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COLD OPEN:
[EXT. OAKLEY’S OLD WEST TOWN -- NIGHT]
(A man wearing an old leather duster and a cowboy hat walks through
the middle
of the town’s dirt road. His spurs jingle with every step.)
(The man stops and puts his thick leather gloves on. The wind howls,
stirring
up dust.)
(The dark-haired woman drinks a shot and puts her glass down on the
bar counter.
She turns. It’s Lady Heather.)
(The saloon doors are pushed open and the man walks in. Lightning
flashes and
thunder rumbles.)
(The man takes the thick rope he has hanging from his belt and
unravels it. He
rolls the rope around his hand.)
CUT TO:
(The man has the rope wound around Lady Heather’s neck. He kicks a
random bar
chair over.)
(Lady Heather gags. Her hand slips from gripping his arm as she loses
consciousness.)
CUT TO:
(The lights in the western town are turned on. The dirt road is lit
up. The
paramedic rolls the gurney toward the ambulance as Catherine walks
past. She
sees it’s Lady Heather.)
BRASS: Like a bad penny, some people just keep showing up.
BRASS: No.
(Catherine nods.)
BRASS: He's a night watchman. All the employees are required to wear
that
cowboy getup. That's the job that cops get after they retire.
(They turn and walk over toward the saloon. Catherine sees some spit
on the
wooden floor near the spittoon.)
(Catherine and Brass enter the saloon. Piano music plays in the
background.
Catherine looks around the saloon at the gaming tables and life-sized
western
mannequins sitting at the tables.)
CATHERINE: Lady Heather has a house for this. Why take her show on
the road?
(Brass motions to the player piano.)
CATHERINE: Yeah.
BRASS: Oh, you're a genius. (He motions to the floor.) Well, this
is where we
found her.
CATHERINE: Well, that doesn't make any sense. She was a dominatrix.
Not a
submissive.
WHIP OUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERICAL SET)
FADE IN:
(Greg is in the break room going through some files. Grissom walks in
carrying
his cup.)
GRISSOM: Twenty years ago, the county was still using typewriters.
Did you
find anything?
GREG: Ernie Dell's foster child. Donna Catalani. Lived with the
Dells for a
year. Her CASA report came with a supplemental. They forgot to black
out her
social security number.
(He hands the paper to Grissom, who puts his glasses on to look at
it.)
GREG: We can use that to track her down, unless the adoptives changed
it.
GRISSOM: Good. I'll run it. I have to pull you off of this. Days is
down to
four CSI’s. You're on loan-out.
GRISSOM: Money, stress, Ecklie, maybe. Just help them with their
backlog.
CUT TO:
(He shows Brass the keys on his large key ring hanging from his belt.)
(As Brass watches, Vernon tucks a large wad of tobacco in his mouth
and chews.)
VERNON PORTER: Found the main gate unlocked at 0214. Went to check
out the
street, heard that music. Found her on the floor, called it in.
CUT TO:
SARA: This is a family theme park. I'm assuming they don't actually
serve
alcohol here. Must have brought their own.
SARA: How much do you think a night like this would cost?
CATHERINE: Heather told me, five years ago, she was clearing 20 grand
a week.
(Sara’s shocked.) And that was before ladyheather.com.
CATHERINE: Beautiful ... smart, intense ... charming. The only woman
I've ever
seen rattle Grissom. I mean, he kind of liked that forensic
anthropologist,
Terry Miller. Remember her?
SARA: Yeah.
CATHERINE: Heather, on the other hand ... uninhibited and can beat
him at
mental chess.
CATHERINE: I have no proof and I know he'd never tell me, but I'm
certain they
spent the night together. Wonder which one wore the chaps.
(Way too much information.)
SARA: Lots of ... (clears throat) ... coins and toothpicks. They
don't sweep
under here.
SARA: I got a shot glass. Looks like there's some lipstick around
the rim.
