FLASH OPEN:

[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) - NIGHT]

[HOLLYWOOD STREET SIGN]

WHITE FLASH TO:

[EXT. VARIOUS HOLLYWOOD (STREET) - NIGHT]

(Various sh*ts of prost*tute walking the street in front of various establishments.) 

Dakota: Hey.

"JERSEY" (ELLIE): Hey. You get anything?

Dakota: No.

(A car pulls up alongside them.) 

"DAKOTA": My, uh, knight in shining German armor has arrived.

"JERSEY" (ELLIE): See if he has room for two.

(Dakota sighs. They lock pinkies as Dakota heads for the car.)

"JERSEY" (ELLIE): Careful.

(Dakota leans over the curb and looks into the car.) 

Dakota: Hey. You wanna party?

(Dakota looks back at "Jersey". Dakota gets into the car and closes the door. She waves back at "Jersey".) 

("Jersey" signals for Dakota to give her a call. The car drives away.) 

FLASH TO:

[INT. POLICE DEPARTMENT - DESK - MORNING]

("Jersey" is at the police station. The officer at the desk isn't too interested in what she's saying.) 

Officer: It's only been a few hours. 

"JERSEY" (ELLIE): Dakota always calls me. We have a system. Something is wrong.

Officer: Why don't you go home, Jersey? Eat something for once, get some sleep.

(Disgusted, "Jersey" turns to leave. With a last look at the officer, she slaps her hand on the counter in frustration, then leaves.) 

CUT TO:

[EXT. SIDEWALK - DAY]

(Walking along the sidewalk, "Jersey" takes out her cell phone and dials.)

INTERCUT WITH: 

[INT. (LAS VEGAS) POLICE DEPARTMENT - BRASS' OFFICE - DAY]

(Brass is working when his phone rings. He puts the pen down and answers it.) 

Brass: (to phone) Hello.

Ellie Brass: Hello, Dad?

Brass: Ellie. Are you okay?

SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS

(COMMERCIAL BREAK)

FADE IN.

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

[INT. POLICE DEPARTMENT - HALLWAY -- DAY] 

(Brass steps out of his office and looks both ways down the hallway. He sees the sheriff and heads over to him.) 

Brass: Oh, hey, Sheriff. I'm glad I caught you.

(Brass stops in front of the sheriff.) 

Brass: Um ... I got to take some emergency leave. It's a ... it's a family matter.

Sheriff Burdick: I didn't know you had a family.

Brass: Well, you're new. We haven't had a chance to talk. Um ... I, uh, briefed my lieutenant on my cases. He'll cover for me for a couple of days.

Sheriff Burdick: This is not a good time for family problems. All the narco guys are at a HIDTA conference. I got no backup. I'm still learning the ropes here.

(Brass chuckles.) 

Brass: Well, it's never a good time to have a family problem, Sheriff. Look, I don't ask for time off normally. I'd appreciate the courtesy.

Sheriff Burdick: Do I have a choice here, Jim? 

(The sheriff continues down the hallway.) 

Sheriff Burdick: (over his shoulder) Get back here as soon as you can.

(Brass watches the sheriff go.) 

DISSOLVE TO:

[EXT. MIKE'S DINER (STOCK) -- DAY] 

[INT. MIKE'S DINER - DAY] 

(The waitress takes the money off the counter. Brass stands in front of the small counter-top display and picks up a cellophane-wrapped gift with a small pink bear near the ribbon tie on top.) 

(Brass puts the small gift on the counter. He counts out the bills and pays the cashier.) 

CUT TO:

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

[HIGHWAY]

(Top view down of the highway.) 

[EXT. LAS VEGAS CITY (STOCK) - HIGHWAY - DAY]

[EXT. CITY (STOCK) - DAY]

[EXT. POLICE DEPARTMENT BUILDING - DAY]

(Brass walks up to the front of the building.)

[INT. POLICE DEPARTMENT - OFFICE - DAY]

(Brass and Annie Kramer hug.)

Annie Cramer: You look good, Jimmy.

Brass: You do, too, Annie.

(Annie Kramer goes to sit behind her desk.) 

Brass: L.A. seems to agree with you.

Annie Cramer: Oh, yeah, well, I couldn't take another Jersey winter.

(She sits down. Brass sits down across her desk.) 

Annie Cramer: Or another Jersey cop.

Brass: You stay in touch with the old crew?

Annie Cramer: You know, dirty cops don't like to hang with clean ones.

Brass: So that's why they called me squeaky?

Annie Cramer: I thought what you did took a lot of guts. Integrity is, um, hard to come by in vice.

Brass: Yeah, it's the only detail where you're told to drink, gamble and pick up hookers, all the while carrying a g*n.

Annie Cramer: Garden of Eden. Temptation kills you, or it compromises you.

Brass: So, you got my message? My daughter Ellie and her friend Dakota were out partying and Dakota got in some guy's car. Ellie was able to pull a partial. Something about a whale tail.

(Brass hands Annie Kramer the notebook paper with:

CA PLATE

1TA )

Annie Cramer: California Coastal Commission specialty plates. I'll run it through DMV. Cross reference with BMWs. In the meantime, I pulled Dakota's rap sheet.

Brass: She has a sheet?

Annie Cramer: They both do.

(Brass nods.) 

Annie Cramer: She, uh, works a stretch on Hollywood Boulevard between Highland and Vine. 

(She hands the file to Brass. He opens it and sees a photo of Dakota holding the ID numbers: 

POLICE DEPT

4240 321 )

Annie Cramer: When was the last time you saw Ellie, Jimmy?

Brass: About three years ago. Um, she got into some trouble in Vegas. Hanging around with a bad bunch.

(Brass looks at the rap sheet:

REYNOLDS, SASHA

DOB: 03/04/83 SEX/F RAC/C WGT/120 EYE/BRO

AKA: 01 DAKOTA

02: 188282811

03: 199292939

04: 399199292

KNOWN ASSOCIATES: BRASS, ELLIE

AKA: JERSEY )

(Brass catches a glimpse of the name and looks away.) 

Brass: Looks like her taste in people hasn't changed much.

(He shuts the file. Annie hands Brass a slip of paper.) 

Annie Cramer: Here. Last known address. In case you don't have it.

CUT TO:

[EXT. STREET -- DAY] 

(Brass pulls up the front of a dingy apartment building. In the background, a dog barks. Brass gets out of the car and looks at the building. Graffiti litters the walls. He looks up and sees Ellie step up to the open window.) 

(He reaches into the car and grabs his cell phone. We note the pink bear gift in the front seat. With his eye on the window, he makes the call.) 

Brass: Ellie, it's your dad.

Ellie Brass: (to phone) How'd you get this number?

Brass: Relax, take it easy. I got it off caller I.D.

Ellie Brass: (to phone) Oh, okay. So did you make the call?

