COLD OPEN: 

[EXT. LAS VEGAS CITY (STOCK) – NIGHT]

[INT. WAREHOUSE]

(A young woman is held c*ptive with her wrists tied high above her head. Off screen, she hears faint slicing, and gurgling. She screams.) 

(Blood squirts on her face and in her mouth. She coughs. Yuck.)

(Behind her, a man hacks off a dummy's head.) 

Zack Putrid (director): (o.s.) Cut!

(She continues to cough.) 

Zack Putrid: (o.s.) Cut! Damn it!

(The bell rings and overhead lights turn on. The director, Zack Putrid, gets out of his chair.) 

Zack Putrid: Can somebody please get her a glass of water?! (He walks up to the actress.) What happened? Babe? What are you doing? Are you choking on the blood?

(She nods.) 

SFX Guy: I did what you told me to.

Zack Putrid: Yeah, but this time, get it on her face, not in her mouth.

SFX Guy: The mouth is part of the face.

Zack Putrid: Yeah, I know, I know. But h*t her from the side, from the side. And get plenty on the rack.

(The SFX guy turns and leaves. We hold on the two actors dressed as doctors – one giant man and Dickie Jones.) 

Giant Doctor: We're dying here.

Dickie Jones: I'm going to go ring it.

Giant Doctor: All right. Hey, grab me a bear claw.

(Dickie Jones heads off the set. He walks past Zack Putrid talking with the cameraman who is wearing a red baseball cap.) 

Zack Putrid (director): How long have I known you, huh? This is you and me. Get the sh*t -- not too tight. Wide enough to fit in the fun bags.

(The director turns back to the actress, who is still tied up with her arms over her head as the fake blood is being wiped off her. Her make-up is being retouched.) 

Zack Putrid (director): Baby-cakes ...

(The actor playing the k*ller interrupts them.) 

k*ller Actor: (to the director) Where was I? Want me to laugh?

Zack Putrid (director): Don't laugh. You were scary. Get away.

(The k*ller leaves.) 

Zack Putrid (director): Honey, this time, don't inhale the blood, okay? All right, let's get her cleaned up. Let's sh**t this bitch.

(He heads back to his chair. The actress gasps loudly.) 

Actress: (o.s.) Oh ...

Zack Putrid (director): Not you, baby. The sh*t. The sh*t's a bitch. I love one-ers. And you know what else I love? I love sushi. Me, too. Do you want to go for sushi?

(In the background, Stanley Vespucci leads Brass through the set. Nick follows them.) 

Stanley Vespucci: Our lead actress, Weatherly Adams, had her dressing room violated last night.

Brass: So she's the one you suspect is missing?

Stanley Vespucci: She missed her call this morning. The woman is nothing if not professional. She's predictably precisely 35 minutes late every day. You could set your watch to it. She's already ... three hours late and still no sign of her.

(He looks at his watch.) 

(A light blows out as they pass.) 

Stanley Vespucci: Nothing to worry about, gentlemen. It's just a bad bulb. If you will, please, follow me.

(He leads them out.) 

[INT. WEATHERLY ADAMS' DRESSING ROOM – CONTINUOUS] 

(He opens the dressing room door.) 

Stanley Vespucci: Here we are. 

(They walk in.) 

Stanley Vespucci: Check out the flowers in the vase.

(Nick looks at the note on the flowers.) 

Nick: "Congratulations on your last film." Any idea who sent her these, Mr. Vespucci?

(A framed photo of a pretty blonde-haired woman is on the dressing table next to the flowers.) 

Stanley Vespucci: (shrugs) Stalkers, creeps, cranks, nut balls, degenerates -- we get them all here. Weatherly attracts them like flies.

(He shows them a stack of letters.) 

Stanley Vespucci: These are ... uh ... some of the guys we've had trouble with in the past.

Brass: I'll take that.

(Nick continues to look through the dressing room.) 

Brass: When was the last time you saw her? 

(Vespucci takes his phone out and dials.) 

Stanley Vespucci: At wrap yesterday. We sh*t all night, finished about 4:00 in the morning.

Brass: Did anyone see her leave the building?

Stanley Vespucci: Her car's still parked out back.

(Nick holds a purse.) 

Nick: This hers?

Stanley Vespucci: Yeah.

Weatherly Adams: (recording) Hi, it's Weatherly. Leave a message or I'll scream. (giggles) 

(Nick turns the bag over, the contents spilling out onto the sofa.) 

Nick: Wallet, keys, and cell phone still in there.

Stanley Vespucci: Still no answer on her home phone.

Brass: I'll send a patrol car to her house. You said there was a break in. Why don't you show me?

CUT TO:

[INT. REPULSION PICTURES -- BASEMENT] 

(Down in the basement, various items are stored – dress dummies, rolled-up carpets and a VORTEX OF EVIL movie poster hangs on the wall just below the ceiling light.) 

Stanley Vespucci: Ah, Weatherly ... how has she died for us, let me count the ways.

(Stanley Vespucci leads Brass and Nick down through the basement.) 

(They walk past posters of the movies Weatherly made – NIGHT SHIVERS, INTO THE MOUTH OF HELL, and CAN I LICK THE SPOON?.)

Stanley Vespucci: Bludgeoned, boiled, filleted, defenestrated, decapitated, disemboweled, oh, yeah, and strangled with her own intestines. Autopsied while still alive.

(They walk into the large storage area.) 

Stanley Vespucci: Made to eat her own liver, fed slowly through a tree chipper, roasted and served on a bed of Belgian endive. When Weatherly Adams dies, it's money in the bank.

(He shows them the open window.) 

Stanley Vespucci: Here you are, gentlemen.

Nick: Looks like somebody broke the glass, reached in, unlocked it and opened it.

(Nick looks around the area.) 

Stanley Vespucci: Yeah, that's the way I found it when I got here this evening.

(Nick finds some blonde-haired stuffed dummies on the furniture. Among the dummies, he finds the real Weatherly with an axe stuck in her back. Flies buzz around the d*ad body.) 

Nick: Uh, Jim ... I got her.

(Nick kneels to look at the body. Jim and Stanley Vespucci join him. Vespucci gasps.) 

Nick: And I believe she's died for the last time.

FADE TO END OF TEASER ROLL TITLE CREDITS

(COMMERCIAL BREAK)
 

FADE IN: 

[INT. REPULSION PICTURES -- BASEMENT] 

(A movie poster, I HAVE TO AXE MY MOTHER, hangs on the cement post. The main photo is of Weatherly in red with an axe stuck in her head.) 

