CSI: CRIME SCENE INVESTIGATION
7X08:  HAPPENSTANCE
ORIGINAL AIR DATE ON CBS:  11/16/2006
TRANSCRIBED FROM CBS

Written by:  SARAH GOLDFINGER
Directed by:  JEAN de SEGONZAC

Transcript by Intrepid
Courtesy of http://www.kilohoku.com/

Do not archive this transcript without permission from the Transcriptionist.

RATING:  TV-14-DV
HDTV 5.1 SURROUND
==========================
DISCLAIMER:
==========================
"CSI: CRIME SCENE INVESTIGATION" and other related entities are owned, (TM) and 
(c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS Worldwide Inc., 
Alliance Atlantis Corporation, CSI Productions and CBS Productions, All Rights 
Reserved.  For Fair Use, for entertainment and for educational purposes only.  
This transcript was made without their permission, approval, authorization or 
endorsement.  Any reproduction, duplication or distribution of this material in 
any form is expressly prohibited.  It is absolutely forbidden to use it for 
commercial gain. 

CONDITIONS OF USE:  (1)  Do not alter the content of this file.  (2)  Leave the 
headers/disclaimers intact because it lists all those who have made this 
transcript possible for your enjoyment.  (3) Provide a link back to the site 
where this file originated:  http://www.kilohoku.com/

Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY:  Two women who are identical twins are found dead.  Nick and Catherine 
investigate the twin shot while Warrick and Grissom investigate the twin found 
hanging in her home.  They investigate to find whether the cases are related or 
not.
==========================
CSI:  CRIME SCENE INVESTIGATION
7X08:  HAPPENSTANCE
==========================



FADE IN:  

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

(Establish.  We start in the city, then pull out to the suburban community.)  



[INT. SINCLAIR RESIDENCE – KITCHEN -- NIGHT]  

(Amanda Sinclair stares at the kitchen window at her own reflection.  After a 
moment, she goes back to washing the dinner dishes.  Her mind is elsewhere.)  

INTERCUT WITH:  



[INT. CASE APARTMENT – BATHROOM – NIGHT]

(Jill Case wipes the steam off the shower door with the palm of her hand.  She 
opens and pushes the door open, grabs a towel and steps out of the shower stall 
as she wipes herself.)

(She walks over to the bathroom sink and picks up the wine glass on the counter.  
She drinks.)



[INT. SINCLAIR RESIDENCE – KITCHEN -- NIGHT]  

(Amanda Sinclair drinks from her baby’s sippy cup before she opens it and adds 
it to the dishes to wash.)

(Her son, Henry, runs into the kitchen and holds his arms up to her.)  

HENRY SINCLAIR:  Mommy, up.  Up, Mommy, up.

AMANDA SINCLAIR:  Not now, baby, Mommy's busy.  Go find Daddy.

(Henry turns and runs out of the kitchen.  Gary, Amanda’s husband, steps out 
into the hallway and scoops Henry into his arms.)  

GARY SINCLAIR:  Aah ...

(He enters the kitchen.)  

GARY SINCLAIR:  Honey, I cannot find my navy suit.

AMANDA SINCLAIR:  Oh, I'm sorry, shoot.  I meant to get it this morning, but 
Henry was doing his ear-itchy thing, so I took him to Dr. Neilsen.  I'll get it 
first thing tomorrow.

GARY SINCLAIR:  Oh, I have an early meeting, sweetie.

AMANDA SINCLAIR:  So go get it.  

GARY SINCLAIR:  Oh ... all right.

(He tries to put Henry down on the floor, but Henry complains.)  

HENRY SINCLAIR:  Daddy, no leave.  Daddy, no leave.

GARY SINCLAIR:  Aw ... Daddy no leave.

(Henry giggles.)  

AMANDA SINCLAIR:  You give him a bath, I'll go.

(She looks at her watch – its 7:45.)  



[INT. CASE APARTMENT – BATHROOM – NIGHT]

(Jill Case adjusts her watch.  Her radio is on.)  

