starts to eat. Cut to CHUCK DARWELL throwing up a distance away. Cut back to NICOLE EXMOOR with blood around her mouth as she continues to eat.)", "(End of flashback. Resume to present.)", "Nicole Exmoor: It's like out of a really bad dream.", "Sara: Nicole, I was at Mandy's autopsy. It was not a dream.", "(NICOLE cries. SARA looks up at LOCKWOOD who takes out his handcuffs and puts them on NICOLE.)", "Lockwood: I'm placing you under arrest for the murder of Amanda Kirk.", "(NICOLE EXMOOR bursts into tears.)", "Nicole Exmoor: What's going to happen to me?", "Lockwood: That's up to the D.A.", "(The Officer standing off to the side takes NICOLE away. SARA and LOCKWOOD watch.)", "Sara: Hey, Cyrus, next time somebody says experimenting with drugs is harmless remind me of this.", "(They start to follow.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(GREG angrily limps into GRISSOM'S office and looms over GRISSOM'S desk.)", "Greg: What did you do to me?", "Grissom: You had a reaction.", "(GREG sits down in the chair.)", "Greg: I'm Hazmat meat. Quarantine, here I come.", "(GREG pulls off the socks and puts both his feet up on GRISSOM'S desk. GRISSOM examines GREG'S right foot. It's clear.)", "Grissom: Your right foot, I swabbed with a placebo, regular tap water.", "Greg: Yeah, well, I'm not worried about the right foot.", "(GRISSOM looks over at GREG'S left foot which is covered in a red rash.)", "Grissom: Left foot ... eumycotic dermatitis.", "(GREG stares at GRISSOM. He doesn't like the sound of that.)", "Greg: Oh, great. It's probably fatal.", "Grissom: It's a mildew-induced skin rash.", "(GREG stares at GRISSOM, aghast. He can't believe what he just heard.)", "Greg: You infected me with mildew?", "(GRISSOM doesn't move for a moment. He reaches into his desk drawer and pulls out a small tube. He holds it up and tosses it to GREG.)", "Grissom: Here. Hydrocortisone. Follow the directions, clear it right up.", "(GREG looks at the tube's directions, wary of anything GRISSOM may be giving him. Camera holds on GREG.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]", "(GRISSOM puts on a pair of latex gloves. He's sitting in the interrogation room with PETER BERGLUND. Behind him is an officer.)", "Grissom: It's called aureobasidium pullulans.", "Peter Berglund: Is that supposed to mean something to me? GRISSOM: It may.", "(GRISSOM holds out a sheet of paper to PETER BERGLUND. He takes the paper and looks at it.)", "Grissom: This is a warrant.", "Peter Berglund: To see my feet?", "Grissom: Yes, both of them. Take off your shoes and socks, please.", "(PETER BERGLUND looks at GRISSOM for a moment, then reaches down and complies.)", "Grissom: Aureobasidium pullulans is a mildew. We found it around the Newmans' pool. It induces rashes in people of Scandinavian descent -- and it does so in a predictable progression which provides us with a valuable timeline.", "(GRISSOM kneels down and examines the man's feet.)", "Grissom: You have the rash.", "(PETER BERGLUND puts his hands across his eyes. He's been busted. GRISSOM takes out his measuring tape and measures the man's feet.)", "Grissom: And size 12 feet.", "(PETER BERGLUND doesn't say anything. GRISSOM stands up and sits down in his chair. He looks at PETER BERGLUND from across the table for a moment.)", "Grissom: Let me tell you how you did this.", "(Quick flashback to PETER BERGLUND in a white neoprene swimsuit slipping into the pool unnoticed. Above near the pool's edge preparing to go for a swim is CAL NEWMAN. Cut to PETER BERGLUND silently waiting under the water. CAL NEWMAN slips into the pool to swim.)", "(Cut back to PETER BERGLUND under water waiting and watching for CAL NEWMAN to swim to him. Cut to CAL NEWMAN beginning his lap. From beneath him, PETER BERGLUND grabs CAL NEWMAN and drags him under the water. The two men struggle. CAL NEWMAN breaks free and manages to get a breath of air before being dragged back under the water. The men struggle. Under the water, CAL NEWMAN hits PETER BERGLUND in the mouth hard enough to knock out his tooth filling. The filling falls to the bottom of the pool.)", "(Flash to white. PETER BERGLUND hitting CAL NEWMAN'S head against the pool side several times before he falls unconscious. PETER BERGLUND drags CAL NEWMAN under the pool and pushes aside the cap to the vortex filter at the bottom of the pool. The filter pulls CAL NEWMAN'S hand into it where he remains until he's found later. PETER BERGLUND exits the pool. Flash to white. Resume to GRISSOM.)", "Grissom: ... and then you went upstairs.", "(Quick flashback to MONICA NEWMAN peering over the second floor balcony calling to her husband.)", "Monica Newman: Cal?", "(From behind, PETER BERGLUND grabs MONICA NEWMAN and forces her to hold and fire the gun against her own temple. He then dumps her body over the side of the balcony railing. Flash to white. Resume to present.)", "Peter Berglund: You're still going to have to convince a jury that I killed two strangers for no reason.", "(GRISSOM doesn't look worried. He takes his gloves off and puts them on the table.)", "Grissom: You ever been to the theater, Peter? There's a play called Six Degrees of Separation. It's about how all the people in the world are connected to each other by no more than six people. All it takes to connect you to the victims is one degree.", "(Camera holds on PETER BERGLUND'S worried look.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "Jeri Newman: Peter Berglund? No, I don't recall ever having met somebody by that name. (In the back of the room, CATHERINE is setting up a laptop computer with internet access.)", "Catherine: Well, do you recall living in San Diego?", "Jeri Newman: What does that have to do with anything?", "Catherine: Oh, it just might help jog your memory. San Diego's a military town. Your sister married a guy in the navy, right?", "Jeri Newman: Did you really bring me in here just for this?", "Catherine: Well, we could go someplace else if you'd like.", "(CATHERINE carries the laptop over to JERI NEWMAN.)", "Catherine: How about your house? It's up for sale.", "Jeri Newman: What's this?", "Catherine: Well, you see, we didn't have enough evidence at this point to get a warrant, but you put your house on the internet. I didn't need a warrant. Gave me complete access via this virtual tour. And all with your permission.", "(CATHERINE starts to navigate through JERI NEWMAN'S house on the internet. She virtually goes through the living room and focuses on the fireplace. She enhances a framed photograph on the mantle. She enlarges it. She sharpens it.)", "Catherine: That's you ... that's Peter Berglund ... and that's the Pacific.", "Jeri Newman: So what? I know Peter.", "Catherine: Yeah. You hired him to kill your ex-husband and his new wife.", "Jeri Newman: The picture doesn't prove anything.", "Catherine: No, but it did give me access to Peter's financial information.", "(CATHERINE pulls out a piece of paper and puts it on the table in front of JERI NEWMAN. It's the signature page of a loan application dated 09/19/02.)", "Catherine: Loan application. Two signatures -- Peter Berglund and yours. You cosigned for Peter because he couldn't qualify on his own. Payment for the hit. He gets your house you get your ex-husband's money.", "Catherine: The thing about murder for hire ... there's always a paper trail.", "(JERI NEWMAN looks up at CATHERINE. Camera holds.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- NIGHT]", "(SARA appears in the doorway. She doesn't enter the office. Inside, GRISSOM sits at his desk and is going through his paperwork. He isn't aware that she's there. For a moment, she doesn't say anything. She simply stands there and watches him. SARA calls out lightly to him.)", "Sara: Good night.", "(GRISSOM looks up and sees SARA standing there. She smiles a bit.)", "Grissom: Good night, Sara.", "(SARA smiles. She starts to leave then stops when GRISSOM calls back out to here.)", "Grissom: Hey. Nice work on the high school case.", "(SARA walks back to the doorway. He smiles and nods his head. Twice. Sara smiles back. If that was his apology for his earlier attitude, she'd accept it. For a moment she doesn't say anything and continues to stand in the doorway. GRISSOM returns to his paperwork. SARA considers it for a moment, then says what's been on her mind since she was assigned to this case.)", "Sara: I'm ... uh ... sorry I missed your page.", "(GRISSOM looks up at her, a little surprised to see her still standing there.)", "Sara: It's just, um ... you tell me to get a life and then I get one, and then you expect me to be there at a moment's notice. It's ... um ... confusing.", "(GRISSOM doesn't know what to say. He takes his eyes off of SARA, removes his glasses and considers his response. He's caught off guard by her honesty and takes a moment to respond. A moment too long. When he finally figures out what he's going to say, he looks up at SARA ... )", "( ... and finds that she's gone.)", "(The camera holds on GRISSOM sitting behind his desk, holding his glasses and staring at the empty doorway.)" ]

[ "Fifteen years ago, Catherine helped to put John Mathers on death row for the rape and murder of a young student at a local college. On the day of his execution , he's granted a stay based on new DNA evidence. Meanwhile, Grissom, Nick and Sara are looking for a missing student, who is found murdered and left in exactly the same fashion as the women in Catherine's case." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS PRISON (STOCK) - NIGHT]", "(The bright white guard light turns toward the camera.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT LAS VEGAS PRISON - NIGHT]", "(Guards strap the PRISONER in orange to his chair.)", "(Cut to: The wall clock reads: 11:58 p.m.)", "(Cut to: The guards strap The PRISONER'S legs to the table, uncuffs his hands and straps his arms down to the table. They cut his orange prison uniform and stick a needle in his arm. His cut shirt is pushed aside and electrodes are attached to his chest to monitor his hearbeat.)", "(The guards leave.)", "(The camera pans from the execution cell, through the observation mirror and down to the next room where six large syringes are laid out on the table in front of the warden and other officials.)", "(Cut to: The PRISONER is spread out on the table and strapped down so he can't move.)", "(The clock reads: 11:59:00.)", "(The PRISONER breathes rapidly. He looks to the side at the window where the curtain to the observation room is closed. The curtains open and behind the window are several rows of witnesses. The camera lingers on the man and woman sitting up front and center. The woman is startled at the sight in front of her and reaches for her husband's hand.)", "(The PRISONER sees them, then turns his head away. The woman clutches in her lap, a picture of a young woman, her daughter.)", "(The audience waits. The clock counts down with every passing second ...", "(Camera cuts to focus on the man's neck where his pulse beats rapidly just beneath his skin.)", "(Quick CGI POV to the blood flowing rapidly through his veins. Through his veins, where it comes out to his heart. We watch the heart beat for a moment. End of CGI POV. Resume to present.)", "(The man picks up the first syringe (#1) filled with a clear liquid. He uncaps the needle and injects the liquid into the IV tube.)", "(Quick CGI POV to: The liquid flows through the IV tubes, then through the man's veins where we see red blood cells ... and we see more red blood cells. End of CGI POV. Resume to present.)", "(Cut to: Camera close up of the PRISONER'S left eye where we see the pupil dilating.)", "(Quick CGI POV cut to the heart beating slower than before. End of CGI POV. Resume to present.)", "(Cut to: Camera close up of the man's face as his eyes start to close. His eye lids close.)", "(For a moment, there is silence in the execution room. There is silence in the observation room. The solid tone of the heart monitor flatlining is heard.)", "(A telephone rings cuts through the silence.)", "(The medic answers it.)", "[SCENE_BREAK]", "[INT LAS VEGAS PRISON - NIGHT -- CONTINUOUS]", "(The door to the Execution Room bursts open and life-resuscitating machines are wheeled into the room.)", "Medic: Let's go. We have a stay of execution. We've got thirty seconds to revive him.", "(Two medics and a physician works on reviving the condemned prisoner. The medics perform CPR while the physician injects something into the IV.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]", "(GRISSOM is walking down the hallway while reading a file folder. CATHERINE catches up to him and fills him in. She hands him some papers.)", "Catherine: Grissom ... a stay. New evidence appeal: Hair analysis. I already over-nighted the six pubic hairs found on the victim to norfolk -- Department of Criminal Justice -- for mitochondrial DNA analysis.", "FLASH TO WHITE:", "(Close up of Mailing label to \"MT DNA LAB / DEPARTMENT ... \". White flash to man pushing cart with SENDEX box stamped RUSH on it. White flash to man tossing the SENDEX box in the back of a truck. White flash to SENDEX box (stamped RUSH) on the mailing conveyer belt and the box being picked up by a pair of hands. Flash to white.)", "RESUME TO PRESENT:", "(CATHERINE and GRISSOM continue to walk through the hallway.)", "Catherine: Defense thinks DNA's a magic pill for exoneration. I doubt if it's going to change the outcome.", "(They turn and enter the office.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE - NIGHT - CONTINUOUS]", "(GRISSOM walks into his office and heads for his desk. He hasn't said a word back to CATHERINE. CATHERINE steps into the office.)", "Catherine: (shakes her head) You don't know what I'm talking about.", "Grissom: Not really.", "(GRISSOM sits down at his desk.)", "Catherine: People v. John Mathers. Serial. Western LVU. I was a rookie ...", "Grissom: Three dead co-eds?", "Catherine: All sexually assaulted, but no semen was found. Suspected he wore a condom.", "Grissom: Dumped in garbage bags.", "Catherine: Case with the strongest evidence was victim number three: Charlene Roth. Mathers, a campus security guard got Murder One for that.", "Grissom: When are you going to get the test back?", "Catherine: I put a rush on it.", "(Flash to white. Camera view of the SENDEX box and label. A hand with a stamp stamps \"RUSH\" on it in red. Flash to white. Resume to present.)", "Grissom: Is this your first one?", "Catherine: First to exhaust all of his appeals and get an execution date.", "(CATHERINE sits down in the seat across GRISSOM'S desk.)", "Catherine: How many have you had?", "Grissom: Two.", "(GRISSOM goes back to the papers he's looking at and flips a page over.)", "Grissom: So, how do you feel about it?", "Catherine: Mathers was convicted and sent to death row by a jury of his peers. I played a small part. I presented my findings ...", "Grissom: Non-responsive.", "(GRISSOM interrupts CATHERINE. CATHERINE looks at GRISSOM.)", "Catherine: Okay. I haven't figured out how I feel yet.", "Grissom: It's just about evidence. It's not up to you whether he lives or dies.", "(GRISSOM flips the papers back over.)", "Grissom: Case has no face.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS.", "[SCENE_BREAK]", "WHITE FLASH IN:", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. RESTON'S RESIDENCE -- NIGHT]", "(Camera close up of a man in a blood-stained shirt sitting on the side walk. He looks completely out of it. Police sirens are heard in the background.)", "Brass: Cops did a welfare check on this residence. A girl, 17, didn't show up for work and they found dad passed out on the sofa in a blood-soaked t-shirt.", "(BRASS, GRISSOM and SARA approach the man.)", "Grissom: Did he have anything to say about his daughter?", "Brass: Mr. Reston, uh, can't remember what day it is. Claims he was in a bar fight.", "Sara: \"Pass\" test?", "Brass: His blood alcohol level is .37.", "Grissom: Ooh ... alcoholic.", "Brass: Yeah.", "(GRISSOM walks away to leave it to SARA.)", "Sara: Lucky me.", "Grissom: Yeah.", "(SARA kneels down in front of the man and puts her case down. BRASS also kneels down and speaks to the man.)", "Brass: (loudly) Hey, buddy! This is Sara Sidle of the Las Vegas Crime Lab. She's going to ask you some questions.", "Sara: Sir, I need your shirt and I need to see your hands.", "Brass: Shirt and hands!", "[SCENE_BREAK]", "[INT. RESTON'S RESIDENCE -- NIGHT]", "(GRISSOM looks around the living room. There are open containers, food and trash all over the place. The television is on. NICK walks in.)", "Grissom: Hey.", "Nick: Hey.", "(NICK looks around at the messy place. GRISSOM moves to stand next to NICK.)", "Nick: People are pigs.", "Grissom: Don't insult the pigs, Nick. They're actually very clean.", "[SCENE_BREAK]", "[INT. RESTON'S RESIDENCE - DEBBIE'S BEDROOM - NIGHT - CONTINUOUS]", "(The door opens. GRISSOM and NICK walk into the daughter's bedroom. He turns on the light. The differences are immediately.)", "Grissom: And this would be the girl's room.", "Nick: Doesn't seem like the same house.", "(There are two dead bolt locks on the bedroom door.)", "Grissom: Dead bolts on her bedroom door.", "Nick: Trying to keep something out.", "Grissom: Hmm.", "(NICK snaps a picture of the locks. GRISSOM turns to look at the bedroom.)", "Grissom: A bedroom refrigerator?", "(He opens it to check out its contents.)", "Grissom: There's milk, fruit ... a toaster?", "Nick: Guess they weren't much on family dinners.", "(NICK snaps more pictures. GRISSOM checks out the closet.)", "Grissom: Nick?", "(GRISSOM holds up a hanger.)", "Nick: A gi and a black belt.", "Grissom: Trained in the art of self-defense.", "(GRISSOM puts it back. He looks inside the hamper and notices blood on the towel. NICK snaps pictures of it.)", "Nick: (takes the towel) I'll bag it.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(CATHERINE has photographs spread out all over the table. She holds a stack of photographs in her hands and looks through it.)", "(She flips the next photo over and looks at \"PHOTO 2A\", a picture of a girl's hand stained with paint.)", "(Quick flashback to: A MAN tying a WOMAN'S hands together. End of flashback. Resume to present.)", "(CATHERINE looks at another photo, a picture of a woman gagged, eyes open, and hands tied.)", "(Quick flashback to: A MAN tying a WOMAN'S hands together. She's gagged and her eyes are open. End of flashback. Resume to present.)", "(CATHERINE looks at another photo, a dead woman found wrapped in a garbage bag.)", "(Quick flashback to: A MAN tying the ends of the garbage bag together. End of flashback. Resume to present.)", "(WARRICK walks into the lab.)", "Brown: I heard Mathers had that I.V. In his arm and everything, when that call came in. Never had a death penalty case get that far. Just working it all out?", "Catherine: Yeah. Old case, new eyes, new technology.", "Warrick: This evidence was processed, what, fifteen years ago?", "Catherine: That was before DNA. Now that the case has been reopened I can re-evaluate all three murders. We always thought Mathers was good for the other two, but if they overturn Charlene Roth with the new DNA, we can go back and try Mathers with the other two murders with the new evidence.", "Warrick: Keep Mathers in prison.", "(WARRICK looks at the file. CATHERINE watches WARRICK for a moment ... wondering ... )", "Catherine: You pro or con?", "Warrick: Pro, if he did it. The applications sucks, though. There's a lot of brown skin on that row.", "Catherine: Yeah.", "Warrick: What about you?", "Catherine: I try not to give it much thought. I stick to the work.", "Warrick: Really?", "Catherine: Campus police found the victim Charlene Roth in this trash bag.", "Warrick: The trash bag, yeah. I was looking at that. Processed with superglue, rhodamine, laser. No prints found though.", "(WARRICK opens the file again and looks at the report and photo of CHARLENE ROTH found dead in the trash bag.)", "Catherine: Who's working the print lab tonight?", "Warrick: Franco. Just off of days.", "(CATHERINE walks out of the lab carrying an evidence bag.)", "[SCENE_BREAK]", "[INT. CSI - STAIRWAY/HALLWAY - NIGHT -- CONTINUOUS]", "(CATHERINE walks down the stairs to the print lab. She's carrying an evidence bag. GREG catches up to her. He walks with her.)", "Greg: Hey, I hear you're cheating on me with an out-of-state DNA analyst.", "Catherine: Apples and oranges, Greg. Fifteen-year-old hair samples no roots, room-temperature storage.", "Greg: Room temp?", "Catherine: Yeah, that's how we stored hair evidence back then. Microscopy was king.", "Greg: Really? I thought Elvis was king.", "Catherine: And you are how old?", "Greg: Age is irrelevant in our relationship.", "Catherine: Maybe so, but face it, Greg you just don't have the equipment.", "Greg: The government results won't give you an individual profile and you can't put them through CODIS.", "Catherine: Well, maternal lineage is good enough on this one. No one else on Mathers' mother's side is a suspect. So, if it's a match, the stay is lifted he's back in the chamber. If not, we're back in court.", "(CATHERINE walks away from GREG.)", "[SCENE_BREAK]", "LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA", "(On the monitor, a technician pushes the lab door open and carries the SendEx package into the lab.)", "(Cut to: The technician puts the package on the desk.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB - NIGHT]", "(CATHERINE walks into the lab. JACQUI FRANCO lifts her head and looks at CATHERINE.)", "Catherine: Jacqui ... I'm so glad you're back on nights. Got a good one for you.", "(CATHERINE puts the evidence package on the table. JACQUI turns it and reads the label.)", "Jacqui Franco: Trash bag? Yeah, love it.", "(She shakes her head and goes back to work.)", "Catherine: Give it some vacuum metal deposition.", "Jacqui Franco: Hottest thing going for plastic. If there's anything to be found, my machine'll find it.", "Catherine: And, um, super-rush. You're in a race with the federal lab.", "Jacqui Franco: Make my night; love to compete with the Feds. You and me need to catch up. How's Lindsey?", "Catherine: Second grade, tons of homework.", "Jacqui Franco: Lucky for her she got your smarts, not Eddie's.", "Catherine: Hmmph. Now I know why I missed you so much. So, page me as soon as you're done.", "Jacqui Franco: Mm-hmm. Putting you up first. You owe me a beer.", "Catherine: Yep.", "(CATHERINE walks out of the lab.)", "[SCENE_BREAK]", "[EXT. RESTON'S RESIDENCE - BACKYARD -- NIGHT]", "(GRISSOM and NICK examine the backyard. They pass a bar-b-que and a shovel leaning against a log.)", "Grissom: Looks like somebody's been doing some digging.", "(In the back of the yard there is a tool shed. They head for the tool shed.)", "[INT. RESTON'S RESIDENCE - TOOL SHED - NIGHT - CONTINUOUS]", "(GRISSOM and NICK look around inside. NICK finds a gun on the shelf. He picks it up and looks at it.)", "Nick: Glock. Laser sight. Slide's missing. Mr. Reston was a bit of a garage tinkerer.", "Grissom: Great. Drunks with guns.", "(SARA enters the tool shed. She lingers by the door. GRISSOM picks up a gun case and opens it.)", "Sara: Hey.", "Nick: Hey.", "Grissom: M11-9. Empty box.", "Sara: He didn't have any kind of weapon on him.", "Nick: Okay, we're into it.", "Sara: I'm going to take Reston's shirt back to Greg.", "Nick: Mm-hm. Do me a favor?", "Sara: Yeah?", "Nick: Inside, bloody towel, bagged and tagged.", "Sara: You got it.", "Nick: Thanks.", "Sara: Woo. After this place, I need a shower.", "(SARA leaves. GRISSOM looks around. He gets up and turns to leave. He steps on a creaky floorboard. It's obvious that there's something there. GRISSOM and NICK roll away the blanket on the floor and remove the floorboard.)", "(Underneath there are over a dozen guns.)", "Nick: There's our M-11. 16-round magazine. Two remaining. One in the chamber. Modified to fully automatic.", "Grissom: Up to 14 rounds expended and unaccounted for.", "Nick: Missing girl's old man's got blood all over him. Blood in her room ...", "Grissom: I think it's time for dear old dad to go to detox.", "[SCENE_BREAK]", "[INT. COFFEE SHOP -- NIGHT]", "(CATHERINE is inside the shop ordering a latte.)", "Catherine: (placing her order) I would like a vanilla ice soy blended latte, please.", "(A WOMAN approaches CATHERINE.)", "Sally Roth: Ms. Willows.", "Catherine: Yes?", "Sally Roth: Sally Roth. My husband Tom heard from a friend that you came here.", "Catherine: I'm sorry. Do I know you?", "Sally Roth: We're Charlene Roth's parents.", "Catherine: (sighs) Mr. and Mrs. Roth. I'm sorry. I didn't recognize you.", "Sally Roth: We were just wondering if you had any news.", "Catherine: You know any news has to go through the attorney general's office. I can't divulge any information on an open case.", "Sally Roth: He-he was convicted. It is not an open case to us.", "Catherine: I was confident at trial. I'm still confident. The evidence is solid.", "Sally Roth: If the court overturns the convic ...", "Tom Roth: We just can't go through another trial.", "(CATHERINE'S phone rings.)", "Catherine: Uh, well, you will have an answer very soon. I'm sure of it. (CATHERINE looks at her phone.) Excuse me. I need to go.", "(CATHERINE walks away.)", "[SCENE_BREAK]", "[EXT. UNIVERSITY - LIBRARY -- NIGHT]", "(CATHERINE walks up to SGT. O'RILEY. He meets her and they walk to the body.)", "Catherine: What's going on? I'm not on call.", "Sgt. O'Riley: I know. I called you because your name's on the memo.", "Catherine: Which memo?", "Sgt. O'Riley: Young female, bound, trash bag. Copycats come out of the woodwork every time there's an execution.", "Catherine: Mather's attorney is going to have a field day.", "O'Riley: Come on, Cath. Everybody liked Mathers for the Kent and Reese cases but the DA wouldn't file because he already had a slam dunk with Charlene Roth. How many times can you fry a guy?", "(CATHERINE looks at the garbage bag.)", "Catherine: (softly) Right.", "O'Riley: Maintenance guy thought it was trash. Picked it up, broke open.", "Catherine: Body dump. Just like 15 years ago.", "(Quick flashback to: Photograph of the body in a garbage bag. End of flashback. Resume to present.)", "(CATHERINE leans in and looks at the girl in the garbage bag, her hands bound and stained.)", "(Quick flash to photograph of the old case in the garbage bag. Resume to present.)", "(Camera holds on CATHERINE.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. UNIVERSITY - LIBRARY -- NIGHT]", "(CATHERINE takes photographs of the body.)", "(Flash to: Photographs from the old case where the body is in the garbage bag.)", "[SCENE_BREAK]", "LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA", "(A piece of hair is removed from the evidence envelope.)", "(The information on the Crime Scene Search Evidence Report is: )", "[Name of Subject: Mathers, John Date of Incident: 3-3-87", "Time 23:47 PM Search Officer: C. Willows Evidence Description: Six Crime Scene Hairs ]", "[SCENE_BREAK]", "[EXT. UNIVERSITY - LIBRARY -- NIGHT]", "(CATHERINE takes photos of the girl's tied hands.)", "(Flash to: Photographs of the old case where the girls' hands are tied.)", "[SCENE_BREAK]", "[INT. FEDERAL LAB - CONTINUOUS]", "(The hair is removed from the machine and put in a tube. The technician works in his lab.)", "(Camera zooms to a close up of the hair. Camera zooms even closer to the cells in the hair.)", "(Quick CGI POV to: Camera zooms closer to a single cell. Camera zooms to the DNA chain in the cell. End of CGI POV.)", "[SCENE_BREAK]", "[EXT. UNIVERSITY - LIBRARY -- NIGHT - CONTINUOUS]", "(CATHERINE works on the body.)", "David Phillips: (o.s.) You ready for me?", "Catherine: Not yet.", "(CATHERINE takes a forceps out of her kit. She shows it to DAVID PHILLIPS and asks permission to remove something from the body.)", "Catherine: May I?", "David Phillips: Sure.", "(CATHERINE pulls something out of the girl's hair. She holds it up for DAVID to look at.)", "Catherine: What do you think this is?", "David Phillips: That's Grissom's bailiwick, not mine.", "Catherine: That's what I was thinking -- bug.", "(Camera zooms in to show a bug.)", "(WARRICK approaches the body and puts his kit down. He leans in to look at what CATHERINE picked up.)", "Warrick: What you got?", "Catherine: Two-fer. Looks like some kind of a bug casing and black fibers.", "(Camera zooms in to the bug and shows the fiber on the bug's back.)", "Catherine: She's all yours, David.", "(CATHERINE takes a bindle and puts the bug in it. DAVID stands up and starts to instruct his group.)", "David Phillips: Ok guys, we're clear.", "Catherine: (to WARRICK) How come I get you?", "Warrick: Grissom says it's precautionary in case Mathers gets overturned and you get swamped.", "Catherine: (nods) I'm glad to have the help.", "(WARRICK shines his flashlight on the body.)", "Warrick: This looks familiar.", "Catherine: A little too familiar. Let's figure out how she got here.", "Warrick: Yeah.", "(CATHERINE and WARRICK get to work as the Coroner's Office puts the body on a gurney.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. RESTON'S RESIDENCE - DAY]", "(GRISSOM is cataloging the firearms found on the property. NICK is with a machine running it over the ground, looking for a body.)", "(The machine beeps steadily. As he gets closer to something under the dirt, the beeping picks up.)", "Nick: Hey, Griss ... found a density change. The screen's showing something.", "(GRISSOM stands up and approaches NICK.)", "Grissom: What's your depth estimate?", "Nick: Two and a half feet.", "Grissom: Oh, dear. Shovels and screens, chutes and ladders.", "Nick: Yeah.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(DOC ROBBINS and DAVID PHILLIPS are going to work on the body in the garbage bag. ROBBINS cuts the garbage bag away from the body. DAVID PHILLIPS assists.)", "(They remove the bag.)", "Robbins: A little more. There we go.", "(DAVID picks up a camera and starts taking pictures.)", "Robbins: She's in rigor. At least 12 hours.", "(DAVID cuts the bindings on the body's wrists. ROBBINS removes the bindings.)", "Robbins: Get out your ten card and print her. But look out for this blue paint. Catherine's going to need to see it.", "[SCENE_BREAK]", "[EXT. RESTON'S RESIDENCE - DAY]", "(After escavating the body buried in the backyard, GRISSOM and NICK kneel next to the site.)", "Nick: Well, we got something else to hold Reston on: Illegal burial of a domestic animal.", "Grissom: Weak.", "Nick: I'll cover him back up.", "Grissom: So Debbie Reston never showed up at work and she's not buried in the backyard. Where did Debbie go?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - DAY]", "(BRASS questions MR. RESTON.)", "Reston: I don't know her schedule. She works, goes to school. I hardly ever see her.", "Brass: She's 17. She lives in your house. You're going to have to do better than that.", "Reston: Stuck-up bitch is ashamed of me. Can't wait to graduate high school and move out. She's already got a job: Coffee shop. Got a car.", "Brass: What kind of car?", "Reston: VW convertible, blue.", "Brass: And as a concerned parent, you're going to ask me to put out a broadcast, aren't you?", "[OBSERVATION ROOM]", "(GRISSOM watches the interview from the observation room.)", "Reston: Whatever.", "Brass: Is the car in her name or yours? I'm going to need the license plate number. You listening to me?", "(SARA walks in.)", "Sara: I just left Greg in DNA. Blood on Reston's shirt is his own.", "Grissom: Blood on the towel?", "Sara: Eight markers match family member. There's only two people in the house. It's probably Debbie's but there isn't that much blood on the towel.", "Grissom: So what? Innocuous injury?", "Sara: That's what I'm thinking.", "Reston: You got kids? They think it's all about them. Like I owe her.", "[INTERROGATION ROOM]", "Brass: Well, you owe your daughter more than being a drunk. You know, I think that maybe jail might be the best thing for you right now.", "Reston: I think she just took off ... like her mother.", "[OBSERVATION ROOM]", "Sara: Can you believe this guy? I wouldn't blame his kid if she just took off.", "(GRISSOM doesn't say anything. He just nods his head slightly.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]", "(GRISSOM and SARA walk through the hallway. SGT. O'RILEY catches up with them.)", "Sgt. O'Riley: Hey. Catherine and I got a case at the university -- dead female. Prints just came back. Matches your missing girl, Debbie Reston.", "Grissom: Brass just put a broadcast out on her car.", "Sgt. O'Riley: Then my guys will find it. They're posting her now.", "[SCENE_BREAK]", "[INT. CSI -- FORENSIC AUTOPSY - DAY -- CONTINUOUS]", "(DEBBIE RESTON is on the table. GRISSOM walks into the autopsy room.)", "Robbins: Crazy world out there.", "Grissom: Sorry I'm late. So, where are we?", "Catherine: Debbie Reston, 17. She was taking a night class at Western LVU. Pre-req for early admission.", "Grissom: So technically she was a Western LVU student.", "Catherine: Yep. Just like Mathers' other victims.", "Robbins: Thought Mathers was on death row.", "Catherine: Mm-hmm. Doc, you were here back then. Tell me why this one's different.", "Robbins: Suspect must be intimately familiar with the minutiae of the prior cases. What's identical: Cause of Death-- strangulation. Bruising on her wrists plastic zip tie, navy-blue paint. There is one new element: Defensive wounds on the hands. Whatever she grabbed onto shattered and caused these lacerations.", "Grissom: Is that before or after she got the paint on her hands?", "Robbins: After. One of these cuts sliced right through the paint.", "(ROBBINS picks up a piece of glass from the cut on DEBBIE RESTON'S palm. He holds it up. Camera zooms in for a close up of the glass. The glass has blue paint on it. Resume to present.)", "Robbins: The paint was there first.", "(GRISSOM reaches out and touches the paint on the palm of her hand.)", "Grissom: It's still wet.", "Catherine: So she's been dead at least 12 hours, right?", "Robbins: Right.", "Grissom: What kind of paint doesn't dry in 12 hours, I wonder.", "[SCENE_BREAK]", "[INT. FEDERAL LAB]", "LEDGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA", "(The technician continues to process the DNA sample.)", "[SCENE_BREAK]", "[INT. CSI - LOUNGE/HALLWAY - DAY]", "(The lawyer for the defense, MS. CAMPBELL, approaches CATHERINE in the lounge.)", "Ms. Campbell: Ms. Willows. I heard you're investigating the murder at Western LVU. Female, young, bound dumped in a trash bag.", "(CATHERINE clears her throat and closes the file she's reading.)", "Catherine: You know that I can't confirm or deny any information regarding an active investigation. Excuse me.", "(CATHERINE stands up and heads out of the lounge. MS. CAMPBELL follows CATHERINE down the hallway.)", "Ms. Campbell: Ms. Willows, my client's life is on the line here. We've always maintained John Mathers' innocence.", "Catherine: Ms. Campbell, I have no personal opinion about your client. I tested the evidence in his case and that evidence failed to exonerate him.", "Ms. Campbell: Fifteen years ago. Before DNA. Before the real killer struck again. You are going to test the pubic hair sent to the federal lab against the new suspect ...", "Catherine: What suspect? I can't help you.", "Ms. Campbell: (accusing) You CSIs are biased for the prosecution. You decide ahead of time how you want the evidence to come out.", "Catherine: Ms. Campbell, I am only an interpreter of the evidence. I know how to make the evidence speak to me. I don't care about the outcome.", "Ms. Campbell: How about guilt or innocence? John was 15 seconds from execution. Sure you're not biased? I hear the same evidence speaking. You know what it's telling me? The killer's still out there.", "(MS. CAMPBELL leaves CATHERINE standing in the hallway.)", "[SCENE_BREAK]", "[EXT. UNIVERSITY -- DAY]", "(SARA and WARRICK gather evidence from a blue VW convertible.)", "Sara: It's Debbie Reston's car. Looks like you and I are officially running with the same case.", "Warrick: Yeah? It's got to be the cleanest tape lift I've ever seen. There's no stains of any kind in this car.", "(DET. O'RILEY walks toward SARA. He's reading a piece of paper.)", "Sara: Whatever happened to her happened after she left her car.", "Sgt. O'Riley: Debbie Reston was taking economics 101. 6:00 to 8:00 P.M. Never missed a class before last night.", "Warrick: Well, this is my alma mater. Econ 101-- that's Sabian Hall. It's a long walk from here but I know the way.", "(SGT. O'RILEY'S pager beeps.)", "Sgt. O'Riley: I'll have to catch up with you.", "[SCENE_BREAK]", "[EXT. UNIVERSITY - BACK PASS - DAY -- CONTINUOUS]", "(WARRICK and SARA walk the back path to Sabian Hall. WARRICK trips and grabs the blue metal rail with his hand.)", "Warrick: Damn. It's still wet.", "(WARRICK looks at the blue paint stain in the middle of his palm. He looks around and notices the water fountain off the path.)", "Warrick: What's the first thing you'd do if you got paint on your hands?", "(Quick flashback to: DEBBIE RESTON trips on the path and grabs the blue metal rail. End of flashback. Resume to present.)", "Sara: Wash it off.", "(Quick flashback to: DEBBIE RESTON looking down at the paint on her hand. End of flashback. Resume to present.)", "[SCENE_BREAK]", "[EXT. UNIVERSITY - BACK PASS -- DAY]", "(GRISSOM stands in front of the water fountain. He looks up and sees the lamp without a light bulb in it.)", "Grissom: We found glass in the lacerations on her right hand.", "(WARRICK kneels down and finds something on the ground. He picks it up.)", "Warrick: I'll see if I can get a match from this.", "Sara: He painted the railing and just waited by the water fountain. Victim was like a fly in a spiderweb.", "(Quick flashback to: DEBBIE RESTON in front of the water fountain trying to wash the paint stain off of her hand. In the bushes, someone wearing glasses is watching her. DEBBIE RESTON turns her head and looks directly at the man in the bushes. End of flashback. Resume to present.)", "Grissom: We just learned something we didn't know about the prior murders.", "Catherine: Yes, what the paint was all about.", "Grissom: And if we just learned about it now, how did the copycat killer know?", "[SCENE_BREAK]", "[EXT. UNIVERSITY - BACK PASS -- DAY]", "(SARA examines the metal rail.)", "Sara: Looks like Debbie isn't the only one who got paint on her hands.", "(Camera close up of the different prints on the rail.)", "(GRISSOM takes a swab sample of the paint.)", "Grissom: Well, maybe he was waiting till he saw the girl he wanted.", "(He turns his head and looks at SARA. She looks up at him.)", "Sara: That's creepy.", "(Quick flashback to: A blonde-haired student using the water fountain to wash her hands. Cut to: The blonde-haired student slinging her backpack over her shoulder and walking away. End of flashback. Resume to present.)", "Sara: I'll call the fire department, get a circular saw. Take this back to the lab.", "[WATER FOUNTAIN]", "(In the bushes next to the water fountain, WARRICK finds something.)", "Warrick: I've got a backpack. Wallet ... Debbie Reston. Credit cards ... money, keys.", "(Kneeling in front of the tree, CATHERINE is examining the bugs on the tree surface.)", "Catherine: Not what he was looking for.", "(Camera zooms in to a particular bug on the bark of the tree. It's the same kind of bug that CATHERINE took off of DEBBIE RESTON'S hair the night she examined the body.)", "Grissom: What are you doing?", "Catherine: I found pieces of this in the victim's hair. What's it look like to you?", "Grissom: Hmm, what does it sound like? (pause) With the exception of the termite queen, the cicada is the longest-living insect. Spends seventeen years dormant underground and then the cicada nymph emerges and sheds its skin.", "(Quick CGI POV of a cicada crawling out of a hole in the ground and up the tree. It sheds its skin and grows wings, hardens, then flies away. End of CGI POV. Resume to present.)", "Grissom: As adults they flit around for about five weeks of activity in the hot sun and then they die.", "Catherine: They spend their whole lives waiting for the end.", "Grissom: Not unlike death row.", "[SCENE_BREAK]", "[INT. FEDERAL LAB]", "LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA", "(The machines comes to a whirring stop. The sample is removed.)", "(It's put into another machine that maps out the DNA chains.)", "[SCENE_BREAK]", "[EXT. UNIVERSITY - BACK PASS - DAY]", "Warrick: This is the spot. You can see the path and the rail.", "(WARRICK stands in the spot that the attacker positioned himself in.)", "Grissom: Well, and if she was trying to clean off her right hand in this fountain she would have had to be in this position.", "(GRISSOM uses the fountain to wash his right hand, simulating the victim, with his back to WARRICK still in the bushes.)", "Warrick: And he waited till her back was turned ... and came up behind her.", "(WARRICK steps out of the bushes and taps GRISSOM on the shoulder.)", "Catherine: I found some more glass. (CATHERINE picks up a piece of glass. Camera zooms in.) Looks polarized.", "(GRISSOM looks up.)", "Grissom: Well, lightbulb glass isn't polarized. Eyeglasses are.", "Catherine: Yeah.", "Grissom: You know, she was a black belt. Maybe she fought back.", "Warrick: That would explain why she had defensive wounds and none of the other victims did.", "(Quick flashback to: DEBBIE RESTON washes her hands. The attacker comes up behind her. She fights back. She breaks his glasses. End of flashback. Resume to present.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "SCENE #32", "[INT. CSI - PRINT LAB -- NIGHT]", "Jacqui Franco: Sorry about the \"no print\" results on the Mathers' case.", "Catherine: Make it up to me. I got a new case. New bag.", "(CATHERINE hands the evidence bag to JACQUI FRANCO. JACQUI opens it up and takes out the garbage bag. She opens the fume machine and puts the bag in it.)", "(She closes the door to the machine.)", "(Quick CGI POV: The camera moves through the window of the machine and shows the particles inside being disbursed onto the garbage bag and adhering to the prints on the bag. End of CGI POV. Resume to present.)", "(JACQUI opens the machine door. and removes the bag. She lays the bag out on the table. They definitely find something.)", "Jacqui Franco: It's only partial but I've got a hit off less.", "Catherine: Great.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "Sara: Hey, you know that black fiber that Catherine pulled from Debbie Reston's hair?", "(SARA looks at the fiber in her scope. NICK lifts his head from his scope to look at SARA.)", "Nick: Yeah.", "Sara: It's trilobal.", "Nick: Vehicle upholstery.", "Warrick: It's not from her car. Her upholstery is red.", "Sara: That's good for us. She was killed at the water fountain but the body was dumped at the library.", "Nick: You can't carry a body in plain sight on campus even in at night.", "Sara: Odds are decent we're looking at a fiber from the killer's vehicle.", "(SARA runs the sample through the database and returns a list of possibles.)", "Sara: Generic chevy.", "Nick: (smiling) Well, that kind of narrows it down.", "(Camera view: Scope view of the glass sample WARRICK'S looking at.)", "Warrick: The glass on the left is not polarized. There's not color change.", "Nick: What, from the busted security light?", "Warrick: Yeah, the one found in the path. Not the one found in her hand.", "Nick: Okay, the guy broke the bulb on purpose.", "Sara: Gives him an advantage -- cover of darkness.", "Warrick: I'll buy that, but the glass on the right was the one extracted from the cuts on her hand. And it matches the glass that Catherine found near the water fountain.", "Sara: Confirms that Debbie fought with her attacker.", "Nick: Suspect's minus one point two five.", "Warrick: What is that, 20/80? That's like half of mine. It's not much of a correction.", "Sara: Great. We're looking for a guy with a 20/80 prescription who drives a Chevy with black interior.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(CATHERINE walks rapidly through the hallway. GREG runs out of his lab to catch her.)", "Greg: Hey. Got your report from the Feds.", "Catherine: Why did it come to you?", "Greg: Because they returned the DNA evidence to me. I took a look at the results. Didn't think you'd mind.", "Catherine: I do.", "(GREG hands the results to CATHERINE)", "Catherine: All six hairs are a match to Mathers.", "FLASH TO:", "[SCENE_BREAK]", "[INT. FEDERAL LAB]", "LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA", "(The machine matches the DNA samples to John Mathers.)", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(CATHERINE nods at the results.)", "Catherine: He raped and murdered Charlene Roth.", "Greg: Dead bang. Airtight. Good night, John.", "Catherine: (slightly annoyed) How are you coming with that twist tie, Greg?", "Greg: The new case?", "Catherine: Yeah.", "Greg: Working on it.", "Catherine: Good. Keep working on it.", "(GREG returns back to his lab. CATHERINE turns and walks away.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- CONTINUOUS]", "(CATHERINE walks into the garage. GRISSOM is examining the metal hand rail.)", "Catherine: Slam dunk on Mathers.", "Grissom: Good. The paint on Debbie Reston's hands ...", "Catherine: Yeah?", "Grissom: ...Oil-based blue.", "Catherine: Oil-based? That's for canvases, not railings.", "Grissom: Not only that, it was mixed with 30-weight motor oil. Which isn't a component of any commercial paint. As an additive however ... keeps paint from drying.", "(GRISSOM touches the paint on the metal rail. It's still wet. He shows the tip of his blue finger to CATHERINE.)", "Catherine: Okay ... he knew what he was doing. Expanding his window of opportunity.", "(GRISSOM continues to examine the metal rail under his magnifying glass. He finds something.)", "Grissom: Hello? Hairs. Hopefully from his paintbrush.", "Catherine: And the paint matches Western LVU shade of blue.", "Grissom: He knows a lot about paint.", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "Willows: (V.O.) He knows a lot about that campus.", "[SCENE_BREAK]", "[INT. UNIVERSITY - ART DEPARTMENT -- NIGHT]", "(CATHERINE and GRISSOM interview someone from the University's art department. He's painting as they question him.)", "Man: I don't know what I can tell you. I've only been here since '95.", "Catherine: Well, is there anyone in the art department who was here when the first murders took place?", "Man: A couple of the guys predate me. I'll ask around.", "(GRISSOM examines the can of brushes.)", "Grissom: Are any of these brushes made with badger hair?", "Man: We artists covet our brushes. (The MAN puts his brush down and picks up his glasses. He puts them on.) That's Russian Blue Squirrel ... Japanese Synthetic ... Badger.", "(He takes his glasses off and resumes painting.)", "Grissom: In the oil paint sample we collected we found both badger hair and nylon bristles.", "Man: Anyone who's studied art would never use nylon with oils unless they were using the paint for something else. When brushes age ...", "(Camera close up of a blue paint can. A brush is dipped into the paint and when removed, leaves behind brush hairs.)", "Man: (V.O.) ... they shed hairs. Then, if they used a nylon brush the next time ...", "(A second brush is dipped into the same paint. End of close up. Resume to present.)", "Catherine: Say I wanted a badger hair paintbrush -- where would I buy one?", "Man: Student union sells them. Most art stores. You can get them cheaper on the internet.", "(GRISSOM examines the MAN'S glass lens. The MAN stops and looks at GRISSOM.)", "Grissom: Sorry. I was admiring your frames. Nice.", "(GRISSOM puts the glasses back down on the table.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB/HALLWAY]", "(GREG walks out into the hallway to catch GRISSOM and CATHERINE.)", "Greg: The results are back on the zip tie you removed from Debbie Reston's wrists. No foreign epithelials, but I did find an errant hair DNA tag still attached. It's not Debbie Reston's.", "(GREG gives the results to CATHERINE.)", "Greg: Catherine asked me to cross-check everything with the old cases. It actually belongs to Janet Kent.", "Catherine: Janet Kent-- the first victim?", "Greg: I know.", "Grissom: So Janet Kent's killer saved some of her hair and planted it on Debbie Reston fifteen years later on the night that John Mathers was set to be executed.", "Catherine: John Mathers is the copycat.", "Grissom: Yeah. And the original killer's still out there playing a really twisted game.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(GRISSOM is in the lab testing the paint samples.)", "(He puts a bit on the card marked \"Paint Sample #3\". He places the card in the machine, closes it and starts it.)", "(Quick CGI POV of the light beam reading the sample. End of CGI POV. Resume to present.)", "(GRISSOM waits for the results. On the monitor the results for \"Charlene Roth\" appear.)", "(The monitor clears then shows a paint comparison of the four paint samples for the four victims: DEBBIE RESTON, CHARLENE ROTH, JANET KENT and MARCIA REESE. The test comparison shows that the only different sample is the sample from CHARLENE ROTH.)", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI -- LOCKER ROOM]", "(CATHERINE opens her locker and removes her bag. She closes the locker and heads out.)", "[HALLWAY]", "(She sees GRISSOM in the hallway. She walks down the hallway, GRISSOM follows her.)", "Catherine: Oh. Hey. Mathers' execution's back on. The Roths asked me to sit with them.", "Grissom: Is that a good idea?", "Catherine: I just need to do it.", "Grissom: Why?", "Catherine: It's like your first autopsy ... your first murdered child. You can make it through that you can keep doing this work.", "(GRISSOM shows CATHERINE the results of the paint sample comparison.)", "Grissom: All the paints match all the victims except for Charlene Roth. See, being capable of matching paint samples that are fifteen years apart that's why I keep doing this work.", "Catherine: (smiles) Well, that's the difference between you and me.", "(CATHERINE leaves. She passes SARA on her way out walking in toward GRISSOM.)", "Catherine: Hey.", "Sara: (to CATHERINE) Hey. (to GRISSOM) Dean of the art school came up with a name. A Cody Lewis. He was a grad student at WLVU in the late '80s same time the three girls were murdered. He left just after the Roth case for a post-doc in Louisiana.", "Grissom: Where is he now?", "Sara: WLVU since September. He's an assistant professor there.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM]", "(BRASS looks at a photo of CODY LEWIS' painting. It's of a woman with her hands tied.)", "Brass: So you like to paint dead girls?", "Cody Lewis: I paint what I feel.", "(BRASS turns around and looks at CODY LEWIS.)", "Brass: Yeah, sure. You know, you're an artist. So back in '87 when you painted this girl what were you feeling? That you wanted her to die? (pause) What's the subject matter this week? More dead girls?", "Cody Lewis: I haven't been doing a lot of painting lately.", "Brass: Uh-huh. So it's just a coincidence that another coed gets murdered right after you show up in Vegas, right?", "Cody Lewis: Listen, I painted that fifteen years ago. Right after that second girl was murdered ... Marjorie something. Really affected me. Affected everyone.", "Brass: Yeah, but it affected you more. Because you knew the first victim. Right? Janet Kent.", "Cody Lewis: Yeah, I knew Janet.", "Brass: Come on, Cody, man. You two had a thing.", "Cody Lewis: We had a date. I took her to a Springsteen show. We had drinks afterwards and that was it.", "Brass: So what, did she reject you? Did she give you the, uh ... \"Cody, we can still be friends\"? That speech?", "Cody Lewis: No. Never got that far.", "Brass: I was just wondering, because some guys can't take \"no\" for an answer. But that's not you, right?", "(Camera holds on CODY LEWIS.)", "[SCENE_BREAK]", "[INT. CSI -- GARAGE]", "(NICK, SARA and WARRICK checks out CODY LEWIS' car.)", "Nick: Okay, I'm getting this to trace. Hey, check out the vehicle's upholstery. It's black and it's a Chevy ...", "Sara: We got nothing. Nobody cleans a car this good. There is no evidence that Debbie Reston was transported in this vehicle.", "Warrick: Still doesn't rule out Cody Lewis as a suspect.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- NIGHT]", "(JACQUI checks out the print. NICK waits for the results.)", "Jacqui Franco: You got to wonder when a guy gives it up this easily. Prints, DNA, his car ...", "Nick: Yeah, well ... maybe he's thinks he's some kind of smart guy you know, covering all the bases.", "Jacqui Franco: Or maybe he didn't do it.", "Nick: What's that?", "Jacqui Franco: His prints don't match the partial on the Debbie Reston trash bag.", "Nick: Wonderful.", "(JACQUI nods her head.)", "Nick: Thanks.", "(NICK turns to leave.)", "[SCENE_BREAK]", "[EXT. PRISON - NIGHT]", "[SCENE_BREAK]", "[INT. EXECUTION OBSERVATION ROOM]", "(The GUARD near the door puts a small packet of ammonia in CATHERINE'S palm.)", "Catherine: Thanks.", "Guard: Ammonia ... in case anyone starts to feel ... unsteady.", "(CATHERINE takes a seat next to SALLY ROTH in the front row. CATHERINE looks around a bit, then turns to face the front. The curtains to the window are closed.)", "(Cut to: In the next room, the GUARDS tie JOHN MATHERS' arms down to the table. They secure his ankles to the table. They strap on the belt at his waist. They remove his handcuffs to secure his right hand. They inject the needle into his arm and secure the heart monitor electrodes to his chest. Camera close up of his eyes as he's being prepared.)", "(The curtains to the observation room window open. JOHN MATHERS turns his head and sees CATHERINE up front and center.)", "(The last guard leaves the room.)", "[SCENE_BREAK]", "SCENE #46", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]", "(On his laptop, BRASS scrolls through the photographs of the murder cases.)", "Brass: I keep racking my brain going over these unsolved murder cases and I keep coming back to the fact that they're fifteen years apart. That means he's either out of town or in the joint.", "Grissom: Why wouldn't he take his business to some other college if it was only about young girls?", "Brass: It's got to be personal. He wanted to kill those girls.", "[SCENE_BREAK]", "SCENE #47", "[INT. EXECUTION OBSERVATION ROOM]", "(The first syringe is injected into the I.V. tube.)", "(Quick CGI POV through the tube and fast forward with the liquid to the red blood cells. End of CGI POV.)", "(Cut to: A close up of JOHN MATHERS' left eye with pupil dilating.)", "(Cut to: CGI POV of the heart beating very slowly. Resume to present.)", "(Cut to: JOHN MATHERS on the table struggling to breathe and CATHERINE watching in the background.)", "(Cut to: TOM ROTH looks at SALLY ROTH. SALLY ROTH watches JOHN MATHERS, a picture of her daughter CHARLENE is clutched in her hands.)", "(Quick flashback to CHARLENE ROTH struggling against her attacker. End of flashback. Resume to present.)", "(Cut back to: TOM ROTH.)", "(Cut to: JOHN MATHERS on the table.)", "(Cut to: Close up of JOHN MATHERS chest and his breathing. Camera hold on his ear. Camera cut to his dilated eye.)", "(Cut to: CATHERINE watches through the window. SALLY ROTH reaches over and holds CATHERINE'S hand. She looks at CATHERINE.)", "(JOHN MATHERS' eyes flutter closed. The heart monitor flatlines.)", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]", "Brass: I mean, I don't know much about bugs, but most animals hunt in their own backyard.", "Grissom: True of insects as well. You know why?", "Brass: It's where they feel most comfortable.", "Grissom: And where they can blend in the best.", "(Quick flash to: Students walk across the campus. Special note of the men wearing glasses. End of flashback. Resume to present.)", "Grissom: This guy had ties to Western LVU. He paints a railing on a campus walkway. I tried it; took me about five minutes.", "Brass: My guys were all over that school. Nobody remembers seeing anything.", "Grissom: Probably because there wasn't much to see.", "(Quick flash to: Students walk across the campus. Nothing special there.)", "Grissom: (V.O.) He must've looked as though he belonged.", "(End of flashback. Resume to present.)", "Grissom: Like the insects, he blended in.", "(BRASS sighs heavily.)", "Brass: Yeah.", "(BRASS opens his desk drawer and pulls out a bottle.)", "Brass: You off the clock?", "Grissom: I guess.", "[SCENE_BREAK]", "[EXT. PRISON -- NIGHT]", "(CATHERINE walks back to her car. On the other side of the wire fence are protesters with signs. The guard opens the wire gate, she walks through it and into the crowd.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]", "Brass: He's going to kill again.", "Grissom: Yeah. And all we've got is a partial fingerprint and an M.O. that may lead us in the right direction.", "Brass: You know sometimes in this job I'd rather be lucky than good. Maybe next time we'll get lucky.", "Grissom: I don't believe in luck. My only real purpose is to be smarter than the bad guys to find the evidence that they didn't know they left behind and make sense of it all. Makes me very uncomfortable to realize that this guy may be smarter than me." ]