Nick: Whoever stuck her under this poster was trying to send a twisted message.

(Weatherly's d*ad body is also in red with an axe stuck in her back.) 

Catherine: Either that, or the k*ller's got a wicked sense of humor.

(Catherine puts her gloves on. Nick snaps a photo as David Phillips turns the body to look under it.) 

David Phillips: Lividity is fixed along the anterior aspect, and ... she is still in full rigor.

(Nick checks his watch.) 

Nick: She was last seen alive about 15 hours ago.

David Phillips: No panties. I'll do an SAE kit.

(David pauses and looks up where he sees the movie poster.) 

David Phillips: (inflecting) "The horror."

(He chuckles and looks at Catherine and Nick. He does it again.) 

David Phillips: (exaggerating) The horror ...

(Catherine smiles.) 

David Phillips: Huh? Huh? Bra-Brando? (normal voice) Brando from Apocalypse Now?

Catherine: Oh, yeah, yeah. I know, Dave. Everybody knows that.

David Phillips: (deflated) Oh. I'll get the gurney.

(David leaves. Catherine notices Weatherly's broken shoe.) 

Catherine: Looks like the Lady lost a heel.

Nick: There's a whole lot of something here, but it doesn't really look like blood to me.

(Nick indicates the blood under the body. Catherine dusts the axe handle.) 

Catherine: No, it's ... uh ... it's the wrong color. It's too red.

Nick: Smells sweet. Karo syrup and food coloring -- it's prop blood.

Catherine: And I am not seeing any prints. It's been wiped clean.

Nick: The question is, where does the fake blood end and the real blood begin?

CUT TO:

[INT. REPULSION PICTURES – MOVIE SET] 

(The actress in pink wails and cries. The actor playing the k*ller cries.) 

(Brass talks with the cast and crew.) 

Brass: Now, I know this may come as a shock to most of you, and I'm sorry for your loss. I understand that Weatherly Adams was a long-time member of this company ...

(The midget, Dickie Jones, looks around, then turns and hugs the pretty actress in pink.) 

Zack Putrid (director): Well, do you have a suspect?

Brass: Uh, sir, we just found the body about an hour ago.

(Dickie Jones hugs the actress, then squeezes her butt.) 

Brass: We're just beginning our investigation.

(The actress pushes Dickie Jones away.) 

Zack Putrid: Yeah, I get it, I get it. I mean, it could be anyone.

(He turns and looks around – just as the other cast and crew members look around at each other.) 

Brass: Now, I'm going to have to look at your IDs and I'm going to take statements and fingerprints from all of you. And I thank you in advance for your cooperation.

Stanley Vespucci: Anything we can do to help.

(Brass turns and heads up the platform stairs.) 

Zack Putrid: So what am I supposed to do today?

Stanley Vespucci: Edit.

(Stanley Vespucci catches up with Brass.) 

Stanley Vespucci: Excuse me, Mr. Brass. Do you think that it would be all right if we were to ... continue to sh**t ...

Brass: No.

Vincent Lafoon: I want that little twerp Zarco found and locked up.

Brass: Uh, who are you?

Vincent Lafoon: Vincent Lafoon. This is my brother Mason. We own this place.

Brass: Who's Zarco?

Vincent Lafoon: Oliver Zarco. He used to work here. He had a thing for Weatherly, and then he got hurt, blamed it on us, went a little nuts.

Mason Lafoon: He was the one who got ...

Vincent Lafoon: (interrupts) He was the one who sent the flowers and the note.

Brass: So he's done this before.

Mason Lafoon: Yeah, like, three times.

Vincent Lafoon: (irritated) Would you shut it? (to Brass) Three times. He's your guy.

Brass: Do you have video surveillance by any chance?

Vincent Lafoon: Yeah, only on the exterior, but the video system's been on the fritz lately.

Stanley Vespucci: I had it repaired three days ago-- I'll get the tapes.

Vincent Lafoon: Oh, good. (Vespucci leaves.) (to Brass) Look, just find Zarco, okay?

(Vincent leaves. Mason lingers.) 

k*ller Actor: Everyone come together.

Mason Lafoon: Um, I can't, I still can't believe she's gone. I mean ... she was a ... she was a real beautiful lady.

(Everyone gathers on the set.) 

k*ller Actor: Let's form a circle and touch hands with someone you care about.

(Mason turns to join the others.) 

k*ller Actor: Yea, though I walk through the valley of the shadow of death, I will fear no evil, for thou art with me. Thy rod and thy staff, they comfort me ...

CUT TO:

[INT. REPULSION PICTURES -- BASEMENT] 

(Nick swabs the "blood" and tests it. It doesn't work.) 

INTERCUT WITH: 

[INT. REPULSION PICTURES – DRESSING ROOM] 

(Catherine is in Weatherly's dressing room. She dusts the green vase.) 

(She stops when she doesn't find any prints.) 

[INT. REPULSION PICTURES -- BASEMENT] 

(Nick goes over to the window. He sees the security camera outside and measures the distance. He notes it on the sketchpad.) 

[INT. REPULSION PICTURES – DRESSING ROOM] 

(Catherine snaps photos of Weatherly's dresser and open drawer.) 

(She opens the top drawer and snaps a photo of it. She takes out a notebook and looks inside. She finds dates, times and numbers.) 

(Nick walks in.) 

Nick: How's it going in here?

Catherine: The vase is clean. I've got a spiral notebook filled with dates, times and weights. Looks like she was a bit concerned about her size.

Nick: Actors.

CUT TO:

[INT. CSI – FORENSIC AUTOPSY] 

(Robbins and David are working on removing the axe from Weatherly's back.) 

David Phillips: (appalled) You really don't recognize her?

(David holds the body down while Robbins pulls on the axe.)

Robbins: (grunts) No.

David Phillips: You've ever seen Chop Chop, Fizz Fizz?

Robbins: No.

David Phillips: Can I Lick The Spoon? 

Robbins: Please, David.

David Phillips: They're classics.

Robbins: Those are not classics.

(The axe pops out.) 

Robbins: The Exorcist. The Shining. Rosemary's Baby. Those are classics.

(David washes the body.) 

David Phillips: You know what I loved about her? She really made you feel the terror. When she was scared for her life, I was scared, too.

(Robbins holds the axe cut open as David washes it out. He sees something.) 

Robbins: Interesting.

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) – DAY]

[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]

(Brass talks with Oliver Zarco.) 

Brass: Mr. Zarco ... tell me about you and Weatherly Adams.

Oliver Zarco: It was the happiest time in my life. I had realized my dream.

FLASHBACK TO: The set is busy.