CATHERINE: You?
CUT TO:
(Sofia, Nick and Warrick walk over to the body on the concrete.)
NICK: Thanks.
WARRICK: Oh! The thing is heavier than my kid. Ever get hit in the
head with
one of these?
NICK: No. Gentlemen don't get hit in the head with those.
(Warrick takes out several driver licenses. We see the one on the top
and the
address of the second under it:
KEYSHA SAYRUN
6589 TIBER LANE
LAS VEGAS, NV 89151
JEFFREY LANIER
74112 VIXTON ST
LAS VEGAS, NV 89151 )
(Warrick holds out the driver license to compare the photo to the
victim.)
NICK: Aw, man, that's a shame. Look at her. She could be anything
she wanted
to be. Makes you wonder what happens to people.
NICK: Sometimes I miss the days when I didn't take this job so
personally,
Warrick.
WARRICK: Yeah? Well, I miss the days when we only had five homicides
a week.
CUT TO:
CUT TO:
LADY HEATHER: I was planning an Old West party. I was checking out
the
facilities.
BRASS: So why couldn't you check them out during normal business
hours?
BRASS: You know, we spoke to the night watchman. He said the gate
was locked.
How did you get in?
BRASS: Do you know him the way you know Judge Fincher? Because I
know that's
how you got out of jail last time. I need a name.
LADY HEATHER: Mr. Oakley. I have his number, but not on me. You'll
have to
look it up.
(Lady Heather watches Sara walk in and put her kit down on the table.)
SARA: I'm here to collect your clothes and trace evidence from your
body.
(She looks away.)
SARA: Why would you want to? (to Brass) Did the nurse forget to
collect an
SAE kit?
BRASS: You don't want help, that's okay by me. Just don't waste my
time. I've
got a lot of cases on my desk that need my attention. So when you
come out of
your haze, give me a call.
(Brass leaves.)
LADY HEATHER: I don't respond well to men who judge me based solely
on my
profession.
SARA: I get that a lot, too. (She offers Heather a smile.) Law
enforcement.
(Sara reaches out and gently moves Lady Heather’s hair aside to expose
the
bruises on her neck. She snaps photos of the markings. Lady Heather
closes her
eyes.)
(Lady Heather opens her eyes. Sara takes a couple more photos.)
(Lady Heather’s eyes brighten as she sees someone outside the room,
behind
Sara.)
(Sara turns around and finds Grissom standing in the open doorway.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
WARRICK: What's the matter, Doc; you been hitting it a little too
hard?
ROBBINS: Okay, uh, blunt force trauma to the left temporal region of
the skull.
The skull's fractured.
WARRICK: Any idea what kind of weapon might have been used?
ROBBINS: Well, it's possible. But if she was standing when she was
hit, I'd
expect to find pedestrian fractures on her legs. And there are no
run-over
marks, so she wasn't in a prone position.
CUT TO:
NICK: No, thanks. (He stands up.) I'm only going to be about
another ten
minutes here, okay?
(The passenger door of the station wagon opens and a man crawls out.
(He heads around the car to check on the driver. Nick heads for the
passenger.)
(The man stumbles out and heads for the street. Nick grabs him.)
NICK: Whoa, whoa, whoa. Not the street. Not the street.
(Nick’s front shirt and vest are covered with blood. He looks
around.)
CUT TO:
LADY HEATHER: (rasps) Maybe not to you. I feel exposed. The last
time you
saw me ...
(She pulls back the whip. Grissom steps forward and catches it.)
BACK TO SCENE.
GRISSOM: If a client did this, and left you to die, why are you
protecting him?
GRISSOM: Did they check your glucose level when you came in?
GRISSOM: Heather?
(The monitor alarm rings. Grissom presses the nurse’s call button.
The nurse
walks in.)
CUT TO:
(Brass walks with Jack Oakley down the center of the town road.
Jack’s son,
Benjamin, follows behind them.)