[ "A boxing champ dies in the ring after taking a brutal beating from his nemesis, but Grissom finds evidence that points to murder. Outside, in a nearby parking lot, Catherine works a crime scene where a Los Angeles gang member was gunned down, apparently by a rival gang. Also, Nick investigates a jewelry-store robbery." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT./INT. VENETIAN HOTEL -- NIGHT]", "(Billboard with the picture of the two fighters.)", "(The guests walk on the red carpet to the front door. The doorman opens the door for them.)", "(The hotel door opens and the guests walk inside.)", "(Cut to: The fight inside.)", "(Cut to: The sign outside the lobby reads: \"STEELE vs. MOLINA\", \"Revenge of the Century\" and \"November 9, 2002\".)", "(Cut to: Inside the ring. / Photographers snap pictures.)", "(The fighter throws a punch.)", "(The MAN and The WOMAN wave to the crowd as photographers take their pictures. They enter the hotel.)", "(Cut to: Fight scenes inside the ring.)", "(The Man and the WOMAN walk across the hotel lobby. A MAN runs across the lobby floor. A group of young, black men saunter across the lobby floor after him. The leader wears a thick silver necklace.)", "(Cut to: The Man and The Woman walk through the double doors and into the tunnel. Scenes of the main audience area.)", "(Close up of the Everlast Belt around the fighter's waist.)", "(The Man and The Woman walk under the tunnel. They enter the main audience area. They move to the side to take their seats. The audience cheers.)", "(The camera moves in toward the main ring where the fight is happening.)", "Man: (shouting) Put your hands up! Put your hands up!", "(Bell dings. The round ends.)", "Referee: That's enough!", "(The audience applauds and cheers.)", "(MOLINA raises his hands high in the air.)", "(LAROI takes a seat in his corner.)", "Trainer: Come on, Laroi. TRAINER: He's okay! TRAINER: We're going to dry it up, Laroi. TRAINER: We're going to dry it up.", "(The Manager claps from outside the ring.)", "(A woman in a bikini holds up a card and walks around the ring. She flirts with the man with the black cowboy hat on. The woman in red standing next to him is not pleased with it.)", "Woman in Red: (hits the man next to her in black) Cut it out!", "Cut Man: Suck it up. Suck it up, son. Suck it up, son.", "From Molina's Corner: (in Spanish) Lo teine donde deseas! Me entiendes lo que te digo? El cuerpo ... siempre moviendo ...", "From Steele's Corner: Laroi, listen to me! You keep your hands up, hear? He's killing you with that left.", "Laroi: Bum don't got the heart to put me down.", "From Steele's Corner: Yeah, well, you better start throwing your hands, hook to the body hook to the head, upper cut. Like we worked it in the gym.", "(The Bell dings signaling the start of the next round.)", "(MOLINA stands up and is ready. He immediately starts throwing a series of punches at LAROI.)", "(LAROI STEELE is backed into a corner and is taking a beating. MOLINA turns to look at the REFEREE. Not seeing any sign to stop the fight, MOLINA throws a final punch that brings LAROI STEELE to his knees. He falls bleeding to the floor.)", "Referee: One! Two! Three! That's it!", "(MOLINA jumps up and holds his arms high in victory. The REFEREE checks LAROI STEELE. LAROI'S trainers rush into the ring to check on him. They crowd around him.)", "Trainer: Laroi! Laroi, talk to me! Come on, Laroi! Come on, baby, talk to me. Laroi! Come on, get the doctor! Step it!", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT. HOTEL - FIGHT RING -- NIGHT]", "(LAROI STEELE is face down in the fight ring. Above him are a pair of feet that turns and walks toward the side of the ring. GRISSOM and WARRICK approach the ring. BRASS is already inside the ring. BRASS sighs.)", "Brass: Laroi, \"The Fists Of\" Steele.", "Warrick: WFB Welterweight Champion. Nineteen wins.", "Grissom: One loss. Boxers have died in the ring before. Why is this one a crime?", "Brass: Casino management got a heads-up from the sports book. Five hours before the opening bell Steele goes from a two-to-one favorite to a five-to-one underdog.", "Warrick: Fight fixing?", "Brass: Yeah.", "Grissom: That's a felony. And if death occurs during commission of a felony, that's a murder.", "CUE TITLE MUSIC: (PRELAP)", "(GRISSOM'S pager beeps.)", "STOP MUSIC:", "[SCENE_BREAK]", "[EXT. ROADWAY -- NIGHT]", "(The OFFICER lifts the crime scene tape for GRISSOM as he makes his way to the site. CATHERINE is already there taking pictures.)", "Catherine: Gang member.", "Vega: Tenth street vandal", "Grissom: Isolated incident or they having a war?", "Vega: It's hard to tell. Vandals are based in L.A. But on a weekend like this ... brings knuckleheads in from all over.", "Grissom: Witnesses?", "Catherine: They were all in the bathroom.", "Grissom: Aren't they always?", "(GRISSOM looks down at the dead man. Next to his head is a flyer for: \"STEELE VS. MOLINA\", \"Revenge of the Century\", \"Saturday, November 9, 2002\" and \"To Win a 2003 Corvette\")", "(GRISSOM'S pager beeps. He looks at it. The message reads: (11:24 pm) \"Call Nick Stokes\".)", "[SCENE_BREAK]", "[INT. JEWELRY STORE -- NIGHT]", "(The MANAGER holds an ice pack to her forehead. In front of her is a customer, MRS. RAMSEY. They're arguing with each other.)", "Manager: We are just trying to be reasonable here.", "Mrs. Ramsey: I am not giving this back unless I get my ring.", "Manager: Mrs. Ramsey, it is not our policy to allow clients to ...", "Mrs. Ramsey: Oh, really? I guess you need a new policy, don't you?", "Manager: Now you are being unreasonable.", "Mrs. Ramsey: Now you ...", "(The argument continues in the background. Deeper inside the store, GRISSOM walks in. NICK is already there looking around.)", "Nick: Smash and grab. Left that behind.", "(NICK indicates the metal rod left inside the smashed display case.)", "Grissom: How many guys?", "Nick: One. Yeah. Waited till the manager was alone knocked her down and hopped the counter. Got away with a whole sack full of stones. It takes some stones to pull off a job like this.", "(SARA walks in carrying her kit.)", "Sara: Good evening, gentlemen. What have we got?", "Grissom: (to SARA) Well, you and I have got a dead boxer. Nick, you're going to get to run this solo.", "Nick: Yeah?", "Grissom: Yeah. We're tapped out. Welcome to fight night.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. HOTEL - ARENA -- NIGHT]", "(SARA opens her kit and takes out a pair of latex gloves. WARRICK works on the opposite corner.)", "Sara: Okay. What are we looking for?", "Warrick: Blinding agents in the vaseline, stimulants in the water...", "Sara: So ... basically, everything goes to tox.", "Warrick: Yeah.", "Sara: Nice sport.", "Warrick: Well, it's only dirty if you make it dirty. You know, boxing's about discipline.", "Sara: It's two guys beating their brains out in a race for early-onset Parkinson's.", "Warrick: No, no, you know, it's mind and body. (WARRICK stands up.) Mind and body. If you train one and not the other you're half a person. What'd you find?", "(SARA looks in the plastic tub and finds nothing but bloody saliva. She fixes a smile on her face and keeps it there.)", "Sara: Saliva.", "Warrick: Oh, the spit bucket.", "(SARA picks the bucket up and turns around to face WARRICK.)", "Warrick: What's so funny?", "Sara: Smiling, uh, represses the gag reflex.", "Warrick: This is coming from the same woman who processed fecal fat from a ruptured colon.", "Sara: Every crim's got at least one problem area. Mine's saliva.", "Warrick: Want me to get that for you?", "Sara: No, no.", "Warrick: You're sure.", "Sara: Mind and body, right?", "(WARRICK nods and turns away to go back to his corner. SARA's left carrying the bucket.)", "[SCENE_BREAK]", "[INT. HOTEL -- ARENA]", "(Out in the stands, GRISSOM and BRASS talk with the REFEREE.)", "Referee: Everybody knew they hated each other. They fought two times before. Title wasn't even on the line tonight. Just pride.", "Brass: How'd the other fights go down?", "Referee: I didn't get to ref them, but I saw them ... $39.95 a pop. Goddamned Pay-Per-View's just like stealing, but they were good fights. Laroi won both of them. First one was a knockout in the eighth off this sweet right hook. The other was a ... a TKO in the tenth, yeah. Uh, he really dropped the hammer on Molina that time.", "Grissom: Well, evidently, Molina hammered back tonight.", "Brass: Two previous wins by knockout ... tonight, he dies. What's up with that?", "Referee: What do you mean?", "Grissom: Did you notice anything out of the ordinary about either fighter? Slowed reactions, unusual strength?", "Referee: All I noticed is that boy took one hell of a beating.", "(GRISSOM nods.)", "[SCENE_BREAK]", "[EXT. PARKING LOT -- NIGHT]", "(CATHERINE examines the ground in between the parked cars. In the background, DET. VEGA also examines the ground.)", "(CATHERINE finds a bullet. She puts down evidence marker #1 to mark the find. Near the bullet she finds a gun.)", "Catherine: (smiling) I got a gun.", "Vega: Make that two.", "(CATHERINE looks up and sees VEGA holding up the second gun.)", "(CATHERINE continues to look around. She finds a third gun inside the back seat of a gun. She puts down evidence marker #3 on the car and picks up the gun to look at it.)", "Catherine: Put up a couple of booths we could have ourselves a gun show out here.", "Vega: Disposable firearms.", "(Quick flashback to: A couple of young men run in between the cars throwing the guns around as they flee.)", "Vega: (V.O.) They know we can't link them to the weapons if we can't find the weapons on them.", "Man: Let's go!", "(End of flashback. Resume to present.)", "Catherine: Smith & Wesson .40. High end.", "Vega: They're stealing their way to better guns.", "Catherine: And bringing them to Vegas for target practice. Great.", "[SCENE_BREAK]", "[INT. JEWELRY STORE -- NIGHT]", "(NICK examines the glass casing. He finds a smudge of blood on the glass inside.)", "(Quick flashback to: The thief smashes the glass and starts grabbing the jewelry from the case. The thief reaches into the case and cuts his/her arm on the jagged edge. A large drop of blood falls on the glass in the case. End of flashback. Resume to present.)", "(NICK reaches in and takes a swab of the blood.)", "(The MANAGER hands NICK a slip of paper with the stolen items listed.)", "Manager: That's everything he got.", "Nick: What's it highlighted for?", "Manager: It's a Riviera necklace. We loaned it to a couple for the fight and they refuse to return it until we return the ring that they brought in for cleaning.", "Nick: Which was stolen along with the other items, right?", "Manager: Exactly-- and they won't leave until we get this sorted out. Can you help me out here?", "Nick: (declines) Sorry, mediation's not really my thing.", "Manager: Thanks.", "(NICK reaches for his phone and dials.)", "Nick: Mm-hmm. O'Riley? Stokes, listen, I'm at a smash and grab. Lots of glass, a little blood. Do me a favor: Check the local hospitals. Anyone comes in with a forearm laceration, it could be our guy. Thanks, man.", "(NICK hangs up. While he was on the phone, NICK notices MR. RAMSEY watching him.)", "[SCENE_BREAK]", "[INT. HOTEL - LOCKER ROOM -- NIGHT]", "(GRISSOM interviews ADELLE CROSS, the Fight Promoter.)", "Adelle Cross: I promoted this match, Mr. Grissom. I spent sixteen months of my life stroking fighters, managers, handlers, and kissing a whole lot of ass that never got past junior high and I resent the implication that the fight was fixed, or that Laroi Steele's death was anything other than a tragedy.", "(GRISSOM puts his gloves on and looks at the locker room.)", "Grissom: These photographs are from...?", "Adelle Cross: The last Steele-Molina fight.", "Grissom: What, does he use them for motivation?", "Adelle Cross: And for show. Boxing is theater.", "Grissom: Well, according to your poster, this fight was about revenge.", "Adelle Cross: Boxers fight for money. The rest of it is just hype.", "(From the locker, GRISSOM takes out the gloves.)", "Grissom: These Mr. Molina's?", "Adelle Cross: Yeah.", "Grissom: From tonight's fight?", "(GRISSOM puts the gloves in a bag.)", "Adelle Cross: Yeah. Technically, after a fit those gloves become property of the boxing commission.", "Grissom: Right now, they're evidence, so they belong to me.", "Adelle Cross: What do you think you're going to find on those gloves -- liniment? Like Sonny Liston used to blind Cassius Clay? The sport has come a long way since then.", "Grissom: It's still two skulls and four fists. It hasn't come that far.", "(GRISSOM looks at the top shelf of the locker where he got the gloves. He sees something.)", "Adelle Cross: What did you find?", "(He taps the shelf with his flashlight.)", "Grissom: What appears to be a unique metal: Mercury.", "Adelle Cross: Like in a thermometer?", "Grissom: Amongst other things.", "[SCENE_BREAK]", "[INT. HALLWAY -- NIGHT]", "(WARRICK and SARA walk through the hospital hallway. Seated in the hallway is a man with a bloodied cut on his forearm.)", "Warrick: Looks like it was fight night for a lot of people.", "Sara: It sure does. And some guys get paid a million bucks for it.", "[SCENE_BREAK]", "[INT. HOSPITAL - ROOM -- NIGHT]", "(WARRICK and SARA question JAVIER MOLINA who is giving a urine sample.)", "Javier Molina: Sorry to keep you waiting, but, uh, commission rules, you know? Before and after a fight. Boxing and drugs don't mix, you know?", "(He finishes and gives the sample to the man waiting in the doorway.)", "Javier Molina: All yours.", "(The MAN leaves. JAVIER MOLINA washes his hands.)", "Javier Molina: So ... que onda? What's the crime lab want with me?", "Warrick: Well, for starters, we need to see your hands.", "Javier Molina: Why?", "Sara: Is that a \"no\"?", "Javier Molina: No.", "(JAVIER MOLINA holds out his hands. SARA takes a swab of his knuckles.)", "Sara: One more.", "(SARA swabs his other hand.)", "Javier Molina: Now, who do you think you're looking at -- Felix Trinidad?", "(JAVIER MOLINA moves to look at his injuries in the mirror.)", "Sara: (shakes her head) Who is that?", "Warrick: Felix Trinidad is a fighter who was once accused of dipping his wraps in ice water before a fight. It turns the tape and gauze into a hardened cast. It's like punching with concrete.", "Javier Molina: And it also shreds your hands. Mine are clean.", "(JAVIER MOLINA picks up his thick silver chain necklace off of the shelf in front of him.)", "Warrick: A fighter's lost his life. We're just making sure that there was no unfair advantage.", "Javier Molina: All I did was out-punch Laroi. Okay, you think I wanted it to go down like this? I mean, people are going to remember me now like Ray Mancini when he killed that Korean guy. That's my legacy now. Ah, this wasn't my fault, all right? He brought it upon himself talking all that trash saying I could never beat him. (He puts his chain on.) Look ... he should have never came out in the seventh round. He could barely stand up. I knew it was over right then.", "Sara: So why did you keep hitting because real fighters don't stop hitting until somebody makes them, all right? When you're in the ring, your life's in the ref's hands.", "(Quick flashback to: Inside the ring, JAVIER MOLINA swings at LAROI STEELE. He waits and looks at the REFEREE. End of flashback. Resume to present.)", "Javier Molina: Now, one word from that ref, and I would have stopped.", "(Quick flashback to: Inside the ring, MOLINA turns away from looking at the REFEREE and swings at STEELE again.)", "Javier Molina: (V.O.) But he never gave the word.", "(End of flashback.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(Cut to: Camera close up of a bullet being fired into water. Resume to present.)", "(BOBBY takes the bullet out of the tank and walks it over to the scope. CATHERINE walks into the lab.)", "Catherine: How we doing, Bobby?", "Bobby Dawson: Hey. Well, good news. All the bullets pulled from the vic are from the same gun. Six right, .380.", "Catherine: The bad news?", "Bobby Dawson: We're oh for two matching the bullets to the guns y'all recovered. I did find something, though on one of them shells, if you want to take a look. It's set up for you over there.", "(CATHERINE looks into the scope.)", "Catherine: Could be biological. I'll send it to trace.", "Bobby Dawson: Well, I hope it gets you somewhere 'cause all we got here is strike three.", "[SCENE_BREAK]", "[INT. HOSPITAL - HALLWAY]", "(In the hallway, a couple of kids play mock boxing with each other. WARRICK talks on the phone with BRASS. WARRICK and SARA make their way down the hallway.)", "Warrick: Brass, Brown. I need as much information as you can give me on a referee.", "(HANK PEDDIGREW calls out to SARA.)", "Hank Peddigrew: Hey, Sara.", "Sara: (to HANK) Hey. (to WARRICK) I'll be right there.", "(WARRICK continues down the hallway. SARA stops to talk with HANK.)", "Hank Peddigrew: I have something to show you.", "[SCENE_BREAK]", "[EXT. HOSPITAL - EMERGENCY ROOM - NIGHT -- CONTINUOUS]", "(HANK and SARA walk across the Emergency Room lot.)", "Hank Peddigrew: We gave Molina a ride in.", "Sara: You did?", "Hank Peddigrew: He didn't say much which is no big surprise, considering. There's not much in here but, uh, I know how you like to see everything.", "Sara: Thanks.", "(SARA climbs into the back of the Ambulance.)", "Hank Peddigrew: We checked vitals, cleaned his lacerations and he wanted his hand wraps cut off, so we cut them off.", "(SARA puts her kit down. The cut wraps are on the gurney in front of her.)", "Sara: Is this it?", "Hank Peddigrew: Right.", "(She picks up a piece and looks at it.)", "Sara: (smiles) He autographed it.", "Hank Peddigrew: Nah, that's the inspector's signature. Whoever watched him wrap up.", "Sara: It looks like there's some kind of metal in the gauze.", "(Camera zooms in extreme close up to show the mercury in the gauze.)", "Sara: Mercury, maybe?", "Hank Peddigrew: No, there's no mercury in any of our instruments. We're fully digital. How do you think it got there?", "Sara: I don't know.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(DOC ROBBINS goes over the preliminary findings for LAROI STEELE with GRISSOM.)", "Robbins: Massive soft tissue damage, severe facial fractures. Are they letting guys go at each other with clubs these days?", "Grissom: Only on cable.", "Robbins: It never ceases to amaze me the damage one human being can inflict on another.", "Grissom: Or how much damage a human body can sustain. A heavyweight can land a punch at a thousand pounds per square inch.", "(Quick CGI POV to: Black and white top view of a boxer taking a hit. The view includes a red-colored brain inside the boxer's head. When the boxer takes the punch, the brain takes the hit.)", "Grissom: (V.O.) The energy of the punch is transferred through the cerebrospinal fluid compressing the brain against the skull temporarily disrupting neural activity. (The boxer falls to the ground.) Like a short circuit. Too many short circuits and the brain shuts down.", "(End of CGI POV. Resume to present.)", "Grissom: And hence, a knockout.", "Robbins: This guy should have been so lucky.", "Grissom: This, uh, bruising under the chin seems heavy.", "Robbins: Yeah, I thought so, too. I did a postmortem angiogram.", "(They walk toward the x-rays on the display.)", "Robbins: It's a basilar subarachnoid hematoma the result of a massive ...", "(Quick Flashback to: The boxer receives a punch. Blood spurts out through his mouth. His head twists around to absorb the punch.)", "(Quick CGI POV to: Inside the neck where the artery breaks and bleeds out.)", "Robbins: (V.O.) ... vertical blunt force trauma to the chin. The sudden forced rotation of the neck tears the vertebral artery ...", "(End of CGI POV. End of flashback. Resume to present.)", "Robbins: ... and blood pours out into the surrounding soft tissue.", "(GRISSOM turns and walks back toward the body. ROBBINS follows.)", "Grissom: It's called an uppercut.", "Robbins: You say tomato and I say Cause of Death ... Gil, I never had you pegged as a fight fan.", "Grissom: I'm not, really. My first year as a criminalist, I thought boxing would be a good place to observe live blood spatter. So, I went to a couple of bouts. There wasn't much spatter. Some interesting bruise formations, though.", "Robbins: So, uh, this is a socially acceptable live-subject laboratory for you?", "Grissom: (shakes his head) Yeah. Not in this case.", "(A TECH walks in and hands ROBBINS a file. He looks at it.)", "Robbins: Thank you.", "Grissom: Preliminary tox?", "Robbins: Yeah. (ROBBINS takes a moment to read the results. GRISSOM leans in to look at the body.) Professional athlete. Would have expected performance enhancers -- uh, creatine, dianobol. This man had sufentanil in his system.", "Grissom: Sufentanil? A sedative?", "Robbins: Yeah.", "Grissom: So, if the fighter won't take a dive ... help him take a dive.", "[SCENE_BREAK]", "[INT. HOTEL -- LOBBY]", "(BRASS re-questions the REFEREE.)", "Referee: What's my cousin got to do with the fight?", "Brass: Your cousin bet 20 large on Javier Molina at five-to-one against.", "Referee: Hey, he's always been a lucky guy.", "Brass: Yeah, I know, I'm sure he is. Well, you know how this works. I mean, you hear the fight's fixed you tip off your cousin for a piece of the action he tells a couple of friends, so on, so on. They make a bet at the last minute, and the odds go south.", "Referee: Hey, big fight, money moves around.", "Brass: Oh, yeah, that's cool. This is Vegas. Money flows. As long as it doesn't flow out of your pocket. (pause) Maybe that's why you let the fight go on so long. Yeah, you see a fighter in trouble you give him a standing eight. If he comes out a winner, you're in the poorhouse.", "Referee: So, what are you saying, that if I'd stopped the fight Laroi Steele would still be alive? (BRASS doesn't say anything.) You charging me with something?", "Brass: No. Not yet.", "Referee: You know where to find me.", "(The REFEREE walks away.)", "[SCENE_BREAK]", "[INT. HOSPITAL: ]", "(The curtains open. NICK and O'RILEY question RANDY WATKINS.)", "O'Riley: Randy Watkins. I'm Detective O'Riley. This is Nick Stokes of the crime lab.", "Nick: (steps up) Hi, there. Where'd you get the cut on your forearm, man? You practicing for a job at Benihana?", "Randy Watkins: Hey, this is a hospital. I got doctor-client privilege here, huh?", "Nick: Well, you don't get any privileges, Randy. You're wearing stolen property.", "(NICK notices the new watch on RANDY WATKINS' wrist.)", "O'Riley: Let me trade that bracelet in for this one.", "(O'RILEY puts a cuffs on WATKINS.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "Greg: (announcer's voice) Ladies and Gentlemen, in this corner wearing red leather coming from the great fighting city of Everlast, USA ...", "(GREG turns around and puts the plastic bag with JAVIER MOLINA'S gloves on the table in front of GRISSOM and WARRICK.)", "Greg: The gloves that Javier Molina wore when he killed Laroi Steele. This is a piece of boxing history. Do you know how much this would go for on ebay?", "Grissom: Greg, the residue on the gloves, what is it?", "Greg: Half inorganic salts: Magnesium, potassium, etcetera and half organic derivatives: Urea, choline and uric acid.", "Grissom: Sweat.", "Warrick: Occasionally found at a boxing match.", "Grissom: Oh, but wait. (GREG turns around and picks up another bag.) In this corner fighting way out of his weight class coming from ... that place that textiles come from a cotton swab soaked in sufentanil.", "(GRISSOM looks at the evidence bag.)", "Brown: Sufentanil? I did recover this swab from the victim's corner.", "Grissom: Time to talk to the cut man.", "[SCENE_BREAK]", "[INT. PRACTICE GYM ]", "(BRASS and WARRICK question LAROI STEELE'S CUT MAN.)", "Cut Man: I would have got a bonus if we won. Why would I mess with the guy who pays me?", "Brass: Why is for the lawyers.", "Warrick: Your corner, your swab, your drugs.", "(Quick flashback to: The CUT MAN sticks a swab up LAROI STEELE'S nose and instructs.)", "Cut Man: Suck it up.", "(End of flashback. Resume to present.)", "Cut Man: (turns around) I been doing this 28 years. Back when every cut man around was using monsels solution getting it in kids' eyes blinding them. I wouldn't touch the stuff. And I didn't hurt Laroi. I been in his corner six fights. Every one, he fought hard and never stiffed me. Him dying was a tragedy.", "Warrick: Molina trains here?", "Cut Man: Yeah, maybe. He owns the place.", "Brass: And you're looking for work.", "Cut Man: Work comes to me.", "Brass: Well, here's something else that's coming to you.", "(BRASS hands the warrant to The CUT MAN who puts on his glasses to read it.)", "Cut Man: What, you want me to give you my bag?", "Brass: We're not asking.", "(He pushes his bag toward WARRICK. WARRICK opens it and looks through it.)", "Warrick: It's kind of primitive.", "Cut Man: So is boxing.", "[SCENE_BREAK]", "[INT. CSI -- STAIRWAY]", "(GRISSOM and SARA walk down the stairs.)", "Grissom: Did you get anywhere with that mercury?", "Sara: Yeah. Ensenada, Mexico. Molina has a personal physician down there. It turns out that mercury is used in a folk remedy for empacho. It's a chronic stomach condition.", "Grissom: And Molina has it?", "Sara: Medical history confirms it. The guy eats metal.", "Grissom: It's not the eating that will get you. The poison's in the mercury vapor. It's toxic.", "Sara: Well, I guess we're left with the sedative. Any luck?", "Grissom: Greg's working on it.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB -- CONTINUOUS]", "(CATHERINE'S in the Ballistics Lab with BOBBY DAWSON.)", "Catherine: Three guns found at the scene. None match the bullets recovered from the victim. What does that tell us?", "Bobby Dawson: The shooter kept his weapon.", "Catherine: Means he likes his gun and may have used it before.", "Bobby Dawson: Which is where the shell case and IBIS come in. I'll run it against the national database.", "Catherine: Firing pin impressions and breech face marks a closer look.", "Bobby Dawson: Well, okay. Got us a hit. Los Angeles County sheriff's department found shell casings from the same gun used in a gang murder two years ago.", "Catherine: They get a conviction on the suspect?", "Bobby Dawson: No. Guy beat the rap. \"Timothy Fontaine, aka 'Tiny Tim.'\" Member of the Snakebacks current residence unknown.", "Catherine: I bet I could find where he stays in Vegas.", "Bobby Dawson: Hey.", "[SCENE_BREAK]", "[EXT. POOLSIDE -- DAY]", "Catherine: I guess Tiny's mother can be proud of her son for one thing. He sure knows how to clean a room.", "Vega: Well, there is one Snakeback still in town.", "Catherine: Who's that?", "Vega: That guy right over there.", "Catherine: What's his Dealio?", "Jerome Anderson: Okay, I'm the man, I take care of my people.", "Vega: That is Jerome Anderson. Aka, The Man.", "Catherine: The man?", "Vega: The man. Technically a former snakeback who shed his skin and worked his way into the real world. Record producer, clothing designer, sports agent.", "Catherine: Why didn't you get a warrant for his room?", "Vega: We're working on it. He's got an entire law firm on retainer.", "(CATHERINE and DET. VEGA reach JEROME ANDERSON and his group.)", "Jerome Anderson: ...Five percent here, ten percent there. Better get back in the ring, Laroi, and keep fighting. See, what Laroi needed was a giver not a taker. That's why he came to me, the man so I could stand by his side and give him honest representation. Police. Another thing that the man understands because he comes from the same place as today's athletes.", "Vega: I'm Detective Vega. This is Catherine Willows from the crime lab. We'd like to ask you a few questions.", "Catherine: Hello.", "Jerome Anderson: The man ain't got nothing to hide.", "Vega: We're looking for members of the snakebacks. A Timothy Fontaine, in particular.", "Jerome Anderson: No idea. The man is here on business.", "Catherine: So are we. Do you mind if I ask how the man got the burn mark on his neck?", "(JEROME stands up.)", "Jerome Anderson: Well, all the ladies say that the man is hot. I guess I must have just burned myself and forgot all about it.", "(JEROME jumps up and talks with another man.)", "Jerome Anderson: No, you didn't. Are you crazy? No, no, no, no. Hold on, hold on, hold on, hold on. Ooh, ooh ...", "(The Man walking by leaves.)", "Catherine: I guess you are hot.", "Jerome Anderson: Oh, that's old. The man is all about the new.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(WARRICK is in front of the computer. GRISSOM walks in.)", "Grissom: Did you get a hold of that cut man?", "Warrick: Yeah, we found sufentanil in a bottle of coagulant in the guy's kit.", "Grissom: Doesn't make sense. If the cut man did it why would he hold on to the evidence?", "Warrick: I was thinking the same thing. I'm not convinced he actually knew it was in his kit. The prints that I got off the bottle came back to ... Gerry Barone, the victim's manager.", "Grissom: And I thought Don King was bad.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "(BRASS and WARRICK interview GERRY BARONE.)", "Gerry Barone: The reason my prints are in the system is I'm a foster parent. Six kids in thirty years. Treated them like my own. Trained them, took them off the streets.", "Brass: We know that. We know you're a good guy. So what made you dope up Laroi Steele?", "Warrick: We found your prints on a bottle of coagulant. It was laced with a sedative. Found it in the cut man's kit.", "(WARRICK sits down.)", "Gerry Barone: I was trying to save Laroi.", "Warrick: By drugging him?", "Gerry Barone: We kept it out of the press but in their last fight, Molina hurt him bad.", "Warrick: How bad?", "Gerry Barone: The signs were all there in training-- sagging eye, drooping shoulder, brain damage down the road. Laroi couldn't handle another beating. But I couldn't talk him out of this fight. Molina got under his skin. Laroi wouldn't let it go. (beat) taught him not to quit.", "(Quick flashback to: In the ring, LAROI STEELE takes a beating from MOLINA. GERRY BARONE drops the bottle into the CUT MAN'S kit.)", "Gerry Barone: (V.O.) I was trying to get him out alive.", "(End of flashback. Resume to present.)", "Gerry Barone: Laroi was 16 years old the first time I saw him fight. And the only thing faster than his hands was his mouth. There was this one time he made his sparring partner laugh so hard the man pissed his trunks before he hit the mat. (A look of pride for his fighter graces his face and laces his voice.) Can you imagine that?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - MAIN DESK]", "(NICK returns MRS. RAMSEY'S ring to her. MR. RAMSEY looks at the ring.)", "Nick: Yeah. We arrested the guy and recovered all the jewelry.", "Mrs. Ramsey: Thank you so much, Mr. Stokes.", "Nick: Not a problem. I just need you to fill out some documentation and then I can release your ring back to you, okay?", "Mr. Ramsey: That's not your ring.", "Mrs. Ramsey: Of course it is.", "Mr. Ramsey: I'm telling you, that is not the ring I gave you. That's a different cut.", "Mrs. Ramsey: Now I wore this ring on my finger every day for five years. I think that I ...", "Mr. Ramsey: I bought you that ring. Who do you think spent the week looking for the perfect stone for our first anniversary?", "Nick: Sir, I matched every item recovered to a log provided by the jewelry store piece for piece.", "Mr. Ramsey: Then maybe you should explain to me why I'm not looking at my wife's ring.", "Nick: I need to explain to you?", "Mrs. Ramsey: Come on, Mack.", "Mr. Ramsey: How do I know you didn't switch this ring out?", "Nick: Man, I would N ... 'cause that's not the way it works.", "Mr. Ramsey: Oh, we screw the out-of-towners and nobody's going to care, right?", "Nick: Are you making a formal accusation?", "Mr. Ramsey: You bet I am.", "Nick: Knock yourself out, Big Dog. Forms are at the front desk.", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(WARRICK watches the pre-fight press conference video with SARA.)", "Warrick: Okay ... it's about a month ago at a pre-fight press conference.", "Steele: (on video) Check it out, he lost the last couple of times. I'm the one who did all the whupping. And I'm just going to do a three-peat, baby, you know?", "Molina: (on video) What I'm saying is anytime, anyplace, Laroi.", "Steele: (on video) You can't wait to get whupped, is that it?", "(On the video, MOLINA stands up.)", "Sara: Steele is slurring his words.", "Warrick: Fast forward to the fight. (WARRICK starts the tape.) Watch his shoulder, how he keeps dropping it.", "Sara: The manager was right. Pugilistic dementia.", "Warrick: They say eight out of ten boxers suffer some form of brain damage later on in life.", "Sara: The greatest-- muhammad ali. Steele must've known what was happening to him.", "Warrick: He would never admit it. Fighters need to psych themselves up before a fight. They got to believe they're going to win. Or they'd never fight.", "Sara: In a way, every opponent Laroi Steele fought contributed to his death. (wonderingly) I don't know if he was incredibly stupid or just ... brave.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "Lawyer: We'll contest this on the grounds that your request to the Judge was based on a specious connection to the Snakebacks.", "Catherine: Contest all you want. It's still coming after the fact. Open.", "(JEROME ANDERSON turns toward CATHERINE and opens his mouth. CATHERINE turns her head away.)", "Vega: The warrant was based on physical findings.", "Lawyer: A burn mark? Could have happened anywhere.", "(CATHERINE takes the sample.)", "Catherine: Well ... Jerome is under the misguided impression that he's a one-man pyrotechnic display. Watch too many movies and kids start to think that people actually shoot like that.", "(Quick flashback to: JEROME ANDERSON fires the gun as he holds it sideways. The empty shell ejects and hits him on the side of the neck, leaving the small burn mark. End of flashback. Resume to present.)", "Lawyer: The most you're going to prove is my client was in the vicinity. Period. That's it.", "Catherine: If his DNA matches what we found on the shell casing we'll be able to extend the scope of the warrant.", "Lawyer: If it matches.", "Vega: File says you're a smart guy. Three years in Georgetown. Why turn stupid all of a sudden? Give us the guy we're looking for.", "Catherine: Look, we all know that you forget what the word \"Loyalty\" means as soon as you step away from the mirror so what do the Snakebacks get you?", "Jerome Anderson: R-E-S-P-E-C-T, baby.", "Catherine: I thought that's what college was for.", "Jerome Anderson: (chuckles) I went to school. In fact, I have carefully analyzed business models of African American entrepreneurs such as Darian Daze at Dis-Kard Enterprises which grosses $250 million a year. And my analysis has led me to understand that an emerging CEO needs to have as solid a command of flow charts and spreadsheets as he does a bad-ass street rep. And let me tell you something, Sweetness, I got it all coming and going. So the more you try to stress me the more you're just selling me to the people on the streets.", "Catherine: So crime pays.", "Jerome Anderson: Oh, don't hate the player, hate the game.", "Catherine: Right, you don't make the rules, you just exploit them.", "Jerome Anderson: Ain't that a bitch.", "(He smiles.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK looks at MRS. RAMSEY'S ring under the scope. He swabs the ring.)", "(Cut to: NICK takes the stone out of the ring. He compares it to a real diamond. He shines light on it and sees the difference immediately.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- CONTINUOUS]", "(NICK walks out of the lab. He runs into GRISSOM.)", "Grissom: Nice work on that jewelry heist.", "Nick: Yeah, well, it's not done yet, but ...", "Grissom: You got the guy.", "Nick: Oh, yeah, it was a little rough. We had to check a few ER's, but we snatched him up.", "Grissom: Being efficient is not a bad thing, Nick.", "Nick: Yeah. Why are you tossing me a softball and putting everyone else on real cases?", "Grissom: You wanted to work solo.", "Nick: Yeah, but it's like Night of the Pifflings out there and I'm on a smash and grab.", "Grissom: Pifflings?", "Nick: (explains) Puffin offspring. First time out of the nest every year they crash land in this town near iceland because they are attracted to the lights of human civilization. It's the same way people flock to Vegas for a fight.", "(For a moment, GRISSOM stares a NICK. Then his face lights up as though he's finally figured it out.)", "Grissom: Animal Planet.", "(GRISSOM turns and walks down the hallway.)", "Nick: (calls out) How come when you talk about bugs everyone says you're a genius but when I talk about birds everyone says I watch too much television?", "Grissom: I don't know. Look, the next night of the pifflings you get the first dead body.", "Nick: Copy that.", "[SCENE_BREAK]", "[INT. CSI - LAYOUT LAB]", "(GRISSOM turns the corner and walks into the room. ROBBINS is already there with SARA and WARRICK. On the table are x-ray photographs.)", "Robbins: The victim suffered tripod fractures of the zygomatic arch in two places. There's also a fracture of the orbital floor. (Points to a x-ray photo.) This tripod fracture of the zygoma that caused the flattening of the victim's face. It indicates that he was struck with an extremely powerful blow.", "Grissom: Which couldn't be caused by normal boxing gloves.", "Sara: We checked Molina's gloves. There's nothing in them or on them.", "Grissom: We're missing something.", "(GREG walks in.)", "Greg: We have a problem.", "Warrick: Pile it on.", "Greg: Well, in the interests of posterity I took it upon myself to establish provenance for the killer gloves I mean DNA-wise. On my own time, of course of which I have precious little so that should count for something.", "Grissom: (exasperated) Greg, why are you always doing this?", "Greg: (simply) Because you make me nervous. (beat) My point is, the epithelials found on the surface of the glove. They're not Laroi Steele's. Those aren't the gloves that killed him.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. LOCKER ROOM - DAY]", "(WARRICK breaks the lock on the locker and opens it. GRISSOM remains a distance away and looks around.)", "(WARRICK picks up the boxing gloves.)", "Warrick: Gloves look brand-new. Padding's still stiff. It's like they've never been used.", "(WARRICK bags the gloves. GRISSOM still looks at the locker from the distance. WARRICK finds something on the ground.)", "Warrick: What are all these dots?", "(He picks it up. Camera zooms in for a close up.)", "Warrick: Looks like a little piece of red leather.", "(WARRICK keeps a sample. GRISSOM kneels down and looks at the grating on the ground. Camera zooms in for a close up.)", "Grissom: Hmm ... and more mercury.", "Warrick: Well, Molina does take it for his stomach, right?", "Grissom: He's a sloppy eater.", "Warrick: Hmm.", "[SCENE_BREAK]", "[INT. PRACTICE GYM -- DAY]", "(GRISSOM and WARRICK enter the gym.)", "Grissom: Mercury's volatile. It emits a toxic vapor at room temperature.", "Warrick: So you're saying if I find the vapor I find the mercury.", "(WARRICK plugs the machine in. He turns off the lights. He and GRISSOM check out the boxing ring and the various gym apparatus.)", "Warrick: Grissom.", "(GRISSOM looks at and sees the vapors.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA takes out MOLINA'S tape. She pieces together the signature for \"ADELLE CROSS\".)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(BRASS and SARA interview ADELLE CROSS, the fight promoter.)", "Brass: That your signature?", "Adelle Cross: Yeah. That's my signature. So what?", "Brass: Well, according to fight rules you were supposed to watch Molina wrap his hands and sign them, then watch him put on his gloves and then sign those.", "Adelle Cross: Which is what I did.", "Sara: Okay, you signed his wraps but the gloves that we found were not the gloves used in the fight. Molina switched them.", "Adelle Cross: There's no way.", "Brass: You watched Molina glove up?", "Adelle Cross: Not exactly.", "(Quick flashback to: JAVIER MOLINA is getting ready in the locker room. His gloves aren't on yet. He tells everyone to get out.)", "Javier Molina: Come on. Get her out of here.", "(End of flashback. Resume to present.)", "Adelle Cross: Look. It was a big fight. There was a lot of pressure. You've got to give the fighters a little space.", "Sara: So, no one saw him put his gloves on.", "Adelle Cross: I guess not.", "[SCENE_BREAK]", "[INT. HOTEL LOBBY]", "(MRS. RAMSEY walks through the lobby with NICK.)", "Mrs. Ramsey: I should have called you first to apologize for my husband's unfortunate outburst.", "Nick: You know what? You should apologize. But not for your husband.", "Mrs. Ramsey: Excuse me?", "Nick: You know damn well your diamond isn't a diamond. It's a substance called moissanite.", "Mrs. Ramsey: Really?", "Nick: Really. White light refractions and inclusions of your stone are inconsistent with a real diamond's.", "Mrs. Ramsey: Then the thief must have switched the stone before you caught him.", "Nick: The thief ... Yeah ... I don't think so. Because before the store could clean your ring I was able to collect DNA.", "Mrs. Ramsey: Wow, that's very thorough of you. Isn't it?", "Nick: You know, it's my guess you switched out the stone some time ago because judging from your husband's response he knew nothing about it.", "Mrs. Ramsey: Mr. Stokes, can I ... ? You're from Texas, aren't you? 'Cause I can always tell.", "Nick: I'm a criminalist for Clark Country, Nevada.", "Mrs. Ramsey: Yes, well, one's body might reside elsewhere but one's heart never really leaves home, does it? Look, all you have to do is say that you recovered a fake diamond which is the truth.", "Nick: So you can file a false insurance claim which is a felony? Better yet, why don't I have an adjuster come over to your place and check out all your rocks see which ones are real and which ones you've switched out? No? Look, if you find yourself in a hole, the best thing to do is stop digging. You know what I mean?", "Mrs. Ramsey: Sounds like a plan.", "Nick: Put it in motion.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM watches as they wheel in racks of clothes.)", "Grissom: I guess clothes do make \"The Man.\"", "Catherine: In this case, \"The Man\" makes the clothes ... and produces the music ... and represents the athletes ... when he's not involved in street shootings, of course.", "Grissom: And when you asked him what he was wearing the night of the murder, he couldn't remember?", "Catherine: As far as he's concerned murder is just another way to separate himself from the Calvins and Ralphs of the world.", "Grissom: Calvin and Ralph?", "Catherine: Klein and Lauren. Fashion.", "Grissom: Oh. Well, for most CSIs, fashion is irrelevant.", "Catherine: Speak for yourself. The only thing between me and a wardrobe like this is a few extra zeros on my paycheck.", "Grissom: Well, what's standing between you and this Tiny Tim character?", "Catherine: The mojave. Highway patrol is out looking for our guy. Odds are that Tiny Tim is back in L.A. Evidence disposed of along the way. That means my last chance of connecting the dots is somewhere along these racks. Fibers, GSR, blood.", "Vega: Hey. Guess who never left town?", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(VEGA shows CATHERINE the body. A 10 of clubs playing card is tucked in the victim's shirt.)", "Catherine: Calling card?", "Vega: 10th street vandals.", "(CATHERINE leans down and looks at the firearm next to the victim.)", "Catherine: .380 automatic. Tiny's favorite piece.", "Vega: Odds are it traces back to the original murder.", "Catherine: Same as it always does.", "Vega: Somebody gets dissed.", "(Quick flashback to: The fight. The first victim walks along side the ring. He's on the phone and just happens to step on JEROME ANDERSON'S foot.)", "Catherine: (V.O.) Wrong place, wrong time. It doesn't take much to set someone off.", "(JEROME ANDERSON stands up and pushes the man aside. He starts running across the lobby as he did in the teaser. JEROME ANDERSON and his gang follow behind him.)", "(They catch up with him in the parking lot. One of the gang fires the gun killing the man in the parking lot.)", "(End of flashback. Resume to present.)", "Catherine: The snakebacks kill a vandal. Then the vandals kill a snakeback.", "Vega: Everyone goes home satisfied.", "Catherine: Round and round and round it goes. Where it stops, nobody knows.", "(CATHERINE snaps a photo.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK and GRISSOM walk through the hallway on their way to the lab.)", "Warrick: There was this one case where a boxer put lead shot in his gloves to increase his punching power. And also ancient greek limapulists used a glove weighted with metal, called a \"cestus.\"", "Grissom: You making a classical reference?", "Warrick: Yeah. I thought you'd like that.", "(They walk into the lab where SARA is looking through the scope.)", "Grissom: Question is, if Molina was using mercury to load up how'd it get into his gloves?", "Sara: Well, he injected it. (SARA rolls away from the scope allowing WARRICK to look through it.) Those circular pieces of leather that you found in Molina's locker are the same diameter as a 14-gauge needle.", "Grissom: Well, mercury's incredibly dense.", "(Quick CGI POV of the needle piercing through the red leather glove and inserting the mercury inside the glove.)", "Grissom: (V.O.) It could easily be contained in the leather in the form of a boxing glove.", "(End of CGI POV. Resume to present.)", "Sara: The boxing gloves weighed eight ounces so the question is, would a few ounces of mercury be enough to cause the damage that we observed on the victim?", "Warrick: Right.", "Grissom: I smell an experiment.", "(GRISSOM looks at SARA. SARA smiles.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM ties the gloves on WARRICK.)", "Warrick: All right. Normal gloves. (WARRICK takes his position in front of the punching bag.) Ready.", "Sara: And ... go.", "(WARRICK starts punching the bag. The machine records the force of the hits. WARRICK looks over at SARA.)", "Warrick: Good?", "Sara: Little more. (SARA looks at WARRICK and smiles.) Good.", "(WARRICK stops.)", "(Cut to: SARA loads the gloves with mercury. She hands the gloves to GRISSOM.)", "Sara: Loaded gloves.", "Warrick: Ready?", "Sara: And ... go.", "(WARRICK hits the punching bag.)", "Warrick: Ooh, these things are heavy.", "(The monitor recording the force of the punches goes on \"OVERLOAD\". SARA stops WARRICK.)", "Sara: Good. Good, good.", "(WARRICK stops. He raises his hands and walks over to see the results.)", "Grissom: And mercury kills Steele.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(SARA, BRASS and WARRICK re-question JAVIER MOLINA.)", "Javier Molina: Boxing is a combat sport. Sometimes fighters die, okay? That's all part of the game.", "Lawyer: Laroi Steele's death was a tragedy not a murder.", "Brass: It became when your client injected mercury into his gloves.", "Sara: And your hands, Molina literally, became lethal weapons.", "(Quick flashback to: MOLINA warming up in the locker room. He opens the locker and takes the syringe. He injects the mercury into the tips of the gloves.)", "(Cut to: In the ring, MOLINA fights STEELE. When he's not throwing a punch, his hands are down at his sides.)", "Warrick: (V.O.) Heavy gloves. That's why you kept your hands to your side. It also kept the mercury on the tip of your glove.", "(Cut to: MOLINA punching the bag during practice. Little beads of mercury fall to the floor. Cut to: MOLINA throwing punches in the ring.)", "Sara: (V.O.) With every punch a little bit got forced down through the padding through the seams and on to your hands. That's how it got on your wraps.", "(End of flashback. Resume to present.)", "Warrick: And into your lungs.", "Sara: And finally out into your urine. We tested the sample that you gave the boxing commission after the fight. It came back positive for mercury.", "Javier Molina: I have empacho. I take mercury for my stomach problems.", "Warrick: We didn't find mercury in your stomach. We found it in your locker, on your gym bags, on your wraps ...", "Sara: When the fight was over, your trainer cut the tape off your gloves and you took the pieces and put them in the hamper along with a pair of sparring gloves, just in case anybody wondered what had happened to them.", "Warrick: But the real gloves were in your gym bag at that hospital, weren't they?", "Sara: Steele had already kicked your ass ... twice before? Must have been humiliating.", "Javier Molina: You push a man too far, there are consequences.", "(Quick flashback to: At the press conference, LAROI STEELE smiles at MOLINA. MOLINA glares at STEELE. Cut to: MOLINA in the ring glaring at STEELE. Cut to: MOLINA punching STEELE. End of flashback. Resume to present.)", "Sara: You knew there was no way you could beat Steele in a fair fight.", "Warrick: The best way to punish a guy is to beat him to death in the ring in front of two million people on pay-per-view.", "Javier Molina: (smiling) That's boxing.", "Brass: No, that's murder. I'll see you in court.", "[SCENE_BREAK]", "[INT. OBSERVATION ROOM/HALLWAY -- CONTINUOUS]", "(GRISSOM watches from the Observation Room and smiles. He leaves the room and walks through the hallway.)", "Officer 1: So that means the title's vacant, right?", "Officer 2: Not for long. I heard it's Lopez versus Lewis at Caesar's in six months.", "(GRISSOM shakes his head and leaves.)" ]

[ "Catherine, Sara and Warrick are left without a body or crime scene when a snuff film shows the real murder of a young woman. Meanwhile Grissom and Nick are trying to find the identity and killer of a body found in a tool chest, covered with fire ants ." ]

[ "THIS PROGRAM CONTAINS ADULT CONTENT", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY STRATOSPHERE TOWER / MOON (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. FILM DEVELOPERS - NIGHT]", "(GRISSOM and CATHERINE stand next to a film projector and watch the film on screen. The FILM PROCESSOR, who called it in, stands on the opposite side of the projector. On screen, she's showing them the p0rn film she recently developed.)", "(On screen, the man finishes and the woman lies back on the bed.)", "FILM PROCESSOR (WOMAN): Okay, this is where it got weird.", "(On screen, the man pulls the woman off of the bed by the wrist. He holds her up close, his back to the camera. He pulls a knife. The woman struggles to get out of his grip.)", "(The man puts the knife against the woman's neck.)", "Woman: (on film) Don't ...", "(He pulls the knife and cuts the woman's neck, blood spatters everywhere. The woman struggles to breathe, then falls to the floor and out of camera frame.)", "(CATHERINE isn't unaffected by the film.)", "FILM PROCESSOR (WOMAN): I've processed hundreds of bogus snuff films. But this, this one just felt different.", "Catherine: (closes her eyes for a moment) Yeah, it should. arterial spray was real.", "(GRISSOM watches grimly as the blood drops on the camera lens slowly slide downward.)", "Grissom: It's not fake blood. It's human. That was a murder ... on 16 millimeter.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "THIS PROGRAM CONTAINS ADULT CONTENT", "[SCENE_BREAK]", "[INT. FILM DEVELOPERS - NIGHT]", "(GRISSOM puts on his gloves to handle the film.)", "Grissom: Has this pornographer sent you film to be developed in the past?", "FILM PROCESSOR (WOMAN): I'm sure he has. We get raw film from hundreds of adult film companies. No names, just those private boxes. You can film p0rn, develop it, sell it, buy it but you can't send it through the U.S. Mail.", "Catherine: I've got several envelopes here from various private shipping companies.", "Grissom: We'll be taking those with us as well.", "FILM PROCESSOR (WOMAN): Whatever.", "(GRISSOM'S cell phone rings. He answers it.)", "Grissom: Grissom.", "Brass: (over phone) It's Brass.", "INTERCUT WITH:", "[EXT. HENDERSON ROAD - NIGHT]", "Brass: I got a D.B. Out on Henderson Road.", "Grissom: I'm already on a case.", "Brass: Yeah, well, reconsider. I mean, these ants came flying out of the body. They're taking chunks out of the coroner. The CSI day guy says he's not going near the body again!", "Grissom: They're fire ants, Brass. Keep everyone away from the colony. They're evidence.", "(Behind BRASS, DAVID PHILLIPS tries to get the ants off of him.)", "Brass: Reconsider. Bring bug spray.", "Grissom: No bug spray!", "[SCENE_BREAK]", "[EXT. HENDERSON ROAD - NIGHT]", "(BRASS escorts GRISSOM to the dead body.)", "Brass: So a kid was driving along and spotted the tool box. He thought it would look good in his pickup truck. So he looked inside and freaked out. Ran to call for help.", "(GRISSOM and BRASS reach DAVID PHILLIPS.)", "David Phillips: Hey ... Grissom. You ever see anything like this?", "(DAVID holds his arm out for GRISSOM to look at. There are angry puffy bite marks on his arm.)", "Grissom: Well, any species that finds itself in a place it doesn't belong can do this kind of damage. What are you using?", "David Phillips: Cortisone.", "Grissom: That'll help.", "(GRISSOM and BRASS continue on to the body.)", "Brass: You know, I heard that these things can kill a deer. Is that ... is that right?", "Grissom: Well, with enough colonies they can kill people.", "Brass: What about our person?", "Grissom: Well, only if they also learned how to put him in a box and dump him in a ditch.", "[SCENE_BREAK]", "[EXT. HENDERSON ROAD - NIGHT]", "(The tool box lid opens. Inside is a dead body eaten away down to its bones. The entire body is covered with fire ants.)", "(Behind him, BRASS coughs at the smell.)", "Brass: Man or woman?", "(GRISSOM brushes away some of the flying ants from his sight.)", "Grissom: Ant hill. They're using this body as a colony site. I'm going to have to take this box and the specimen back to the lab as is. These insects are evidence.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- NIGHT]", "(CATHERINE and DET. SULIK walk in the hallway as he fills her in on the info about the snuff film.)", "Det. Sulik: I followed up on the private mail depot for our snuff movie. The place has got over a thousand boxes no records of renters and they deal in cash only.", "Catherine: Dead trail.", "Det. Sulik: Yeah.", "Catherine: I got Archie to digitize that film blow up a head shot of our victim.", "(CATHERINE hands DET. SULIK a photograph of the woman.)", "Det. Sulik: I find any missing persons that match her description, I'll beep you.", "Catherine: Thanks, Sulik.", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(SARA is looking at the film negative with a magnifying glass. CATHERINE walks into the lab.)", "Catherine: Find any fingerprints?", "Sara: I should be able to. Imaging components on a filmstrip are held together by gelatin. Same stuff that makes jell-o jiggle, but they're smudged. I can tell you that the film was manufactured in 2002 by a big company. Homicide's contacting them now to get a buyer's list.", "(CATHERINE puts on a pair of gloves.)", "Catherine: Won't help. Pornos buy \"short ends\" from legitimate clearing houses. Saves money and they're impossible to trace.", "Sara: (impressed) Really?", "Catherine: I pulled a porno ring using teenage girls a couple years ago. Learned all you want to know about the adult entertainment industry.", "(CATHERING picks up a film negative strip and looks at it through a magnifying glass.)", "Catherine: Hell of a way to go.", "(SARA'S silent for a moment.)", "Sara: I always thought that snuff films were an urban myth. I mean, outside of urban Bangkok.", "(CATHERINE puts the film down and looks at SARA.)", "Catherine: FBI's official position on snuff films in the U.S. Of a? No such thing.", "Sara: What's their unofficial position?", "Catherine: Single film goes for hundred grand ... original negative.", "(CATHERINE goes back to looking at the negative.)", "Sara: And this snuff filmmaker decided to send his film out to get processed.", "Catherine: Greedy doesn't mean smart.", "[SCENE_BREAK]", "[INT. CSI - OUTSIDE FORENSIC AUTOPSY -- NIGHT]", "(DOC ROBBINS struggles to put on his protective suit around his leg. Next to him, GRISSOM also puts on his suit.)", "Robbins: Come on, you bitch! I'm allergic to red ants, you know.", "(GRISSOM puts his head gear on and works to put his gloves on. ROBBINS does the same.)", "Grissom: Yeah? I put them on my eggs.", "Robbins: If they're dead, I hope.", "(They both enter the autopsy room.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(GRISSOM and ROBBINS carry the body to the examining table. The entire room is covered with plastic to keep the insects inside. GRISSOM starts to sprinkle white powder along the edge of the table.)", "Robbins: Something tells me that isn't black flag.", "Grissom: Ecozone pyrethrum. Toxic to ants, fleas, roaches and silverfish.", "Robbins: And how does an entomologist feel about putting ants to death?", "Grissom: I view them as martyrs in a scientist's holy war.", "Robbins: I see. (looks at the body) Man without a face.", "Grissom: Timeline for death?", "Robbins: Hard to say between the insects and the elements. At least a year.", "Grissom: It smells more like two.", "Robbins: Multiple fractures of both clavicles.", "(Quick CGI POV to the right clavicle of the body. The ants and grime disappear and only the clean bone is left for us to view. The bone breaks.)", "Robbins: (V.O.) Right clavicle healed ... broken four months before death.", "(The bone heals up. Camera moves over the ant-infested body to the left clavicle and focuses in on the second break.)", "Robbins: (V.O.) Left was more recent ... hairline fractures are still present.", "(End of CGI POV. Resume to present.)", "Robbins: Give me a hand turning him over, will you?", "(They turn the body over.)", "Grissom: What are these?", "(GRISSOM sticks his fingers in two almost identical wounds on the body's back.)", "Robbins: I'm not sure. Sharp impact wounds to the interscapular. Same trauma here in the vertebrel.", "Grissom: Stab wounds?", "Robbins: I can't say. Uh, maybe some round weapon of some sort.", "Grissom: What, two feet apart? More like 18 inches.", "(GRISSOM sees something. He digs in his pocket for a forceps and removes something from the body. He holds it up.)", "Robbins: What?", "Grissom: A pupa case.", "Robbins: Is that a good thing or a bad thing?", "Grissom: It's a good thing. If I can postdate the pupa I can establish an entomological timeline.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]", "(WARRICK and ARCHIE work on getting information from the snuff film.)", "Warrick: Okay, all right, let's run this back again from the beginning. This time without the sound.", "(ARCHIE clicks on the keyboard and the film rewinds.)", "Warrick: All right.", "(They reach the beginning of the film where the woman is on the bed and the man in the robe walks into the room. The man disrobes.)", "Warrick: Stop.", "(ARCHIE punches a key on the keyboard and the film pauses.)", "Warrick: Can you zoom in on his back?", "(ARCHIE boxes and enlarges a mark on the man's back.)", "Warrick: What is that? A mole?", "Archie Johnson: Non-cancerous.", "Warrick: You think? Too bad, the b*st*rd. (The film resumes.) This room is like a dime a dozen it could be anywhere in Vegas. Between the drapes can you get any other detail outside of that window?", "Archie Johnson: Uh ... I'll reverse the polarization see if we can get any more information from this frame.", "Warrick: That looks like a blob outside of the window. It's spherical.", "Archie Johnson: Blow it up. Times ten.", "Warrick: The Stratosphere Tower. South face maybe? Using that Stratosphere Tower as a point of reference could you triangulate and pinpoint the street that this was filmed on?", "Archie Johnson: (smiles and nods) I can.", "(ARCHIE gets to work.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY -- STRATOSPHERE TOWER (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. MANDOLIN TOWER HOTEL - DRIVEWAY -- DAY]", "(DET. SULIK, CATHERINE, SARA and WARRICK make their way up the driveway.)", "Det. Sulik: Hotel's in receivership. The security guy says the elevator still works.", "Warrick: We're going to need to talk to him.", "Det. Sulik: Soon as he gets off the phone with the owner.", "[SCENE_BREAK]", "[INT. MANDOLIN TOWER HOTEL - LOBBY -- DAY]", "(The group walks into the lobby. CATHERINE pauses and looks around. She stops and stares at a lamp in the lobby. WARRICK notices and stops to stand next to her.)", "Warrick: What's up?", "Catherine: (looking at the lamp) Oh, nothing. Only difference between Kitsch and beautiful is time.", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- DAY]", "(GRISSOM is holding a stack of bug samples in baggies.)", "Greg: (o.s.) Heard you're doing a timeline on the ant man.", "Grissom: Slow day in DNA, Greg?", "(GRISSOM starts to tape the baggies to the glass board.)", "Greg: Yeah. (pause) You know, I, uh ... I can take notes.", "(GREG walks up to GRISSOM from the other side of the glass board and pulls out a small notepad and pen.)", "Grissom: Very good. Go right ahead.", "(GRISSOM starts the timeline. He talks out loud as he writes.)", "Grissom: (writing) Week zero: Body dies. Week two: Green blowflies arrive ... and leave their pupal casings.", "(GRISSOM grabs one of the baggied samples and tapes it under \"Week 2\". He continues.)", "Grissom: Week four: Black soldier flies move in. At Week 28 ... they leave their pupa casings.", "(GRISSOM grabs the second baggied sample and sticks it under \"Week 28\". He continues.)", "Grissom: Now, the presence of winged reproductive fire ants suggests that their colony was in existence for at least a year.", "(At this, GRISSOM takes the final bag and tags it at the end. He writes a large \"52\" over it and circles it. He continues.)", "Grissom: Now, since we found no more pupa casings after the black soldier flies left at week 28, we know that this is when the fire ants must've first arrived.", "(GRISSOM writes a \"1\" and circles it.)", "Grissom: So, calculating the gestation period between ants and flies, we get...", "(GREG starts counting. He reaches over and grabs the blue pen.)", "Greg: One year plus the 28 weeks ... the guy's been dead 19 months.", "(GREG writes a big \"19\" on the board and circles it.)", "Grissom: (pleased) Very good. It's an approximation, but it's a start.", "[SCENE_BREAK]", "[INT. MANDOLIN TOWER HOTEL - HALLWAY ON FLOOR -- DAY]", "(As they walk down the hallway, CATHERINE assigns the rooms to each of them.)", "Catherine: Well ... Sara, you take that one.", "(SARA enters the first room.)", "Catherine: Warrick, you go there, I'll go in here.", "(They each walk into their assigned rooms.)", "[SCENE_BREAK]", "(CATHERINE walks into her room and looks around.)", "(Cut to: WARRICK is inside his room and holds up a large clear image of the stratosphere tower from the film. They try to find the room by matching the tower in the negative to the tower in the window. He looks at the negative and pulls it down to look at the window: no match.)", "(Cut to: CATHERINE holding up the large clear image against the window. She looks at the image and pulls it down to look at the window: no match.)", "(Cut to: SARA holding up the same large clear image against the window. She looks at the image and sees the stratosphere tower line up perfectly with the tower in the window.)", "[SCENE_BREAK]", "[INT. MANDOLIN TOWER HOTEL - ROOM 918- DAY -- CONTINUOUS]", "Sara: Hey, guys?", "(CATHERINE and WARRICK walk into the room.)", "Sara: We got it.", "Warrick: (looking around) Somebody moved out all the furniture.", "Catherine: And painted the wall.", "(CATHERINE puts her kit down.)", "Warrick: If they can't see it, we can't, huh?", "Catherine: Right.", "(WARRICK puts his kit down and picks up his ALS. He shines it on the wall. Under the light, the blood spatter is obvious.)", "Catherine: Arterial spray", "(Quick flashback to the knife slicing through the woman's neck. She gasps. The blood spatters on the wall. End of flashback. Resume to present.)", "Sara: (pointing) There's a void. Could be a face?", "Catherine: Yeah, maybe.", "Sara: How does somebody cross the line where killing a woman is a turn-on?", "Catherine: Oh, I don't think snuff makers cross a line, I think they start on the other side of it.", "Sara: Biology determining pathology.", "Warrick: Yeah, some people were just born bad.", "Catherine: Where's that security guard?", "[SCENE_BREAK]", "[INT. MANDOLIN TOWER HOTEL - LOBBY -- DAY]", "Det. Sulik: How long you been a day guard here?", "Security Guard: Four months. But I don't know anything about this murder you're talking about.", "Warrick: Do you anything about who painted Room 918?", "Security Guard: No idea.", "(CATHERINE notices the white spots on the SECURITY GUARD'S shoulder.)", "Catherine: You should try a scalp conditioner.", "Security Guard: What?", "Catherine: Your dandruff. (on closer look) Oh, my bad ... primer. Alkyd-based. Never comes out in the wash but you already know that.", "(CATHERINE walks behind the SECURITY GUARD. Her eyes widen as she finds something unexpected.)", "Catherine: (alarmed) Warrick?", "(WARRICK goes to stand next to CATHERINE and he sees it, too. There's a large mole on the man's neck, above his shirt collar.)", "Warrick: You were in that snuff film.", "Catherine: You stabbed that girl.", "Security Guard: I let them use the room to make a movie, that's all.", "Warrick: Yeah, we saw you in the movie. You and your nice mole.", "Security Guard: The guy threw in another two hundred ($200) if I had s*x with the girl. She was hot, so I figured why not? Did her and left. She was breathing fine.", "Warrick: So when you came back in the room and you saw the blood on the wall did you think to call the police?", "Security Guard: I didn't want to lose my job.", "Catherine: Oh, touching. (to SULIK) Arrest him.", "Det. Sulik: Turn around.", "(SULIK cuffs the SECURITY GUARD and leads him out of the lobby.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is busy stirring something in a large pot on a hot plate.)", "Teri Miller: (o.s.) I see you're now learning to cook for yourself.", "(TERI MILLER walks into frame. GRISSOM looks up at her.)", "Grissom: Well, I had to, Teri. I heard you were married. Hopefully not to a criminalist.", "(She chuckles.)", "Teri Miller: You think I'm stupid? He's a teacher.", "Grissom: Well, congratulations.", "Teri Miller: Thank you. So what's the special occasion?", "Grissom: I have someone I'd like you to introduce me to.", "(GRISSOM pulls out the strainer he's holding and the clean skull with it. TERI leans in and notices something.)", "Grissom: What, did I miss something?", "Teri Miller: Actually, yes.", "(GRISSOM twists his arm and looks on the other side of the skull. He picks up the forceps and removes a cooked beetle.)", "Grissom: It's a dung beetle.", "Teri Miller: Probably hid in the nasal cavity.", "Grissom: The ants ate everything but the exoskeleton.", "Teri Miller: Mm-hmm.", "Grissom: So he was probably murdered near some large animals. Maybe a farm or a zoo. Anyway, as to who ... I'll leave that up to you.", "Teri Miller: (smiles) Will do.", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(Back at the Audio/Visual Lab, WARRICK works on the film on the computer. He takes screen captures of the man in the film at two different points of the film. One screen cap is of the man before he sleeps with the woman. The other screen cap is of the man after he sleeps with the woman, just before he kills her and when puts his robe back on.)", "(He pulls both screen caps side by side on the monitor and does a height estimation of the two men. The computer runs a comparative scale and comes to the conclusion that the man on the left is 5'10.00\" tall; and the man on the right is 5'11.75\" tall.)", "Warrick: Damn, Security Guard was telling the truth. There is another guy there. He's almost one and three-quarter inches taller than the security guard.", "Sara: Our minds must've filled in the negative space.", "Catherine: Look, the Security Guard just left the room. You see the door shadow right there ... at the foot of the bed.", "Sara: The camera stopped moving.", "Warrick: That's because he's not behind it, he's in front of it.", "Catherine: Well, then, that's our guy. There's got to be some way to I.D. him.", "Warrick: I have enlarged and re-enlarged every frame. There's no tats, there's no birthmarks, nothing.", "Catherine: What about the rest of the room?", "Warrick: The film picks up everything there is to see, Catherine. We've seen everything.", "Sara: Maybe there's a short end.", "Warrick: What?", "Sara: Pornos use short ends of film which means they never know when the film is going to run out.", "Catherine: Roll out. Camera slows down, the last frame stutters gets hit with more light.", "(Quick CGI POV to: Front view of a film camera. The camera turns to the side to show the view screen on the bottom. As the reel runs out of film, the picture on the view screen stutters and gets brighter as more light goes through. Camera zooms in on the view screen and shows the bed with blood spatter on the camera lens. The screen stutters and gets even brighter. End of CGI POV. Resume to present.)", "Warrick: So there's more visual information on the negative.", "Catherine: Right. Good editors always cut the roll out.", "[SCENE_BREAK]", "[INT. FILM PROCESSING PLACE -- NIGHT]", "(The FILM PROCESSOR leads CATHERINE and SARA to the room where the bins are kept till collection. Outside, it's raining.)", "Catherine: So all your editors' cuttings are in there?", "FILM PROCESSOR (WOMAN): Yep. Negatives and unused dailies. Collection guy comes by once a week. Silver on the film makes it environmentally unsafe for landfill, so ...", "Sara: Be nice if people were as concerned about the women in these films ...", "FILM PROCESSOR (WOMAN): I am the one who called y'all, remember? Knock yourselves out, ladies.", "Sara/Catherine: Thank you. Thank you.", "(The FILM PROCESSOR leaves them.)", "Catherine: Bins of sin.", "(CATHERINE and SARA put their kits down.)", "Sara: Well, looks like mostly 35 millimeter. Our 16 should've settled ... at the bottom.", "(CATHERINE grabs the bin and tips it over. She pours all the negatives out on the ground.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- NIGHT]", "(NICK examines the tool kit that the \"Ant Man\" was discovered in. He opens the lid and examines it inside. Inside, he notices something. He finds a piece of metal on the bottom of the kit.)", "Nick: (quietly) What the heck is that?", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GRISSOM holds the bagged piece of metal that NICK found in the tool box. They walk down the hallway as NICK fills GRISSOM in on the information about the metal.)", "Grissom: What did trace say?", "Nick: Carbon steel. There was some rust on it.", "Grissom: Carbon steel? 19th century. Mostly used for surgical instruments.", "Nick: Well, you found some stab wounds on the vic, right? Underneath all those ants? Maybe it's somebody's old scalpel.", "Grissom: This prong-like extension could be part of a repeating pattern.", "Nick: Geometrical extrapolation?", "Grissom: That would give us possibilities.", "Nick: You got a pencil?", "(NICK turns into the nearest lab. GRISSOM follows.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK places the metal on a sheet of graph paper. He traces the shape of the piece on the paper.)", "Nick: From the tip down, the slope looks to be slightly curved. Now, if I extend that trace outward ...", "(NICK repeats the pattern shape on the paper. It looks ruffled when he's done. He looks at GRISSOM.)", "Nick: What do you think? Blade of saw ...", "Grissom: Keep doing the math, maybe we won't have to guess.", "Nick: You see how the base of the fragment curves downward? Suggesting something circular.", "(NICK picks up a compass and places the piece of metal on the outside of the circle. He draws the same pattern, only around the circle.)", "Nick: Repeating pattern. Circular saw, maybe.", "(GRISSOM picks up the piece and holds it up close to his face.)", "Grissom: This doesn't seem sharp enough for a saw.", "(He puts it back down on the paper. NICK picks it up.)", "Nick: Wait a minute. (smiles) I've seen one of these before, man. A spur ... cheap spur.", "Grissom: What's that old cowboy expression? Got to see a man about a horse.", "Nick: (nods) Yeah.", "Grissom: That reminds me. I've got to see a woman about a face.", "(GRISSOM leaves the room.)", "Nick: Yee-haw.", "[SCENE_BREAK]", "[INT. FILM PROCESSING PLACE -- NIGHT]", "(CATHERINE and SARA sit on their kits and go through the film strips one by one.)", "Sara: You notice all the guys in these movies are wearing condoms?", "Catherine: Yeah, industry policy. Ever since '98. Even have a quarantine list: Who's positive, who's not. And that security guy wore one, too. Pretty surprising for unregulated p0rn.", "Sara: Maybe she made him wear one.", "(SARA lifts up a negative and smiles.)", "Sara: I got it.", "Catherine: You did?", "Sara: I got it, I found it.", "Catherine: Thank god.", "(SARA hands the strip to CATHERINE and she looks at it.)", "Catherine: Hot frame, all right. (She shakes her head.) I still can't see who it is.", "Sara: You can see a little more of the room, though. There's a small table and a lamp in the left corner.", "(CATHERINE sees it and smiles. She also recognizes the lamp.)", "Catherine: Good eye, Sara.", "(Camera zooms into the frame and it changes color.)", "Catherine: Yeah, that Kitsch lamp. Somebody moved it out to the lobby. I'll have Warrick go back to the hotel and grab it.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Close up of the clean skull with markers already stuck on it. TERI MILLER works methodically on reconstructing the skull. GRISSOM watches her over her shoulder.)", "Grissom: Tissue depth markers. Twenty-one of them, right?", "Teri Miller: Sixteen actually. Excluding five nasal markers.", "Grissom: Like I said ...", "Teri Miller: (smiles) This one's very interesting. (She picks up the skull and turns it around to show GRISSOM.) The occiput the bump on the back center of the head unusually flat.", "(Dissolve to: TERI securing the molding clay on the skull's chin. She also puts in the skull's left eye.)", "Teri Miller: The eyes have epicanthal folds. A triangular flap of skin that gives a vaguely asian appearance.", "(Dissolve to: TERI securing the right ear to the skull.)", "Teri Miller: You see how the bridge of the nose is poorly developed? Almost too small for the size of his head.", "Grissom: The ears seem slightly odd.", "(White flash to: TERI is working on the right ear.)", "Teri Miller: Like the nose they too, are disproportionate to the head. Almost childlike.", "(Dissolve to: TERI finishing the face reconstruction and dusting the forehead with a brush.)", "Teri Miller: These elements are small for the head which, in itself, is almost too short and wide. Your victim was born with trisomy of the twenty-first chromosome.", "Grissom: Down's syndrome.", "(Finished, TERI turns the bust around toward the camera. Camera holds on the figure.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(A photo of RANDY TRASCHEL runs through the fax machine.)", "[SCENE_BREAK]", "Brass: So I sent out a community fax to every Downs syndrome link in Clark and the surrounding counties. Special Olympics-type groups, societies, schools and I got lucky. Randy Traschel, age 25. Been missing for seventeen months.", "Grissom: I guess my ants were off a little. (BRASS hands GRISSOM a sheet of paper with RANDY TRASCHEL'S picture and information:", "[Name: Randy Traschel Address: 2074 Westfall, LV, NV, 89 ... D.O.B.: 02/25/77", "Age: 25", "Missing: 17 months Last Employer: Las Vegas Ranch ]", "Grissom: \"Last employer: Las Vegas Ranch.\" (he thinks about it and makes a connection) Horses. (beat) Dung beetles.", "[SCENE_BREAK]", "[EXT. LAS VEGAS RANCH -- DAY]", "(BRASS, NICK and GRISSOM walks down the front dirt road to the ranch.)", "Brass: Hey, where's the tote board? Every time I see a horse, I want to place a bet. Smells like Belmont Park, doesn't it?", "Nick: You ever ridden a horse, Grissom?", "Grissom: Nope, just roller coaster", "(They make their way toward the corral where most of the men are.", "(One of the older men sees them, turns and approaches them.)", "Pete Banson: Howdy. Pete Banson. Ranch manager.", "Brass: Howdy. Jim Brass, Las Vegas police. This is Gil Grissom, Nick Stokes of the crime lab.", "Pete Banson: What seems to be the trouble?", "(BRASS holds open the picture of RANDY TRASCHEL.)", "Brass: Have you ever seen this man?", "Pete Banson: Yeah, he's one of my stall muckers. Hired him about two years ago. A little slow in the head, but got the work done. And all of a sudden, he up and disappeared never heard from him since then.", "Grissom: Did he ever ride horses for you, Mr. Banson?", "Pete Banson: No, he just mucked the stalls and went home.", "Nick: Who mucks your stalls now?", "Pete Banson: Look, guys, am I in some kind of trouble here?", "Nick: A former employee of yours was murdered. Now, who mucks?", "Pete Banson: Enrique. He's an illegal.", "Brass: Shocking. Where is he?", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK and CATHERINE go through the short-end frame by frame. WARRICK puts a sheet of paper in front of the camera so that they can better see what they're looking at.)", "Warrick: There's the lamp I got from the lobby. The bulb is red ... in the film and here.", "Catherine: Guy thinks he's Zalman King, playing with the lighting.", "Warrick: I guess he was going for a certain look.", "(WARRICK turns around and looks at the lamp. Something occurs to him.)", "Warrick: You know, if I had screwed a hot light bulb I'd probably lick my fingers.", "Catherine: Saliva.", "(Quick CGI POV to: A camera close up of someone licking their fingers then twisting the red light bulb off. End of CGI POV. Resume to present.)", "Catherine: Guy replaced it with a red bulb. Got residual saliva on it. I'll process for DNA, run it through CODIS.", "(CATHERINE takes the red light bulb from WARRICK and leaves the room.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(The computer printer beeps. CATHERINE takes the computer results. It's the CODIS match results. She reads it and leaves the room.)", "[SCENE_BREAK]", "[EXT. URBAN LAS VEGAS -- DAY]", "[SCENE_BREAK]", "[EXT./INT. SAMPSON RESIDENCE - DAY]", "(The door bell rings and the front door opens to DET. SULIK and CATHERINE. DET. SULIK holds his badge open.)", "Det. Sulik: Douglas Sampson?", "(A man leans against the door frame.)", "Douglas Sampson: Yeah.", "Catherine: The same Douglas Sampson who did three years for sexual assault and battery?", "(DOUGLAS SAMPSON coughs.)", "Douglas Sampson: Did. Past tense.", "Det. Sulik: We want to talk to you about a recent homicide at the Mandolin Tower Hotel, off Fremont.", "Douglas Sampson: I'm working.", "(Both CATHERINE and DET. SULIK turn around. Standing behind them near the car with WARRICK is the SECURITY GUARD. He looks at DOUGLAS SAMPSON and nods to them.)", "(They turn back to DOUGLAS SAMPSON.)", "Catherine: Take a break.", "(DOUGLAS SAMPSON moves away from the door. DET. SULIK and CATHERINE enter the house.)", "[INT. SAMPSON RESIDENCE - DAY -- CONTINUOUS]", "Douglas Sampson: Take ten. Give it a rest, guys.", "(The man and the woman in front of the camera put their clothes back on and leave the room.)", "Catherine: I bet I could guess your exact height.", "Douglas Sampson: What?", "Det. Sulik: That guy out front just confirmed you shot a snuff film with this girl at the Mandolin Tower Hotel.", "Douglas Sampson: I've stayed there over the years. I never saw her with that guy out front.", "Catherine: We've got you on film, killing her.", "Douglas Sampson: If you had me from any angle I could be identified you would've arrested me already.", "Catherine: We've got ourselves a film student here. DOUGLAS SAMPSON: I'm one of the best in adult film and I'm going to be making the jump to mainstream, you watch.", "Catherine: Financed by a snuff film?", "Douglas Sampson: You have no right to be in my house. I'm not breaking any laws. I have a permit for adult film production. You leave now or I'm going to file a complaint.", "(DOUGLAS SAMPSON sniffles and wipes his nose.)", "Catherine: Getting a cold? Maybe you should raise the heat. I'm sure they wouldn't mind.", "[SCENE_BREAK]", "[EXT. SAMPSON RESIDENCE - DAY]", "(CATHERINE and DET. SULIK walk down the front walkway.)", "Catherine: Hey, what do you got?", "(WARRICK has been busy examining SAMPSON'S car parked out on the side of the road.)", "Warrick: This is Sampson's car, right? Some soil up in his wheel well. He washed the tire and forgot the well.", "Catherine: Butterscotch?", "Warrick: Yeah. Remember that body dump a couple years back?", "Catherine: Yeah.", "Warrick: Down near the Colorado?", "Catherine: Bidahochy range. Butterscotch-colored soil.", "Det. Sulik: I'll radio the sheriff up there. And the Park Rangers.", "Catherine: Great.", "[SCENE_BREAK]", "[INT. LAS VEGAS RANCH -- DAY]", "(BRASS, GRISSOM and NICK question ENRIQUE who is busy working.)", "Brass: You never met this man?", "Enrique: No.", "Brass: Stop the shoveling. Take a closer look.", "Enrique: All I know about him is they call him \"Stubs.\"", "Nick: Stubs. What is that, some kind of nickname?", "Enrique: I guess. I hear the cowboys joking about him. I think they call him that because of his fingers.", "(GRISSOM walks away and looks around. He picks up the hay fork and looks at its prongs.)", "Brass: Did the other cowboys ever make fun of him?", "(NICK looks down at ENRIQUE'S spurs.)", "Enrique: I really don't know.", "Nick: Do you ride, Mr. Vasquez?", "Enrique: Every day.", "Nick: You wear spurs when you ride?", "Enrique: When I'm breaking a horse, yes.", "(GRISSOM listens to the response and walks back to the group.)", "Brass: You don't call this breaking a horse, do you?", "Enrique: I forgot to take them off.", "Nick: I'm going to need to take a look at those spurs, Mr. Vasquez.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(In the lab, GRISSOM takes the spurs out of the plastic evidence bag. One of the teeth is missing. He spins the spur. He picks up the broken piece of metal found in the tool box with the body and matches the two together. Camera zooms in to show that it is a match.)", "(GRISSOM smiles.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "(NICK questions PETE BANSON. NICK puts a photograph on the table.)", "Nick: Enrique said he got those boots an spurs from Hero's Row.", "Pete Banson: Mm-hmm. That's where the cowboys toss all their unwanted gear.", "Nick: And they just leave them there for anyone to pick up?", "Pete Banson: It's either that or Goodwill.", "Nick: Hmm. Mr. Banson, the pro Rodeo Association banned sharp rowels on spurs back in the early '70s because they were found to be cruel to horses.", "Pete Banson: Yeah, I know all about that. I don't particularly agree with it 'cause as far as I'm concerned horses are on this earth to service human beings. There's an order to this.", "Grissom: Well, somebody on your ranch is stuck in the '70s. Do you have any idea who this spur could belong to?", "Pete Banson: Billy Rattison. Pro bronc rider.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(A cell phone rings. WARRICK answers it.)", "Warrick: Brown.", "Det. Sulik: I think we got your snuff film girl.", "Warrick: Where?", "Det. Sulik: [CLOSED-CAPTIONED: By the river.]", "Warrick: Okay, I'll be right there.", "[SCENE_BREAK]", "[EXT. RIVERBED - DAY]", "(WARRICK makes his way toward the body. OFFICERS stand in the background.)", "(The body is dirty and covered with grass and debris. It's also wrapped in a large curtain. WARRICK kneels next to the body.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Camera opens on the monitor with a close up of SUSAN HODAP'S face. CATHERINE and SARA walk in.)", "Robbins: Warrick stick you with post?", "Catherine: He's working evidence from the riverbed.", "Sara: You going to be able to I.D. her?", "Robbins: Already did from her dental records. Susan Hodap, 26. Exsanguination from a trans-section of the carotid artery. Slicing stab.", "Catherine: Any chance of finding any serration marks on the bone?", "Robbins: To tie to a knife? Eh, that'll entail a boil, but sure, I can try. What I can tell you conclusively is that Susan Hodap was already on borrowed time. I tapped her cerebral spinal fluid didn't wait for a batch, had the lab run it solo. She was HIV positive.", "(CATHERINE turns and looks at SARA.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE and SARA sit behind the computer.)", "Sara: Susan Hodap ...", "Catherine: There it is.", "(CATHERINE runs her finger across the screen that reads: Hodap, Susan ... HIV + ...)", "Catherine: Tested positive six months ago.", "Sara: I can't believe that p0rn actors' monthly health records are on the internet.", "Catherine: Yeah, right. The rule is, the actor tests positive twice they go on permanent quarantine.", "(They find the second listing under May 2002: Hodap, Susan ... HIV + Quarantined ... )", "Sara: That's why she ended up in that snuff film. She got bounced out of regular p0rn.", "Catherine: Walked right into her own death scene. The thing is ... p0rn director may have, too.", "[SCENE_BREAK]", "[EXT. LAS VEGAS RANCH -- DAY]", "(GRISSOM and NICK make their way toward BILLY RATTISON'S truck.)", "Nick: This would be a pretty cool little truck if it weren't for the shiny new toolbox.", "Grissom: Yeah. And it might be his.", "(PETE BANSON walks over to them.)", "Pete Banson: See you boys are back again.", "Grissom: Mr. Banson, is this Billy Rattison's truck?", "Pete Banson: Yes, sir. It is.", "Grissom: We need to speak with him.", "[SCENE_BREAK]", "[EXT. LAS VEGAS RANCH -- DAY]", "Billy Rattison: I don't know nothing about no damn retard.", "Grissom: He wasn't a \"retard,\" Mr. Rattison. He had what we call Down's syndrome.", "Billy Rattison: I don't care what he had. Always sticking his nose where it don't belong.", "(Quick flashback to RANDY TRASCHEL noticing the snuff box on the corral metal fence. He grabs it and takes it to BILLY RATTISON. He holds it up to him.)", "Randy Traschel: You left this?", "Billy Rattison: I left it on the post. I don't want it in my pocket when I ride.", "(BILLY RATTISON takes the piece of snuff in his mouth and throws it at RANDY TRASCHEL. It hits him in the face.)", "Randy Traschel: Damn!", "(RANDY TRASCHEL steps back to wipe it off as the other men watching laugh. End of quick flashback. Resume to present.)", "Grissom: The, uh, toolbox in your truck, is that new?", "Billy Rattison: Nope. Bought it a couple months ago. Somebody stole the last one. See, we got a big problem with that around here the help walking off with stuff.", "Grissom: Nick, where did you acquire this photo?", "Nick: Pro rodeo Association.", "(GRISSOM takes a photo out of the envelope he's carrying. He shows the photograph to BILLY RATTISON.)", "Grissom: That is you.", "Billy Rattison: Yeah.", "Grissom: Do you remember where this was taken?", "(BILLY RATTISON takes the picture and looks at it.)", "Billy Rattison: Looks like bronc finals, Wichita, Kansas. Spent a month there training for the finals.", "(He gives the photo back to GRISSOM.)", "Nick: But you live here normally, right?", "Billy Rattison: (nods) Mm-hmm.", "Grissom: What month, exactly?", "(GRISSOM puts the photo in front of BILLY RATTISON again.)", "Billy Rattison: (sighs heavily) This photo here ... uh, March, 2000.", "Nick: 19 months ago.", "[SCENE_BREAK]", "[EXT. LAS VEGAS RANCH - DAY -- CONTINUOUS]", "(GRISSOM and NICK walk through the stalls to leave the ranch.)", "Nick: Your ants put the time of death at 19 months Rattison puts being out of town at 19 months yet Randy Traschel's been missing 17 months so... (chuckles) ... now what?", "Grissom: We need a more precise timeline.", "Nick: Yeah ... so ... back to the bugs?", "Grissom: On to the rust.", "Nick: Ahh.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY / LAB --- DAY]", "(SARA walks through the hallway.)", "Warrick: (o.s.) Damn.", "(A flying phonebook flies out of the lab door and hits the floor in front of her with a thud just barely missing her. She turns and enters the lab. WARRICK is inside looking at the curtain hanging in front of him.)", "Sara: Why are you throwing phone books?", "Warrick: (frustrated) 'Cause a beaker gets glass all over the place.", "Sara: What's wrong?", "Warrick: It's this curtain that the p0rn girl was found wrapped in. I've got no prints, no second donor. I've got nothing to link this p0rn guy to the girl's murder. It's just driving me nuts.", "Sara: I'm fine.", "Warrick: I'm sorry. Are you okay?", "Sara: Yeah. You missed me by a mile. We may have something.", "Warrick: Really.", "Sara: Right here. I wanted to show you. (SARA holds up a single film frame negative for WARRICK to look at.) When he's stabbing her, she's bleeding all over him.", "Warrick: Well, a void proves that, but we still can't prove it's him.", "Sara: Yeah, but her blood might. Catherine and I suspect transference. She had HIV.", "Warrick: Well, how are we going to get a sample of Sampson's blood?", "Sara: Warrant, based on the butterscotch dirt that you found on his car.", "Warrick: (pleased) Oh. I like that.", "Sara: You might want to apologize to the phone book.", "(SARA turns and walks out of the lab.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "(Inside the room, a Lab Tech draws a sample of DOUGLAS SAMPSON'S blood while a detective stands nearby and watches.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(GRISSOM and NICK work on the piece of metal with ARCHIE.)", "Grissom: We sliced the shard into layers of one hundred microns to measure the level of oxidation. Moisture from the body hits the carbon steel and then corrosion begins.", "(Quick CGI POV to: Camera zooms from RANDY TRASCHEL'S body in the box and pans down the box from his head to his feet. The camera finds the single piece of metal near his feet, drops of moisture on it.)", "Grissom: (V.O.) And we can be certain that there was moisture right away.", "(End of CGI POV. Resume to present.)", "Nick: So it's like slicing the mold off of bread ...", "Grissom: ... and measuring it. The rust penetrated the thirteenth layer and just barely in the fourteenth. Archie, run the weather.", "Archie: National weather service for Las Vegas. Average relative humidity 30.29. Temperature 22.61 Celsius.", "Grissom: So, corrosion versus time ...", "Archie: May 2000.", "Nick: Spur exposure time was exactly 17 months.", "Grissom: And we can testify to this.", "Nick: Missing persons was right. The ants were off.", "Grissom: Yeah, so was Rattison. He was in town.", "[SCENE_BREAK]", "[INT. CSI -- GRISSOM'S OFFICE]", "(GRISSOM puts a photo of the ant-infested body on his desk alongside other photos. He picks up a ruler and puts it down on the table.)", "(He then takes a rubber band and stretches it between two pencils till he hits eighteen inches, the length between the puncture wounds on the body.)", "(He holds it at this length, lifts it up and looks at it. Thinking about it, he deliberately tilts the tips of the pencils inward.)", "(He gets an idea.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS RANCH - DAY]", "(Curly, the bull, with his large horns is contained so that NICK can measure the distance of his horns.)", "Nick: (shakes his head) Two feet.", "Grissom: We have reason to believe the wounds that killed Randy Traschel were made by one of your bulls.", "Pete Banson: That's why we cut the horns, to prevent such.", "Nick: We're looking for horns with points attached.", "Grissom: Yeah. We need to see your other bulls.", "Pete Banson: Curly's the only one I got.", "[SCENE_BREAK]", "[EXT. LAS VEGAS RANCH - DAY -- CONTINUOUS]", "(BILLY RATTISON walks past the corral and sees BRASS, NICK and GRISSOM standing next to his truck.)", "Billy Rattison: What do you all want now?", "Brass: We're waiting on you, actually. Mr. Rattison, we have reason to believe you were in town the month that Randy Traschel was murdered.", "Grissom: Could you tell us what used to be here?", "(GRISSOM points to a hole in the hood of the truck.)", "Billy Rattison: My belt buckles. Somebody stole it last year, like I said.", "Grissom: You do get a lot of stuff stolen, don't you? Mind if we look around your truck?", "Billy Rattison: Sure.", "(GRISSOM opens the lid to the tool box and starts looking through it's contents.)", "Brass: (to BILLY RATTISON) Don't get any tobacco juice on my shoe.", "(GRISSOM digs and pulls things out. Then he sees it. Under the saddle, he finds a mounted set of bull horns with its points in tact. He takes it out of the box and holds it for NICK to see.)", "Grissom: Got a tape measure?", "(NICK measures it from point to point.)", "Nick: Eighteen inches.", "Grissom: Phenolphthalein.", "(NICK tests the horn tips. The swab turns pink.)", "Nick: Positive for blood.", "Grissom: Looks like the only thing stolen around here was Randy Traschel's life.", "(GRISSOM looks behind NICK at BILLY RATTISON.)", "Grissom: Mr. Rattison, want to explain this?", "(Quick flashback to: Riding practice at the corral at night. BILLY'S on the bronco. He falls on the ground. When he looks up, he sees RANDY TRASCHEL smiling on the side.)", "Billy Rattison: (angry and humiliated) What you laughing at, huh? You want to come over here and try it?", "(RANDY loses his smile. BILLY RATTISON walks up to RANDY.)", "(Cut to: BILLY ties RANDY'S hand to the bronco saddle. When he's done, he steps back and laughs.)", "Randy Traschel: No. No.! I didn't mean it! No!", "(The bronco is let loose. After a moment of hanging on, RANDY falls to the ground, injuring his shoulder. BILLY and the other guys stand on the side and laugh. RANDY gets up clutching his shoulder. He's in pain.)", "(Cut to: BILLY walking away and RANDY running to catch up with him.)", "Randy Traschel: Wait, Billy! Wait!", "(BILLY turns around, grabs RANDY and throws him toward his truck. RANDY hits the bull horns which hang from the hood like an ornament.)", "(BILLY stops at what he's done.)", "(Cut to: BILLY putting RANDY'S body in the tool box and trying to close the lid. It won't close, so BILLY sticks his foot inside to push down RANDY'S body so that the lid can close. The spur breaks off.)", "(End of flashback. Resume to present.)", "(GRISSOM walks past BILLY RATTISON. He turns around and leans toward him over his shoulder. BILLY doesn't turn around.)", "Grissom: By the way, the definition of the word \"retard\" is \"to hinder\" or \"to hold someone back.\" I think your life is about to become 'retarded'.", "(GRISSOM walks away.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- OBSERVATION ROOM - DAY]", "(CATHERINE and SARA are in the observation room watching DET. SULIK begin to question DOUGLAS SAMPSON.)", "Det. Sulik: Okay, one more time, for the record: You have never had sexual intercourse with Susan Hodap?", "Douglas Sampson: I told you, I've never even met her.", "Det. Sulik: I know, but I got to ask. You've never had s*x with her?", "Douglas Sampson: Not ever.", "(CATHERINE smiles. SARA nods her head. They both leave the observation room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- INTERROGATION ROOM -- CONTINUOUS", "(The door opens. CATHERINE and SARA walk in.)", "Catherine: You still have those chills, Mr. Sampson? Feeling hot, achy? Back of your throat scratchy?", "Douglas Sampson: Yeah, it is.", "Catherine: Original flu happens at the onset of HIV. Seroconversion. Usually presents two to six weeks after the exchange of fluids.", "Douglas Sampson: Exchange of fluids?", "Catherine: That temperature is your body working up a resistance to the virus.", "Douglas Sampson: HIV? Me? Now, come on. You just took my blood a few days ago.", "Catherine: A private lab can run a virus test within a day. CDC doesn't broadcast that. Tests are very expensive.", "Sara: We dipped into the budget ... just for you.", "Douglas Sampson: You're playing me. I don't have HIV.", "Sara: Susan Hodap had it. The exact same strain that you have.", "Catherine: We had that lab do what's called a phylogenetic analysis of your HIV's DNA and Susan's.", "(CATHERINE puts the results on the table in front of DOUGLAS SAMPSON. He looks down at it.)", "Sara: As you can see, the genes are identical. Which means Susan gave it directly to you.", "Douglas Sampson: But we never had s*x.", "Catherine: You did stab her, though. And at that moment", "(Quick flashback to DOUGLAS SAMPSON in the room after he stabs SUSAN HODAP. Blood splatters on him. Camera zooms in as more blood continues to splatter on DOUGLAS SAMPSON'S face and into his eyes.)", "Catherine: (V.O.) ... her arterial blood hit your eyes entering your body through the conjunctival membrane.", "(DOUGLAS SAMPSON raises his hand holding the knife and wiping the blood from his eyes. End of quick flashback. Resume to present.)", "Sara: Non-sexual transmission is extremely difficult but obviously it's possible.", "(Quick flashback to: Camera close up of the blood on DOUGLAS SAMPSON'S face.)", "Sara: (V.O.) Susan's blood was absorbed into your bloodstream.", "(Quick CGI POV to: Camera zooms in to the eye and to SUSAN HODAP'S blood on DOUGLAS SAMPSON'S eye, near and around the blood vessels.)", "(End of CGI POV. End of flashback. Resume to present.)", "(DOUGLAS SAMPSON stares at the womeen. He doesn't say anything.", "Catherine: Where the new HIV cells immediately started attaching to your healthy white blood cells. Gets inside one, replicates about 2,000 times. Disables the host cell, pinches back out, infecting more good cells ... lowering your immune system until your body loses its ability to fight off even the simplest invader.", "Sara: Of course, the strains will have changed by then and you and Susan Hodap will have a different strain of HIV. The sooner you see a doctor, the better your chances for longevity.", "Catherine: But for now, we got you.", "(DOUGLAS SAMPSON says nothing. He's completely surprised by what they're saying.)", "Catherine: You killed her.", "(DOUGLAS SAMPSON looks over at SARA.)", "Sara: I guess she killed you back." ]