Brass: Yeah. LAPD's looking into it.

Ellie Brass: (to phone) Thanks.

Brass: Hey, how are you doing?

Ellie Brass: (to phone) Great, actually. Livin' at the beach, temping, waiting tables. Got some really good friends.

(As Brass watches, a man steps up to the window next to Ellie. He's smoking a pipe and offers it to her. She inhales. He also inhales.) 

Ellie Brass: (to phone) It's a big bowl of cherries.

(She smiles. The man puts his arm around her waist and lingers.) 

Brass: (to phone) Okay, um, I'll call you when I hear something, all right?

(Brass hangs up.) 

DISSOLVE TO: 

[EXT. (KOREATOWN) - NIGHT]

(Cops are parked around an area. Brass gets out of his car and meets with Annie Kramer.) 

Annie Cramer: Hey, Jim.

Brass: Hey.

Annie Cramer: We found the beemer. Found these two kids trying to hotwire it. Whale tail license plate starting with One-T-A.

Brass: Let's talk to them.

Annie Cramer: I'll talk, you listen.

(Annie and Brass walk up to the two kids.) 

Annie Cramer: All right, what the hell's the matter with you? You looking to die young? 'Cause you can do it inside in lock-up or outside with this wanna-be g*ng banger stealing cars crap.

Kid 1: We weren't stealing nothing. Window was already busted. Car wouldn't even start. We were just playing around.

Annie Cramer: You like playing with cars, huh? LAPD's having a car wash fund-raiser on Saturday. You just signed yourselves up. You're welcome.

(She steps up and motions to the officer nearby.)

Annie Cramer: Come on.

(The officer unlocks the kids' handcuffs.) 

Brass: So, no Rudy Giuliani broken windows theory here, huh?

Annie Cramer: Jimmy, windows are already broken. Someone's got to fix 'em.

(They walk up to the BMW for a closer look. Brass notices a sticker on the broken windshield.) 

Brass: Hey, check this out. B-H-G-C?

Annie Cramer: Looks like a country club or something. Doesn't read like Koreatown. I'll have my guys run the plates.

Brass: Anybody checked the trunk?

Annie Cramer: Not yet.

(Brass opens the hood.) 

(The spare tire is missing.) 

Annie Cramer: Doesn't look good for Ellie's friend.

(Annie takes out her cell phone and dials.) 

INTERCUT WITH: 

[INT. LOBBY (HIDTA CONFERENCE) - NIGHT]

(Matt Glazer answers his phone.) 

Matt Glazer: (to phone) Glazer. Yeah, we're just finishing up. No traffic. I'll be there in about twenty minutes. Okay.

(He hangs up and taps Warrick on his shoulder.) 

Matt Glazer: Vegas?

(Warrick turns around.) 

Warrick: Hmm?

Matt Glazer: You know a Jim Brass?

CUT TO:

[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) -- NIGHT] 

[EXT. (KOREATOWN) -- NIGHT] 

(Warrick and Matt Glazer arrive at the site.) 

Warrick: Where he at? 

Matt Glazer: (points) (garbled) Over there.

(Warrick walks over to Brass.) 

Warrick: Jim.

Brass: Rick. Rick, what are you doing here?

Warrick: I'm here for the HIDTA conference. Buddy of mine from L.A.P.D. told me there was a new captain in town, stirring things up. What are you doing here?

Brass: Ah, it's a long, sad story, man. 

Warrick: Have anything to do with a feisty little blonde named Ellie?

Brass: She's not a blonde anymore. Let's check out the car.

(Brass and Warrick head over to the car. Annie Kramer stands near the trunk. Brass makes the introductions.) 

Brass: Captain Annie Kramer, this is Warrick Brown from Las Vegas.

Annie Cramer: Good to meet you.

(They shake hands.) 

Warrick: Good to meet you.

Matt Glazer: (to Brass) Matt Glazer, L.A.P.D. Crime lab.

Brass: Hey, Jim Brass.

(They shake hands.) 

(Warrick looks at the car.) 

Warrick: Well, I thought L.A. was all about car culture. This reminds me of home.

Matt Glazer: Trunk's been stripped clean.

Warrick: Too clean.

Matt Glazer: Oh, they missed a spot.

(Camera zooms in to the spot that was missed.) 

Matt Glazer: Looks like two large caliber b*llet holes.

Warrick: But a b*llet hole wouldn't make those markings. What is that?

Matt Glazer: I don't know.

Warrick: It looks like a tool marking.

(Quick flash of: A crowbar-like tool is in the hole being jammed in and twisted around, leaving the area scratched up. End of flash. Resume to present.) 

Matt Glazer: Let's haul it back to impound and find out.

(Matt Glazer picks up his things and heads out. He looks at Annie Kramer.) 

Matt Glazer: I'll be in touch.

Annie Cramer: Thanks.

Warrick: Hey, you know, uh, Jim, I'm here all weekend. If you need anything, don't hesitate to call. (to Annie) Pleasure meeting you.

Annie Cramer: Same here.

(Warrick walks past Brass.) 

Warrick: (to Brass) Remember, what happens in L.A., stays in L.A.

(Warrick leaves. Brass looks at Annie.) 

Annie Cramer: You still a scotch man?

Brass: I'll take a rain check, okay. 

(He smiles and winks at her. Brass turns and walks away.) 

CUT TO:

[EXT. HOLLYWOOD (STREET) - NIGHT]

(A car pulls up to the curb. Ellie gets out; the car leaves. She starts walking along the sidewalk.)

(Another car pulls up to the curb. She walks up to the car and knocks on the glass.)

Ellie Brass: Hey, baby, you want to party?

(Brass rolls down the window. Ellie looks at her dad.) 

Brass: Ellie ...

Ellie Brass: Oh, I can't ever trust you. All I did was ask you to make a call.

Brass: How's the beach house?

Ellie Brass: Go to hell.

Brass: I have information about your friend, Dakota. Get in.

Ellie Brass: All right. But I'm not playing twenty questions with you.

(Ellie slips into the car.)

(Just then, a cop car passes, lights flashing.) 

Ellie Brass: So, did you find her body?

(Brass looks at Ellie.) 

Brass: No. But we found the car.

Ellie Brass: So she could still be alive?

Brass: We found blood in the trunk.

Ellie Brass: No, no, no, she's alive. I can feel it.

Brass: Look, do you have anything with her DNA on it, like a hair brush or toothbrush or ... ?

Ellie Brass: No. We keep all that stuff in our purse.

Brass: How about clothes or sheets or pillowcases, like that?

Ellie Brass: We share everything else.

Brass: Even the bed?

Ellie Brass: I told you I'm not playing that game.

Brass: If the lab doesn't have anything to match the blood to, then we'll never know. That's it.

(She looks away and sniffs.)