JACK OAKLEY: Captain, I'll need a copy of the police report for my
insurance.
BRASS: Oh, sure, sure, sure. We'll get to that. But, first, I need
to
straighten out a few things.
BENJAMIN OAKLEY: She called the office. Wanted to know about renting
out
Oakley's Saloon for a private party.
BRASS: Well, you know what she does for a living, right?
BENJAMIN OAKLEY: Yeah. Told her to lock up when she was done.
JACK OAKLEY: You should have stayed, Ben. You got liability to think
about.
CUT TO:
(She reaches in with a forceps and pulls it out. It’s a pair of men’s
underwear. She finds a crumpled paper towel on the floor behind the
toilet.
She puts her goggles on and takes out her ALS.)
CUT TO:
(Warrick snaps photos of the contents of the purse out on the table.
Sofia
walks in.)
SOFIA: There were no security cameras at the crime scene, but Ms.
Maroney had
multiple arrests for petty theft and shoplifting. She had just been
released on
court-ordered rehab for kleptomania.
SOFIA: (amused) She didn't care what she took. She just had to take
it.
SOFIA: Which means the theft victims are probably not the suspects.
Got
anything else?
WARRICK: A couple of loose receipts, all from last night, all paid in
cash. A
pack of gum from the Bargain Bin, a soda from Carlisa's, and a Bloody
Mary from
Diane's Steakhouse.
SOFIA: Which is less than quarter of a mile from the crime scene.
SOFIA: Patrol found her just after 11:00. I'll start at the
steakhouse and
backtrack.
CUT TO:
[INT. CSI – TRACE LAB -- DAY]
(Hodges takes a paint chip sample and cuts off a piece. He puts the
piece on a
slide and slips it under the scope.)
NICK: Hey.
HODGES: Hey. What? Have you been shaving with a broken beer bottle?
NICK: No, no. Some drunk driver ran into a radio car at my crime
scene.
Friggin' idiot.
HODGES: Yeah. I heard you pulled the friggin' idiot's friend out of a
burning
car.
HODGES: Oh, so humble. You know, some people are just destined for
greatness.
NICK: Run these against the paint chips from the body, please.
HODGES: Sure. You mean the engine black over canary yellow paint
chips from a
Ford automobile? Yeah. If I had a yellow car, I'd paint over it,
too.
CUT TO:
NICK: Well, the car that hit her was yellow and black.
NICK: Well, I'm sure you are, but, uh, no, ma'am, we're not dancers.
We're
here about the warrant.
WARRICK: Well, we're going to need to see that cab and your trip
sheet.
CAB DISPATCHER: No joy riding, and don't leave the doors off like you
did last
time.
NICK: Hey, we just take them apart. We don't put them back together,
now.
CAB DISPATCHER: That's why nobody likes to deal with your asses!
(Warrick and Nick laugh. They examine the cab. Nick finds blood on
the front
bumper. Warrick finds the camera over the rear view mirror.)
(Nick takes a swab of the blood on the front bumper and tests it.)
GUS DIFUSCO: I had to cut out early. My wife's sick. But, uh, Dru's
solid.
Got to respect a guy who comes here and wants to be legit. Goes to
work, pays
his taxes, studying to be a citizen.
CAB DRIVER: If you want to know about state capitals, you just ask
Dru. Did
you know that Vegas is not the capital of Nevada?
CUT TO:
CATHERINE: The substance that I found under the saloon window was
chewing
tobacco.
CATHERINE: Yeah, Vernon Porter. He was fired from the force back in
Chicago.
CATHERINE: Oh.
BRASS: Well, you know, it fits his profile. He could have waited
till
Heather's client left -- there's always a client ...
CATHERINE: Yeah.
BRASS: ... and then attacked her. You know, I should have checked to
see if he
was wearing underwear.