Oliver Zarco: (V.O.) I was working in the movies. Though I was only in an entry-level position, Weatherly and I were already an item.

(Weatherly and Zarco are kissing in the back.) 

Oliver Zarco: (V.O.) Just like ...

END FLASHBACK.

Oliver Zarco: ... Julia Roberts and what's his name.

FLASHBACK TO: They're filming on the set.

(Weatherly takes the burning meat out of the oven and puts it on the table. The meat is smoking.) 

Oliver Zarco: (V.O.) We were in love.

Weatherly: (smiles) Hi.

(Zarco is on the side with a smoke machine, adding to the smoke. He blows her a kiss. Filming continues.) 

Oliver Zarco: (V.O.) And then it was all over in an instant.

(The smoke machine blows up and bursts into flames in his face. Zarco screams.) 

Oliver Zarco: Oh, God!

(Zarco's face is on f*re. He gets up and runs around the set.) 

Oliver Zarco: Oh, my God!

(Finally someone with a f*re extinguisher puts the f*re out.) 

END FLASHBACK.

(Zarco's face is scarred.) 

Oliver Zarco: I was in rehab for six months. That slime ball Lafoon convinced me not to file a Worker's Compensation claim. He said that he'd take care of me.

Brass: And you trusted him?

Oliver Zarco: Yes. And then, when the deadline passed to file my claim, Vincent offered me two grand, take it or leave it, and then he fired my ass. And I could have lived with that, but ...

Brass: But what?

Oliver Zarco: Weatherly ... dumped me. She felt we were no longer compatible. The truth was, she couldn't stand to look at me. She cried when she told me. Actresses can do that. The smell of her skin ... like fresh lemon poppy seed scones baking in the oven. Gold flecks that danced like Valkyries in the emerald depths of her eyes. Her hair-- oh, God ... Her hair ...

Brass: So you started stalking her.

Oliver Zarco: I brought her gifts from time to time, to let her know that I still loved her. Is that against the law?

Brass: It is if you break in to do it.

Oliver Zarco: They wouldn't let me in the front door.

Brass: So you came in through the window. Only this time, you got caught. You argued. She told you where to shove your flowers, and you thought to yourself, "You know, do I really need this aggravation?" So you k*lled the bitch. I think you k*lled the bitch.

Oliver Zarco: Why would I k*ll her?

Brass: How should I know? 

Oliver Zarco: Do I know you?

Brass: Listen, Zarco, you whack job, you'd better focus! You focus.

Oliver Zarco: I'm trying to explain to you. I haven't been near that place in over a year. You got the wrong guy. I don't do that anymore. I'm in therapy now. Lots of therapy. Freudian, Jungian, Gestaltian -- all that crap. I've let go of my anger.

CUT TO:

[INT. CSI – GRISSOM'S OFFICE] 

(Grissom is in his office when Wendy appears in the doorway. She's carrying some test results.) 

Wendy: Have you seen Catherine around?

Grissom: No, why?

Wendy: 'Cause I just got the DNA results for Weatherly Adams, and the skin under her nails and the semen from her SAE, they both belong to Vaughn Krunty.

Grissom: Who?

Wendy: Vaughn Krunty, aka "Zack Putrid."

Grissom: Who's that?

Wendy: (amazed) The Titan of Terror, The Sultan of Slash. He's the movie director. I just ... I found him in CODIS for a statutory r*pe charge in Laughlin when he was 18 and the girl was 16. Can you believe that?

Grissom: What's the matter with you?

Wendy: Nothing.

Grissom: Go tell Catherine what you found, make sure that you pull all the old evidence out of storage in case she needs it.

Wendy: Okay.

(Wendy looks at the results, turns and leaves the office.) 

CUT TO:

[INT. REPULSION PICTURES – EDITING ROOM] 

(Zack Putrid is reviewing the footage sh*t that day.) 

Zack Putrid: Please. That looks pretty stupid, doesn't it?

Editor: Well, you could cut out earlier, maybe go to a wide exterior sh*t, you could carry the scream over a big flock of birds taking off.

Zack Putrid: Yeah?

(Putrid kicks the editor's chair.) 

Editor: Or ... yeah ...

(He picks up the golf club and hits the table, smashing whatever is on it.) 

Editor: (mutters) Or not. Or not, just ... bad idea. All right, okay.

(Putrid turns around and sees Brass leaning against the door frame watching him. Putrid chuckles.) 

(Putrid chuckles)

Zack Putrid: Detective Brass.

(He points to Brass, turns and chuckles at the editor.) 

Zack Putrid: Man, I love that. Detective Brass. You're a detective, and your name is Brass. I mean, I can use that. That's like a cop named Officer Copper. Or a tin horn sheriff named Sheriff Tin. You cannot write that stuff. 

Brass: Listen, buddy ...

Zack Putrid: Dude, I know why you're here, okay? Weatherly and I, yes, we were knocking boots, man.

Brass: So, you acknowledge having sex with her?

(Brass walks in and heads toward the editor's table where he looks at the latest 

"star" covered with fake blood.) 

Zack Putrid: Well, yeah, I just said I had sex ... Why would I deny it? Hey, I bang all my stars. It builds trust. It's part of my process. 

Brass: We found traces of your skin under her fingernails. Maybe she wasn't into your "process," so you r*ped her.

(Putrid chuckles.) 

(Brass turns and looks at him.) 

Brass: You find that funny?

Zack Putrid: Dude, you gotta see this. You're gonna love it. (to the editor) 

Bring up Double D.

Editor: Yeah. Here goes.

(The editor switches tapes and shows a recording of Weatherly wearing a pink dressing gown in her pink dressing room.) 

Weatherly Adams: (on tape) Hi, baby. Hi.

(On the tape, she blows a kiss to the camera. A man off screen laughs.)

(Putrid whacks Brass on the arm and indicates the monitor.) 

Zack Putrid: Check it out.

(On the tape, Weatherly opens the dressing gown and shows the camera her boob job.) 

Zack Putrid: (on tape) Money. Money.

(On the tape, she giggles.) 

(Putrid turns and looks at Brass.) 

Zack Putrid: Oh, yeah.

Zack Putrid: (on tape) You're a star. WEATHERLY ADAMS: (on tape) Oh, ba-by. Oh, ba-by.

Editor: (groans) I can't believe this is my life.

Zack Putrid: (on tape) Oh, man, oh, man...

Weatherly Adams: (on tape) Come over here, baby.

(On the tape, they start kissing as the camera rolls.)