[ "A taxi driver is beaten to death by a mob after running over a boy with his taxi . When Grissom arrives at the scene, he finds out that the boy was already dying from a stab wound. When Grissom and Sara find the actual crime scene at a basketball court , they discover the body of a man that was shot to death. Are the two murders related?" ]

[ "[EXT. (VARIOUS) LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. ROADWAY -- NIGHT]", "(A long taxi travels on the road.)", "(Quick flash of the MULLERS TAXICAB DRIVER'S PERMIT for Rajeeb Khandelwahl.)", "(There is a beautiful woman sitting in the back of the cab. The driver looks in the rear view mirror at the woman. He turns the radio off.)", "Woman: The last time I was out here, this was all desert.", "(She looks out the window and sees at the approaching gas station, a group of men with their bikes.)", "Rajeeb Khandelwahl (driver): One day, I'm looking at cactus; the next day a mini mall. What brings you all the way out here?", "Woman: Work.", "(She sees a young boy stagger out onto the street.)", "Woman: Stop!", "(The taxi cab driver tries to stop, but runs into the boy. The tires squeal. The men at the gas station look up.)", "Rajeeb Khandelwahl (driver): Miss, you okay? Stay here.", "(RAJEEB KHANDELWAHL gets out of his cab to see what happened. The young boy is under his tires, his insides spilled out into the road. The men at the gas station watch as RAJEEB KHANDELWAHL gets back into his cab.)", "Graham Cooper: Hey!", "(The group of bike riders rush over to the cab, open the driver's door and pull the driver out. The woman in the back seat is stunned by what she's seeing.)", "(The men continue to shout as they beat the driver up.)", "Bike Rider: Where do you think you're going? Bike Rider: Get out of there!", "(They push him to the ground and continue to beat him up until he falls back onto the road, unconscious.)", "[SCENE_BREAK]", "[EXT. ROADWAY -- NIGHT]", "(GRISSOM walks up toward the scene. BRASS meets him halfway.)", "Brass: Where's your posse?", "Grissom: I have no idea. I was actually on a date.", "Brass: Hmm?", "(DAVID PHILLIPS is kneeling next to the body with a clipboard.)", "Grissom: My god, what am I looking at?", "Brass: Taxi hit a kid crossing the boulevard. The crowd over there saw the driver Rajeeb Khandelwahl, trying to get away. So, they pull him out of the front seat of the cab and they beat him up. I mean, they ... they beat him up bad. He's on his way to Desert Palm.", "Grissom: His insides are on the outside. Did you move this body, David?", "David Phillips: No, sir.", "Brass: Auto detail hoisted the cab off the kid.", "David Phillips: Yeah, but supervised. No one's touched him.", "Grissom: Have you ever seen anything like this?", "Brass: What do you mean?", "Grissom: Well, how many hit-and-runs have you pulled?", "Brass: Too many to count.", "Grissom: How many times have you seen the victim's viscera exposed?", "Brass: (thinks about it) First time.", "Grissom: There's a first time for everything.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- ROADWAY]", "(DAVID PHILLIPS kneels over the body. GRISSOM sits on his kit and takes picture of the little boy. BRASS walks over to them.)", "David Phillips: My high school science teacher used to say that your small and large intestines could stretch across the Brooklyn Bridge.", "Grissom: But in reality?", "David Phillips: Only 25 feet combined.", "Grissom: Fiction is often more compelling.BRASS: We got the eyewitnesses lined up, ready to go.", "Grissom: Testimonials, Jim? I don't consider that evidence.", "Brass: But easier to clean up.", "(GRISSOM hands DAVID a bag. He stands up and joins BRASS. They make their way to the WOMAN who was riding in the taxi cab.)", "Grissom: Keep them all together, David.", "David Phillips: I'll tuck the viscera in the bio-hazard bag.", "Brass: Good plan.", "(DAVID starts to pick up the insides and put them in the bag.)", "[SCENE_BREAK]", "[EXT. ROADWAY - NIGHT -- CONTINUOUS]", "(GRISSOM and BRASS question the WOMAN.)", "Woman: I picked up the taxi at McCarran. I'm in town on business staying with my cousin who's a few blocks away.", "Brass: Did you see the pedestrian?WOMAN: Crossing the street. I don't think he saw the cab.", "Brass: Did the cabbie see him?", "Woman: No, he was looking at me.", "(Quick flashback to: RAJEEB KHANDELWAHL looking in the rear view mirror at the WOMAN in the back seat.)", "Rajeeb Khandelwahl (driver): What brings you all the way out here?", "(End of flashback. Resume to present.)", "Woman: I think I yelled, \"stop,\" but it was too late.", "Brass: And that's when Rajeeb, the taxi driver tried to leave, to drive away?", "Woman: No, no, no, no. He got out of the cab to see what happened and ... then he freaked and he got back in and he reached for his radio. That's when the guys attacked him.", "Brass: His radio? He wasn't fleeing the scene?", "Woman: No, he was calling for help.", "(GRISSOM looks into the front seat of the cab and sees the handheld radio out on the passenger seat.)", "Brass: Oh. Okay, what can you tell me about the men who attacked him?", "Woman: You always think you'll be a great witness but ...", "(Quick flashback to: The group of men converging on the taxi cab. All yelling and shouting. End of flashback. Resume to present.)", "Woman: There were so many of them and it happened so fast.", "(She shakes her head.)", "Woman: He was just begging for his life.", "(GRISSOM looks over at the bike riders laughing at the gas station.)", "Woman: I couldn't see their faces but I know it was them; all of them. They were the only ones around.", "[SCENE_BREAK]", "[EXT. ROADSIDE GAS STATION - NIGHT -- CONTINUOUS]", "(BRASS questions the MOB MEMBERS at the gas station near the accident site.)", "Joey Gillman: We're heroes, man.", "Barry Lawrence: They have no respect for our laws.", "Brass: Who?", "Graham Cooper: The damn cabbie!", "Brass: Why, because he's not from Vegas?", "Claude Allen: No, because he's not from here, this country.", "Brass: Oh, and you know that because you saw his birth certificate?", "Graham Cooper: We didn't exactly need to see it.", "Brass: Tell me what you did see.", "Graham Cooper: He hit the boy.", "(Quick flashback to: The taxi cab hitting the boy. The boy hits the taxi cab hood, then falls off in front of the cab and onto the road. End of flashback. Resume to present.)", "Joey Gillman: Then he hits his brakes, and I figured he's going to stop and do the right thing.", "Claude Allen: Instead, he jumps back into his cab.", "Barry Lawrence: Hey! If it weren't for us, he'd have gotten away.", "Graham Cooper: Citizen's arrest, yo!", "Bill Kendal: People are going to want our autograph.", "Grissom: I don't want your autograph, but I would like a photo and a bit of your DNA.", "Brass: So line up.", "Bike Rider (unknown): What?!", "Brass: Look, the guy that you \"arrested\" is in critical condition. That makes you all suspects in a battery ...", "Graham Cooper: Figures. We do something good, you guys try to turn around and pin it on us.", "Joey Gillman: Yeah, if we were wearing badges you'd be throwing us a ticker tape parade.", "Brass: If you're wearing badges, I'm playing left-wing in the NHL.", "Claude Allen: I know my rights. I don't have to give you squat.BRASS: Oh yeah, you're the lawyer. Let me tell you how this goes down if you don't cooperate. You all get a free ride in the cruiser down to the station where I hold you there until the warrants clear. So what's it going to be? It's your choice. Line up ... single file.", "(GRISSOM steps up and looks at CLAUDE ALLEN.)", "Grissom: Say, \"cheese.\"", "(He takes the picture. JOEY GILLMAN sighs. GRISSOM shows CLAUDE ALLEN the swab and takes a sample.)", "Grissom: Open up, please. Thank you.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOSPITAL - RAJEEB'S ROOM -- NIGHT]", "(GRISSOM is at the hospital talking with the NURSE.)", "Nurse: He's critical. Ruptured spleen, collapsed lung, fractured ulna, possible intercranial bleeding. Doctors are still waiting on the labs.", "Grissom: Do you have his clothes?", "Nurse: His personals are bagged -- top shelf. They're ripped up pretty bad.", "Grissom: That's good. That'll help.", "Nurse: He said he killed a boy -- ran over him?", "Grissom: Did he say anything else?", "Nurse: No, that was it.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG puts his stuff on the table. GRISSOM is standing in the lab holding a bag of evidence.)", "Grissom: Gene Rayburn.", "Greg: What?", "Grissom: Point of reference.", "Greg: Uh ... Match Game ... Nipsey Russell, Fannie Flagg game show network. Look, I don't have time for your humor. Ecklie's got a multiple, Warrick tells me his home invasion is my top priority and I'm still backed up on Catherine's no-suspect rape. One servant, many masters. You know what I'm saying?", "Grissom: Greg, this is your DNA lab. You are the master. We serve you.", "Greg: Well, your stuff just moved to the top of the pile.", "(GRISSOM smiles.)", "Greg: What do you got?", "Grissom: Individual DNA from a mob attack on a cabbie ... and the cabbie's clothes.", "(GRISSOM puts the evidence package on the table.)", "Greg: \"Get ready to match the stars.\"", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(GRISSOM walks into the room.)", "Grissom: Okay, Doc, tell me something I don't know.", "Robbins: Okay. In fourth grade, I dropped out of karate class because a kid half my size made me cry.", "(ROBBINS smiles.)", "Grissom: About the body.", "Robbins: No pedestrian fracture. Almost without exception, when a pedestrian's hit by a car, there's certain expected wounds in his lower extremities most significantly the pedestrian fracture.", "(Quick CGI POV to: The side view of a car hitting a person and the x-ray view of the impact where the bone breaks. End of CGI POV. Resume to present.)", "Robbins: Tip of the triangle always points in the direction the car was moving. His tibia's intact.", "(Quick CGI POV to: The camera moves down to the body's leg, through the skin, down to the bone and across the length of the bone to show that it's in tact.)", "Robbins: (V.O.) In fact, there's no bruising to the lower extremities.", "(End of CGI POV. Resume to present.)", "Grissom: So, no fractures, no bruising. Cause of death?", "(Quick camera close up of the boy's chest to show bruising.)", "Robbins: Chest was crushed. Multiple rib fractures and hence the white bucket you and David filled with his intestines. They literally popped out.", "Grissom: So he wasn't hit by the taxi; he was run over?", "(Quick flashback to: The taxi cab literally runs over the boy. The body goes under the car's wheels. The taxi's tires screech. End of flashback. Resume to present.)", "Robbins: Well, he would've died anyway. (He pulls the sheet aside to show an abdomen wound.) He was stabbed. Clean incised wound to the abdomen. Five inches deep.", "(Quick CGI POV to: ROBBINS mimics plunging a knife into the wound. The camera shows a black gloved hand plunging a knife into the skin. End of CGI POV. Resume to present.)", "Grissom: So how much time elapsed between when he was stabbed and when he encountered the taxi?", "Robbins: I can't give you an exact time frame except to say it wasn't immediate ... and before you ask, we don't have an ID, but missing persons called. A woman called and said her son didn't come home last night. She's on her way in.", "[SCENE_BREAK]", "[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- DAY]", "(At the cordoned off crime scene, a Yukon drives up. SARA gets out of the car.)", "Sara: You know you pulled me away from a forensic anthropology seminar, right? It's required. It's part of the continuing education program.", "Grissom: Well, I'm sorry, but everyone seems to have something to do today. I have a teenager who was run over by a taxi. He wasn't hit by it; that's not what killed him. He was stabbed, fatally. For now, I have no ID, no suspects and no primary crime scene. I need you.", "(SARA smiles.)", "Sara: How can I help?", "(GRISSOM lifts the crime scene tape and holds out a stack of evidence markers. SARA takes the markers and enters the crime scene.)", "(They each go off in a direction and start looking for evidence. SARA finds a blood stain on the ground and places evidence marker #1 next to it.)", "(GRISSOM kneels down next to his kit.)", "(She walks several steps away in the direction of the spatter and finds another blood stain on the sidewalk and outside the crime scene taped off area. She places evidence marker #2 next to it.)", "Sara: Hey, Grissom?", "(GRISSOM looks up at SARA. He stands up and walks over toward her.)", "Sara: The directionality of this drop is facing the boulevard. I think the primary crime scene is ... this way.", "(GRISSOM takes a picture of the blood drop.)", "(Camera POV of: Blood Drop #2; Marker Note reads: S.S. #2 / 12-02-02. With \"N\" and an up arrow. Camera info reads: 125 f15p [2].)", "(GRISSOM looks back at the scene. SARA takes a couple of steps onto the sidewalk and finds another blood drop. She places evidence marker #3 next to it.)", "(SARA stands up and looks at GRISSOM.)", "Sara: Blood trail.", "Grissom: Want to go for a walk?", "(SARA smiles.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- SIDEWALK -- DAY]", "(Scene opens on a close up of evidence marker #3. Camera moves up and shows evidence markers #4, #5, #6, #7 and #8 already on the ground. Some distance away, SARA puts evidence marker #9 down on the sidewalk. GRISSOM hands her the note card and takes a picture of the blood drop.)", "(Camera POV of: Blood Drop #9; Marker Note reads: S.S. #9 / 12-02-02. With \"N\" and an up arrow. Camera info reads: 125 f16p [6].)", "(SARA removes the card and they continue down the sidewalk.)", "FAST FOWARD TO:", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- SIDEWALK - DAY -- CONTINUOUS]", "(They find another blood drop and place evidence marker #18 next to it.)", "(GRISSOM takes a picture of it.)", "FAST FORWARD TO:", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- SIDEWALK - DAY -- CONTINUOUS]", "(They find another blood drop and place evidence marker #31 next to it.)", "(SARA marks the note card and places it next to the blood drop. GRISSOM snaps a picture of it.)", "(It's getting later in the day. Thunder rolls overhead. They pick up their things and continue down the sidewalk.)", "FAST FORWARD TO:", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- SIDEWALK -- DAY]", "(GRISSOM snaps a picture.)", "(Cut to: SARA puts down evidence marker #49 next to the blood drop. GRISSOM snaps a picture. SARA picks up her things and they continue down the sidewalk.)", "FAST FORWARD TO:", "[SCENE_BREAK]", "[EXT. CRIME SCENE -- SIDEWALK -- DAY]", "(SARA puts down evidence marker #54 next to the blood drop near the edge of the sidewalk. GRISSOM snaps a picture.)", "(SARA puts down evidence marker #55 next to the blood drop at the edge of the sidewalk.)", "Sara: Blood leads into the grass. Trail's obscured.", "(GRISSOM looks around.)", "Grissom: Okay. So, where do we pick up the trail?", "(SARA looks around at the playground equipment.)", "Sara: Well, vic's in his teens ... probably wasn't on the playground. My money's on the basketball court.", "(GRISSOM looks at SARA and approves. They head for the basketball court.)", "(They reach the basketball court and start looking on the ground for evidence. GRISSOM looks around the court.)", "Grissom: He crossed Lake Mead Boulevard at 8:15 and it gets dark at 5:00.", "Sara: He was here after dark.", "Grissom: And I don't see any lights.", "(SARA sees something.)", "Sara: Droplets and castoff. This is our primary crime scene.", "(GRISSOM looks around.)", "Grissom: So, maybe the killer tossed the knife. It's a big dump site.", "Sara: Yeah. I'll, uh, order up some scent dogs ... get some uniforms.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(ROBBINS opens the cabinet and pulls out the table with the body on it. He lifts up the sheet. JAN BRANSON looks down at her son and gasps.)", "Jan Branson: That's him. That's my boy.", "Robbins: I'm so sorry.", "(ROBBINS puts the sheet back.)", "Jan Branson: How did something like this happen? He's only 14 years old.", "Robbins: Mrs. Branson, I'm afraid you'll have to talk with the detectives.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA is sitting at the table with an evidence bag open in front of her. WARRICK walks out of the cage.)", "Warrick: Hey, Sara.", "Sara: Hey.", "Warrick: You working that case where some mob beat up an Indian cab driver for hitting a kid?", "Sara: Cabbie didn't actually hit the kid. He was in the wrong place at the wrong time.", "Warrick: You think it was racially motivated?", "Sara: Yeah, I do. White mob, white kid, dark-skinned cabbie -- I don't like the math.", "Warrick: Yeah. We got to wait for the science, don't we?", "Sara: I'm trying.", "Warrick: That's the job. Good luck.", "(WARRICK leaves.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE]", "(An OFFICER walks by BRASS' door.)", "Joe: Captain, there's a Mrs. Branson here to see you.", "Brass: Oh good. Send her in, Joe. Thanks.", "(BRASS stands up as JAN BRANSON walks into the office.)", "Brass: Mrs. Branson, thank you for coming in ...", "(They shake hands.)", "Jan Branson: Have you arrested that taxi driver?", "Brass: He's in intensive care.", "Jan Branson: (yelling) How did he not see my son? That's a well-lit intersection. My son is five foot six!", "Brass: Please, Mrs. Branson ... please, sit down.", "(JAN BRANSON sits down.)", "Brass: Um ...", "(He clears his throat.)", "Brass: Your son was stabbed in Haskell Park and you live on Loring Avenue. My best guess is that he was on his way home when the accident occurred.", "Jan Branson: No, I don't understand.", "Brass: The taxi didn't kill your son, but someone did.", "(JAN BRANSON is shocked at this information.)", "Brass: Did Todd have any problems that you're aware of? Did he have any problems at school?", "Jan Branson: No, no, nothing like that. He's a ... he's a great kid. He's-he's athletic. He's popular. He's, uh, he's a good student. We-we moved here from Portland nine months ago. He fit right in.", "Brass: Did you know he was in the park after sundown?", "Jan Branson: No. I thought he was at a friend's for dinner. He was supposed to call me, but you know teenagers.", "Brass: (nods) Yeah, I do ... and they don't often confide in their parents, I know.", "Jan Branson: Uh, I've been on the run from my ex-husband. He's threatened to kill me and my boys. I just try and stay one step ahead of him.", "Brass: When was the last time you saw him?", "Jan Branson: In Portland. He showed up outside of Todd's school. The boys and I were on a bus that evening. You know, a couple days ago, the phone rang. I answered it. It was him. I don't know how he found us here ... but this weekend, the boys and I were going to disappear.", "Brass: Why didn't you call the police?", "(She looks at BRASS and doesn't say anything.)", "Brass: Because you knew we couldn't protect you.", "(She swallows and nods ever so slightly.)", "[SCENE_BREAK]", "[EXT. PARK -- DAY]", "(SARA takes out the boy's clothes and lets the dogs smell them. GRISSOM checks the area with a metal detector. The metal detector beeps and hums as GRISSOM finds something next to the tree.)", "(SARA looks up. She approaches GRISSOM.)", "Sara: What have you got?", "Grissom: You got the gloves on.", "(SARA pushes the leaves aside and finds the weapon.)", "Sara: Looking for a knife; uncover a gun.", "Grissom: What is happening to our parks?", "(SARA looks at GRISSOM.)", "(Off in the distance, the dogs start barking at something in the bushes. SARA puts the gun down and goes to check on the dogs. GRISSOM calls an officer to aid him.)", "Grissom: Officer ...", "(The dogs definitely found something in the bushes. SARA and GRISSOM go to check it out.)", "Sara: Back the dogs off, please. (SARA kneels down.) Dead body found twenty yards from where our vic was knifed. You think they're related?", "Grissom: Well they're related by geography ... but for now it's just a dead guy in the park.", "(GRISSOM looks a the body, SARA turns to look at GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA empties the evidence bag on the table. Inside is the victim's jacket. She tests the jacket for GSR.)", "Sara: Hey.", "Catherine: Hey.", "Sara: I thought you had a couple days off?", "Catherine: I do, but I left these on my desk. (shows SARA the tubes of wrapping paper) I'm on my way to Circus Circus with five nine-year-olds. It's Lindsey's birthday. Got to wrap a Bridal Barbie.", "Sara: What's a Bridal Barbie?", "Catherine: Funny. Oh, blue ... gun shot residue.", "Sara: On our stabbing victim's jacket.", "Catherine: So it means that he may have fired the revolver that you and Grissom found in the park?", "(Quick CGI POV to: A revolver being shot and the residue flying backward and adhering to the jacket. End of CGI POV. Resume to present.)", "Sara: Yeah. Too bad GSR testing can't tie the vic to a particular gun.", "Catherine: Right. Hmm ... but maybe Grissom can.", "Sara: Grissom?", "Catherine: Yeah, I just passed him in ballistics. He was meditating on your revolver. Didn't even look up.", "Sara: (smiles) Excuse me.", "(SARA stands up and leaves the lab.)", "Catherine: Mm-hmm.", "Sara: Have fun.", "Catherine: Thanks.", "(CATHERINE smiles.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB -- CONTINUOUS]", "(GRISSOM is looking through the scope when SARA walks in.)", "Sara: You know, you could've waited for me.", "(GRISSOM lifts his head and pushes away from the scope.)", "Grissom: Take a look at this.", "(SCOPE VIEW)", "Sara: Looks like burnt skin.", "Grissom: I think maybe someone palmed the cylinder gap.", "(Quick CGI POV of: A hand over the barrel of the revolver as its being fired. End of CGI POV. Resume to present.)", "Sara: Todd Branson had GSR on his jacket. If we could get his DNA off this revolver we could tie him to this.", "Grissom: Burnt skin is useless for DNA.", "Sara: Yeah, but, what about sweat? There's a 17% chance of DNA recovery from the shooter's perspiration.", "Grissom: 17%?", "Sara: Yeah. New paper out of Australia. You haven't seen it? (reciting) 17% chance of DNA recovery from the grip of a gun, 67% chance from a cigarette, 32% chance from the brim of a hat. Would you like a copy?", "Grissom: I don't need one. I have you. (beat) Swab the pistol grip; get it to DNA.", "(GRISSOM stands up and walks away. SARA sits there staring in the direction GRISSOM just left. She shakes her head.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(GRISSOM walks into the room. ROBBINS is working on the body found in the park.)", "Grissom: Albert, did you notice if Todd Branson had any burn marks on his palms?", "Robbins: No.", "Grissom: What about this guy?", "Robbins: Negative. What are you looking for?", "Grissom: A specific injury.", "Robbins: Well, I can't help you with burns but you'll want to check out this guy's right palm.", "(GRISSOM lifts up the palm and finds a knife wound.)", "Grissom: An incised wound. Well, that's a common injury sustained by knife-wielding killers.", "(Quick flashback to: The hand carrying the knife stabs a person. The hand opens to show the wound. End of flashback. Resume to present.)", "Grissom: So assuming that this is the man who stabbed Todd Branson, what killed this guy?", "Robbins: A bullet. It's lodged in the left ventricle.", "(ROBBINS peels back the outer skin to show the bullet inside.)", "Robbins: I was contemplating my method of extraction when you arrived.", "Grissom: You reach in and pull it out.", "Robbins: Not if it's only a jacket fragment.", "Grissom: Maybe a frangible bullet designed to fragment on impact?", "Robbins: That would explain the mystery of the shattered femur. It's covered in copper dust.", "(GRISSOM leans over and checks out the body's leg.)", "(Quick CGI POV of: A bullet approaches the femur and pierces through the clothes and the skin. The bullet shatters when it hits the bone. End of CGI POV. Resume to present.)", "Robbins: I'll remove the heart, peel back the myocardium and get you what's left of that bullet.", "(GRISSOM walks up to the x-rays.)", "Grissom: Did he have a dislocated shoulder?", "Robbins: Yeah, torn musculature, but no inflammatory response.", "Grissom: It happened postmortem?", "(The door opens and DAVID PHILLIPS sticks his head inside to report to ROBBINS.)", "David Phillips: Excuse me, I'm headed over to the hospital. Taxi driver didn't make it.", "(He leaves and the door closes behind him.)", "Robbins: (sighs) Another one for my table.", "Grissom: Emerson once said \"The mob is man voluntarily descending to the nature of the beast.\" The beast is up for murder.", "[SCENE_BREAK]", "[EXT. BRANSON RESIDENCE - DRIVEWAY -- DAY]", "(ERIC BRANSON plays basketball in his driveway. BRASS walks up to him.)", "Brass: Hey, buddy, how's it going?", "(BRASS holds out his hands for the basketball. ERIC tosses it to him. BRASS catches it and holds it.)", "Brass: I'm Detective Jim Brass from Las Vegas Police. Is your mother home?", "Eric Branson: (shakes his head) No.", "Brass: What's your name?", "Eric Branson: Eric.", "Brass: Sorry about your brother, Eric.", "Eric Branson: Mom's out getting more boxes.", "Brass: Yeah, she said that you were moving. Where are you going to? (he shrugs) You know, when I was a kid we moved around a lot. It's not easy. So you're going to be seeing your dad?", "Eric Branson: My dad's dead. Died when I was two.", "Brass: Hey, Eric, will you do me a favor? (BRASS hands the basketball back to ERIC.) When you see your mom ask her to give me a call, okay?", "(BRASS gives ERIC his business card.)", "Eric Branson: Okay.", "Brass: Take care.", "(BRASS leaves.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB -- DAY]", "(GRISSOM walks into the lab. BOBBY DAWSON looks through the scope.)", "Grissom: Is that the frangible?", "Bobby Dawson: Yep. These were originally used in indoor shooting ranges where lead buildup's a problem. Copper's less toxic than lead. Take a look.", "(BOBBY steps aside to let GRISSOM look.)", "Bobby Dawson: On the left, bullet from the vic's heart. On the right, bullet test-fired from the revolver recovered at the scene.", "Grissom: Oh, serendipity.", "Bobby Dawson: Yep.", "(SARA walks in.)", "Sara: Hey.", "Bobby Dawson: Hey. Just made a match to your revolver.", "Sara: Nice. I ran the serial number through NCIC. It's registered to a Jonathan Raurk of San Jose, California.", "(GRISSOM looks up from the scope.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]", "(BRASS and GRISSOM question JAN BRANSON.)", "Jan Branson: John's my ex. Is he in Las Vegas?", "Brass: Well, we, uh ... we found a gun registered to him in the park where your son was murdered but when I spoke to your son Eric he told me that his father died years ago.", "Jan Branson: That's what I told both my boys. I told them that John was killed in a car accident. It's not easy to lie to them like that but every time I move I have to make up some crazy story. I just want them to be able to sleep at night.", "Grissom: Ms. Branson we also found a dead body in the park -- a white male in his mid-30s.", "Jan Branson: You think it's John?", "Grissom: We have no ID, but we have a photograph.", "(GRISSOM hands the photograph to JAN BRANSON. She looks at it and recognizes it instantly.)", "Jan Branson: No ... no, this ... this isn't John. This isn't my ex. This is Stewart. It's Stewart Bradley. He's my boyfriend.", "[SCENE_BREAK]", "[INT. PARK -- EVENING]", "(SARA walks around the park looking for evidence. She kneels down and finds some groves in the dirt. She follows the groves to the bushes.)", "(She puts her flashlight down and takes some pictures. She follows the groves and takes more pictures. She looks at the bushes.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(Back at the lab, SARA pours over a large topview map of the park and surrounding site spread out on the table.)", "(GRISSOM walks in carrying a file. He leans over the map next to SARA.)", "Grissom: Where have you been?", "Sara: I went back to the park. I kept thinking there must be some physical evidence connecting the stabbing to the shooting.", "(Camera close up of the park map that shows the places where they found the Cast Off, The Body, The Gun and The Drag Marks.)", "Grissom: Drag marks?", "Sara: Leading from the basketball court to Stewart Bradley's body. We know Todd was bleeding but there were no blood drops around the drag marks.", "Grissom: So you're thinking someone else was there? Now, the revolver was registered to the boy's biological father but they haven't seen each other in ten years.", "Sara: Assuming Todd fired the gun, how did he get ahold of it?", "Grissom: Well, maybe dad gave it to him behind mom's back.", "Sara: Or ... maybe Todd wasn't the shooter.", "Grissom: True. Presence of GSR only places Todd in the vicinity of the gunfire.", "Sara: And since there were no burn marks on Todd's palms, evidence is suggesting someone else fired that gun.", "Grissom: Which brings us back to dad.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS questions the Ex, JONATHAN RAURK.)", "Brass: You know something, John, you don't scare me. According to your ex-wife, you're some kind of monster -- threatening her life, setting her car on fire in Boston breaking and entering in Chicago, showing up at your kid's school in Portland ... I don't know, I mean, I thought maybe you'd be like the guy in \"Sleeping with the Enemy\". You're more like Gumby, aren't you?", "Jonathon Raurk: Look, if this is about my ex ... cop pulled me over outside Moapa. Jane lives in Vegas. I didn't violate any damn court order, all right?", "Brass: You know where she lives.", "Jonathon Raurk: Is that a crime?", "Brass: Yesterday, your son Todd was murdered and that is a crime.", "(JOHN stops at the news. He's dazed for a moment.)", "Brass: Hey! John, baby I'm not talking about the weather here, man. I'm talking about your son.", "Jonathon Raurk: I haven't seen that kid since he was in his diapers.", "[OBSERVATION ROOM]", "Jonathon Raurk: Geez, I didn't kill him, if that's where you're going to.", "Brass: Hey, what about Stewart Bradley? You know? Yesterday, he was murdered, too. He was shot with your gun.", "[INTERVIEW ROOM]", "Jonathon Raurk: Which one?", "Brass: Revolver. Smith & Wesson.", "Jonathon Raurk: No, I don't have a Smith & Wesson.", "Brass: It's registered to you, John. Has your name on it.", "Jonathon Raurk: That got stolen.", "Brass: Oh, you file a police report? But I know, you're busy. You forgot. That's okay. You know what I think happened? Here's what I think. You called up Todd, you said, \"Hey, Todd. Why don't you meet me down at Haskell Park? You know what? Why don't you bring mom's new boyfriend along?\"", "Jonathon Raurk: No, no. Come on, man, whoa, whoa, hey. You know what? Last night, I was at Taos, New Mexico, okay? I didn't cross over until ... it was the afternoon in Nevada. Check it out. Adobe Inn. Watched pay-per-view and I had a pizza, okay?", "(JOHN tosses the receipt at BRASS. BRASS looks at it and sighs.)", "(GRISSOM knocks on the interview room door and walks inside.)", "Grissom: May I see your hands, please?", "Brass: You better do what he says. He's in crime lab.", "(JOHN holds out his hands. GRISSOM looks at them. He turns to BRASS.)", "Grissom: Can you hold him?", "Brass: He's got some unpaid speeding tickets. There's warrants that have been issued. Is three days good enough?", "Grissom: For now.", "(GRISSOM turns to leave the room.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - HALLWAY/LOUNGE]", "(GRISSOM walks through the hallway. He walks straight into the lounge where WARRICK and SARA sit.)", "Grissom: (to WARRICK) What do you weigh?", "Warrick: Uh, that's between me and my trainer.", "Grissom: Do I have to get a scale?", "Warrick: A buck 95, give or take a doughnut.", "(GRISSOM turns and looks at SARA. SARA responds without lifting her head from her file.)", "Sara: Don't even ask. I'm not telling you.", "Grissom: Warrick, would you lie down on the floor?", "Warrick: I don't get paid enough to play dead.", "Grissom: Please?", "(WARRICK sighs. He gets off his chair and lies down on the floor.)", "Grissom: Sara, grab Warrick's right arm. See if you can drag him across the room.", "Sara: This does have something to do with the case, right?", "Grissom: You don't trust me?", "(SARA looks up at GRISSOM and sighs. She puts her file aside, stands and takes ahold of WARRICK'S arm. She starts dragging him across the lounge floor. GRISSOM watches, dissatisfied with the results.)", "Warrick: (murmurs) You're such a drag.", "(SARA laughs.)", "(GRISSOM looks around and notices a couple of young women standing out in the hallway.)", "Grissom: (to WARRICK) Stay there a minute.", "(GRISSOM walks outside to the women. He approaches the smaller woman.)", "Grissom: Excuse me. Hi. (she turns around) Judy, right? (she nods) Judy, would you like to be part of a little experiment?", "Judy: (warily) I-I'm a secretary. Besides, I heard what you did to Greg's feet.", "Grissom: You'll keep your shoes on, I promise.", "(He takes her hand and leads her back into the Lounge.)", "Warrick: Can I get up?", "Grissom: No. Spin around. Judy, would you take Warrick by the right arm and try and drag him across the room?", "Warrick: Hi, Judy.", "Judy: Hi.", "(JUDY takes WARRICK'S arm and tries to move him. She jerks hard on his arm to get the leverage to pull him a few inches. WARRICK grunts at the treatment.)", "Warrick: Hey, I like it gentle, okay?", "(JULY continues to try to move WARRICK. He grunts some more with her effort.)", "Grissom: Thank you, Judy. You've been a big help.", "Warrick: Thanks.", "Grissom: (to JUDY) You can go back to the water cooler.", "(JUDY leaves the lounge. WARRICK stands up.)", "Warrick: You want to tell me what's going on here?", "Grissom: Stewart Bradley had a dislocated shoulder postmortem. He's about the same weight as you. How does your shoulder feel?", "Warrick: You saw her dragging me around. You know, I'm glad I can help. I, uh, I'm late for the chiropractor's. I'll send you the bill.", "(WARRICK rushes out of the room.)", "Sara: I get it. I'm bigger than Judy. In order to get momentum, she had to start and stop. Which could explain Stewart Bradley's postmortem dislocated shoulder.", "Grissom: Especially if he was dragged by somebody with limited upper body strength.", "Sara: Where does that get us?", "Grissom: Well, maybe Jan Branson. She's about Judy's size.", "Sara: Why would Jan Branson shoot her boyfriend?", "Grissom: He stabbed her son.", "Sara: Motive?", "Grissom: (thinks) I don't know. But mothers protect their children, don't they?", "Sara: Okay ... okay, so ... she sends Todd home, not knowing the severity of his wound. She buries her boyfriend's body. She ditches the knife, which we still haven't found. She hides the revolver ...", "Grissom: ... so perhaps the evidence is in Mrs. Branson's hands.", "(SARA shrugs.)", "[SCENE_BREAK]", "[EXT. BRANSON RESIDENCE - DRIVEWAY -- DAY]", "(JAN BRANSON carries a bag to her already filled car. BRASS and GRISSOM walk up the sidewalk to her driveway.)", "Brass: Mrs. Branson, you got a minute?", "Jan Branson: Uh, Eric and I are leaving town.", "Brass: Well, your Ex has been picked up on an unrelated matter. Even if he makes bail, you still got a day or two head start.", "Jan Branson: Good.", "Grissom: Ms. Branson, may I see your hands?", "Jan Branson: Excuse me?", "Grissom: Could be important. Palms up, please.", "(JAN BRANSON holds out her palms. GRISSOM looks at her palms and doesn't see anything. GRISSOM looks over at BRASS. In the sideview mirror, BRASS sees ERIC BRANSON watching them. BRASS looks back at GRISSOM.)", "(GRISSOM turns to talk with ERIC BRANSON.", "Grissom: Hi, pal.", "Eric Branson: Hi.", "Brass: Hey, Eric. This is Mr. Grissom. We work together.", "Grissom: May I see your hands, please?", "(ERIC looks at his mom.)", "Jan Branson: We have to get going.", "Brass: As soon as Eric shows Mr. Grissom his hands you're on your way.", "Grissom: Palms up.", "(ERIC holds out his palms. On his left hand there's a burn mark.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(BRASS and GRISSOM question ERIC. The Child Advocate, MS. KARPELL as well as JAN BRANSON is also there.)", "Grissom: Eric ... I need to know how you burned your hand.", "Brass: Look at Mr. Grissom, Eric. Not your mother, okay? Ms. Karpell.", "Ms. Karpell: Eric, it's okay to answer the question.", "Eric Branson: I burned it on an iron.", "Brass: I think something a lot more dangerous than that burned your hand.", "(GRISSOM takes out a photograph from the file in front of him. He shows it to ERIC.)", "Grissom: We recovered a gun ... in the park. Your burn indicates that your hand was over this gap when the gun was fired.", "(SARA enters the room.)", "(Quick CGI POV of: The revolver being fired and a hand covering the barrel of the gun. A person gasps in pain. End of CGI POV. Resume to present.)", "Eric Branson: (swallows) I followed Todd to the park.", "(Quick flashback to: TODD BRANSON meeting with STEWART BRADLEY in the park.)", "Stewart Bradley: Todd, I got your e-mail. What's up?", "Todd Branson: We're not moving again. I want you to tell mom you're passing on that promotion.", "Stewart Bradley: You should discuss this with your mother.", "Todd Branson: She'll do whatever you say.", "Stewart Bradley: You don't understand.", "Todd Branson: I am not leaving my friends 'cause of you!", "Stewart Bradley: Todd, this has nothing to do with me.", "(TODD pulls out a gun and points it at STEWART BRADLEY. ERIC runs out and pushes the gun away. His hand covers the gun when it fires.)", "Eric Branson: Todd, no!", "(The gun fires and hits STEWART BRADLEY in the knee. STEWART goes down on one knee and takes out his knife. He stabs TODD in the abdomen and the gun fires a second time.)", "(STEWART BRADLEY falls to the ground dead. TODD gets up to his feet, clutching his injury.)", "Todd Branson: Gotta get home.", "(He drops the gun and turns to leave.)", "Todd Branson: You gotta hide the body.", "(ERIC looks down at the body and starts to drag the body into the bushes.)", "(End of flashback. Resume to present.)", "Eric Branson: I was just looking out for my brother.", "Sara: I swabbed the pistol grip of the revolver. The DNA from the suspect's perspiration isn't a match to Todd's. But it is male. With eight markers in common and familial relationship.", "Grissom: We found gunshot residue on Todd's jacket. We assumed that Todd fired the gun. But I think maybe he was standing next to you when you fired the gun. You didn't go to the park to stop Todd, did you? He went to the park to stop you.", "(Quick flashback to: STEWART BRADLEY walks up to ERIC in the park.)", "Stewart Bradley: Eric, what's up?", "(ERIC takes out the gun and points it at STEWART. TODD shows up and tries to stop ERIC.)", "Todd Branson: Whoa! Eric, Eric! Eric, don't be stupid.", "Eric Branson: I'm not moving again! Not 'cause of him!", "(TODD tries to take the gun away from ERIC.)", "Eric Branson: Todd! Let go!", "(The gun fires and hits STEWART BRADLEY in the knee. STEWART takes out a knife and stabs TODD.)", "(ERIC points the gun at STEWART and fires a second time. This time, he burns his hand.)", "Eric Branson: Go home!", "(End of flashback. Return to present.)", "Brass: Where'd you get the revolver, Eric?", "Jan Branson: From me.", "(ERIC looks at his mom.)", "Brass: Ms. Karpell ...", "Ms. Karpell: Eric, why don't we step out in the hall for a few minutes.", "(MS. KARPELL and ERIC leave the room.)", "Brass: So, the gun was in your possession and you didn't say anything.", "Jan Branson: I, um ... I hid it in a lock box. And, uh, when I got that call from John a couple of days ago I took it out and I put in my nightstand. I didn't even know it was missing until this morning. And then, I thought that John must've gotten in the house and taken it. I was so sure that he was the one who killed Stewart. I've spent the last ten years looking over my shoulder every day.", "Brass: Your boyfriend was found carrying a knife the night he died. I spoke to some of his friends and associates, and no one ever remembers him carrying a knife.", "Sara: Ms. Branson? You warned your boyfriend about your ex-husband, didn't you?", "Jan Branson: He asked me what was wrong and I shouldn't have said anything. He panicked. He overreacted. He started carrying a knife. What's going to happen to Eric?", "Brass: He'll be remanded to a juvenile detention center, awaiting trial.", "Jan Branson: And then?", "(In the hallway, ERIC is being escorted away by an OFFICER and MS. KARPELL.)", "Brass: (V.O.) If he's convicted of a homicide he'll be sent to a state custodial facility until he's 21.", "(Camera holds on JAN BRANSON. She puts her head down in her hands in the empty interview room.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- DAY]", "(GRISSOM walks into the DNA lab where GREG waits.)", "Grissom: Where we at, Greg?", "Greg: I paged you, like, ten times.", "Grissom: I was busy.", "Greg: Well, so was I. First, I processed Mr. Khandelwahl's clothing. Then I compared the DNA I lifted from said clothing to the DNA from the dirty dozen.", "(GREG indicates the board covered with a sheet.)", "Grissom: All I see is a sheet.", "Greg: But what I do is art. And now, I'm ready to unveil it. Welcome to the new and improved match game.", "(GREG removes the sheet to show GRISSOM a board with the photos of the mob members and RAJEEB'S clothes. GREG matched the DNA found on the clothes to the mob members they match.)", "Greg: Now, Graham Cooper grabbed Rajeeb's collar...", "(Quick flashback to: RAJEEB is sitting in the cab when GRAHAM COOPER grabs him by the collar and drags him out of the cab. End of flashback. Resume to present.)", "Greg: Claude Allen and Barry Lawrence used their fists ...", "(Quick flashback to: The men punching RAJEEB out on the street outside the taxi. End of flashback. Resume to present.)", "Greg: Joey Gillman, Bill Kendal and Rick Midgen got into it, too.", "Grissom: Very nice presentation, Greg. What about the others? They all participated. They even bragged about it.", "Greg: Well, only six of the twelve left behind their epithelials when their skin made contact with the vic's clothing. I've got no physical evidence to tie the others to the crime.", "(GRISSOM looks at the board and shakes his head.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. GAS STATION -- NIGHT]", "(GRISSOM stands alone at the gas station and looks over at the corner where everything happened.)", "(In a haze, he visualizes as TODD BRANSON stumbles across the sidewalk, clutching his injury.)", "(GRISSOM turns his head and visualizes the taxi cab as it travels down the road.)", "(GRISSOM turns around and visualizes the gang of bike riders gathered and talking.)", "(GRISSOM turns back to the corner and visualizes as TODD BRANSON stumbles and falls into the roadway.)", "Woman: Stop!", "(The taxi cab's tires screech as it runs over the boy.)", "(GRISSOM turns around and visualizes the gang of bike riders lift their heads when they hear the accident.)", "(RAJEEB stops the car and gets out to look at the damage.)", "(The BIKE RIDERS perk up and take note of RAJEEB'S behavior. They watch as he rushes back into the cab and close the door. Thinking that he's fleeing, they rush to stop him.)", "Graham Cooper: Hey!", "(GRISSOM turns and visualizes the mob as they drag RAJEEB out of the cab and proceed to beat him up there on the street.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]", "Grissom: The mob mentality ... relieves individuals from having to distinguish between right and wrong.", "Brass: Anonymity shields them from prosecution, though.", "Grissom: Yeah, six of them, to be exact.", "Brass: Hmmm ...", "Grissom: Unfortunately, physical evidence is limited by human action.", "Brass: Well, nothing's absolute, Gil ... even forensics.", "Grissom: Yeah, well ... this is as far as we can take it. It's up to you guys.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]", "(BRASS questions GRAHAM COOPER with his LAWYER next to him. On the table are pictures of the twelve people who were there the night of the beating.)", "Brass: The physical evidence confirms that you're the \"hero\" who pulled the driver out of the cab.", "Graham Cooper: I'd do it again, too.", "Cooper's Lawyer: Mr. Cooper, why don't we just hear what Captain Brass has to say.", "Brass: You're looking at first degree murder.", "Graham Cooper: What?!", "Brass: Mr. Khandelwhal didn't make it.", "(BRASS sighs. GRAHAM COOPER is stunned silent.)", "Brass: ... and, for the record, he didn't hit that boy. He wasn't trying to flee the scene. He was reaching for his radio trying to call for help. You know who the real hero of this is? Rajeeb Khandelwhal. The taxi driver. So ... what does that make you?", "Cooper's Lawyer: D.A. willing to deal?", "(BRASS sighs heavily and takes a seat.)", "[OBSERVATION ROOM]", "Brass: (over speaker): We want your buddies. I mean, either you talk or they'll talk. I mean, it doesn't matter. And the clock is ticking, so ...", "(GRISSOM watches and nods his head.)", "Lyric: everything ... everything in its right place..." ]

[ "Grissom, Nick and Warrick investigate when a body falls from the sky and lands between a couple of rollerbladers. But soon Grissom's hearing problem forces him to leave the case to Nick and Warrick. Meanwhile Catherine investigates the death of a man who was shot with his own gun." ]