CUT TO:
SARA: So far, all the prints come back to her. Player piano, whiskey
bottle,
shot glass. There was some lipstick around the rim. I haven't had a
chance to
test it. You think it's her shade?
(Sara nods.)
SARA: She refused an SAE kit, so we'll never know. There were no
defensive
wounds, no skin or rope fibers under her nails. At first blush, I
figured he
might have ambushed her, except that I noted three separate
strangulation
attempts on her neck.
CUT TO:
BRASS: Well, it's ten after. Probably unlocked 'cause he's doing his
rounds.
CATHERINE: Maybe.
(The gate swings open and they walk down the front road.)
CATHERINE: Okay, come on, Jim, give it up. I know you know something
about
Grissom and Lady Heather.
BRASS: I know something a lot juicier than Grissom and Lady Heath ...
(They find Vernon Porter’s body dead on the road. Brass has his gun
out as they
make their way toward the body.)
FADE OUT.
(COMMERICAL SET)
FADE IN:
DAVID PHILLIPS: No exit wound. There's some swelling under his lip.
(David hands Brass the phone. Catherine removes Vernon’s gun from his
holster
and looks at it.)
BRASS: And we both know how she likes to settle her own scores. I'm
going to
get a warrant, but it may take me some time because I have to find a
judge who
isn't a client of hers.
CUT TO:
(Nick shows the cab photo of Faith Maroney sitting in the back seat to
Chandru.)
NICK: That picture was taken by the camera inside your cab. Why
don't you take
another look?
(He takes another look at the photo and still doesn’t recognize her.)
NICK: Hey. Dru. I was born at night, but not last night, okay? I
know you
picked her up at the steakhouse. I know the last time she was seen
alive was in
your yellow cab. I know she was killed by a yellow car. I found blood
on your
front bumper.
CHANDRU “DRU” KAMBHATLA: (nods) Okay, I ... uh, I remember her now.
She
wanted to go to MGM. There is bad traffic, so she tells me to let her
out. She
wants to walk.
NICK: Mr. Kambhatla, if I match the paint from your cab to the paint
we found
in her skull, do you realize how much trouble you're in? (He nods.)
'Cause I'm
not sure you really do. Scotty.
(The officer Scotty standing behind Chandru leads him out of the
garage.)
CUT TO:
(Archie goes over the stills from the taxicab security camera with
Nick and
Warrick.)
ARCHIE: The older types of cameras only take stills. They take them
sequentially for twenty seconds any time a passenger door is opened.
ARCHIE: Yeah.
WARRICK: So Mr. Kambhatla was lying. That's nowhere near the Monte
Carlo.
ARCHIE: Yeah.
ARCHIE: Okay, so he's looking at her. Looks down. He's looking for
something.
He looks up.
NICK: (nods) Well, he's pissed. So she did snatch his wallet after
all.
ARCHIE: Yeah.
CUT TO:
CATHERINE: Well, the one that killed Porter's still inside him.
Porter was
shot in the back. He was facing away from the saloon.
(Quick flashback of: Vernon Porter walks down the street, his back to
the
saloon. He’s shot in the back and falls down. End of flashback.)
CATHERINE: To get to the window, this bullet had to be fired from the
opposite
direction.
(Catherine looks out the window and sees the two signs for TRADING
POST and GUN
SLINGER MUSEUM.)
(Sara unlocks the door. She and Catherine walk into the GUN SLINGER
MUSEUM.
They look at the guns in the display case.)
CUT TO:
NICK: (to phone) Sofia, Faith Maroney's prints were found on the cab
driver's
wallet so there's your motive. No problem.
(Nick walks into the lab. The printer prints and paper falls near
him. Nick
takes the printout Hodges holds for him because Hodge’s is too busy
working a
Sudoku puzzle. Nick looks at the printout.)
NICK: The paint from the dead girl's skull matched the paint on
Chandru's cab.
NICK: The paint chips from the street are not a match to the paint
chips from
her skull. Are you sure about this?