(Zack Putrid puts a hand on Brass's shoulder and smiles proudly. Like a little kid, he points excitedly to the monitor.) 

Brass: This what you do all day?

Zack Putrid: Look, does that look like a woman being taken against her will?

Brass: That still doesn't explain how your skin got under her fingernails.

Zack Putrid: Weatherly was ... how can I put this delicately? She was an ass-scratcher, man. She liked to scratch my ass. She wasn't pushing me away, man, she was pulling me in.

(Putrid puts his pants down.) 

Zack Putrid: Brass, look at my ass.

(He shows Brass his ass.) 

Zack Putrid: Freaking claw marks.

Brass: Are you trying to make me throw up, Mr. Putrid?

(Putrid purrs.)

(HOLD on Brass.) 

FADE OUT.

(COMMERCIAL BREAK)
 

FADE IN: 

[INT. UNKNOWN HALLWAY] 

(A woman walks down the hallway. She glances over her shoulder and continues walking quickly down the hallway.) 

(We see the woman is WENDY SIMMS. She glances behind her again and speeds up a little. She turns the corner and glances behind her. She starts running.) 

(The camera follows her.) 

(She comes to the end of the hallway and tries opening the doors. The first one is locked. The second door is locked. She hurries to the third door. It opens.) 

[INT. UNKNOWN ROOM – CONTINUOUS]

(Wendy enters the room and shuts the door. She cowers and waits.)

(A chainsaw engine revs. The double doors open and a bearded man in a hooded raincoat carries a bloodied chainsaw.) 

(Wendy screams.) 

REVEAL: 

[INT. CSI – BREAKROOM]

(Henry Andrews, Hodges, Sara and Wendy are watching a video.) 

(On the monitor, Wendy runs and the man with the chainsaw cuts her. She spits out blood and some really bad EFX has her top half fall to the floor while her bottom half remains in a standing position. After a b*at, the bottom half falls to the floor as well.)

(Henry laughs.) 

Henry Andrews: Oh, my God. No way! 

(Hodges jaw drops.) 

(Sara closes her eyes.) 

(Wendy smiles and pauses the tape.) 

Henry Andrews: That is so cool. I can't believe you worked for Repulsion Pictures. 

Wendy: Well, I did it on a whim. I was supposed to be an extra, but then they liked me, so they gave me this whole featured bit. I got 600 bucks for that. What? What? I was fresh out of college. I really needed the money. 

Ronnie Lake: I don't get it -- what's the thrill here? It's always hot babes with huge breasts falling out of their shirts, getting hacked up ... 

Wendy: I don't have huge breasts. Mine are kind of ... medium. 

Hodges: But perfect ...

(Wendy turns and glares at Hodges.) 

Hodges: --ly adequate. Better, in fact. 

(He turns and looks at Sara.) 

Sara: Okay. Uh, I'm out of here.

(Sara leaves.) 

Henry Andrews: Hey, let's watch it again.

CUT TO:

[INT. CSI – FORENSIC AUTOPSY] 

(Robbins shares his findings with Nick.) 

(TOP VIEW DOWN of the BACK with an IMAGE of the AXE.) 

Robbins: (V.O.) When I removed the axe, -- 

(The AXE vanishes and CGI VIEW of the inside of the WOUND.)

Robbins: (V.O.) I noticed that the dermis along the margin of the wound showed no vital response, except in a small area on both sides of the center of the track.

(MOVE in CLOSE TO VIEW.) 

Robbins: (V.O.) The cause of death was perforation of the liver, spleen, and pancreas.

(A CGI pointed object jabs into wound.) 

BACK TO SCENE.

Robbins: But the injuries are inconsistent with the position of the axe wound.

Nick: The axe isn't what k*lled her.

Robbins: Exactly. The perforation was caused by a sharp, hollow, cylindrical object entering through the lower back, and then passing upwards into the organs.

Nick: Like a spear, or a pipe of some kind?

Robbins: Perhaps.

Nick: If the axe was planted in her back postmortem to conceal t original puncture site, then ... we don't have a m*rder w*apon.

CUT TO:

[INT. CSI – A/V LAB]

(Archie goes over the video with Catherine.) 

ON THE COMPUTER MONITOR is the footage dated 11/07/07 at 05:22 A.M. of someone in a baseball cap opening the window to the warehouse. 

Archie: The only thing I found on the surveillance tapes was this. 

(He pauses the video.) 

Catherine: That guy looks familiar. Oh, that's Vincent Lafoon. He and his brother own the place.

Archie: Well, here's where it gets a little weird.

(Archie resumes the tape. Vincent opens the window, then backs away and leaves.) 

Catherine: He's trying to make it look like somebody broke in. I think he's framing Zarco.

Archie: If he owns the place, he must have known about the surveillance cameras. Right? (Catherine nods.) Why would he let himself get caught on tape?

Catherine: I don't know, but according to Brass's notes, he thought the system was down. So, we found no physical evidence linking Zarco to the scene. Vincent knew he had an easy fall guy. He's been playing us the whole time.

CUT TO:

[INT. POLICE DEPARTMENT – HALLWAY] 

(Brass is sipping a cup of coffee as Vincent Lafoon is escorted in by an officer.) 

Vincent Lafoon: Hey, you're making a big mistake; you got the wrong dude.

Brass: Yeah, a lot of guys tell me that.

Vincent Lafoon: But I didn't do anything. Why would I k*ll Weatherly? She was my company's best asset. Plus, I liked her. She was my friend.

(They turn and continue through the hallway just as Oliver Zarco turns into the same hallway.) 

Vincent Lafoon: That's him. That's Zarco. That's your guy.

Oliver Zarco: What happened, Lafoon? She get too old, so you k*lled her for real?

(Zarco walks past him and heads out.) 

Vincent Lafoon: Where's he going?

Brass: I don't know. Probably out for a nice dinner.

(Brass sits down. Zarco stops walking and turns to watch.) ) 

Vincent Lafoon: You're letting him go? Are you out of your mind?

Brass: We've got nothing on him.

Vincent Lafoon: But I'm the one getting set up here, me! Don't let him go-- 

I'm telling you-- you'll regret this. 

(Zarco walks up to Lafoon.) 

Oliver Zarco: I never touched her. You know it, I know it, and they know it. You k*lled her, and you're going down.

(Zarco turns to leave again. Lafoon lunges at Zarco. The officer holds Lafoon back. Brass sits on the chair, sipping his coffee and watching the show.) 

Oliver Zarco: Can I go now?

Brass: Yeah, get out of here while I'm still in a good mood.

(Zarco smiles.) 

Oliver Zarco: So long, Lafoon. I hope they tear you a big one.