Brass: Come on, let's get some dinner, huh? You look hungry.

Ellie Brass: Wait. Blood. We went and got tested last week at the free clinic on Ivar. Maybe they keep it.

Brass: Tested for what?

Ellie Brass: What do you think?

Brass: Don't you use protection?

Ellie Brass: Guys pay extra for bareback.

(She looks away. Brass sighs.)

Brass: You're a lot smarter than that, Ellie. Come on.

Ellie Brass: Yeah, well, just because you want me to be smarter and sweeter and safer doesn't mean I am. And I got to go. Guess you know how to find me if you hear anything.

Brass: Don't go away. Don't-don't leave, don't leave.

Ellie Brass: You're one to talk. All my life, that's all you did, walk out. Now we're gonna Norman Rockwell it? Look around, Dad. It's too late.

Brass: Don't leave.

(Ellie gets out of the car.) 

Ellie Brass: Leave me alone.

(She slams the door and leaves.) 

Brass: Ellie. Ellie!

(Camera holds on Brass.) 

FADE OUT.

(COMMERCIAL BREAK)

FADE IN.

[EXT. FREE CLINIC -- DAY] 

[INT. FREE CLINIC - HALLWAY -- DAY] 

(Brass and Annie talk with the doctor at the Free Clinic.) 

Doctor: Here at the clinic, we pride ourselves a confidential relationship with our patients. This is a highly unusual request.

Annie Cramer: I understand, but we're investigating a possible homicide here.

Brass: We found blood in the trunk of a car. We have reason to believe it could be Sasha Reynolds', street name Dakota.

Annie Cramer: We're not interested in whether it's positive or negative. We need it for the DNA.

(A young blonde woman walks up to the doctor.) 

Doctor: How many do you need?

Woman: Ten.

(The doctor looks at her. The woman looks sheepish.) 

Woman: Twelve.

(The doctor looks at the clerk who hands her the condoms. The doctor hands the condoms to the woman.) 

Brass: Is that all the help they get?

Doctor: These kids come from all over the place with stars in their eyes. While they're waiting to be discovered, they still got to pay their rent. They do a bump to turn their first trick. Next they're turning tricks to get their next bump. We do what we can. You do what you do.

(Annie's phone rings.)

Annie Cramer: Excuse me.

(She steps away to answer it. The clerk hands the doctor a zip-loc bag with the vial of blood in it. The doctor hands it to Brass.) 

Annie Cramer: (to phone) (o.s.) Yeah. Kramer.

Doctor: Good luck.

Brass: Good luck to you, too, doctor.

Annie Cramer: (to phone) You're kidding me. Terrific. Okay. We're on it. Bye.

(She hangs up as Brass steps up to her.) 

Annie Cramer: We got an R.O. on the car.

CUT TO:

[EXT. HOLLYWOOD SIGN (STOCK) - DAY]

[EXT. PICCONE RESIDENCE - FRONT DRIVE - DAY]

(Annie Kramer and Brass walk up the front drive of the large home. Brass picks up the paper and follows Annie to the front door.) 

[EXT. PICCONE RESIDENCE - FRONT PORCH - DAY]

(Annie rings the doorbell. The door opens. A young, well-dressed man in a suit and tie answers. He smiles at Annie.) 

Todd Piccone: Captain Kramer.

Annie Cramer: Hey, Todd.

(Todd glances at Brass.) 

Todd Piccone: What's up?

Annie Cramer: I, uh, stumbled across something. Thought I'd pay you a house call. You missing a car?

Todd Piccone: Yeah, it was stolen.

(Again, Todd glances at Brass.) 

Annie Cramer: You didn't report it.

Todd Piccone: No, I didn't.

Annie Cramer: What's that about?

(Todd turns and looks at Brass.) 

Todd Piccone: Who are you?

(Brass smiles at Todd.) 

Annie Cramer: I'm sorry, this is an old friend of mine, Captain Jim Brass, Vegas P.D.

(Brass gives Todd his newspaper. Todd puts the paper aside.) 

Todd Piccone: Off the record?

Annie Cramer: Okay.

Todd Piccone: I went down the hill. I was, um ... lonely. Partook of the services of a certain kind of young lady. And while we were getting acquainted, I was carjacked.

(Quick flash of: [NIGHT] Todd Piccone and Dakota are in the car when someone carrying a g*n taps on his window.) 

Dakota: Just relax. 

(End of flashback. Resume to present.) 

Todd Piccone: I was set up. It was probably her pimp or drug dealer.

Brass: How'd you get up the hill?

Todd Piccone: Took a cab.

Brass: They didn't take your wallet?

Todd Piccone: Oh, the car was worth more than the cash. They knew what they were doing.

Brass: It's a pretty sweet ride. I'm still hung up on why you didn't report it.

Todd Piccone: Captain, maybe I should introduce myself. Todd Piccone, Assistant City Attorney. Let's just say that my reputation is worth more than my car.

Brass: Then maybe you should stop having dates in your front seat.

(Annie turns and looks at Brass.) 

Todd Piccone: You're right. Lesson learned. Thank you, officer.

(Todd turns back to Annie.) 

Todd Piccone: So the car was stripped, I'm sure, uh ... South Central? Koreatown? East L.A.?

Annie Cramer: Koreatown.

Brass: How would you know that?

Todd Piccone: 'Cause, Captain, that's where good cars go to die in Los Angeles.

Annie Cramer: Hey, Todd, I don't suppose we could take a look around?

Todd Piccone: Uh, yeah. You know, I'm expecting company. Now's not a good time.

(He closes the door on them.) 

CUT TO:

[EXT. CAR (MOVING) - DAY]

Brass: We need to get a warrant to get into that house.

[INT. CAR (MOVING) - DAY]

(Annie drives.) 

Annie Cramer: Oh, yeah? Well, we don't have enough.

Brass: Enough for a city attorney?

Annie Cramer: You know, give me a break. You know how many cars get jacked in L.A. every day? He admitted to being with a prost*tute. What makes you think he's not telling the truth about the rest?

Brass: He's hinky. I can feel it. 

Annie Cramer: Your gut can talk to my Judge. Or better yet, talk to Ellie. You should. You should get the 4-1-1 on Dakota from her.

Brass: There's an unreliable witness. So what do we do now?

(She sighs.) 

Annie Cramer: We eat steak.

CUT TO:

[EXT. MUSSO'S GRILL (STOCK) - DAY]

[INT. MUSSO'S GRILL - DAY]

(Annie leads Brass into the restaurant.) 

Annie Cramer: Tony, how are you doing? Table for two, please, in the back, if you could.

Brass: What are we doing here again?

Annie Cramer: I'm doing you a big favor.

(As they head toward the back, they come across a large table with various well-

dressed powerful men. Judge Silvio Peters stands up to greet Annie.) 

Judge Silvio Peters: Annie, hello.