[ "[EXT. (VARIOUS) LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. SIDEWALK -- NIGHT]", "(A couple of roller bladers play on the sidewalk.)", "(Camera close up of the roller blades of the first person as he jumps on the metal rail and rides it from one end to the other. He jumps off, excited.)", "Blader 1: All the way across! Did you see that! Dude! Dude! Come on, bust it, bro.", "Blader 2: Relax man! I'm going!", "Blader 1: You've got it. Don't puss out on me!", "(The second blader takes a running leap and tries the same trick. He jumps off excited when he's done.)", "Blader 1: Oh!", "Blader 2: Oh! (raises his hands in triumph) Sick yeah!", "Blader 1: Yeah, I thought for sure you were going to eat it, though.", "Blader 2: No, way, man. I had that thing hooked up.", "Blader 1: Oh you got lucky, man.", "(The two roller bladers stop by the side of the building. From above, a body falls to the ground with a loud thud. SKATER 1 edges closer for a look.)", "Blader 1: (looking down at the body) Ugh! Oh, my god!", "[SCENE_BREAK]", "[EXT. BUILDING -- NIGHT]", "(Camera opens on the dead body. The Emergency Personnel are already there. NICK and WARRICK make their way toward BRASS.)", "Nick: We beat Grissom here? That's a first.", "Warrick: Yeah? Maybe for you.", "(BRASS leads them under the crime scene tape and toward the body.)", "Brass: Hey, how you doing? The jumper's John Doe. No wallet no keys, no ID.", "(NICK leans in to look at the body.)", "Nick: Yeah, that's the least of this guy's problem.", "(BRASS looks up at the building top.)", "Brass: The building's gotta be what? Six stories high?", "Warrick: Six stories, sixty stories. It's not how you fall, it's how you land.", "Nick: You know, if you landed head first, there should be more blood.", "Warrick: Yeah, and more brain matter.", "(WARRICK'S phone beeps.)", "Grissom: (over phone) He didn't jump.", "(It beeps again.)", "Grissom: Up here.", "(They look up to see GRISSOM looking down at them from the top of the building.)", "[TOP OF BUILDING]", "(Where GRISSOM stands, there's a whole lot of blood mess on the rooftop.)", "Grissom: It's never the fall that kills you.", "HARD CUT TO END OF TEASER. ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. BUILDING - ROOF -- NIGHT]", "(GRISSOM and NICK check out the building rooftop.)", "Nick: Rain or not, I'm not finding any shoe prints.", "Grissom: High velocity spatter usually implies a gunshot.", "Nick: No casings or bullets, either.", "Grissom: (indicating the blood mess) Severe head trauma. It happened before the fall.", "Nick: Sure looks like it. Hand to hand combat?", "Grissom: (shakes his head) Kill and dump.", "(Quick visualization to: A person pushes the body off the roof of the building. The body falls down on the ground in front of WARRICK ... End of visualization. Resume to present.)", "[DOWN ON THE GROUND]", "(WARRICK snaps pictures of the body in front of him. He puts the camera aside and looks at the body. He finds something on the pants hem. Camera zooms in for a close up of white specks on the cloth. WARRICK takes a tape lift of it.)", "(DAVID PHILLIPS walks up to WARRICK.", "David Phillips: Hey.", "Warrick: Hey. I think the prints are out. Bones burst right through the skin.", "(DAVID checks out the victim's hand.)", "David Phillips: Compound fracture of the long bones including the phalanges. Extensive laceration.", "Warrick: What about dental?", "(DAVID checks out the victim's teeth.)", "David Phillips: Yeah. There might be enough to work with.", "Warrick: You think? Hey, wait a minute. Look. You might have another option. Check out that artwork.", "David Phillips: Tattoo.", "Warrick: You think you can stretch that out?", "David Phillips: Yeah, no problem.", "(WARRICK takes a picture of the tattoo.)", "[SCENE_BREAK]", "[EXT. PARKING LOT -- NIGHT]", "(O'RILEY and CATHERINE walk to the crime scene.)", "O'Riley: Wallet was with the vic. Money, cards, I.D.'S. Name's Roger Edmonds. Car's his, too.", "(CATHERINE puts her kit down and they both kneel to look at the body.", "Catherine: Single gunshot wound to the chest, through and through. Entry wound is massive.", "(CATHERINE takes a picture of the wound.)", "Catherine: Unburned gunpowder. He was shot at close range.", "(Camera close up of the wound to show the gunpowder. CATHERINE stands up to look at the car.)", "Catherine: Car door ... is closed ... but not latched. Vic was in a hurry?", "O'Riley: To get in or get out?", "Catherine: Good question. I don't see any bullet holes.", "(They walk around the car where CATHERINE finds something on the front license plate.)", "Catherine: What's this? Ah, blood and hair. Maybe the vic got a piece of the perp.", "O'Riley: Waitress phoned it in.", "[SCENE_BREAK]", "[INT. RESTAURANT -- NIGHT]", "(CATHERINE and O'RILEY question the WAITRESS.)", "Waitress: Look, I got to get out of here, okay? My kid's with a sitter and it's not like this gig covers day care.", "Catherine: Yeah, I know what that's like. I got a kid at home myself.", "Waitress: (retorts) So what, now we're, like, related?", "Catherine: Ah, you know what, get it off your chest. It sucks. You're living for everybody but yourself. But you know what? You're still breathing.", "O'Riley: So?", "Waitress: So, I'm out here busing tables, and I hear voices.", "(Quick flashback to: The WAITRESS looks out the window and sees two men arguing.)", "Waitress: (V.O.) It's nothing new around here.", "(The WAITRESS doesn't think anything of it. She turns away and continues to work. A few moments later, she's startled by a gunshot. End of flashback. Resume to present.)", "Waitress: And it's like a bomb goes off. I mean ... I thought I was deaf.", "O'Riley: Then what?", "Waitress: And then one guy's on the ground and the other guy's taking off. And no, I didn't see his face.", "Catherine: Did you see a license plate?", "Waitress: No.", "Catherine: Can you describe the vehicle?", "Waitress: It was a pickup.", "(Quick flashback to: The pickup truck drives away, tires screeching. End of flashback. Resume to present.)", "Waitress: With one of those cover things on the back, you know, a ...", "O'Riley: Camper top.", "Waitress: I know what it's called. Look, Roger was a regular, okay? Draft beer. Tonight, he's drinking J.D. Straight up, six in an hour. If you ask me, he was looking for trouble.CUT TO:", "[SCENE_BREAK]", "[EXT. BUILDING ROOF -- NIGHT]", "(NICK is on the rooftop looking around. He walks to GRISSOM and stops to stand right in front of him.)", "Nick: I've been searching high and low for a blunt object. Crow bar, two-by-four, brick, something like that. Nothing. But I did find this crack pipe. I'll get it back to the lab see if I can get some prints off of it.", "(As NICK speaks, GRISSOM starts to lose his hearing and for a moment, he can't hear what NICK'S saying at all.)", "Nick: (sound muffled to no sound at all) This roof's not that accessible, you know? Besides, coming all the way up here to get high and low. But still, little extreme for this part of town don't you think?", "(GRISSOM looks at NICK and takes his best guess.)", "Grissom: Swab it, print it, bag it. See if you can find out who smoked it.", "(GRISSOM picks up his stuff and leaves.)", "Nick: Okay.", "[SCENE_BREAK]", "[EXT. RESTAURANT - PARKING LOT -- NIGHT]", "(CATHERINE walks along the parking lot looking for evidence. She kneels down and sees a bullet casing.)", "O'Riley: 50 caliber.", "Catherine: Yeah, you need a cannon to fire a hunk of lead that big.", "O'Riley: Feel like hunting for a bullet?", "(CATHERINE bags it.)", "Catherine: Anything that might have hit it would have ripped right through. Thing's probably still moving.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK walks to the lab.)", "Warrick: Leah! Good to have you back on nights.", "Leah: I know. I hate days.", "Warrick: I came to see you for your expert opinion.", "Leah: Shoot.", "Warrick: See what you can make of this.", "(WARRICK takes out a photograph of the tattoo. LEAH looks at it with magnifying glass.)", "Leah: Hmm. Use of only black and gray ink is known as fine-line. Not a \"scratcher\" job.", "Warrick: You recognize this?", "Leah: Signed by the artist himself. Take a look.", "Warrick: I-I?", "Leah: In roman numerals, two. As in \"tat-too.\" Premier skin artist in Vegas. Also a Ph.D. in psychology.", "Warrick: He's a shrink?", "Leah: Mm-hmm.", "Warrick: So he gets in your head and under your skin, huh? You're a gem.", "Leah: Thank you. I got a new one.", "Warrick: Really?", "Leah: Check it out.", "(LEAH takes her coat off to show WARRICK a butterfly tattoo on her right shoulder.)", "Warrick: Nice. The rose is still my favorite, though.", "(WARRICK smiles at her and leaves. Camera holds on LEAH.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. TATTOO PARLOR -- NIGHT]", "(NICK and WARRICK walk in to the establishment.)", "Nick: Is the doctor in?", "Doctor: Yes, I am.", "SHORT TIME CUT TO:", "(The DOCTOR looks at a photograph of the tattoo. NICK looks at something off of the shelf next to a stack of books on mythology. He looks at the DOCTOR and notices him watching. NICK puts the thing back on the shelf.)", "Nick: Hmm.", "Doctor: Skin and ink, ink and skin -- one makes the other one live. You see, that's strength ...", "(The DOCTOR points to the \"wings\" in the tattoo. Camera focuses in for a close up of the \"wings\".)", "Doctor: ... and that's superiority ...", "(Camera flashes to the entire tattoo.)", "Doctor: ... and that's ambition without limit. See, it's the chosen one.", "(He holds up the photograph for them to look at. NICK nods.)", "Nick: Hmm.", "(The DOCTOR pushes his chair back to get a binder that a customer is looking at.)", "Doctor: Can I borrow that? Excuse me. (He shows them the binder.) It's my book. All my victims. (He flips a page.) His name was Jimmy Maurer.", "(He shows them the photo of a young, blonde man proudly showing off his new tattoo for the camera.)", "(Quick flashback to: JIMMY MAURER looking at his tattoo. End of flashback. Resume to present.)", "Nick: Was? What do you mean, that's not his name anymore?", "Doctor: He died, didn't he? Well, his fate was inevitable. I simply gave it form.", "Warrick: (looking at the photo) Strength, superiority, and ambition, huh? Not exactly the characteristics of an angel.", "Doctor: No, it's not an angel. It's Greek mythology. Icarus. He flew too close to the sun on wings of feathers and wax.", "Warrick: And when the wax melted, he plunged to his death.", "Doctor: Hubris. Is that what brought Jimmy down, as well?", "Nick: Hey, man, you tell us.", "Doctor: How should I know?", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(CATHERINE walks into the lab.)", "Catherine: Hey, Greggy, any luck on those blood and hair samples?", "Greg: Don't insult me. Luck is for those without skill.", "Catherine: Hmm, spoken like a man who's never hit a jackpot.", "Greg: Hmm, sad but true. (GREG grabs the results from the printer.) Slot plot on the blood and hair ... came back negative. Not human. They're animal.", "(CATHERINE looks at the results.)", "Catherine: Hmm.", "(She turns and heads out of the lab.)", "Greg: You can take that with you if you want.", "Catherine: Thanks, I will.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(NICK and WARRICK walk through the door to the hallway on their way to the Autopsy room.)", "Nick: And I spoke with Brass. That squirrelly tattoo artist had a record.", "Warrick: For what?", "Nick: Drug conviction: Crack, cocaine.", "Warrick: You got a print off of that pipe?", "Nick: Lab's working on it.", "(They enter the Autopsy Room.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- CONTINUOUS]", "(DOC ROBBINS is already there.)", "Nick: Hey, Doc.", "Robbins: Hi, fellows. Cause of Death -- any takers?", "Nick: (sighs) Blunt force trauma.", "Warrick: You know if he's asking we're not going to figure it out.", "Robbins: Nicely played. It's suffocation. After I cleaned him up, noticed bluish discolorations on his lips (Camera moves slowly down the victim's right side to show the bluish colored skin.) ... and on what's left of his nail beds.", "(Camera zooms in to the victim's fingernails.)", "Nick: Cyanosis? Body was starved for oxygen.", "Warrick: Strangled, and then thrown off of the roof?", "Robbins: Found no ligature marks on his neck no petechial hemorrhaging. Hence, no forcible suffocation.", "Nick: Okay, not beaten to death, not strangled to death. But something bad went down on that roof. He left half his head up there, man", "Robbins: uh, more like... uh ... 25%.", "(Camera shows the victim's damaged head.)", "Warrick: Suffocation means he died with his brain still in his head.", "Nick: Yeah, but there's no evidence of anyone else at the scene. How do you suffocate alone on a rooftop?", "Robbins: You don't.", "Warrick: All right. High impact from a high altitude.", "Robbins: Well, above 15,000 feet, hypoxia can occur in minutes.", "Nick: (nods) He died in the sky.", "Warrick: Yeah... and the rest is gravity.", "(Quick flashback to: JIMMY MAURER falls from the sky at a high speed. He hits the side of the building rooftop and continues to fall to the ground below.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(WARRICK and BRASS walk down the hallway. )", "Brass: You know, your vic was an interesting guy. He had no home address. Just post office boxes in California, Utah, Vegas.", "(BRASS hands WARRICK a file.)", "Warrick: Drive a car?", "Brass: Nissan Xterra. Cali tags and license, but he was all squared away.", "Warrick: None of this explains how he dropped out of the sky.", "Brass: Well, the, uh, possibilities are limited. Either he was pushed out of a plane or he stowed away in the landing gear, or, um ... skydiving gone bad.", "Warrick: All right, none of that works. I talked to air traffic control and they had no aircraft operating in that area at that time.", "(BRASS walks into his office. After a beat, he walks back out.)", "Brass: \"La lluvia de peces.\"", "Warrick: What?", "Brass: The raining of fish. Occasionally, usually in the early spring in Yoro, Honduras, it rains, um ... (nods) ... sardines.", "Warrick: (scoffs) Sardines? That's funny.", "Brass: Really. I've seen it. (rambling) I mean, the scientific explanation is ... this sounds like a Grissom thing ... is that they get sucked out of the ocean by these waterspouts that are like, you know you know, tornadoes, and, uh, then ... look, the point is, Rick they got to come from somewhere. They gotta come from somewhere.", "(BRASS walks back into his office. WARRICK gets ready to leave, when he stops.)", "Warrick: What the hell were you doing in Honduras?", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(CATHERINE walks into the Ballistics Lab.)", "Catherine: Bobby.", "Bobby: Not a lot of guns chambered for 50 AE. It kind of narrows the field. Got AMT auto mag five, LAR grizzly...", "Catherine: Desert eagle?", "Bobby: Yeah, how'd you know?", "Catherine: Had O'Riley run the vic for registered firearms. It turns out that Roger Mitchel purchased a magnum research desert eagle mark-seven three weeks ago.", "Bobby: I know the gun. Idiot-big and shiny.", "Catherine: Right, well, you know some men feel the need to compensate.", "Bobby: Actually, a gun like that intimidates, makes a statement.", "Catherine: Yes, it does. Beer drinker switches to bourbon. He's got himself a brand-new gun. He's just looking for a fight. Statement is, \"bring it on.\"", "(Quick flashback to: The two men fight. One man swings and misses. The other man runs to his car and gets out his gun. He absently shuts the door.)", "Catherine: (V.O.) So, full of liquid courage, he hauls out the big iron.", "(End of flashback. Resume to present.)", "Catherine: But a drunk is not hard to disarm.", "(Quick flashback to: The two men struggle for the gun. The gun goes off. End of flashback. Resume to present.)", "Bobby: (nods) Vic gets shot with his own weapon.", "Catherine: And the perp walks away with the murder weapon.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK works on the computer)", "Nick: According to trace, the yellow dust on Jimmy Maurer's leg was pinion pine pollen.", "Warrick: Say that three times fast.", "Nick: Pinion's a desert tree found in higher elevations 4,500 feet and up.", "Warrick: 4,500 feet ... Mount Potosi.", "Nick: Yeah, it fits the bill to a tee. Think our vic was there before he died.", "Warrick: That's on the ground. Let's get on the net and figure out how he got into the air.", "Nick: Yeah, look under what? Hot air balloons? There was nothing in the air. I mean, we can ...", "(WARRICK types in \"Flying\" for a search.)", "Nick: Flying? You're a genius.", "Warrick: Of course.", "(The computer spews out some results:", "[Adventures Development Corp.", "Potosi Glide Center", "Guidway Travel", "Meadowlark Travel", "Nick: (murmuring) Pinion pine pollen, pinion pine pollen, pinion pine pollen.", "(WARRICK looks at NICK and shakes his head. NICK smiles.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. -- DAY]", "(CATHERINE and O'RILEY walk up to the house.)", "O'Riley: That camper-top pickup was reported stolen. The R.O. is a Ned Bookman. Lives in Henderson.", "Catherine: Well, that's three miles from here. That's walking distance.", "O'Riley: Gets better. Ned Bookman and our vic live on the same street.", "Catherine: Ooh, neighbors.", "(They see the pickup truck and start examining it.)", "O'Riley: Ignition block's intact. No sign of forced entry.", "Catherine: Hey, do you smell something?", "O'Riley: Like what?", "Catherine: Something ... fruity.", "O'Riley: I thought it was your perfume.", "Catherine: No. I never wear perfume at work. It dulls the sense of smell.", "(CATHERINE walks to the back of the truck. She opens the camper and looks in the back. They see pieces of tree and fruit.", "Catherine: A-ha. (CATHERINE picks up a fruit and smells it. Mulberries.", "(O'RILEY nods.)", "[SCENE_BREAK]", "[INT. PHYSICIAN'S OFFICE]", "(GRISSOM is in the doctor's office taking an auditory test.)", "(As he hears the tones, he lifts up his finger. The lower tones are stronger, the higher tones are weaker.)", "[SCENE_BREAK]", "[EXT. MOUNTAIN -- DAY]", "(A photographer takes pictures of the paraglider taking off.)", "Nick: It's amazing how simple it is. Air fills the canopy and you're off.", "Warrick: Yeah, sounds like you want to go for a spin.", "Nick: Well, it looks like it might be a rush.", "Rick Weston (instructor): Paragliding's a two-piece system -- harness and canopy. Now, the canopies are fitted to you according to body weight so if anyone has dropped a few for vanity speak up now, please. No? Okay. You're going to want to look around. Take in the sights. Do it. Enjoy it. The best view in the world. But don't forget, we weren't born with wings. We had to make them. So respect the equipment, okay? All right, then. It's time to fly. Any last questions?", "(NICK and WARRICK walk toward RICK WESTON just as he's finishing up class.)", "Nick: Yeah.", "(WARRICK raises his hand.)", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. MOUNTAIN - DAY -- CONTINUOUS]", "(NICK and WARRICK walk with the INSTRUCTOR, RICK WESTON.)", "Rick Weston: Yeah, I know Jimmy. The guy's got an attitude. Cocky. Might be able to handle his own in the air but I don't care for his style.", "Warrick: What's his style?", "Rick Weston: Well, he likes to grandstand. You know, this sport's about soaring. He's about showing off.", "Warrick: Looks like it should be about having fun.", "Rick Weston: Yeah, it's about having fun. But also, there's etiquette. I mean, a guy breezes in from nowhere does things his own way ... ah, maybe the ... walk back'll humble him a little.", "Nick: The walk back?", "Rick Weston: When you fly you need thermals or upshots of air used for lift. I mean, on a good day, you can stay airborne for hours.", "Nick: How high do these thermals get?", "Rick Weston: Well, you can take them as fars they take you. One time I was above 18,000 feet, when I came down I was about 35 miles from where I launched.", "Nick: Whoa. Yeah, the walk back.", "Rick Weston: (nods toward the truck) That's Jimmy's truck, it's been there since yesterday. What kind of trouble is he in, anyway?", "Nick: The worst kind. Thanks, Rick.", "(He nods)", "[SCENE_BREAK]", "[EXT. NED BOOKMAN'S GARAGE/DRIVEWAY -- DAY]", "(NED'S garage door opens. He shows it to CATHERINE and O'RILEY.)", "Ned Bookman: Ah, crap!", "O'Riley: Like we said, your truck's not here. Why did you report it stolen?", "Ned Bookman: Look, I got another car. I hardly ever use the pickup. I work nights. Anybody could've stolen it. You know, I mean ... it could happen.", "(CATHERINE looks up and sees the container up in the garage door. She stretches up and grabs it.)", "Catherine: Hmm. Hide-a-key. (She opens it.) Empty. Anybody else know about this?", "Ned Bookman: (dryly) Apparently.", "O'Riley: Now how well did you know the victim?", "Ned Bookman: Roger lived across the street. Didn't make us pals, just neighbors.", "(CATHERINE turns around to look at ROGER EDMONDS' house.)", "Catherine: Looks like Roger's got a mulberry tree. So, Ned, we found mulberry branches in your pickup and there's a mulberry tree in your dead neighbor's yard. I'm starting to like you, Ned and not in a good way.", "Ned Bookman: (nervously) Uh, F-F-Frank Kraft stole my truck. Uh ... I mean, I mean he-he \"borrowed\" it. He-he ... he borrows my stuff. I don't mind.", "Catherine: Let me guess, um, Frank Craft lives in the blue house on the other side of the fence.", "Ned Bookman: He and Roger, uh ... had problems. But you didn't hear it from me.", "(CATHERINE tosses the hide-a-key container to NED. He doesn't catch it and bends to pick it up.)", "Ned Bookman: (calls out) Please don't say anything.", "(CATHERINE and O'RILEY walk down the driveway.)", "[SCENE_BREAK]", "[EXT. MOUNTAIN - DAY]", "(WARRICK and NICK search JIMMY MAURER'S car. WARRICK checks out the contents of the back.)", "Warrick: Guy's got a surfboard for California and a snowboard for Utah.", "(NICK opens the bag in the car.)", "Nick: And a paragliding canopy for Nevada. Ripped to shreds. It's mine now. I'll swab it for epithelials.", "Warrick: If his canopy was ripped to shreds what the hell was he flying with?", "(WARRICK finds a note under the windshield wiper.)", "Nick: What's that?", "Warrick: \"Guess you can fly with anything. Find me when you get back-- T.\"", "Nick: What?", "(WARRICK shows NICK the note. Under the note is a number: 555-1086.)", "Nick: I'll check it out.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. T'S RESIDENCE -- DAY]", "(NICK interviews T.)", "T (photographer): Jimmy once told me, \"Only a paraglider knows why the birds sing.\"", "Nick: That sounds like a line.", "T (photographer): It is. They all use it. Skydivers, hang gliders, pilots. On some girls it even works.", "Nick: Did it work on you?", "T (photographer): My art is an attempt to express what it feels like to fly and Jimmy was helping me do that.", "(She shows NICK some photos of JIMMY MAURER.)", "Nick: Jimmy's leg loops are unbuckled. How come?", "T (photographer): He never buckled them. Jimmy enjoyed showing people up. It wasn't enough for him to be a great flyer. He needed everyone to see that he was fearless.", "Nick: Well, I bet that didn't settle real well with Rick Weston. (NICK looks at a particular photo.) When did you take this one?", "T (photographer): Yesterday.", "Nick: And is that the canopy Jimmy normally flew with?", "T (photographer): (shakes her head) Mm-mm.", "Nick: Where'd he get it?", "T (photographer): I don't know. He told me somebody messed with his rig but that wasn't going to keep him out of the air.", "(NICK looks at another photo.)", "Nick: And who's he butting heads with here?", "T (photographer): Fred Dacks.", "Nick: Who's that?", "T (photographer): He's a good flyer. He's very competitive.", "Nick: And by the looks of things he was pretty competitive with Jimmy.", "T (photographer): Always.", "(Quick flashback to: FRED DACKS walking by.)", "Jimmy Maurer: You think that's going to give you the edge? I could fly with anything.", "Fred Dacks: Then show me some air, punk.", "(Cut to: T snaps photos.)", "(End of flashback. Resume to present.)", "Nick: Is that Fred there in the yellow and white canopy?", "T (photographer): Jimmy followed his line. He went after him hard. Had to win at all costs.", "Nick: Expensive price to pay.", "[SCENE_BREAK]", "[EXT. ROADWAY TO KRAFT'S HOUSE -- DAY]", "(CATHERINE and O'RILEY make their way to FRANK KRAFT'S house.)", "O'Riley: This guy Kraft's had a dozen complaints filed against him by residents on the block. Property line disputes, petty thefts, one assault.", "Catherine: A regular Mister Rogers.", "O'Riley: Yeah.", "(CATHERINE looks at the groves in the front lawn.)", "Catherine: Check this out.", "O'Riley: Creative parking?", "Catherine: Something.", "(They walk on the lawn and see that the tracks go all the way up to the tree. They continue walking to the front door.)", "[SCENE_BREAK]", "[EXT. KRAFT'S RESIDENCE - DAY - CONTINUOUS]", "(CATHERINE knocks on the door. FRANK KRAFT opens the door.)", "Frank Kraft: What do you want?", "O'Riley: Frank Kraft?", "Frank Kraft: So what?", "O'Riley: Detective O'Riley. Vegas P.D. This is Catherine Willows from the crime lab. We'd like to have a few words with you.", "Frank Kraft: Show me the badge.", "(O'RILEY shows FRANK KRAFT his badge.)", "Catherine: That's a hell of a bruise you've got on your chin, Mr. Kraft. How did you get that?", "Frank Kraft: I sent away for it. You want one of your own?", "(CATHERINE chuckles lightly.)", "Catherine: Recoil's a bitch, isn't it?", "(Quick flashback to: The gun firing and FRANK grunting from the recoil. End of flashback. Resume to present.)", "Catherine: Do you have a dog?", "Frank Kraft: Do you have a warrant?", "O'Riley: No, we're just talking here.", "(FRANK steps back and closes the door.)", "O'Riley: Nice fellow.", "[SCENE_BREAK]", "[INT. SPORTING GOODS STORE -- DAY]", "(WARRICK and NICK walk into the store.)", "Warrick: According to the manager Fred Dacks has been working here for three years. Model employee, knows his gear. (to the SALESWOMAN) Hi.", "Saleswoman: Hi.", "Warrick: I'm looking for Fred Dacks.", "Saleswoman: (points) He's right over there.", "Warrick: Thanks.", "Saleswoman: You're welcome.", "(WARRICK and NICK walks on.)", "Warrick: But guess who just got hired here a month ago?", "Nick: Uh, Jimmy Maurer?", "Warrick: Yeah. Small world, huh?", "Nick: Yeah, I'll say.", "Warrick: Fred Dacks?", "Fred Dacks: Yeah, what can I do for you?", "Warrick: I'm Warrick Brown, this is Nick Stokes. We're from the Las Vegas Crime Lab. We need to ask you a few questions about Jimmy Maurer.", "Fred Dacks: Jimmy. The guy was a punk. Other than paragliding and working here we had nothing in common.", "Warrick: Except maybe that tattoo right there.", "Fred Dacks: Yeah, only 'cause that fool bit it off me. (Indicates his tattoo.) This was a one-of-a-kind around here until he rolled in with his little birdman or whatever.", "Warrick: You mean Icarus, right?", "Fred Dacks: Yeah, whatever. It doesn't change a thing. The guy was a mouth. He threw shade all over the place.", "Nick: Really?", "Fred Dacks: Yeah.", "Nick: Funny, that's what we heard about you.", "Fred Dacks: Oh, is that right? From who? That artsy chick? He was sticking it to her. What did you think she was going to say? Plus, she was still pissed at me that I didn't take part in her little \"masterpiece.\"", "Nick: That really doesn't concern me, Mr. Dacks. What I want to know is, did you fly with Jimmy the day he died?", "Fred Dacks: Hell, no. I wouldn't fly with him. Dude can't match my skills. Nothing but a menace.", "Warrick: Try again. Your yellow canopy.", "(WARRICK stops FRED DACKS by showing him the photograph of the two flying.)", "Nick: We know that's you, Fred.", "Fred Dacks: Oh, yeah. See? Tight line, leading edge to the wind. Carving it up. Must be me.", "(Quick flashback to: FRED DACKS taking off and leaving JIMMY MAURER back on the ledge preparing to fly. Cut to: JIMMY MAURER taking off. End of flashback. Resume to present.)", "Fred Dacks: Yeah, yeah, I remember now, all right? Last time I saw Jimmy, he was still on the ground tugging his junk.", "Warrick: It wasn't his junk, it was someone else's.", "Fred Dacks: Well, then, why are you talking to me, man? 'Cause the only rig I got is my own. (He tightens the sleeping bag string and puts it on the shelf.) We done?", "Warrick: Yeah, for now.", "Fred Dacks: Uh-huh.", "(FRED DACKS walks away. NICK picks the sleeping bag that FRED DACKS just handled and tells the SALESWOMAN.)", "Nick: Uh, you know what? I'll take this one.", "[SCENE_BREAK]", "[EXT. ROGER EDMONDS' HOUSE -- DAY]", "(O'RILEY walks back toward CATHERINE from talking with NED.)", "Catherine: Let me guess. Citizen Ned doesn't want to get involved?", "O'Riley: Kraft scares the crap out of the guy.", "Catherine: Well, I guess he doesn't want to be seen talking to us.", "O'Riley: Boiled down, basically he said Kraft and the vic had a pretty bad history.", "Catherine: Yeah, that's becoming really clear. Check this out. Kraft was stealing cable from Edmonds. Edmonds cuts the line. Hate thy neighbor. Did Ned mention anything about Kraft's dog?", "O'Riley: Only that it was always chained up in the yard. And always barking.", "(CATHERINE looks at the chain tied up around the tree.)", "(Quick flashback to: A car driving up the lawn and toward the dog. End of flashback. Resume to present.)", "Catherine: I'm starting to think the victim may have taken care of that.", "O'Riley: What about the tire marks?", "Catherine: Not enough detail -- we'd never get a match. We can't check Kraft's property out without a warrant. But ...", "(CATHERINE picks up the shears.)", "O'Riley: Oh, that won't get you a warrant, either.", "(CATHERINE smiles at O'RILEY.)", "Catherine: You like jigsaw puzzles?", "(Cut to: CATHERINE up in the mulberry tree. She marks the branch with a red pen, then cuts it off. She hands it to O'RILEY down below. She marks another branch, then cuts it off.)", "(O'RILEY bags the branches that CATHERINE hands to him. CATHERINE continues to mark and cut.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(NICK sits in the chair waiting for the test results. WARRICK stands getting in GREG'S way. GREG gets the results and hands it to NICK.)", "Greg: Epithelials on the slashed canopy match the ones on the sleeping bag drawstring. Fred Dacks, both places. Thank you and good night.", "(GREG goes back to work.)", "Warrick: So Fred does a number on Jimmy's canopy to keep him from flying.", "Nick: He's threatened by the guy. It's to keep from getting shown up, you know.", "Warrick: He needs to be the Top Dog, huh?", "Nick: Hmm.", "Warrick: Yeah, that sounds like you.", "Nick: Who?", "Warrick: You.", "Greg: That sounds like both of you. Now please, can you take this somewhere else?", "Warrick: (ignoring GREG) So ... Jimmy gets a new canopy. Flies, dies. Comes down unattached. We got no canopy, we got no harness.", "Nick: If we want to find out what happened we need to find that rig.", "Greg: Well, you're not going to find it here.", "(GREG takes his stuff out of NICK'S hands and pushes him off of his chair.)", "Nick: Hey, hey, hey, hey, hey.", "Warrick: Have you taken your medication today?", "Greg: See ya.", "(NICK and WARRICK leave the office.)", "[SCENE_BREAK]", "[INT. HALLWAY/PHYSICIAN'S OFFICE -- DAY]", "(GRISSOM and the DOCTOR walk into the hallway.)", "Grissom: 125 hertz?", "Physician: Minus 30 decibels. It's a significant decline from your last visit.", "Grissom: Yes, but most human speech is above 300 hertz. My midrange is still clear.", "Physician: If it were clear all the time, you wouldn't be here. I think it's time to consider something like ... surgery. Think about it. Let me know.", "(The DOCTOR walks away.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB -- DAY]", "(WARRICK and NICK look at the topography on the computer.)", "Warrick: He took off here and he came down here, right?", "Nick: Yeah. Now, the canopy's designed to soar. Has to fall downwind of the body. And at 15,000 feet, wind was northeast at 22 miles per hour.", "Warrick: Well, we get a little classical dynamics going on we can find this rig.", "(NICK does the computer manipulations and they find a generic area where the rig could possibly be located at. WARRICK points to the monitor.)", "Warrick: Search area is northeast Summerlin.", "Nick: Yeah, let's put out a broadcast.", "[SCENE_BREAK]", "[EXT. -- DAY]", "(WARRICK and NICK walk toward the canopy and rig.)", "Nick: Patrol unit spotted it on a routine traffic stop.", "Warrick: Yeah, we lucked out.", "(They reach the rig.)", "Nick: What have we got?", "Warrick: Well ...", "(WARRICK kneels down and sees JIMMY MAURER'S name on the harness.)", "Nick: Bingo.", "Warrick: These leg loops, they're unbuckled. I guess there's no surprise there.", "Nick: 15,000 feet up, no helmet the only thing holding you in are two shoulder harnesses and a chest strap.", "Warrick: Not the kind of rush you're looking for?", "Nick: Uh-uh.", "(WARRICK and NICK look over the glider. WARRICK finds something.)", "Warrick: Check this out. \"Property of Potosi Glide Center.\"", "Nick: That makes two liars.", "Warrick: Weston didn't tell us he gave Jimmy his replacement rig.", "Nick: 'Cause he knew how it would end up.", "(NICK looks at the cut lines.)", "Nick: Jimmy never had a chance, man.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(WARRICK and BRASS question RICK WESTON.)", "Rick Weston: No way. I wanted to see him get his ass kicked, not killed.", "Brass: Yeah, problem is he did get killed. Flying your canopy.", "Rick Weston: I don't know how that happened.", "Warrick: Well, it seems the lines leading to the a-riser were cut.", "(Quick flashback to: JIMMY MAURER is up in the air. Something goes wrong. JIMMY looks up at his lines and sees that they're about to break. The lines break. End of flashback. Resume to present.)", "Brass: Your rig, your responsibility. This is your chance. I'd take it.", "Rick Weston: Fred said that, uh ... he just wanted to teach Jimmy a lesson.", "(Quick flashback to: FRED DACKS approaches RICK WESTON as he puts a rig together.)", "Fred Dacks: Rick.", "Rick Weston: Yeah?", "Fred Dacks: Jimmy's going to hit you up for a canopy. Why don't you give him something big and slow?", "Rick Weston: Oh, I got that blue-green trainer. That ought to be fun.", "Fred Dacks: (chuckles ): Perfect.", "(End of flashback. Resume to present.)", "Rick Weston: Ten minutes later Jimmy shows up all hot. He asked, I gave, he took.", "Warrick: Couldn't let Fred get the better of him.", "Rick Weston: Look, Jimmy lacked discipline. He needed to be brought down a peg or two.", "Brass: You brought him all the way down", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK walks into the lab. NICK is already there.)", "Nick: Don't tell me. Rick pleaded ignorance.", "Warrick: Right before he lawyered it up.", "Nick: Really? Well, , that guy's wasting his money. Take a look.", "(NICK hands WARRICK the tip of the frayed line.)", "Warrick: It's frayed. You're saying if he had cut it with a tool, it'd be clean.", "Nick: These lines are spun polymer. They're lightweight, but strong as hell covered in a plastic shell; now, over time that plastic coating wears down. Unprotected lines rub against one another ...", "(Quick flashback to: Two lines rubbing against one another one strong, the other frayed.)", "Nick: ... (V.O.) weakening, fraying, until ...", "(The frayed line breaks. End of flashback. Resume to present.)", "Nick: ...snap! It's normal wear and tear, man.", "Warrick: But Weston knew that that canopy was in bad shape. And we don't have any evidence to suggest that he sabotaged it.", "Nick: Do you remember a case about a year ago? Diablo canyon?", "Warrick: Oh, the victim of sudden weather that you thought was murdered.", "Nick: Yeah. You fool me once, shame on you. You fool me twice ... shame on me.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE is in the lab working on the bags. SARA walks in. She clears her throat to get CATHERINE'S attention.)", "Sara: Can you help me out?", "Catherine: Uh ... depends.", "Sara: I can't get out into the field because I'm maxed out on overtime for the month.", "Catherine: Ah, and you're confined to the lab, huh? Well, hey, look, it's regular hours. I mean, go have dinner with the boyfriend ... Hank, right? And, and ... go, go to a spa.", "Sara: Hank is not my boyfriend. And you know, those places are filled with bacteria.", "Catherine: Sara, I don't make the rules around here. You've got to talk to Grissom about that.", "Sara: Yeah ... he's, um, not really in a talking mood.", "Catherine: What makes you think he's going talk to me? (SARA shrugs.) Get some rest.", "Sara: I'm not tired. Really. I'm not tired.", "(SARA walks out of the lab.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- CONTINUOUS]", "(CATHERINE starts working on her tree branch pieces. Using the shears, she cuts a piece off of the branch and looks at the cut under a scope.)", "(SCOPE VIEW)", "(CATHERINE then takes the first branch piece and tries to match it to the pieces she cut earlier. She finds the match and puts it on the side. She picks up the next branch.)", "(CATHERINE finds the match to the branch and puts the set on the side.)", "(Dissolve to: CATHERINE continues to match the branches to the cut pieces.)", "(Dissolve to: CATHERINE is nearly done.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK and WARRICK study the photograph of the two paragliders.)", "Warrick: That's the cumulus cloud formed by warm air rising? The thermals?", "Nick: Yeah, the bigger the cloud, the more air that gets sucked in the stronger the thermal. And check out our boys. Heading straight for it.", "Warrick: Yep. He's probably getting the ride of his life.", "(Quick flashback to: JIMMY MAURER up flying and the wind gusting. In front of him FRED DACKS continues to fly. JIMMY gets caught in a particular gust. He looks up at his rig.)", "Warrick: (V.O.) He's rising fast.", "(End of flashback. Resume to present.)", "Warrick: Air is getting thinner. 15,000 feet he passes out and suffocates.", "(Quick flashback to: JIMMY MAURER flying high in the wind gusts. He gasps for air and passes out.", "Nick: You catch a good thermal and you take it as far as it takes you -- dead or alive.", "(Quick flashback to: JIMMY MAURER is passed out and flying too high. He falls off of his rig. End of flashback. Resume to present.)", "Nick: And to show Fred up, Jimmy had to fly higher.", "Warrick: But he had an oxygen tank ... on his harness. Why didn't he use it?", "Nick: Good question.", "[SCENE_BREAK]", "[INT. KRAFT'S RESIDENCE -- NIGHT]", "(POLICE OFFICERS search FRANK KRAFT'S residence. CATHERINE and O'RILEY talk with FRANK KRAFT, who sits at the table.)", "Catherine: The key word here: Retaliation. Roger Edmonds cuts the cable that you stole.", "Frank Kraft: He was stealing it himself.", "Catherine: Of course, he was. (She sighs.) So, then you ... chop up his tree ...", "(Quick flashback to: FRANK KRAFT cuts up ROGER EDMONDS' mulberry tree. When he's done, he throws the shears into ROGER'S yard. End of flashback. Resume to present.)", "Catherine: ... \"borrow\" Ned's truck to dump the branches ...", "Frank Kraft: I borrow Ned's stuff all the time; he doesn't mind. It's not important to him; it's no big deal ...", "Catherine: (interrupting) Shut up. This isn't about Ned. It's about Roger. So ... while you're out dumping the branches, Roger comes home and sees what you've done to his tree. He ups the ante.", "(Quick flashback to: FRANK KRAFT'S dog is tied to the tree in the front yard and barking. ROGER EDMONDS drives up the front lawn and into the dog. End of flashback. Resume to present.)", "Catherine: You return home ... find your dog ... start looking for Roger.", "(Quick flashback to: FRANK KRAFT kneeling next to his dead dog. White flash to: FRANK KRAFT drives NED'S truck to the bar where ROGER is drinking. ROGER swallows his drink and goes to meet FRANK out in the parking lot. FRANK gets out of his car.)", "Roger Edmonds: Your dog look as bad as my tree?", "(FRANK grabs ROGER and pushes him into the truck where he takes a swing and misses. ROGER breaks away and opens his car and gets out his gun.)", "Frank Kraft: ... my dog!", "Roger Edmonds: Huh, you want some of this, pal, huh?! Come on, come on!", "(They both fight over the gun. The gun goes off. ROGER falls to the ground and gasps for air. End of flashback.", "Officer: Detective.", "(The OFFICER holds up the missing weapon. He gives it to O'RILEY.)", "O'Riley: Desert Eagle.", "Catherine: Something else you ... borrowed?", "Frank Kraft: He killed my dog.", "(The OFFICERS cuff FRANK KRAFT.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK and NICK has JIMMY MAURER'S rig set up in the lab. They examine the oxygen tank.)", "Warrick: Well, the gauge reads full.", "Nick: Yeah, I don't think it works, bro.", "Warrick: There's only one way to find out.", "(WARRICK tests the oxygen tank.)", "Warrick: Flowing fine.", "(NICK sighs and thinks out loud.)", "Nick: An experienced flyer, prepared for the altitude. There's no reason not to use his oxygen.", "(He scoffs.)", "Warrick: (holding the altimeter) Unless he didn't think he needed it.", "(Cut to: NICK checks the inside of the altimeter. WARRICK goes over the computer topography.)", "Warrick: Okay. Las Vegas is 2,030 feet above sea level. You got that thing plugged in yet?", "(NICK sets it up.)", "Nick: There it is.", "Warrick: Let's see what we've got.", "(The computer beeps.)", "Warrick: 30 feet.", "(NICK chuckles)", "Nick: I, uh, I think we're off by a couple of G's. I'll dust it.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(WARRICK, NICK and BRASS question FRED DACKS.)", "Brass: Jimmy's altimeter, your fingerprints ... on the inside.", "Fred Dacks: That's cute. You should put it in a frame. So I fix gear for other flyers sometimes, big deal.", "Warrick: Oh, you fixed it, all right. You decalibrated it. It was off by 2,000 feet.", "(Quick flashback to: FRED DACKS in the back of JIMMY MAURER'S car. He goes through his bag and takes out the altimeter. He opens the altimeter and changes something inside. He closes it up. End of flashback. Resume to present.)", "Nick: In the air, you lose perspective. You have to trust your instruments", "Brass: Jimmy didn't know how high he actually was.", "(Quick flashback to: JIMMY MAURER up in the air and going higher. The wind gusts and JIMMY goes higher. FRED DACKS looks up at JIMMY. JIMMY looks down at FRED DACKS below him and laughs. JIMMY looks at his altimeter which reads 10.039 +. He looks at his second machine and reads +12 / 12,040 ft. End of flashback. Resume to present.)", "Fred Dacks: Hey, I already told you, man, this dude was soft in the air. He could've turned back anytime.", "Brass: But you knew he wouldn't. You set him up.", "Warrick: Yeah, you had perfect sky massive canopy, bitchen thermals, dude and a challenge he'd never refuse. You played him against himself.", "(Quick flashback to: JIMMY MAURER riding high in the air and hiding higher. The altimeter reads 18.517+. End of flashback. Resume to present.)", "Nick: You couldn't stand the fact that he was better than you.", "Fred Dacks: Hey, I called him out, he took me on. Bigger air, higher altitudes push the limit, dude -- that's why we fly.", "Warrick: No, it's not why you fly. The truth is on your arm. Alecto ... Magaera, Tisiphone; the three furies. Unceasing anger, vengeance and jealousy. That's what you're about.", "Nick: Sorry, dude.", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM]", "(CATHERINE gets her stuff out of the locker. WARRICK walks in.)", "Warrick: Hey, Catherine.", "Catherine: Hey ... I heard you know your Greek mythology. I'm impressed -- never would've guessed.", "(WARRICK goes to his locker to get his things.)", "Warrick: Yeah, I'm a mystery.", "Catherine: Yes, you are.", "(WARRICK chuckles.)", "Catherine: So, where's Nick?", "Warrick: He bugged out early.", "Catherine: Well, good work, you guys -- both of you. Would you let him know?", "Warrick: Thanks. Yeah, I will.", "Catherine: I'll see you around.", "Warrick: All right. Have a good morning.", "Catherine: You, too.", "(CATHERINE walks out of the locker room.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE -- CONTINUOUS]", "(CATHERINE passes by GRISSOM'S office and sees that he's inside. She knocks on his door lightly before entering.)", "Catherine: Closed that murder I was working. A man's life for a dog's life for a mulberry tree. (she sighs) Sometimes I wonder if people are meant to live together.", "Grissom: Well, you know what they say -- \"good fences make good neighbors.\"", "Catherine: Then you'd make a great neighbor.", "Grissom: Hmm.", "(CATHERINE chuckles )", "(GRISSOM looks down at his laptop screen. He's looking up information on \"Otosclerosis\". CATHERINE looks down at the laptop.)", "Catherine: New case?", "Grissom: Ongoing.", "(She leans in to look at what he's reading. Unwilling to let anyone in, GRISSOM changes the screen to show something on \"The Longhorned Beetle\".)", "Catherine: Oh ... bugs.", "Grissom: (nods) Mm.", "Catherine: Enjoy.", "(CATHERINE leaves the office. GRISSOM switches screens back to \"Otosclerosis\". He sighs and goes back to reading.)", "[SCENE_BREAK]", "[EXT. MOUNT POTOSI]", "(All rigged up and ready to fly, NICK smiles and takes a deep breath before letting go with the wind.)", "Nick: Whoo-hoo!" ]

[ "Grissom and Catherine investigate when the chef of a fancy restaurant ends up in a meat grinder . They soon discover a lot more went on in the kitchen than cooking. Meanwhile Sara and Warrick find out that the apparent suicide of a young woman who suffered from bipolar disorder is actually a murder." ]

[ "[EXT. (VARIOUS) LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. METEOR MEAT - NIGHT]", "(The METEOR MEAT delivery trucks back into the loading stall. The driver gets out of the truck and looks at HARLAN who stands in front of the doorway.)", "Delivery Man: Hey, Harlan. Special delivery. Fresh shipment in from Nebraska.", "Harlan: Great. Just stack it in the freezer, will you? I got to open up.", "Delivery Man: All right, you got it, boss.", "[SCENE_BREAK]", "[EXT. METEOR MEAT - NIGHT]", "(HARLAN opens up the main meat packing area and turns on the lights. He walks inside and powers up the conveyer belt where meat is already placed upon.)", "(HARLAN reaches up and turns on the overhead fluorescent lights.)", "(He continues his morning routine and reaches the next machine to turn it on. He looks over and notices that it's already been used with ground up meat in the metal bin on the side.)", "(HARLAN walks over to the bin and looks inside. His eyes widen as he sees a bloody human hand sticking out.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[INT. METEOR MEAT - NIGHT]]", "(BRASS escorts GRISSOM and CATHERINE through the main meat packing area.)", "Brass: Ever wonder what's in that hot dog? Human body in a meat grinder. Shop foreman found an arm. The rest of him is prime grade a sirloin.", "Catherine: Body in a meat grinder. Sounds kind of \"mob-ish\" except they left town in the '80s.", "(They stop. BRASS points to an officer interviewing MANNY SALDANO.)", "Brass: The last guy to operate the meat grinder is this guy over here. Manny Saldano, age 37. Worked for meteor for eleven years. Shop foreman vouches for him. Says he inspected all three of his machines before he clocked him out.", "Grissom: Well, we're going to need to process him.", "Brass: Sure. (BRASS points to the meat grinder) Check out the smorgasbord. Go ahead.", "(CATHERINE and GRISSOM head for the meat grinder. They duck under the crime scene tape.)", "Brass: (b.g.) Mike.", "(CATHERINE puts her case down.)", "Catherine: (under her breath) Good god...", "Grissom: Looks like the elbow got stuck in the blade.", "(Camera zooms down to the pipe at the end of the grinder. GRISSOM puts on his gloves.)", "Grissom: Yup, the ulna.", "Catherine: One of the strongest bones in the body. Probably what jammed this grinder.", "Grissom: Possibly why whoever did this didn't finish the job.", "(CATHERINE snaps a couple of pictures. GRISSOM tries to take the hand out of the grinder and finds that it's not easy.)", "Catherine: It's like that Morrissey album - \"Meat is Murder\" ...", "(GRISSOM continues to struggle with the hand. He finally looks up at CATHERINE.)", "Grissom: I'm going to need a hand.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. METEOR MEAT -- NIGHT]", "(GRISSOM and CATHERINE kneel in front of the ground meat. GRISSOM holds out his flashlight and they both assess where to start.)", "Grissom: The last remains of John Doe. We're going to need sifters.", "Catherine: Blood's everywhere. Phenolphthalein and luminol are useless.", "(GRISSOM shines his flashlight on the \"Butcher\" meat grinder.)", "Grissom: We're going to have to dismantle this piece by piece.", "Catherine: Yeah.", "Grissom: I'll get a foreman.", "Catherine: I think I can handle this.", "Grissom: You know about meat grinders?", "Catherine: Well, everything's pretty much plumbing. Male into female parts. Righty tighty, lefty loosey.", "(CATHERINE reaches over to the meat grinder mouthpiece and starts to unscrew it.)", "(Dissolve to: CATHERINE starts to take the meat grinder apart piece by piece.)", "Catherine: Grinder plate.", "(She puts the grinder plate aside and pulls out the ... )", "Catherine: Blade.", "(She puts the blade aside and pulls out the large piece inside the meat grinder with meat still wrapped around it oozing out.)", "Catherine: The worm.", "(She turns around and puts \"The worm\" in a bag. Behind her, some distance away, GRISSOM finds something on the ground. He picks it up and examines it.)", "Grissom: Found an ear plug.", "(CATHERINE turns to look at GRISSOM.)", "Grissom: Ear wax is ripe with DNA.", "Catherine: Except ... all the employees wear them.", "(They both stand up.)", "Grissom: This one's different than the ones they use. Whoever wore this brought it with them. We just have to find out whose ear it fits.", "[SCENE_BREAK]", "[EXT. LINDA DAMEN'S RESIDENCE -- NIGHT]", "(DETECTIVE \"SULLY\" SULIK escorts SARA and WARRICK through the pool area toward LINDA DAMEN'S apartment. He fills them in.)", "Det. \"Sully\" Sulik: Girl's name is Linda Damen, 23, apparent suicide. Father stopped by with dinner found her dead, called 9-1-1.", "Sara: No signs of forced entry?", "(The Detective ducks under the crime scene tape. SARA and WARRICK follow. They all head up the stairs to LINDA DAMEN'S apartment.)", "Det. \"Sully\" Sulik: Nope. Did find her wallet out. Empty.", "(The DETECTIVE hands the bagged wallet to SARA. She looks at it and hands it to WARRICK.)", "Sara: Hmmm ...", "Warrick: Empty? Maybe she was just broke.", "(They reach the top of the stairs where JOHN and JANE DAMEN, LINDA'S parents stand. They enter the apartment.)", "[SCENE_BREAK]", "[INT. LINDA DAMEN'S APARTMENT - NIGHT -- CONTINUOUS]", "(Inside the apartment, HANK PEDDIGREW is putting his things away.)", "Sara: Hey.", "(HANK looks up.)", "Hank Peddigrew: You guys are fast.", "Sara: You pronounce?", "Hank Peddigrew: 7:20. Coroner will be able to tell you more. Looks like she bled out. Her left wrist is transected.", "Sara: It's atypical for a female. Women usually commit suicide in the tub. It's easier cleanup for whoever's left behind.", "Warrick: Yeah.", "(SARA looks down at the bed and sees something. She lifts the sheet away to reveal a straight-edged razor.)", "Sara: Warrick.", "(WARRICK raises the camera and snaps some pictures.)", "Sara: Did her parents say whether she was living with a man?", "Detective: Was dating a Brody Jones. No idea where he works or lives.", "(WARRICK looks at the streak of blood across the bed covering.)", "Warrick: Did someone move her?", "(HANK looks at the bed cover.)", "Hank Peddigrew: She was propped up when we got here. I checked for vitals.", "Warrick: You sure with all your life-saving efforts you didn't move her?", "Hank Peddigrew: Hey, man, like I said, I checked for vitals.", "Sara: It's okay, babe.", "(HANK turns and stares at SARA, surprised by what she said. DETECTIVE SULIK looks at SARA. SARA turns her back to the men and shakes her head slightly at herself.)", "Hank Peddigrew: (continues) The victim had no response. I had no reason to move her.", "Warrick: Well, someone moved her. She bled out her", "(HANK doesn't say anything more.)", "(SARA turns on her flashlight and checks out the closet. She lets out a deep breath.)", "(HANK walks up to SARA.)", "Hank Peddigrew: I'm going to hit the road ... (beat) ... baby.", "Sara: (grimaces) I'm sorry.", "(HANK leaves. SARA examines the clothes in the closet and finds something.)", "Sara: There's a stain here. So cold stains.", "Warrick: Is it recent?", "(SARA checks.)", "Sara: It's cool to the touch, yeah.", "(WARRICK finds some bloodied footprints on the carpet near the bed.)", "Warrick: Sara.", "(SARA turns to look at WARRICK.)", "Warrick: I think our suicide just became suspicious circs.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC PATHOLOGY -- NIGHT]", "(GRISSOM examines the partial arm on the table. ROBBINS stands near him.)", "Robbins: Since I'm the one who always seems to state the obvious this arm was dead before it was hacked off.", "Grissom: What do you make of the, uh scar tissue on the palm?", "Robbins: Occupational hazard, maybe. I see this kind of thing a lot in bricklayers, plumbers, carpenters.", "Grissom: Looks like it's blistered.", "(GRISSOM turns around and picks up something from the table behind him.)", "Robbins: Gradual denaturation of the proteins in the epithelials. Resulting in general scarring on the palm or surface.", "(GRISSOM takes a sample from under the fingernails.)", "Grissom: I'll send this sample to trace.", "(GRISSOM continues to look at the hand.)", "Grissom: Tips of the fingers look like they're worn to the bone.", "Robbins: Can you get a partial?", "(GRISSOM turns around and picks up a small bottle of something from the table behind him.)", "Grissom: Much more than that. Lansberry's Ridge Builder. One application to the bulbs of the fingers and the ridges plump out temporarily like a chia pet on steroids.", "(GRISSOM brushes the liquid onto the fingertips.)", "(Camera close up of the fingertip. CGI has the print ridges well defined. Resume to ROBBINS.)", "(GRISSOM lightly inks the tip of the finger, then takes a print from it. Pleased, he glances at ROBBINS.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(GRISSOM and CATHERINE stand around the print database monitor as they run the print. The computer beeps and it pops out a name with ID.)", "Grissom: Petrov Samsko. Non-gaming sheriff's permit, head chef, Debreff Restaurant.", "(GRISSOM pronounces it \"doo-breff\".)", "Grissom: Chef-- that would explain the burn scar tissue on his palm.", "Catherine: (nods) It's \"Debreff.\"", "(CATHERINE pronounces it \"dough-breff\".)", "Catherine: It's a five-star restaurant. I've eaten there.", "Grissom: Good, maybe you can get us a table.", "[SCENE_BREAK]", "[EXT. LINDA DAMEN'S APARTMENT -- NIGHT]", "(Camera opens on WARRICK comparing the shoe print with JOHN DAMEN'S shoe while JANE DAMEN stands near and watches.)", "Warrick: Different sole, different size. Thank you. Sorry for the inconvenience. This is just a standard procedure.", "(WARRICK sits down.)", "Warrick: Do you have any idea where your daughter's boyfriend works?", "John Damen: Well, a casino.", "Warrick: Uh, which one?", "John Damen: All of them. He's, uh, he's a gambler. Um, used to drag Linda out, keep her up days at a time. Ran her health down, her spirit.", "Jane Damen: She was getting better, though. She had a, uh... rough time after college finding herself, but she was getting better.", "(JANE DAMEN shifts her gaze past WARRICK where the Coroner's office bring out LINDA DAMEN'S body on a gurney. Her eyes follow the gurney as they wheel the body away.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(ROBBINS fills SARA in on the findings. Camera opens on the blade cut on LINDA DAMEN'S left wrist.)", "Robbins: The trans-section of the left wrist is consistent with a self-inflicted wound particularly because she's right-handed.", "(SARA leans over and looks at the wound.)", "Sara: There's no hesitation marks. Isn't that uncommon for suicide?", "Robbins: People usually stutter-cut a few times ...", "(Quick CGI to: Camera close up of a razor against a wrist making small hesitation cuts.)", "Robbins: (V.O.) ... trying to work up the courage.", "(End of CGI. Resume to present.)", "Robbins: This woman cut herself with one smooth motion.", "Sara: This D.B. is all wrong. Someone moved her two feet from where she bled out. What did the tox screen say?", "Robbins: Nothing. Not back yet. But I'll get it to you soon as it is.", "Sara: Thank you.", "(SARA and ROBBINS turn to look at the body. SARA sees something and leans over for a better look.)", "Sara: Is that glass in her hair?", "Robbins: Minute pieces of it, yeah. I tweezed a few for trace.", "(ROBBINS takes a sample piece out and hands it to SARA for her to look at.)", "Sara: We didn't see any broken glass in her apartment. Round edges, tinted ...", "(Camera zooms in for a close up of the piece of glass.)", "Sara: ... it looks polarized.", "Robbins: Probably safety glass.", "Sara: Yeah. Too bad it didn't protect her.", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - FRONT -- NIGHT]", "(At the front, the HOSTESS is on the phone. GRISSOM and CATHERINE walk up to her.)", "Hostess: (to phone) Uh, Debreff, please hold. Debreff, please hold. Debreff, please hold.", "(Still on the phone, the HOSTESS looks up at GRISSOM and CATHERINE. She puts the phone down for the moment.)", "Hostess: Hi. Last name?", "Grissom: We don't have reservations. W-we're here...", "(As soon as the HOSTESS hears that they don't have reservations, she turns back to the phone. She puts a hand up to stop GRISSOM from talking.)", "Hostess: (to phone) eh, party of four? Three weeks from Thursday? Let me see.", "(The HOSTESS turns to look at her reservation book.)", "Catherine: Excuse me, but you don't understand.", "Hostess: No, I'm sorry. You don't understand. You're walk-in's on a very busy night. We're short a chef.", "Catherine: We know. He's dead.", "Grissom: Not just dead. Dismembered.", "(GRISSOM holds up his work ID for the HOSTESS.)", "Grissom: We're with the crime lab.", "(The phone continues to ring in the background. The HOSTESS hangs up the phone she's holding.)", "Hostess: I'll get the owner.", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN -- NIGHT]", "(GRISSOM examines the items on the shelves in the kitchen while CATHERINE talks with LES DUTTON, the OWNER.)", "Les Dutton: Are you sure it's Petrov?", "Catherine: Coroner made a positive identification.", "Les Dutton: What makes you think this event happened here?", "Catherine: We found traces of aspic and olive oil under his fingernails. Means that he went into the meat grinder without showering. Possibly straight from this kitchen.", "Les Dutton: If there was a murder in our kitchen don't you think that, uh ... I'd know about it?", "(He chuckles nervously.)", "Catherine: I don't know. Would you?", "(GRISSOM continues to look around the kitchen. He finds in the hamper, two blood-stained chefs jackets. One belongs to \"ROSS HALPO, SOUS CHEF\" and the other to \"LOLA CREIGHTON, SAUCIER CHEF\". Both also have \"Do Breff Bistro\" embroidered on it.)", "Grissom: Hey, Cath? (points to the jackets) Blood spatter.", "Owner: It's a kitchen. The chefs use knives. That's not uncommon. You are...?", "Grissom: Gil Grissom. I'm with her.", "(GRISSOM pulls out another white jacket. On it reads: \"Do Breff Bistro\", \"Stephanie\". There is no job title on it.)", "Grissom: Who's, uh, Stephanie?", "Owner: One of my waitresses.", "Grissom: Oh, I understand how chefs cut their fingers and how the kitchen help could have blood spatter on their uniforms, but how does a waitress get blood on the back of her shirt?", "(LES DUTTON doesn't say anything.)", "Catherine: We can shut you down for hours or get a warrant and shut you down for good.", "(He turns and looks back nervously at his busy kitchen.)", "Les Dutton: (to CATHERINE) Give me till after the rush?", "(GRISSOM looks up at him.)", "CUT TO BLACK.", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - FRONT -- NIGHT]", "(GRISSOM and CATHERINE wait back out in the main dining room. GRISSOM sighs.)", "Grissom: Okay, this \"rush\" is taking entirely too long.", "Waiter: (to PATRON) Sir? The Coquilles St. Jacques.", "(The WAITER lifts up the dish lid.)", "Patron: Thank you.", "Catherine: People always think that the show is out front. It wasn't till I waitressed I realized it's all in the back.", "(Bored, GRISSOM looks around and notices something unusual. He walks to an unused booth and moves the flower vase. CATHERINE sees GRISSOM'S interest in the booth and joins him.)", "Catherine: What are you looking at?", "(GRISSOM taps the booth wall with his finger. There appears to be a blackish-colored stain on it.)", "Grissom: Looks like a v-pattern to me. What do you think?", "(CATHERINE looks at it.)", "Catherine: Yeah. What? Caused by a candle?", "Grissom: Burn area seems too big for a candle.", "(LES DUTTON walks up to them.)", "Les Dutton: Okay. Kitchen's all yours.", "Grissom: Mr. Dutton, uh, can I ask you what happened here?", "Les Dutton: Oh, geez. Uh, waiters probably put the candles too close to the wall. I've told them a million times.", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN -- NIGHT]", "(The chefs prepare the meals. A waitress walks up to the main area. GRISSOM glances at her and holds up the baggied bloodied jacket.)", "Grissom: Ah, excuse me. Stephanie?", "Stephanie: Uh-huh.", "Grissom: Is this your uniform?", "Lola Creighton: Don't have to answer that, Steph. They don't have a warrant.", "Grissom: (to CATHERINE) I thought you said the mafia left town.", "(CATHERINE chuckles.)", "Catherine: We have the owner's consent so, again, could you explain this blood?", "(STEPHANIE hesitates.)", "Ross Halpo: (interrupting) Order up, Stephanie. Hot items. Two filet mignon and one coquilles St. Jacques. Boogie. Go, go.", "(CATHERINE watches as STEPHANIE grabs the dishes and leaves the kitchen without answering their question. She gets angry and turns to the two chefs.)", "Catherine: Hey! We found blood spatter on the uniforms of several employees who worked the night that Chef Petrov died.", "(GRISSOM holds up one of the baggied jackets.)", "Grissom: Ross Halpo -- sous chef.", "(He lifts up the other bag.)", "Grissom: Lola Creighton -- saucier.", "(To the two chefs.)", "Grissom: You want to tell us how the blood got here?", "Ross Halpo: It's my blood. We got a rule in the kitchen: Don't touch my knife; don't touch my Johnson.", "(Quick flashback to: In the kitchen, PETROV SAMSKO and ROSS HALPO work side by side.)", "Ross Halpo: (V.O.) I was working with Petrov, the head chef.", "(ROSS HALPO absently grabs the knife near him. PETROV sees him grab his knife and stops him.)", "Petrov Samsko: Hey, hey, that's my knife!", "(Using the knife in his hand, PETROV cuts ROSS HALPO.)", "(End of flashback. Resume to present.)", "Ross Halpo: Touched his knife. I deserved it.", "Grissom: Okay. That still doesn't explain how the blood got on the uniforms.", "Lola Creighton: They don't get it. Chefs here have a ritual. Macho thing. If you get cut, it's tradition that you disburse maximum spillage.", "(Quick flashback to: In the back of the kitchen, ROSS HALPO starts tossing his blood around the kitchen toward the other laughing chefs.)", "Chef: (laughing) Oh, hey, watch it. CHEF: (laughing) Ah, blood! CHEF: (laughing) Oh, hey, stop... ooh!", "(End of flashback. Resume to present.)", "Ross Halpo: That's how everyone got blood on themselves.", "Catherine: Macho.", "Grissom: (unamused) Haven't these people ever heard of HIV?", "Catherine: Apparently not.", "Grissom: Alert all your employees. We're going to take over your kitchen, starting now.", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB]", "(SARA walks into the lab.)", "Sara: Hey. You got something on that glass?", "David Hodges: Didn't beep you to say hi.", "Sara: Glad to you're settling in, Hodges.", "David Hodges: You were right. It is polarized. Ultraviolet quotient is very high. Glass is from a car windshield.", "Sara: Maybe she was in some kind of car accident. Hit-and-run ...", "(HODGES looks up and continues sarcastically.)", "David Hodges: ... then she crawls home, gets on her bed and commits hari-kari?", "[Note: The correct Japanese term is \"hara-kiri\".]", "Sara: Stranger things have happened. If you weren't such a lab rat, you would know that. You got a make of a car for me?", "David Hodges: (doesn't look up) No.", "(After a beat, HODGES looks up.)", "David Hodges: But ... I can narrow it down to the year it was manufactured. Car companies add more ultraviolet sealants each season to stay ahead of safety standards. Used a comparison study of a car that was made in 2001.", "(Camera view: The two pieces of glass side by side.)", "David Hodges: Your windshield glass is from a 2002 model.", "Sara: Thank you.", "David Hodges: Mm-hmm.", "(HODGES walks away.)", "[SCENE_BREAK]", "[INT. PARKING GARAGE]", "(SARA and WARRICK finish examining LINDA DAMEN'S car. They sigh.)", "Sara: The windshield's intact.", "Warrick: Yeah. Well, maybe the glass came from another windshield in this lot.", "(WARRICK turns and looks around at the other cars in the garage.)", "Sara: Yeah. Let's take a look.", "(They start walking around and looking at the cars' glass.)", "Sara: You know, you can tell a lot about a person by what they leave in their car.", "Sara: Rotten bananas.", "(WARRICK chuckles.)", "Warrick: Business suit.", "Sara: I got a paycheck. Who would do that?", "Warrick: Underwear.", "(WARRICK chuckles. He finds something with the next car.)", "Warrick: That looks like adhesive.", "Sara: Still tacky.", "(Off screen, a woman yells at them.)", "Linda's Neighbor: Hey, hey! What are you doing? That's my car.", "(SARA holds out her ID to the woman.)", "Sara: Crime lab. How are you?", "Linda's Neighbor: Cute picture. I'm late for work.", "(She opens the car door. SARA stops her.)", "Sara: We noticed you had your windshield replaced recently. The adhesive's seeping.", "Linda's Neighbor: You get what you pay for. So the car shop was having a half-off deal. I'm in no position to go to the big guys.", "Sara: Did replacing the windshield have anything with the tenant in apartment", "Linda's Neighbor: Linda? (scoffs) Yeah. She did it. I'd send her the bill if I thought she'd pay. She hasn't paid for anything else she trashed in this complex.", "Warrick: Like what else?", "Linda's Neighbor: Oh, well, that would depend on her mood. Um, when she's up, she breaks the mailboxes.", "(Quick flashback to: LINDA DAMEN bangs something clutched with both hands against the mail boxes. She grunts in frustration. End of flashback. Resume to present.)", "Linda's Neighbor: When she's down she throws the patio furniture into the pool.", "(Quick flashback to: LINDA DAMEN tosses the furniture into the pool while screaming. End of flashback. Resume to present.)", "Linda's Neighbor: She broke my windshield yesterday because she said she 'heard' me talking on my cell about her.", "(Quick flashback to: LINDA hitting and breaking the car windshield while screaming. The neighbor is sitting inside the car.)", "Linda Damen: You bitch! LINDA DAMEN: I heard you!", "(End of flashback. Resume to present.)", "Linda's Neighbor: We just call her \"the whack job in 325.\"", "Warrick: Well, she died yesterday. We think it may have been a suicide.", "Linda's Neighbor: (flippantly) Yeah? I'm surprised someone didn't kill her.", "(SARA stares at the NEIGHBOR. WARRICK also watches her carefully. The NEIGHBOR starts to worry that she might have said the wrong thing.)", "Linda's Neighbor: Look, unless you want to call my pit boss and tell him I'm under arrest, I'm going to work.", "(She gets into her car.)", "Sara: Thank you. (to WARRICK) I would like to see Linda Damen's tox report.", "Warrick: Yeah.", "(The car engine starts.)", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN]", "(CATHERINE vacuums the kitchen countertop. In the storage room at the back of the kitchen, NICK checks the counters with an ALS. He finds body fluid. He looks up and sighs.)", "(CATHERINE finishes up vacuuming and turns the motor off.)", "Nick: Fresh off an airplane from a conference, and bamm -- I got seminal fluid.", "Catherine: Lucky you.", "(CATHERINE takes the filter out of the vacuum and tests the white powder inside. She sees the change, stands up and smiles.)", "Catherine: Some things never change.", "Nick: What's that?", "Catherine: Cocaine.", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN -- CONTINUOUS]", "(GRISSOM kneels down next to the floor drain and tests it. The area around the drain turns pink.)", "Grissom: Presence of blood on the drain.", "(CATHERINE and NICK join him.)", "Catherine: Blood, coke, semen. These people were doing everything in this kitchen but cook.", "Nick: I'll go have a little chit-chat with the hostess. They always seem to know everything.", "(NICK leaves. CATHERINE kneels down as GRISSOM takes off the drain cover. Inside they find something.)", "(Camera close up of the blood clot GRISSOM picked up.)", "Catherine: Blood clot. What is that, sand around it?", "Grissom: Looks like it. What would sand be doing in a kitchen?", "Catherine: Well, one thing's for sure: The blood got there before the sand.", "Grissom: This was not a little knife knick. This guy was stuck. I mean, uh, he bled out long enough for his blood to pool and clot.", "(GRISSOM and CATHERINE both stand up.)", "Grissom: Excuse me. (beat) We're going to need all your knives. (to ROSS HALPO) Starting with yours.", "(ROSS HALPO clears his throat and walks to the counter with his knifes. He opens his knife holder and shows the knives to GRISSOM and CATHERINE.)", "Ross Halpo: I need them back by the next shift.", "Catherine: Well, that depends on what we find.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM]", "(SARA sits with JOHN and JANE DAMEN. JOHN reaches into his coat pocket and pulls out a photograph.)", "John Damen: Oh, uh, this is the clearest picture that we could find of Brody.", "Sara: Thank you. I'll get it to a detective.", "Jane Damen: The shoeprint that you found in Linda's bedroom? Are you thinking that Brody might have...?", "Sara: Oh, we don't know yet. We're going to wait and see what the evidence tells us. I did meet a tenant at your daughter's apartment complex that described Linda as ... troubled. Did you ever witness her being violent?", "Jane Damen: We like to think of her as normal, as improving. She was prescribed lithium her junior year of college.", "Sara: She was diagnosed bipolar?", "John Damen: She's a rapid cycler. She shifts into manic in a blink. We knew she had been violent around the complex.", "Sara: Lithium didn't help?", "Jane Damen: Well, it's a catch-22. When Linda's in an \"up\" phase, she doesn't think she needs the lithium, so she doesn't take it which then makes her more unstable.", "(She corrects herself.)", "Jane Damen: Made.", "Sara: I'm sorry for your loss.", "(Camera holds on JANE DAMEN. JOHN DAMEN reaches over and holds onto her hand.)", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) - OWNER'S OFFICE]", "(GRISSOM looks through the Owner's Log. It reads: )", "SEPTEMBER 26, 2002", "LOAN REPAYMENT FROM 2. COC ...", "PLATE BREAKAGES", "14 DINNER", "3 SALAD", "BEEF ORDER SHORTED,", "ON NEXT BILL", "ACCIDENT REPORTED", "DANNY PASQUALLE, ITALIAN MALE ... SUFFERED SUFFERED THIRD DEGREE ... ON HIS FACE, THE NIGHT OF SEPT. ...", "SPECIALS:", "(GRISSOM closes the log book and thinks about it. He looks around and finds under the small shelf, something covered with a red cloth. He pulls the cloth away and finds a gueridon.)", "(Quick flashback to: The gueridon is lit and a high flame leaves a V-shaped pattern on the booth wall. End of flashback. Resume to present.)", "(LES DUTTON walks into the office.)", "Les Dutton: That's a guéridon used for tableside cooking.", "Grissom: I thought there was a policy against the use of these in Las Vegas restaurants.", "Les Dutton: Ever since a television star from the '70s burned his face by one. It's changed dining forever.", "Grissom: You know, those v-marks that we found in the restaurant -- those were made fairly recently. Certainly ... since the '70s.", "Les Dutton: I lied about the candles. It was an accident.", "Grissom: According to your owner's log, ... (GRISSOM lifts up the log book) ... it was a bad accident. (reading) Danny Pasqualle, Italian male model suffered third-degree burns on his face the night of September 26, 2002.", "Les Dutton: We do special requests for special customers. Chef Petrov made Mr. Pasqualle a cafe diablo.", "(Quick flashback to: CHEF PETROV is cooking in front of the booth. DANNY PASQUALLE watches with anticipation.)", "Petrov Samsko: Myers rum, grand marnier, kahlua, and now for the rind.", "(CHEF PETROV holds up a long piece of rind. He lights it and drops it into the gueridon. It literally explodes in DANNY PASQUALLE'S face. He cries out in pain.)", "(End of flashback. Resume to present.)", "Grissom: Did he ever file formal charges against you?", "Owner: No, that's the strange thing. He... he never did.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRASS and GRISSOM interview DANNY PASQUALLE. The camera starts on the left side of DANNY PASQUALLE to show us the unburned side of his face and slowly pans around him to his right side.)", "Danny Pasqualle: What am I going to do, sue for a restaurant? I used to make five million a year. (scoffs) You do the math.", "Brass: So after losing all that salary you never filed suit. Maybe you didn't file charges it and settle it for yourself.", "(The camera stops moving and reveals the scarring on DANNY PASQUALLE'S right side of his face.)", "Danny Pasqualle: (pauses for a moment) Are you accusing me of something?", "Grissom: No charges will be filed, Mr. Pasqualle if ... you'd be willing to fill out a statement to that effect.", "(GRISSOM pushes the piece of paper on the table toward DANNY PASQUALLE and holds out a pen for him. DANNY takes the pen in his right hand and leans over to read the paper. When he grabs the pen, GRISSOM sees the wound on his knuckles.)", "Grissom: The wound on your hand, Mr. Pasqualle? Patterned abrasions over the dorsal of the hand at the metacarpal phalangeal joints.", "Brass: We call it a \"fight bite.\"", "Grissom: Human mouths are full of bacteria. A wound from a human bite is a tremendous source of infection, unfortunately.", "Brass: So, what happened, Mr. Pasqualle? You paid the chef a little visit and did your version of \"etu, brute?\"", "(DANNY PASQUALLE pushes the paper from him and sits up. He remains silent.)", "Grissom: You don't have to say anything, Mr. Pasqualle.", "(GRISSOM reaches into his jacket pocket and takes out a swab. He uncaps the swab.)", "Grissom: We just need your hand.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(The technician takes a syringe and takes a sample from the wound on DANNY PASQUALLE'S right hand. He flinches as the needle pierces his skin. A sample of the liquid is extracted.)", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB]", "(Camera opens on the line of culinary knives on the table, each one tagged.)", "(CATHERINE picks up a knife. In the DNA lab next door, the printer spews out GREG'S test results. He looks at it, then turns to CATHERINE.)", "Greg: Blade #25: Not human.", "Catherine: 25 knives in, and I'm bust.", "(CATHERINE lifts up the knife and finds some dried red stuff on it.)", "Catherine: Oh, now we're cooking.", "(She rubs a swab on it and nothing comes off.)", "Catherine: It's not blood.", "[SCENE_BREAK]", "[INT. CASINO - MAIN FLOOR]", "(DET SULIK points out BRODY JONES to SARA and WARRICK.)", "Det. \"Sully\" Sulik: There he is-dollar slots, wearing the cap.", "Sara: How did you track him down?", "Det. \"Sully\" Sulik: We showed his photo around. The ATM in the lobby -- he used it 24 hours ago.", "(As they get closer, they notice that BRODY JAMES is sitting in front of a slot machine writing vigorously in his notebook. It reads: )", "BAR LINE LINE", "LINE BAR LINE", "BLANK BAR BAR", "BAR BAR LINE", "LINE BAR BAR", "BAR LINE LINE", "LINE BAR BAR", "Sara: What is he doing?", "Warrick: We used to call a guy like that a bean counter. Degenerates paying 25 cents a pop in the hopes of cracking a pattern.", "Sara: What are the notebooks for?", "Warrick: It's his results. But that joker doesn't realize that the patterns can end up in the hundreds of millions.", "Sara: You know, the more I see of this kind of stuff the less I picture you a gambler.", "Warrick: This isn't gambling. This is the end of the line.", "(As they get closer, they notice blood stains on BRODY JONES' right shirt sleeve. BRODY doesn't notice them approaching.)", "Warrick: How long have you been here, sir?", "Det. \"Sully\" Sulik: Las vegas police. We want a word with you. What do you know about the death of Linda Damen?", "Brody Jones: Unfortunate. I need to ... write my results. I need to ... document them.", "Warrick: How did you get the blood on your shirt?", "Brody Jones: What blood?", "Sara: We're going to need your shirt.", "(BRODY JONES sighs. Without missing a beat, he shoves his pen in his mouth and takes his shirt off. He tosses it to SARA.)", "Brody Jones: Take it.", "Warrick: You're coming with the shirt. We'll need your shoes, too.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GREG and GRISSOM walk down the hallway. GRISSOM looks through a file while GREG holds on to the test results.)", "Greg: Did you know that some doctors believe that oral bacteria have no other benefits than to make it impossible for other more vicious bacteria to take up residence in our mouths?", "Grissom: I knew that, Greg.", "Greg: So, then I should just stop trying to impress you.", "Grissom: That would impress me.", "Greg: Okay. Well, results from the fight bite boy.", "(GREG hands the test results envelope to GRISSOM.)", "Greg: I had to get it from an outside lab since we're not equipped to do bacterial DNA testing ourselves. Hint, hint.", "(GRISSOM removes the test results and looks at it. The results done between the two samples, SAMPLE (PASQUALLE) and BACTERIA (SAMSKO), had findings of \"MATCH FOUND 1 IN 600 BILLION\".)", "Greg: Bacteria on his knuckles matches the natural bacteria in the chef's mouth.", "Grissom: I guess he settled out of court.", "(Quick flashback to: In the De Breff Bistro kitchen, DANNY PASQUALLE walks up to CHEF PETRO SAMSKO. He grabs his shoulder and spins him around.)", "Danny Pasqualle: You ruined my life! I'll never work again!", "(He swings his fist and makes contact with the CHEF'S mouth. The CHEF grunts upon impact.)", "(End of flashback. Resume to present.)", "Greg: Looks like he took a cheek swab of the chef with his own fist.", "Grissom: Thanks, Greg.", "(GRISSOM continues down the hallway.)", "Greg: (nods) Mm-hmm.", "(GREG turns around and heads back down the hallway.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM]", "(BRASS walks down the hallway toward the interview room door. Inside the interview room, GRISSOM shows DANNY PASQUALLE the DNA test results.)", "Grissom: (muffled) You can see why I might have a hard time believing you, right?", "(BRASS taps lightly on the glass door. GRISSOM looks up and sees BRASS at the door.)", "Grissom: (muffled) Excuse me.", "(GRISSOM puts the test results away and heads for the door. He exits the interview room and stalks with BRASS out in the hallway.)", "Brass: So ... our male model copping to battery?", "Grissom: He's denying murder.", "Brass: Well, maybe he's telling the truth. The earplug from the meat plant -- we got a hit on CODIS. Kicked out Harold Haskins delivery man from Meteor Meat. Out on parole for extortion. (beat) He delivers to Debreff Restaurant.", "[SCENE_BREAK]", "[INT. METEOR MEAT -- DAY]", "(BRASS interviews HAROLD HASKINS.)", "Brass: So, you snuck in the place to grind up a body?", "Harold Haskins: No. I didn't even know what it was till it was too late.", "Brass: Who exactly gave you the, uh, \"meat\" to grind?", "Harold Haskins: Uh, it was in the restaurant freezer at the De Breff.", "Brass: You see my face? This is me almost believing you. Now, I've already violated your parole so whatever I say to the judge is up to you. So, what is it?", "(HAROLD HASKINS sighs.)", "Harold Haskins: It was Ross. The Sous Chef. I owed him 3,000 for coke. He said I could pay him back with the favor.", "Brass: You ground up a body as a favor?", "Harold Haskins: It was already dead. It's not like I killed him.", "Brass: Well, that's a very tenuous distinction.", "(BRASS turns around and heads back down the hallway. He turns around and tosses over his shoulder to HAROLD HASKINS.)", "Brass: Stay right there.", "[SCENE_BREAK]", "[INT. DE BREFF BISTRO (RESTAURANT) -- KITCHEN]", "(The kitchens are busy again. CATHERINE and GRISSOM )", "Ross Halpo: (to the chef off screen) That's a filet, not a porterhouse. (to CATHERINE) I'm a Sous Chef. Twenty guys are into me for recreational substances. It doesn't mean they'd cut a body up for me.", "Catherine: \"Ground it up\". We're thinking that you did the actual filleting.", "Ross Halpo: (chuckles) Never happened. Ask any of the guys.", "Catherine: We have. They won't talk. Military calls it \"code red.\"", "(Behind them, GRISSOM looks around and finds something above the stove.)", "Catherine: Fierce loyalty to the top dog. I guess Petrov was that until somebody killed him. (GRISSOM takes a sample of it and holds it.) His tragedy is your promotion?", "(LES DUTTON interrupts CATHERINE.)", "Les Dutton: Excuse me. We're in the middle of a rush here. Customers don't forgive a cold meal or a late meal.", "Catherine: I bet they'd forgive a murder, Les.", "Grissom: Hey, do you guys serve mutton?", "Les Dutton: What?", "Grissom: Mutton. It's from the french word for sheep. These fibers look like wool and since sheep are sheered before they're butchered I think that somebody was cooking something here, and it wasn't food.", "(And with that, CATHERINE turns back to look at ROSS HALPO.)", "Catherine: \"Code red\"?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(BRODY JONES sits at the table, rubbing his eyes. WARRICK puts a photo down on the table in front of BRODY JONES.)", "Warrick: Brody, we have your shoeprint in Linda's blood. We also have a sample of Linda's blood that we found on your t-shirt. Is there anything you'd like to tell us?", "Brody Jones: Yes. Someone is playing that machine right now and is throwing the entire last 72 hours of calculations out the window.", "Det. \"Sully\" Sulik: Did you kill this girl and try to make it look like a suicide?", "Brody: If anything, I tried to save her.", "Det. \"Sully\" Sulik: Save her how?", "Brody Jones: I went to her place.", "(Quick flashback to: BRODY JONES opens the apartment door and walks inside. LINDA DAMEN is on the bed.)", "Brody Jones: (V.O.) Borrowed some money from her.", "(BRODY gets LINDA'S wallet and removes some money. End of flashback. Resume to present.)", "Brody Jones: I looked in her bedroom. I thought she fell asleep reading. Then I saw blood.", "(Quick flashback to: BRODY JONES sees the slit wrist and the blood on the bed. He kneels on the bed and grabs her.)", "Brody Jones: Linda!", "(End of flashback. Resume to present.)", "Brody Jones: Tried to revive her.", "(Quick flashback to: BRODY JONES climbs on the bed and tries to revive LINDA, unmindful that he's steeping in the blood on the sheets. Still he tries.)", "Brody Jones: Oh, oh. BRODY JONES: Oh, god!", "(End of flashback. Resume to present.)", "Warrick: But you left her there, dead.", "Brody Jones: You don't get it. Even as the Son of God, I can only do so much.", "(SARA sits in the observation room looking through BRODY JONES' notebook.)", "Warrick: Oh, I get it. You and Linda are kind of on the same page, huh? (pause) Did you stop taking your lithium together? Is that it?", "Brody Jones: It's not a crime.", "Warrick: Yeah, you're right. It's not.", "(WARRICK grabs his things and walks out of the interview room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- CONTINUOUS]", "(WARRICK walks into the observation room where SARA is. Behind them, down the hallway, DR. ROBBINS slowly makes his way toward them.)", "Sara: Bipolar girl meets a bipolar guy. Together, they cut out their medication. She ends up committing suicide.", "Warrick: It's almost like bipolar boy is too high to even realize what went down.", "(DR. ROBBINS walks into the observation room.)", "Sara: Yeah. Hey, Doc.", "Robbins: I was over here on an exhumation matter. I knew you wanted this. Tox results for Linda Damen.", "(He hands the folder to WARRICK.)", "Warrick: Thank you.", "(ROBBINS leaves. WARRICK opens the folder and looks at the test results.)", "Warrick: No lithium, just like her parents said. She did have a huge dose of valium, ingested less than an hour before her time of death.", "Sara: Valium?", "Warrick: Yeah.", "Sara: That doesn't make any sense. I mean, that's the last thing a depressed person would take.", "Warrick: 200 milligrams. That's more than five times the normal dosage.", "Sara: That much valium. There's no way she could have fought somebody off if they were coming after her with a straight razor.", "(WARRICK raises his head and looks back into the interview room.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(CATHERINE walks into the lab.)", "Catherine: Greg, how's the knife coming with that mysterious smudge on it?", "Greg: I just got the results. Alcohol, acetate and red dye #58.", "(GREG hands the results to CATHERINE.)", "Catherine: Nail polish.", "Greg: Mm-hmm.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(CATHERINE has a mini-line up inside the interview room. De Breff Bristro's two waitresses, the chef and the hostess hold out their hands for CATHERINE to look at.)", "Catherine: May I see your nails, please?", "(One by one, they hold out their hands for CATHERINE to inspect. She stops when she sees that the HOSTESS has on red nail polish.)", "Catherine: Oh. Well, I'm going to need a sample of that polish. A scraping.", "(The HOSTESS peels off a single painted nail and holds it out to CATHERINE.)", "Hostess: Uh, is this small enough?", "Catherine: Yeah. That'll do.", "(CATHERINE dismisses the others.)", "Catherine: Okay, the, uh, three of you can go. Thank you, ladies. (to the HOSTESS) And I've got a table for you. A five top. All by yourself. By the window. Someone will be with you shortly.", "(CATHERINE walks out of the interview room.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(DET. \"SULLY\" SULIK fills SARA and WARRICK in on the info he's found.)", "Det. \"Sully\" Sulik: I looked into that prescription at the pharmacy you asked about. Linda Damen, the deceased.", "Warrick: That was quick.", "Det. \"Sully\" Sulik: She doesn't have a prescription for valium. Her mother does -- Jane Damen. 25 milligrams as needed.", "Sara: I think we better go pay mom a visit.", "Warrick: Yeah. Thanks, Sully.", "Det. \"Sully\" Sulik: Okay.", "[SCENE_BREAK]", "[INT. CSI - TRACE LAB]", "(DAVID HODGES brings up something on the computer monitor.)", "David Hodges: Wools are worsted. 12-ounce weight.", "Grissom: That's heavy?", "David Hodges: Light ... weave. Mostly for season spanners.", "Grissom: We're talking about clothes?", "David Hodges: Worsted is predominately used in the manufacturing of suits and light overcoats. The finish on this is trademark coating in high-end suits.", "Grissom: Okay, good. Thanks.", "(GRISSOM turns to leave. DAVID HODGES stops him.)", "David Hodges: Mmm. I'm not done. There was also blood present on the burnt wool.", "Grissom: Did we get a DNA test?", "David Hodges: It's victim's blood, from your chef.", "(GRISSOM looks at HODGES.)", "David Hodges: (continues) I know what you're thinking. Couldn't possibly be his suit. Chefs wear checks and white shirts. But somebody did burn a bloody suit in the restaurant kitchen. A high-end suit.", "(GRISSOM doesn't say anything. HODGES looks at GRISSOM. After a beat.)", "David Hodges: (continues) You have a candidate.", "Grissom: You're the new guy.", "David Hodges: Yeah. Uh, David Hodges. Transferred from LAPD. (scoffs) They said I had an attitude problem. Said that I thought I was entitled.", "(GRISSOM turns and leaves the lab.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(CATHERINE walks in with the test results.)", "Catherine: So that sample I collected matches the polish on this knife.", "(She puts down on the table both the test results and a photo of the knife. On the photo of the knife is a yellow post it with the following on it.)", "G.G.", "Catherine: You handled this knife.", "Hostess: So?", "Catherine: Kitchen's first rule: Don't touch my knife; don't touch my Johnson.", "(CATHERINE sits down at the table.)", "Catherine: Did you stab the chef?", "Hostess: Well, this is the sous chef's knife.", "Catherine: I'm aware of that. (beat) But when a transfer is made on a blade it's usually from slippage. Due to a stabbing motion.", "(Quick flash to: A knife in a hand making a stabbing motion and the hand slipping on the knife. End of flash. Resume to present.)", "Hostess: Ar-are you charging me with anything?", "Catherine: No. But why don't you have a seat out in reception. Things could change.", "[SCENE_BREAK]", "[INT. DAMEN RESIDENCE -- DAY]", "(WARRICK and SARA question JANE DAMEN about the prescription. In the kitchen behind them, JOHN DAMEN rummages through the cabinets.)", "Warrick: Mrs. Damen, our detective found this prescription in your name for valium.", "(WARRICK hands a copy of the prescription form to JANE DAMEN. She takes it. It reads:", "SUNDOWN CLINIC 7545 Castle Banks Rd. Las Vegas, NV 89125", "Name: JANE DAMEN Date: 120 ... Address: 187654 St????... City: L.V. 25 mg as needed Valium [signature] MD No. 087654", "Warrick: Can you tell us anything about that?", "(She puts the paper on the counter behind her.)", "Jane Damen: I take valium on occasion. Yes. Our lives get pretty frenetic just trying to keep up with Linda.", "Warrick: And you last got a prescription ... this past monday. What does that mean?", "Sara: The tox report says Linda had five times the normal dose of valium in her system. Because there were no hesitation marks on her wrists it suggests that someone else inflicted the wound. That much valium would've been enough to subdue her.", "John Damen: Hey, I-I think you're a little out of line here.", "Jane Damen: I did not drug my daughter.", "Warrick: May we have your permission to look through the current contents of your prescription?", "(She sighs.)", "Jane Damen: Did Linda's boyfriend put you up to this? Because he is not stable.", "(SARA'S cell phone rings.)", "Warrick: No.", "(SARA stands up and moves away to answer it.)", "Sara: Excuse me.", "Warrick: We're simply trying to determine ...", "Sara: (to phone) Hello?", "INTERCUT WITH:", "[INT. CSI - DNA LAB]", "Greg: The blouse from your vic's closet is stained. The substances are biological. High salt content.", "Sara: Male or female?", "(SARA listens to GREG'S answer on the phone.)", "Sara: Thanks, Greg.", "(SARA hangs up and turns around.)", "Sara: Mr. And Mrs. Damen, there are five types of tears -- sorrow, regret, joy, fear and allergic reaction. The one thing that they have in common is DNA. We found a blouse in your daughter's closet the night that she died. There was moisture on it. The moisture... was tears. The DNA ... (SARA looks at JOHN DAMEN.) ... was male.", "(Everyone turns to look at JOHN DAMEN.)", "Sara: Mr. Damen? Were you waiting in the closet for your daughter?", "(JOHN DAMEN looks down and doesn't answer.)", "Warrick: We can get a warrant to test your DNA sample against our sample.", "Jane Damen: John?", "John Damen: (stutters) The... The-the only way to get an adult committed for psychological help is if they hurt themselves.", "Warrick: (quietly) Or someone else.", "John Damen: Everyone Linda attacked was too afraid to file complaints against her. She was out of hand. She was attacking strangers. She was vandalizing property. She was refusing to take her medication and we were helpless to make her.", "(Quick flashback to: In LINDA DAMEN'S apartment, she's lying asleep on the bed. JOHN DAMEN lingers over her with the straight edged razor.)", "John Damen: (V.O.) It was supposed to be a suicide attempt ...", "(He makes the first cut.)", "John Damen: but then ...", "(He turns around as the door handle rattles.)", "(End of flashback. Resume to present.)", "John Damen: I heard somebody at the door and I ... I-I ... I guess I panicked.", "(Quick flashback to: In the apartment, JOHN DAMEN hides the razor under the bedsheet and heads for the closet.)", "John Damen: (V.O.) I hid in the closet.", "(The closet door opens and closes.)", "(End of flashback. Resume to present.)", "John Damen: (crying) And, um, she, uh ... when he...", "(Quick flashback to: Through the closet door blinds, JOHN DAMEN watches as BRODY JONES climbs onto the bed and tries to revive LINDA.)", "Brody Jones: Linda? Linda?!", "(Crying, JOHN DAMEN cries and rests his head against the blouse hanging on the hanger.)", "John Damen: (V.O.) By then it was too late.", "(End of flashback. Resume to present.)", "John Damen: (to JANE) I just wanted to get her help. I just wa-- ... (to WARRICK) She needed my help. I just ...", "(WARRICK turns and signals to the officer standing behind them. The officer puts handcuffs on JOHN DAMEN.)", "John Damen: (stutters) She, she needed help. (to JANE) Honey, you know ... she-she wouldn't ...", "(JANE looks at him, stunned by the confession. The officer takes JOHN DAMEN out of the room. JANE DAMEN moves off camera frame.)", "Warrick: Reminds of what my grandmother said a long time ago. I would never believe her.", "Sara: What's that?", "Warrick: Crazy people make even sane people act crazy.", "[SCENE_BREAK]", "[INT. CSI - EVIDENCE ROOM]", "(GRISSOM sits alone inside the lab with the chef's knife in one hand and a magnifying glass in the other. He shakes the knife. He looks at the knife.)", "(CATHERINE walks in. GRISSOM shakes the knife again.)", "Catherine: What'd you find?", "Grissom: Come here. Do you hear this?", "(He holds the knife near CATHERINE'S ear and shakes it up and down. A faint rattling sound is heard.)", "Catherine: How did we miss that in trace?", "Grissom: I don't know. But I've learned that the evidence room is the quietest place in the lab.", "(GRISSOM looks at the knife and twists it open. The handle clicks and slides apart. He tilts the knife and empties sand out of the handle.)", "Catherine: Sand. Right -- for balance and precision.", "(GRISSOM grabs his magnifying glass and examines the grains of sand on the table.)", "Grissom: Did you know that to a geologist there's no such thing as sand? Each grain is its own tiny rock. Fine, glassy crystals ... (Camera zooms into the glass for a close up.) ... dark. Obsidian, I bet.", "(GRISSOM hands the magnifying glass to CATHERINE.)", "Catherine: Volcanic sand. Long way from home.", "Grissom: Japanese call it singing sand. If you walk on certain beaches in Japan it'll make a musical sound.", "Catherine: Never been to Japan, but I've seen this sand before ... on the blood clot.", "(GRISSOM takes the magnifying glass and looks at the knife hole where he finds some blood.)", "Grissom: Well. (he chuckles) \"Let us carve him as a dish fit for the gods.\"", "Catherine: I'm going to guess Shakespeare.", "Grissom: Julius Caesar.", "[Note: Julius Caesar, Act II, Scene 1, (Wm. Shakespeare)]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(GRISSOM interviews CHEF ROSS HALPO.)", "Grissom: That's your knife.", "(He puts a photo on the table in front of the chef.)", "Grissom: This is the owner's log.", "(GRISSOM opens the log book and reads.)", "Grissom: \"The sous chef gets 89% of the meat off of trout filet -- six percent better than any chef on the line.\"", "(GRISSOM looks at ROSS HALPO)", "Grissom: I don't think you killed the chef. (beat) You did fillet him, though.", "(Quick flashback to: ROSS HALPO is busy working, his hands bloodied.)", "Grissom: (V.O.) Your knife handle slid open...", "(Cut to: The blood and sand slides down the floor drain.)", "Grissom: (V.O.) ...sand went down the drain landing on the victim's clotted blood.", "(End of flashback. Resume to present.)", "Grissom: It's hard work, carving up a man. I believe that's how you broke your knife handle.", "(ROSS HALPO looks at GRISSOM and doesn't say anything.)", "Grissom: But you didn't do this alone, did you?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM]", "(CATHERINE is interviewing LES DUTTON, the De Breff Bistro OWNER.)", "Catherine: A murdered chef in your kitchen. Kiss of death for a restaurant.", "(Quick flashback to: LES DUTTON is in the back kitchen standing next to ROSS HALPO and pointing to the body on the ground in front of them.)", "Les Dutton: (to ROSS HALPO) We'll never get our customers back. How am I going to get a body out of here?", "Ross Halpo: I do for you, you do for me.", "(End of flashback. Resume to present.)", "Catherine: Code red, in fact -- protect the kitchen.", "(Quick flashback to: ROSS HALPO and LES DUTTON are in the back while ROSS cuts the body up. End of flashback. Resume to present.)", "Catherine: Some people say that the most important part of preparing a meal is the cleanup.", "(Quick flashback to: ROSS HALPO is covered with blood.)", "Catherine: (V.O.) While the fillet man disposed of the chef parts you got rid of your bloody woolen suit.", "(Cut to: LES DUTTON takes off his coat. Cut to: The wool suit burns on the grill. The woolen particles get trapped in the fan above.)", "(End of flashback. Resume to present.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(GRISSOM meets BRASS outside in the hallway.)", "Brass: How's it going?", "Grissom: Well, he's not denying anything. He's not admitting anything, either.", "(BRASS sighs.)", "Brass: Yeah. Same as the other two here. They need a little nudge.", "Grissom: Such as?", "Brass: While they're in our custody shall we try a little theater?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- CONTINUOUS]", "(BRASS walks into the interview room and whispers into CATHERINE'S ear. She nods her head as she listens. He glances periodically at LES DUTTON, who watches them nervously.)", "(BRASS walks over to LES DUTTON.)", "Brass: Let's go for a walk.", "(LES DUTTON sighs.)", "Brass: Hey, relax. You'll be with a friend.", "(He stands up and BRASS escorts him out of the room.)", "Brass: Cuff him up.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]", "[CAMERA SLOW MOTION]", "(CHEF ROSS HALPO in handcuffs is being escorted down the hallway by an officer. LES DUTTON, also in handcuffs meets up with him and is escorted down the hallway behind him by another officer and BRASS.)", "(They walk slowly by the waiting room where THE HOSTESS stands. The HOSTESS looks at ROSS HALPO. ROSS HALPO glances back at LES DUTTON behind him. LES DUTTON also glances up and looks at THE HOSTESS. She watches the men walk by.)", "(GRISSOM leans casually against the far wall and notices her reaction.)", "(The two men are lead out of the hallway.)", "(GRISSOM walks up to the HOSTESS.)", "Grissom: Why did you kill him?", "Hostess: I-I went into the walk-in to, to get some lemons.", "(Quick flashback to: In the back room storage walk-in, CHEFS PETROV SAMSKO and LOLA CREIGHTON are making out. THE HOSTESS walks in and sees them.)", "Petrov Samsko: (moans) Oh, yeah ...", "(She turns around and heads out the door. End of flashback. Resume to present.)", "Hostess: He played around all the time -- waitresses, patrons ... nobodies.", "(CATHERINE walks into the room.)", "Hostess: But ... she was different. (beat) She was a chef.", "(She says it as if it means something.)", "Grissom: What does that mean?", "Hostess: Well, I can't make toast, um ... where did I stand?", "(Quick flashback to: THE HOSTESS walks out of the walk in and toward CHEF PETROV SAMSKO. He turns around and smiles at her.)", "Petrov Samsko: Hey, beautiful, I haven't seen you all night.", "(The HOSTESS doesn't take her gaze off of him. She walks up to him.)", "Hostess: Well, I've seen you.", "(He scoffs and turns around to walk away. She reaches him and we hear the sound of a knife. She stabs him in the back and he goes down.)", "(She, along with everyone else in the kitchen, watches as PETROV SAMSKO falls to the floor.)", "(End of flashback. Resume to present.)", "(GRISSOM stares at THE HOSTESS. He turns and looks at CATHERINE who also stares at THE HOSTESS in disbelief. The HOSTESS stares back at them as if it makes all the sense in the world to her.)", "Grissom: Officer, would you take her to booking, please?", "(The officer puts handcuffs on THE HOSTESS and leads her out of the room.)", "Catherine: (sighs) All in a day's work.", "Grissom: Yeah.", "[beat]", "Grissom: You up for dinner?" ]