(Zarco chuckles as he leaves.) 

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) – DAY]

[INT. CSI – LOCKER ROOM -- DAY] 

(Sara sits in the locker room when Greg appears in the doorway.) 

Greg: What's up?

Sara: You know, in the slasher movies, when they go after the dark-haired girl, she always dies?

(Greg walks in.) 

Greg: Yeah. And the blond always lives. (He sits down.) Aren't you glad it wasn't a movie?

(She giggles at the irony.)

Sara: I think, um ... I think I am sick of having my face shoved in death every day. The m*rder rate has gone up every year since I've been here. It's totally out of control, and ... we're not even slowing them down.

CUT TO:

[INT. CSI – HALLWAY -- DAY] 

(Nick walks and talks with Catherine.) 

Nick: After examining the crime scene, I determined there were between 200 and 

300 milliliters -- that's less than a cup -- of Weatherly's actual blood outside of her body. Originally, we had assumed that the axe blade had sealed the wound, that the position of her body had caused her to bleed internally.

Catherine: But if she had been gored first by another w*apon and then axed, there would have been a lot more blood.

Nick: Right, right. So, I compared the initial coroner's report with the last entry in her weight loss journal -- which was taken no more than an hour or two before her death. And guess what?

Catherine: Her body came up light?

Nick: Six pounds light. That's six pints of blood at a pound each nowhere in or around the body. She was moved.

(Quick flash to: Someone drags a tarp with Weatherly's body on it through the hallway. End flash.) 

(Hodges joins them.) 

Hodges: Hey. The trace from the puncture wound came back. It's zinc, which is electrically coated onto steel to make galvanized pipe.

Catherine: Well, we should go back, expand the search perimeter, try to find the actual m*rder site.

Nick: Okay. I'll get a hold to swing. We're going to need some help.

Catherine: Okay.

CUT TO:

[EXT. REPULSION PICTURES (LOT) – WAREHOUSE -- DAY] 

(Dark clouds roll across the sky. Stanley Vespucci steps outside and looks up at the sky.) 

(He sees the CSI SUV roll in and park. Catherine, Nick and Ronnie carry their kits and meet up with him.) 

Stanley Vespucci: I hear you're holding Vincent Lafoon on suspicion of m*rder. His lawyer called me. I'd be surprised. Yes, the guy is a bit rough around the edges, but I don't think that he..uh ... Hello.

(He turns and looks at Ronnie.) 

(Nick and Catherine both turn and look at Ronnie.) 

Catherine: Nick. Why don't you ... uh ... take the offices, and Ronnie and I will start in the storage area.

(Nick heads into the warehouse. Catherine and Ronnie turn and head inside, too. Vespucci turns toward Ronnie.) 

Stanley Vespucci: My name is Stanley. (Catherine and Ronnie head inside, ignoring him.) But you call me Stan.

(Stan waits outside.) 

CUT TO:

[INT. REPULSION PICTURES -- OFFICES] 

(A NIGHT SHIVERS poster hangs on the wall. Nick walks into the offices. He puts his kit down and starts looking around.) 

(Up on the bulletin board are lots of WORK-SAFETY notices. There are fake body parts on the shelves. Nick finds a really large pair of slippers under the desk. He looks over and finds a red baseball cap on the wall hook. He notes the cap-size band has been adjusted.) 

(Quick flash of: Someone adjusts the size of the red baseball cap to make it fit a bigger head. End flash.) 

(Nick takes his phone out and makes a call.) 

INTERCUT WITH: 

[INT. REPULSION PICTURES – WAREHOUSE – DAY]

(Catherine and Ronnie are walking around the building.) 

Nick: (from phone) Hey.

Catherine: (to phone) Hey, Nicky, what do you got?

(Ronnie splits apart and enters a side room while Catherine continues to talk on the phone.) 

Nick: (from phone) I've got the hat Lafoon was wearing in the surveillance video. The wear on the strap indicates that it's been set larger ... like it was adjusted for somebody with a bigger head or something.

(Catherine walks across the warehouse.) 

Nick: (from phone) So I'm going to get it back, see if I can get some prints off it.

Catherine: (to phone) Okay, I'll ... uh ... meet you back at the lab.

(Catherine hangs up.)

(She stops and looks around and doesn't see or hear Dickie Jones approach.) 

Dickie Jones: Howdy. Dickie Jones. And you are?

Catherine: Busy.

Dickie Jones: How about after your shift, I take you out for a cup of coffee? And I could tell you my whole life story.

Catherine: No, thanks.

Dickie Jones: It's just a cup of coffee, doll. I'm not asking you to make love.

(Catherine rolls her eyes and turns to the side. Dickie eyes her behind and hisses his appreciation.) 

Dickie Jones: (under his breath) Not right away, anyway.

(Catherine kneels and puts her goggles on.) 

Dickie Jones: You know, I could open up new worlds to you. Have you ever had the back of those thighs kissed by a man ... who's standing up?

(Catherine turns her head as she starts laughing. She gets to her feet.) 

Dickie Jones: So you find dwarves funny?

(Catherine laughs.)

Catherine: Sometimes, yeah.

Dickie Jones: Come on, what do you say? Is it because of my receding hairline?

(Catherine stops laughing.) 

Catherine: I don't go out with persons of interest in an ongoing investigation.

Dickie Jones: Well, I just think you might be missing out, pookie.

Catherine: Don't call me pookie.

(Catherine stands up with her kit.) 

Dickie Jones: But you haven't told me your name.

Catherine: Catherine.

(He walks over to her.) 

Dickie Jones: Catherine.

Catherine: Catherine.

Dickie Jones: Catherine. Well, Catherine, we little people see things from a different perspective -- things other people might miss.

(Catherine puts her case down.) 

Catherine: If you're implying that you know something about Weatherly's death, and you're not giving it up, that makes you, at a minimum, an accessory after the fact, -- 

(Stanley Vespucci walks in.) 

Catherine: -- and that buys a long stretch for a stubby guy.

Dickie Jones: I'm just talking, doll-face.

Stanley Vespucci: Dickie. Why don't we leave the nice woman alone to do her work?

Catherine: Here's my card.

(She gives him her card.) 

Catherine: If there's anything that you want to tell me as it pertains to the case ... 

(Dickie takes the card from her and kisses the back of her hand.) 

Catherine: Uh ... call me.

(Dickie backs away as Stanley walks over. Catherine turns and leaves.) 

Dickie Jones: What are you doing? 

Stanley Vespucci: Don't complicate things, Dickie.