NICK: Oh.
HODGES: The paint chips you collected are from two different cars,
stuck
together as a result of impact. Yellow paint, black paint, clear
coat. The
other half -- clear coat, black paint, yellow paint, clear coat,
white.
HODGES: You're looking for a white Ford that's been repainted yellow
and black.
CUT TO:
(Robbins goes over Vernon Porter’s body with Sara. The body is on its
side as
Sara and Robbins examines the entry wound.)
ROBBINS: Well, that's the fun part. He didn't die from the initial
wound. It
entered through his back and then penetrated the inferior vena cava.
(Quick flash of: The gunman fires. The bullet enters Vernon’s back.)
(ZOOM in through the body and follow the bullet through the vessel.)
ROBBINS: (v.o.) It traveled through that vessel into his right lung.
It's
called a bullet embolus.
(End of flash.)
ROBBINS: And it's hard to find. Most medical examiners would have
missed it.
(Sara smiles and takes the container with the bullet inside from
Robbins. She
looks at the bullet.)
SARA: Full metal jacket, nine millimeter. The bullet that I found at
the
saloon was from a revolver. Colt single-action Army.
ROBBINS: (nods) The gun that won the West. That bullet is from a
20th
Century, high-capacity, semi-automatic pistol. I ... see a lot of
bullets.
CUT TO:
NICK: Well, it looks like Friendly bought a small fleet of white cabs
from
another company last year that went belly-up.
NICK: Seventy-five.
WARRICK: Paint samples from 75 cabs? Well, we'll be back in the lab
by next
week.
(Nick finds a cab with a scratched car door. He takes a swab sample
from the
front bender. He scrapes the paint down to the silver base.)
NICK: Hey, Warrick. I got what looks like fresh damage over here.
CUT TO:
[INT. CSI – A/V LAB]
(Archie puts the video from the new cab security camera up on the
monitor.)
ARCHIE: Gus's cab is equipped with a new camera. Video, not stills,
motion-
activated.
(Archie highlights the number form the cab next to him and enhances
the image.
The cab is numbered 7029.)
NICK: If Dru was dispatched, then what was Gus doing at that
steakhouse?
NICK: Looks like Gus took the fight to the streets. He hit him again
right
there.
NICK: And we know from the paint chips we found on the ground that
Gus's cab
collided with Dru's on that street.
WARRICK: Well, the airbags didn't deploy, so he must have been going
under
fifteen miles an hour.
ARCHIE: I can't see Dru's cab, so Gus must have rear-ended him when
he was
stopped.
NICK: It's physics. Gus's cab transferred most of its energy into
Dru's --
more than enough to launch him into the girl. Car bumpers are
designed to
absorb the impact from another vehicle, but the bumper hitting her?
Would have
been like a ... elephant hitting a flea.
(Quick flash of: The taxi hits Faith. She screams and falls onto the
road.
End of flash.)
CUT TO:
WARRICK: You were in the wrong. You were the one who was staging.
So why road
rage Mr. Kambhatla?
GUS DIFUSCO: Because he was gonna report it and get me fired. I'm
two months
from retirement. My wife's got MS. I need my health benefits. But I
didn't
hit that girl. He did.
CUT TO:
CHANDRU “DRU” KAMBHATLA: She was screaming at me, "Screw you, pull
over."
FAITH MARONEY: You guys are crazy. I want out of this cab right now.
FAITH MARONEY: (shakes her head) No way. I'm not paying for this
ride.
(She runs and trips over the side of the curb just as the other taxi
rams into
the back of Chandru’s taxi.)
(End of flashback.)
CHANDRU “DRU” KAMBHATLA: Gus said it was. And he has been driving
for thirty
years. My cab hit her, so I am guilty.
NICK: Yeah, well, Gus doesn't know the law, but I do. What else did
he say to
you? Mr. Kambhatla, this may be the last chance you have to tell me
the truth,
now.