DISC JOCKEY:  (from radio)  Welcome to LVRP, Rat Pack Radio.  Here's an oldie 
but a goodie by two salty dogs of stage and screen, Bobby Darin and Johnny 
Mercer.

(She sings along with the radio.)  

LYRICS:  (singing)  Two of a kind / For your information, we’re two of a kind 
...



[INT. AMANDA’S CAR – NIGHT]

(Amanda backs out of her driveway.  She sings along with the radio.)  

LYRICS: (singing)  Like peas in a pod and birds of a feather, alone or together 
you’ll find that we are two-oo-oo, oo-oo-oo, oo-oo-oo, oo of a kind.

(She puts her hair up in a ponytail with a scrunchie.)  



[INT. CASE APARTMENT – BATHROOM – NIGHT]

(Jill puts her hair down.)

LYRICS:  (singing)  Now, who’s to say if we’re going the whole way?  At least we 
got this far.



[INT. CASE APARTMENT – LIVING ROOM – NIGHT]

(The television set is on to channel 19 with BREAKING NEWS coverage.  The volume 
is off.

LYRICS:  (singing)   Sharin' our lives, our vittles, and viands, we're two of an 
ilk.  Say, what if we've got rare Chateaubriands or crackers and milk?  Makin' 
it plain.  Explainin' it fully.  We're similarly inclined, -- 

(Jill is in her black slip and secures her thigh stockings.  She gets up and 
pulls her black dress out of the plastic covering.  She tosses the hanger on the 
bed.  The advert on the hanger is for CHEN’S ONE HOUR CLEANERS.)  

LYRICS:  (singing)  Because we’re -- 



[EXT. CHEN’S ONE HOUR CLEANERS – NIGHT]

LYRICS:  (singing) – two-oo-oo, oo-oo-oo, oo-oo-oo, oo of a kind.

(Amanda pulls into the lot and parks her car.  She gets out of the car and opens 
the back door.  She gathers the laundry and notices a lipstick print on her 
husband’s white shirt collar.  She smiles.)



[INT. CASE APARTMENT – LIVING ROOM – NIGHT]

(Jill Case blots her lipstick.  She does a last look-over in the mirror, then 
heads out of her apartment.  The door slams shut behind her.)  



[EXT. CHEN’S ONE HOUR CLEANERS – NIGHT]

(Amanda Sinclair closes the car door and activates the car alarm.  She turns 
toward the cleaners.  Two gunshots fire and hit her square in the chest.)  



[CU:  SHOES]

(A pair of black high-heeled shoes hit the ground.)



[AMANDA]

(Amanda falls backward and hits the concrete ground.  Her eyes dilate.)  



[JILL]

(Jill’s eyes are clouded over as she hangs from a dog leash, her feet bare and 
shoes on the floor.)  

CUT TO:  



[EXT. CHEN’S ONE HOUR CLEANERS – PARKING LOT -- NIGHT]

(Police radio chatter is in the background.  A flashlight shines on Amanda 
Sinclair, dead on the pavement.)  

(Catherine and Nick walk up to the body.)  

NICK:  (sighs)  Bad day when you can't even run a simple errand.

CATHERINE:  Everybody's got dirty laundry.  Sometimes it gets you killed.

CUT TO:  



[INT. CASE APARTMENT – LIVING ROOM – NIGHT]

(Warrick and Grissom walk into the apartment and find Jill Case hanging in the 
middle of the room.)

WARRICK:  What would she have done if she didn't have a second story?

GRISSOM:  Every death has at least two stories.

FADE TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN:  

[INT. CASE APARTMENT – LIVING ROOM – NIGHT]

(The coroners cut the body down and place it on the gurney.  They cover her face 
with a white sheet.)  



[EXT. CHEN’S ONE HOUR CLEANERS – PARKING LOT -- NIGHT]

(David covers Amanda Sinclair with a white sheet.  He turns and talks with 
Catherine.)  