Annie Cramer: Hey, Judge Peters. What a nice surprise.

Judge Silvio Peters: Nice to see you.

Annie Cramer: Good to see you. How's that porterhouse?

Judge Silvio Peters: Eh, I haven't started yet.

(Annie introduces Brass to the group of men.) 

Annie Cramer: Gentlemen, I'd like you to meet an old friend of mine, Captain Jim Brass, LVPD.

Brass: Hey.

Annie Cramer: This is Judge Silvio Peters, Councilman Joe Cohen.

Brass: Judge, Councilman.

Annie Cramer: Comptroller Daniel Reichmann, and Vic Patterson.

(Brass shakes Vic Patterson's hand.) 

Brass: Hey, Vic, how are you doing?

Vic Patterson: Soon to be mayor.

(Vic Patterson laughs.)

Vic Patterson: Hey, you know what? We sh*t a couple episodes of my show in Vegas. You remember that? Right? 

Brass: Right.

Vic Patterson: The Eagle. Yeah, you guys were great. You always treated us really well.

Brass: Well, we try.

Annie Cramer: Remember how great he was as that cop?

(Vic Patterson laughs.)

Annie Cramer: Like he was playing you.

(The others around the table laugh.) 

Brass: Well, that's not easy.

(As they continue talking, Annie walks over to Judge Silvio Peters and speaks to him quietly.)

Annie Cramer: (to Judge Silvio Peters) Listen, since I happened to run into you ... we found Todd Piccone's car just off of Vermont. Had b*llet holes and blood in the trunk. He claims it was stolen, but I'm hoping that I could get a look around his house a bit ... 

Vic Patterson: Oh, you know what? Let me get you an autograph or something. Little something for me. And a little something for you.

(Vic Patterson reaches into his jacket pocket for a pen. Brass happens to catch the tie clip he's wearing with the letters B-H-G-C on it.) 

Judge Silvio Peters: If you had enough for a warrant, you wouldn't be here. You'd be on your cell phone, calling me from Tommy Burger.

(Annie suspected as much.) 

Annie Cramer: Finish your steak before it gets cold.

(Vic Patterson gives Brass the napkin with his autograph on it.) 

Vic Patterson: There you are.

Brass: I'm touched. Thank you, man. Thank you. Gentlemen.

Annie Cramer: Enjoy your lunch, gentlemen. Nice to see you.

Judge Silvio Peters: You as well.

(Annie and Brass leave the table.) 

Annie Cramer: (to Brass) Strike one, your turn.

CUT TO:

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

[INT. HALLWAY - DAY]

(Annie and Brass walk through the hallway. We hear a television set playing loudly. They stop at apartment 2-F. Annie knocks on the door.) 

(Ellie opens the door.) 

Ellie Brass: Oh. Well, if it isn't Dick Tracy and his little sidekick, Nancy Drew.

Annie Cramer: We're here on official business. Just let us in.

(Annie steps into the apartment. Ellie turns around and heads inside. Brass steps inside. On the television is an ad for Vic Patterson's campaign.) 

Vic Patterson: (from tv) Vote Vic Patterson. Put some action back in government.

(Ellie sits on the bed.) 

Announcer: (from tv) Vic Patterson has a plan for Los Angeles. He wants to restore trust in City Hall. Vic Patterson has the energy it takes to get Los Angeles back on track ... 

Annie Cramer: You and Dakota have the same pimp?

Ellie Brass: No. We don't have a pimp. We're independent.

Brass: I can see that.

Annie Cramer: Look, if she were gonna pull a con with some guy, who would it be?

Ellie Brass: She's not like that.

Annie Cramer: So other than her customers, there's, what, no men in her life? You and she are ...

Ellie Brass: Roommates.

Brass: Look, you can be cute, or you can help us find your friend. What's it gonna be?

Ellie Brass: Well, there's this guy named Ronnie, all right? He was kind of like her boyfriend. Sometimes he would get jealous when she turned tricks.

Annie Cramer: Where do we find this Casanova?

(She points upstairs.)

CUT TO:

[INT. HALLWAY - DAY - CONTINUOUS]

(Brass leads Annie through the hallway.) 

Annie Cramer: Look, you know I can't go in there without probable cause or a warrant.

Brass: You're not gonna arrest me for breaking and entering, are you?

(Annie sighs.)

Annie Cramer: Jimmy, what are you hoping to find in there?

Brass: I'll know it when I see it.

(Brass knocks on the door.)

(With his g*n out, he breaks the door in. He and Annie linger in the doorway.)

(Inside the apartment is a regular meth lab - buckets, containers, supplies and a hot plate on the tables, chairs and floors.) 

Brass: Smelled something in the hallway. That's why we broke in, right?

Annie Cramer: Yep.

CUT TO:

[INT. APARTMENT - DAY]

(Warrick picks up an empty box and looks at it.) 

Annie Cramer: L.A. has over two hundred criminalists. You got to bring your own guy?

Brass: Well, Rick is like a vampire. He needs to be invited in.

(Warrick hears that one and smiles.) 

Annie Cramer: If this goes to court, Warrick's going to have to come back and testify.

(Warrick stands up.) 

Warrick: Well, you got beaches, bikinis. Free trip to L.A.? I'm down. (He looks around.) So we got coffee filters, cough medicine, matches, camping fuel 

... hot plates.

Brass: Are you thinking what I'm thinking?

Warrick: If this is a meth lab, then there would be free iodine coated all over these walls. And if Matt packed this kit right, I would have some spray starch 

...

(Warrick opens the kit and takes out a spray can. Warrick walks over to the nearest wall.) 

Warrick: ... that would react with the iodine ... 

(Warrick sprays the wall and it turns blue.) 

Warrick: ... turning it a nice dodger blue. Yes, it's a meth lab.

(Quick flash to: [TOP VIEW DOWN OF TABLE] Fast Forward. Ronnie picks off the items from the table and goes around the room between tables as he works on creating his stuff. He puts the dish on the hot plate and takes a drink of beer as he watches it bubble and cook. The stuff in the dish hardens into powder.)

(End of flash. Resume to present.) 

Annie Cramer: So meth dealer and his hooker girlfriend looking for a quick score. Carjacking's not such a stretch. Neighbors are lucky he didn't blow the whole building up.

Brass: No g*n, no blood. Nothing in plain sight linking him to Dakota's disappearance.

Annie Cramer: Well, we'll haul him in on manufacturing. We'll get what we can out of him.

Warrick: Jail would be an improvement over this hole.

(Suddenly, Ronnie appears in the doorway brandishing a g*n, nervously waving it from side to side. Annie and Brass both take their g*n out and point it steadily at Ronnie.) 

Annie Cramer: Drop the g*n! Now!

Brass: Put the g*n down!

Ronnie: Bad guys go away.