Dickie Jones: I'm just trying to work-- 

CUT TO:

[INT. CSI – PRINT LAB] 

(The red baseball cap is in the fumer.) 

DISSOLVE TO: 

(Nick removes the red baseball cap from the fumer. He looks for prints and puts it down when he doesn't find any. He runs a computer search on CASE FILE NO. LVPD 07 11 08 – 1078 GG.)

(He pulls up the MDV licenses.)

(He turns and looks at the sketch with the notation 5'02" near the window. He looks at the screen cap of the man in the baseball cap. He pulls up the driver license for VAUGHN KRUNTY (aka Zack Putrid). He notes the height: 5'10".)

(He pulls up the driver license for VINCENT LAFOON. He notes the height: 

5'10".) 

(He pulls up MASON LAFOON'S driver license. His height is 6'3".) 

(Nick again looks at the video capture.) 

(He gathers the file folder with the pictures and heads out.) 

[INT. CSI – A/V LAB – CONTINUOUS]

(Nick heads over to Archie.) 

Nick: Hey, Archie, could you bring up the surveillance video from Repulsion Pictures, please?

Archie: Yeah, got it over here.

(Archie plays the video.) 

Nick: What's the best you can get me on the face?

(Archie enhances the image without success.) 

Nick: He seems to be deliberately looking away from the camera. Take him to the window.

Nick: Freeze that. Zoom in on the sleeve. Does that jacket look a little small for that guy to you?

Archie: Maybe.

Nick: I measured the height of the window. It's five feet. How tall is the guy?

Archie: Well, he's a head taller than that window.

Nick: Vincent Lafoon's only five-foot-ten. This guy's six-foot-two, six-foot-three, easy. And a lot rounder. The only guy that big in the bunch is Mason.

(Nick makes a call.) 

Nick: (to phone) Catherine, it's Nick. Listen, the surveillance video footage is a fake. I think we got the wrong brother in custody. I think Mason set up Vincent to set Oliver up. It's getting complicated.

FADE OUT.

(COMMERCIAL BREAK)
 

FADE IN: 

[EXT. LAS VEGAS CITY (STOCK) – NIGHT]

[INT. REPULSION PICTURES – WAREHOUSE -- NIGHT] 

(Thunder rumbles and lightning flashes. Catherine has her goggles on as she looks around.) 

[INT. REPULSION PICTURES – SET -- NIGHT] 

(Ronnie is inside the set looking around with her flashlight.) 

(Catherine is on the other side looking at the bloodied dummies with her ALS.) 

Catherine: (calls out) Hey, Ronnie, anything?

(Ronnie walks through the set.)

Ronnie: No. This place is creeping me out.

Catherine: It's supposed to.

(Catherine turns and looks over at the shelves with extra body parts.) 

(Lightning flashes and thunder rumbles outside. Catherine walks over to one of the props. She checks it and finds blood. In one of the pipes protruding from the prop, she finds more blood.) 

(Catherine turns her ALS off and goes to her kit to take a sample.) 

(Meanwhile, Ronnie continues to make her way slowly through the dark, creepy aisles.) 

(Catherine takes a swab sample off the pipe and tests it. It comes out positive. Ronnie joins her.) 

Catherine: I think we just found our m*rder w*apon. Hidden in plain sight.

(Ronnie sees something on the side.) 

Ronnie: Catherine? I've got something else here.

(Ronnie photographs it and pulls it out of the rolled up coils on the shelf.) 

Catherine: Looks like Weatherly's missing heel.

(Quick flash to: Weatherly struggles with someone. She backs up, trips and falls backwards. End flash.) 

Catherine: This is where she died.

(Lightning flashes and thunder crashes. The overhead lights go out completely.) 

Catherine: Ah, damn. 

(The generator lights turn on.) 

Catherine: Oh, good.

Catherine: Auxiliary generator just kicked in.

(Catherine checks her phone.) 

Catherine: And I don't have any service.

(Ronnie checks her phone.) 

Ronnie: Mine's d*ad, too.

(Ronnie puts her phone down on the shelf.) 

Catherine: I'm going to get a dolly for you to move this thing. Photo it and get it back to the lab.

(Catherine heads out.) 

Ronnie: Okay.

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) – NIGHT]

(Its pouring.) 

[EXT. CAR (MOVING) – NIGHT]

(Ronnie is driving. She glances down at her fuel. It's nearly empty. The message on the dash reads: FUEL RANGE LOW.) 

(Ronnie turns into the nearest gas station to fill it up. The attendant, dressed in a raincoat and hat, runs out. Ronnie gives him the money.) 

Ronnie: Here you go. Thanks!

(He turns and heads back inside. She fills the SUV and reaches for her phone. It's not there.) 

Ronnie: Damn it.

(Ronnie opens the car door and takes out the radio.) 

Ronnie: (to radio) Control, this is C-147 Lake for C13 Willows.

Dispatch: (from radio) Copy, C-147. Stand by. C-147, you have C-13. Over.

SPLIT SCREEN WITH: [INT. CATHERINE'S CAR]

Catherine: (to radio) This is Catherine.

Ronnie: (to radio) Hey, Catherine, I left my cell phone at the studio. I need to go back and get it.

(Ronnie finishes filling her car.) 

Catherine: (to radio) Yeah, you'd better. They're department issue. And if you lose it, you replace it.

Ronnie: (to radio) Does that include the cost of the contract?

Catherine: (to radio) Oh, yeah.

Ronnie: (to radio) Damnit. I'll see you later.

(Ronnie goes back into the car, puts her seatbelt on and leaves the gas station.) 

(As she pulls out, a woman with short blonde hair watches her. Lightning flashes.) 

(Ronnie's SUV heads back to the studio.) 

CUT TO:

[INT. CSI – HALLWAY – NIGHT]

(Catherine returns. She's on the phone with Brass.) 

Catherine: We found the pipe that k*lled Weatherly. It's in the print lab being processed. She was k*lled on the soundstage and then dragged over.

Brass: (from phone) We've got a warrant out for Mason Lafoon. We're looking for him now.

Catherine: (to phone) Okay. Let me know what you find out.

(She hangs up. Another call comes in. It's DICKIE JONES.) 

(Catherine sighs and heads into her office.) 

Catherine: (to phone) What do you want?

Dickie Jones: (from phone) Pookie, it's me, Dickie.

Catherine: (to phone) I know.

Dickie Jones: (from phone) I've got information I think you might be interested in.

Catherine: (to phone) Okay, sh**t.

Dickie Jones: (from phone) No. It has to be in person.

Catherine: (to phone) Where are you?