DAVID PHILLIPS:  Two GSWs to the chest.  Rigor hasn't set.  Probably been dead 
less than four hours.

CATHERINE:  Thanks, David.

(David leaves.  Catherine looks at the blood on the concrete.  Nick walks up to 
her.)  

NICK:  Mr. Chen works here alone with his wife, and English is not their first 
language.  I'm not even real sure that it's their second, but what I did gather 
is that the steam machines are very noisy, so neither one of them really heard 
anything.  Mr. Chen found the body when he was closing up around 9:00.  Said 
she's a regular customer.

CATHERINE:  Well, I got a phone and keys, but no purse.

NICK:  Mugging?

CATHERINE:  Take the purse, leave the Lexus?

NICK:  Yeah, that's not real savvy, is it?

CATHERINE:  Hmm.  Car's been keyed.  

(She opens the front door, climbs inside and checks the registration.  It’s for:    
     DR. GARY SINCLAIR
     143 SHADY OAK LANE
     LAS VEGAS, NV  89101

CATHERINE:  Registered to a Dr. Gary Sinclair.

(Nick is looking at Amanda’s cell phone record of missed calls.)  

NICK:  Yeah, that's gonna probably be the husband.  "Gary Home" has called her 
six times in the last hour.

(Catherine looks at the clothes and car seat in the back.)  

CATHERINE:  Wife and mother.

NICK:  I'll check the trashcans for the complex, see if I can find her purse.  
Maybe they dumped what they couldn't liquidate.

CUT TO:  



[INT. CASE APARTMENT – LIVING ROOM – NIGHT]

(Warrick looks around the living room.)  

WARRICK:  Well, she obviously doesn't have any kids.  Place is like a museum.  
This chick hung out with some big wigs.

(He looks at framed photos of Jill with some famous political people.)  

(Grissom is in the kitchen looking at the LAS VEGAS GLOBE and NEVADA Driver’s 
License.)  

GRISSOM:  She was a big wig.  Jill Case, Editor-in-Chief of the Las Vegas Globe.  
She was a wunderkind.  One of the youngest women in history to run a newspaper.

(Brass walks into the kitchen.)  

BRASS:  Well, I've been all around the house, --no sign of a forced entry.

GRISSOM:  Consistent with suicide.

WARRICK:  So is this.

(Warrick shows them the hand-written note:  “I apologize to everyone.”)

WARRICK:  You can't even use a whole sheet of paper on your suicide note?

GRISSOM:  Well, I don't know. Maybe if you feel like you don't deserve to take 
up space on the planet, you don't deserve a whole piece of paper.

(Warrick snaps photos of the note under a foiled doggie bag in the shape of a 
swan.)  

WARRICK:  She obviously ate at Joie de Vive.  It's the only place that still 
serves old school swan doggie bags.

BRASS:  Yeah, dressed in a fancy outfit, having a fancy meal.

WARRICK:  If you're planning on killing yourself, why do you bring home a doggie 
bag?

GRISSOM:  (shrugs)  It's human nature.  We continue to perform the routine 
motions of our life until the moment of our death.

CUT TO:  



[EXT. CHERI’S ONE HOUR CLEANERS – PARKING LOT -- DAY]

(Nick goes through the trash on the side of the building.)  

(He goes through the smaller bins, then heads over to the large garbage bin.  He 
looks inside and finds the purse under a garbage bag.)  

(He snaps a couple of photos.)

(Nick dives into the bin and pulls out the bag.  On the bag is a stocking.)

(Quick flash of:  The killer wears a stocking over his face.  End flash.)

(Nick takes out the wallet and looks at the driver’s license inside:
     AMANDA SINCLAIR
     143 SHADY OAK LANE
     LAS VEGAS, NV  89101

(He takes out a datebook and finds an envelope.  Inside the envelope, he finds a 
hand-written note, “Please do not ever contact me again.  Sincerely, Dora.”)