[ "When a raven is spotted with a human eyeball in its beak, it is up to Catherine, Sara and Nick to find the rest of the body and the killer. Meanwhile a normal autopsy turns into a special one when the victim is not dead. David and Dr. Robbins manage to save his life, only to have him die later. Grissom and Warrick then try to find out who wanted the man dead." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - EVENING]", "(A dark colored large bird flies across the bottom of the screen.)", "[EXT. LAS VEGAS DESERT (STOCK) - EVENING]", "(The shadow of the large bird travels along the rocks below. The bird caws.)", "[EXT. LAS VEGAS MOUNTAINS (STOCK) - EVENING]", "(Camera travels birds-eye above the mountains.)", "[EXT. FLOYD LAMB STATE PARK -- GROUND -- EVENING]", "(A frog sits and croaks under the fallen leaves. A man walks across the screen disturbing the leaves and making the frog jump aside.)", "(Cut to: A group of three men walk along the path.)", "(Cut to: The bird flies overhead.)", "(Cut to: The men continue to walk along the path.)", "(Cut to: The bird flies down low along the path and settles on a nest in a tree.)", "[SCENE_BREAK]", "[EXT. FLOYD LAMB STATE PARK - EVENING -- CONTINUOUS]", "(The men approach the bird and quietly. They stop.)", "Lead Man 1: I don't think I can get a clear shot.", "(Each of the three men pick up their cameras to take pictures.)", "Man 2 (on right): It's a peregrine falcon.", "Man 3 (on left): No, it's not. It's a hawk.", "Lead Man 1: You can't see anything this time of day. We should come back at dawn.", "Man 2 (on right): But I'm so behind on my life list. I still don't have a western wood-pewee or a solitary sandpiper.", "Lead Man: What, do you think they're going to kick you out of the club?", "Man 2 (on right): John saw a dickcissel earlier today. It could be gone tomorrow.", "Lead Man: John's full of ...", "(The bird caws. The men stop to look through their cameras.)", "Lead Man: Corvus corax.", "Man 2 (on right): A common raven? So what?", "CAMERA VIEW:", "(The camera focuses and refocuses on the bird. They see that in the bird's mouth, it's carrying an eye.)", "(The men put their cameras down.)", "[SCENE_BREAK]", "[EXT. FLOYD LAMB STATE PARK -- NIGHT]", "(Camera cuts to: A close up of GRISSOM'S eye. The camera pulls back. He stares at the eye in his hand.)", "Grissom: Well, someone's missing a contact lens.", "(GRISSOM and CATHERINE stand on ladders peering into the bird's nest.)", "Catherine: That's not all they're missing.", "Grissom: You know, ravens, like eagles, have been known to travel 30 miles from roost to feeding ground.", "Catherine: 30 miles in every direction. Pi-r-squared. That means that we're looking at a ... 2,800 mile search area.", "Grissom: \"Once upon a midnight dreary while I pondered weak and weary over many a quaint and curious volume of forgotten lore.\"", "Catherine: We're up a tree and you're quoting Poe. Give me something.", "Grissom: \"Quoth the raven, 'only this ... and nothing more.'\"", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM puts the eye in a dish and takes a couple of photos of it.)", "(Quick flashback to: The raven, caws, picks the eye up off of the ground and flies off. End of flashback. Resume to present.)", "(GRISSOM picks up the eye and drops liquid on it. He removes the contact lens.)", "(He uncaps a syringe and extracts the liquid from the eye and puts it in a tube.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE examines the contents of the bird's nest.)", "(She picks up a baby toy from inside. She looks at it and smiles. She puts it aside.)", "(GRISSOM walks into the room.)", "Grissom: You'll be pleased to know the eyeball was only slightly desiccated.", "Catherine: And what about the iris?", "Grissom: Still blue.", "Catherine: Color distinction means the body's been dead less than 48 hours.", "Grissom: Yeah, I sent some vitreous fluid to tox. The rest to DNA. So ... Can you get me an eye for an eye?", "Catherine: Well, I've got foil ... a leaf ... a feather and plastic.", "(GRISSOM picks up the feather and looks at it.)", "Grissom: Feathers. For warmth.", "Catherine: Seagull feathers.", "Grissom: Well, the only place we'd have seagulls around here would be Lake Mead.", "Catherine: But only when the fishing's good. And we got some ground limestone.", "Grissom: Not found at Lake Mead. (pause) You know, ravens are incredibly intelligent. They have a brain capacity comparable to dolphins.", "Catherine: Means they know where to shop.", "(CATHERINE looks over at the map on the table.)", "Catherine: We found the eye here. I bet she shopped here where limestone is used as ground cover.", "[SCENE_BREAK]", "(A very pretty kaleidoscope of bird flying in the sky.)", "[SCENE_BREAK]", "[EXT. PENDALE LAND FILL -- DAY]", "(SARA, NICK and CATHERINE walk toward the cell of garbage that they're going to sift through. CATHERINE'S holding the file open.)", "Sara: You know the average Nevadan generates more waste more than three times waste than the average American?", "Nick: Yeah, well, that's tourist trash.", "Sara: Thirteen million pounds per day. I went to the recycling forum in march.", "Catherine: The landfill manager says this is the active cell. Spotter says cell lift moves forward 20 feet a day. That puts the active cell right ... pretty much in front of us.", "Nick: Man! You find the best evidence in the nastiest places.", "Catherine: You are what you throw away.", "Sara: It's like peeling an onion into peoples' lives.", "Catherine: Well, this onion is our time line so peel back accordingly.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(ROBBINS stands in front of the display of x-rays on the viewer. GRISSOM stands nearby with the file folder in his hands.)", "Robbins: The electrolyte and glucose levels in the eye were normal. Means your victim wasn't dehydrated or diabetic. Other than that ...", "Grissom: ... we're flying blind.", "(They turn around and head back to the table.)", "Grissom: David.", "David Phillips: Grissom.", "(GRISSOM stops and looks at DAVID PHILLIPS.)", "Grissom: A 35-year-old male. Car salesman. Dropped dead at work. Apparent heart attack. Not under the care of a physician. Uh, no history of high blood pressure. Just routine autopsy.", "Grissom: Go for it.", "(GRISSOM heads out the front door. DAVID pulls back the sheet.)", "David Phillips: Yeah, we're all set, Dr. Robbins.", "Robbins: Okay, David. (to recorder) Case 03-615. Postmortem exam of an adult. Caucasian. Male. Identified as Fred Stearns. Body received warm to the touch. Rigor mortis not present. Skull nose, bones are intact by palpation. Irides are brown. Slightly congested. Hmm. Unidentified dry black substance on the front of the teeth. Gingiva and lips. Okay. David, open him up.", "(DAVID takes the knife and makes the first cut. He sees blood and stops.)", "David: Uh ... D-Dr. Robbins?", "Robbins: Hmm?", "David: Sir, I-I have blood. I have bleeding.", "(ROBBINS turns around and heads back to the table. He grabs a cloth to stop the bleeding. DAVID takes the cloth and applies pressure.)", "Robbins: Get me my kit. Come on.", "(DAVID turns and gets the kit and puts it near the head of the table.)", "Robbins: Hold this. let's go. Keep it tight. That's good, David.", "(ROBBINS puts a syringe together and plunges it into FRED STEARNS' chest.)", "(Quick CGI to: The needle of the syringe pierces through the heart. The heart starts pumping. End of CGI. Resume to present.)", "(ROBBINS puts the syringe on the side and checks his vitals.)", "Robbins: Pulse is rising. David, string me a suture needle.", "(He waves him aside.)", "Robbins: Go! Go!", "[SCENE_BREAK]", "[EXT. PENDALE LAND FILL -- DAY]", "(CATHERINE, NICK and SARA search the land fill.)", "(After several Dissolves, CATHERINE lifts up a blouse and sees something.)", "Catherine: I think I may have something here!", "(NICK and SARA make their way toward her.)", "Sara: What've you got?", "Nick: Whoa!", "(CATHERINE pushes the garbage aside and finds the severed limb.)", "Catherine: Got a leg.", "Nick: Obviously female.", "Catherine: Obviously.", "(CATHERINE picks it up and hands it to NICK.)", "Nick: Whew. I'll bag it.", "(SARA searches the garbage around the limb. She finds something.)", "Sara: All right. I got a torso and head. Missing an eye.", "(Quick flashback to: The Raven caws, lands and picks at the eye. End of flashback. Resume to present.)", "(SARA starts to cough.)", "Catherine: Okay, so, uh how hot do you think it is, underneath all this trash?", "Nick: I don't know, what do you think -- ballpark at 120 degrees?", "(NICK bags the leg.)", "Catherine: So this is yesterday's trash. Dead body. Minimum 18 hours in this heat.", "Sara: She should be totally bloated.", "Catherine: Yeah, she's not.", "Nick: Yeah, she's really torn up.", "(SARA looks behind her.)", "Sara: Bulldozers are vicious.", "(Quick flashback to: Camera downward view of the body/limb and garbage being dumped on it. End of flashback. Resume to present.)", "Catherine: Yeah, I think they only finished the job. How did she get here?", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(CATHERINE walks into the room.)", "Catherine: Heard you got to be superhero today.", "Robbins: I consider myself a superhero every day.", "Catherine: Got anything on our lady of the dump?", "Robbins: C.O.D. is still indeterminate. Blunt force trauma is a possibility. She has some perimortem bruising around the left eye. But limb removal is relatively clean. Definitely postmortem.", "Catherine: So we've got no arms, no prints. What kind of identifying characteristics do we have?", "Robbins: Second degree midline episiotomy scar.", "Catherine: Well, that narrows it down to more than half the women in this country who gave birth.", "Robbins: But there might be one other thing. At first I thought appendectomy, but check out her x ray.", "(ROBBINS walks over to the view box.)", "Robbins: She's had surgery. Some kind of implant at the L4-L5 interspace. I'll know more when I open her up.", "Catherine: You're my hero, Al.", "(CATHERINE smiles over her shoulder at ROBBINS, then turns and leaves.)", "[SCENE_BREAK]", "[INT. CSI - LAYOUT ROOM -- DAY]", "(SARA and NICK stand over the table full of garbage.)", "Sara: All right, what do we know?", "Nick: That all of this trash was found around the victim. And she was buried with some very expensive trash.", "Sara: Yeah, there's nothing wrong with this frying pan. Could've gone to goodwill or someplace.", "Nick: Home pregnancy test. Negative. Better luck next time.", "Sara: Someone ... does not like frozen peas.", "Nick: They weren't shopping at CostCo. They paid way too much for ice cream.", "Sara: There's a good chance our vic was wearing this shirt.", "Nick: Let's start trying to narrow this down to a neighborhood, huh?", "Sara: Excellent idea. Uh, marker or sort?", "Nick: Sort. Please.", "(SARA opens a pen and turns around to mark the map as NICK sorts through the garbage.)", "Nick: First up: \"178 Spaulding Meadows.\" Uh, \"174 Storm Cloud Lane.\" A second \"174 Storm Cloud Lane\".", "(SARA marks the wall map.)", "[SCENE_BREAK]", "[INT. CSI - OFFICE -- DAY]", "(ROBBINS goes over the bagged disc with CATHERINE.)", "Robbins: Pulled it from the L4-L5 interspace. Cobalt chromium molybdenum alloy with a titanium coating and an ultra high molecular weight polyethylene component. An artificial spinal disc. If you can recreate a spine the possibilities are endless.", "Catherine: I thought, uh, disc replacement surgery involved fusing bone to bone.", "Robbins: Eh, typically, but it can limit mobility. With that little disc, your body doesn't know the difference.", "(Quick CGI to the disc inside the body and moving back and forth.)", "Robbins: (V.O.) Matches range of motion, flexibility and an axial rotation of a normal spine.", "(End of CGI. Resume to present.)", "Robbins: Still in clinical trials. Less than a thousand surgeries have been performed in this country.", "Catherine: Oh, well, I like those odds.", "Robbins: You'll like this even better. Medium endplate, size 12, polyethylene component and a six-degree lordosis angle. Narrowed it down to one. Amy Ennis. Austin, Texas.", "(ROBBINS gives CATHERINE the bagged disc.)", "Catherine: Tourist?", "(ROBBINS chuckles, turns and heads for the door.)", "Robbins: (laughs) That's for you to find out.", "[SCENE_BREAK]", "[EXT. LAS VEGAS COMMUNITY (STOCK) -- DAY]", "[SCENE_BREAK]", "[EXT. STORM CLOUD LANE -- DAY]", "(OFFICERS pull out the trash cans onto the road. NICK, CATHERINE and SARA open them up and check them for blood.)", "Nick: Hey, is this all of them?", "Catherine: Yeah, every last one on storm cloud lane.", "Sara: Cans are on private property, it's not trash day, how did you get consent?", "Catherine: I talked to the president of the owner's association.", "Nick: What'd you threaten her with?", "Catherine: A return visit.", "(SARA sprays the can and finds blood.)", "Sara: Hey, guys? I got blood.", "Nick: Yeah. Yeah me, too.", "Catherine: Well, that makes five.", "[SCENE_BREAK]", "(They pull the five trash cans with the blood stains in them to the middle of the street.)", "Catherine: Let's see if any of it's human.", "(They each swab and test the blood.)", "(SARA'S test shows up not human. NICK'S test shows up as human.)", "Nick: These two are human.", "[SCENE_BREAK]", "(They pull the two trash cans with the human blood stains in them further across the road, apart from the other cans.)", "(SARA looks inside the can.)", "Sara: If the vic was in here blood would have pooled to the bottom.", "Nick: Yeah, and blood dripped down the side of this one as the hydraulic arm dumped it.", "(Quick flashback to: The trash collecting truck dumps the trash can contents into the bin. The trash falls. We see the severed limb inside the bin. End of flashback. Resume to present.)", "Sara: This is our can.", "(CATHERINE looks at the can, then points.)", "Catherine: And that's our house.", "SHORT TIME CUT TO:", "[SCENE_BREAK]", "[EXT. STORM CLOUD LANE - EASTON RESIDENCE -- DAY]", "(CATHERINE interviews DANIEL EASTON.)", "Daniel Easton: You found blood ... in my trash can?", "Catherine: Any idea how it got there?", "Daniel Easton: No.", "Catherine: Do you know an Amy Ennis from Austin, Texas?", "(NORA EASTON drives up and parks the car. She's carrying a bouquet of flowers.)", "Daniel Easton: No.", "Catherine: So, you have absolutely no idea what I'm talking about?", "(NORA EASTON gets out of the car and walks out to the house.)", "Nora Easton: Dad ... you all right?", "Daniel Easton: I'm fine.", "Nora Easton: What's going on?", "Catherine: I'm just asking your father a few questions.", "Daniel Easton: Why don't you go inside and make some dinner?", "Nora Easton: What are you in the mood for?", "Daniel Easton: Whatever you want. Charlie, homework.", "Charlie Easton: Hey. Get the job?", "Daniel Easton: Later.", "Catherine: Divorced?", "Daniel Easton: Yeah. Five years.", "[SCENE_BREAK]", "[EXT. CAR DEALERSHIP -- DAY]", "(GRISSOM and WARRICK walk through the car lot to the building.)", "Warrick: I hear David's resurrecting the dead now.", "Grissom: (chuckles) Yeah, our little miracle worker.", "Warrick: I just came from the hospital. That guy's in ICU with respiratory paralysis. I did get a prelim on his blood work -- looks like some sort of an organic poison.", "Grissom: Well, that would explain the discoloration Robbins found around his mouth.", "Marty Gibson: (to the customer) I'm telling you, this is great. You're going to love this. 30 miles to the gallon, very low maintenance. Your people are going to love it. You know what? I want you to tell them to throw away the manuals.", "(He hands him a business card.)", "Marty Gibson: Call me for anything. Marty Gibson doesn't close a sale, he opens a relationship.", "(MARTY GIBSON leads the customer past GRISSOM and WARRICK.)", "Warrick: That guy's a charmer.", "Grissom: Yeah, real Ricky Roma.", "[SCENE_BREAK]", "[INT. CAR DEALERSHIP -- DAY]", "(A dog yips in the background. WARRICK and GRISSOM walk up to the receptionist.)", "Nancy Linden: May I help you, gentlemen?", "Warrick: I'm Warrick Brown, this is Gil Grissom. We're from the Las Vegas Crime Lab.", "Nancy Linden: Oh. Nanci Linden. It's a pleasure to meet you.", "Grissom: We have a warrant to search your premises.", "Nancy Linden: What for?", "Grissom: For evidence concerning the attempted murder of Fred Stearns.", "Nancy Linden: Oh, he had a heart attack. He's dead.", "Grissom: No, he didn't ... and he's not.", "(NANCI stares at them speechless. The dog barks. She turns to quiet her dog in her bag.)", "Nancy Linden: Gigi, shush. Shh!", "(She kicks the bag lightly. The dog whimpers.)", "Nancy Linden: I'm sorry. I'm not supposed to bring her in here.", "[SCENE_BREAK]", "[INT. CAR DEALERSHIP - STAIRS/SECOND FLOOR - DAY -- CONTINUOUS]", "(NANCY LINDEN leads GRISSOM and WARRICK up the stairs to the offices. She points the desks out to them.)", "Nancy Linden: So, this was ... is Fred's desk. Nobody's touched it since they took him away. It's bad luck. Middle desk is Marty Gibson. The one on the end is Clyde Hinton.", "Grissom: Thank you.", "(NANCI LINDEN leaves the room.)", "Warrick: Poison could've come from any of these sources here.", "Grissom: Oral fixation you think? Constant need for gratification?", "Warrick: In every way. This guy was like the monster closer. You ever buy a brand-new car, Griss?", "Grissom: Depreciation doesn't make it a logical investment.", "(WARRICK stands in front of the WHITEBOARD that has the commission numbers on it. It reads:", "CABO COMMISSION", "FRED // CLYDE // MARTY", "Warrick: It's not about logic. It's about that smell. There's nothing like the smell of a brand-new car.", "(MARTY GIBSON steps into the office and holds out his business card.)", "Marty Gibson: How right you are. Marty Gibson.", "Grissom: We're not buying, we're looking. If we need any help we'll let you know.", "Marty Gibson: Sometimes it's not about what you need, sometimes it's about what you want.", "(MARTY GIBSON leaves the room.)", "(GRISSOM and WARRICK start to check the desks. GRISSOM finds gum wrappers. He checks the tips of the pens on the desk. He picks up the phone to find that it's stuck to the base. He looks at the phone.)", "(At the next desk, WARRICK collects the liquid in the mug.)", "(GRISSOM scrapes off some of the white stuff on the phone.)", "(WARRICK checks the sleeves of the jacket.)", "(GRISSOM collects the coffee in the mug.)", "(WARRICK collects something off of the sleeve. Camera zooms in for a extreme close up.)", "(GRISSOM tries the drawers. CLYDE HINTON leaning over the partition wall throws GRISSOM the keys to the drawer.)", "Grissom: You always, uh, lock your drawers?", "(GRISSOM finds the glue bottle in the desk.)", "Grissom: Huh.", "(CLYDE HINTON snickers.)", "Grissom: You're the one who super-glued Fred's phone.", "(CLYDE HINTON continues to chuckle. GRISSOM holds up the gum.)", "Grissom: \"Chewing gum: Will turn any mouth black for days.\"", "(CLYDE HINTON starts laughing. WARRICK cell phone rings )", "Warrick: Warrick Brown.", "Grissom: I get it. You're the funny guy.", "Clyde Hinton: You know the definition of \"kismet,\" Mr. Grissom?", "Grissom: Do you know the definition of attempted murder, Mr Hinton?", "Clyde Hinton: Just go with me for a second.", "Grissom: Go with you where?", "Clyde Hinton: Come on... \"kismet.\"", "Grissom: Fate, or destiny. It's from the arabic word meaning to distribute, or divide up.", "Clyde Hinton: Smart guy. Destiny is what you make of it.It's what gets distributed to me while the other guy's washing the stain off his lips.", "(Quick flashback to: FRED STEARNS swings around in his chair and talks with CLYDE and MARTY.)", "Fred Stearns: Well, boys, just closed another fatty. Two hours of schmooze -", "(FRED unwraps a piece of gum and pops it into his mouth. He starts chewing.)", "Fred Stearns: I can't lose.", "(MARTY looks over at FRED and nods.)", "Marty Gibson: Your lips.", "(FRED grabs the mirror and checks it. Sure enough, his lips and teeth are stained black.)", "Fred Stearns: Clyde!", "Clyde Hinton: Don't worry, Freddy. I'll handle the client.", "(FRED starts wiping the stain off of his mouth. CLYDE steps up and everyone laughs.)", "(End of flashback. Resume to present.)", "Clyde Hinton: Look, everyone tries to get an edge in this business. I use jokes.", "(WARRICK steps up to the partition.)", "Warrick: Fred Stearns just passed away. Again.", "(CLYDE HINTON appropriately doesn't laugh at the news.)", "Grissom: Dead guy. Not funny.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "CADAVER VIEW:", "(DAVID PHILLIPS leans over the body and into the camera. ROBBINS appears next to him and looks down into the camera also.)", "Robbins: Okay, David, take two.", "(DAVID starts the Y-incision.)", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(BRASS and CATHERINE walk through the hallway.)", "Brass: No luck on Amy Ennis's next of kin. The Austin PD is still working on it.", "Catherine: Well, we know that she had a kid.", "Brass: Well, she gave birth. That doesn't mean that she had a kid.", "Catherine: So, what, we've got nothing?", "Brass: We have a mercury sable, uh, Texas plates, found in the lot of the Tangiers hotel. She's the registered owner. They're bringing it in now.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(DAVID cuts into the stomach. He empties out the contents and looks inside. ROBBINS watches in the back.)", "David Phillips: If the poison was administered orally I may know how it got into the bloodstream.", "(GRISSOM turns to look at what DAVID'S talking about.)", "David Phillips: Gastric ulcer.", "(Quick CGI to: Top view down on a male chest.)", "David Phillips: (V.O.) In a healthy, functioning stomach, ...", "(Camera drops down and through the chest to show the outer stomach. Clear liquid coats the outer stomach lining.)", "David Phillips: (V.O.) ... mucosa lines the walls and prevents the hydrochloric acid from burning the organ itself.", "(A thick black liquid pours down and coats the stomach lining.)", "David Phillips: (V.O.) ... But if H. Pylori gets in there, sends the whole system off-balance, stops the mucosa, and causes an ulcer.", "(The black liquid moves aside, the mucosa moves aside to reveal an ulcer underneath.)", "(End of quick CGI. Resume to present.)", "David Phillips: Opens a direct channel from your digestive tract straight into your bloodstream. I know a lot about stress-related ailments.", "Robbins: Any word yet on a poison?", "Grissom: Tox screen ruled out the ink gum.", "Robbins: It could've been a factor, though. Uh, gum churns up stomach acid -- instant inflammation.", "Grissom: I don't care about his indigestion, Doc. We need to know what killed him.", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- DAY]", "(NICK and SARA go over the car contents. SARA goes through AMY ENNIS' suitcase. She holds up a black teddy.)", "Sara: Well, she wasn't in town on business.", "Nick: What's that?", "(NICK looks up. SARA turns around and holds the black teddy in front of her. She clicks her tongue and shakes the teddy in front of her.)", "Nick: Oh! Depends on what her business was, I guess.", "(SARA turns around and puts the teddy back into the suitcase. She checks its contents.)", "Sara: Nothing risqué about the rest of her wardrobe.", "Nick: Maybe she got it here. She could've met somebody, you know.", "(SARA checks the suitcase pocket. NICK puts on a mask and holds up the hand-held sized cyanoacrylate fuming wand.)", "Nick: Okay, I'm going to fume.", "Sara: Okay.", "(NICK opens the car door, crawls in and looks for prints. After a while, he finds a print on the steering wheel.)", "(Camera zooms in for a close up.)", "OVERLAP TO:", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- DAY]", "(Camera overlaps the print on the steering wheel with the extracted print on the computer monitor on the left side while the right side looks for a match.)", "(The computer beeps. There's a match. NICK continues to work at the computer.)", "(CATHERINE walks into the lab.)", "Catherine: According to Greg, the hairs and the DNA from the toothbrush are a match to the vic. What about the prints from her car?", "Nick: I thought I messed it up, so I ran it twice.", "(NICK prints out the results. He hands it to CATHERINE.)", "Nick: No errant prints, all a match to the same woman.", "Catherine: Amy Ennis.", "Nick: No \"Amy Ennis\" in the database.", "Catherine: Well, Amy Ennis is our vic. It's her car.", "Nick: Prints came back to somebody named \"Kelly Easton\".", "(CATHERINE looks at the print results. It reads: [EXAMPLAR: Fingerprint exemplar bearing the name of: Prints obtained from Amy Ennis' Vehicle - Steering Wheel, ra... Interior Driver & Passenger Doors", "RESULTS: The above exemplar was compared to the following:", "KELLY EASTON", "IDENTIFICATION WAS MADE - All Prints Match", "By: Mandy Webster #865748 Latent Print Examiner Identification Unit", "*Subpoena list for court appearance:", "Lifting developing of latent print(s) L.E.T. Thomas #434687 ... Comparison of latent print(s) Representative of Latent Prints ... *A fingerprint palm card witnessed by investigator should be ... Identification Unit as soon as possible. Attach a copy ... ]", "Catherine: Kelly Easton ... Easton ... 174 Storm Cloud Lane?", "Nick: What's the first thing you do when you don't want to be found?", "Catherine: Leave town.", "Nick: Yeah ... and change your name.", "[SCENE_BREAK]", "[EXT. STORM CLOUD LANE - EASTON RESIDENCE -- NIGHT]", "(OFFICER cars with their lights flashing are parked outside the EASTON residence.)", "(CATHERINE talks with DANIEL EASTON.)", "Catherine: ... Want to Mulligan on your first story? \"Divorced\"?", "Daniel Easton: What the hell was I supposed to say? My wife went out to get her hair done and never came home.", "Catherine: Well, maybe you gave her a reason to leave. Spousal abuse, cheating...", "Daniel Easton: Aaww, you people. You know, you were here five years ago with your grid searches, your dogs, your cadets -- you came up empty. You give me a good reason why my wife left me, I'd love to hear it, because I tried the truth. I didn't know what happened. You know what I got for it? They all think I killed my wife. Her parents sued me for custody. I lost my job, my friends. Only thing I got left are those kids and this house.", "Catherine: Okay, you didn't kill her. (beat) At least back then.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. EASTON RESIDENCE - BEDROOM -- NIGHT]", "(CATHERINE and SARA check the bedroom using ALS. CATHERINE checks the bed. SARA checks the seats. She finds something. She also finds a pair of lacy panties.)", "Sara: I don't think these belong to dad.", "Catherine: Could place Mrs. Easton at the house.", "[SCENE_BREAK]", "[EXT. STORM CLOUD LANE - EASTON RESIDENCE - NIGHT -- CONTINUOUS]", "(DANIEL EASTON explains the lacy panties to SARA.)", "Daniel Easton: She came back about a month ago. Doorbell rings ...", "(Quick flashback to: DANIEL EASTON opens the front door. End of flashback. Resume to present.)", "Daniel Easton: huh, what do you say?", "(Quick flashback to: The door is pushed open and AMY ENNIS/KELLY EASTON walks into the room.)", "Amy Ennis/Kelly Easton: Hi.", "(End of flashback. Resume to present.)", "Sara: You tell me. Whatever it is, it must've worked. She was back in your bedroom.", "Daniel Easton: Well, they say time heals all wounds. It's crap. I hate her for what she did to us, but I swear, it was the first time I felt anything in five years.", "[SCENE_BREAK]", "[INT. EASTON RESIDENCE - BEDROOM - NIGHT -- CONTINUOUS]", "(CATHERINE pulls the bed covers back and continues to look for evidence. CATHERINE finds a strand of hair. She takes a tape and lifts it.)", "[SCENE_BREAK]", "[INT. EASTON RESIDENCE - CHARLIE'S BEDROOM - NIGHT -- CONTINUOUS]", "(NICK uses the ALS in CHARLIE'S bedroom. He looks on the walls, on the bed, and notices CHARLIE'S journal on the desk. NICK opens it and sees pages and pages of violent drawings with notes such as \"PAIN\", \"SKOOL BITES\", \"HATE\".)", "[SCENE_BREAK]", "[EXT. STORM CLOUD LANE -- EASTON RESIDENCE - NIGHT -- CONTINUOUS]", "(NICK talks with CHARLIE EASTON.)", "Charlie Easton: So, she's really dead?", "Nick: Yeah. Yeah, I'm sorry.", "Charlie Easton: Figures.", "Nick: How's that?", "Charlie Easton: She left without telling us. Figures she'd die the same way.", "Nick: I don't think your mom knew she was going to die, bud.", "Charlie Easton: Whatever.", "(CHARLIE withdraws and puts on his earphone with loud music on.)", "[SCENE_BREAK]", "[EXT. STORM CLOUD LANE -- EASTON RESIDENCE - NIGHT -- CONTINUOUS]", "(CATHERINE interviews NORA EASTON.)", "Nora Easton: Last time I saw my mother, I was ... in seventh grade. She handed me my lunch and said, \"See you after school.\"", "Catherine: Did you know that she was back?", "Nora Easton: I thought that she was dead.", "(NORA rubs her stomach.)", "Nora Easton: Can I sit down?", "Catherine: Yeah, sure. Nora, I'm sorry. I know this has got to be very hard on you and your brother.", "Nora Easton: And my dad.", "Catherine: Is your dad seeing anybody? Does he have a girlfriend?", "Nora Easton: How could he?", "[SCENE_BREAK]", "[INT. EASTON RESIDENCE - NORA'S BEDROOM -- NIGHT -- CONTINUOUS]", "(CATHERINE uses the ALS in NORA'S bedroom. She looks at the framed photos on the desk of NORA and her father.)", "(CATHERINE opens the drawer and finds bottles of \"HIGH PROTEIN\" SUPPLEMENTS. She also finds a jewelry bag with a diamond tennis bracelet inside.)", "[SCENE_BREAK]", "[INT. EASTON RESIDENCE - KITCHEN -- NIGHT -- CONTINUOUS]", "(SARA uses the ALS in the kitchen. She finds some blood stains on the floor. She looks on the wall where the frying pans are hanging and notices a blank spot on the wall where a frying pan should be.)", "[SCENE_BREAK]", "[INT. EASTON RESIDENCE - GARAGE -- NIGHT -- CONTINUOUS]", "(NICK opens the large freezer in the garage.)", "Nick: This is where I found the hairs, in between the packages of frozen peas.", "(CATHERINE looks at the baggie with the hair samples.)", "Catherine: Mrs. Easton was a brunette.", "Nick: And we found a warehouse worth of frozen peas at the landfill.", "Catherine: Lack of swelling, clean fractures ... she was frozen.", "(Quick flashback to: The body in the garbage truck bin as the bin closes. End of flashback. Resume to present.)", "Catherine: Skin and muscle would've lost elasticity. Fracture planes would've passed through in a straight line.", "Nick: I'm thinking somebody in this family stuck her in here, waited 'til trash day.", "(Quick flashback to: A hand holding a frying pan swings and makes contact with AMY ENNIS' forehead. She goes down. Flash to white. The person empties the large freezer in the garage. End of flashback. Resume to present.)", "Catherine: Well, the garbage tells us how she was killed. Now I want to know who.", "(NICK shuts the freezer door closed with a bang.)", "[SCENE_BREAK]", "[INT.CSI -- LAB]", "SCOPE VIEW of the sample taken off of the coat sleeve.", "(GRISSOM walks into the lab.)", "Warrick: That unknown substance I collected from Marty Gibson's coat ...", "Grissom: Possibly reptilian skin?", "Warrick: How'd you know?", "(GRISSOM holds up a piece of paper.)", "Grissom: Tox report. The organic poison came back snake venom. I think maybe it's time to open a relationship with Marty Gibson.", "[SCENE_BREAK]", "[INT. CAR DEALERSHIP - SECOND FLOOR OFFICES -- DAY]", "(GRISSOM and WARRICK re-question MARTY GIBSON.)", "Grissom: We found reptile skin on your jacket sleeve. So, unless you're shedding, we want to know how it got there.", "Marty Gibson: Whoa, gentlemen, slow down. Can I get you a cup of coffee? (he turns around and yells over his shoulder) Nanci...?", "Grissom: No, thank you.", "Marty Gibson: (to GRISSOM) Doughnut? Everybody loves doughnuts. (turns and yells) Nanci.", "Grissom: No doughnuts.", "Warrick: Fred Stearns dropped a dime at girls, girls, girls and wrote it off.", "Marty Gibson: Kaido computers. Software guys are nuts, into the kinky stuff. End of the day, they're driving Fred's cars.", "Warrick: Neiman Marcus, jewelry department?", "Marty Gibson: Fred knew you got to spend money to make money.", "Warrick: Well, here's a freaky one. Since when are two dozen mice a business expense?", "Marty Gibson: Since I got the pet place to buy a mini-van from me. My cousin works there. You got kids? I could put you in a wagon way below sticker.", "Grissom: Marty, what'd you do with the mice?", "Marty Gibson: What do you care? You going to arrest me for blurring the lines?", "Grissom: No. We were leaning towards murder.", "[SCENE_BREAK]", "[INT. BASEMENT -- DAY]", "(MARTY GIBSON opens the basement doors and leads GRISSOM and WARRICK downstairs.)", "Marty Gibson: Watch your step. You guys are completely overreacting. It's just a hobby.", "(He shows them the snakes in tanks.)", "Marty Gibson: See? Fuzzies. They're food.", "Warrick: You know it's illegal in the state of nevada to have venomous snakes?", "Marty: If you handle them correctly, snakes are harmless. I know what I'm doing.", "Grissom: Yeah, that's what we're afraid of.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]", "(BRASS questions DANIEL EASTON with his lawyer next to him.)", "Daniel Easton: I didn't even know she was dead. Thought she'd just left me again.", "Brass: Well, it's a good thing you didn't tell the kids mom was back.", "Lawyer: My client agreed to talk to you, not be harassed by you.", "Brass: You're right. Well, you were excited to see her. Why wouldn't the kids be?", "Daniel Easton: I'm an adult.", "Brass: That's right, you're an adult -- knowledgeable, experienced ... aware of Nevada Statutes, Chapter 156: Administration of estates of missing persons.", "Daniel Easton: It's a matter of public record. We've been filling out those forms for five years.", "Brass: You're jumping the gun. It's four years, 11 months, one week.", "Daniel Easton: So what?", "Brass: Well, in three weeks, Mrs. Easton's estate can be distributed to her husband. You had a half a million dollar life insurance policy on your wife.", "Daniel Easton: And she had one on me. We did that for the kids.", "Brass: But you're not dead, and she wasn't either, two days ago. You know, for an unemployed guy you're doing a lot of spending. I mean, (chuckles) ... Tiffany's, La Perla international watch company ... expecting a windfall?", "Lawyer: (to EASTON) Don't answer that. (to BRASS) You're fishing.", "Brass: No, I do that with a pole. No, I'm just thinking out loud. Your wife disappears. Five years after the fact, you get the money. You've earned it, it's yours, but she screwed you up. She showed up.", "Daniel Easton: (shakes his head) I did not kill my wife.", "Brass: What happened, Daniel? The s*x wasn't as good as you remembered it, or the money was better? What happened?", "[SCENE_BREAK]", "[INT. OFFICE -- NIGHT]", "(GRISSOM talks with JESSIE MENKEN. She looks at the photo of the scales sample)", "Jessie Menken: Scales found on your suspect's jacket are keeled. Diamondback rattlesnake. His others, smooth scales. A snake fang is basically a hypodermic needle. Oral glands hold in the venom ... like the barrel. When aggravated, the jaw muscles push on the toxin, like a plunger.", "Grissom: Only, our victim didn't have any puncture wounds.", "Jessie Menken: Well, your guy's probably pretty comfortable with his collection-- otherwise, he'd be dead -- which means, he could've milked this one.", "Grissom: And brought the venom with him to the dealership.", "(She nods.)", "Grissom: Well, the trace lab found venom proteins in his coffee cup. Could that have killed him?", "Jessie Menken: Well, I know a lot of hot shots who drink the stuff -- manly, daredevil B.S. -- And they're still alive.", "Grissom: Because typically, the stomach acids would kill the venom before it reached the bloodstream, but if you had an ulcer...", "Jessie Menken: Hmm, then you're seriously screwed. Was there an abnormal tissue death? Necrosis?", "Grissom: No.", "Jessie Menken: That rules out his diamondback rattlesnake. Rattler venom's hemotoxic. It means it predigests the tissue before swallowing.", "Grissom: Well, the Elisa test came back positive for alpha-neurotoxins.", "Jessie Menken: Well, your guy likes them mean. So ... These other two could've done the job, both neurotoxic.", "Grissom: Which would send the body into complete and total paralysis, right?", "(She nods.)", "Grissom: Explaining why the victim ended up in the morgue the first time.", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GREG goes over the test results with CATHERINE.)", "Greg: Okay, blood from the bedroom chair and the kitchen belong to mom.", "Catherine: That's what I figured.", "Greg: Hair from the freezer-- nicely preserved, by the way-- and hairs from the bedroom pillow, also the victim's.", "Catherine: Okay, this is all great, but, uh, why the 9-1-1 page?", "(GREG shows the results to CATHERINE.)", "Greg: The moral of my story -- share and share alleles. Pubic hairs in the bed, not mom's.", "Catherine: The daughter. Dad did have a new girlfriend.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM]", "(CATHERINE questions NORA EASTON.)", "Nora Easton: The bracelet was a gift.", "Catherine: From your father. Diamonds and platinum, that's, uh, pretty fancy.", "Nora Easton: Guess he thought I deserved it.", "Catherine: Why?", "Nora Easton: For taking care of everything.", "Catherine: Everything?", "Nora Easton: Laundry, groceries, carpool for Charlie ...", "Catherine: Is that it?", "(NORA EASTON looks away for a moment.)", "Catherine: Nora ... I'd really like to help you and your brother, but I can't unless you talk to me.", "(NORA EASTON doesn't respond.)", "Catherine: We found evidence of you in your father's bed.", "Nora Easton: (smiles) My father loves me.", "(CATHERINE'S eyes shift downward and widen. NORA looks down and notices the wet stain on her blouse.)", "Nora Easton: Oh, my god.", "Catherine: Are you lactating?", "(NORA doesn't say anything.)", "Catherine: You're pregnant.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - HALLWAY TO INTERVIEW ROOM]", "(CATHERINE walks rapidly through the hallway and walks into the interview room where DANIEL EASTON is.)", "Catherine: You sick son of a bitch. Did you think we weren't going to find out she was pregnant?", "Daniel Easton: Who?", "Catherine: Oh, stop it. Your daughter.", "Daniel Easton: (confused) Nora is pregnant?", "Catherine: Cut the clueless routine.", "Daniel Easton: What are you accusing me of?", "(Quick flashback to: AMY ENNIS/KELLY EASTON opens the bedroom door and finds DANIEL EASTON sitting on the bed with NORA EASTON.)", "Amy Ennis/Kelly Easton: Daniel!", "(End of flashback. Resume to present.)", "Catherine: Your wife came back and saw what you were doing. So, you killed her, and you tried to buy off your daughter with a diamond bracelet.", "Daniel Easton: I bought that for my wife.", "Catherine: Your daughter's telling a different story.", "Daniel Easton: Nora? How could she even know about ...", "Catherine: (interrupting) I'm going to nail you for murder.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- NIGHT]", "(GREG shows WARRICK and GRISSOM the test results.)", "Warrick: What do you mean, \"none\"?", "Greg: Well, venom's like perfume -- highly specific recipe. Protein ratios vary from species to species, even snake to snake. The protein level of your three \"hoses\" doesn't match the sample taken from the vic's coffee cup.", "Warrick: So, Marty was telling the truth? It was just a coincidence that he owns poisonous snakes, and his co-worker was envenomated.", "Grissom: (shakes his head) A coincidence is a scientific anomaly. Maybe he just got rid of the snake.", "[SCENE_BREAK]", "[INT. NANCY LINDEN'S RESIDENCE -- NIGHT]", "(Camera pans across the counter where NANCY LINDEN has porcelain figurines of all kinds of dogs.", "(In the middle of the living room, the SNAKE HANDLER handles the large snake.)", "Snake Handler: Girl called all hysterical. Said a snake ate her dog. It's a monacled cobra -- it's not indigenous. Comes from southeast Asia. I asked her where she got it from. She said her co-worker asked her to snake-sit.", "Grissom: Marty Gibson.", "Snake Handler: Mm-hmm.", "(He walks away with the snake.)", "(GRISSOM heads for NANCI LINDEN who sits on the couch in her bathrobe crying.)", "Nancy Linden: Hey, you're that guy from the crime lab. Well, you're a little late. b*st*rd told me he had a sure-fire way to win the Cabo trip, and that he'd take me with him if I just watched his snake for a couple of days. I can't believe what an idiot I am. (crying) Never trust a car salesman.", "Grissom: What else did you do for Marty?", "Nancy Linden: Well, not that.", "Grissom: Did you get him coffee?", "Nancy Linden: Oh, well, now I do.", "Grissom: Now you do?", "Nancy Linden: Yeah. It used to be Marty, the goodwill guy who got coffee for everybody else, but now, since Fred's dead, he's moved up a desk.", "Grissom: \"The Goodwill Guy?\"", "Nancy Linden: Yeah. The guy with no client list of his own, has to live off the hand-me-downs of the others.", "(Quick flashback to: At the office, FRED STEARS holds up his coffee mug and calls out to MARTY GIBSON who doesn't look all that happy.)", "Fred Stearns: Hey, Marty, uh, sure could use another refill.", "Marty Gibson: You want anything?", "Fred Stearns: Easy on the sugar.", "Marty Gibson: Coming right up.", "(End of flashback. Resume to present.)", "Grissom: Well, sometimes access is all you need.", "(Quick flashback to: MARTY GIBSON pours the cup of coffee. He reaches into his pocket and retrieves a small vial of venom which he pours into the mug. End of flashback. Resume to present.)", "[SCENE_BREAK]", "[INT./EXT. DEALERSHIP --NIGHT]", "(MARTY GIBSON is in handcuffs leading GIBSON and the OFFICER out of the second floor offices and down the stairs.)", "Marty Gibson: Nanci. Do you know what a syllogism is, Mr. Gibson?", "Grissom: Sylla-what?", "Marty Gibson: A syllogism. Aristotelian logic. Two premises equal one conclusion.", "Marty Gibson & Grissom (both): \"A\" plus \"B\" equals \"C.\"", "Grissom: Right. So, you're the snake guy. You're also the goodwill guy who gets the coffee. So, when someone is poisoned with snake venom in their coffee, \"a\" plus \"b\" equals you.", "Marty Gibson: I busted my ass out on this floor to get a desk up there, and for what? So Fred can make me his bitch?", "Grissom: So you kill him?", "Marty Gibson: Fred killed himself. Guy was like a goldfish. He would have eaten himself to death before he tossed me a client. And one good client breeds seven more. Without the one, I keep slipping.", "(MARTY shakes his head and starts rambling as he walks to the car.)", "Marty Gibson: There's two directions in this business-- up and out. It's a numbers game. I'm 35 years old. I got six guys ready to move me out. Opportunity knocks, you open the door.", "Grissom: I guess it's just too bad he had an ulcer.", "(MARTY is helped into the car.)", "Marty Gibson: Who doesn't?", "(The car door closes.)", "[SCENE_BREAK]", "[INT. HOSPITAL]", "(NORA EASTON is having a pelvic examination. CATHERINE stands on the side and watches.)", "Nurse: Okay, if I can just have you lay back. Nurse: All right, Nora, I'm going to need you to relax. Nurse: Okay, now take a deep breath. Nurse: Good. Nurse: All right, another deep breath.", "(The examination is completed. The NURSE pushes the curtain aside and whispers to CATHERINE. She walks away. CATHERINE turns and looks at NORA.)", "[SCENE_BREAK]", "[INT. CSI - LOUNGE]", "(SARA and CATHERINE are in the lounge. CATHERINE sits at the table reading a large reference book.)", "Sara: She's a virgin? What are we talking about, an immaculate conception?", "Catherine: More like the immaculate perception. Pseudocyesis -- imagined pregnancy.", "Sara: It's all in her head? Well, that would explain what she was doing in dad's bed.", "(SARA sits down.)", "Catherine: Fantasizing. Wow. (reading) \"When the desire to become pregnant is so strong hormone levels can change, setting off all the biological signs of pregnancy.\"", "Sara: It kind of makes sense. Hormones travel the same channels as adrenaline.", "Catherine: \"Swollen abdomen, lack of menstruation, and sometimes bilateral galactorrhea.\" Milk production in both breasts. Leaking can be brought on by stress.", "(Quick CGI to: The image of NORA EASTON with a light that travels down from inside her brain following a path through the endocrine system as CATHERINE narrates.)", "Catherine: (V.O.) \"Emotional or physical stimuli cause prolactin to shoot through the endocrine system, ending in the mammary glands, and triggering the cells to lactate.\"", "(End of flashback. Resume to present.)", "Sara: The father was clueless.", "Catherine: About all the women in his life.", "(NICK walks into the room.)", "Nick: Hey, hey. Check out these photos. The two stains on the inside of the shirt we found at the dump tested positive for Nora, but the stains on the outside, bloodstains, are definitely mom's.", "Catherine: The bracelet was mom's. Greg checked the epithelials.", "Sara: Nora's in love with her father, in an Electra kind of way.", "[SCENE_BREAK]", "[INT. CSI - INTERVIEW ROOM]", "(CATHERINE interviews NORA EASTON. CATHERINE puts a photo of the shirt on the table.)", "Catherine: Nora, is this your shirt?", "Nora Easton: Yes.", "Catherine: Can you explain to me how your mother's blood ended up on it?", "(NORA shakes her head.)", "Brass: No idea how it got there?", "Nora Easton: (shakes her head) No.", "Catherine: Well, you told me that this bracelet was a gift from your father. He claims that he bought it for your mother.", "Nora Easton: Oh, no. It's mine.", "Catherine: I think you feel the same way about your father.", "(Quick flashback to: NORA EASTON opens her father's bedroom door and finds DANIEL and KELLY on the bed.)", "Daniel Easton: You know you mean the world to me, don't you?", "(NORA is surprised, shocked and jealous. She sees her mom with the bracelet. Then she sees her father kissing her mother.)", "(Cut to: NORA EASTON sits in front of her mirror clutching her stomach. She opens the drawer and pulls out the bottle of vitamins. she takes one.)", "(Camera cuts and shows NORA looking at a a framed photograph of herself and her father.)", "(Cut to: NORA is in the kitchen washing the dishes. KELLY EASTON walks up behind her and covers NORA'S eyes.)", "Amy Ennis/Kelly Easton: Guess who's back?", "(NORA grabs the frying pan and swings it, hitting KELLY on the forehead. KELLY hits the edge of the counter before falling to the floor. Dead.)", "(NORA reaches over and takes the bracelet from KELLY. KELLY slides along the floor out of camera frame.)", "(End of flashback. Resume to present.)", "Catherine: And then you put your mother in the freezer and you waited until trash day.", "Nora Easton: That's a horrible story.", "Catherine: It's not a story. It's what the evidence tells us really happened.", "Nora Easton: What kind of a mother would do that? I'm helpful. I do what needs to be done.", "Catherine: I know. You take care of things.", "Nora Easton: (crying) I never ask for anything!", "Catherine: And all you wanted was the one thing that you couldn't have.", "Nora Easton: It's not my fault. I'm innocent.", "Catherine: You were innocent, Nora. You're not anymore.", "(THE OFFICER in the room moves behind NORA EASTON to handcuff her.)", "Nora Easton: What are you doing?", "Brass: You're under arrest for the murder of Kelly Easton.", "Nora Easton: (shouts) No, but I'm going to have a baby!", "(They take her out of the room. BRASS sighs.)", "Brass: Well, she's going to retain an attorney. He's going to advise her to plead insanity.", "Catherine: Good defense.", "Brass: Yeah. Have you ever seen anything like this before?", "(CATHERINE gathers her things.)", "Catherine: How it manifested? No. But the cause? (beat) People throw things away every day." ]

[ "Catherine takes the point in the investigation of an escalating series of peeping tom incidents. The crew is racing to stop the attacker before his crimes become more serious assaults. Meanwhile, Sara reopens the dormant case of her friend, a district attorney. The DA is facing surgery to remove a bullet she got in an attack that killed her husband three years prior." ]