Brass: Put the g*n down.

Ronnie: You're trying to rob me?

Annie Cramer: Drop the g*n!

Ronnie: I'm being robbed by cops? You're trying to rob me!

(Warrick stays where he is and watches.) 

(Ronnie starts to cry.) 

Brass: (slowly, clearly) Don't make me sh**t you. Put the g*n down.

Annie Cramer: Come on.

(Ronnie puts the g*n down on the ground. He puts his hands over his face as he cries.) 

(Camera holds on Brass.) 

FADE OUT.

(COMMERCIAL BREAK)

FADE IN.

[EXT. -- NIGHT] 

(Coroners remove the d*ad body. They carry it in an open bag to the gurney waiting on the grass nearby. In the background, we see Brass standing with Ellie.) 

Annie Cramer: How long has the body been here? 

Officer: ... about three and a half hours now.

(They put the body on the gurney. Brass and Ellie walk as the coroners wheel the body a little up the path.) 

Officer: Jogger found her, called it in. Description matched your broadcast.

(Quick flash of CGI POV: The body hits the water and sinks to the bottom. The longer the body stays on the bottom of the water, the body fills with gasses that expand and fill it.) 

Officer: (V.O.) Looks like body gas has brought her to the top.

(End of CGI POV. Resume to present.) 

Officer: God, somebody b*at the pulp out of her. Any leads?

Annie Cramer: Yeah, he's detoxing in the t*nk. 

(She looks at the officer.) 

Annie Cramer: This is why I don't believe in easy money. 

(The officer nods. Annie turns to Ellie.) 

Annie Cramer: Ellie.

Brass: You have to identify the body.

(Brass leads Ellie to the gurney. As they get nearer, Annie leads Ellie to the gurney. Ellie pulls away, but Annie holds on to her.) 

(Brass walks away.) 

Ellie Brass: I'm going to be sick.

Annie Cramer: No, come here. Come on. Look, I just need an answer. Is this your friend?

(Ellie looks at the gurney and nods as she holds back her tears.)

(Done, she breaks away.) 

Brass: (softly) Hey. Hey.

(Ellie brushes past Brass, ignoring him.)

(Brass' phone rings. Brass turns and watches Ellie run across the playground area outside the crime scene tape. She sits on the slide. Brass answers his phone.) 

(Brass sighs.) 

Brass: (to phone) Brass.

Sheriff: (from phone) Family business?

INTERCUT WITH: 

[INT. (LAS VEGAS) POLICE DEPARTMENT - HALLWAY - NIGHT]

(The sheriff walks through the hallway while he's on the phone.) 

Sheriff: That is a wedding or a funeral, or a bar mitzvah. That is not permission to become a vice cop in another jurisdiction. Get back here now.

Brass: Who you been talking to?

Sheriff: Not that it matters. The police chief called me after Judge Peters called him. I hear they do a nice t-bone at Musso's.

Brass: Look, my kid's in trouble, Ben.

Sheriff: Well, if she's not d*ad, you get your ass back here.

(Brass watches as Ellie cries.) 

Brass: Look, write me up for insubordination. I can't come back now.

(Brass hangs up.) 

(Annie watches as Brass lifts the crime scene tape and heads over to Ellie.)

CUT TO:

[INT. (LOS ANGELES) POLICE DEPARTMENT -- INTERVIEW ROOM - NIGHT]

(Annie Kramer interviews Ronnie.) 

Annie Cramer: You have a prior. Mandatory minimum for manufacturing -- ten to fifteen.

(Brass watches from the observation room.) 

Annie Cramer: You start to talk about Dakota, we'll see what we can do.

Ronnie: Dakota? Now, what that crazy bitch got to do with this, huh? What, she snitched on me?

Annie Cramer: Not before you k*lled her.

Ronnie: I didn't k*ll nobody.

Annie Cramer: You have a relationship with her?

Ronnie: Yeah, we kicked it, all right? We kicked it. Look, I would never k*ll no girl with all that good ... all right, look, let's just say I enjoyed having her live downstairs from me, man. Listen ... she knew when to open her mouth and when to keep it closed. Now, her girl, Jersey ... oh, God, the best mouth I ever had. Mmm. That mouth gave me a lot of pleasure. It just never stopped.

Annie Cramer: Where were you two nights ago?

Ronnie: Out.

Annie Cramer: (hard) Be more specific!

Ronnie: I-I-I was seeing customers, all right?

Annie Cramer: Dakota?

Ronnie: No.

Annie Cramer: You like BMWs?

Ronnie: (shouts, agitated) Bitch, what the f- ... What are you talking about?!

(The officer in the room steps forward; Annie stops him.) 

Annie Cramer: Watch your mouth! I'll lay it out for you.

(Quick flashback to: [NIGHT] Ronnie knocks on the BMW's glass. The door opens.) 

Ronnie: Come on, man. Get out of the car.

Todd Piccone: All right.

(Todd Piccone gets out of the car.) 

CUT TO:

(The BMW drives away, leaving Todd Piccone outside.) 

[INT. CAR (MOVING) - NIGHT]

(Ronnie talks with Dakota.) 

Ronnie: So, how was he?

Dakota: What do you mean?

Ronnie: You wasn't supposed to do him.

(He hits her in the face. She screams.) 

CUT TO:

(Dakota is in the trunk of the car, her face beaten. Ronnie points the g*n at her and fires.) 

CUT TO:

(Ronnie takes the body out of the car and dumps it in the pond.) 

(End of flashback. Resume to present.) 

Ronnie: You want me to admit to a m*rder I didn't commit so you can reduce a drug charge?

(He sniffs and shakes his head.)

Ronnie: What, you high, right? Y-y-you must me high.

CUT TO:

[INT. POLICE DEPARTMENT - OBSERVATION ROOM - CONTINUOUS]

(Annie joins Brass in the observation room. She closes the door.) 

Annie Cramer: I'm sorry you had to hear that.

CUT TO:

[INT. POLICE DEPARTMENT - HALLWAY - DAY]

(Brass steps out into the hallway and walks over to Ellie.) 

Ellie Brass: What did he say?

(Brass shakes his head and walks past her.) 

Ellie Brass: Dad?

Brass: You were right; I shouldn't have come.

Ellie Brass: I told you he didn't do it. It was that guy in the car. You've got to find him.

Brass: Don't you understand? We just pulled your best friend out of a lake. I mean, it was just luck it wasn't you.

Ellie Brass: Yeah, well, it wasn't me.

Brass: Yeah, not today. But look at you. You've turned yourself into a disposable human being. Don't you get it? You're nothing but plumbing.

Ellie Brass: What, you're going to send me to my room and ground me? Have a patrol car pick me up at prom? Or spank me?

Brass: Okay. You're right. You're right. I messed up. But I'm just trying to do the best that I can. I wish you could say the same thing.