NICK: No, sir, unfortunately, that's not the way it works. I've got
you for
obstruction, for fleeing the scene, and now you're an accessory. I'm
sorry,
man. I know you're confused, but ... you just made a deal with the
wrong guy.
CUT TO:
BRASS: We have a warrant to search your house. And you'd better put
some
sunblock on because we're going downtown.
LADY HEATHER: My memory isn't any better than it was yesterday. I'm
not up to
it.
BRASS: Well, we'll swing by the hospital. And you can explain to
them why you
checked yourself out early, against doctor's orders.
LADY HEATHER: Captain Brass would like to know where I was last
night.
(Catherine and Brass turn around. Grissom steps out into the room
carrying a
coffee cup.)
(Grissom takes a sip from his cup. Catherine turns and looks at Lady
Heather.
Everyone looks at each other.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
CATHERINE: You were there all night. Want to explain why? Look, I
know that
you don't go home and cuddle your insects every single night, but why
would you
go there knowing that we're in the middle of an investigation? And
now she's a
prime suspect with you as her alibi.
GRISSOM: Yes.
CATHERINE: You know I'd slap you, but I think you'd enjoy it too
much.
CUT TO:
LADY HEATHER: You think I paid someone to kill Porter and then used
Grissom as
my alibi?
BRASS: And with your history, yes. How do you know Vernon Porter?
LADY HEATHER: He did some work for me. I helped him get the job at
Oakley's.
BRASS: You know what? That's the first thing you said to me that
doesn't sound
like a lie. What kind of work?
(She takes her phone out and lets Brass listen to the message.)
VERNON PORTER: (from phone) Hey, Heather, Vernon. Looks like you
got yourself
into something. If you need anything, call me. Call me anyway. Let
me know
you're okay.
LADY HEATHER: Does that sound like a man who wants to hurt me,
Captain Brass?
BRASS: Oh, I don't know, Heather. I don't know. I mean, you get
assaulted at
Old West Town where he works, he calls it in, then he ends up dead.
What is it,
just one big coincidence?
LADY HEATHER: I already told you I was there on business. Mr. Porter
had
nothing to do with it.
BRASS: Yeah, but it was your business that got him killed. Come on,
come on,
we both know that you weren't there for some western hoedown. So what
were you
doing there?
CUT TO:
WENDY SIMMS: The semen on the tissue in the bathroom did not come
from Vernon
Porter.
CATHERINE: Well, the underwear that I pulled from the toilet was a
38-inch
waist. Porter was a 34. He didn't attack Heather.
WENDY SIMMS: Well, I don't want to derail this but why kill Porter
and not go
after Heather?
SARA: So this client goes back to Oakley's the next night and shoots
Porter.
CATHERINE: Oh, Mandy got a hit off the revolver and the ammo box.
(Catherine’s message reads:
2. MANDY
GOT A HIT. SUSPECT
BENJAMIN OAKLEY
From: Mandy
To: Catherine
Received: 05/10 1:48 PM
(Catherine turns and heads out. Wendy also leaves the lab. Grissom
walks in.)
CATHERINE: (to Grissom) Sara will fill you in. (to phone) Hey, Jim
...
(Sara gathers up the photos from the table. Grissom watches her for a
moment.)
SARA: Yeah?
CUT TO:
(End of flashback.)
JUDY TREMONT: Dr. Grissom, you requested a custody file from the
court.
JUDY TREMONT: I'm assuming it's for your investigation into the
Miniature
Killer. Everybody in the lab believes you're gonna get him.
(She smiles and gives him two thumbs up. He nods. She leaves the
office.)
(There are two framed photos on the mantle. The first is of Heather
and her
daughter, Zoe. Grissom picks up a second framed photo of Jerome
Kessler with
the baby girl. The photo appears to be taken without their
knowledge.)