[ "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CONDO - NIGHT]", "(Camera Close-Up of: Various colored perfume bottles.)", "(Fade to black.)", "(Fade In to: Camera moves across room; past trash cans with a towel on it; past an exercise machine in front of a door.)", "(Dissolve to: A Woman sleeps in bed.)", "(Fade to black.)", "(Fade In to: Close up of woman sleeping. Her eyes flutter open and she turns her head.)", "(Cut to: The Woman gets up and walks down the stairs into her living room. She turns on the light. She looks around.)", "(Close up of: Wind turning the pages of a magazine on the table.)", "(The woman feels the breeze. The fan overhead is turned on. She turns around to look at the light switch. There's fingerprint smudges on the light switch. She turns around and looks around.)", "(Cut to: The woman looks down at something. Camera refocuses and shows a glass of water on the table and its condensation pooling on the glass table top.)", "(Something's not right. The woman can feel it.)", "(Camera lingers on the woman's front door. It zooms toward the lock; through the keyhole; down the front walkway; turns the corner into the next door neighbor's door.)", "(Camera zooms through the keyhole; and into the woman's bedroom where there's a woman screaming. There's a man straddled on top of her on her bed.)", "(She continues to scream. The man gets up and off of her. He runs away.)", "FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(BRASS escorts GRISSOM and CATHERINE to the crime scenes.)", "Grissom: Dispatch said breaking and entering and sexual assault?", "Brass: Well, he never touched the first girl. The bedroom door was blocked.", "Grissom: What do you mean, \"blocked\"?", "Brass: With a treadmill. We've got two apartments here; 1213 and 1214. We think the girl in 1214 has physical findings.", "Catherine: You think?", "Brass: Well, she locked herself in her bedroom, won't let anyone with a y chromosome within fifty feet of her.", "Catherine: Okay.", "(CATHERINE heads for apartment 1214.)", "(BRASS walks past a woman in her robe talking to a female officer.)", "Brass: (to GRISSOM) That's the lucky one.", "(They walk into apartment 1213.)", "[SCENE_BREAK]", "[INT. APARTMENT 1214 - LIVING ROOM -- NIGHT]", "(CATHERINE walks into the apartment. There are several officers there.)", "Catherine: Hey, guys. Catherine Willows from CSI. Could you all clear the residence, please?", "(CATHERINE takes her cap off.)", "Officer: I'm first officer, ma'am. I can't leave a crime scene unless I get orders from my C.O.", "Catherine: The victim's well-being takes precedence over everything. Right now, this is Joanne Crooks' apartment, not our crime scene. So ... there's the door.", "Officer: All right, come on.", "Catherine: Thanks. Thank you. Appreciate it.", "(The door to the bedroom opens a bit. CATHERINE heads for the bedroom.)", "[SCENE_BREAK]", "[INT. APARTMENT 1213 - LIVING ROOM - NIGHT -- CONTINUOUS]", "(Inside, BRASS shows GRISSOM how the person broke into the apartment.)", "Brass: Doreen Bainbridge locks her doors every night. Says the girl next does the same. It's a twist lock. It allows for five inches of night air. Very secure ... unless you reach in ... three seconds. (BRASS pushes the glass door open.) Crime of opportunity, huh?", "(GRISSOM shines his flashlight on the glass door. There are smudges outside the glass.)", "Grissom: Yeah ... except somebody was watching this girl.", "HARD CUT TO: END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. APARTMENT 1214 - BEDROOM - NIGHT]", "(CATHERINE knocks on the bedroom door. JOANNE CROOKS sits on her bed.)", "Catherine: Joanne ... all the guys have left.", "(CATHERINE sticks her head through the open door and pushes it open.)", "Catherine: It's just me. I'd like to ask ...", "(JOANNE CROOKS stands and starts to change the bedsheets.)", "Joanne Crooks: (interrupts) I told you guys, I don't know what he looked like, okay? It was pitch black.", "Catherine: Well, I'm not a cop; I'm with the crime lab. I'd, uh, I'd like to process the bed sheets ...", "Joanne Crooks: I don't think so.", "Catherine: Well, would you allow me to take samples from you?", "Joanne Crooks: Sorry.", "Catherine: Look, I know this is really horrible.", "Joanne Crooks: I want to get the b*st*rd off of me, okay? Off of my things. Don't you get that?", "Catherine: Washing away evidence hurts any chance of finding out who raped you.", "Joanne Crooks: He didn't rape me, okay? I woke up and he was on my chest. (She shows CATHERINE her sticky hair.) Look at this. It's not hair gel.", "Catherine: If you let me recover that evidence, we can stop him from doing this to somebody else.", "Joanne Crooks: Maybe I'm selfish. I don't know; I don't really care about anybody else right now.", "Catherine: Well, then let's get him for what he did to you.", "(This stops JOANNE CROOKS. She turns around to look at CATHERINE and nods.)", "[SCENE_BREAK]", "[EXT. APARTMENTS -- NIGHT]", "(WARRICK places a measuring ruler around a shoe print in the dirt. He takes a picture of it.)", "(He puts the camera aside and takes out a measuring tape.)", "(Dissolve to: WARRICK puts a metal frame around the imprint to take a cast of it.)", "(Dissolve to: WARRICK picks up the tub of paste and starts mixing it. He pours it into the metal frame around the shoe print.)", "[SCENE_BREAK]", "[EXT. APARTMENT 1213 - NIGHT]", "(GRISSOM lifts prints off of the glass sliding door.)", "(Quick flashback to: Someone looking through the window and watching the woman inside.)", "(Cut to: Someone watching another window and watching the woman inside. He touches the glass and leaves behind fingerprints.)", "(End of flashback. Resume to present.)", "(GRISSOM presses the tape down on the glass and lifts the prints.)", "(NICK is next to GRISSOM examining the ledge under the window next to the door.)", "Nick: Hey, Grissom. (They both kneel to look at what NICK'S found.) Got what looks like a semen stain. It's crusted, it's not fresh. Still, it confirms your theory that he's been watching her for awhile.", "(GRISSOM stands and leaves. After a moment, NICK looks up and finds GRISSOM gone.)", "Nick: Hey ...", "(NICK walks through the path and finds GRISSOM in front of the glass door of the next apartment. He's staring at the glass door.)", "(NICK walks up to him.)", "Grissom: He's been watching a lot of people.", "(NICK looks around.)", "Nick: Well, there are hedges outside of every one of these apartment windows -- that's built-in concealment.", "(For the second time, GRISSOM walks away.)", "Nick: Yeah, this guy was having his own little private peep show. I ...", "(NICK turns around and notices that GRISSOM'S gone. Over at the next apartment, WARRICK continues to process evidence. He looks over at NICK and lifts his hands. I don't know. NICK sees WARRICK and shrugs back.)", "[SCENE_BREAK]", "[INT. COURTROOM -- NIGHT]", "(The doors open and SARA walks in. Court is in session.)", "Melissa Winters (prosecutor): Last, I would like to thank you for working late into the night. During this trial, you have heard people portray the defendant in glowing terms. He may be all of these things. He certainly seems likable. That doesn't change the fact that he got behind the wheel of his car legally drunk, and drove through an intersection, killing Shelley Daniels, a 12-year-old child.", "(SARA takes a seat and listens to The Prosecutor's closing remarks.)", "Melissa Winters (prosecutor): When you go into that jury room, I ask that you seek justice and return with a verdict of guilty. Not for me, not for his honor, not even for Shelley Daniels. I ask because Justice itself demands it. Justice is greater than our personal feelings. Than ... revenge, than ... than pity. Do not shrink, do not disappoint, but rather ... embrace it. Thank you.", "(SARA smiles, impressed by what she just heard. The Prosecutor wheels herself back to her place behind the table. She leans in and speaks with the lawyer next to her.)", "Judge: The jury may retire to the jury room. I'll advise counsel when the jury has reached a verdict.", "(The JUDGE hits the gavel against the desk. The people in the courtroom start to disburse. SARA approaches the Prosecution's table.)", "Sara: Where do I sign up?", "Melissa Winters: I wish you could. I'm sorry. Thank you for coming on such short notice.", "Sara: Your message said it was important.", "Melissa Winters: Yes, People v. Archer. Trial's on deck this Thursday. I prepped all weekend.", "Sara: It should be a slam dunk.", "Melissa Winters: Great. I've handed the case over to another D.A., Greg Rubio.", "Sara: What?", "Melissa Winters: He's quick on forensics, he's great on game day.", "Sara: Melissa, we've been building this case together for six months. What's going on?", "Melissa Winters: I'll be dead.", "(The news comes as a complete shock to SARA.)", "[SCENE_BREAK]", "[INT. OUTSIDE COURTROOM -- MORNING]", "(SARA and MELISSA WINTERS talk.)", "Sara: I never felt comfortable asking you about your, uh ...", "Melissa Winters: My wheels?", "Sara: I mean, I know somebody broke into your house, shot you and your husband.", "Melissa Winters: Made me a widow, left me a souvenir.", "(Quick CGI POV to: The bullet travelling through the skin and muscle and lodging there. End of CGI POV. Resume to present.)", "Melissa Winters: At the time, the doctors said if they removed it, I'd die. But in the last few years, the bullet has meandered. Last week, my voice gives out during a cross. I have trouble swallowing. Hand starts to shake. My neuro calls it \"Traumatic Basilar Artery Aneurysm.\" Um, he has to \"clip\" the artery.", "Sara: Well, if they're fixing the artery, that's good.", "Melissa Winters: The operation's delicate. The odds are, well ... low. I've really enjoyed working with you, Sara.", "(She holds her hand out. SARA takes it.)", "(MELISSA WINTERS leaves.)", "[SCENE_BREAK]", "[INT. CSI -- DNA LAB]", "(CATHERINE enters the DNA lab.)", "Catherine: Greg ... get anywhere with the semen I recovered from Joanne Crooks' hair? I sent it back with an officer.", "Greg: Uh, low volume, no sperm.", "Catherine: That's impossible.", "Greg: Yeah, I knew you'd say that.", "(GREG gives CATHERINE the test results and goes back to what he's working on. CATHERINE examines the results.)", "Catherine: Oh, the trailer before the movie.", "(GREG lifts his head and looks at CATHERINE.)", "Greg: Sorry.", "(CATHERINE leaves the lab.)", "[SCENE_BREAK]", "[INT. CSI -- A/V LAB]", "(CATHERINE walks into the Audio/Visual lab.)", "Catherine: Hey, Grissom, thanks for the lift.", "(CATHERINE stops next to GRISSOM who is working on the computers.)", "Catherine: Grissom, uh ...", "(GRISSOM doesn't look up at CATHERINE.)", "Catherine: (louder) Grissom?", "(GRISSOM is startled. He turns to look at CATHERINE. He's having difficulty hearing her and must see her to read her lips.)", "Catherine: (soft, distorted) That must be some good evidence.", "Grissom: (misunderstanding) You have evidence?", "(The distortion continues.)", "Catherine: No. It turns out the semen in the vic's hair was pre-ejaculate, which, of course ...", "Catherine: (louder and clearer) ... carries no sperm, therefore, no DNA.", "Catherine: (normal voice) So, I got this poor woman's hopes up for nothing. How about you?", "(GRISSOM turns back to the computer in front of him.)", "Grissom: I went back to the crime stats ... pulled up all the reported peeping toms in a two-block radius over the last year.", "Catherine: (looking at the wall monitor) Unsolved ... any of these women get a description?", "Grissom: He had \"raccoon eyes.\" And that's about it. Plus, nobody called in any follow-up reports.", "Catherine: Well, I guess half the problem's the name-- \"Peeping Tom.\" It just sounds so innocuous when, in fact, \"peeping\" is the first step in the evolution of a sexual predator.", "Grissom: And I'm afraid our \"Tom\" is on an escalated pace. Tonight was his first breaking and entering with an immediate second B&E plus what appears to be his first sexual assault.", "Catherine: Well, we know what road this guy's on. It's just a matter of time before he rapes and murders.", "Grissom: Yeah ... we better find him.", "[SCENE_BREAK]", "[INT. CSI -- A/V LAB]", "(Everyone working on the case meets to share information.)", "Catherine: Victims' profile: Both women are single, under 30, live right next door to each other in a large apartment complex.", "Warrick: Have we had any luck on cross-referencing any of the guys in their lives?", "Catherine: Uh, no crossover so far. Doreen Bainbridge works in the corporate field and Joanne Crooks is a dancer, so feels like completely different social circles.", "Grissom: But they're in the predator's comfort zone which means he probably lives in the area, too. What else?", "Warrick: We're still working on some shoe prints but the plaster's still wet.", "Grissom: Blow dry it. It'll give us approximate height and shoe size.", "Nick: Yeah, and the semen sample I recovered is still being processed in DNA.", "(GREG walks into the room.)", "Greg: Not anymore. I'm done. And no jokes about me being fast in this department. The ejaculate outside the first girl's window -- spank high. Good news: It does have DNA.", "Nick: Whose?", "Greg: I don't know. Ran it through CODIS, nothing kicked out.", "Catherine: Well, it's possible this guy's so new he doesn't even have a record.", "Greg: Well, I can tell you this about him: Really low sperm count. Sample hardly had any swimmers.", "Nick: That's probably from excessive masturbation. Guy's been outpacing his ... (WARRICK turns to look at NICK.) ... ability to produce ... (NICK looks up and notices everyone looking at him.) ... sperm ...", "Warrick: Yeah, you'd know it, Spanky.", "Nick: It's just a hunch.", "Greg: Hey, that can happen to any guy.", "Warrick: Yeah, not outside some poor woman's bedroom window.", "Grissom: All right, let's keep after it. This guy won't stop till he's caught.", "(WARRICK closes the file folder in front of him.)", "[SCENE_BREAK]", "[INT. CSI -- FORENSIX AUTOPSY]", "(DOC ROBBINS pushes a body back in the storage unit. He closes the door. SARA enters the room.)", "Sara: Hey, Doc. You got a minute?", "Robbins: Sure, just finishing. Some people actually do die of natural causes in Vegas you know.", "Sara: So I hear.", "Robbins: So what's on your mind?", "Sara: Um ... a friend of mine's going in for surgery. Traumatic Basilar Artery Aneurysm. You, uh, mind walking me through it?", "Robbins: It's a rough procedure. The basilar is the chief blood supplier to the brain stem. Here, I'll show you.", "(He reaches up on the shelf for a thick book and walks toward his desk.)", "Robbins: They put the patient under hypothermic arrest, meaning the heart will be stopped and blood artificially circulated.", "(He opens the book to a diagram and shows it to SARA.)", "Robbins: The objective is to decrease blood pressure so the aneurysm can be clipped. Imagine taking a knife to a balloon.", "(Quick Flash to: MELISSA WINTERS is face down on the operating table as the surgeon works on her. Camera moves to the surgeon's POV, through the machinery and to the muscles in her neck. The camera moves past the bullet and to the machine as it works on the artery.)", "Robbins: (V.O.) The neurosurgeon has just under an hour. One slip, the artery ruptures causing a catastrophic brain hemorrhage.", "(Flash to white. End of CGI POV. Resume to present.)", "Sara: She said she was going to die.", "Robbins: Nine out of ten times, Sara. I'm sure her doctor told her.", "Sara: Thanks.", "[SCENE_BREAK]", "[INT. HOSPITAL]", "(SARA walks onto the floor. DR. STEWART is at the nurses desk filling out a form.)", "Sara: (to nurse) Excuse me, do you know where I can find Dr. Stewart?", "Nurse: (pointing) Right there.", "Sara: (to nurse) Thanks.", "(SARA walks toward DR. STEWART.)", "Sara: Dr. Stewart. Sara Sidle. I'm a friend of Melissa Winters.", "Dr. Stewart: She pulled through.", "Sara: (smiling) She did?", "Dr. Stewart: No change to mobility, but cognitively, she'll be sharp as ever. Not quite ready to entertain visitors but you can drop by tomorrow.", "Sara: Thanks. Thank you.", "Dr. Stewart: Okay", "(DR. STEWART turns to leave. SARA stops him.)", "Sara: Hey, Doc?", "Dr. Stewart: Yeah?", "Sara: When you were in there did you, by any chance, remove the bullet?", "Dr. Stewart: Yeah, after I repaired the artery I figured it couldn't do any more damage than it already has.", "Sara: You think I could have it? I'm, uh ... I'm with the crime lab. It's the only evidence in a cold case.", "Dr. Stewart: Yeah. Wait here and I'll have it sent out.", "(SARA smiles as DR. STEWART leaves.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK uses the blow dryer and dries out the plaster cast of the shoe print. He puts the blow dryer aside and brushes away the dirt. He grabs the measuring tape and measures the shoe print. He then measures it against the chart.)", "(CATHERINE walks into the lab.)", "Catherine: Hey, how's it coming?", "Warrick: Good. Looks like I got a size eight. Check back with me, I should have more in a bit.", "Catherine: All right.", "(CATHERINE leaves and heads down the hallway.)", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- CONTINUOUS]", "(CATHERINE walks into the print lab.)", "Catherine: Hey, Jacqui. Grissom's print any good?", "Jacqui: The deposition pressure's heavy. The guy was really pressing hard on that window.", "Catherine: With one hand, anyway. Okay, well, that's a lot of distortion.", "Jacqui: Yeah. Platform ridges of the latent print were affected by the shift of the core away from the triradius.", "Catherine: So can you enhance the ridges equal to the amount of the slippage?", "Jacqui: Mm-hmm. With the help of this software. Now let's hope this guy's in one of our databases.", "Catherine: Well, I'd run AFIS last. I doubt if he's in there; he wasn't in CODIS.", "Jacqui: No criminal record? We're dealing with a newbie, a teenager.", "Catherine: It's kind of looking like that.", "(She checks the database and gets a match with the following results: )", "(From the Las Vegas Metropolitan Police Work Card Bureau)", "[LAS VEGAS METROPOLITAN AREA NON-GAMING PERMIT", "NAME: JUSTIN LAMOND OCCUPATION: POOL ASSISTANT, TANGIERS ISSUED: 11/29/2001", "EXPIRES: 10/23/2003", "P.D. Chief: Alec Champain ID# 18645-00065879]", "Catherine: Justin Lamond, 18. Non-gaming card.", "Jacqui: He's a pool boy at the Tangiers.", "(The additional information on the bottom of the screen reads: )", "[NAME: Justin Lamond ADDRESS: 4647 Cedar Street Las Vegas, NV 89107", "Control ID: 1092-23-78J", "Print: L.P Match Score: 100%", "Class Score: 100%", "Database: (5784985_657) ]", "Catherine: Oh, and look at that. He lives one block from the crime scene. Thanks, Jacqui.", "(CATHERINE walks out of the lab.)", "[SCENE_BREAK]", "[EXT./INT. SHOPPING MALL - DAY]", "(BRASS and CATHERINE stand on the top of shopping mall looking down over the people walking around below.)", "Catherine: Hey.", "Grissom: Hey. So the owner of the pool company says he spends his lunch hour here every day.", "Catherine: Well, that's what he looks like.", "(CATHERINE hands the information sheet complete with picture to BRASS.)", "Catherine: I'll be this way.", "Brass: Okay.", "(BRASS hands the information sheet back to CATHERINE. She walks to a different area.)", "(BRASS and CATHERINE start to scan the area below looking for JUSTIN LAMOND.)", "(CATHERINE sees him as he walks up the escalator behind a girl wearing a skirt.)", "Catherine: Jim. There, that's him.", "(BRASS walks over and looks where CATHERINE points.)", "Brass: Yeah, how can you miss him? Kid's pitching a tent.", "(BRASS and CATHERINE go to intercept him.)", "[SCENE_BREAK]", "[EXT./INT. SHOPPING MALL - DAY -- CONTINUOUS]", "(JUSTIN LAMOND reaches the top of the escalator. BRASS, CATHERINE and an OFFICER meet him at the top.)", "Catherine: Justin Lamond?", "Justin Lamond: Yeah?", "Brass: Come with me, Justin.", "(BRASS pulls JUSTIN LAMOND to the side.)", "Justin Lamond: Hey ...", "Brass: Nice fanny pack. I mean, I'm a wallet guy myself, but I can change. Mind if I take a look at yours?", "(BRASS opens the fanny pack and looks through it.", "Justin Lamond: I'm not doing anything.", "Brass: Pack's a camouflage. And check out the tip of his right shoe.", "(CATHERINE looks down at JUSTIN'S shoe and sees the small, nearly imperceptible flashing red light and lens.)", "(Quick CGI POV to: The camera starts from the tip of the shoe and follows the wiring up JUSTIN'S leg and through a hole in the fanny pack. The wiring connects up to the flat camera recorder that CATHERINE opens. End of CGI POV. Resume to present.)", "(On the monitor of the recorder, is a picture of CATHERINE.)", "Catherine: It's a spy camera. What, you can't peep in apartments during the day so you come to the mall to sneak some thrills?", "Justin Lamond: I don't know what you're talking about. I'm late for work.", "(JUSTIN tries to leave, but BRASS stops him.)", "Brass: No, your lunch hour just got very long.", "Catherine: Put him in the car.", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB -- DAY]", "(BOBBY DAWSON examines MELISSA WINTERS' bullet.)", "Bobby Dawson: Heck of a lot of tissue attached. Let me guess-- this has been in your victim for a while.", "Sara: Three years. Prosecutor friend of mine walked in to find a guy shooting her husband, then he turned the gun on her. She just had it surgically removed.", "Bobby Dawson: The human body's amazing. Three years.", "(Quick CGI POV of the bullet lodged inside the body. In a quick series of cuts, tissue forms completely around the bullet.)", "Bobby Dawson: (V.O.) Tissue forms around the bullet protecting the body from the leaching of the lead.", "(End of CGI POV. Resume to present.)", "Bobby Dawson: Hang on a second. You get approval from Grissom? I don't want him walking in on me.", "Sara: Yeah.", "Bobby Dawson: (he smiles at her) Sara Sidle ... ?", "(She smiles back.)", "Sara: Yeah, I did.", "Bobby Dawson: All right, just checking. Let's go.", "(BOBBY pushes his chair clear across the room to another table.)", "Bobby Dawson: Enzymatic detergent ought to clean this baby up.", "(He puts the bullet in a beaker and adds some detergent to it. After a moment, he pulls the bullet out of the beaker.)", "Bobby Dawson: Ugh ... Still stained.", "(He plops the bullet back into the beaker.)", "Bobby Dawson: All righty ... time to get serious.", "(He pushes his chair to another table. He puts the beaker into a machine that uses sound to clear the tissue off of the bullet. The tissue starts to peel off of the bullet.)", "Sara: (loudly through the buzzing of the machine) Hey, hey, careful with that bullet, it's my only evidence.", "Bobby Dawson: I thought you said the husband got shot, too.", "Sara: It was a through and through. The bullet decimated upon impact with the couch ... (He turns the machine off.) ... with the couch frame.", "(BOBBY takes the beaker out of the machine and takes the bullet out of the beaker. He examines the bullet.)", "Bobby Dawson: Hey, clean as a whistle. We're good to go. I'll run it through IBIS.", "Sara: Thank you. Page me?", "Bobby Dawson: Yeah, sure thing.", "(SARA leaves the lab.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]", "(BRASS closes his office door as he and CATHERINE interview JUSTIN LAMOND.)", "Brass: How long you been doing this-- videotaping woomen without their knowledge?", "Justin Lamond: It's only breaking the law if you record their voices.", "Brass: Ooo ... He's a smart kid, huh?", "Justin Lamond: Oh, come on ... look at the girls out there. They wear see-through tops, short skirts, bellies all on show. They so much want it. So I catch some money shots.", "Brass: Well, let's look at the young Kubrick's money shot, shall we?", "(BRASS turns on the television monitor and plays back JUSTIN'S tape. The first shot is of the woman on the escalator. The second shot is of a woman's cleavage. Next shot is of a woman leaning over. Additional footage continues along the same theme.)", "(CATHERINE is surprised by the video. BRASS turns the monitor off.)", "Justin Lamond: You guys are looking at me like I'm some scab. I don't do toilets, fat chicks, blue vein, crush stuff. Just low-tech voyeur.", "Brass: That's reassuring. Do you know Doreen Bainbridge?", "Justin Lamond: No.", "Catherine: We found your fingerprints on her window.", "Brass: And also a little love graffiti on the wall outside.", "(CATHERINE turns away and goes to retrieve something from the desk.)", "Justin Lamond: (shrugs like it's nothing) I spy, I don't engage.", "(He looks over at CATHERINE who is now turned away and bent over the desk reaching for something.)", "Catherine: Well, remind me to give you a medal.", "(CATHERINE turns around and sees him looking at her. JUSTIN quickly averts his eyes back to CATHERINE'S face, but not quick enough for her to not notice. She is annoyed and turns to look at BRASS.)", "Catherine: Stand up. Step down. Both feet.", "(CATHERINE opens two boxes to retrieve JUSTIN'S shoe imprints. He steps into the boxes. He steps out of the boxes. CATHERINE pulls out the measuring tape and measures the imprints. They're 13\".)", "(CATHERINE walks over to BRASS.)", "Catherine: It's not a match.", "Brass: You got to be kidding me.", "Catherine: Three-size differential. He was obviously outside Doreen's apartment, but he's not our guy.", "Brass: He's my guy.", "(Not about to let him get away with nothing, BRASS turns around and recites.)", "Brass: Justin Lamond ... sexually motivated offense, indecent exposure, gross lewdness. Let's go to booking.", "Catherine: Try to keep it on ice.", "(The tape measure snaps shut.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE walks in the lab.)", "Catherine: What's up?", "Warrick: Hey, this cast that poured into the shoe print that I found outside that victim's bedroom window ...", "(Quick CGI POV of the shoe imprint. Camera zooms in to note some yellow discoloration in one of the ridges. End of CGI POV. Resume to present.)", "Catherine: Yeah.", "Warrick: Pulled off some trace materials from it. It's like a yellow substance. It may be paint. Take a look and tell me what you think. Check it out.", "(WARRICK walks over to the scope and CATHERINE looks at what WARRICK has in it.)", "Catherine: Yeah. With glass. Reflective glass.", "Warrick: Yeah, I'm thinking maybe road paint ... crosswalk ... lane markings maybe.", "Catherine: So our suspect stepped in wet maintenance paint.", "Warrick: That stuff dries pretty fast. So he must've stepped in it on his way to the scene.", "(Quick flashback to: Yellow double painted lines on the road and someone walking through the wet paint. End of flashback. Resume to present.)", "Catherine: Which could tell us what direction he's coming from. Let me call my guy in the department of transpo.", "(CATHERINE walks out of the lab.)", "[SCENE_BREAK]", "[INT. CSI - A/V LAB]", "(GRISSOM is still sitting in front of the computer. CATHERINE walks into the lab.)", "Catherine: Still charting recent toms?", "Grissom: Architecture. He has a \"Type\". All these buildings that recently reported peeping toms? Got floor plans from the management company. A-- second story, three bedroom. B-- ground floor, two bedrooms, center lots. C ... C-plans are all one bedroom on the end. Cheapest rent, highest foot traffic easiest to break in.", "Catherine: He's a C-level man.", "Grissom: Yeah. And every apartment has sliding doors and windows. Not one sash, not one french.", "Catherine: And he gets there on foot, from east of Avon.", "Grissom: You found his epicenter?", "Catherine: Closing in on it. The city painted double yellows down Taylor Road last night. Started at 10:00 at Avon avenue. The paint crew goes three miles an hour. That puts them at Taylor and Cedar -- the victims' apartments-at approximately 20 after 10:00, just before the attacks.", "Grissom: Predators usually widen their comfort zone in a spiral pattern outward.", "(GRISSOM puts this new bit of information into the computer. On the monitor the entire potential area is enclosed in a red circle. Within the circle, red dots start appearing sporadically on the monitor.)", "Grissom: My god, look at all the C-level apartments. P.D.'S going to have to triple their presence.", "(The computer continues to add more red dots on the monitor.)", "Catherine: Quadruple it.", "[SCENE_BREAK]", "(Someone is standing outside a woman's apartment and looks in on her through the window blinds. She goes through her apartment unaware that he's out there.)", "Grissom: (V.O.) He hit two apartments in one night. He's become compulsive.", "Catherine: (V.O.) Predators get smarter with every attack. It's been in the news. He may be wearing gloves this time.", "(A gloved hand reaches in through the window and up to the sliding door latch. The woman is standing inside the lit apartment and going through her laundry.)", "(The sliding door opens. The man enters the apartment.)", "Grissom: (V.O.) Yeah, he's evolving ... perfecting ...", "(The woman turns around just as the gloved hand reaches out to cover her face.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI -- A/V LAB]", "(The telephone rings. GRISSOM answers it.)", "Grissom: AV lab. Grissom.", "Brass: (from phone) Your sexual assault moved up to rape.", "Grissom: Would you be exact, please?", "Brass: (from phone) 490 Kildare Road. Get here as soon as you can.", "Grissom: Thank you.", "(He hangs up the phone and enters the address in the computer.)", "(CATHERINE copies the address off of the monitor. She takes a step toward the door expecting GRISSOM to follow her. He doesn't move from his chair.)", "Catherine: Aren't you coming?", "Grissom: You can handle it.", "Catherine: High profile case, technicalities ... that can't be why you do this, why you hang back and hide out.", "Grissom: You look better on-camera.", "Catherine: Right. I didn't think so.", "(CATHERINE walks out of the lab.)", "[SCENE_BREAK]", "[EXT. 490 KILDARE ROAD -- NIGHT]", "(CATHERINE walks down the hill toward BRASS. She's carrying her kit.)", "Brass: So where's Grissom?", "Catherine: Supervising. So I'm listening to news radio on the way over here and they're calling him the sliding-door rapist.", "Brass: Well, we got Susie Spiegel. She was unable to ID her assailant. There was penetration this time. She said he was polite. He wore a condom.", "Catherine: Polite?", "Brass: Yeah.", "Catherine: He's just more savvy. There's less evidence for us to work with. I know, exactly.", "(CATHERINE and BRASS turn their heads as they hear a woman yell out.)", "Wendy: (o.s.) Hey! Police!", "(On the side, WENDY has TAYLOR REED face down on the ground, her knee in the center of his back.)", "Wendy: Come on, you pervert!", "Taylor Reed: Hey! Hey! I can't breathe.", "Wendy: Oh, well, you're not such a hotshot once a real woman gets a hold of you.", "(BRASS and the other officers arrive.)", "Brass: Slow it down, Xena. It's all right. Okay.", "Wendy: Look, I saw him in the bushes. I scared him.", "Brass: I know, I know. I understand.", "(WENDY gets off of TAYLOR REED.)", "Brass: Okay, get some id on these people, all right? Let's all go downtown, all right?", "Wendy: I got him by surprise. I got him. (to TAYLOR REED) You're not gonna - - you're dead.", "Brass: Are you all right?", "Wendy: Yeah, I'm fine.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA looks at a hand-drawn map of the crime scene. She studies the map and visualizes what must have happened.)", "(Quick flashback to: VICTOR WINTERS standing up and talking with someone holding a gun on him. MELISSA WINTERS walks into the room.)", "Victor Winters: Please ... don't shoot me.", "Melissa Winters: Victor?", "Victor Winters: Please ... please!", "(The gun fires.)", "Melissa Winters: Victor!", "(VICTOR WINTERS falls back onto the couch. MELISSA WINTERS rushes to her husband. She turns around and sees the masked man in the living room. He fires and hits her in her neck. She falls to the floor.", "(End of flashback. Resume to present.)", "(SARA goes through the photographs of the case. NICK enters the lab.)", "Nick: Hey, Sara. Heard you reopened the Winters case.", "Sara: Did you know the lead CSI on this case, Terry Flannery?", "Nick: Flannery. Yeah, yeah. He retired and moved back to L.A.", "Sara: These are exit wounds from the husband's back. What do you see?", "(SARA hands a photo for NICK to look at. He looks at the photograph.)", "Nick: It's shored. There's a definite abrasion ring.", "Sara: The only way you get marks like these is when the vic's back is pressed against something-- a floor, a wall. How did Flannery miss this?", "Nick: There are two CSIs you never want investigating your murder -- the one on his first week, and the one on his last.", "(NICK smiles and turns to leave the room. He looks back at SARA who has gone back to studying the photographs.)", "Nick: Hey, does Melissa know you're doing this?", "(SARA looks up.)", "Sara: I don't want to get her hopes up.", "Nick: She's been through a lot. You know how some victims are. They don't really want to know what happened. You know?", "(SARA looks back at NICK. After a moment, NICK leaves the room. SARA's pager beeps.)", "[SCENE_BREAK]", "[INT. CSI - BALLISTICS LAB]", "(SARA walks into the lab.)", "Sara: You got something?", "Bobby Dawson: Well, why else would I be paging you? A bullet shot from the same gun that was recovered from a liquor store robbery in Henderson six months ago. Check it out. They line up perfectly.", "(The two bullets side by side on the monitor, then overlapped. They match.)", "Sara: Cops recover the gun?", "Bobby Dawson: Do you one better? They got the shooter.", "(The information for ROGER WILDER appears on the monitor.)", "Sara: (smiles) Roger Wilder. I'm liking you already.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM", "(SARA questions ROGER WILDER.)", "Roger Wilder: I don't know any Melissa Winters.", "Sara: Oh, bad memory? Let me you. She was the Assistant DA who prosecuted you for assault five years ago. She got you sentenced to four years.", "Roger Wilder: Yeah, I was out in one. What about her?", "Sara: Well, the trial transcript says at the sentencing you yelled at her, \"What goes around, comes around.\"?", "Roger Wilder: It was a chump charge. She did a number on me.", "Sara: So was it just a coincidence that three weeks after you got out of jail, Mrs. Winters and her husband were shot in her own home?", "(ROGER WILDER doesn't say anything. He looks at SARA.)", "Sara: We recently recovered a bullet from Melissa's head. It happens to match a bullet fired from the gun that you used in your latest felony. You know what we call that? Corroborating evidence. I guess I'd keep my mouth shut, too. Three years have passed. You don't have to say anything, but I have to tell you that evidence persists. A fingerprint ... a fiber ... a hair. If I find one shred of physical evidence that places you in the winters' house, there is not a jury in Clark County that will not give you the death penalty.", "Roger Wilder: I went to her house. Not to kill her. I wanted to see the look on her smug-ass face when she saw I knew where she lived. She wasn't there, all right?", "Sara: Did you knock or did you use the doorbell?", "Roger Wilder: No one was there. I busted in, thought I'd mess the place up and give her a nice welcome home.", "(Quick flashback to: ROGER WILDER is inside the WINTERS' home. He picks up a golf club and looks around. He uses it as a bat and starts smashing things ... a vase ... the fireplace ... the table. On the floor with the shattered table top glass is a gun. He sees it.)", "[CLOSED-CAPTIONED: Roger Wilder: I busted in, grabbed the first thing I could find, made a little mayhem.]", "(End of flashback. Resume to present.)", "Sara: A gun just fell from a table.", "Roger Wilder: Yep. At least I got something out of her.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "(BRASS questions WENDY.)", "Wendy: Everybody tells you to get more involved in the community, but once you do ...", "Brass: Hey, hey, hey, you busted a man's lip. You broke a tooth, you sprained his finger.", "Wendy: Jujitsu, shotokan. (She holds up her hands.) They act on their own. I am just a vessel.", "INTERCUT WITH:", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- CONTINUOUS]", "(CATHERINE questions TAYLOR REED.)", "Taylor Reed: Shouldn't I go to the hospital? I was bleeding.", "Catherine: I just have a few questions. First off, what were you doing at those apartments?", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- CONTINUOUS]", "(WENDY looks over at BRASS.)", "Wendy: I was on my way home from spin class on my bike", "(Quick flashback to: WENDY riding her bike. She looks over and sees the figure of a man near a house.)", "Wendy: (V.O.) ... and then I saw him. He was in those bushes around Jennifer's place", "(The MAN sneaks up to the window outside the house.)", "Wendy: (V.O.) ... and I guess I thought the guy'd be scary.", "(WENDY looks over at the man and yells.)", "Wendy: Hey!", "Wendy: (V.O.) ... You know, night stalker scary, but he was like a wet french fry. I knew I could take him.", "(The man looks up at WENDY. WENDY stares at the man.)", "(End of flashback. Resume to present.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- CONTINUOUS]", "(CATHERINE continues to question TAYLOR REED.)", "Taylor Reed: She was insane. She didn't even let me explain.", "Catherine: Try me.", "Taylor Reed: I was looking for an apartment. I just got a raise and need more space.", "Catherine: So you decide to start your search in the dead of night when there's a rapist on the loose.", "Taylor Reed: I work days. It was in the classifieds.", "(TAYLOR REED pulls out a folded piece of newspaper from his pocket and shows it to CATHERINE as if that slip of paper explains it all.)", "Catherine: Oh.", "Taylor Reed: Besides, what, what's he going to do to me?", "Catherine: Well, Wendy did okay. Um, the problem I'm having is that those apartments there's always an availability so, um, kind of gives you a plausible excuse anytime, anywhere, doesn't it?", "Catherine: Oh, I like those shoes. What size are you?", "Taylor Reed: Eight and a half.", "Catherine: Eight and a half, huh? Do you mind if I look at the soles?", "(TAYLOR REED puts his feet up on the table. CATHERINE examines the shoes.)", "Taylor Reed: You seem disappointed.", "Catherine: Hey, how would you feel about allowing me to look at all your shoes from home? I mean, it'd be strictly voluntary.", "Taylor Reed: I don't know if I'd be comfortable with that.", "Catherine: A young, white male living in a targeted neighborhood -- I'd think you might want to, you know, help rule yourself out.", "Taylor Reed: I value my privacy.", "Catherine: Of course you do.", "(TAYLOR REED stands up and looks at CATHERINE.)", "Taylor Reed: Am I free to go?", "Catherine: Yeah.", "(TAYLOR REED starts walking toward the door. CATHERINE stops him.)", "Catherine: Oh. Uh, Mr. Reed. If Wendy attacked you and you're innocent, I'd think you might want to file charges against her. How come you didn't?", "(TAYLOR REED takes a step toward CATHERINE and nods his head.)", "Taylor Reed: Uh, no. I do. Want to. File charges, yeah.", "Catherine: You sure? I wouldn't want you to do anything you didn't believe.", "Taylor Reed: No, she assaulted me. I want to file.", "Catherine: We'll take a report.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE]", "(TAYLOR REED sits in BRASS' office behind his desk. BRASS pushes a piece of paper toward TAYLOR REED.)", "Brass: I want you to know once you sign that complaint, it becomes a binding legal document, all right?", "(Through the hallway glass window, CATHERINE watches TAYLOR REED sign the paper. BRASS looks up at CATHERINE and subtly nods his head. CATHERINE leaves and walks down the hallway.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM]", "(WENDY looks at the blood stain on her sweater sleeve. She can't believe what she's hearing.)", "Wendy: He's filing charges on me? This is ridiculous.", "Catherine: Agreed. May I please take that swab?", "(CATHERINE takes a swab of WENDY'S mouth.)", "Catherine: I'm going to need that jacket, too.", "Wendy: That's great, you know? The guy's out there raping women and I end up getting strip-searched by the police.", "Catherine: Wendy, I can't discuss an ongoing case, but what I can tell you is if we're going to get this guy, it'll be because of what you're giving us right now.", "Wendy: Really?", "Catherine: Really.", "Wendy: Okay.", "(WENDY takes off her jacket. CATHERINE smiles.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA works on the computer looking through various photographs of blood stains from the WINTERS' crime scene.)", "(She pages through eight photograph of blood stains and the ninth photo of VICTOR WINTERS, shot and lying on the couch. She looks at the blood stain on the shirt.)", "(Something doesn't add up.)", "(She goes back to the report:", "[INVESTIGATION", "According to CSI Terry Flannery at approx ... ... 03-03-2000 decedent Victor Winters (9 ... ... couch in an upright position from an ... ... upper extremities. Melissa Winters ... ... floor with gunshot wound to the base ... ... transported to Desert Palm Hospital for ...", "... EXAMINATION", "... 3809 On decedent all medical applia ... ... no inconsistent trauma observed with ... ... supported information. ]", "(SARA goes back to the photograph and prints it out. The printer prints the photo. SARA picks it up.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(Carrying the photo, SARA heads out the room and down the hallway. She meets NICK along the way. NICK turns around from wherever he's going and follows her.)", "Sara: Roger Wilder said he was inside Melissa's house which is true. He described the exact layout of the room. But he said he found the gun when he destroyed the coffee table and I have no evidence to disprove that.", "(They enter the lab.)", "[INT. CSI - LAB]", "Nick: Well, go for logic. Some guy breaks into the Winters' house shoots 'em both and leaves his gun behind? Why?", "(SARA picks up a box from the floor and opens it. Inside is VICTOR WINTERS' shirt in an evidence bag.)", "Sara: I don't know.", "(SARA takes the shirt out of the bag.)", "Nick: Well, if it was really there, how come CSI didn't find it?", "Sara: That's a very good question. I knew something was off when we saw that shored wound. It didn't match up with Melissa's account. If her husband was standing up like Melissa said when he was shot blood would have dripped down from the entry wound to the belt buckle.", "Nick: Yeah. Gravity only runs one way.", "(Quick flashback to: A gun is fired. The bullet pierces the shirt and the blood run down and seeps through the shirt making a stain that runs downward. End of flashback. Resume to present.)", "(SARA spreads the shirt out and looks at the blood flow. This blood stain runs from the bullet hole to the right. The conclusions are obvious.)", "Sara: This blood trail ... the only way it's going ... south ... he was laying down.", "(SARA looks at NICK. NICK doesn't say anything. The evidence speaks loud and clear. NICK leaves the room. He leaves SARA alone with the shirt and her thoughts.)", "Sara: (quietly) She lied.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(CATHERINE walks rapidly through the hallway. GREG jumps out of his lab and intercepts her. He carries a file folder with her test results.)", "Greg: He-ya! About the blood on kung fu lady's clothes.", "Catherine: Greg, I don't want any other cases jumping mine. This is priority.", "Greg: Eh ... If I had a dime ... anticipating that, I skipped dinner and ran the DNA through CODIS.", "Catherine: Mm.", "Greg: Turns out that your apartment hunter, that girly man, left his double helix behind at another crime scene.", "(CATHERINE'S eyes widen. She takes the results from GREG and looks at it.)", "Catherine: (reading) Unknown subject, five months ago breaking and entering, burglary.", "Greg: They had nothing to compare it to at the time.", "Catherine: But we do now.", "Greg: Mm-hmm.", "(GREG turns his head to the side and taps his finger to his cheek as if expecting CATHERINE to plant him one there. CATHERINE, thrilled with the results, walks past GREG and back down the hallway.)", "[SCENE_BREAK]", "[INT. HOSPITAL - MELISSA WINTERS' ROOM -- DAY]", "(SARA knocks lightly on the door. She opens it and walks inside. She sees her friend awake in bed.)", "Melissa Winters: (hoarsely): Sara, hey.", "Sara: (smiling) Hey. You did it.", "Melissa Winters: Yeah. I beat the odds. I got lucky.", "Sara: Lucky and smart.", "(SARA stands at the foot of her bed and looks a bit awkward.)", "Sara: (quietly) I reopened your case.", "Melissa Winters: Yeah, my doctor mentioned it. He said that he gave you the bullet.", "Sara: I know what you did, Melissa. I examined the evidence. Your husband wasn't-standing in front of the couch struggling with some stranger.", "(Quick flashback to: VICTOR WINTERS is asleep on the couch with the television on. MELISSA WINTERS walks up to him carrying the gun.)", "TV Sports Announcer: ...And the wildcats hang on...", "(She points the gun at her husband and fires.)", "(End of flashback. Resume to present.)", "Sara: There was no stranger. He was, uh, asleep, wasn't he? On the couch?", "Melissa Winters: You're the one with the evidence.", "Sara: You had a CSI who was about to retire who was predisposed to believe the testimony of an honest prosecutor like you. Especially since you got shot, too?", "(Quick flashback to: MELISSA WINTERS standing over her husband with the smoking gun. In shock at what she's done, she drops the gun on the floor and takes a step back. She sits down on the floor, she covers her face with her hands and cries.)", "(End of flashback. Resume to present.)", "Sara: See, he leaned up from a prone position.", "(Quick flashback to: VICTOR WINTERS wakes up and looks at MELISSA who is on the floor crying. He leans over the edge of the sofa and picks up the discarded gun. He points it at his wife. She slowly raises her head. He fires.)", "(He drops the gun and falls back on the couch. Dead.)", "(End of flashback. Resume to present.)", "Sara: The directionality of the blood tells the story.", "Melissa Winters: I didn't understand why I couldn't move my legs.", "Sara: And you couldn't let anyone find that gun. They would have tested your hands for GSR.", "(Quick flashback to: MELISSA WINTERS struggling to sit up. She reaches over for the gun. She grabs the gun and falls backward on the floor.)", "(Cut to: MELISSA WINTERS under the glass coffee table tucking the gun inside the wooden beam. That done, she falls back to the floor, unconscious.)", "(End of flashback. Resume to present.)", "Melissa Winters: I thought I could go back. That I could get rid of it.", "Sara: Somebody else did that for you. I almost had him arrested for a murder you committed.", "Melissa Winters: You would think that an attorney could come up with a great case against an abusive husband, but I was ashamed. I didn't want people to know what he did to me.", "Sara: All your closing arguments, all your big talk about Justice. I fell for all of it.", "Melissa Winters: I've always believed in Justice. I still do.", "Sara: (quietly) You never expected to live, did you?", "Melissa Wilder: No. Out of all the CSIs, I knew I could depend on you.", "Sara: I guess I'll be seeing you in court. Good-bye, Melissa.", "(SARA turns and leaves the hospital room. She closes the door and looks up at the officer standing outside. She nods to him and he enters the hospital room as she walks away.)", "(SARA walks down the hall and stops. She turns and leans back against the wall.)", "(Camera holds on SARA.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(CATHERINE walks through the hallway and into the Audio/Visual Lab where GRISSOM is sitting behind the computer.)", "Catherine: How's your chart of escalation?", "Grissom: De-escalating. I had figured Taylor Reed was branching out, widening his circle, but after last night, I think he's pulling in, going back to his original comfort zone.", "Catherine: Was one of your original burglaries located at 13200 Appian way?", "(GRISSOM types in the address into the computer. The following results show:", "[Summary for 13200 Appian Way Crime Scene Report 09/06/02 (approx. 5 months ago)", "Case: Breaking & Entering ... Offender broke through a sliding glass door on the first floor.", "...CB: Case File (48377-587) ]", "Grissom: Five months ago. First floor. Broke in through a sliding door.", "Catherine: Where our guy Taylor Reed cut himself on the glass. So, we've narrowed the epicenter down to a single block-- Appian way. I'm thinking if we find something overlooked at those early crime scenes on Appian, we can tie it to our sexual assaults.", "Grissom: De-escalation. If we can't get to where he's going, we'll go where he's been.", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(A WOMAN answers the front door. NICK is on the front porch)", "Nick: Hi. Hi, I'm Nick Stokes. I'm with the Vegas Crime Lab. There's a situation in your apartment complex you should be aware of. Do you mind if I come in, ask you a few questions?", "[SCENE_BREAK]", "[EXT. -- NIGHT]", "(The front door opens. A man and a woman find WARRICK on their front porch. He holds out his ID.)", "Warrick: Hello. I'm Warrick Brown. I'm from the Las Vegas Crime Lab. We're investigating a disturbance a couple doors down. I wanted to ask you a few questions if I could.", "[SCENE_BREAK]", "[EXT./INT. 13200 APPIAN WAY -- NIGHT]", "(BRASS and CATHERINE walk up to the next door.)", "Brass: So help me out. What's a delicate way to say this? I'd like to barge in, tear your apartment upside down look for five-month-old evidence?", "Catherine: You're the poet.", "Brass: I'm glad you noticed.", "(They reach the front door. Through the window they see the lights on inside.)", "Catherine: Looks like somebody is still awake.", "(BRASS knocks on the door. The front door opens ... )", "Brass: Las Vegas Police ...", "(... and they come face-to-face with TAYLOR REED.)", "Taylor Reed: Detective. Ma'am.", "Brass: What are you doing here?", "Taylor Reed: I live here.", "Brass: This is not the address on your driver's license.", "Taylor Reed: People move.", "Brass: Right.", "Catherine: We'd like to come in.", "Taylor Reed: Sure.", "(He stands aside and they walk into the apartment. CATHERINE turns her flashlight on and starts to look around.)", "Taylor Reed: Pardon the mess.", "Catherine: I'm going to take a guess here. This apartment came on the market five months ago. The old tenant was bothered by the breaking and entering, the bloodstain that you left behind. You moved into the apartment you committed your first crime in, didn't you?", "(CATHERINE turns her flashlight on TAYLOR REED and starts to examine him.)", "Brass: Now you're ready to move again, huh?", "Catherine: You weren't looking for another apartment. You were looking for ...", "(CATHERINE sees a part of hair torn off from the back of his head. Her eyes widen.)", "Catherine: ... another victim. You got something to hide, Reed?", "(TAYLOR REED doesn't respond. CATHERINE starts to examine the floors.)", "Catherine: Jim?", "Brass: Yeah, okay.", "(CATHERINE leaves the living room area and starts walking down the hallway. She's looking for something.)", "(Almost near the end of the hallway, she sees it. A piece of bloodied hair with torn scalp in the middle of the hallway floor.)", "(TAYLOR REED notices that CATHERINE sees the hair. He turns to run, but BRASS is there to stop him.)", "(CATHERINE opens the door and finds a bound woman on the floor.)", "Catherine: Jim, we need an ambulance!", "(CATHERINE kneels down next to the woman.)", "Catherine: Miss, are you all right? It's over. It's over. It's okay.", "[SCENE_BREAK]", "[EXT. - NIGHT]", "(The woman is being wheeled away on a gurney. CATHERINE stands nearby. She peers into the window of the police car and looks at TAYLOR REED who's sitting inside. They look at each other. CATHERINE walks away.)", "[SCENE_BREAK]", "[INT. CSI - LOCKER ROOM - NIGHT]", "(SARA sits on the locker room bench. GRISSOM stands near the door looking through a locker.)", "Sara: The cop read Melissa her rights right there in the hospital room. You think you know somebody.", "Grissom: I never think that.", "(SARA looks up at him.)", "Sara: Ever?", "(After a moment, she turns away and stares at the locker in front of her.)", "Sara: When I was a kid I was playing hide-and-seek one day and I found this plastic bag under my big brother's bed. I thought it was a bag of dirt so I took it to my mom. Turned out it was his bag of weed. He was grounded for a year.", "Grissom: The best intentions are fraught with disappointment.", "Sara: Emerson?", "(He closes the locker door and looks at SARA.)", "Grissom: Grissom.", "(SARA turns to look at GRISSOM. He lifts an eyebrow. She turns back to look at the lockers in front of her.)", "(Looking back at SARA, GRISSOM slowly leaves the locker room. SARA closes her eyes and lowers her head, her silence as heavy as her thoughts. The camera moves away from SARA ... )" ]