(Brass turns and leaves.) 

CUT TO:

[EXT. POLICE IMPOUND -- DAY] 

(Matt Glazer tests for g*n residue.) 

Matt Glazer: Clothes test positive for lead wipe. Confirmed b*llet hole.

Warrick: Did her DNA match the blood that you swabbed from the trunk?

Matt Glazer: Yeah, but the autopsy report said she wasn't sh*t.

Warrick: So, what's with the b*llet holes?

(They think about it for a moment.) 

Warrick: Clean-up.

(Quick flash of: The g*n fires twice. The crowbar is put into the hole. End of flash. Resume to present.) 

(Warrick lies on a dolly and rolls under the car. He finds one b*llet hole and sticks his pinky finger in the hole.) 

Warrick: One b*llet exited. Is the other hole to the left or to the right?

Matt Glazer: About seven and a half, eight inches up.

(Warrick looks for it.) 

Warrick: That's the gas t*nk.

(Matt Glazer empties the gas t*nk. The gasoline is stained red with blood. He searches the liquid and finds a b*llet. Warrick picks up the b*llet.) 

Matt Glazer: Looks like a .45. Big, fat and slow. Lucky for us, it didn't have enough power to go through-and-through the gas t*nk.

Warrick: Yeah. Look at that. No wonder those hood rats couldn't get the car started. It won't run on blood.

Matt Glazer: Well, that tweaker you busted just got bumped off the top of the list. He had a nine millimeter.

Warrick: You think you could run this through IBIS?

Matt Glazer: We do have that here.

(Warrick smiles.) 

CUT TO:

[INT. MOTEL ROOM -- DAY]

(Brass is on the phone.) 

Brass: (to phone) Hey, Doc, did you get my fax?

INTERCUT WITH: 

[INT. (LAS VEGAS) CSI - FORENSIC AUTOPSY] 

(Doc Robbins is sitting at his desk and is on the phone.) 

Robbins: (to phone) Yeah, I did.

Brass: (from phone) Yeah, well, it's all Greek to me. Can you help me out?

Robbins: (to phone) Mmm, sure, of course. But I thought you were asked to come home.

Brass: (from phone) I'll be home tomorrow. 

Robbins: (to phone) I hope she was worth it.

Brass: (to phone) What do you mean?

Robbins: (from phone) I don't know; I mean, you put your career on the line. I assume there's a woman involved.

Brass: What are you, a detective now?

Robbins: All right; let's take a look at this. FX, OC-- that's a fractured osseocartilaginous -- that's a broken nose.

(Quick flash of: [AUTOPSY] Close-up of the examiner moving the nose.) 

Robbins: (V.O.) FX, ST, CL -- sternal clavicle, ... 

(The examiner feels the body's chest.)

(End of flashback. Resume to present.) 

Robbins: ... and LAC, SDH on her head -- Lacerations and subdural hematomas.

Brass: Cause of death?

Robbins: It looks like exsanguination.

Brass: So, she was beaten and left to die?

Robbins: Beaten with something specific. The L.A. coroner noted repetitive patterned contusions.

(Quick flash of: The repetitive patterns on the body.)

(End of flashback. Resume to present.) 

Brass: Anything else?

Robbins: Yeah, the coroner's assistant who prepped her body ... 

(Quick flash of: The examiner collects the substance under the fingernails.)

Robbins: (V.O.) ... collected a green, waxy substance under her fingernails.

(End of flashback. Resume to present.) 

Robbins: Also, looks like he found concrete chunks in a bag tied to her waist.

(Brass picks up a couple of photos.) 

Brass: Probably what they used to weigh her down in the lake.

(Quick flash of: The bag around Dakota's waist.) 

(End of flashback. Resume to present.) 

CUT TO:

[EXT. PICCONE'S DRIVE - DAY]

(Brass is looking at one of the concrete blocks dug up from Tony Piccone's drive. Annie Kramer is next to Brass.) 

Annie Cramer: You want to say I told you so?

Brass: No. I just want it to be over with and have a happy ending.

(Tony Piccone rushes out of the house escorted by two officers. He heads down the drive. Warrick and Matt Glazer are there. They stop talking and turn to watch.) 

Tony Piccone: What the hell's going on? What's up?

Annie Cramer: Sorry, Todd. We got the warrant; we have to search.

(Annie and Brass head for the house. Tony tries to follow them, but the officers stop him.) 

Tony Piccone: You got to be kidding me. Wha ... ?

Officer: Stay here.

(Warrick, Matt Glazer, Annie, and Brass head into the house.) 

Tony Piccone: I just had the floors polished. Will you at least take your shoes off, please?

Brass: I sleep in my shoes, Todd.

[INT. PICCONE'S RESIDENCE - DAY - CONTINUOUS]

(They climb up the stairs to the second level.) 

Matt Glazer: This guy married?

Annie Cramer: No.

Matt Glazer: Mm-hmm. Anyone else's gaydar going off?

Warrick: Well, he did have a female hooker in his ride.

Brass: Well, maybe he swings both ways.

Warrick: Why, because he has this nice shag carpet?

(Warrick touches the carpet.) 

Warrick: This carpet's wet.

(Matt Glazer and Warrick remove the shag carpet. They find a large bloodstain underneath.) 

Warrick: Oh, yeah. That's a lot of blood.

Matt Glazer: How much, you figure?

Warrick: I don't know -- two, three pints?

Annie Cramer: Nobody loses that much blood and lives.

Brass: She died in this room.

Warrick: I don't think we'll be able to get any DNA off this. The carpet solvents probably compromised the sample.

Brass: She was beaten multiple times. There must be some spatter or cast-off.

(Matt reaches into his kit. He sprays the nearest wall. He gets a blue glow, but the wall television is on.) 

Matt Glazer: I can't get a clean read.

(Warrick stands up near the wall television set.) 

Warrick: You know what? It's this metal surface. It's giving us a false positive.

(Warrick puts his face to the side of the wall and looks at the television set.) 

Warrick: Does anyone see a remote?

Brass: Yeah, got one right here.

Warrick: Could you h*t the input button until we find a blue screen?

Brass: Yeah.

(Brass changes the input to the blue screen. They find a large crack in the monitor glass. There's some blood in the crack.) 

Warrick: Look at that.

Matt Glazer: I'll get a sample for DNA.

CUT TO:

[INT. PICCONE RESIDENCE - KITCHEN - DAY - CONTINUOUS]

(Warrick and Brass walk through the kitchen.) 

Warrick: Nice place.

Brass: Mmm.

(Warrick opens the trash bins in the kitchen.) 

Brass: Who needs three trash bins?

Warrick: Someone with a lot of dirt.

(In the third trash bin, there are empty hard alcohol bottles.) 

Warrick: Wow. Big party. Tequila. Whiskey. Gin. Absinthe.