(Quick flashback to: Scene from 6X15: Pirates of the Third Reich)
ROBBINS: There was some scarring on her pelvic bones, but given the
condition
of the body, it's hard to say for sure.
(Quick flash to: CU: THE PHOTO OF JEROME AND THEIR GRANDDAUGHTER.)
LADY HEATHER: I hired someone to find her. I can't give her love,
but I can
give her the freedom to be who she wants to be.
(End of flashback.)
CUT TO:
GRISSOM: No.
GRISSOM: I'm aware that the court has denied her visitation rights.
GRISSOM: I'm not sure. (Jerome is quiet.) Has Heather tried to give
you any
money for Alison?
JEROME KESSLER: Yes, the day before yesterday I got a call from the
bank.
Heather had set up a very generous trust fund for her, no strings
attached. I
assumed she sold her house.
CUT TO:
BRASS: That's attempted murder. Your dad's not going to like that,
Benny.
BRASS: And that makes two attempted murders. And that adds up to a
lot of jail
time, bud.
BRASS: What do you want, a gold star for being a bad shot?
(Quick flash to: [BANK] Benjamin goes to the bank. The transfer
amount on the
screen is for: $843,508.00. The remaining balance is for:
$31,053.86.)
BENJAMIN OAKLEY: There was a million dollars in that account last
week. Who
authorized the transfer?
(End of flashback.)
(Quick flashback to: [INT. GUN SLINGER MUSEUM] Benjamin opens the
display case
and takes a gun out.)
BENJAMIN OAKLEY: (v.o.) I knew he was going to meet Heather, but for
some
reason, she didn't show. And Porter got up the courage to ask my dad
for the
money. He'd seen my father with Heather.
(Vernon takes a couple steps out and stops when he sees Benjamin exit
the
museum.)
(A gun fires. Porter falls to show Jack with the smoking gun in his
hand.)
(Benjamin raises the gun and points it at his father. Jack advances
on
Benjamin. Benjamin fires wildly and hits the glass in the saloon.)
(End of flashback.)
BENJAMIN OAKLEY: Do you know how much money he spent abusing women?
He didn't
leave anything for my mother and me except for more abuse. It had to
stop.
BENJAMIN OAKLEY: His phone's off; every time his phone's off, he's
with her.
CUT TO:
BRASS: Too bad you spent the million. You could use it on your
defense.
BRASS: Look, Heather, for what it's worth, I think you're in the
clear. The
DA's not gonna press charges. Attempted murder, assisted suicide, the
lines are
kind of blurred. But do yourself a favor. Get some help.
CUT TO:
(The officers escort Jack to the car and put him in the back seat.)
DISSOLVE TO:
(He motions for her to step outside. He takes her hand and she joins
him on the
porch.)
HEATHER: Hi.
FADE TO BLACK.
==========================
END OF EPISODE
==========================
Transcript by Intrepid
Beta: DianeM
Courtesy of http://www.kilohoku.com/
==========================
TITLE/OPENING CREDITS
==========================
CSI: CRIME SCENE INVESTIGATION
7X23: THE GOOD, THE BAD AND THE DOMINATRIX
ORIGINAL AIR DATE ON CBS: 05/10/2007
TRANSCRIBED FROM CBS
Starring:
WILLIAM PETERSEN as Gil Grissom
MARG HELGENBERGER as Catherine Willows
and
PAUL GUILFOYLE as Capt. Jim Brass
Guest Starring:
WALLACE LANGHAM as David Hodges
and
MELINDA CLARKE as Lady Heather (Kessler)
Starring
LIZ VASSEY as Wendy Simms
and
JOE PENNY as Jack Oakley
==========================
END CREDITS
==========================
Co Starring:
SHELLI BERGH as Nurse
SHANG FORBES as Cab Driver
LARRY MITCHELL as Officer Mitchell
Co Starring:
VICTORIA PRESCOTT as Judy Tremont
JASON SWEAT as Paramedic
JESSIE WARD as Faith Maroney