CUT TO:  



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



[INT. CSI – FORENSIC AUTOPSY -- 

(OPEN ON A TOE TAG:
     OFFICE OF CHIEF MEDICAL EXAMINER
     THE CITY OF LAS VEGAS
     AMANDA SINCLAIR
     CHEN’S PARKING LOT
     11-16-06
     LVPD 06115-2198—

(On the next table is another body with another TOE TAG for JILL CASE.)

(The two women are side-by-side on two tables in the room.)

(The door opens.  Catherine, Warrick and Robbins walk in.)  

ROBBINS:  DNA's been sent out, but this is one case where I don't need to wait 
for results.

WARRICK:  Identical twins?  You got to be kidding me.

CATHERINE:  They're even wearing the same toenail polish.

(He hands Warrick the evidence bags.)  

ROBBINS:  And both ... wore the same watch, too.

WARRICK:  Oh, it's just too much.

CATHERINE:  Well ... eight-year-olds dressing alike I kind of get, but grown 
women?  That's weird.

ROBBINS:  Some people like it.  I'm a twin.

WARRICK:  Really?

ROBBINS:  Well, I was.  My twin died in utero.  My mother didn't tell me about 
it until I was an adult.  When I decided to become a coroner, she blamed 
herself.  She said it was because I'd spent so many days living next to a dead 
body.

WARRICK: Well, speaking of dead bodies, uh ...

ROBBINS:  Right.  Right. Jill has petechia around the eyes, bruising around the 
neck, and a broken clavicle.  All consistent with a hanging.  And I extracted 
these from Amanda.

(He shows them the two bullets.)  

ROBBINS:  One went straight to the heart.  The other penetrated the right lung.  
Sharp shooter or close range.

CATHERINE:  Don't tell me they died at the same moment.

ROBBINS:  Not quite.  Amanda was a couple hours ahead of her sister.

CUT TO:  



[INT. CSI – GRISSOM’S OFFICE – DAY]

(Grissom is reading a letter from:  

     WILLIAMS COLLEGE OFFICE OF ADMINISTRATION
     450 CASTLE AVENUE, 3RD FLOOR
     WILLIAMSTOWN, MA  01265

     NOVEMBER 9, 2006

     DEAR MR. GRISSOM,
     As an accomplished entomologist in the field-- 
    invite you to join us for an interdisciplinary-- 

VARIOUS CU OF THE LETTER WITH FOCUS ON:

*  “interdisciplinary”
*  “Walden Pond”
*  “term graduate seminar”
*  “specialists”
*  “entomology,”
*  “consider taking”
*  “sabbatical”

(Catherine knocks on the door before walking in.  Grissom looks up and puts the 
letter away.)  

CATHERINE:  Our two cases have become one.

GRISSOM:  Could still be two cases.

CATHERINE:  What happened to Mr. No-Such-Thing-As-Coincidence?  Simplest 
hypothesis is usually the correct one.  If you hear hooves, think horses not 
zebras.

GRISSOM:  What would the horses be in this case?

CATHERINE:  Murder/suicide.  Jill killed Amanda.  Felt guilty, then killed 
herself.

GRISSOM:  And, uh, what do you got to support that?

CATHERINE:  Did you notice any photos of Amanda or her family in Jill's house?

GRISSOM:  No.

CATHERINE:  Right.  And I looked through Amanda's phone book. Jill was not even 
in it. 

GRISSOM:  Well, maybe she had her number memorized.

CATHERINE:  Brass spoke with Jill's attorney for next of kin.  None existed.  
She's leaving a small fortune to various charities.  It just sounds to me like 
estrangement.  Okay, even if that's not the exact way it went down, I'll bet you 
a dollar that the twins’ deaths are related.

GRISSOM:  Two women found dead on opposite sides of town.  If they didn't look 
alike, would you still link them?

CATHERINE:  If they're relatives, yes: sisters, husband and wife, father and 
son.

GRISSOM:  Okay.

CATHERINE:  Okay, what?

GRISSOM:  I'll take the bet.