Dickie Jones: (from phone) I'm at the studio.

Catherine: (to phone) I thought there was no phone transmission from there.

Dickie Jones: (from phone) There wasn't. Now there is. That's how it is with phones and electrical storms. Look, it's urgent. Get down here as soon as you can. 

Catherine: I just came from there. Why didn't you tell me then, you annoying little man?

Dickie Jones: (from phone) The situation is evolving.

Catherine: (to phone) If you're screwing with me, I will to string you up and b*at you senseless.

INTERCUT WITH: 

[EXT. REPULSION PICTURES]

Dickie Jones: (to phone) I look forward to it. Just hurry.

(Thunder cracks. Dickie Jones hangs up.) 

CUT TO:

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

(Brass puts a photo of Mason opening the warehouse window down on the table.) 

Brass: That's you, Mason. All six feet, three inches of you impersonating your brother, which makes you good for Weatherly's m*rder. You did that one, too, didn't you?

Mason Lafoon: No, no, no. Nobody k*lled Weatherly, okay? She k*lled herself.

Brass: Oh, really? What, she axed herself in the back?

Mason Lafoon: No, you don't understand. She ... she ... It was an accident. She tripped.

(Quick flashback to: Mason Lafoon and Stanley Vespucci are talking as Weatherly says good night to them.) 

Mason Lafoon: Good night, Weatherly. 

Stanley Vespucci: Good night, kid.

Mason Lafoon: Yeah, great stuff tonight. Have a good night.

Stanley Vespucci: All right. 

Mason Lafoon: See you tomorrow.

Weatherly Adams: See you tomorrow. Okay.

(Weatherly smiles and waves to them as she backs away. She trips on the rolled up hose on the floor, falls off the set stage, and ... SQUISH!)

(Mason and Stanley rush over to check on her. They find her impaled and d*ad on the prop below.

Mason Lafoon: (shouts) Call 911! Call 911!

(Mason reaches for his phone. Stanley stops him from dialing.) 

Stanley Vespucci: Wait, let's think about this.

Mason Lafoon: No, but Stanley ...

Stanley Vespucci: Mason, she's d*ad! This time she's not coming back. We've got so many health and safety violations. If we report one more set-related accident -- especially one resulting in a death -- we will lose our bond, our liability insurance, OSHA will shut us down, we'll get our asses sued for wrongful death, and that will be the end of Repulsion Pictures! Is that what you want? Is that what you want?!

Mason Lafoon: (shouts) No!

BACK TO SCENE.

Mason Lafoon: He ... he said "the show must go on," th-that Weatherly ... would have wanted it that ... I don't ... we ... we didn't k*ll anybody.

Brass: But you made it look like a m*rder, and then you framed your brother.

Mason Lafoon: Well, he's been treating me like crap my entire life.

(Brass chuckles.)

Brass: Yeah, but for that, you're going to send him to jail for the rest of his life?

Mason Lafoon: This was all ... this was all Stanley's idea.

Brass: Do you realize how much trouble you're in?

Mason Lafoon: Look, Stanley was the one who wanted to frame Vincent, okay? All I was supposed to do was clean up the accident scene and pretend to be Vince and buy the roses and that was it. The rest was him. If you don't believe me, talk to the dwarf.

(Brass sits down.) 

Brass: Why? What did he have to do with it?

Mason Lafoon: Dickie saw the whole thing.

(Quick flashback to: Stanley and Mason talk. Dickie Jones is in the back of the set watching ... and hearing them.) 

Stanley Vespucci: ... and that will be the end of Repulsion Pictures. Is that what you want? Is that what you want?!

Mason Lafoon: No!

Mason: (V.O.) And he's been trying to shake down Stanley ever since.

BACK TO SCENE.

Brass: Well, that would explain the animosity.

CUT TO:

[INT. REPULSION PICTURES – SET -- NIGHT] 

(Ronnie returns to the warehouse. She wipes the rain from her forehead as she heads to the back to get her phone.) 

(Thunder rumbles. Lightning flashes. The lights are on. Ronnie enters the room. She grabs her phone off the stage and turns around to leave. She stops at a fresh pool of dripping blood on the floor.) 

(She looks up and finds Dickie Jones hanging from the overhead beams upside down. He's d*ad.) 

FADE OUT.

(COMMERCIAL BREAK)
 

FADE IN: 

[EXT. STREET -- NIGHT] 

(The CSI SUV turns on the road.) 

[INT. CATHERINE'S CAR (TRAVELING) – NIGHT]

(Catherine is driving.) 

Catherine: (to radio) Control, this is C-13 Willows, trying to contact C-147 

Lake.

Dispatch: (from radio) C-13, Control. Copy. Stand by.

[INT. REPULSION PICTURES – SET -- NIGHT] 

(Ronnie is on her phone.) 

Ronnie: (to phone) Hello, Dispatch?

(She doesn't get a response. She shakes her phone.) 

Ronnie: (to phone) Hello?

[INT. CATHERINE'S CAR (TRAVELING) – NIGHT]

Dispatch: (from radio) C-13, Control. C-147 is not responding.

Catherine: (to radio) Okay, thanks. Over and out.

[INT. REPULSION PICTURES – SET -- NIGHT] 

(Ronnie's phone beeps as it disconnects. She looks around. Two g*n f*re.)

(She heads out to the door.) 

(She stops when a WOMAN in a long gown, high spiked heels and a short blonde wig walks across the far entryway. The WOMAN looks like it might be Weatherly.) 

(Ronnie's phone rings.) 

(She ducks quickly to the side to hide. She reaches for her phone to turn the ringer off. But the WOMAN turns around and looks at Ronnie. Ronnie runs back to the set.)

(She ducks into the corner and crouches against the wall. She opens her phone and makes a call.) 

SPLIT SCREEN: [INT. CATHERINE'S CAR]

Ronnie: (to phone) (whispers) Catherine, it's Ronnie. I'm stuck at Repulsion Pictures. I need backup.

Catherine: Ronnie ... 

Ronnie: (to phone) Hello? 

(Ronnie looks at her phone.) 

Catherine: (echo-y) ... uh ... I'm, I'm coming. 

Ronnie: (to phone) Hello? 

Catherine: Just ... just stay on the line. 

("Weatherly" turns and heads back toward the set where Ronnie is.) 

Ronnie: (to phone) Hello? 

Catherine: Ronnie? 

Ronnie: (to phone) Hello? 

Catherine: Ronn—

(The line goes d*ad.) 

Ronnie: (to phone) Hello?

(Catherine's phone beeps. She picks up the radio to call dispatch.) 