[ "Warrick and Grissom investigate the death of a man found at a foam party. Nick works on the case of a man found dead in his home. Catherine and Grissom investigate the death of a women who was involved with the aforementioned two men, all of which lead to Lady Heather. Catherine desperately tries to find out where her missing daughter and ex-husband are. Sara eventually takes over the case." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. CLUB - ENTRANCE -- NIGHT]", "(CLUB SECURITY is running a hand-held metal detector on every person who wants to enter the club. Currently, they check a man at the door. The line behind him is long.)", "Club Security: Go ahead. CLUB SECURITY: Turn around. CLUB SECURITY: Go ahead. CLUB SECURITY: Next.", "(CLUB SECURITY motions for the man to go. The man leaves. Next up is a woman. CLUB SECURITY runs the hand-held metal detector on her back, from top to bottom.)", "Club Security: Turn around.", "(The woman turns around. The metal detector beeps.)", "Woman: My kitty's pierced.", "(CLUB SECURITY stares at her without comment.)", "Woman: Want to see?", "[SCENE_BREAK]", "[INT. THE CLUB - NIGHT -- CONTINUOUS]", "(Camera travels low to the ground following The WOMAN into the club. She stops at the railing to watch what's happening in the pit.)", "DJ: (over speakers) Party people ... Brothers and Sisters ... Angels and devils ... Virgins and Sinners ... let the foam take you away to your deepest desires. Cleanse yourself. There's no turning back now.", "(Inside the pit, men and women dance as they are being covered with foam.)", "(From inside the foam pit, a woman stands and starts screaming, her voice heard above the pulsating music.)", "[SCENE_BREAK]", "[INT. THE CLUB - NIGHT]", "(Camera opens on the pit, foam dissipated. In the center of the pit is a dead body sprawled out on the floor. BRASS stands over the body while looking through the victim's wallet.)", "(GRISSOM carries his CSI kit and makes his way down the steps into the pit toward BRASS. BRASS holds the victim's ID card.)", "Brass: Ever been to a foam party?", "Grissom: What do you think?", "Brass: Things can get pretty wild.", "Grissom: (looking at the body) Evidently. You got an I.D. on this guy?", "Brass: Yeah, the deceased is Trey Buchman. Age 21. I got a Vegas I.D.", "Grissom: Eyewitnesses?", "Brass: Uh, too much foam. The party was over. Most of the \"responsible\" young adults had split.", "Grissom: It's amazing how the sight of blood can clear a room.", "(GRISSOM puts his kit down and kneels to look at the victim.)", "Brass: Yeah. I'll tell you what we got. My guys are talking with the girl who found the body, but even sober, she's not going to be much help.", "Grissom: Wonder what made this wound? Looks like a puncture.", "Brass: Ice pick, maybe?", "(BRASS riffles through the man's wallet, counting the money inside.)", "Brass: Well, wow. Tell you it's not for the money. I got about three grand here, all in c-notes.", "(He holds the money up for GRISSOM to see.)", "Grissom: (looks up) Proves the old adage.", "Brass: Which adage is that?", "Grissom: You can't take it with you.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "WHITE FLASH IN:", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "Warrick: (V.O.) Foam at the sinner's den ...", "[SCENE_BREAK]", "[INT. CLUB -- NIGHT]", "(WARRICK and SARA walk across the club toward the steps to the pit.)", "Warrick: I hung out here a few times.", "Sara: Never been.", "Warrick: Your knucklehead boyfriend never took you on the party circuit?", "Sara: Uh, pass.", "Warrick: That's cool about Vegas. It's Monday: Rain at the Palms; Tuesday: Eden at studio 54; Wednesday: Raw at the Luxor; Thursday's Baby's ...", "(WARRICK and SARA pass the guard at the top of the stairs and make their way down the stairs into the pit.)", "CAMERA PANS TO:", "[SCENE_BREAK]", "[INT. CLUB - NIGHT - CONTINUOUS]", "(BRASS is interviewing the OWNER of The Dance Club.)", "Owner: Hey, look. Some kid dropped dead. It's a shame. Kids O.D. all the time in nightclubs. They're big boys and girls. This ain't church.", "Brass: I understand that.", "Owner: You understand. You know the kind of rent I pay on a joint like this? Rain or shine, I owe the landlord fifty thou ($50,000).", "Brass: You're breaking my heart, pal. Look, here's how this works. The more you cooperate, the sooner you'll be up and running.", "Owner: You don't get it.", "Brass: No, I get it. I got a daughter who's twenty, she hangs out. I don't want her to die in a place like this, so do me a favor, get me the VIP list for tonight ... and smarten up.", "[SCENE_BREAK]", "[INT. CLUB - THE PIT - NIGHT -- CONTINUOUS]", "(Camera opens on body fluid spatter on underwear left on the floor of the pit as seen through tinted glass and an ALS. GRISSOM moves the light away and continues to look around.)", "(SARA opens her kit and removes a pair of gloves to put on.)", "(GRISSOM continues to look around the floor of the pit and sees more body fluid spatter ... on the floor ... on discarded underwear ... on everything and everywhere.)", "Grissom: There's seminal fluid all over the place.", "Sara: Is this a dance club or a s*x club?", "(WARRICK picks up a discarded underwire bra.)", "Warrick: A little of both. Don't you love this town?", "(He holds it up and bags it.)", "Sara: Whatever you say, Superfly.", "(WARRICK snorts.)", "Grissom: You guys smell that?", "(WARRICK picks up discarded underwear next to marker #10.)", "Sara: Mm-hmm.", "Grissom: Smells like strawberries.", "Warrick: It's the foam.", "(He puts the underwear in a bag.)", "Warrick: Reminds me of the Mirage. Steve Wynn didn't like the smell of the volcano erupting, so he changed the fuel mixture. Now it smells like a piña colada.", "(WARRICK moves to item #11 and picks up a clear stiletto-heeled shoe.)", "(BRASS walks into the pit.)", "Brass: Hey. I got a line on our vic. Trey Buchman, booked a room at The Sphere. E-wing, room 937.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - MORNING]", "[SCENE_BREAK]", "[INT. THE SPHERE - ROOM 937 -- DAY]", "(GRISSOM stands near the room window and looks around the inside of the main room/bedroom.)", "(In one smooth, continuous movement, the camera slowly moves over to SARA looking around from the bed to the walls on the opposite side of the room. She examines a pair of large cuffs dangling from the bedroom wall lights.)", "Sara: These people are freaks.", "(Camera moves through the bathroom door to WARRICK who is examining the bathroom. He picks up a strand of hair.)", "Warrick: (calls out) Got a long dark hair.", "(Camera moves back through the bathroom door to SARA who turns away from the cuffs and starts examining the floor.)", "Sara: Vic had short hair.", "(Camera moves back to GRISSOM who is holding up a champagne glass with a lipstick smudge on the lip.)", "Grissom: One of our \"freaks\" wears pussycat pink.", "(Cut to close up of the champagne glass with lipstick smudge.)", "CUE: (PRELAP) PLAY NARRATOR: The battle was fierce ...", "[SCENE_BREAK]", "[INT. ELEMENTARY SCHOOL - AUDITORIUM -- DAY]", "(LINDSEY is dressed in Sleeping Beauty blue and lying on a make-shift bed in the middle of the stage. CATHERINE sits in the middle of the audience near the aisle, the proud parent holding a digital video camera, recording the play. LINDSEY turns her head and opens one of her eyes to look at her mom. She shuts her eyes and turns back to 'sleeping'.)", "Play Narrator: (o.s.) ... The Evil Sorceress had powerful magic, but the Prince was brave and true.", "(On stage, the \"Prince\" battles a \"Dragon\". CATHERINE smiles as she gets everything on camera.)", "(EDDIE walks down the aisle from the back of the auditorium. He slips into the seat next to CATHERINE.)", "Play Narrator: (o.s.) Finally, the brave Prince slew the Sorceress-dragon and went to awaken his beloved Princess.", "(CATHERINE puts the camera down. She sighs and shakes her head.)", "Catherine: You're late, Eddie.", "Eddie: Don't start.", "Play Narrator: (o.s.) He climbed the many stairs to the top ...", "(On stage, the \"Prince\" makes his way toward LINDSEY.)", "Catherine: You know how much this meant to Lindsey?", "Eddie: Can we argue about this later, okay?", "(On stage, the \"Prince\" kisses LINSEY on the cheek. Her eyes open.)", "Play Narrator: (o.s.) Her eyes would open with true love's kiss.", "Eddie: (smiling) Hey! She's so beautiful. Give me that.", "(He reaches for the camera. CATHERINE hands it to him. He resumes recording the plan.)", "Play Narrator: (o.s.) The evil spell was finally broken.", "Catherine: Nice perfume.", "(EDDIE puts the camera down and sighs.)", "(On stage, LINDSEY sits up ready to delivery her lines.)", "Lindsey: My ...", "(At that moment, EDDIE has had enough.)", "Eddie: (loudly) Okay ...", "(He stands up and looks down at CATHERINE.)", "(LINDSEY and everyone else turns to look at EDDIE.)", "Eddie: Fine. Is this okay?", "Play Narrator: (o.s.) (prompting) My prince ...", "(EDDIE pulls back a chair one row in front of CATHERINE. He sits down.)", "(LINDSEY swallows.)", "Play Narrator: (o.s.) (prompting) My prince ... at long last, you've come for me.", "(EDDIE raises the camera and resumes recording.)", "Lindsey: (upset) My ... my - my prince ...", "Play Narrator: (o.s.) (prompting) ... at long last, you've come for me ...", "(LINDSEY turns to look at her parents in the audience. CATHERINE nods at her and smiles encouragingly. But it's way too late. LINDSEY'S more than hurt. She starts to cry.)", "(LINDSEY slides off of the bed and runs off stage.)", "(Camera holds on CATHERINE and EDDIE.)", "[SCENE_BREAK]", "[INT. ELEMENTARY SCHOOL - HALLWAY -- DAY]", "(LINDSEY sits next to EDDIE on the bench in the hallway. CATHERINE kneels in front of LINDSEY.)", "Catherine: I'm sorry, baby. You did good, though.", "Eddie: Yeah, you were fine, Linds. Good.", "Catherine: Hey, and you know what? It's just a play.", "Lindsey: No, it's not just a play. I was Sleeping Beauty and you guys ruined it.", "Catherine: I'm sorry, honey.", "Eddie: Hey, I'll bet if you ask Mrs. Parker, she'd let you keep that blue dress.", "Lindsey: I want to go home.", "(CATHERINE nods and stands up.)", "Catherine: Okay. Let's go home.", "Lindsey: No, mom. I want to go with dad.", "(EDDIE looks up surprised at LINDSEY.)", "Catherine: You sure about that?", "(LINDSEY nods.)", "Catherine: Okay.", "(EDDIE turns to look at CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(ROBBINS goes over his preliminary findings with GRISSOM. TREY BUCHMAN'S body is on the table between them.)", "Robbins: Tox report on your foam guy came back negative.", "Grissom: Negative?", "Robbins: No drugs, no alcohol, no medication, not even an aspirin.", "Grissom: That's odd. It was a Den of Iniquity.", "(GRISSOM thinks about it for a moment and shakes his head a little. He nods down at the body.)", "Grissom: What about the neck wound?", "Robbins: The sternocleidomastoid muscle and the jugular vein were lacerated.", "(Quick CGI POV as the camera moves in toward the neck wound. It goes through the skin and down into the muscle below, piercing through the vein, blood splashing onto the lens.)", "(Flash to white. End of CGI POV. Resume on ROBBINS.)", "Robbins: The wound was a bloody mess, probably lethal.", "Grissom: Any idea what caused it?", "Robbins: Hard to say. Definitely an odd entry wound. Not a knife or sharp object ... probably something blunt, like a pen or a stake of some sort.", "Grissom: Anything else?", "Robbins: Check this out.", "(ROBBINS points to something on the body's right shoulder. GRISSOM leans in to look at it.)", "Grissom: Looks like a bite. Spider bite or allergic reaction, maybe?", "Robbins: Stand by. I'll process the tissue in histopath, see if it's worth writing home about.", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(GRISSOM is examining a silver thong. WARRICK walks in.)", "Warrick: I was wondering where I put my nice silver satin thong.", "(GRISSOM looks up at WARRICK.)", "Grissom: Gloves.", "(WARRICK grabs a latex pair and puts it on. GRISSOM puts the thong back in its bag.)", "Grissom: Okay, we're looking for any kind of blunt object that could've been used to stab our victim in the neck.", "(GRISSOM picks up the photo of the injury and hands it to WARRICK. WARRICK takes a moment to look at the photo before scanning the items on the table, gathering them as he goes.)", "Warrick: Glow stick. Ball-point pen. Cell phone antenna. You have the luminol?", "(GRISSOM hands WARRICK the spray bottle.)", "Warrick: Thank you.", "(WARRICK turns the lights off. He takes the items out of the bags and sprays them.)", "Warrick: Nothing.", "(GRISSOM picks up the bag with the clear stiletto-heeled shoe. He looks at the shoe heel.)", "Warrick: Are we sure it was a blunt object?", "(GRISSOM takes the shoe out of the bag to examine the heel.)", "(Quick flashback to someone swinging the shoe and stabbing the victim in the neck with the heel. Close up of heel in the neck. End of flashback.)", "Grissom: Size ten, double A.", "Warrick: Stilettos, huh? Brings out the toes, accentuates the legs. Murder on the ankles, though.", "(WARRICK sprays luminol on the heel. It glows in the dark.)", "Grissom: Looks like murder to me.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - THUNDERSTORM -- NIGHT]", "Woman: (o.s.) ... I'm on every club's VIP list ...", "SCENE #12", "[EXT. THE CLUB -- NIGHT]", "(BRASS accompanies a WOMAN. He holds the umbrella for her as they walk.)", "Brass: Well, you got lucky. You're on my list now.", "Woman: I don't want to be on your list.", "Brass: Here, hold this.", "(The WOMAN scoffs. BRASS hands the umbrella to her.)", "Brass: Nice shoes.", "Woman: Thank you.", "[SCENE_BREAK]", "[INT. THE CLUB -- NIGHT]", "(In a room full of women, GRISSOM makes an announcement.)", "Grissom: Okay, this is the story. One of you lovely Cinderellas is missing a glass slipper and I'm playing the Prince. So would each of you remove your right shoe, please?", "(Dissolve to GRISSOM kneeling as he tries the shoe on the women. A group of four-five women sit in the high stools as he tries the shoe on. Another group of three women stand on the side and wait their turn.)", "Grissom: Doesn't fit.", "(Dissolve to GRISSOM continuing to try the shoe on more women's feet.)", "(Dissolve to women standing and sitting, moving around and waiting their turn to try on the shoe.)", "(Close up of a foot that doesn't fit the shoe. GRISSOM looks up.)", "Grissom: Almost.", "(The woman stands up and another woman takes her seat.)", "Woman: Hi.", "(GRISSOM tries the shoe on another foot.)", "Grissom: No.", "(The next foot GRISSOM fits the shoe on is a perfect match. He looks up at the blonde woman. She smiles down at him.)", "Grissom: Well, if the shoe fits ...", "Brass: ... wear it.", "(The woman glances at BRASS, then turns to look at GRISSOM.)", "WHITE FLASH TO:", "[EXT. LAS VEGAS CITY (STOCK) - THUNDERSTORM - NIGHT]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT]", "(BRASS is questioning the Blonde-Haired Woman whose foot fit the shoe.)", "Brass: Comfortable?", "Woman: So far. Thanks for asking.", "Brass: You want to tell me how your shoe ended up in Trey Buchman's neck?", "(She glances at the bagged shoe on the table.)", "Woman: I don't know. Last I remember, the foam was rising ...", "(Quick flashback to The Club and people dancing. The WOMAN is dancing with a MAN. He lifts her up above him. He puts her down. The heel of her shoe pierces through the victim's neck. The victim is already on the ground.)", "Woman: (V.O.) ... and my heel went into something ... soft ...", "(End of flashback. Resume to present.)", "Woman: ... thought it was someone's foot.", "Brass: Jugular. There's a slight difference. Do you want to tell me why you left your shoe behind?", "Woman: Heel broke.", "Brass: And the fact it had blood on it, that wasn't the reason?", "Woman: Never saw blood.", "Brass: I see. I did some checking -- because that's what I do -- and you and our victim had a relationship a while back.", "Woman: I've \"relationshipped\" about a dozen guys on the circuit, including Trey. Nothing ends -- we still all meet up at The Club.", "Brass: I see.", "(He looks at her. She looks at him. He takes a breath. Her look changes. She slowly stands up. BRASS is puzzled by her action, but says nothing.)", "(She walks toward BRASS and sits at the edge of the table.)", "Woman: ... and the way he gave it to me ... believe me, he's the last guy I'd want dead.", "(She crosses her legs. She lifts her foot up and puts her high-heeled shoe on BRASS' chair between his legs. Her hand grasps the hem of her ultra-mini dress as it rides up her thigh.)", "(GRISSOM appears in the doorway. He knocks purposefully on the door frame.)", "(BRASS clears his throat and looks away. The WOMAN turns her head to look at GRISSOM.)", "Grissom: (loudly) Excuse me, Jim. Am I interrupting something?", "(BRASS waves GRISSOM inside. The WOMAN tugs the hem of her dress down ... pleased by the reaction she got from BRASS.)", "Brass: (croaks) Gil, please ...", "(GRISSOM enters the room. The WOMAN turns to look at GRISSOM, a slight smile on her face.)", "Grissom: Miss ...", "(GRISSOM puts on a pair of latex gloves.)", "Grissom: ... I'm going to need a sample of your DNA.", "Woman: How do you want it.", "Grissom: I like your hair.", "Woman: (looking up at GRISSOM) I like yours.", "Grissom: Are you a, uh, natural blonde?", "(The WOMAN deliberately doesn't answer the question. She turns to look at BRASS. GRISSOM also turns to look at BRASS.)", "(BRASS shakes his head. No.)", "(GRISSOM reaches over and pulls out a strand of her hair.)", "Woman: Ow.", "Grissom: Sorry. I needed a follicular tag.", "(He puts the sample in the envelope.)", "Grissom: Thank you.", "(GRISSOM turns to leave. She calls him back.)", "Woman: \"Gil\"? Any chance you found my thong? Silver lamé, probably twisted in knots.", "Grissom: Oh, yeah, we did. You'll need to fill out a form, though. The Captain will help you ...", "(GRISSOM turns to leave.)", "Grissom: ... Surely.", "(Camera holds on BRASS.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(ROBBINS takes a slice of a cross-section of the \"bite\" mark from the victim. He puts the thin slice on a scope slide.)", "(He lights a Bunsen burner and gently heats the slide.)", "(He dips the slide in a container of \"Haematoxylin\", then he puts the slide in \"Acid Alcohol 1%\", then in a container of \"Eosin\".)", "(He gently dries the slide. He puts it under the scope.", "(Cut to Scope View of the slide. The magnification changes to a more powerful view. ROBBINS lifts his head from the scope.)", "[SCENE_BREAK]", "[INT. CSI - GRISSOM'S OFFICE]", "(GRISSOM is in his office examining photographs at his desk. He's also listening to Opera music on his earphones. From where we are, we can hear the muffled music.)", "(ROBBINS enters the room.)", "Robbins: Hey, Gil?", "(When he doesn't get a reaction from GRISSOM, ROBBINS leans in closer. GRISSOM looks up.)", "Robbins: Carmen?", "(GRISSOM takes the earphones off.)", "Grissom: Right after the murder.", "Robbins: Opera makes it all seem so lovely. And at the risk of sounding like your mother, you're going to ruin your eardrums.", "(Without commenting, GRISSOM turns the music off.)", "(ROBBINS picks up the photograph of the tissue and shows it to GRISSOM.)", "Robbins: Our victims tissue -- Trey Buchman. The, uh, circular contusions I sectioned, indicate damage extending only 30 microns below the epidermis.", "Grissom: So it's not a bug bite.", "Robbins: Man-made, high-pressure, subcutaneous injector.", "Grissom: No needle?", "Robbins: Simply high pressure penetrating the skin.", "(Quick CGI POV of the end of the high-pressure injector against the skin. Cut to cross-section of the skin as the contents of the injector is sprayed inside and passed through. Flash to white. End of CGI POV. Resume to present.)", "Grissom: Did you send a sample to tox?", "Robbins: Our victim was injected with insulin.", "Grissom: Diabetic?", "Robbins: Nope.", "Grissom: So cause of death was insulin shock.", "Robbins: Insulin doesn't make for a narcotic or hallucinogenic high so I don't know why Buchman would take the stuff.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. RICHARDS' RESIDENCE - NIGHT]", "(NICK and CATHERINE enter the residence.)", "Nick: Downstairs neighbor smelled it. Called the plumber.Yeah, they always think it's a sewage problem.", "(CATHERINE'S cell phone rings.)", "Nick: Phew!", "(She answers her phone.)", "Catherine: Eddie? Ed? Hello? Uh ... bad connection, Ed. Uh, I just entered a scene. I-I'll call you later.", "(CATHERINE hangs up. NICK makes his way to the dead body.)", "Nick: Whew. No pain, no gain. Purge fluid.", "Catherine: D.U.N.S.", "(Quick flashback to the neighbor in the apartment underneath. He looks up and sees the large patch of liquid on the ceiling spreading and dripping. End of flashback. Resume to present.)", "Nick: Dead Upstairs Neighbor Syndrome.", "Catherine: (nods) Mm-hmm.", "Nick: Yeah, well, it's going to take us a while to get this smell out of our nose hairs.", "Catherine: Parchment changes of the skin. So what's the exposure to that window, south?", "Nick: East. Gets direct sunlight half the day. I learned that down in Lauderdale. You know, you've got to remember to turn.", "Catherine: Right, all that spring break activity with the frat brothers ...", "Nick: Something like that. Nice little cocaine fingernail. So ... no mail built up. I don't see a telephone. What do you think? ...", "(CATHERINE'S cell phone rings. She answers it.)", "Nick: ... Howard Hughes in a studio apartment?", "Catherine: Eddie? Ed?", "Nick: Now what's his deal?", "(CATHERINE hangs up the phone.)", "Catherine: Lindsey's with him. Maybe she's ready to come home.", "Nick: Yeah, I bet.", "[SCENE_BREAK]", "[CLOSET]", "(CATHERINE opens the closet and looks through the dresser drawers. They're empty. She pushes the clothes hanging aside and finds a passport and a stack of bills on the dresser. She flips through the passport and sees a lot of different stamps indicating its use.)", "[LIVING ROOM]", "(Cut to NICK working on the laptop on the table. He tries entering a password and gets denied.)", "Nick: How you doing?", "Catherine: Cash and a very busy passport ... designer threads. Ten-to-one, Croix Richards is a drug dealer. And that is no workout accident.", "(CATHERINE looks at the passport photo with the following information:", "[United States of America ID Card for Richard, Croix DATE OF BIRTH: 21 SEP/SEP 1970", "s*x: M PLACE OF BIRTH: LAS VEGAS, NV USA DATE OF ISSUE: 18 OCT/OCT 1998", "EXPIRATION DATE: 17 OCT/OCT 2008", "PASSPORT AGENCY / LAS VEGAS ]", "(CATHERINE'S phone rings. She answers it.)", "Catherine: Eddie? Eddie, you've got to get to a land line. This connection sucks.", "(Through the static, CATHERINE hears something that stops her cold.)", "Lindsey: Mommy ... (static)", "Catherine: Lindsey? (beat) H-honey, (beat) I-I can't hear you.", "Lindsey: (crying) Mommy ... please ... scared ... all alone.", "Catherine: You're alone? Well, honey, where's daddy?", "(CATHERINE automatically heads for the door. NICK signals to her.)", "Lindsey: Daddy... (static)", "Nick: You want me to just...?", "(CATHERINE absently nods at NICK, her mind on her daughter.)", "Catherine: Uh ... (to NICK) thanks-- (to LINDSEY) uh, yeah, honey. Yes, yes, I'm coming.", "(CATHERINE heads out the door.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "(Thunder rumbles in the sky and lightning flashes. It begins to pour.)", "Lindsey: (V.O.) Mommy, please! I'm scared... all alone! ...", "[SCENE_BREAK]", "[INT. CATHERINE'S CAR - NIGHT]", "(CATHERINE is behind the wheel of her car. She has her cell phone to her ear.)", "Lindsey: (on phone) ... We were in the car, going fast. (beat) We hit something.", "Catherine: It's going to be okay, honey. I'm on my way. (pause) Do you know where you are.", "INTERCUT WITH:", "[INT. EDDIE'S CAR - NIGHT]", "Lindsey: I don't know. There's lots of water, mommy!", "Catherine: Are you near a lake? Are you near grandma's house?", "Lindsey: No, the water's in the car?", "Catherine: In the car? (pause) Lindsey, can you get out?", "Lindsey: (looking around) No.", "Catherine: It's going to be okay, honey. Just listen to me. Before the car crashed, where were you going?", "Lindsey: Daddy said the hospital.", "Catherine: On the way there, did you see any hotels?", "Lindsey: I saw the castle.", "Catherine: Excalibur. Did you see, did you see the pyramid?", "Lindsey: Yeah.", "Catherine: Industrial Road? Is that, is that it? Lindsey, is it industrial road?", "(The water begins to rise inside the car.)", "Lindsey: There was a bridge. We went through a fence. (there's more static.)", "Catherine: Lindsey? Lindsey!", "(CATHERINE can't hear LINDSEY anymore. They're disconnected. She hangs up.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. ROADWAY - NIGHT - CONTINUOUS]", "(CATHERINE'S driving along the Industrial Road. She looks outside the car window and sees a break in the wire fence. She pulls the car to the side and stops the car. She gets out of the car and runs to the edge of the walkway.)", "Catherine: Lindsey? Lindsey!", "(She sees EDDIE'S car down below semi-submerged in running canal water. In the back of the car, LINDSEY'S still inside, hitting the window with her hand.)", "Lindsey: (crying) Mommy!", "Catherine: Hang on, honey!", "(CATHERINE goes back to the car & opens the emergency kit in her trunk. She grabs the screwdriver and heads back to the car.)", "Lindsey: Mommy! Hurry!", "(CATHERINE slides down the embankment toward the car and into the water.)", "Catherine: I'm here, honey.", "Lindsey: (hits the car window) Mommy!", "Catherine: I'm going to get you out. Hang on.", "(CATHERINE checks the car window then instructs LINDSEY.)", "Catherine: Okay. Listen. I have to break the window, okay? You've got to move to the front.", "Lindsey: Mommy, I can't! I can't. I'm scared!", "Catherine: Okay, I'm going to come around, okay? I'm coming around.", "Lindsey: Please, mommy.", "(CATHERINE moves around the side of the car that's covered in water. She lifts herself up on the car and looks through the window at LINDSEY.)", "Catherine: I'm here, Lindsey. I'm going to go down. I'm going to go down.", "(CATHERINE motions to LINDSEY, who shakes her head.)", "Lindsey: No, mommy! No!", "(CATHERINE takes a deep breath and dives under the water. She reaches the front seat window. Using the screwdriver in her hand, she breaks through the glass. She reaches in and grabs LINDSEY. She pulls her daughter out through the open window and up toward the surface. They break surface, both coughing and gasping for air.)", "(CATHERINE holds her daughter tight.)", "Catherine: You all right? You okay?", "Lindsey: (nodding) Mommy.", "Catherine: Yes? I got you. Hold on.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[EXT. ROADSIDE -- NIGHT]", "(The crane pulls out EDDIE'S car from the water and back onto the road.)", "Lindsey: The lady who was driving had pink hair. I don't remember her name.", "Det. Vega: But Lindsey, it was your father's car. Why wasn't he driving it?", "Lindsey: He had a stomachache.", "(Quick flashback to inside the car. The woman is driving fast and EDDIE is groaning in the front seat.)", "Pink-haired Woman: Hang on. We'll get to the hospital.", "Eddie: I can't make it.", "(The car swerves, tires screech. End of flashback. Resume to present.)", "Lindsey: The lady got out and then daddy fell out. He didn't come back.", "(LINDSEY turns to look at CATHERINE who doesn't say anything. Their eyes meet.)", "Det. Vega: Catherine?", "(CATHERINE stands up and moves to the side with DET. VEGA. The paramedics continue to check LINDSEY.)", "Det. Vega: (quietly) Is Eddie the kind of guy that would leave his daughter abandoned in the back of a car?", "Catherine: (immediately shakes her head) Never, never, never, no. He loves Lindsey. He'd never do that. Not willingly.", "(The hydraulic lift continues to pull the car out. CATHERINE turns, distracted by the sound.)", "Catherine: Be careful with my car, boys.", "(SARA stands to the side waiting for the car to reach the road.)", "Lindsey: Mom? (CATHERINE turns around.) He's dead, isn't he?", "(For a moment, CATHERINE doesn't know what to say. She shakes her head.)", "Catherine: I don't know, baby. I ... I'm going to go look for him, though. I'm just going to be right over there.", "(CATHERINE points toward the car and SARA.)", "Sara: Okay, that's enough.", "Catherine: I want you to stay here with Detective Vega. Okay?", "(CATHERINE pushes the blanket off of her shoulders and heads toward SARA and the car.)", "Det. Vega: (to LINDSEY) How you doing? Want some cocoa or something?", "(SARA starts to examine the car from the passenger side. CATHERINE approaches the car and heads for the driver's side.)", "(SARA looks around the inside of the car. She sees the debris on the car floor and the blood stains on the passenger seat. She opens the car door.)", "(CATHERINE puts her coffee cup down on the ground. She opens the driver's side door and looks around. On the dashboard, CATHERINE sees the vial of blue liquid. She picks it up. SARA sees this.)", "Sara: Drugs.", "Catherine: Knowing Eddie's taste in women, I'd say that's a good bet.", "Sara: (gently) Hey, Catherine? You want to give me that? (CATHERINE looks at SARA. Their eyes meet.) You shouldn't be handling evidence. You're not on the case.", "(Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(On the monitor is a skeletal view of CROIX RICHARDS, the body from the apartment. The dead body is on the table being x-rayed by ROBBINS.)", "Robbins: Stop it right there.", "(ROBBINS puts on his glasses as he examines the monitor. NICK walks in.)", "Nick: Hey, Doc.", "Robbins: Hey.", "Nick: I thought I'd come and get an update on ... Stinky here. Whew! Wow, that's horrible.", "Robbins: I'm generally immune to the stench of a decomp, but, uh, two weeks of decay still tickles the vibrassae of my nasal vestibule.", "Nick: Yeah, I'll say. Hey, what's the foreign body lodged in his femur?", "Robbins: (to the assistant) Crank up the milliamps.", "(The portion on the monitor is enhanced.)", "Nick: Whiter than bone. Dense like a metal. What exactly are we looking at?", "Robbins: Let's find out.", "(ROBBINS picks up a scalpel.)", "Nick: (reacts to the smell) Whew!", "(ROBBINS cuts into the body.)", "Robbins: I feel like Androcles pulling the thorn from a lion's paw.", "(He picks up a tweezer and pulls out something thin.)", "Nick: Looks like the tip of a needle.", "Robbins: It probably broke off when it hit the bone.", "(Quick CGI POV of the needle piercing through skin, through muscle and hitting bone where it breaks off. End of CGI POV. Resume to present.)", "WHITE FLASH TO", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(BRASS and GRISSOM walk through the hallway. BRASS is holding a report in his hand.)", "Brass: I've started to see into the future. Thanks to credit card reports, I see that our phone victim booked a room at the Tangiers for tonight.", "Grissom: He was staying at The Sphere.", "Brass: Two hotel rooms in one night. He was a busy boy.", "[SCENE_BREAK]", "[EXT. LAS VEGAS (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. TANGIERS - HOTEL ROOM -- NIGHT]", "(WARRICK opens the door and walks inside. There's a scantily-clad woman lounging on the bed in her lingerie, a champagne glass in her hand. She doesn't flinch when WARRICK walks in.)", "Rebecca McCormick: Hello.", "Warrick: Hello.", "Rebecca McCormick: You're late. Not-not that I mind.", "(GRISSOM walks into the room. She seems more than surprised.)", "Rebecca McCormick: There's two of you?", "Warrick: We work as a team.", "(She sees that GRISSOM and WARRICK each has their case with them.)", "Rebecca McCormick: What's in the kit?", "Grissom: Latex gloves, cotton swabs, specimen jars, other evidence-gathering stuff.", "Rebecca McCormick: Wait a minute. Uh, what's going on here?", "(She puts her champagne glass on the bedside table and sits up.)", "Grissom: You tell us.", "Rebecca McCormick: Oh, my god. You guys are cops. (She stands up, grabs her robe and covers herself with it.) I'm, um ... I'm really embarrassed. I've never done anything like this before. I swear.", "Grissom: This room is registered to Trey Buchman. Who are you?", "Rebecca McCormick: Do we have to do names?", "Warrick: (nods) Uh-huh.", "Rebecca McCormick: Rebecca McCormick. (puts her robe on) Look, I got a number from a guy who was giving out these cards on the strip. I thought it would be fun. (mumbles) I-I don't know what I was thinking. (stands and crosses her arms in front of her) Am I under arrest?", "Grissom: Not yet ...", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]", "(NICK is working on Croix Richards' laptop. The computer beeps.)", "(GRISSOM walks into the lab.)", "Grissom: Hey.", "Nick: Cracked my D.B.'S laptop. Got his appointment book. (On screen up close, we see: \"Carla (Orpheus)\"; \"Mina (Pandora's Box)\"; and \"Rachel (Tuts Tomb).", "Grissom: Women's names. Hotels. Blocks of time.", "Nick: You know, Croix had this sweet apartment and this wad of cash. We thought he was selling drugs. (beat) He was selling himself.", "Grissom: Gigolo.", "Nick: Paid to get laid.", "Grissom: So was mine. Two victims, same profession.", "Nick: Ooh.", "Grissom: What about the needle you found in the decomp?", "Nick: The micrometer pegged it as a 30-gauge.", "Grissom: Insulin dependents use needles that thin.", "Nick: Well, the decomp's too severe. We'll never get anything out of tox or the needle.", "Grissom: I think we're working the same case.", "(NICK turns to the computer and starts looking at its contents.)", "Nick: (smiling) Well, good thing my gigolo was organized. He used accounting software to keep track of his finances.", "Grissom: Employment history?", "(NICK works the computer. He hits some keys. The screen changes. NICK squints at what he sees. GRISSOM leans in closer to the monitor. The computer beeps. NICK stifles a grin and clears his throat. He glances up at GRISSOM.)", "[SCENE_BREAK]", "[EXT. LADY HEATHER'S DOMINION - NIGHT]", "DOORBELL RINGS (PRELAP)", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMAIN - NIGHT]", "(LADY HEATHER makes her way down the stairway. A man screams in the distance.)", "Lady Heather: Mr. Grissom, Captain Brass,", "(BRASS waits for her in the middle of the room, looking up at the staris a piece of paper in his hand. GRISSOM'S back is to the stairs, he puts the item he was examining back on the fireplace mantle. )", "Lady Heather: So nice to see you again.", "Brass: Good to hear things haven't changed around here.", "Lady Heather: I see you haven't changed, either.", "(BRASS hands a color photocopy of the two men's IDs to LADY HEATHER.)", "Brass: Trey Buchman, Croix Richards.", "(In addition to Croix Richard's Passport ID info, Rey Buchman's Nevada Driver's License is also on the sheet with the following information:", "[Nevada Driver License", "R360021", "BUCHMAN, TREY", "2974 WESTFALL AVE. LAS VEGAS NY 89156", "Class: C s*x: M Height: 5-10", "Weight: 143", "Hair: Blk Eyes: Grn DOB: 11/13/81", "Expiration date: 05/15/05 ]", "Lady Heather: They're both on my payroll. Hard workers, quite skilled.", "Brass: They're deceased.", "Lady Heather: They'll be missed.", "Brass: Last year, you lost Mona Taylor. Now, two more employees. It's a risky business.", "Lady Heather: Accusation?", "Grissom: It's an observation.", "Brass: These guys traded in s*x, and I know you don't allow intercourse in your domain. Now, that is an accusation.", "Lady Heather: I profit from the theatrics of pleasure, allowing people to play out their fantasies. Trey and Croix were independent contractors.", "Grissom: Lady Heather, what services did they provide?", "(Camera holds on LADY HEATHER.)", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - POOL ROOM -- NIGHT]", "(In the pool room, several different scenes are played out. The first is of two men dressed with pig masks being fed by the \"Farmer Girl\". One has his face in a bucket, the other is standing on the side.)", "Woman: Bad little pig boy. Bad, bad, bad. ... You naughty, bad pig. Oinky, sloppy pig.", "(The camera pans upward and two women walk by.)", "(They pass by another session where a man is tied to the wall.)", "(LADY HEATHER accompanies BRASS and GRISSOM across the pool room. She opens a door and motions for them to walk in. BRASS walks past her and into a hallway that leads to other smaller rooms. GRISSOM motions for LADY HEATHER to walk in ahead of him.)", "(Once inside, they pass a series of smaller bedrooms with computers on internet access.)", "[Room 1: ]", "Man: (on computer) You're right. I deserve to be punished.", "Woman: \"Mommy\" says no. I said, no.", "(BRASS walks by this room and looks into the next room.)", "[Room 2: ]", "(A dark-haired woman sits at the computer typing on the keyboard. Her back is to the door.)", "[Room 3: ]", "Woman: Oh ... who needs the belt?", "(BRASS walks to the end of the hallway and turns around.)", "[Room 4: ]", "(CHLOE sits in front of the keyboard. As they walk by the room, she turns around and glances at them.)", "(GRISSOM looks into Room Two.)", "Woman: Say you're sorry.", "Man: I'm sorry.", "(The dark-haired woman in Room Two, turns around to look at GRISSOM.)", "Lady Heather: (to BRASS & GRISSOM) My dominion is also my domain. Ladyheather.com.", "Brass: So, Buchman and Richards were down here doing internet p0rn, huh?", "Lady Heather: Not p0rn. Voyeurism in a Brave New World.", "Grissom: What would Aldous Huxley say?", "Lady Heather: Well ... if his credit card were valid, he could say anything he wanted at $3.95 per minute.", "(She looks at GRISSOM and abruptly changes the subject.)", "Lady Heather: Do you like my lipstick?", "(Man groaning in the background.)", "Grissom: (shakes his head) Why?", "Lady Heather: You've been staring at my lips.", "Grissom: You have lovely lips.", "(BRASS looks from GRISSOM to LADY HEATHER. LADY HEATHER grins back at GRISSOM.)", "Brass: (interrupts) And a very successful business. Thanks. Thanks for your time.", "(BRASS heads for the door sweeping GRISSOM along in front of him. GRISSOM turns around to look at LADY HEATHER as he leaves.)", "Lady Heather: See you soon.", "[SCENE_BREAK]", "[INT. CSI - LOUNGE -- NIGHT]", "(Inside the Lounge, DET. VEGA and SARA question LINDSEY while CATHERINE watches.)", "(LINDSEY looks at CATHERINE.)", "Det. Vega: So, after your recital, where did your dad take you?", "Lindsey: Leatherbey's. He got me a banana split.", "Det. Vega: I like whipped cream on mine ...", "Catherine: (interrupting) Did he have anything to drink? Did he have a beer, a glass of wine?", "(DET. VEGA glances at CATHERINE.)", "Lindsey: (looking at CATHERINE) Just water.", "INTERCUT WITH:", "[EXT. DRAINAGE CANAL - NIGHT]", "(Men holding flashlights walk along the concrete.)", "(Cut back to the Lounge. SARA watches CATHERINE.", "Sara: (to LINDSEY) So, it was just the two of you?", "(LINDSEY turns and nods her head at SARA. She immediately turns back to look at CATHERINE.)", "Det. Vega: This lady you told us about -- the one who was driving, the one with the pink hair -- where did you meet her?", "(LINDSEY doesn't look at DET. VEGA. She looks at her mother.)", "Lindsey: I don't know.", "Catherine: (interrupting) You remember, Lindsey. Just think about it.", "(LINDSEY looks at CATHERINE. DET. VEGA again glances at CATHERINE. SARA also looks at CATHERINE, then at DET. VEGA. Their eyes meet.)", "Lindsey: I fell asleep in the car, and I woke up when we stopped.", "Det. Vega: Was this at a house?", "Lindsey: No. It was a building.", "Sara: Was it an apartment building ... maybe ... or maybe an office building?", "Lindsey: I don't know.", "Catherine: Why did you stop there?", "(LINDSEY looks at CATHERINE.)", "[EXT. DRAINAGE CANAL - NIGHT]", "(More people with hard hats and flashlights run down the embankment and into the canal. A worker kneels as he examines some debris. He stands up and moves along. They're all looking for something.)", "(Cut back to The Lounge.)", "Lindsey: Daddy said he had a meeting. He told me to stay in the car and keep the doors locked.", "Catherine: You mean he left you in the car alone.", "Sara: Catherine ...", "Lindsey: (defensive) Mom, mom, it's okay. I said I could take care of myself. I told him I could stay in the car. Just don't be mad at him. He didn't do anything wrong.", "Sara: It's okay, Lindsey. Nobody's mad at anybody.", "(SARA looks at CATHERINE and stands up. CATHERINE rubs her forehead.)", "Sara: (to CATHERINE) Can I talk to you for a second?", "(CATHERINE gets up and leaves the room in a huff. She closes the door and paces the hallway outside.)", "(SARA sits in the seat vacated by CATHERINE, directly in front of LINDSEY.)", "Sara: (softly) It's okay.", "[EXT. DRAINAGE CANAL - NIGHT]", "(Inside one drainage tunnel, there are a couple of men looking around. The camera then moves to the next drainage tunnel where an unmoving body is some distance inside on the cold concrete ground. There are workers at the mouth of the tunnel. It's only a matter of time before they see the body.)", "(Cut back to the Lounge. DET. VEGA and SARA resume questioning LINDSEY.)", "Det. Vega: This lady was at the building?", "(CATHERINE turns around to watch her daughter inside the room.)", "Lindsey: She was outside in the parking lot.", "(Quick flashback to earlier that night. EDDIE walks outside in the rain, arms open wide to greet his girlfriend. LINDSEY is inside the car watching.)", "Candeece: Eddie.", "Eddie: Candeece! Baby!", "Candeece: Where were you?", "(EDDIE reaches CANDEECE. They hug each other.)", "Eddie: What's the matter, honey? Sugar, what's the matter with you?", "(End of flashback. Resume to present.)", "Sara: This lady with the pink hair -- was she your father's girlfriend?", "(CATHERINE looks at LINDSEY. LINDSEY hesitates in answering. She looks at CATHERINE.)", "(Quick flashback to EDDIE and CANDEECE. Resume from the hug. CANDEECE lets go and hits EDDIE on his chest. EDDIE takes a couple of steps backward.)", "Candeece: I called you a million times! What are you talking about? Why didn't you answer your phone?", "(End of flashback. Resume to present.)", "Lindsey: Maybe. Well, he was mad at her. And then they, they were running back to the car. Daddy was holding his stomach.", "(Quick flashback to inside the car. It's raining heavily outside. EDDIE runs to the passenger side. He gets in and groans.)", "Lindsey: Daddy, what's wrong?", "Eddie: (glancing at LINDSEY and groaning) It's just a stomachache, honey. I'll be fine.", "(End of flashback. Resume to present.)", "(CATHERINE'S phone rings. She answers it.)", "Catherine: Willows. (pause) Yeah.", "(CATHERINE pulls the phone away from her ear. She looks sadly into the room. LINDSEY turns her head and looks at her mom. Their eyes meet.)", "(Cut to the men in the canal tunnel standing over EDDIE'S body.)", "(Cut back to CATHERINE. Camera holds on CATHERINE.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(Camera opens on EDDIE'S body on the autopsy table. CATHERINE looks down at him without moving. Behind her, ROBBINS watches.)", "Robbins: (softly) Catherine, you can't say good-bye in an autopsy room.", "(For a moment, CATHERINE doesn't say anything. She turns and walks out. ROBBINS watches her leave.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY - CONTINUOUS]", "(CATHERINE makes her way through the hallway. GRISSOM meets her in the hallway.)", "Grissom: Hi, uh ...", "Catherine: (interrupting) Croix Richards and Trey Buchman. Same profession, same employer, same cause of death.", "Grissom: Yeah. Insulin poisoning.", "(They start walking down the hallway.)", "Catherine: Not your typical male M.O. Lady Heather a suspect?", "Grissom: I can't rule anybody out. Catherine ... I'm sorry about Eddie and your daughter. If, if you'd like to take some time off or ...", "Catherine: I'm okay. Lindsey's ... (pause) ... We're okay.", "(CATHERINE turns and walks away from GRISSOM. She heads into the lab where WARRICK and NICK are already there. GRISSOM turns and watches through the glass as both NICK and WARRICK offer CATHERINE their condolences.)", "Nick: Hey, Catherine.", "(WARRICK stands up.)", "Warrick: Hey. We heard about what happened. I'm so sorry.", "Nick: Yeah, if you or Lindsey need anything at all ...", "Catherine: Thanks, you guys.", "Nick: Yeah.", "Catherine: Why don't you catch us up.", "Warrick: Yeah.", "[INT. CSI - AUDIO/VISUAL ROOM - CONTINUOUS]", "(GRISSOM walks into the room.)", "Nick: Credit card transactions for Lady Heather's web site. Both our victims worked in the chat room. We cross-referenced their clients.", "Warrick: They're all ladies.", "Nick: And looks like both victims died approximately four weeks apart.", "Warrick: Killers usually don't stray too far from home.", "Catherine: Especially for repeat crimes.", "Warrick: Yeah, I'm squeezing the Las Vegas search area.", "(WARRICK does his search and picture ID cards for 12 people pop on screen.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(LEAH fills SARA in on her test results.)", "Leah: Got a vial full of blue boogers.", "Sara: GHB with food coloring. That's a date rape drug.", "Leah: Not anymore. You mix it with the right stimulant, like meth, you got a great party drink.", "Sara: Everyone's a chemist. Thanks.", "(SARA sees CATHERINE in the room. CATHERINE watches SARA walk by, her attention not on the case inside the room, but the one walking down the hallway.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB - DAY -- CONTINUOUS]", "(GRISSOM draws CATHERINE'S attention back to the room.)", "Grissom: You know, we found a dark hair in Trey Buchman's hotel room at the sphere.", "Warrick: I'll exclude everyone with light hair.", "Grissom: Whoa. Stop.", "(The Nevada Driver's License that catches GRISSOM eye is:", "[LIC#: 0200794032", "REBECCA McCORMICK, DRIVERS LICENSE # AA1529120", "235 DESERT RANCH ROAD LAS VEGAS NV 89701", "CLASS: C s*x: F HEIGHT: 5'5\"", "WEIGHT: 121", "HAIR: BROWN EYES: BROWN BIRTHDATE: 03-05-1970", "EXPIRATION DATE: 03-05-2004", "ORGAN DONOR ]", "Warrick: Huh. Rebecca McCormick. 235 Desert Ranch Road. \"First time\", my ass.", "[SCENE_BREAK]", "[INT. McCORMICK RESIDENCE - INT -- DAY]", "(STEVEN and REBECCA McCORMICK walk down the stairs. GRISSOM and CATHERINE wait in the living room.)", "(STEVEN walks into the room in front of REBECCA.)", "Steven McCormick: Hi. Sorry to keep you waiting. So, what can I do to help out the Las Vegas Crime Lab?", "Grissom: You could tell us about your relationship with Croix Richards.", "Steven McCormick: Well, uh, I hired Croix Richards to Dominate Rebecca. Would you like a chocolate?", "(As if on cue, REBECCA eagerly turns to get the plate of chocolates from the kitchen.)", "Rebecca McCormick: Uh, they're Godiva.", "Catherine: No, thanks.", "(STEVEN takes a chocolate from the tray and pops it into his mouth.)", "Steven McCormick: I guess you could say that Mr. Richards worked for me. We were hoping that he might help ease some of Rebecca's sexual difficulties.", "Catherine: Extra-marital s*x to help your relationship problems?", "Steven McCormick: The problem wasn't with our relationship, it was with my wife's lack of experience.", "Grissom: Which Mr. Richards helped you with?", "(STEVEN turns to look at REBECCA. As if on cue, she answers GRISSOM.)", "Rebecca McCormick: Yes.", "(REBECCA puts the tray on the side shelf.)", "Steven McCormick: First over the internet and then we, uh, we met with him a few times.", "Grissom: We?", "Steven McCormick: Yeah, yes.", "(REBECCA takes a seat.)", "Steven McCormick: I participated in the sessions, yes.", "(Quick flashback to a session at LADY HEATHER'S. REBECCA McCORMICK is dressed in a wedding gown and chained to the wall. Behind her, CROIX RICHARD holds a whip while her husband, STEVEN cowers in a corner.)", "Croix Richards: Do you take this man to be your wedded husband? Love honor and obey.", "Steven McCormick: Say it!", "(End of flashback. Resume to present.)", "Grissom: And these sessions were held at Lady Heather's?", "Steven McCormick: Yes. Lady Heather thought it would be best if I was involved. I'm sure secrets would've made the problem worse, at that point.", "Catherine: Mrs. McCormick, did you meet Trey Buchman at Lady Heather's?", "(REBECCA looks at STEVEN. STEVEN answers them.)", "Steven McCormick: Oh, I'm sorry, who?", "Grissom: He worked for Lady Heather as well. He's also dead.", "Steven McCormick: Oh ... I don't know who Trey Buchman is.", "Grissom: Your wife does.", "(STEVEN looks confused.)", "Steven McCormick: Oh.", "(She answers him.)", "Rebecca McCormick: I met Trey on Lady Heather's web site. Our encounters were only on-line.", "(Quick flashback to REBECCA McCORMICK in her lingerie and robe on bed while looking at her laptop's camera.)", "Rebecca McCormick: Like this? Is this okay?", "Trey Buchman: No, it's not okay! Don't you know how to listen, you stupid bitch?!", "(End of flashback. Resume to present.)", "Grissom: And the night you and I met at the Tangiers?", "(STEVEN is definitely not following the questioning and no longer in charge of the situation. He turns and looks at REBECCA. REBECCA answers GRISSOM.)", "Rebecca McCormick: Croix was fun. Uh, I wanted more experience. Variation. I made a date with Trey. He never showed up.", "Catherine: Well, Mrs. McCormick, I'd like to get a sample of your hair and DNA for comparison.", "(Displeased, STEVEN McCORMICK walks to the shelf with the chocolate tray. He picks it up himself and turns to address CATHERINE.)", "Steven McCormick: (to the CSIs) Rebecca will give you anything that you need.", "(STEVEN McCORMICK puts the tray of chocolates on the table himself. It hits the counter with a clang. He walks out of the room without a word to his wife.)", "(Camera holds on REBECCA MCCORMICK.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE]", "(SARA examines the car. She notices the blood stain on the front passenger seat. She checks under the floor mat. She lifts the arm rest to check inside the compartment. Finding nothing unusual, she closes it and resumes looking at the car ceiling.)", "(SARA sees a piece of folded paper tucked in the overhead visor. She opens it. It appears to be a color proof for a CD cover for CANDEECE. SARA checks the CD slot and pulls out a Demo CD from SAHARA SOUND / 78566 Ambers Avenue / Las Vegas, NV 89198 / (702) 555-0197.)", "[SCENE_BREAK]", "[EXT. SAHARA SOUND -- STREET - DAY]", "(Workers with jackhammers work on the road outside the studio. SARA and DET. VEGA walk up the driveway to the recording building.)", "[SCENE_BREAK]", "[INT. SAHARA SOUND -- DAY]", "(DET. VEGA and SARA question the RECORDING STUDIO OWNER and the SOUND ENGINEER.)", "Recording Studio Owner: Yeah, I can put you in touch with her Manager, Eddie Willows. Guy owes me a call. Make that five calls. If you talk to him, tell him he's got, like, eight hours of studio fees due. The penalties are running, okay?", "Sara: We've already seen him. He's in the morgue.", "Recording Studio Owner: Oh, that makes sense why he wasn't here last night. High-strung singer, no manager, that's always trouble.", "(Quick flashback to CANDEECE in the recording studio.)", "Candeece: (singing) A trail of tears / it takes me back to all my fears...", "(She pulls off her earphones and yells.)", "Candeece: (yelling) I hate this! This sucks! Okay?", "(She heads out the recording booth and into the control booth.)", "Candeece: Where is Eddie? I need Eddie here.", "Recording Studio Owner: Get back in the booth.", "Candeece: (yelling on phone) Where are you? I need you here now. I cannot do this without help. (to the Sound Engineer lounging in the doorway) Can I have a little privacy, please? Would you go in there and learn how to do your job? It sounds terrible in there, anyways.", "(End of flashback. Resume to present.)", "Sound Engineer: She started ragging on me. I didn't need the hot air, so I came back in. (to ENRIQUE in the booth) That's a cut, Enrique. Let's take it from the bridge.", "Recording Studio Owner: Eddie was just in it for the quick score. Cut a demo, sell a contract, get a ride on the charts and you just ride that wave.", "Sound Engineer: This girl was different.", "Recording Studio Owner: Yeah, he was banging her.", "Sound Engineer: Yeah, but he had something for her, knowing how much potential she had. I never seen Eddie so dedicated. Nothing was going to stop him from making her a star.", "Det. Vega: Except maybe a .22 round in his gut.", "Sound Engineer: (to ENRIQUE) Stop, stop, stop. That's a cut, Enrique.", "Recording Studio Owner: Whoa. It sounds good from where I'm standing-- what's up?", "Sound Engineer: The problem isn't the vocals, man, it's the extra bass line I keep getting from the village people outside with that damn jackhammer.", "(DET. VEGA looks over at SARA.)", "Sound Engineer: (to ENRIQUE) All right, let's pick it up from the second chorus.", "Sara: Aren't recording studios supposed to be soundproof?", "Recording Studio Owner: Lady, if the guy standing next to you is Clive Davis, instead of a cop, it would be.", "Sara: After Candeece left, did you guys keep recording?", "Recording Studio Owner: Um, yeah, a few more hours. We were redoing a drum track.", "(SARA turns to DET. VEGA.)", "Det. Vega: We're going to need to take a look at those tapes.", "WHITE FLASH TO:", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(Scope view of a strand of hair. A second hair is added.)", "Warrick: Okay, the hair on the left is from Trey Buchman's room at The Sphere hotel. The hair on the right is a sample we took from Rebecca McCormick. Cuticles on both are shiny and smooth. Telltale signs the hair has been treated.", "(WARRICK is in the lab with GRISSOM and CATHERINE.)", "Warrick: The cortex isn't letting any light through. It lets us know the hair's been colored. The medullas are continuous. I can't be definitive without DNA, they look like Rebecca McCormick's.", "(WARRICK steps aside and CATHERINE looks through the scope.)", "Catherine: So she lied to you guys at the hotel, she lied to us at the house. She's been with him, not just online.", "Grissom: But her husband only knew about the guy he hired, Croix Richards. He had no idea that she hired Trey Buchman.", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION -- DAY]", "(LADY HEATHER and GRISSOM walk through the hallway.)", "Lady Heather: Steven McCormick wanted his wife to have a session. It's not uncommon. When a client achieves liberation, they often want their spouse to share that feeling. Though in this particular instance I advised the husband to pursue avenues more suited to the temperament of his marriage.", "(They turn the corner and walk up the stairs.)", "Grissom: I guess you couldn't say no. I learned that Mr. McCormick is an investor in your internet site.", "Lady Heather: That's a matter of public record.", "Grissom: Did he ever tell you, specifically, what his wife's problem was?", "Lady Heather: The fault lay not in his wife, but in himself. Steven believed his wife was repressed, but once she opened up ...", "Grissom: A Pandora's box? All the evils of their marriage unleashed?", "(CHLOE SAMMS walks toward them in the opposite direction. She stops in front of LADY HEATHER and asks permission to pass.)", "Chloe Samms: May I?", "Lady Heather: You may.", "Chloe Samms: Thank you, Lady Heather.", "(CHLOE looks at GRISSOM, then passes LADY HEATHER and continues down the hallway.)", "Lady Heather: Steven came to me three years ago in a state of confusion. I helped him clarify his need for dominance.", "(Quick flashback to STEVEN McCORMICK sitting in a private room. Kneeling in front of him is a naked woman. LADY HEATHER gives them instructions.)", "Lady Heather: You will control her only as well as you can read her.", "(STEVEN reaches down and grasps the woman's chin. He looks at her. It's CHLOE SAMMS.)", "Lady Heather: Now read.", "(STEVEN looks into CHLOE'S eyes. She meets his eyes. He swings and hits her across the cheek.)", "(End of flashback. Resume to present.)", "(LADY HEATHER and GRISSOM continue down the hallway. She stops in front of some unlit candles that should be lit.)", "Lady Heather: Our work enabled him to marry.", "Grissom: But he chose a woman who didn't understand the dynamics of a Dominant-submissive relationship.", "Lady Heather: Unfortunately, the language we speak in here doesn't necessarily translate to the world out there.", "(She takes a match and lights the candle.)", "Grissom: No, in here, the submissive has the power. All he has to do is say the safety word and everything stops.", "Lady Heather: Very good, Mr. Grissom.", "(She blows out the match and turns around.)", "Grissom: I'm just repeating what I've heard.", "Lady Heather: You're a good listener.", "Grissom: Part of the job.", "Lady Heather: So this is work?", "Grissom: Yes. But I value your insight.", "Lady Heather: (smiles) I'm flattered. But you already seem to know the answers to your questions. You keep me in proximity when I walk away and when I'm close ... (she takes a step closer to GRISSOM) .... you watch my lips. Are you losing your hearing?", "Grissom: I'm losing my balance.", "Lady Heather: Your sense of self?", "Grissom: No. I know who I am.", "Lady Heather: Do you?", "Grissom: (nods) (quietly) Yes, I do.", "(He reaches out a hand and brushes the hair away from her face. She closes her eyes for a moment. She opens her eyes. GRISSOM reaches out to her with both hands framing her face.)", "Grissom: You can always say stop.", "Lady Heather: So can you.", "(Camera holds on GRISSOM and LADY HEATHER looking at each other.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- DAY]", "(SARA and DET. VEGA interview CANDEECE.)", "Candeece: Eddie's my manager. It's no big secret. We were supposed to be working last night, and the jerk blew me off.", "Det. Vega: So you never saw him last night?", "Candeece: No.", "Sara: What happened to your wrist?", "Candeece: Oh, uh ... I got, uh ... um ... because, uh ...", "Sara: According to Desert Palms Emergency Room, you came in last night with a fracture of the ulna. It's a common injury in car accidents -- air bag specific.", "(Quick flashback to the driver's air bag inflating. End of flashback. Resume to present.)", "(CATHERINE enters the observation room.)", "Sara: (over speaker) Air bags are packed with cornstarch or talc. It helps them deploy. It also wreaks havoc on the eyes.", "Det. Vega: We know you saw Eddie last night. We know that you were driving his car.", "Candeece: It all happened so fast, you know? One minute I was, I was just outside getting some air and thinking, you know? And then... the next, my manager is stumbling towards me, bleeding.", "(Quick flashback to EDDIE stumbling toward CANDEECE in the rain. She puts out a supporting arm and they both head toward the car.)", "Eddie: Candeece, baby, I'm shot!", "Candeece: Eddie! Oh, my god! I'll get you in the car.", "(Cut to CANDEECE turning to the back seat.)", "Candeece: (to LINDSEY) Everything's going to be okay, honey. Okay, don't be afraid.", "(End of flashback. Resume to present.)", "Sara: Sounds pretty heroic.", "Candeece: Not really. When you're intimate with somebody, you can't imagine life without them. We were partners. I loved him. I thought I was going to die.", "Sara: There were two other people in the car.", "Candeece: That's what I meant, you know? I thought we were all going to die.", "Det. Vega: Search and Rescue found Eddie's body 100 yards downstream.", "Sara: See, that's where it gets a little less heroic -- we found Lindsey alone in a sinking car.", "Candeece: I tried to get Eddie out. He was unconscious, and that ... that kid kept screaming ... and ... the current was really strong and we got swept downstream. What was I supposed to do?", "Sara: Get to a phone, call the cops, call an ambulance, anything, actually ... other than what you did.", "Candeece: I am just one person. Eddie is my priority, not that ... that stupid, screaming little brat.", "(CATHERINE shakes her head and marches out of the observation room.)", "Candeece: I tried, I ...", "(CATHERINE bursts into the interrogation room.)", "Catherine: You even think about my daughter again, I'll kill you. I will kill you.", "Sara: Catherine.", "Catherine: I will hunt you down and put ... I will put you in the ground!", "Sara: Catherine?", "(SARA grabs CATHERINE by the shoulders and drags her out of the room.)", "Candeece: (to VEGA) You saw that. She threatened me! I want a lawyer.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE INTERROGATION ROOM - DAY - CONTINUOUS]", "Sara: What the hell are you doing? Do you know where you're at right now?", "Catherine: I've been here a lot longer than you ...", "Sara: And you should know better.", "Catherine: And I wouldn't have to be here if you were doing your job properly.", "Sara: There is a difference between me doing my job and you wanting to do it for me. You don't want to get the job done. What you want, right now, is revenge.", "Catherine: You're going to tell me what I want, huh?", "Sara: Go home, Catherine. Be with your daughter. She's the one that needs you.", "(SARA walks away leaving CATHERINE in the hallway staring after her.)", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - DAY]", "(GRISSOM is sitting at the table pouring LADY HEATHER a cup of tea.)", "Grissom: What did you consider this? A little civility before work, I think?", "Lady Heather: ... or a ritual to put us at ease. Or how about \"in custom and ceremony, are innocence and beauty born.\"", "Grissom: Yeats ... \"Prayer For My Daughter.\"", "Lady Heather: Or our morning.", "Grissom: Cream?", "Lady Heather: Please.", "(GRISSOM pours the cream as LADY HEATHER watches.)", "Lady Heather: Thank you.", "Grissom: Sugar?", "Lady Heather: I'm diabetic.", "(This catches GRISSOM'S attention.)", "Grissom: Type 1?", "Lady Heather: Mm-hmm.", "Grissom: Injections?", "Lady Heather: Used to mean injections. I changed to a pressure syringe.", "(She picks up her tea cup.)", "Grissom: Recently?", "Lady Heather: Mm-hmm, a few weeks ago. Oh, it's a fascinating instrument; would you like to see it?", "Grissom: (hesitates) Yes, I would ...", "(She lifts her tea cup and blows on it.)", "Grissom: ... But I'm afraid I'll need a warrant.", "(She stops mid-sip and lifts her head.)", "Grissom: Excuse me.", "(GRISSOM stands up and takes out his cell phone. He makes the call.)", "Grissom: (to phone) It's Grissom. I need you to write paper on Lady Heather's medical paraphernalia -- specifically, an insulin kit and syringes. (pause) I'm already there. I'll wait.", "(GRISSOM puts his phone away.)", "Lady Heather: I think I just heard you say \"stop.\"", "(GRISSOM looks at LADY HEATHER.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]", "(BRASS is interviewing REBECCA McCORMICK. WARRICK stands in the back of the room.)", "Brass: You lied to us, Mrs. McCormick. You said you only engaged in on-line s*x with Trey Buchman.", "Warrick: Your hair has a similar morphology to the hair that we found in Mr. Buchman's hotel suite.", "Rebecca McCormick: Well, \"similar\" doesn't mean me.", "Warrick: No, but the DNA we also recovered from under the sheets does mean you.", "Brass: Sounds like a physical encounter to me.", "Rebecca McCormick: So ... since I pay for s*x, I must also be a murderer?", "Brass: No, it's just that everybody you pay for s*x ends up dead.", "Rebecca McCormick: I don't like you.", "Brass: Well, I guess I'll have to live with that. (she stands up and walks to the back of the room to look out the window.) Here's something else you might not like. Two months ago, your bank records show cash withdrawals totaling", "Warrick: The same amount that we found in Croix Richards' apartment.", "Rebecca McCormick: Croix wasn't even half that good. Of course, that's still better than my husband.", "(WARRICK looks at BRASS.)", "Brass: You used to work for Latona Pharmaceuticals, right?", "Rebecca McCormick: Years ago.", "Brass: You sold synthetic insulin.", "Rebecca McCormick: All right. Mm-hmm. We've had our fun, but I'm stopping it now. Any other question you have can be directed to my lawyer.", "(REBECCA McCORMICK gathers her things and leaves the room.)", "[SCENE_BREAK]", "[INT. CSI - AUDIO/VISUAL LAB]", "(ARCHIE works on the recording tracks SARA and DET. VEGA got from the SAHARA STUDIOS.)", "Archie: Well, modern recording's all digital. Each track's recorded in a separate data file. By looking at the file modification times, we can approximate which tracks were recorded near the time of the shooting.", "Sara: Catherine left Eddie at 5:30 P.M. Lindsey's first call was logged in at", "Archie: Let's see, well ... only two tracks were laid down during that time interval. \"7:41: Acoustic guitar ... 10:38: Drum track.\"", "Sara: Let's look at the drum track.", "(ARCHIE puts the drum track on the monitor and speaker.)", "Archie: There's the kit drum.", "Sara: So any irregularity in the pattern could be from an outside source.", "Archie: Yeah. Right here. A sudden change in amplitude.", "Sara: Can you isolate it?", "Archie: Yeah.", "(ARCHIE replays the portion of the sound track he highlighted. Inside the drum track, there's a distant bang. SARA glances back at ARCHIE.)", "Sara: Sounds like gunfire.", "Archie: I'll play it again.", "(ARCHIE replays the portion again. It definitely sounds like gunfire.)", "Archie: Let me take out the drums.", "(ARCHIE separates the sounds and plays it again. The first sound is gunfire. After that, there's a second, faint-whirring sound.)", "Sara: What is that?", "Archie: Feels like an engine. V-twin, maybe. Must have been somebody else there. You think we got a witness?", "Sara: Or a suspect.", "(VEGA enters the lab.)", "Vega: Hey ... I was able to pull the phone records for Candeece. She made six calls that night. The first five went to Eddie.", "Sara: But not the last one. You got an address?", "[SCENE_BREAK]", "[INT/EXT. KINER'S RESIDENCE -- DAY]", "(Camera opens on SARA taking a sample of something blue stuck to the drain in the sink. Outside, DET. VEGA questions KINER.)", "Kiner: (o.s.) I get all kind of calls. It could've been a girl that I slept with. Or a girl that I didn't sleep with. Could've been a wrong number.", "(KINER turns around to look at what SARA'S doing. VEGA pulls his attention back to the officer.)", "Det. Vega: Since when do wrong numbers last for four minutes?", "Kiner: You hear a sexy voice on the phone, what are you gonna do, you gonna hang up?", "(SARA walks out of the garage.)", "Det. Vega: So you do remember the call.", "Sara: I like your Harley.", "(SARA heads to the back of the SUV where she processes the sample on a SENSIR machine.)", "Det. Vega: Look, Kiner, you're on parole; you got no rights looking at two strikes. I'm not trying to pull a fast ball on you, but it's not the first time you've talked to Candeece.", "Kiner: So maybe me and Candy are friends.", "Det. Vega: Were friends. You guys used to talk once a day. Then she stopped calling you, until last night.", "Kiner: People change. Fell into a bad element.", "(SARA gets the following test results back from the SensIR Technology machine. Sample ID: 0035432 / \"Most likely primary component: GHB Gamma Hydroxybutyric Acid\".)", "Sara: Mr. Kiner, do you own this house?", "Kiner: My father left it to me.", "Sara: Your father have a drug problem? We found GHB in your garage. \"Georgia home boy.\"", "Det. Vega: Tell us what happened with Eddie.", "Kiner: Candy needed \"help.\"", "(Quick flashback to KINER holding the vial of blue GHB out to CANDEECE. EDDIE is there and he's upset with the exchange. In fact, he tries to stop it.)", "Eddie: Hey, hey, hey! (to KINER) What are you doing here? What are you selling her drugs for? (to CANDEECE) What are you doing? I wanted you clean. Hey, please ... what do you want, huh? This what you want?", "(KINER steps back while EDDIE struggles with CANDEECE. She pulls out a gun and fires it.)", "(End of flashback. Resume to present.)", "Kiner: I got on my hog. I got the hell out of there. What do you expect me to do? Go back to the joint for her?", "(DET. VEGA turns around to look at SARA. She shrugs.)", "Det. Vega: (to the officers) Cuff him.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - AFTERNOON]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]", "(BRASS is questioning LADY HEATHER. LADY HEATHER is sitting down at the table facing the mirror on the wall. BRASS is standing behind the chair in front of the mirror.)", "Brass: Quid pro quo, right? Steven invests in your business, you kill the two guys who are messing around with his wife.", "Lady Heather: I could help you, Mr. Brass ... with your inadequacy.", "Brass: You know, I'd like that, Lady H. It's tough being me. I'd like to feel more secure in my role as a homicide detective.", "(BRASS takes a seat close to LADY HEATHER.)", "Brass: You know what really gets me wild? The truth. Are you up for that?", "(Cut to the Observation POV of the Interrogation room through the two-way mirror. Before answering the question, LADY HEATHER turns and looks directly at the mirror ... directly at GRISSOM.)", "Lady Heather: (over speaker) Mr. Grissom collected samples of my insulin. He's undoubtedly identified it as non-synthetic.", "Brass: (over speaker) He told me it was beef insulin.", "Lady Heather: (over speaker) Which, I take it, matches the insulin found in the two victims.", "Brass: (over speaker) Do you know that only seven percent of diabetics in this country use an animal-based insulin? They import yours from Great Britain.", "Lady Heather: (over speaker) Which narrows the field down even further.", "Brass: (over speaker) Right into your dominion.", "Lady Heather: My personal area is open. Anyone could've walked right in and stolen from me.", "(LADY HEATHER turns her head and looks directly at the mirror. She stands up and walks toward the mirror.)", "Brass: Is it something I said?", "(LADY HEATHER continues to walk toward the mirror. She glances down at BRASS, but is more interested in speaking to the man standing behind the mirror.)", "Lady Heather: (to GRISSOM) I'm disappointed in you. But not surprised.", "(She stops in front of the mirror. She looks into it as if knowing that GRISSOM is standing directly in front of her on the other side of the mirror.)", "Lady Heather: (to GRISSOM) You fear me ... because I've committed the one unforgivable act.", "Brass: No, it's more like two acts ... of murder.", "(GRISSOM watches as LADY HEATHER lifts her head and, almost as if the mirror weren't there, she meets his eyes.)", "Lady Heather: (to GRISSOM) I know you. And I know that in your heart, you don't believe I did this.", "(And almost as if the words came from GRISSOM himself, BRASS answers her.)", "Brass: (b.g.) (over speaker) Lady Heather ... this has nothing to do with heart. It's all about the evidence.", "(For a moment, she doesn't move. She turns to look back at BRASS. Then she turns back to look at the mirror ... at GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM examines LADY HEATHER'S insulin injector.)", "(He takes the end off.)", "(He puts it down on the table. One by one, he inspects the six insulin bottles lined up on the table. On the fifth bottle, he notices that some of it is missing, the quantity is less than the other bottles. He visually compares it with the other bottles, there is definitely a noticeable difference.)", "[SCENE_BREAK]", "[INT. CSI - DNA LAB]", "(GRISSOM walks into the lab. GREG is looking through a scope. GRISSOM puts the samples on the table next to GREG.)", "Grissom: Greg! I need you to process these right away. Priority.", "(GRISSOM turns to walk away. CATHERINE walks in and calls out to him.)", "Catherine: Grissom!", "(GRISSOM looks at CATHERINE.)", "Catherine: We got a problem.", "[SCENE_BREAK]", "[INT. McCORMICK RESIDENCE - NIGHT]", "(REBECCA McCORMICK'S lifeless gaze looks into the camera from her position on the stairs. CATHERINE and GRISSOM walk up to the body.)", "Catherine: Stranglings are intimate. Crime of passion.", "(GRISSOM turns around and looks at something in the kitchen that catches his attention.)", "Grissom: Or not.", "(STEVEN McCORMICK casually pours himself a cup of milk and drinks it.)", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. McCORMICK RESIDENCE -- NIGHT]", "(STEVEN McCORMICK sits on the chair in the living room. CATHERINE walks over and sits in the chair facing him.)", "Catherine: Mr. McCormick ... were you the one who found your wife?", "Steven McCormick: Yes.", "Catherine: On the stairs?", "Steven McCormick: Yes.", "Catherine: May I see your hands, please?", "(STEVEN McCORMICK holds out his hands, palms up. CATHERINE stands and examines them.)", "Catherine: Other side.", "(STEVEN McCORMICK flips his hands over, palms down. When she's through, she sits back down.)", "Catherine: They look clean.", "Steven McCormick: Mmm. Shouldn't they be?", "Catherine: I don't know. If it were my spouse, I would've touched the body.", "Steven McCormick: Mmm. I didn't.", "(Behind them in the next room, GRISSOM processes the crime scene. He finds something embedded in REBECCA McCORMICK'S neck. He uses a tweezer and pulls it out. It looks like a piece of feather ... )", "[SCENE_BREAK]", "[INT. SAHARA SOUND STUDIO -- DAY]", "(DET. VEGA and SARA question CANDEECE.)", "Candeece: Kiner is a drug dealer.", "Sara: Your drug dealer.", "Candeece: No. Not anymore. Eddie got me off all that stuff.", "Det. Vega: You called Kiner. He came here.", "Candeece: I tried to call Eddie. He had his phone off. He was with his pain-in-the-ass daughter and that psycho ex-wife of his. I was just alone in front of a microphone with my whole career riding on a demo.", "(Quick flashback to the night. CANDEECE and EDDIE argue in the rain.)", "Candeece: It's none of your business.", "Kiner: Hey, Eddie.", "Eddie: What?", "(EDDIE turns around and KINER shoots. EDDIE doubles over.)", "Eddie: Oh, my god!", "(End of flashback. Resume to present.)", "Candeece: I thought Eddie wasn't coming. I guess he was just late.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY -- DAY]", "(GRISSOM and BRASS rapidly walk through the hallway. GRISSOM fills BRASS in on his latest discovery.)", "Grissom: The material we found in Rebecca McCormick's wound was nylon thread with fragments of ostrich feather.", "(GRISSOM and BRASS glance at each other.)", "Brass: Oh, I know that look. We're going back to Lady Heather's.", "Grissom: I can take care of this myself.", "Brass: Gil, do me a favor, get a sports car. It's a lot cheaper and easier to handle.", "CUE: (PRELAP) DOORBELL RINGING", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION -- DAY]", "(LADY HEATHER opens the front door to GRISSOM.)", "Grissom: I'd like to come in.", "Lady Heather: Of course you would. Say the magic word.", "(BRASS steps into view.)", "Brass: Warrant? (beat) We don't have one.", "[SCENE_BREAK]", "[INT. LADY HEATHER'S DOMINION - ROOM -- DAY]", "(BRASS and GRISSOM stand inside one of the rooms with internet connection.)", "Grissom: The, uh, submissive that was in here yesterday was wearing a feather boa.", "Lady Heather: That would be Chloe.", "Brass: Chloe, uh...?", "Lady Heather: Chloe Samms. She uses it as a garrote -- a way to control her breathing to heighten the experience for the dominant client.", "(GRISSOM looks around the room and notices a pair of shoes with white stains near the bed. He picks it up and smells it. It smells familiar to him.)", "Grissom: Hmm. Same scent as Trey Buchman's crime scene. Remember the strawberry foam? Do these belong to Chloe?", "Lady Heather: Believe so.", "Brass: Well, the shoes link Chloe to the nightclub and this job links Chloe to the two vics. Where is she?", "Lady Heather: She quit yesterday.", "Brass: I bet I know why. Well, if she's in town, I'll find her.", "(BRASS steps out of the room leaving GRISSOM and LADY HEATHER alone.)", "Grissom: I owe you an apology.", "Lady Heather: Apologies are just words.", "(LADY HEATHER leaves. Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - LAB -- DAY]", "(CATHERINE enters the lab. SARA is already there wrapping up the paperwork, evidence in packages around her.)", "Catherine: So you're calling it?", "(At the sound of her voice, SARA stops writing. She looks up and turns round.)", "Sara: I got two liars and no murder weapon ... and no choice. I'm going to nail the singer on child endangerment and fleeing the scene, and the dealer goes up on possession for sale.", "(Although she doesn't like it, CATHERINE understands. She sighs.)", "Catherine: What a great bedtime story for my little girl.", "Sara: Cath, I did my best.", "(CATHERINE doesn't say anything.)", "[SCENE_BREAK]", "[INT. CSI - HALLWAY OUTSIDE INTERROGATION ROOM -- DAY]", "(GREG hands GRISSOM the test results. GRISSOM looks it over as he explains it.)", "Greg: No-needle syringe used on the vic at the foam party. I recovered some epithelials from the plunger end, compared them to your reference sample. That girl you have in custody ...", "(CHLOE SAMMS sits inside the interrogation room behind them.)", "Greg: ... it's her DNA. Case closed.", "Grissom: Thank you, Greg.", "(GRISSOM turns around and enters the interrogation room. BRASS is already there. He closes the door.)", "[SCENE_BREAK]", "[INT. INTERROGATION ROOM - DAY -- CONTINUOUS]", "(GRISSOM sits down at the table. He puts a photo of the Vision(tm) injector on the table for CHLOE SAMMS to look at.)", "Grissom: Look familiar?", "(CHLOE glances down at the photo. She doesn't say anything. She looks back up at GRISSOM.)", "Grissom: Insulin was injected into Trey Buchman's shoulder at this end ... by you.", "(Quick flashback to the club. Music is blaring. CHLOE SAMMS dances her way to Trey Buchman, injects him, then dances away. End of flashback. Resume to present.)", "Grissom: Your epithelials were found at the plunger end. Epithelials are skin cells filled with DNA - your genetic fingerprint.", "(GRISSOM puts the test results on the table.)", "Brass: So, you're going to tell us why and you're going to tell us why you strangled Rebecca McCormick.", "Chloe Samms: For Steven. I belong to him.", "(GRISSOM looks back at CHLOE, a bit surprised by this response.)", "[SCENE_BREAK]", "[INT. INTERROGATION ROOM -- DAY]", "(BRASS stands near the door and GRISSOM sits at the table as they question STEVEN McCORMICK.)", "Steven McCormick: Chloe had a problem controlling her emotions. She let things get personal.", "Brass: Define \"personal,\" in your crowd.", "Steven McCormick: In my \"crowd\"?", "Brass: Yeah.", "(Quick flashback to CHLOE and STEVEN kissing. Then STEVEN pushes CHLOE away and walks away from her. End of flashback. Resume to present.)", "Grissom: So you started seeing each other outside of Lady Heather's?", "Steven McCormick: We'd meet occasionally, yes. Listen ... my wife had a problem with s*x.", "Brass: Sounds like she had a problem with you, pal.", "Steven McCormick: My wife had a problem with s*x. And at Lady Heather's, I fixed her.", "Brass: Oh, you \"fixed\" her?", "Steven McCormick: Yes.", "Brass: She stay \"fixed\"? Yeah, you fixed her so good that she started spending your money to get other men to give her what you couldn't.", "Steven McCormick: Rebecca was out of control.", "Brass: So you got her to kill Richards and Buchman.", "Steven McCormick: No, I didn't.", "Brass: And then you told her to kill your wife.", "Steven McCormick: No, I loved my wife. I didn't tell Chloe to do anything.", "Brass: What happened?", "Steven McCormick: She killed Richards and Buchman on her own.", "Brass: Okay.", "Grissom: Chloe thought that killing your wife's lovers would please you. (beat) And it did please you.", "Steven McCormick: I told her to stop.", "Grissom: But she didn't obey you. She killed your wife. You couldn't make Chloe do what you wanted. All that time at Lady Heather's and you never learned that the submissive is the one in control?", "Steven McCormick: I told her to stop.", "[SCENE_BREAK]", "[INT. HALLWAY -- DAY]", "(Officers escort CHLOE SAMMS down the hallway. BRASS and STEVEN McCORMICK walk out of the interrogation room and into the hallway. CHLOE SAMMS looks back behind her to look at STEVEN.)", "(Camera holds on STEVEN McCORMICK.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. WILLOWS' RESIDENCE -- NIGHT]", "(LINDSEY walks out of her room and down the hallway to her mother's room.)", "(CATHERINE is crying on her bed.)", "Lyric: ... stay tonight / we'll watch the full moon rising ...", "(LINDSEY sits on the bed and puts her cheek on her mother's shoulder. She wraps her arms around her mom and brushes her hair soothingly with her fingers.)", "Lindsey: (softly) It's okay, mommy. It's okay. It's okay.", "Lyric: ... hold on tight ...", "[SCENE_BREAK]", "[EXT. LADY HEATHER'S DOMINION - DRIVEWAY - NIGHT]", "Lyric: ... the sky is breaking ...", "(The camera opens on the driveway outside The Dominion. The camera pans over to show a car parked in the driveway. GRISSOM sits inside his parked car. He looks at LADY HEATHER'S front door.)", "Lyric: ... I don't ever want to be alone ...", "(He sits there behind the wheel looking at the front door. He sighs.)", "Lyric: ... with all my darkest dreaming ... hold me close ..." ]

[ "Catherine and Warrick try to find evidence when the 5-year-old son of a professional basketball player is kidnapped. Meanwhile, Grissom and Nick investigate when a man stumbles out of his car and dies ... from a wooden stake lodged in the back of his head." ]

[ "[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]", "FLASH TO WHITE:", "[SCENE_BREAK]", "[EXT. LAS VEGAS STREET - NIGHT]", "(A dark-colored SUV recklessly races through the streets, police cars after it, their sirens wailing.)", "Officer: (over radio) We have a high-speed chase in progress. Heading Eastbound on 74th street. Over.", "(The speeding SUV turns into a parking lot, side-swipes a parked car and continues out of the parking lot and back onto the street.", "(The SUV turns off of the road and onto the grassy area, the police cars right on its tail.)", "(The SUV turns back onto the busy street, weaving in and out of traffic as other cars swerve and brake to avoid hitting it. The police cars are still on its tail.)", "(The SUV turns and swerves into a tunnel. It exits the tunnel and onto the strip.)", "Officer: (over radio) 314 Baker, driver seems intoxicated.", "(The SUV appears to be losing speed. It slowly side-swipes several cars parked on the side of the road.)", "Officer: This is Charlie 324. Hang back. Over.", "(The SUV turns off the road and slowly comes to a stop in front of a large hotel/casino.)", "[EXT. HOTEL/CASINO - NIGHT - CONTINUOUS]", "(DET. LOCKWOOD exits the police car behind the SUV. His weapon drawn.)", "Lockwood: Driver! Cut the engine and throw the keys out the window.", "(He takes a couple of steps toward the vehicle.)", "Lockwood: Driver! Cut the engine and throw the keys out the window!", "(He waits a moment, then starts to yell out instructions again.)", "Lockwood: Driver ...", "(The driver's door slowly opens and a man gets out. He slowly turns around.)", "(LOCKWOOD slowly puts his weapon down, a look of horror on his face as he realizes what he's looking at.)", "(The man has a wooden stake embedded in the top of his head. He falls to his knees, then collapses to the ground in front of LOCKWOOD.)", "WHITE FLASH TO:", "[SCENE_BREAK]", "[EXT. HOTEL/CASINO -- NIGHT]", "(A large crowd has gathered around the contained crime scene. GRISSOM and LOCKWOOD make their way through the crowd.)", "Grissom: Excuse us. Excuse me, sir. Thank You.", "(GRISSOM and LOCKWOOD break out of the crowd and make their way to the body. GRISSOM carries his CSI kit.)", "Lockwood: Death: The cheapest show in Vegas.", "Grissom: Yeah, it doesn't surprise me. You remember the MGM fire? We found people burned to their slot machines 'cause they wouldn't leave the action.", "Lockwood: Only in Vegas.", "(GRISSOM puts his kit down and kneels next to the body.)", "Grissom: This guy's got a piece of wood sticking out of his head.", "Lockwood: Alex James, age 42. Found his wallet in the glove compartment. SUV is registered to him. No previous record. How was he able to drive?", "Grissom: I once saw a guy walk fifteen blocks with three bullets in his face.", "Lockwood: The victim was traveling west on flamingo. The Desert Palm isn't too far from here. I guess he was en route to the hospital.", "Grissom: I don't much care where he was going. I want to know where he's been.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. VENETIAN HOTEL/CASINO (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. HOTEL/CASINO - BACK GARAGE -- NIGHT]", "(WARRICK and CATHERINE slowly make their way across the garage, their CSI kits in hand.)", "Warrick: Like coming in the back way, huh?", "Catherine: Yeah, makes us VIPs tonight.", "(A bellhop approaches them and nods to CATHERINE and WARRICK'S kits.)", "Bellhop: Let me help you, ma'am. Sir?", "Warrick: It's okay.", "Catherine: No, thanks. Oh, it's not luggage. Thank you, though.", "[SCENE_BREAK]", "[INT. TUNNEL LEADING TO HOTEL -- CONTINUOUS]", "(They meet up with the HOTEL MANAGER.)", "Hotel Manager: You must be CSI.", "Warrick: I'm Warrick Brown. This is Catherine Willows.", "Catherine: You said you had a situation in your casino?", "Hotel Manager: A kidnap.", "Warrick: Is it a high profile?", "Hotel Manager: Yes. We'd like to deal with this locally before we involve the FBI.", "Catherine: Well, until we know the victim was taken over state lines, the FBI has no jurisdiction. Do you have any contact from the kidnappers?", "Hotel Manager: A ransom note was left at the front desk.", "Warrick: Who are we looking for here?", "Hotel Manager: A five-year-old boy.", "Catherine: Whose five-year-old boy?", "Hotel Manager: Tavian Tombs.", "Warrick: Tavian Tombs, professional basketball player. Very high profile.", "[SCENE_BREAK]", "(Through various dissolves: WARRICK and CATHERINE follow the HOTEL MANAGER representative through the hallway.)", "[SCENE_BREAK]", "[INT. HOTEL - TOMBS' HOTEL ROOM]", "(The hotel room doors open. CATHERINE and WARRICK walk inside. TAVIAN TOMBS' back is to the door.)", "Tavian Tombs: (angrily) I got eight people to make sure that something like this does not happen. Where the hell was everybody? Out spending my money? (to the Head SECURITY GUARD) You're supposed to be the head of security, and you let my son get kidnapped right from under my nose.", "Catherine: Mr. Tombs ...", "(TAVIAN TOMBS turns around.)", "Tavian Tombs: You better have a good reason for being here.", "Warrick: We're here to find your son.", "Catherine: We're with the crime lab, and I'm assuming that that's our ransom note.", "Tavian Tombs: It's my note, my kid, my show.", "Warrick: Look, I've seen you take out three guys on the glass and still finish. I'm not here to bang boards with you. I'm here to do my job. (beat) It's your son; it's your call.", "(In the next room, two little boys play video games. CATHERINE turns to look at them as she puts her gloves on.)", "Tramelle: I'm going to dunk on you again.", "Jason: Yeah.", "(TAVIAN TOMBS holds out the ransom note. WARRICK takes it.)", "Warrick: (reading) \"I have Isaiah. Bring $5 million to the northwest corner of Telfair and Juniper, 4:00 A.M.\"", "Catherine: How many of you touched this letter?", "Security: I did.", "Woman: I just want my boy back.", "Catherine: Did this note come in an envelope?", "Security: Yeah ... I threw it in the wastebasket.", "(CATHERINE steps up and takes the envelope from the trash.)", "Catherine: (to WARRICK) We have a better chance of getting uncompromised prints off of this.", "Warrick: You said that Captain Brass was here?", "Hotel Manager: Yeah. He's interviewing the nanny.", "[SCENE_BREAK]", "[INT. HOTEL - TAVIAN TOMBS' ROOM - NEXT ROOM]", "(BRASS is interviewing the Nanny.)", "The Nanny: We were at the carnival, me and the boys.", "(She sighs.)", "(Quick flashback to their day at the Carnival.)", "The Nanny: (V.O.) They wanted to ride on the carousel. I said no.", "(End of flashback. Resume to present.)", "Brass: But you gave in.", "The Nanny: Special weekend. Dad's in town. Everybody's together. Trust me, they don't understand \"no.\"", "(Quick flashback to the boys at the Carnival on the Carousel.)", "(The children go round and round on the Carousel having a grand time. As best she can, she tries to keep an eye on them; however, when the horses come around, one of the kids is missing.)", "The Nanny: Jason! Jason, where's Isaiah? Jason! THE NANNY: Where's your brother?! Jason, where's your brother?!", "(End of flashback. Resume to present.)", "The Nanny: He was right there. And then he ... I swear to you, I looked everywhere, but I knew he was gone. (sighs) So ... I brought the kids back here and had to tell Tavian.", "Grissom: ... and his wife.", "The Nanny: (scoffs) They're not married. And even if they were, it'd still be Tavian's show.", "Brass: A woman who knows her employer.", "The Nanny: I should. He's my brother.", "[SCENE_BREAK]", "[INT. HOTEL - TAVIAN TOMBS' ROOM - MAIN ROOM]", "(The man with the ransom money arrives. The suitcase is open and on the table.)", "Tavian Tombs: It took you that long to pull the paper together?", "Man With Cap: Soft count room wouldn't go any faster.", "Catherine: The casino's fronting the ransom money?", "Hotel Manager: Mr. Tombs has a multimillion-dollar line of credit with us.", "Catherine: We strongly advise that you don't hand over that money.", "Warrick: At least let us mark it.", "Tavian Tombs: You know how long it'd take to mark $5 million large? The kidnapper knows. Longer than the drop-off time. Now, the letter said corner of Telfair and Juniper. That's where this bag is going.", "[SCENE_BREAK]", "[EXT. HOTEL/CASINO -- NIGHT]", "(GRISSOM and NICK process the crime scene. NICK is snapping photographs. Garbled radio transmissions can be heard in the background.)", "(LOCKWOOD checks the SUV over.)", "(GRISSOM kneels next to the body and sprays the piece of wood with something.)", "Grissom: Sharp force trauma.", "Nick: Shouldn't we get the spike out of his head before we try to get any prints off it?", "Grissom: I'm afraid if we try to remove it, we'll eradicate the prints.", "(NICK takes more pictures. GRISSOM kneels even lower to look under the wooden spike.)", "Grissom: I'm not going to get any prints off of this.", "Nick: Well, he sure is dirty. I mean, he isn't homeless. This is his car, right?", "Grissom: Yeah. I'm going to scrape his nails.", "(GRISSOM takes the instrument and scrapes under the nails. He looks at it and sees small specks of something.)", "Grissom: Hand me a bindle.", "(NICK hands GRISSOM the bindle. LOCKWOOD finds a gun in the car.)", "Lockwood: Hey, fellas, you're never going to guess what I found under the seat. A .38 special.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB -- DAY]", "(WARRICK is examining the ransom note under a magnifying glass. SARA walks in.)", "Sara: Catherine wanted to know if you have anything. She can't convince Tavian to change his mind about the ransom money.", "Warrick: 8 x 11 plain white copy paper. It's mass-produced. You can get it anywhere. The envelope, unfortunately, is self-adhering.", "Sara: No DNA.", "Warrick: No.", "Sara: What about the text? It's just standard laser, nondescript. So you got nothing.", "Warrick: Nothing I can see.", "(SARA picks up the note and smells it. She hands it to WARRICK to smell.)", "(Cut to WARRICK putting the note inside a container. He closes the container and turns on the Evidence Vacuum Sweeper.)", "(Quick CGI POV flash to inside the container, through the vacuum vent, through the vacuum hose, through the filter and a close up of the particles caught inside. End of CGI POV. Resume to present.)", "(WARRICK opens the filter and empties it out into another filter set-up. He washes it out, runs it through a filter, takes a sample of the liquid and runs the sample through a machine.)", "(WARRICK opens the container. He sprays the paper and sees the fingerprints.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(ROBBINS adjusts the camera and monitor to get a better view of the stake embedded in the body's head.)", "Robbins: Looks like something out of Nosferatu.", "(ROBBINS leans in to look at the stake.)", "Grissom: Yeah, only the wooden stake is in his head, not his heart.", "Robbins: I've never seen that before -- a wooden stake embedded in the high parietal scalp in the midline. Hold his head down firmly, will you?", "(GRISSOM puts his hands on the body's head while ROBBINS gets a grip on the stake.)", "Robbins: On three. One ... two ... three!", "(ROBBINS pulls out the wooden stake. He hands the stake to GRISSOM, then reaches into his pocket to put his glasses on. He leans down to look at the wound.)", "Robbins: Irregular puncture defect to the scalp, laceration to the sagittal sinus. The wound track stops at the falx cerebri. No gross penetration of the cerebrum. That stake is what kept him driving.", "Grissom: Tamponading?", "Robbins: Well, the application of more than normal pressure to the wound acts like a plug, temporarily keeping him alive. The spike probably struck ...", "(Quick CGI POV of the stake embedding in the brain.)", "Robbins: (V.O.) ... between the brain hemispheres ...", "(End of CGI POV. Resume to present.)", "Robbins: ... most likely lodging into the parietal bones and holding it in place. They say it's a game of inches -- a centimeter to the left or right, and he would have bled out and died instantly.", "Grissom: Yeah, but head trauma this severe, surgery would've probably killed him anyway.", "Robbins: That, or live an extra hour in excruciating pain.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(WARRICK fills CATHERINE in on the findings of printing the ransom note. He hands the results to CATHERINE.)", "Warrick: They weren't lying. They all touched it. Everybody's who's got a piece of Tavian got a hand on that ransom note. Even the bellman and the desk clerk left prints on the envelope.", "Catherine: Any unidentified prints?", "Warrick: Just a few smudges, a couple of partials.", "Catherine: So prints don't help.", "Warrick: No.", "Catherine: Liquid extraction results.", "Warrick: Yeah, that was detected on the ransom note-menthol and nicotine.", "(Quick flashback to the ransom note being printed out and the hand reaching for it holding a burning cigarette. End of flashback. Resume to present.)", "Catherine: Nicotine. So we're looking for a smoker -- menthol smoker.", "[SCENE_BREAK]", "[EXT. CORNER OF TELFAIR AND JUNIPER - NIGHT]", "(WARRICK and BRASS sit in the car and stake out the drop off site. Some distance away, they have a clear view of the money bag on the ground next to the bench.)", "(A truck turns the corner.)", "Brass: (to radio) Everybody hold. We don't make a move until after he's taken the money.", "(A man gets out of the truck and grabs a stack of newspapers. He opens the newspaper rack on the corner of the sidewalk and restocks it with newspapers. He doesn't go anywhere near the money and by all indications isn't even aware that it's there. He shoves the newspapers in the dispenser, closes the hatch and leaves.)", "Brass: (to radio) Stand down.", "(The truck drives off.)", "Warrick: We're way past the drop time here.", "Brass: Yeah. Well, let's give it a couple more.", "(They both look outside. The money bag is still there.)", "Brass: So, what's your take on this? Inside or outside job?", "Warrick: No, I think it's just some freak with a nicotine habit and access to a laser printer.", "Brass: Did you see the action he got? One phone call, $5 million gets delivered to his hotel?", "Warrick: Yeah, that money's not doing him any good now, huh?", "Brass: Yeah.", "(Another man approaches the money. It's Tavian's Head of Security.)", "Warrick: It's just gone bad.", "Brass: Oh, man.", "(BRASS and WARRICK both get out of the car. Other officers with weapons drawn are already on their way to intercept the man.)", "Warrick: Hey! Hey!", "Brass: (to the Security guy) What are you doing? (to the officers) Put the guns down! Put the guns down!", "(BRASS and WARRICK reach the Security Man.)", "Brass: What the hell are you doing?", "Security: Tavian wanted me to be sure the transfer got done.", "Brass: This is our job -- not yours, not Tavian's.", "Warrick: What are you concerned about here -- the kid or your job?", "Security: I didn't do nothing. Nobody took the money -- didn't even show. I've been here all night just like you.", "Brass: They spotted you. You understand? The kidnappers saw you. They made us.", "(BRASS' cell phone rings. He turns and walks away to answer it.)", "Security: I was doing what Tavian asked me to, man.", "Brass: (to phone) Brass.", "[SCENE_BREAK]", "[EXT. DUMP SITE -- NIGHT]", "(BRASS, CATHERINE and WARRICK walk toward the little boy's body.)", "Warrick: It's him. I'll take the perimeter.", "Catherine: Body's in an unnatural position.", "Brass: Maybe this is only the dump site.", "Catherine: His body's also coated. Makes me think whoever did this didn't even stop the car.", "(Quick flashback to a car driving by, its door opening, and a body being thrown out. End of flashback. Resume to present.)", "Catherine: Something had to have gone wrong.", "Brass: Something did.", "[SCENE_BREAK]", "[INT. CSI - WAITING ROOM -- NIGHT]", "(ISAIAH'S MOTHER and TAVIAN both sit in the waiting room.)", "Isaiah's Mother: Do not let them cut him. I don't want them even touching him.", "(TAVIAN TOMBS stands and goes looking for someone. He walks into the hallway and finds CATHERINE waiting there.)", "[HALLWAY]", "Tavian Tombs: We're taking the body.", "Catherine: Mr. Tombs, I'm sorry, but in a crime like this, an autopsy's mandatory. Evidence from your son's body may lead us to the suspect.", "Tavian Tombs: You're telling me what I can and can't do?", "Catherine: It's not your call anymore.", "(TAVIAN TOMBS sighs and walks away.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(NICK and GRISSOM both look through their own scope.)", "Nick: How you doing over there?", "Grissom: I got scat.", "Nick: Feces?", "Grissom: Yep.", "Nick: Under the fingernail?", "Grissom: Yep.", "(NICK thinks about this for a moment, pulls away from his scope and grimaces at the conclusion he reached.)", "Nick: He wiped his own ass?", "Grissom: (chuckles) No, Nick, it's not human. It's scat. Could be from a bat.", "Nick: Bat scat.", "Grissom: Bat 'guano'.", "Nick: Well, whatever. It's a lot better than what I got. As far as I can tell, the wood's Douglas Fir with a side of god knows what. I'm no geologist, but these splinters are intertwined with some kind of mineral.", "Grissom: Is it sparkly?", "Nick: Oh, yeah.", "Grissom: Let me see. (GRISSOM moves to look through NICK'S scope.) I think it's quartz. Or fluorite.", "Nick: Great. That limits it to every outdoor area in greater Nevada. Mountain ranges, mine shafts, quarries ... underground sewers.", "Grissom: All home to bats.", "(They both resume looking through the scopes.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY]", "(CATHERINE walks in to find WARRICK standing outside the door to the AUTOPSY. He appears hesitant.)", "Catherine: Hey. Why don't you let me handle this?", "Warrick: Thanks. I'm not ready to deal with another murdered kid. I'll process the evidence.", "(CATHERINE walks in. For a moment, WARRICK watches through the door window. ROBBINS starts.)", "Robbins: No apparent cause of death. I'll send a blood sample to tox.", "(WARRICK leaves.)", "Catherine: The foam around his mouth?", "Robbins: Could indicate pulmonary edema. Found bruising in the lower extremities and the knees, but these injuries are a few days old. The bruises are at various stages of healing.", "Catherine: Well, that could be from roughhousing with his older brothers. What about this bruise?", "Robbins: Well ... let's see, it extends around the body ... like so.", "(ROBBINS lifts the body up to show the bruising on the boy's back.)", "Robbins: Ah, I've seen this before. Did you find rope at the scene?", "Catherine: (shakes her head) We haven't found the scene.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK gathers evidence from ISAIAH'S clothes.)", "(On the front of the jacket, he finds fibers. Hair fibers.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS OUTER CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. OUTER CITY SALVAGE COMPANY -- DAY]", "(NICK and GRISSOM walk up to the front door of the warehouse.)", "Nick: Outer City Salvage Company. Owned and operated by Alex James.", "(LOCKWOOD opens the sliding door.)", "[INT. OUTER CITY SALVAGE COMPANY - DAY - CONTINUOUS]", "Lockwood: (loudly) Las Vegas police. I have a warrant. I'll clear the back.", "Nick: Thanks.", "(NICK and GRISSOM walk into the Warehouse. NICK spots an old MILES slot machine.)", "Nick: When's the last time you saw a dinosaur like this? Lemons on the reels.", "Grissom: Not since Sam Braun ran the town.", "Nick: Old Vegas.", "(NICK walks in further into the warehouse and sees something on the table. He puts on a pair of latex gloves.)", "Nick: Buckshot pellets. Looks like he loaded his own.", "(GRISSOM looks around and notices something else.)", "Grissom: A melting furnace.", "Nick: What's that for?", "Grissom: Melting precious metals.", "(Next to the table is a blanket with pieces of jewelry on it.)", "Nick: Quenched it in the tub?", "(On the other side of the table is a large, old porcelain bathtub with discolored/dirty water in it. In answer to NICK'S question, GRISSOM nods.)", "Lockwood: Hey, fellas, take a look at this.", "(LOCKWOOD holds up a ziplock bag of pieces of gold jewelry.)", "Nick: More precious metals.", "(NICK takes the bag. LOCKWOOD holds out something else.)", "Grissom: And the pawn tickets.", "Nick: Easily traceable.", "(NICK takes the pawn tickets. GRISSOM turns and looks at the wall behind them.)", "Grissom: Topographical maps of the Sierra Nevada. Delamar Quadrangle, Lincoln County, La Madre Mountain ... Clark County.", "(While looking at the map, GRISSOM finds something and calls NICK over.)", "Grissom: Hey, Nick. Blood spatter and a bullet hole, maybe?", "[MAP: La Madre Mtn. Quadrangle / Nevada - Claim Co. / 7.5 Minute Series", "(Topographic)]", "(NICK pushes the map aside and finds the hole in the wall behind the map.", "Nick: Through-and-through. (NICK checks the floor.) Oh, yeah. Medium caliber. This is our primary crime scene?", "Grissom: Except that our vic had a stake in his head. He wasn't shot.", "Nick: Yeah, but he had a .38 in his car.", "Grissom: We're looking for another body.", "(Camera holds on GRISSOM.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CASINO -- DAY]", "(BRASS interviews KEVIN, The Bellman.)", "Kevin (bellman): It was a tip.", "Brass: A $10,000 gold chip? (chuckles) I don't think so. If it was a tip, you wouldn't have had to lose the bellman's outfit to cash it in. Now where'd you get this?", "Kevin (bellman): I found it ... sort of.", "Brass: You found it ... \"sort of\".", "Kevin (bellman): Tavian is always surrounded by women. Guys, too, but they want autographs. The chicks -- they want something else.", "(Quick flashback to: KEVIN (The Bellman) glances over at TAVIAN TOMBS sitting at a card table. End of flashback. Resume to present.)", "Kevin (bellman): Now, usually his boys turn them away, but this one got through.", "(Quick flashback to: BRIDGET WILLIS walks up to the card table, pushes her way through the crowd and stands in front of TAVIAN TOMBS.)", "Bridget Willis: Excuse me. I need to speak to Tavian. I want to see Tavian.", "(End of flashback. Resume to present.)", "Kevin (bellman): There were definitely chicks a lot hotter, but I guess when you can have anything ...", "Brass: They leave together?", "Kevin (bellman): No, just the opposite. They got into it right there.", "(Quick flashback to: BRIDGET WILLIS yells at TAVIAN TOMBS.)", "Bridget Willis: You're a lousy father to Tramelle. And you think the whole world worships you. But the truth is, you're just a deadbeat.", "Tavian Tombs: Whatever. This what you want?", "(He brushes her complaint aside and holds up the gold poker chip. She brushes the chip aside. It goes flying. She turns away. End of flashback. Resume to present.)", "Kevin (bellman): Casino taxes me $24 an hour regardless of what I make. And do you know how much a zillionaire like Tavian Tombs tips? Zip. Nothing. Not even change I can throw in the fountain. And why? Because he's comped all the way around. R.F.B.-- Room, food, beverage -- including tips. So, when ten large goes sliding across the floor, and nobody sees it? Get out of the way, 'cause Kevin's coming through.", "(Quick flashback to: KEVIN sees the chip fly and goes after it. The chip falls and rolls on the floor. KEVIN crawls under the table to get it. End of flashback. Resume to present.)", "Brass: Yeah, I get the picture.", "Kevin (bellman): Hey, I tried to give it back.", "(Quick flashback to: BRIDGET WILLIS walking by KEVIN on her way out. KEVIN holds up the chip and calls out to her.)", "Kevin (bellman): This is yours.", "(She turns around.)", "Bridget Willis: Keep it.", "(She walks away, KEVIN still holding the chip. End of flashback. Resume to present.)", "Brass: Yeah, yeah, sure you did.", "Kevin (bellman): So, uh, what about my money?", "Brass: Don't be stupid. (to HOTEL MANAGER) Who's the blonde he's talking about?", "Hotel Manager: I don't know.", "Brass: Look, big casinos honor each other's chips. So, how you tracking these? Bar code, embedded transmitters, what? Look, it's okay. It's easy for the guys at the lab to figure this out, but we'll let the other casinos know you helped us out.", "Hotel Manager: Her name is Bridget Willis. She's on his list.", "Brass: Thank you.", "(On his way out, BRASS hands the chip over to The HOTEL MANAGER.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is pouring over maps spread out over the table. NICK walks in with the ballistics report in his hand.)", "Nick: Hey, Griss, ballistics matched the .38 bullet to the gun in the victim's car. As for the splinters on the stake ... you were right. Quartz. Fluorite.", "Grissom: Dolomite, barite, calcite, antimony.", "Nick: Well, the mass spec dug deeper. Arsenic and cyanide. Now, as of late, that's what's used to extract gold.", "Grissom: Do you have any idea how many mine shafts there are in the State of Nevada?", "Nick: Yeah, hundreds. Including gold and silver mines in Nelson, Searchlight, Goodsprings. You name it. I've got Lockwood running a background check on our vic. Maybe we'll get lucky.", "(NICK takes the report from GRISSOM and leaves the room. GRISSOM returns to his maps.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS - DAY]", "CUE: (PRELAP) DOORBELL", "[SCENE_BREAK]", "[EXT/INT. WILLIS' RESIDENCE -- DAY]", "(The front door opens.)", "Brass: Bridget Willis?", "Bridget Willis: Mm-hmm.", "Brass: I'm Detective Jim Brass, Vegas PD. This is Catherine Willows from the crime lab.", "(A little boy walks out to stand next to his mother. She puts a hand on his shoulder.)", "Bridget Willis: You're here to talk to my son Tramelle?", "(Quick flashback to: CATHERINE at TAVIAN TOMBS hotel room. She turns her head and sees TAVIAN'S two sons playing video games. One of the boys is TRAMELLE. End of flashback. Resume to present.)", "Catherine: (smiling) We already have.", "[SCENE_BREAK]", "[INT. WILLIS' RESIDENCE -- DAY]", "(BRASS and CATHERINE question BRIDGET WILLIS.)", "Bridget Willis: I was in college. He was the \"man,\" Mr. Final four. I thought I'd won the lottery. Then I got pregnant, and he went in the lottery, so ... take a look around. Guess what we fight about.", "Brass: Money.", "Bridget Willis: He's rich, I'm not. I've accepted that. But he does have responsibilities.", "Catherine: Tramelle.", "Bridget Willis: A weekend here and there doesn't make a father. Tramelle's not one of his \"boys.\" He's his son. Kid comes home with an armful of presents and a broken heart every time.", "Catherine: Ms. Willis ... is Tramelle your only child?", "Bridget Willis: No. I have a little girl.", "Catherine: Why wasn't she with Tavian's other kids at the carnival?", "Bridget Willis: She wasn't invited.", "(Quick flashback to: TAVIAN TOMBS talking with BRIDGET WILLIS.)", "Tavian Tombs: I'm not taking her. I'm not taking your girl.", "Bridget Willis: Tramelle's been talking about this weekend for months. She just wants to come.", "Tavian Tombs: Then what you better do is explain to her that I'm Tramelle's father, not hers.", "Bridget Willis: What difference does one little girl make?", "Tavian Tombs: It's all about what's mine.", "(End of flashback. Resume to present.)", "Daughter: Mommy. What's for lunch?", "(CATHERINE turns around to see a cute blonde girl coming down the stairs.)", "Bridget Willis: Just a minute, okay, sweetie? (The little girl nods and leaves the room. CATHERINE smiles.) So, instead, I took her to Sweet Creatures at the Forum Shops.", "(Quick flashback to: BRIDGET WILLIS and her daughter stuffing a bear. The little girl laughs.)", "Bridget Willis: Don't fill it too much, sweetie.", "(End of flashback. Resume to present.)", "Catherine: Oh, yes, I've been there. Works wonders on the disappointments of little girls.", "Bridget Willis: That's what I was hoping for.", "(Camera holds on BRIDGET WILLIS.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK is looking through the scope. GREG walks in with his report and holds it out to WARRICK.)", "Greg: For you.", "Warrick: Thanks. Have you taken a look?", "(WARRICK takes the report and looks at it.)", "Greg: I'm just trying to learn.", "Warrick: Well?", "Greg: Well, the fiber you tweezed from that sweatshirt - trace pegged it as sisal.", "Warrick: Sisal? Rope? Mostly likely from the restraint.", "Greg: What's under the scope?", "Warrick: Take a look.", "(GREG looks through the scope.)", "Greg: Oh, hair. But cuticle's a single layer. Overlapping. (He looks up.) It's not human.", "Warrick: It's canine. Sweatshirt was riddled with dog hair. Many different breeds.", "Greg: You think the kidnapper used it as a lure?", "Warrick: Kids love dogs. I know when I was a kid, I was all over them. That's a good start. Thanks.", "(GREG leaves the lab.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(ROBBINS holds up a baggie of pill-shaped items.)", "Robbins: Found them in Isaiah's stomach contents.", "(He gives it to CATHERINE.)", "Catherine: Pill casings.", "Robbins: Starts to break down as soon as it hits the mouth.", "(Quick CGI POV to: Pill sliding down the throat.)", "Robbins: (V.O.) The shell is porous. In the stomach, the medicine leeches out, enters the bloodstream. The case is left behind.", "(Pill hits the stomach and starts to fizz white medicine. End of CGI POV. Resume to present.)", "Robbins: Eventually, the casing's broken down, as well, but by then, the medicine's already working.", "Catherine: I see a USP number.", "Robbins: Well, it should be listed in the PDR, but I couldn't find it.", "(WARRICK joins them.)", "Warrick: What have you got?", "Robbins: Pill casings.", "(CATHERINE shows the baggie to WARRICK. He takes it.)", "Warrick: He was drugged?", "Catherine: Looks that way.", "Warrick: Well, we lifted dog hair from the sweatshirt we found near the body.", "Catherine: So, our kidnapper had contact with dogs.", "Warrick: Multiple breeds.", "Robbins: Dog lover? Dog walker?", "Catherine: Hey, how about a vet?", "(WARRICK thinks about it for a moment.)", "Warrick: Try the reference of Veterinary Pharmaceuticals and Biologicals.", "(CATHERINE pulls up the computer database and enters the USP number.)", "[SCREEN READS: COMPUTER SCREEN: VPB 12TH EDITION 2001 / 2002 VETERINARY PHARMACEUTICALS AND BIOLOGICALS PRODUCT LABELS MONOGRAPHS Enter Manufacturer Or Product Name: DP145 ]", "(The search runs and the following results:", "[RESULTS: Acepromazine Maleate Three pill sizes. Tranquilizer ADA No.: DP1458-1829", "Active Ingredient(s): Each mL of injectable sterile solution contains: ] )", "Catherine: (reads) Acepromazine maleate. Tranquilizer.", "Robbins: 25 milligrams. Four pills wouldn't have been fatal for a child Isaiah's size. Based on the blood levels, these remnants were probably a second dose.", "Warrick: It wasn't the money drop that went bad. The problem was Isaiah died.", "Catherine: I'll call Brass. I'll have him check vet clinics, kennels, pet supply stores, and we'll extend the radius out from the dump site.", "Warrick: (nods) Okay.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(LOCKWOOD, GRISSOM and NICK walk down the hallway as LOCKWOOD fills them in on the victim.)", "Lockwood: Our man Alex James is quite the land owner. According to the mining laws of 1872, public land can still be paten for five dollars an acre -- a law which is still in effect. That's all this guy did was buy and sell publicly-owned, government land. Funny thing is, there was one mine that he sold over and over again.", "Nick: Now, why would he do that?", "Lockwood: Now, there lies the mystery.", "Grissom: So, who was the last person he sold to?", "Lockwood: Joe McPherson. Local.", "Grissom: Where is he now?", "Lockwood: No one knows. He's been missing for 48 hours.", "Nick: There lies the mystery.", "Grissom: Where's the mine?", "(They walk off camera frame.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS MOUNTAINS (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. MINE -- DAY]", "(GRISSOM and NICK make their way from their parked car to the mine entrance.)", "Nick: What's with the gate?", "Grissom: It's a bat gate. It keeps people out, lets the bats in.", "[INT. MINE - DAY]", "Grissom: Old mines are considered bat habitats and preserves.", "Nick: Who puts the bat gates in?", "Grissom: Batman.", "(They enter the mine. GRISSOM looks down on the ground.)", "Nick: What have you got?", "Grissom: Insect chitin. It's usually found near the entrance of caves.", "(GRISSOM kneels in further into the cave. He picks up a handful of ... )", "Grissom: Guano. We got bats.", "(They both look up.)", "Nick: Oh. Good.", "(They enter deeper into the cave.)", "Grissom: Probably California leaf-nosed bats.", "Nick: They don't bite, do they?", "Grissom: They're like bees, Nick. You don't bother them, they won't bother you.", "Nick: Well, hey, let's ... let's not bother them, okay? I'm serious.", "(Inside the cave, they find the ceiling walls covered in gold.)", "Grissom: Are you seeing this? Gold.", "Nick: (flatly) We're rich.", "Grissom: I'm not so sure.", "(NICK looks down at the ground and finds something.)", "Nick: Another buckshot casing.", "(He picks it up.)", "Grissom: And these look like impact patterns.", "Nick: So, he was loading his own.", "Grissom: But not with pellets.", "Nick: With gold. Pawn shop jewelry and melting furnace.", "Grissom: You know, Lockwood said that James sold this parcel of land multiple times. I think he was running a scam.", "(Quick flashback to: ALEX JAMES emptying the buckshot case of its pellets. Flash to a table full of precious metals and jewelry gotten from the pawn shop. ALEX JAMES picks up a gold necklace and puts it into the melting furnace.)", "(Quick CGI POV of: The necklace in the liquid and melting. End of CGI POV.)", "(ALEX JAMES picks up the container of melted metal and pours it into the bathtub full of liquid. Flash to JAMES picking up the pieces of gold at the bottom of the tub and putting it in to the empty buckshot casing. ALEX JAMES smiles.)", "(End of flashback. Resume to present.)", "Nick: He was salting the mine.", "(Quick CGI POV of: Shotgun pointed to the ceiling of the mine. The gun is fired sending particles of gold up toward the ceiling. End of CGI POV. Resume to present.)", "(On the ground, NICK and GRISSOM both notice the bugs.)", "Grissom: Insect party.", "Nick: Yeah.", "Grissom: Cockroaches, cave crickets. Carabid beetles. All heading deeper into the cave.", "Nick: Why?", "Grissom: Maybe they got tired of eating bat guano.", "(NICK looks at GRISSOM.)", "[SCENE_BREAK]", "[EXT. KENNEL -- NIGHT]", "(BRASS and OFFICER METCALF escort CATHERINE and WARRICK to the kennel.)", "Brass: So, this is three blocks from the place where Isaiah's body was found. Why don't you guys take the kennel? Metcalf and I are going to take the dog run.", "(BRASS and OFFICER METCALF head in another direction, while CATHERINE and WARRICK enter the kennel.)", "(As they walk, they look around. CATHERINE finds a child's sneaker on the ground. She picks it up. She and WARRICK look at each other. She puts the shoe down and she and WARRICK continue to look around.)", "(Just a few steps away, CATHERINE finds a piece of rope.", "(Quick flashback to: ISAIAH tied and struggling to free himself from the rope. Dogs bark. End of flashback. Resume to present.)", "(For a moment, CATHERINE holds the rope, she and WARRICK imagining what ISAIAH must have gone through. WARRICK suddenly stands up and makes his way to the open cabinet.)", "(When he gets close enough to see what's inside, he calls out to CATHERINE.)", "Warrick: Cath?", "(CATHERINE looks at the cabinet and picks up a particular pill bottle. She looks at WARRICK.)", "(From the kennel entrance, BRASS yells out to them.)", "Brass: We found something. I think you're going to want to take a look at this.", "(CATHERINE and WARRICK head out toward BRASS.)", "[EXT. KENNEL -- NIGHT]", "(Cut to: BRASS reading. CATHERINE is standing next to him. They're both looking down.)", "Brass: Jacob Price. Local. (Camera moves downward to show a dead body with blood on his forehead.) Looks like somebody beat us to him.", "(A shovel with blood on it is discarded on the ground next to the dead body.)", "Warrick: Partner you think?", "Catherine: Or a guy who knows how to finish.", "HARD CUT TO BLACK.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - BRASS' OFFICE]", "(Inside BRASS' office, BRASS talks with TAVIAN TOMBS. Both men are standing.)", "Tavian Tombs: I don't want to hear this.", "Brass: Yeah, well... I've been on the job a long time, and I know what a tragedy like this can do to a family.", "Tavian Tombs: I told you, I don't want to hear it.", "Brass: What's going to happen is one day, Kenisha or Tramelle or one of your other kids is going to come to you and say, \"What happened to Isaiah?\" And they're going to want to know the truth.", "Tavian Tombs: Nothing you say is going to change anything.", "Brass: The guy who took Isaiah worked in a kennel.", "(BRASS puts a photograph on the desk of ISAIAH'S body as they first found him at the dump side. TAVIAN glances down at it.)", "Brass: He was used to handling dogs, not children. When Isaiah tried to escape, he was restrained, and when that didn't work, he was drugged.", "(Quick flashback to JACOB PRICE grabbing a pill bottle from the cabinet. In the background, ISAIAH sits on the ground tied with the piece of rope, struggling with his bonds. Cut to JACOB PRICE with ISAIAH. End of flashback. Resume to present.)", "Brass: Now, drugs have a different effect on adults than on children. It's called \"The Paradoxical Effect.\" So, when the tranquilizers weren't working, this guy- Price -- upped the dosage.", "(Quick flashback to ISAIAH still struggling with the rope after taking the tranquilizers. JACOB PRICE heads back to the cabinet to get more pills. Cut to JACOB PRICE struggling with ISAIAH. End of flashback. Resume to present.)", "Brass: Now, as a father, I can understand why you'd want this guy dead ...", "Tavian Tombs: (confused) What? Whoa. You think I killed him?", "(Quick flashback to: TAVIAN TOMBS swinging the shovel and hitting JACOB PRICE on the head. JACOB PRICE falls to the ground. End of flashback. Resume to present.)", "Brass: Yes, I do.", "(TAVIAN meets BRASS' eyes.)", "Tavian Tombs: I didn't kill anybody. I don't even know who he is. But if I'd gotten to him before you, I swear I would not have stopped to think about it.", "[SCENE_BREAK]", "[EXT. KENNEL -- NIGHT]", "(In the night, CATHERINE and WARRICK search the kennel grounds for evidence. The ground is sectioned of like a grid.)", "(Dissolve to CATHERINE kneeling down and finding a piece of white stuffing. She kneels down and picks it up.)", "(Quick flashback to: BRIDGET WILLIS at Sweet Creatures at the Forum Shops with her daughter.)", "Bridget Willis: Don't fill it too much, sweetie.", "Daughter: (laughing) You said the bigger the better.", "(End of flashback. Resume to present.)", "(Camera holds on CATHERINE holding the piece of stuffing.)", "[SCENE_BREAK]", "[INT. MINE]", "(NICK and GRISSOM cough as they go deeper into the mine.)", "Nick: Air's getting thick.", "Grissom: Smells like trinitrotoluene.", "(They cough some more. GRISSOM picks up a couple of pieces of wood.)", "Grissom: Look familiar?", "Nick: Yeah. But how did it get in the back of the guy's head?", "(On the ground, there's a black line leading deeper into the cave.)", "Grissom: Fuse line. Dynamite.", "(They go deeper into the cave. GRISSOM crawls over a pile of rock and debris and finds a dead body.)", "(NICK coughs. GRISSOM moves away a piece of wood covering the body.)", "Grissom: Chest wound. Possibly from our .38. Just about two days old.", "(NICK picks up the body's wallet and looks at the Nevada Driver's License with the following information on it:", "[PICKS UP NEVADA DRIVERS LICENSE #050492 R360021", "JOE MC PHERSON", "311 SEPHILL RD. LAS VEGAS NV 89108", "CLASS: 1", "s*x: M HEIGHT: 5'11\"", "WEIGHT: 180", "HAIR: BRN EYES: BRN BIRTHDATE: 09/02/63", "EXPIRATION DATE: 09/02/05 ]", "Nick: Joe McPherson. Local. Mr. Mia. Not an organ donor.", "Grissom: You know, wooden support beams, fuse line, TNT ... I think, uh, Alex James was trying to hide this body in the back of his mine.", "(Quick flashback to JOE McPHERSON walking into the Salvage Warehouse holding a gun out on ALEX JAMES.)", "Joe McPherson: (accusing) You scammed me!", "Alex James: No.", "Joe McPherson: That was my life savings!", "Alex James: Take it easy. Listen, now-now, now, lookit. I-I, I can explain everything, all right? Listen, Joe. Joe, come on, I-I sold you the wrong mine. I-it's an honest mistake.", "Joe McPherson: You're a liar!", "(Cut to ALEX JAMES and JOE McPHERSON struggling for the gun. The gun goes off. JOE McPHERSON slides to the ground.", "(Cut to: ALEX JAMES carries the body deep into the mine. He also carries some dynamite and a fuse.)", "(Cut to: ALEX JAMES dropping the body and preparing the dynamite.)", "(Cut to: ALEX JAMES backing out of the mine. Cut to the fuse burning. Cut to ALEX JAMES running out of the mine as it blows and getting caught in the flying debris.)", "Grissom: (V.O.) Like most fuses, it probably burnt too quickly and he couldn't outrun the blast ...", "(End of flashback. Resume to present.)", "(GRISSOM holds up the piece of wood.)", "Grissom: ... Or the wooden stake.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY / LAB]", "(CATHERINE walks through the hallway carrying a bag. She enters the lab where WARRICK is waiting for her and pulls out a stuffed bear.)", "(WARRICK takes the bear from her and takes a sample of the stuffing inside the bear. He puts the sample on a slide and puts the slide under the scope.)", "Warrick: Okay. Sample from the kennel is on your right. Your bear on the left.", "(CATHERINE looks in the scope. Cut to scope view of the fibers.)", "Catherine: Visible match.", "[SCENE_BREAK]", "[EXT. / INT. WILLIS' RESIDENCE]", "(BRASS, CATHERINE and WARRICK walk up the front steps to BRIDGET WILLIS' residence. BRASS reaches the door and knocks.)", "Brass: Bridget Willis? Las Vegas police.", "(The door is unlocked. He pushes it open. Inside TRAMELLE sits in the middle of the living room watching television. He looks up when they enter.)", "(BRASS walks off to search for BRIDGET. CATHERINE kneels down in front of TRAMELLE.)", "Catherine: Tramelle, where's your mother?", "Tramelle: I don't know. She left with my sister. She said my daddy would come get me.", "(CATHERINE doesn't say anything. BRASS walks back into the room.)", "Brass: She's not here. I'll put out an APB.", "(BRASS walks away. Camera holds on CATHERINE.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) -- EVENING]", "[SCENE_BREAK]", "[INT. CSI - LOUNGE]", "(CATHERINE and WARRICK discuss the wrap-up as they get their cups of coffee.)", "Catherine: So, Tavian was paying Bridget child support -- three grand a month.", "Warrick: Three grand a month? Tavian tombs has been a $12 million-a-year player for eight seasons, not including endorsements.", "Catherine: Well, he made his deal with Bridget when Tramelle was born. Bad timing for her.", "Warrick: Motive for us. She was right to assume that Tavian would immediately pay that ransom. What's five million to a guy who makes hundreds of millions?", "Catherine: And it is his son. I'm sure he would have paid any amount. So, how does that dog kennel guy Price figure into all this, and was killing him part of the plan?", "Warrick: I don't know. I think that Bridget Willis killed him because he killed Isaiah.", "(Quick flashback to BRIDGET WILLIS swinging the shovel and hitting JACOB PRICE on the head. JACOB PRICE falls to the ground. BRIDGET runs away, a piece of stuffing falling off of her as she leaves. End of flashback. Resume to present.)", "Catherine: In her act of redemption, she gives Tramelle to Tavian.", "[SCENE_BREAK]", "[INT. HOTEL - BACK GARAGE -- NIGHT]", "(In the garage, TRAMELLE exits the limo. He looks up at the large hotel. TAVIAN TOMBS' Head of Security escorts the little boy.)", "(Dissolve to TRAMELLE being escorted through the service hallway.)", "(Dissolve to TRAMELLE walking through the hotel hallway.)", "[INT. HOTEL - HOTEL ROOM DOOR - NIGHT]", "(Cut to: TRAMELLE stands in front of the large hotel room double doors. He knocks.)", "(The doors opens. TAVIAN TOMBS looks at his son. His son looks back up at his dad. For a moment, neither one moves.)", "(TAVIAN opens the door wider.)", "Tavian: Come here.", "(He kneels down and hugs his son. The two stay like that for a moment. Behind him, ISAIAH'S MOTHER also welcomes TRAMELLE.)", "Isaiah's Mother: Hello, Tramelle.", "Tramelle: Hi.", "(She puts an arm around him and leads him into the hotel room as TAVIAN watches. TAVIAN closes the hotel room door.)", "[SCENE_BREAK]", "[EXT. CASINO SIDEWALK - NIGHT]", "(NICK and GRISSOM take a walk along the sidewalk in front of a casino. GRISSOM is wrapping up a conversation with GREG on his cell phone.)", "Grissom: Okay. (shuts cell phone) According to Greg, the blood on the bullet's a direct match to Joe McPherson. It's a done deal.", "Nick: You know, I was talking to a lady in the county records office. She said those land patents have been changing hands for over fifty years.", "Grissom: That figures.", "Nick: There's a sucker born every minute.", "Grissom: Yup, and they all come to Vegas.", "(NICK and GRISSOM continue to walk down the sidewalk. Camera rises higher to the flashing casino sign.)", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[EXT. LAS VEGAS CITY SKYLINE (STOCK) - NIGHT]", "[BLUR OUT]" ]