CUT TO:  



[BLACK SCREEN W/WHITE LETTERS]

AMANDA



[INT. POLICE DEPARTMENT – HALLWAY – DAY]

(Dr. Gary Sinclair sits in the hallway chairs as Sofia talks with him.  Henry is 
on the opposite side of the hallway looking through the glass windows.)  

GARY SINCLAIR:  I must've called her ten times, then after about an hour I got 
so worried.

SOFIA:  Did your wife have any enemies?  Anyone she was fighting with?
‘
GARY SINCLAIR:  No, she was a good wife, great mother.  There's no one ...

HENRY SINCLAIR:  Home, Daddy, home.

GARY SINCLAIR:  Okay, buddy.  Can you-- hey, you know what?  Come over here.  
Can you come over here and draw your butterfly for daddy?

SOFIA:  What was her relationship like with Jill?

(Sofia sits down.)  

GARY SINCLAIR:  Jill who?

SOFIA:  Her twin sister, Jill Case.

GARY SINCLAIR:  Amanda didn't have a sister.

SOFIA:  DNA tells us otherwise.

GARY SINCLAIR:  My wife was an only child.  Sh-she was adopted, but ... 

SOFIA:  Is it possible that ... your wife knew she had a twin, but she hadn't 
told you?

GARY SINCLAIR:  Well, I'd like to think no ... that we told each other 
everything.  But that's not ...

SOFIA:  True?

GARY SINCLAIR:  A marriage.  Married, Detective?

SOFIA:  No.

GARY SINCLAIR:  Something weird happens between two people who know each other 
for years, see each other every day.  Every night I drive home from the hospital 
and I think of twelve things I want to tell Amanda.  And then I get home and, uh 
... she's cooking.  And we read stories to Henry and then ... the phone rings, 
so I -- you know, you say, "Oh, I'll just tell her tomorrow.  Tomorrow."  I'd 
like to meet her.  Jill.

SOFIA:  I'm sorry that's ... that's not possible.  We found them both ... last 
night.

GARY SINCLAIR:  What happened?

SOFIA:  Right now ... we don't know.

HENRY SINCLAIR:  It's okay, Daddy.  Let's go home and see Mommy.

GARY SINCLAIR:  (cries)  Okay.

(Henry hugs Gary.)  

CUT TO:  



[INT. CSI – PRINT LAB -- DAY]  

(Mandy prints the envelope.  She scans the print into the computer and runs it 
through the database.  The computer beeps.  Mandy stares at it with surprise.)  

LATER:  

(Nick walks into the lab.)  

NICK:  Hey. I got your text.  What's up?

MANDY WEBSTER:  Sing it, dude. This is huge.

NICK:  Oh ...  (sings)  Oh, Mandy / Oh, you came and you ... 

(Mandy shakes her head.  She motions for him to try again.  Nick glances behind 
him and tries again.  This time, louder.)  

NICK:  (singing)  Oh, Mandy / Well, you came and you gave / Without taking / But 
I sent you away ...  (holds note)  Oh, Mandy. 

MANDY WEBSTER:  Okay. I got a hit off of that envelope you found in Amanda's 
purse.  It's a Dora Pomerantz.

NICK:  Oh, that would make sense.  The letter was signed "Dora."

MANDY WEBSTER:  Do you wanna know why she's in the system?

CUT TO:  



[EXT. LAS VEGAS DESERT (STOCK) – DAY]



[EXT. FARM -- DAY]  

(Sofia and Nick walk up to the fence.)  

SOFIA:  Mrs. Pomerantz?

(Dora Pomerantz leads her horse over to the fence.)  

DORA POMERANTZ:  Who wants to know?

SOFIA:  Detective Curtis and CSI Nick Stokes.

NICK:  Hi.

SOFIA:  We just need to ask you a few questions.

DORA POMERANTZ:  About what?

NICK:  Your twins.

(Dora opens the gate and leads her horse through it.  Sofia and Nick follow 
her.)  

DORA POMERANTZ:  That was a very long time ago.

SOFIA:  We were just curious about the circumstances under which they were 
adopted.