Catherine: Dispatch, this is C-13 Willows requesting backup to meet me at Repulsion Pictures.

(Catherine turns the sirens on.) 

[INT. REPULSION PICTURES – SET -- NIGHT] 

(Meanwhile, Ronnie looks out the window. Lightning flashes and the woman's figure passes by the window, her heels clacking on the floor.)

(Ronnie reaches over and picks up the toilet t*nk cover. She backs away from the door.) 

(She turns around and ZACK PUTRID is standing there.)

(He falls to the floor with a THUD. He grabs Ronnie by her ankle.) 

Zack Putrid: (gasps) You gotta help me. I'm sh*t! I'm sh*t! You gotta get us out of here.

(Ronnie puts the cover down and applies pressure to the wound in Zack's back.) 

Ronnie: (quietly) It's gonna be okay. Keep your voice down.

Zack Putrid: (gasping) Do you know how many people I've k*lled in this place?

Ronnie: Shh!

Zack Putrid: The irony is exquisite, but the pain is more formidable, you know? I think the pain is preventing me from enjoying the irony.

(Ronnie covers Zack's mouth to stop him from talking.) 

Ronnie: Shh! Shut up!

(She removes her hand and he starts talking again.) 

Zack Putrid: But I ...

Ronnie: For the love of God, stop talking.

[EXT. STREET – NIGHT]

(Catherine's SUV turns onto the road, sirens wailing.) 

[INT. REPULSION PICTURES – SET -- NIGHT] 

(Zack coughs blood.) 

Zack Putrid: Oh, that's not good. (coughs) I should really stop talking and-and try and relax.

OTHER POV: Someone watches them. 

Ronnie: That's good. Yeah, stop talking.

Zack Putrid: But I can't stop talking. I've got that thing that ... It's a syndrome. It's a word ... There's a word for it.

Ronnie: Shh-shh-shh!

Zack Putrid: People have it. It's a syndrome. I can't stop talking.

Stanley: Zack.

(Ronnie looks up and sees Stanley Vespucci standing up on the mezzanine level above them. He's carrying a g*n and raises it at them.) 

(Zack turns and looks at Stanley.) 

Zack Putrid: Stanley ... Stanley, don't sh**t me again. I don't want to die, okay? You already sh*t me twice. I learned my lesson, okay?

Ronnie: Sir, I'm a CSI. Think about what you're doing.

(Thunder rumbles.)

Ronnie: Put down your w*apon.

Stanley Vespucci: I'm sorry, I don't think I can do that.

(He cocks the g*n. Zack sobs.) 

(Suddenly, Stanley gasps. He staggers down the stairs with an axe in his back.) 

(He falls to the floor in front of Ronnie and Zack.) 

(Behind him, Oliver Zarco is dressed in a blue sequined gown and is wearing a short blonde wig. He's looking a lot like "Weatherly.") 

(Ronnie looks at Zarco.) 

Oliver Zarco: Are you okay?

Ronnie: (nods) Yeah.

(Oliver gulps and sits down hard on the steps. He removes the blonde wig.) 

(The approaching sirens grow louder.) 

Oliver Zarco: I really loved her.

(He buries his face in the wig and cries.) 

(Ronnie lets out a shaky breath.) 

Catherine: (o.s.) Ronnie! 

(Catherine enters the room with two officers behind her. Their w*apon are out.) 

(Ronnie sits down on the floor.) 

(Catherine sees the bodies on the floor – and Zarco sitting on the steps. She looks up and sees Dickie Jones hanging from the ceiling beams.) 

CUT TO:

[BLACK SCREEN] 

Zack Putrid: (V.O.) I'm editing late, like I always do, and I hear a sh*t. 

INSERT: FLASHBACK

(Stanley is turning the crank that raises Dickie Jones up to the ceiling beams by his feet.)

Zack Putrid: (V.O.) So, I go outside and check it out.

(Zack walks in and sees him.) 

Zack Putrid: Stanley!

Stanley Vespucci: You gotta help me hide the dwarf before the cops come back. Dickie was blackmailing us about Weatherly's accident. He wants to bring the whole company down.

Zack Putrid: But you k*lled him! You k*lled Dickie!

Stanley Vespucci: What's it gonna be, Zack? (He points the g*n at Zack.) You gonna help me here or what?!

WHITE FLASH TO: 

[INT. HOSPITAL – ZACK'S ROOM]

(Zack talks with Ronnie.) 

Zack Putrid: Next thing you know, I'm running for my life. And the nut job is chasing me. He sh**t me, and then I see the hot ... you. And all I can think the whole time is, "Man, this is great. I could use this stuff." I mean, this is life imitating art imitating life. You are so beautiful.

(Ronnie starts to smile.) 

Zack Putrid: You are ... Your, your face is so expressive. It-it emotes. You do terror so good.

Ronnie: I wasn't acting.

Zack Putrid: I know.

Ronnie: I'll see you.

(Ronnie turns to leave.) 

Zack Putrid: Well, hey, listen. If you ever get tired of fighting crime, you know, there's always a future for you in the horror business. I mean, I'll take you there.

Ronnie: Thanks, but I like what I'm doing.

Zack Putrid: Oh, hey, the offer's still good.

Ronnie: Okay, thanks.

Zack Putrid: No, I'm serious. I could build an entire franchise around you.

Ronnie: Bye.

(Ronnie leaves.) 

Zack Putrid: (shouts) Seriously. Give me a call.

CUT TO:

[INT. CSI – HALLWAY / FORENSIC AUTOPSY] 

(We move through the hallway, past a d*ad body on a gurney. We turn the corner and enter Forensic Autopsy.) 

(We hear music and screaming – men screaming, maniacal laughter and a woman screaming.) 

(We see a d*ad body on the autopsy table and hear horror movie climax music playing. A man laughs. A door hinge creaks loudly.) 

(Robbins and David Phillips sit at the desk watching a horror movie and eating popcorn.)

Robbins: That is impressive. As the woman's throat is being slashed, you can actually see the entire transverse view of the trachea.

David Phillips: That's all you've got to say?

(Robbins puts his glasses on and sits forward.) 

Robbins: I believe I can see the epiglottis.

David Phillips: Epiglottis? What about the pathos? I mean ... what about the humanity? This may be Weatherly's finest performance.

(Robbins stares at David.) 

David Phillips: Oh, just watch the movie.

(A woman screams. They go back to the popcorn and the movie.) 

SLIDE TO BLACK.

(A man laughs maniacally.) 

End
{"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x05 - The Chick Chop Flick Shop"}