[ "Catherine, Nick, and Sara investigate a seemingly months old body found in the mountains. Discovery of the man's identity lead the team to the world of robot wars. Warrick and Grissom look into the case of a man found murdered in an alley. Complicating their efforts, the medical examiner \"lost\" the body for 11 days. Greg helps this case by doing some undercover work." ]

[ "[EXT. LAS VEGAS CITY - TROPICANA/MGM (STOCK) - DAY]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[EXT. -- DAY]", "(Camera close up of an old rusty toy truck, a turned over shopping cart and an abandoned toilet.)", "(Two racers on their quad-bikes ride in and out of the area, each pacing with the other.)", "(BILLIE, the rider in BLUE, on the red bike hits a large metal canister and falls to the ground. The rider in RED on the blue bike stops to render aid.)", "Rider In Red: Billie!", "(The RIDER gets off her bike. BILLIE takes off her helmet and looks at the canister.)", "Rider In Red: My God, Billie, are you okay? What did you hit?", "(They both look at the canister #3077 with a large yellow sticker on it labeled \"HAZARDOUS WASTE / HANDLE WITH CARE\". Camera cuts to a white sticker labeled: POISON.)", "[SCENE_BREAK]", "[EXT. - (RAINY) NIGHT]", "(BRASS shows GRISSOM and CATHERINE the body in the canister.)", "Brass: So, according to the girl, one minute she's blasting through the mud and having fun, everything's great, the next thing she knows, she's lying upside down in the dirt, staring at chemical waste. She called Hazmat. Now, it's not toxic. They saw the barrel was buckling, they thought it might explode, so they opened it.", "(They approach the barrel and immediately smell the body.)", "Catherine: Ugh!", "Grissom: Yeah, whoa-ho.", "Catherine: Soap mummy.", "Grissom: Adipocere, a.k.a. Mortuary wax. This is what you get when fatty tissue decomposes in an alkaline environment with limited oxygen.", "Catherine: All you need is a little moisture and enough time.", "(Quick CGI POV of: Camera close up of the body in the can slowly decomposing and turning into soap.)", "Catherine: (V.O.) Anaerobic bacteria digest body fats, converting them into a waxy solid.", "(End of Quick CGI POV. Resume to present.)", "Catherine: Kind of like the way they make vegetable shortening.", "Brass: I'll never eat another french fry. How long you think he's been in there?", "Grissom: How do you know it's a he?", "Catherine: Five, six weeks, minimum.", "Brass: With all this wind and weather, any evidence of the dump is long gone.", "Grissom: (nods toward the barrel) We got evidence. (beat) Signed, sealed and delivered.", "HARD CUT TO END OF TEASER ROLL TITLE CREDITS", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- DAY]", "(The contents of the barrel are turned over onto the table. ROBBINS is explaining the process to two other assistant coroners, one of whom looks like he's getting sick from the smell.)", "Robbins: Gentlemen, saponification occurs most frequently in infant burials. That's because their bodies have more fat, and their bacterial flora aren't fully developed. (as the barrel tilts) ... Slowly ...", "(The liquid from the barrel spills out onto the table along with the first body part.)", "Robbins: Hold it.", "(The barrel stops. ROBBINS picks up a ring from the table and looks at it.)", "Robbins: Hmm. Look at this. Something for Catherine.", "(ROBBINS puts the ring aside.)", "Robbins: All right. Let's pull the rest of this out. Historically, saponified corpses that maintain their physical features were looked upon as, uh, incorruptible, even saintly.", "(The assistant coroner in the room continues to look sick. Camera close up of the liquid soup coming out of the barrel.)", "Robbins: So, when it happened to children, it just reinforced that notion. Hand me that foot there, would you? Okay.", "(The assistant coroner finally lifts up his head gear, gags and exits the room. ROBBINS continues to pull out body parts and place them on the table.)", "Robbins: You know, interestingly enough, since formaldehyde is alkaline and American caskets are sealed, there are more bodies in this country turning to soap now than at any other time in human history. We are, in fact, the adipocere capital of the world. USA -- we're number one.", "(ROBBINS lifts up the hand with it's index finger extended.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - HALLWAY/LAB -- NIGHT]", "(GRISSOM and WARRICK make their way through the hallway to the lab.)", "Warrick: Are you serious? David lost a body?", "Grissom: It happens. When I was working in Minneapolis, we had two John Smiths come in on the same day. Sent the wrong one back to Canada. Anyway, our body's still in the morgue. David finally processed his ten card. Guy's name is Keith Mercer.", "Warrick: When did he come in?", "(WARRICK spreads out the photos on the table. GRISSOM grabs a pair of gloves and puts them on.)", "Grissom: Eleven days ago. Found him in an alley off of Fremont in a pile of garbage next to the dumpster.", "Warrick: Eleven days ago? I guess we've got no more crime scene to process.", "Grissom: Initially, the police thought he was homeless. He hadn't bathed, no wallet, watch or keys, and he has scars on his lower legs.", "(WARRICK picks up a photo of the body's head.)", "Warrick: And a nice laceration with ecchymosis on his left temple.", "(GRISSOM picks up the evidence from the bag. First, the victim's shirt.)", "Grissom: Yeah, cause of death was blunt force trauma to the head.", "Warrick: Could have been an accident.", "(GRISSOM puts the victim's shoe down.)", "Grissom: Could have been a lot of things.", "(He reaches into the bag and takes out the victim's belt.)", "Grissom: Evidence without context is ambiguous at best.", "(He notices something yellow on the belt near the buckle.)", "[SCENE_BREAK]", "[INT. CSI - FORENSIC AUTOPSY -- NIGHT]", "(ROBBINS goes over the findings with CATHERINE.)", "Robbins: Did you ever chop wood, split a log?", "Catherine: I've seen it done.", "Robbins: You should try it sometime. I find it relaxing.", "Catherine: (smiles) Mmm.", "Robbins: The blow here was delivered similar fashion. The temporal bone was hit, driven down hard. Upper palate smashed. Most of the teeth gone.", "Catherine: What about the foot? It looks as though that's been sheared off.", "(Camera close up of leg bone cut clean through.)", "Robbins: Yeah, by something fast and powerful.", "Catherine: Industrial accident?", "Robbins: No, industrial accidents are messy. These cuts are too clean. My guess -- single impact.", "Catherine: How about an axe then?", "(Quick CGI POV of: Camera close up of an axe hitting into a leg. End of CGI POV. Resume to present.)", "Robbins: Possible. I'll cast the tool marks.", "Catherine: Body in a drum in the middle of the mountains. Well, if the head and hands were missing, I'd be saying mob hit.", "Robbins: Could be ritual mutilation or fetish murder.", "Catherine: So, I.D. from dental records is out. How about DNA? Bone marrow may still be viable.", "Robbins: My thoughts exactly.", "(ROBBINS grabs the bone saw from the side.)", "Robbins: The preferred sample is a large bone with a portion of joint, and we freeze, grind and sequence. Want a breast or thigh?", "Catherine: It's your kitchen.", "(The saw whirrs when he turns it on.)", "[SCENE_BREAK]", "[INT. CSI - LOUNGE -- NIGHT]", "(NICK and SARA get a cup of something to drink.)", "Nick: Hey, Sara, I don't want to cross any lines here, but, uh, I've got this buddy who's not going out with anybody ...", "Sara: No. No, no, forget it.", "(CATHERINE appears in the doorway and calls out to them.)", "Catherine: Hey, Grissom bailed. You guys are with me.", "Nick: Good.", "(They take their cups and head out of the lounge. NICK continues to try to get SARA to agree with him.)", "Nick: He's a cool guy.", "Sara: No.", "Nick: I mean, you don't ...", "Sara: No, Nick ...", "Nick: Listen, just hear me out for a second.", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(Camera close up of the ring. SARA looks at the ring and does an internet search on it for \"FRATERNITY CHAPTER\". She pages down through the different kinds of fraternity rings looking for a match.)", "[SCENE_BREAK]", "[INT. CSI - GARAGE -- NIGHT]", "(Wearing a mask and sitting on a chair, NICK tackles the barrel the body was discovered in. He swabs the inside. He notices the barrel plate.)", "(NICK cuts the barrel plate off of the barrel. He polishes the plate off. He takes a MAGNAFLUX (c) Magnetic Particle Test Equipment out from its box and sets it up.)", "(He pours some black powder on the plate completely covering the plate. When the machine is turned on, the black powder embeds itself into the etching revealing the following: 4LRW8464.)", "Nick: (pleased at the results) Gone but not forgotten.", "[SCENE_BREAK]", "[INT. CSI - LAB -- NIGHT]", "(SARA knocks lightly on the doorframe as she walks into the lab. CATHERINE is inside at the table.)", "Sara: DNA hit on the soap mummy?", "Catherine: Yeah. His name was Christian Cutler.", "(CATHERINE looks down at the information sheet in front of her with the following information:", "[...182672K DATE:01-05-98 TIME: 11:22:13", "EMPLOYMENT, LICENSING OR CERTIFICATION ...", "HOM V CUTLER, CHRISTIAN", "****NO CRIMINAL RECORD ****", "/CAUCASIAN HAIR/BRO POB/CA", "...EANT, HON DISCHARGE FEB 02-00", "LAS VEGAS NV 89123", "--ATION: E-5 ***** ]", "Sara: You got to love CODIS. What's his felony?", "Catherine: He wasn't in CODIS. Department of defense registry. He was in the army. An E-5 sergeant, honorably discharged three years ago. The guy drove tanks.", "Sara: Well, that fits. You know that fraternity ring? It's not a fraternity ring. Omega-Zeta-Alpha is a mechanical engineering honor society.", "Catherine: Hard-core mechie.", "Nick: Hey, hey -- want to know where his drum came from?", "[SCENE_BREAK]", "[EXT. WAREHOUSE -- NIGHT]", "(NICK, CATHERINE and BRASS make their way to the warehouse.)", "Nick: The chemical company serializes all their shipping containers. That way, if hazardous waste ends up where it shouldn't be, they know where it came from.", "Catherine: This place seems lively for a warehouse.", "Nick: A good place for a rave, though.", "Catherine: Hello.", "Security Guard: The cover's 25 bucks each.", "(BRASS points to his badge.)", "Brass: I got a coupon.", "[SCENE_BREAK]", "[INT. WAREHOUSE -- NIGHT]", "(Inside the warehouse, loud techno music plays. There is a huge rink in the middle surrounded by protective glass. Inside the rink are a number of robot machines.)", "Nick: Robot rumble. Demolition derby by remote control. They got a show on cable tv.", "Ginger: (over p.a.) And here comes Spiker Chick. The death blade goes up, and the death blade comes down. Oh! Jabba the Bot is made of titanium, but how much can he take?", "(NICK cranes his neck to watch the action inside the rink. Off to the side, the robot creators with their remote controls drive the machines inside the rink.)", "Ginger: (over p.a.) Oh, we got a jam-up, but with this much horsepower, it won't last long. Slaughter's driving yellow belly into the wall, trying to shake him off. Oh! It's mayhem in the middle. ... On his back, taking a pounding. And here comes Spiker Chick with the death blade. Oh, no! We got a Spiker Chick sandwich! Spiker chick is going for Jabba. Oh, again and again! Oh, and in a dazzling array of skill and deception ...", "Catherine: Metal weapons, money, competition, testosterone.", "Brass: We got a roomful of murder suspects.", "Ginger: (over p.a.) And the winner is ... Jabba the Bot! Whoo! Whoo-whoo!", "(The audience cheers wildly.)", "[SCENE_BREAK]", "[INT. WAREHOUSE -- NIGHT]", "(Camera follows a small remote-controlled two-wheel robot with blade across the floor. CATHERINE and BRASS question GINGER, the owner of the warehouse.)", "Ginger: Bots fight all over the country, on tv, all over the world. This is an informal venue where competitors can come to hone their skills and their machines.", "Brass: You have a gaming license?", "Ginger: I don't need one. See, I just put on a show. If people bet, that's their business.", "Brass: You're the only house in Vegas that doesn't take a cut.", "Ginger: Hey, my daddy ran an independent shipping company he ran it right into the ground. He died broke, but he left me a bunch of empty warehouses. I needed revenue, so I developed a new market. (to JIMBO) Hey, Jimbo, you looked ferocious out there.", "(JIMBO looks up from tending to his robot.)", "Jimbo: Thanks, Ginger. We lost.", "Ginger: (smiles) Yeah, but I like a guy who goes down with style.", "Catherine: Look available, be unobtainable.", "Ginger: Keeps them coming back for more. Want to tell me what this is all about?", "(BRASS holds out a photograph. GINGER looks at it and recognizes the person.)", "Ginger: That's Chris Cutler.", "Brass: He's dead.", "Catherine: He found his body stuffed in a chemical waste drum from this warehouse.", "Brass: When was the last time you saw Christian?", "Ginger: (thinks) God, about six weeks ago. Robot rumble, big free-for-all.", "(Quick flashback to: CHRIS CUTLER yelling with pleasure as he controls his bot and demolishes the other bots such as \"Hammer of God\" and \"Kill\".)", "Ginger: (V.O.) Smash-'N-Burn was on fire that night. Dismantled three or four bots.", "(End of flashback. Resume to present.)", "Ginger: He had the kind of fight that most of these boys dream about.", "(Quick flashback to: CHRIS CUTLER yelling and taking pleasure as he controls his bot. The other bots' owners don't look as thrilled as CHRIS CUTLER.)", "Ginger: (V.O.) Using the thing that he built to destroy the thing that the other guy built.", "(End of flashback. Resume to present.)", "Ginger: It's a basic male drive.", "Catherine: (to BRASS) That kind of puts that whole weapons of mass destruction thing into perspective. (to GINGER) I take it this Chris was not well liked.", "Ginger: Let me put it to you this way, nobody likes a winner who needs to shove it in your face.", "Brass: We're going to need you to identify the guys fought with that night.", "Nick: As well as their bots. We can't have a murder without a murder weapon.", "Brass: I'll take them all.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI -- DAY]", "(GRISSOM and VEGA interview MRS. MERCER, KEITH MERCER'S wife. They show her the photograph of the body.)", "Mrs. Mercer: Keith went to Yosemite to climb El Capitan. The shield headwall.", "Vega: Did you go with him?", "Mrs. Mercer: I drove to Taos to see my sister.", "Vega: And got back when?", "Mrs. Mercer: Ten days ago. Keith's gear was in the living room, but he wasn't there.", "Vega: What did you do then?", "Mrs. Mercer: I called his cell phone. I called his office. And then I called the park service and all they said was that Keith had been by to pick up his permit. So then I checked the hospitals up there and nothing. Then I called the hospitals in Vegas. And then I called the police. I did everything I could do and nobody would pay attention.", "Grissom: Mrs. Mercer ... you have my attention. And I'd like to see your house.", "[SCENE_BREAK]", "[INT. MERCER RESIDENCE -- DAY]", "(WARRICK pulls out the climbing rope from the bag on the living room floor.)", "Warrick: Looks like his gear's all here. I don't see a sleeping bag, though.", "(GRISSOM studies the wood floor.)", "Grissom: It looks like someone was trying to clean up, too, but forgot to use their Murphy's oil soap.", "(GRISSOM stands up.)", "Grissom: Luminol.", "(WARRICK reaches in to his kit and takes out the spray bottle of luminol. GRISSOM closes the window blinds. The floor glows.)", "Warrick: You called it. Positive for blood.", "(GRISSOM looks around at the framed photographs on the fireplace mantle and on the wall of the MERCER'S.)", "(WARRICK continues to spray luminol on the floor in the surrounding area and finds a shoe print.)", "(Quick flashback to: Someone walks through the blood and leaves behind shoeprints of blood. End of flashback. Resume to present.)", "Warrick: Got a trail of bloody footprints.", "Grissom: I may have blood here, too.", "(GRISSOM looks at the bookshelf and finds a bloodied finger print on the edge of a wooden box. He picks up the box and opens it. It's empty.)", "(WARRICK continues to spray the floor leaving behind evidence markers where he finds day-glo shoeprints. The prints lead up to the fireplace. WARRICK sprays around the fireplace and finds blood on the base of a heavy figurine.)", "(Quick flashback to: Someone hits MR. MERCER over the head with the figuring. End of flashback. Resume to present.)", "Warrick: Grissom. I think I might have just found our murder weapon.", "(WARRICK picks up the figuring and holds it up for GRISSOM.)", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(Camera close up of the various bots taken from the warehouse.)", "Sara: Spiker Chick, Donsueme, Slaughter 10? You really think one of these things killed your vic?", "Nick: They're fast, they're powerful, and the weapon characteristics fit, so I can't rule them out.", "Sara: Well, you know what they say -- it's what's on the inside that counts.", "(NICK tests the drill he's carrying, then hands it to SARA.)", "Nick: Well put.", "(SARA takes the drill and starts unscrewing the first bot in front of her.)", "(NICK starts taking apart the bot in front of him.)", "(Dissolve to: SARA takes a swab from the open machine in front of her.)", "(NICK takes a swab from the machine in front of him.)", "(Various cuts to both NICK and SARA taking swabs from the insides of the machines.)", "(SARA tests the swab. It turns pink.)", "Sara: I got blood.", "Nick: Yeah, join the club.", "Sara: I'll take these to Greg.", "Nick: I'll get going on the tool marks.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(The bots are placed in their own little booth separated by plastic sheet dividers. From the next room, NICK controls the bot and tests its cutting edge against a hanging chicken leg.)", "(The first bot, Donsume, cuts the chicken leg.)", "(Dissolve to: NICK takes a mold of the chicken leg bone cut.)", "(Dissolve to: NICK places the new mold under the scope next to the mold taken of the severed leg bone from the body found in the barrel.)", "(Scope view in focus.)", "(GREG walks into the lab. He's carrying a piece of paper.)", "Greg: Any luck?", "Nick: No. Tool marks don't match the vic's wounds.", "Greg: Mm. Could have saved you the time. DNA beats tool marks every time, you know. I ran your blood samples. Got a match, all three of them.", "(GREG hands NICK the results. NICK looks at it.)", "Nick: Victim's blood, three different parts from three different bots? That doesn't make any sense.", "Greg: Well, where did the parts come from?", "(NICK looks at GREG.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. KELSO RESIDENCE -- DAY]", "(BRASS and NICK interview CHRIS CUTLER'S partner, BRIAN KELSO. BRASS plays with the little two-wheeler bot with the big blade. NICK sits across KELSO listening to him talk.)", "Brian Kelso: I buy and sell and trade parts all the time. From all over the place. Salvage yards, swap meets, e-bay.", "Nick: They usually have blood on them?", "Brian Kelso: I don't check. Doesn't matter if they're clean or dirty, only that they work. Look, me and Chris are partners. I built the bot, he drove it. We kicked ass, made good cash. Why would I want him dead?", "(BRASS looks at the photographs of \"ROBOT RUMBLE 2003\". The caption on the left reads: \"SMASH AND BURN / FIRST PLACE\". The caption on the right reads: \"CHRISTIAN CUTLER / BRIAN KELSO\". The two men sit with their bot in between them.)", "Brass: You know, Brian, I mean ... your best buddy drops off the face of the earth for six weeks ...", "(NICK glances over at the photograph.)", "(Quick flashback to: Smash 'n Burn in the rink ripping apart some poor bot. End of flashback. Resume to present.)", "(BRASS puts the photos down.)", "Brass: .... You get a call or e-mail but you care so much about him that you do absolutely nothing to find out what happened. You can understand why we're he, so straighten us out.", "Brian Kelso: There was nothing weird Chris be he did stage effects for pyrotechnica. Have some pretty good tunes, you know. Worth listening to. (beat) Or not.", "(BRASS hands the photos to NICK.)", "Brian Kelso: Anyway ... when Chris is on the road he's a vapor trail. He's not a phone call kind of guy.", "Nick: That's a nice ATV. You ever take it to the mountains?", "Brian Kelso: Yeah, sometimes. I, uh, I dabble in ambient music.", "(MRS. KELSO walks into the room with her daughter. NICK watches as she makes her way with the fussy baby to BRIAN KELSO.)", "Mrs. Kelso: She wants her daddy.", "Brian Kelso: There's some pretty good samples out in the mountains, especially at night.", "(She hands the baby to BRIAN KELSO. He starts bouncing her on his knee. She immediately stops fussing.)", "Brass: You know, you got a lot of hobbies, Brian.", "(The baby starts to cry.)", "Brian Kelso: Oh, you don't have hobbies you go nuts. Human beings are designed to make things. It's hard-wired into our brains. We make things, we build things to make more things.", "(BRIAN reaches for the milk bottle and starts feeding his daughter. She stops crying.)", "Brian Kelso: It's what sets us apart from the other animals. Except monkeys. Primates in general, I guess.", "Nick: Brian, Brian.", "Brian Kelso: Yeah?", "Nick: Hobbies take up space. You don't seem to have a whole lot of that here. Do you have a workshop?", "Brian Kelso: Uh, I rent a space.", "[SCENE_BREAK]", "[INT. WAREHOUSE -- DAY]", "(Inside the warehouse, it's busy. Machines whirs. The doors open and OFFICERS walk inside, evacuating the guys inside the building.)", "Officer: All right, guys, we got to clear the room. OFFICER: Come on. Let's go, boys. OFFICER: Excuse me, bud. You wanna set that down.", "Jimbo: Yeah.", "Officer: We need you guys here to clear outside.", "Luke: Oh, okay. Slow day oppressing the weak? Don't scuff your jackboots.", "Officer: Let's go. Let's go.", "(As LUKE and the OFFICER walk out of the warehouse, NICK and CATHERINE walk in. CATHERINE turns on her flashlight. More people leave the warehouse.)", "Officer: All right. We're all clear.", "Catherine: Is this a machine shop or a junkyard?", "(CATHERINE looks at the individual work stations and finds pictures of robots pinned to the shelves.)", "Catherine: I guess this is what passes for pinups with these guys.", "(CATHERINE and NICK continue to look around.)", "Nick: This is Brian's bot right here. Smash-n-Burn. And it's got a spinning weapon. I'll take it in for tool marks.", "(NICK looks inside the open machine and sees that it's bare.)", "Nick: And it's missing parts.", "(CATHERINE looks at another work station with matching photographs pinned to the shelves.)", "Catherine: So this must be Hammer of God. Or at least what's left of it.", "(Quick flashback to: Inside the rink, HAMMER OF GOD is demolished into pieces.)", "Ginger: (over p.a.) HAMMER OF GOD is against the ropes.", "(End of flashback. Resume to present.)", "(NICK finds something on the floor.)", "Nick: Rust stain.", "(NICK takes out his tape measure and measures it.)", "Nick: Twenty-three inches. (CATHERINE turns around.) That's standard diameter for a 55-gallon drum.", "(CATHERINE continues to look around. NICK kneels down on the ground and starts looking for evidence.)", "(CATHERINE finds a broken press-on nail on the ground.)", "Nick: Catherine, I've got spatter.", "(Quick flashback to: The sounds of a saw whirring and a man screaming as blood spatters into the webbing of the grate. End of flashback. Resume to present.)", "Nick: I think we've got our murder scene.", "(CATHERINE looks at the nail and recognizes it.)", "Catherine: I think we just got Ginger.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]", "(CATHERINE talks with GINGER.)", "Catherine: We traced the machine shop back through a holding corporation.", "Ginger: To me. I own it. It's a rental property. It's a good one. It's popular with the bot boys. I would have told you if you'd bothered to ask.", "Catherine: Well, we found this in Brian's station -- your fingernail.", "(CATHERINE shows GINGER the nail in an evidence baggie #011-35736-77.)", "Ginger: They break.", "Catherine: Yeah, they also scratch. There were skin scrapings under the nail. We tested the epithelials. They're Christian Cutler's. Your shop, your fingernail, your waste drum with the dead guy in it.", "Ginger: I stop by every now and then to make sure my clients are happy. Chris was there alone one night working. He kind of got the wrong idea.", "(Quick flashback to: Smash-n-Burn is on and CHRIS CUTLER teases GINGER with the bot. GINGER doesn't find it remotely funny.)", "Christian Cutler: Come on. He just wants to play.", "Ginger: No, Chris, stop doing it. It's not funny.", "Christian Cutler: Way you keep shoving those ta-tas in my face isn't funny, either.", "(GINGER reaches out a hand and scratches CHRIS on the face. CHRIS yells. In her struggles, the fingernail comes loose and falls to the floor.)", "Ginger: Stop it! Knock it off!", "(End of flashback. Resume to present.)", "Catherine: And you didn't think this was worth mentioning?", "Ginger: Hey, you guys asked me when I saw him last. This happened the day before the big free-for-all.", "Catherine: So, that's the price of doing business?", "Ginger: Yeah, you could call it that.", "Catherine: Here's the way I'd call it ...", "(Quick flashback to: GINGER grabs the remote from CHRIS CUTLER.)", "Ginger: Give me that, you son of a bitch.", "(She turns the machine on and attacks CHRIS with it. CHRIS screams. End of flashback. Resume to present.)", "Ginger: Listen, I let the geeks fantasize about me. And most of them are harmless, happy to stare and then go home and spank the monkey like good little college boys. But Chris was a dumb, vicious, army grunt. And maybe I wasn't as careful around him as I should have been, but that doesn't mean that I killed him.", "(CATHERINE stares at GINGER with surprise.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK takes out the figurine from the evidence bag and lays it down flat on the grill, face up. He takes a bottle of \"AMIDO BLACK\" and sprays it on the figurine. He then takes a bottle of water and washes the figurine with it.)", "(He looks at the figurine under the light and sees something.)", "(Quick flashback to: Someone handling the figurine. End of flashback. Resume to present.)", "(WARRICK picks up the figurine and takes it to another machine where he lays it flat on the bed. He takes a photograph of the figurine.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]", "(WARRICK and GRISSOM question MRS. MERCER again.)", "Warrick: Mrs. Mercer, we found this statue on your mantle. It had your fingerprints on it.", "Mrs. Mercer: It was a wedding gift.", "Warrick: Well, we also found your husband's blood on the base of it.", "Grissom: Did you touch or move this statue at any time in the last ten days?", "Mrs. Mercer: Keith hated that thing. He was always trying to toss it.", "(Quick flashback to: MRS. MERCER walks in and picks up the figurine from the floor. She puts it on the mantle.)", "Mrs. Mercer: (V.O.) When I came home, I found it on the floor.", "(End of flashback. Resume to present.)", "Mrs. Mercer: I thought he'd put it there. I found it in the hall closet, in the garage. I even found it in the car once. It was like a game for us. (She looks at them.) Look, I came to you. You guys have been giving me the runaround for over a week.", "Grissom: Could you tell us what you kept in this box?", "(GRISSOM shows MRS. MERCER a photograph of the empty box taken from different angles.)", "Mrs. Mercer: We inherited a coin collection, and we figured ... we'd save it for a rainy day.", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(CATHERINE and NICK watch as SARA works on the computer looking for a name to go with the honor society ring.)", "(The computer beeps. SARA searches on the Omega-Zeta-Alpha Honor Society Web page. She checks the membership directory under \"C\" for CHRISTIAN CUTLER'S name.)", "Catherine: Cutler-Comma-Christian.", "Sara: Ring's not his.", "Catherine: Never went to college. That part wasn't in his service record.", "Nick: Scroll up. Check the K'S.", "(SARA checks the \"K\" listing.)", "Nick: Hmm. Hold it.", "(They find \"KELSO, BRIAN\" listed.)", "Sara: Bingo.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(The Ring in a evidence bag is thrown onto the table in front of BRIAN KELSO. BRIAN stares at the ring.)", "Nick: The rings belongs to you, Brian.", "Brass: You must have dropped it when you stuffing your buddy's corpse into a barrel.", "(Quick flashback to: BRIAN stuffs the body into the barrel. His ring falls off into the barrel. End of flashback. Resume to present.)", "Brass: Here's the way this is going to play out. This is the best-case scenario. We arrest you for murder. The, uh, the jury likes your face, and, uh, you get man one. Then you get to spend the next fifteen years staring at your wife and kid through a wire glass window. Maybe if you're lucky, uh ... when you get out, you can take her to the prom.", "(BRIAN KELSO starts to cry.)", "Brass: She's going to be so proud of you, daddy.", "(Loud wracking sobs consume BRIAN KELSO.)", "Brian Kelso: It was an accident.", "Nick: You want a tissue or something?", "Brian Kelso: No. Hmm? (He takes a deep breath.) We were in the shop.", "(Quick flashback to: BRIAN and CHRIS walk into the shop. On the ground is Smash-n-Burn, chopper twirling slowly.)", "Brian Kelso: (V.O.) Real late, no one else there. I'd made some changes to Smash-n-Burn's program. We were testing them out.", "(End of flashback. Resume to present.)", "Brian Kelso: (quietly) Smash was acting ... really flaky. Sluggish, and then ...", "(Quick flashback to: BRIAN KELSO has the remote in his hand, surprise and horror written all over his face. The sounds of a saw whirring and a man screaming as blood spatters into the webbing of the grate. End of flashback. Resume to present.)", "Brian Kelso: It just went crazy. With all that blood. (He starts crying again.) And ... Chris ... in the middle of it just lying there. I had to make it go away.", "Brass: Hey ... hey, Brian if it was an accident, why didn't y report it?", "Brian Kelso: It was my fault. I was ... I was so scared.", "Nick: You disposed of the body. Cleaned up the scene, dismantled the bot, and sold the parts.", "Brian Kelso: All I could think about was my wife, and my little girl. My little girl. I didn't want to lose them. You got to believe me. It was an accident.", "(He starts crying again.)", "Brian Kelso: (moaning between sobs) I'm so sorry. I'm so sorry.", "[SCENE_BREAK]", "[INT. CSI - HALLWAY]", "(VEGA and WARRICK walk through the hallway.)", "Vega: The bank flagged Keith Mercer's ATM card.", "Warrick: Really?", "Vega: Somebody tried to use it.", "(VEGA laughs.)", "Warrick: I guess the machine ate it, huh?", "Vega: Yeah, but we got the stomach contents.", "(VEGA reaches into his jacket pocket and pulls out a baggie with the credit card inside. He gives it to WARRICK.)", "Warrick: Wicked.", "[SCENE_BREAK]", "[INT. CSI - PRINT LAB]", "(WARRICK sets the credit card inside the plastic container and places the fume hood on top of it. After a while, the print appears.)", "(Camera zooms in for a close up of the print.)", "(Cut to: WARRICK looks through the database for a print match. GRISSOM watches as they find a match for:", "[Match Found: Willy Reddington Case ID: (4845-209- WILLY REDDINGTON Las Vegas, Nevada", "CRIMINAL RECORD: 10-05-02 Public Drunkenness 11-29-02 Public Drunkenness 01-05-03 Assault & Battery <<File 02157.5784>> ]", "[SCENE_BREAK]", "[INT. CSI - LAB]", "(VEGA and GRISSOM interview WILLY REDDINGTON.)", "Vega: You're not Keith Mercer, but you have been using his credit cards. Do you care to tell us about that?", "Willy Reddington: He lent me his stuff, told me to have a good time.", "Vega: When did he tell you this?", "Willy Reddington: Yesterday.", "Grissom: Yesterday?", "Willy Reddington: (nods) Mm-hmm.", "Grissom: Mr. Mercer's been in the morgue for ten days. So unless you were at a seance.", "Willy Reddington: I found him. Uh ...", "Grissom: Did you find that suit there as well?", "Willy Reddington: No. I-I bought the suit.", "Grissom: With this credit card?", "(GRISSOM holds out a plastic bag with the credit card inside. WILLY REDDINGTON looks at it.)", "Willy Reddington: No. Um ...", "(WILLY reaches into his back pocket and pulls out a wallet. He opens the wallet and takes out a different credit card.)", "Willy Reddington: ... I used this one. It's not a platinum. It's a ... it's a gold.", "(WILLY REDDINGTON smiles. GRISSOM and VEGA look at each other.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(WARRICK is in the lab checking WILLY REDDINGTON'S clothes. GRISSOM walks in and takes a seat.)", "Warrick: So these are Willy Reddington's original gear. This guy was classy. He goes into a store, buys new clothes, and leaves the old ones behind. And they tossed them in the dumpster.", "Grissom: I wish these people would start checking IDs.", "Warrick: This is Vegas, baby. Anybody can get lucky.", "Grissom: So, blood?", "Warrick: Not a drop.", "(GRISSOM puts his glasses on.)", "Grissom: No blood on his clothing.", "(GRISSOM looks at the photograph of the shoe print taken form the house and the bottom of WILLY REDDINGTON'S shoe.)", "Grissom: The shoe treads don't match. And the guy's got no car.", "Warrick: Yeah, how do you dump a body with no car? What did he do, drag Mercer down the strip?", "Grissom: And if you're robbing a house, why don't you take more stuff?", "Warrick: Everything was still there. Except the coin collection.", "Grissom: I think the killer knew what he was going to steal.", "[SCENE_BREAK]", "[INT. CSI -- GARAGE]", "(NICK and SARA walk into the garage.)", "Nick: Smash-n-Burn isn't some cyborg death machine with a mind of its own. Man, you've got to drive them.", "Sara: Well, we proved it couldn't have happened the way that Brian said it did. You may have your killer.", "Nick: Yeah.", "[SCENE_BREAK]", "[INT. CSI -- GARAGE]", "(SARA and NICK reconstruct the murder weapon Smash-n-Burn. They put the blade together and put the wheels back on to the original machine.)", "(SARA finishes drilling in the last piece. She steps back cautiously. NICK puts the remote together and readies it to be tested. SARA joins him.)", "Nick: Okay. Here we go.", "(He flicks the switch. Nothing happens.)", "Nick: It's not responding.", "(NICK fiddles with the remote. SARA silently hands NICK the drill.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(SARA and NICK share their findings with CATHERINE.)", "Sara: You've got a transmitter module in the remote and a receiver module in the bot. They work as a pair.", "Nick: Yeah, and in every competition, each team is assigned a different numbered frequency. That way, each driver can control their bot without interfering with anybody else's.", "Sara: Or vice-versa. This is Smash-n-Burn's receiver.", "(SARA hands CATHERINE the evidence baggie with the electronic piece inside.)", "Nick: Yeah, and this is Brian's transmitter.", "(NICK hands CATHERINE the baggie with the transmitter inside. She compares the two numbers. The receiver is #84; and the transmitter is #89.)", "Catherine: They don't match. Okay, so when Christian died, Brian wasn't controlling the bot.", "Sara: Somebody was.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(CATHERINE and NICK walk through the hallway.)", "Nick: Brian claims the bot malfunctioned.", "Catherine: Well, we know it didn't. It was responding to a different control frequency.", "Nick: I don't think he knew that.", "Catherine: If he did, he was protecting somebody.", "[SCENE_BREAK]", "[INT. CSI -- HALLWAY]", "(GREG catches up with GRISSOM in the hallway.)", "Greg: Hey, boss. Um, I wasn't able to pull any DNA off your Vic's personal effects but I did find something else. Uh, those yellow on his belt ... I ran them through the GCMS.", "Grissom: You ran it?", "Greg: Yeah. They're sulfur.", "(GREG hands GRISSOM the test results.)", "Greg: Now, Warrick mentioned something about a missing coin collection. Now some dealers, bad ones-- use sulfur to polish up coins for sale.", "(GREG and GRISSOM walk into the lounge.)", "(Quick flashback to: Someone puts a dirty old coin into a ziploc bag and shakes it. He takes out the coin and it's dusted with sulphur.)", "Greg: (V.O.) Shake and bake.", "(End of flashback. Resume to present.)", "Greg: So I figure that your killer is either a coin dealer or a collector. And he transferred the sulfur to the body when disposing of it.", "(GRISSOM puts the pot down.)", "Grissom: Are you a numismatist, Greg?", "Greg: Oh, my grandpa started me off with a 1909 V.D.B. \"S\" Lincoln penny. Often referred to as a V.D.B. Because it bears the monogram of its engraver, Victor D. Brenner. It's a low mintage.", "Grissom: So, let's see, you surf, you scuba dive, you're into latex ... you like fashion models and Marilyn Manson. And you also have a coin collection.", "Greg: Weird, huh?", "Grissom: (shrugs) Well ... I raise cockroaches.", "(GRISSOM walks out of the lounge with his cup. GREG smiles.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]", "(Camera close up of GINGER'S long fingernails tapping against the table.)", "Catherine: Look available. Be unobtainable. Except when you're trying to beat a murder rap.", "Ginger: Excuse me?", "Nick: Whatever you did worked. Brian's going down for you.", "Ginger: Oh, so, first you accuse me of whacking Christian. Now you're accusing me of doing Brian?", "Catherine: Well, you are the queen bee. The drones line up to service you.", "Ginger: What the drones do is make bots and break bots. And while they're up wiring and soldering all night long, you know where I am? I'm at home. With this.", "(GINGER pulls out a photograph of a man. She shows it to CATHERINE.)", "Catherine: Does it have a name or did it come with the wallet?", "Ginger: Pretty funny for a scientist.", "(GINGER takes the picture from CATHERINE.)", "Ginger: Let me make it easy for you. And in case you can't spell, that \"E-S-Q\" means he and his entire law firm are going to be all over your ass.", "(GINGER stands up.)", "Ginger: Next time you want to talk to me, talk to him.", "(She leaves the room.)", "[SCENE_BREAK]", "[INT. CSI -- LAB]", "(GRISSOM is in the lab looking through KEITH MERCER'S wallet. He pulls out a wedding picture of KEITH and his WIFE. Through the glass, we see DET. VEGA walking toward the room. He knocks lightly on the door before walking inside.)", "Vega: Hey, I was able to pull the cell phone records for our vic.", "(GRISSOM pulls out a NEVADA DEPARTMENT OF FORESTRY / HIKING AND TRAIL PERMIT for:", "Name: MERCER, KEITH Address: 311 SEPHILL ROAD LAS VEGAS, NV 89108", "EMER. PHONE: (702) 555-0287", "LNV 9866187 EXPIRES: 2006 ]", "Vega: Most of the calls went to the office, two went to the wife. But there are two who are interesting. Jones Collectibles.", "(VEGA hands GRISSOM the sheet of cell phone calls from \"ALL-WORLD PHONE ... / L.V.P.D. REQUEST\". The highlighted number reads: NV 555-0167 / Jones Collectibles / 1:00 (Minutes) / for .12 (Amount).)", "Vega: Guy is a small-time fence. That mean anything to you?", "(GRISSOM picks up a small slip of torn notebook paper from KEITH MERCER'S wallet. On it is written: JC (702) 555-0167. He compares it to the phone listing. It's a match.)", "Grissom: Does now.", "[SCENE_BREAK]", "[INT. JONES COLLECTIBLES -- DAY]", "(GREG walks up to JONES COLLECTIBLES and enters the shop.)", "Mr. Jones: Anything I can help you with, let me know.", "(GREG looks around.)", "Greg: I heard that you dealt in coins.", "Mr. Jones: Really? From whom?", "Greg: Grissom.", "(MR. JONES has a confused look on his face. The name doesn't ring a bell for him.)", "Greg: He's a friend of mine. We work together. Uh, looking to see what you got. I'd like to make a trade.", "(GREG holds out his Lincoln penny. MR. JONES takes it and looks at it.)", "Mr. Jones: Why the flip?", "Greg: I've been meaning to get it slabbed.", "(Sirens blare outside. MR. JONES takes an eye piece and examines the penny. GREG waits patiently.)", "Mr. Jones: Not bad. No hairlines. No fly specks. You got yourself a slider.", "(He hands the penny back to GREG.)", "Greg: I'd like to get myself a 1916 \"d\" dime. Been all over Vegas, can't find one. You got any?", "Mr. Jones: I might have one, but it's pricey.", "Greg: Hey, so is mine.", "(MR. JONES looks at GREG and considers him for a long moment. He turns away and reaches down into the drawer where he takes out a case. Inside the case are coins. GREG leans in and looks at the coins. He's impressed.)", "Greg: 1907 Saint Goddins double eagle gold piece. I've only seen that in books.", "Mr. Jones: And that's as close as you get. If you want to deal for the \"D\" dime, it's yours.", "Greg: I'll take it.", "[SCENE_BREAK]", "[INT. WAREHOUSE WORKSHOP]", "(Camera close up of LUKE and his machine, HAMMER OF GOD. CATHERINE and NICK are back at the warehouse workshop.)", "(NICK grabs one of the photographs.)", "Nick: The bot was on a different control frequency, which means someone was using a different transmitter.", "Catherine: Puppet master. Somebody else was pulling the strings.", "Nick: That would explain why the bot was sluggish.", "(Quick flashback to: CHRIS showing BRIAN what's wrong with Smash-n-Burn. The machine whirls, but it's not smooth.)", "Christian Cutler: See, she sticks, Brian.", "Brian Kelso: Maybe there's something jammed.", "(BRIAN kneels down and picks up the machine. End of flashback. Resume to present.)", "(CATHERINE walks around.)", "Catherine: So, what's the range of those controllers anyway?", "Nick: It's limited. Definitely not outside this building.", "(NICK reaches across the workstation and pulls down another photograph of LUKE and his machine, HAMMER OF GOD.)", "Catherine: So, if somebody hijacked Brian's bot they'd have to be nearby, but ... obviously, out of sight.", "(CATHERINE looks up at the door at the top of the stairs. It's near and it's dark inside.)", "(Quick flashback to: Someone sitting inside the door at the top of the stairs with a remote in his hands. End of flashback. Resume to present.)", "Catherine: Well, there's a good place to hide up there. Opportunity.", "(NICK pulls down a photograph and shows it to CATHERINE. It's a photograph of LUKE and the busted HAMMER OF GOD.)", "Nick: Maybe we've got motive.", "Catherine: Ooh, proud papa. The man who built Hammer of God.", "Nick: Which leaves us with ... means. (NICK looks around.) Transmitter modules.", "(NICK reaches up on the shelf of LUKE'S workstation and takes down a plastic storage container with transmitter modules in it. The slots are labeled.)", "Nick: Yeah, check out the 80s. 81, 82, 83 ... 85, 86?", "Catherine: And look what's missing: 84.", "(NICK chuckles.)", "Nick: I bet I know who's got it.", "[SCENE_BREAK]", "[INT. JONES COLLECTIBLES -- DAY]", "(GREG is back at the Coin Dealers' with GRISSOM, VEGA and some OFFICERS.)", "Mr. Jones: (to GRISSOM) Guy came in a couple of weeks ago with this collection looking to sell. I bought it.", "Grissom: There must be $50,000 worth of coins in there, isn't there, Greg?", "(GRISSOM shows the coin case to GREG. MR. JONES looks at GREG and recognizes him. GREG looks at the coins.)", "Greg: At least.", "Grissom: You must have a record of the transaction.", "Mr. Jones: I know I got it somewhere.", "Grissom: Maybe it's in your car.", "Vega: Mind if we help you look?", "Mr. Jones: No, go ahead. I got nothing to hide.", "(MR. JONES tosses VEGA the keys.)", "[SCENE_BREAK]", "[EXT. JONES COLLECTIBLES - PARKING LOT - DAY -- CONTINUOUS]", "(VEGA opens the back of MR. JONES' car. GRISSOM looks inside. GREG stands behind and looks into the back of the car.)", "Greg: Ten-inch subs. 400 watts. Four channels? That's state-of-the-art. Those hot, too? It kind of looks like the de Lorean from back to the future.", "(GRISSOM finds some powdery substance. He sniffs it.)", "Grissom: Trace amounts of sulfur. You don't artificially tone your coins, do you, Mr. Jones?", "Mr. Jones: Hey, my merchandise is authentic.", "(GRISSOM finds some blood inside the car.)", "Grissom: Well, you may have some authentic blood in your car as well.", "(Quick flashback to: MR. JONES opens the back of the car and puts KEITH MERCER'S body inside. It scrapes against the back seat and leaves behind blood evidence. End of flashback. Resume to present.)", "Mr. Jones: Yeah, well, I cut my finger the other day.", "Grissom: Huh.", "Greg: That's Keith Mercer's blood. You know it and when I get back to the lab, I'm going to prove it. (smiles) I think you're busted.", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT -- HALLWAY]", "(LUKE is escorted through the hallway by a police officer. He glares at BRIAN KELSO as they pass each other. BRIAN is also escorted by an officer.)", "[SCENE_BREAK]", "[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]", "(CATHERINE shows LUKE a photo that they took from his workshop of the demolished HAMMER OF GOD machine.)", "Catherine: So ... what happened?", "Luke: I lost.", "Nick: You didn't lose. You were destroyed.", "(Quick flashback to: LUKE at his remote. CHRIS CUTLER laughing at his remote. And HAMMER OF GOD in pieces inside the rink. Despite already defeating HAMMER OF GOD, CHRIS CULTER continues to have SMASH-N-BURN pulverize the broken bot.)", "Chris Cutler: (laughing and taunting) Ooh! You got nothing left, Luke!", "(CHRIS CUTLER continues to send his machine into what's left of HAMMER OF GOD. He continues to laugh and taunt LUKE. End of flashback. Resume to present.)", "Nick: And you wanted revenge.", "Catherine: You couldn't kill Christian's bot so you killed Christian.", "Luke: I heard Brian killed him.", "Nick: This is the transmitter from Christian's robot.", "(NICK holds up the transmitter in a bag.)", "Luke: So?", "Nick: So ... it's got your DNA on it.", "(Quick flashback to: LUKE tampers with the remote. He opens it and temporarily puts the transmitter #89 in between his lips while he fiddles with the remote's insides. He puts the transmitter into the remote. End of flashback. Resume to present.)", "Nick: Brian wasn't in control of the bot. You were.", "(Quick flashback to: LUKE sits in the little room at the top of the stairs. In the darkness, he holds the remote that controls the bot. Outside, CHRIS and BRIAN lean over the machine.)", "(LUKE makes the machine move. It cuts right in to CHRIS, knocking him to the floor in pain.)", "Brian Kelso: Oh, my god! I can't turn it off!", "(BRIAN jumps out of the way while desperately trying to control the bot. LUKE makes the bot turn and head back straight for CHRIS. The machine whirrs as CHRIS screams, sending blood into the grates.)", "(End of flashback. Resume to present.)", "Catherine: The bot wasn't the only thing you manipulated, Luke.", "(Quick flashback to: LUKE appears to walk into the warehouse from the door at the top of the stairs. He acts surprised when he sees BRIAN and CHRIS.)", "Brian Kelso: Chris! Chris!", "Luke: Oh, my god. What did you do?!", "Brian Kelso: It was an accident. The bot just ... oh, my god! Oh, we've got to call the cops!", "Luke: If you do that, they're going to think you did this.", "Brian Kelso: I didn't do it.", "Luke: They're going to put you in prison for life. I'll keep this quiet, but you have to get rid of this body.", "(BRIAN and LUKE pick up the body and put it in the barrel.)", "(End of flashback. Resume to present.)", "Catherine: Brian gave you up.", "Nick: No place to hide now.", "(LUKE pulls the photograph of the destroyed HAMMER OF GOD toward him.)", "Catherine: I know what it must've been like for you. Having created something, only to lose it.", "Luke: Let me guess. You have a kid?", "Catherine: Yes, I have a daughter.", "Luke: And you think that just because you squeeze a baby out from between your legs, you know how I feel? That's biology. Any animal can do that.", "Catherine: Uh-huh.", "Luke: But I took a thought from my head and I made it real. It was ... perfect.", "(Standing behind LUKE, NICK shakes his head at the logic.)", "Catherine: I guess the only flaw then was you.", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - NIGHT]", "[SCENE_BREAK]", "[INT. CSI - DNA LAB -- DAY]", "(GRISSOM walks into the lab.)", "Grissom: How's it look?", "Greg: Oh. Blood in the car is the victim's.", "(GREG hands GRISSOM the test results, then turns back to whatever he's working on.)", "Grissom: Keith Mercer made a bad call.", "(Quick flashback to: MR. JONES is on the phone with KEITH MERCER.)", "Mr. Jones: (to phone) Yeah, it sounds like a pretty nice collection. How about I come by Saturday and take a look?", "Keith Mercer: (from phone) Uh, this weekend's no good. My wife and I are out of town.", "(Cut to: KEITH MERCER comes home early and finds MR. JONES in his house near the book shelf.)", "Keith Mercer: Hey, what are you doing?", "(Caught, MR. JONES picks up the figurine and hits KEITH MERCER on the head with it.)", "(End of flashback. Resume to present.)", "Greg: Told you that dude was busted.", "Grissom: What happened to your enthusiasm, Greg?", "(GREG looks up at GRISSOM.)", "Greg: Well ... every time I make another DNA match in here, my world gets a little smaller. Out there ... felt large.", "Grissom: Out there ... means a pay cut.", "Greg: I'm not about the money.", "(GRISSOM takes off his glasses.)", "Grissom: That's good to know.", "(GRISSOM leaves the lab.)", "[SCENE_BREAK]", "[EXT. LAS VEGAS CITY (STOCK) - DAY]" ]