(She tethers her horse.)  

DORA POMERANTZ:  I was eighteen years old when I got pregnant.  Charlie said 
he'd stay with me.  Then he got drafted to Vietnam.  Came home six months later 
... in a box.  These two chirping birds.  "Waa, waa, waa."  I couldn't get them 
to stop.  I couldn't take it.  So one day I just ... Boop ... snapped.  That was 
it.  No more babies.  I spent ten years in a state facility, you know?

SOFIA:  We were aware.  How have you been since?

DORA POMERANTZ:  Oh ... fine.  A smart doctor put me in touch with an equine 
assisted therapy program.  Saved my life.  Horses don't have judgments.  They 
have needs. Meet the needs, the horse is happy.  Helped retrain my brain.  

NICK:  Healthy enough to get back in touch with your daughters?

DORA POMERANTZ:  Oh, no.  Uh ... not recommended.  Sometimes you just can't go 
back.

NICK:  Is that why you wrote Amanda this letter saying, "Please do not ever 
contact me again?"

DORA POMERANTZ:  Who's Amanda?

SOFIA:  One of your daughters.

DORA POMERANTZ:  We keep envelopes loose in a desk drawer.  I must've touched it 
before she sent it.

SOFIA:  Who?

DORA POMERANTZ:  The handwriting, it's Tiffany's.

SOFIA:  I'm sorry. Who's Tiffany?

CUT TO:  



[EXT. FARM (LATER) -- DAY]  

(Tiffany Hughes talks with Sofia and Nick.  She gets off her horse.)  

TIFFANY HUGHES:  I had no idea my mom had given up a kid.  But I did know that 
there was no way she could handle dealing with it.

NICK:  So ... you always go through your mom's mail?

TIFFANY HUGHES:  Yeah. My dad and I have a system.  We screen all her mail.

NICK:  Why's that?

TIFFANY HUGHES:  She's got this problem.  Any time a children's charity 
solicitation comes, she donates and not just a little.  Half my college fund was 
gone before we realized what was going on.

SOFIA:  So you thought Amanda had her hand out?

TIFFANY HUGHES:  Wasn't worth the risk.  The anti-depressants and the horses 
help, but my mom's barely hanging on.  And I only have a year left before I go 
to college.  I just need her to hang on one more year.  So, I sent the polite 
response and hoped it was over.

NICK:  Did Jill ever try to contact your mom?

TIFFANY HUGHES:  Who's Jill?

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CSI – DNA LAB -- DAY]  

(Wendy Simms reports her findings to Catherine.)  

WENDY SIMMS:  So I got bad news and weird news.  Which would you like to hear 
first?

CATHERINE:  Bad.

WENDY SIMMS:  Bad news:  I got nothing from the blue stocking that was found in 
the trash.  Weird news: I tested the red lipstick on Gary Sinclair's collar and 
I got DNA, but it wasn't his wife's.

CATHERINE:  Well, based on the contents of her purse, she's more the lip balm 
type.

WENDY SIMMS:  You know I like to be thorough, so ... I ran it through CODIS and 
I actually got a hit:  Natal Peled.  She's in the system from a rape charge in 
L.A.

CATHERINE:  They don't put victim's DNA in the database.

WENDY SIMMS:  No, they don't.  Yeah, I had to know, so I called a friend of mine 
at L.A. Sheriff's Department, and apparently, Natal was a nurse at a Hollywood 
hospital.  And she went to the annual Christmas party, she fed this doctor a 
bunch of cocktails, slipped him a Prevalis, and then took him up to a hotel 
room.  And rumor has it, it was in order to have unprotected, you know ... baby-
making sex.  So he pressed charges, she was arrested, and then they settled out 
of court.  And now Natal's a nurse at our very own Dessert Palm.

CATHERINE:  With Amanda's husband, Dr. Gary Sinclair.

CUT TO:  



[INT. DESERT PALM – DAY]

(Catherine talks with Gary Sinclair.)  