Brass: The coroner found green wax under Dakota's fingernails.

(Camera zooms in for a close-up of the nail marks on the green neck on one of the bottles.)

CUT TO:

[INT. (LOS ANGELES) POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

(Annie Kramer interviews Tony Piccone.) 

Tony Piccone: (sighs) Yes, I solicited her.

Annie Cramer: So, you admit to having sexual relations with Sasha Reynolds, A.K.A. Dakota?

Tony Piccone: No.

Annie Cramer: But money changed hands?

Tony Piccone: I paid her $60.

Annie Cramer: For what?

Tony Piccone: I drove her back to my house and introduced her to a friend.

Annie Cramer: And then?

Tony Piccone: I have no knowledge of what happened after that.

Annie Cramer: Does this friend have a name?

Tony Piccone: Mmm. A big one.

Annie Cramer: You know, Todd, I think you're smart enough to recognize consciousness of guilt. (Todd swallows.) Blood in your house, in your car. All of which was cleaned up. This friend worth going to prison for?

Tony Piccone: Turn off that mic.

(Annie gives Tony a look. She reaches for the switch and glances at the mirror behind her.)

[INT. OBSERVATION ROOM]

(Brass watches, but can't hear anything.) 

(Annie turns the switch back on.) 

Annie Cramer: (loud) Officer.

(The interview room door opens and the officer outside steps into the room.) 

(Tony Piccone stands up and goes with the officer. Annie watches him go.) 

(She turns to Brass.) 

Annie Cramer: He invoked.

(Brass nods.) 

FADE OUT.

(COMMERCIAL BREAK)

FADE IN.

[EXT. -- NIGHT] 

(Brass is out walking. A car pulls into the parking lot behind him, headlights gleaming directly at Brass.) 

(The car comes to a stop in front of him, brakes squealing.) 

Brass: Whoa, whoa, whoa.

(It's Warrick.) 

Warrick: I wanted to catch you before you left. I got a look at the print results from the bottles that we collected just before I was escorted out and asked to leave the lab.

Brass: They say why?

Warrick: No, but I think I know why.

(Brass nods.) 

Warrick: It's like Chinatown, Jim.

Brass: So visiting hours are over, doctor. It's time to go.

Warrick: What about Ellie?

Brass: What about her?

Warrick: Well, she's the only one who can I.D. Todd Piccone as the driver.

Brass: Well, I couldn't get much out of Annie, but I don't think Piccone k*lled Dakota -- it wasn't his scene.

Warrick: I don't know. He's involved. It's his house. It's his car. It's his party.

Brass: Who's going to believe a tweaker hooker?

Warrick: You better hope nobody, or she'll be taking a dirt nap.

CUT TO:

[INT. ELLIE'S APARTMENT - NIGHT]

(Ellie sits at her vanity putting on her make-up. The phone rings.) 

Ellie: (answering machine) Hey, it's Ellie. Leave a message and I'll get back at you when I can.

Brass: Yeah, uh, Ellie, it's, it's your dad. Listen, you were right about the guy; he's a pretty important person with pretty important friends. So, uh, do me a favor. Don't go out tonight. Okay? 

(The answering machine beeps off.) 

CUT TO:

[EXT. HOLLYWOOD BLVD (STOCK) - NIGHT]

[INT. BRASS' MOTEL ROOM - NIGHT]

(Warrick picks up a bottle.) 

Warrick: If Dakota had wax under her fingernails, I think she must have been doing more than just pouring.

Brass: Self defense?

(Quick flashback to: [NIGHT] Dakota screams. She grabs the bottle by the neck, her fingernails digging into the wax. She stands up and tries to swing at her attacker.)

(End of flashback. Resume to present.) 

Brass: Who was she defending against?

Warrick: From the prints that we got off the bottle, I have a list of six suspects.

(Warrick takes out the notebook paper from his pocket and reads the list of names to Brass.) 

Warrick: Silvio Peters, Joe Cohen ...

Brass: Wait a minute. Silvio Peters? He's a judge. He's on the list?

Warrick: Yeah. Daniel Reichmann, Vic Patterson, Todd Piccone, Parker Smythe.

Brass: They're all in AFIS?

Warrick: Yeah. I mean, you can be in AFIS for a lot of reasons. After 9-11, anyone who works in a government building.

Brass: Right. I mean, doctors, lawyers, right.

Warrick: Or anyone who has a permit to carry a concealed w*apon.

(Brass looks at Warrick just as Warrick gets an idea.) 

Warrick: You know what?

(Warrick sits down in the nearest chair. He puts the phone on the table on speaker phone and dials.) 

(The phone rings.)

INTERCUT WITH: 

[INT. (LAS VEGAS) CSI - LAB - NIGHT]

(Nick is looking through a scope when his phone rings. He answers it.) 

Nick: Hello!

Warrick: Hey, Nicky. Where are you? Are you near a computer? Can you do me a favor?

Nick: Yeah, sure. How's the conference going?

Warrick: Uh, it's intense. I have a list of suspects, all in AFIS. I want to know if any of them have a permit to carry concealed.

Nick: Okay, sh**t.

Warrick: Silvio Peters, Parker Smythe, Daniel Reichmann, 

(Nick types in the names.) 

Nick: Mm-hmm.

Warrick: Todd Piccone, and Vic Patterson.

(The results read all NEGATIVE except for Vic Patterson who is AFFIRMATIVE.) 

Nick: Vic Patterson does. Are we talking about "The Eagle"? From that TV show?

Warrick: Yeah. What kind of g*n?

Nick: A .45, same kind he uses in all his cheeseball sh**t-outs.

Warrick: Can you give me anything else?

Nick: Yeah, I can run the serial number through Automated Firearms Service, give you the history.

(Nick types in the serial number: T8341.) 

(The results read:

AUTOMATED FIREARMS SYSTEM

COLT .45

CURRENT Owner: VIC PATTERSON

PREVIOUS Owner: BEVERLY HILLS g*n CLUB

SOLD SEPT. 28 1983 TO VIC PATTERSON )

Nick: Colt sold it to the Beverly Hills g*n Club, who, in turn, sold it to "The Eagle" on September 28, 1983.

(Quick flashes of: The BHGC sticker on the broken BMW windshield. Vic Patterson's tie clip.) 

(End of flash. Resume to present.) 

Brass: If he shops there, maybe he sh**t there.

(Warrick nods in agreement.)

CUT TO:

[EXT. LAS VEGAS CITY SKYLINE (STOCK) -- MORNING] 

[INT. BEVERLY HILLS g*n CLUB -- DAY] 

(Brass and Warrick step up to the main desk. Brass shows the man his badge.) 

Brass: You know, I'm just in town for a couple of days. It's always been a dream of mine to sh**t at the famous Beverly Hills g*n Club. I wonder if I could get a day pass?

g*n Club Man: For Las Vegas's finest? Sure thing.

(Warrick walks over to the g*n display.) 

Brass: Look, um ... tell me something. You know, is it, is it true that, uh, you know, the actor Vic Patterson sh**t here? 

g*n Club Man: Not really supposed to give out member info. But between you and me? The man is a damn fine sh*t.

Brass: No kidding.

g*n Club Man: Matter of fact, he won several of our competitions.

Brass: Wow.

g*n Club Man: You want to rent or sh**t your own?

Brass: Um ... I'll sh**t what Vic sh**t.

g*n Club Man: (to Warrick) You sh**ting, too?

Warrick: Nah, I'm just going to hang back. Let him blow off some steam.

(Brass gives Warrick a look.)

(The g*n Club man notices that Warrick is looking at Vic Patterson's award, g*n and b*ll*ts.) 

g*n Club Man: Ain't that something?

Warrick: Yeah, it's something.

g*n Club Man: Right this way.

(Camera lingers on the b*ll*ts in the award display. The plaque under it reads:

VIC "THE EAGEL" PATTERSON

1ST PLACE - 45 CAL sh**t

AUGUST 26, 2003 )

DISSOLVE TO:

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

[INT. CSI - LAB - DAY]

(Nick is on the phone and looking at the b*llet.) 

Nick: (to phone) Hey, Jim. I just got your b*llet. I'm running it through IBIS right now. Not gonna ask how you got it. 

(Nick sets the b*llet up and runs it through the database.) 

Nick: (to phone) So, did you meet him?

INTERCUT WITH: 

[INT. MOTEL - DAY]

Brass: (to phone) Yeah.

Nick: (to phone) Ha-ha. Yeah. Did you get his autograph for me?

Brass: (to phone) You know, actually I did, and if you get me a match, you might be able to meet him at his trial.

Nick: (to phone) Do you think that would make his autograph worth more? Or less?

(The computer beeps. The results read: 

CASE REPORT: .45 CALIBER SLUG

LOGGED: OFF. MATT GLAZER

LAPD, SERVICE: 1/5/1998

EVIDENCE RETRIEVED: 4/23/05

BMW 325: WHITE CONV.

HOMICIDE INVESTIGATION PEND.

CASE# 192801_218

VEHICLE REMOVED FROM GAS

t*nk, DRIVER'S SIDE.

PL 220.03 SUB00

IDENTIFICATION MARKS ENTERED INTO IBIS BY:

OFF P. LEBLANC

LAPD 28719.1

Nick: (to phone) We got a match. Entered by Matt Glazer, LAPD. Recovered from a BMW gas t*nk. Open investigation, homicide-related.

Brass: (to phone) Great, great. Thanks for all your help. Thank you.

Nick: (from phone) Sure.

(Warrick knocks and enters the room. Brass hangs up. Warrick sits down on the bed.) 

Warrick: Was that Nick?

Brass: Yeah. IBIS confirmed the match. We're good to go. So, where you been?

Warrick: In Hollywood, thinking. You know, even if Vic Patterson did sh**t up the car with his g*n, that doesn't mean he k*lled Dakota. Just means he helped clean up.

Brass: She wasn't sh*t. She was beaten.

Warrick: Yeah. We need a m*rder w*apon to nail his ass. I got these photos at a Hollywood memorabilia shop for ten bucks. 

(Warrick hands Brass some photos.) 

Warrick: Who do you see?

(The top-most photo is of Vic Patterson posing with his g*n.) 

Brass: A jackass.

Warrick: Look closer. Look at the p*stol grip ... and The Eagle. You know, these autopsy photos I saw all got me thinking. This one. Look at the pattern contusions.

(Warrick picks out a particular photo and shows it to Brass. The bruising pattern on the victim matches the raised eagle logo on the g*n.) 

Brass: The g*n is the m*rder w*apon.

(Quick flashback to: [NIGHT] Dakota struggles against Vic Patterson. She's screaming.) 

Dakota: Stop it! Stop it!

(He hits her with the handle of the g*n.) 

(End of flashback. Resume to present.)

(Warrick nods.) 

CUT TO:

[INT. BAR - NIGHT]

(Brass and Annie Kramer talk.) 

Annie Cramer: About six months ago, this strung-out hooker comes into the PD, b*at to crap, screaming that Vic Patterson had done it, and her wounds looked a lot like this. I figured it was her pimp, she was sniffing around for a settlement. Sent her home with an ice pack.

Brass: Oh. I'm sorry. I knew you thought this guy was a winner.

Annie Cramer: I worked my whole life to sit at the table with the big boys ... only to find out that the food is poisoned.

Brass: You know, the only record of this investigation is in that envelope, and half the evidence collection won't stand up in court, so it's your call. (She's thinking.) How many years you got on? 

Annie Cramer: Eight back in Jersey, fifteen here.

Brass: Well, that's 23 combined. That's a lot of innings. I mean, the worse they can do is make you retire.

Annie Cramer: What am I gonna do then? Knit? This is it, Jimmy. This is all I got.

Brass: Well, if it's all you got, then you got to do it right. Remember Mike O'Toole? From Vice?

Annie Cramer: Of course I do. Broke my heart when I found out he was dirty. 

Brass: Yeah, he was a heartbreaker. Broke up my marriage.

Annie Cramer: I thought I did that.

Brass: Well, Nancy used our affair because she was looking for a way out, but for me ... I mean, I guess I'm old-fashioned. You know, a bad marriage is better than no marriage ... I thought.

Annie Cramer: And you thought a kid would help?

Brass: You see, that's the thing. I didn't have a kid.

(Annie turns and looks at Brass. She puts the palm of her hand on his cheek.) 

Annie Cramer: (gently) Yeah, you did. I don't see Mike O'Toole out here helping her.

Brass: Well ... I spent a good chunk of my life looking the other way. I mean, so much so that my neck got tired. So I, you know, I got a divorce. I, uh ... turned Mike and his crew in. Started over in Vegas. Ellie. She's like the unfinished business of all that.

Annie Cramer: So it's my neck now.

(Brass remains silent as he picks up his drink.) 

CUT TO:

[INT. HALLWAY OUTSIDE ELLIE'S APARTMENT - DAY]

(Brass walks down the hallway. He comes to apartment 2-F and stops. He takes a deep breath and exhales. Brass puts the small pink bear gift on the floor in front of the door. He looks at the card in his hand for DREAM HARBOR, REHABILITATION FACILITY.) 

(He flips the card over. On the back is a hand-written note: 

Ellie -

When you're ready, I'll make it happen.

{heart} Dad

(Brass tucks the card in the cellophane. He stands up, looks at the door, then walks away back down the hallway.) 

(Camera holds, then ... 

FADE TO BLACK.

End
{"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x20 - Hollywood Brass"}