GARY SINCLAIR:  Doctors have a name for what Natal is.

CATHERINE:  What she is?

GARY SINCLAIR:  A woman who trolls hospitals looking to land themselves a 
doctor.  Call them bedpans:  shiny, full of crap, and ... best when dumped.

CUT TO:  



[EXT. DESERT PALMS HOSPITAL – DAY]

(Nick talks with Natal Peled.  She’s smoking a cigarette.)  

NATAL PELED:  Of course we slept together.  Who wouldn't want to get with this?  
Of course he's gonna deny it because of that little wife of his.

NICK:  So you met his wife, Amanda?

NATAL PELED:  Please. Yes, I've met her.  Always coming by the hospital, check 
up on him.  Talk about paranoid. 

NICK:  Hey, with you around ... sounds like she had pretty good reason.

NATAL PELED:  Mr. Stokes ... men are like tigers -- if you can't tame them, you 
must let them roam free. I go now, yeah?

(She holds up her hand to wave him goodbye.  She has her keys in her hand and 
Nick sees the car paint shavings embedded in the key grooves.)  

INSERT:  CGI

(A laser cuts into the key and takes a sample of the car paint shavings.)  

CUT TO:  



[INT. CSI – TRACE LAB – DAY]

(Hodges reports his findings to Nick.)  

HODGES:  Yes.  It seems that the paint on the Sabra's key is consistent with 
Lexus factory issue.  Color's Galactic Grey Mica IE9.  Same as Amanda's.

NICK:  So ... crazy chick keys the wife's car.  Is it gateway violence that led 
to murder or just another coincidence like everything else in this case?

HODGES:  I almost keyed a car once.

NICK:  You what?

HODGES:  I know, but, in the end, I couldn't go through with it.  So I peed on 
the door handles instead.

NICK:  So they'd freeze up and can't get them open?

HODGES:  No.  It was San Diego.

NICK:  Over a girl?

HODGES:  Over a "B."  Professor gave me one on my term paper.  I felt I deserved 
an "A".

(And with that, Nick leaves.)  

CUT TO:  



[INT. CSI – HALLWAY – DAY]

(Nick and Catherine talk.)  

NICK:  So she definitely keyed the car, and may or may not have been doing the 
husband.

CATHERINE:  I'm going with yes.  Ballistics came back on the bullets that killed 
Amanda.  There's only one gun with a six right polygonal barrel that comes in a 
.41 caliber:  a Baby Eagle-- Israeli military issue.

NICK:  Israeli guns are really hard to find.

CATHERINE:  Unless you served in the Israeli army like Natal.

NICK: Okay.  Okay, I certainly wouldn't put it past her, but what about the 
husband?

CATHERINE:  Classic "he said, she said."  They're either acting in cahoots, 
trying to confuse us, or Natal is acting on her own, thinking that the wife is 
the obstacle standing between them.

NICK:  Nothing quite says "I love you" like, I killed your wife so we can be 
together."

CUT TO:  



[INT. SINCLAIR RESIDENCE -- DAY]  

(Gary Sinclair opens the front door and finds Sofia there.  She hands the 
warrant to him.)  

SOFIA:  Sir, we have a warrant to search the premises, and we need you to come 
down to the station.  If you can't make arrangements for your child, we have a 
Child Services Advocate who can take him.

GARY SINCLAIR:  This is ridiculous.  I've been nothing but cooperative.  You 
harass me at my place of work.  You harass me at my home.  Now you want to take 
my kid away?

SOFIA:  Sir, are you resisting?

GARY SINCLAIR:  I didn't kill my wife.  I was giving my son a bath.  I couldn't 
have done it.  Can I at least put my shoes on?

(Sofia nods for the officers to go with him.  Gary and the officers head into 
the house.)  



[EXT. SINCLAIR RESIDENCE – FRONT – DAY – CONTINUOUS]

(Nick looks around the area and finds a small batch of cigarette butts out on 
the opposite side of the road.  He looks at them and snaps a photo of them.)

(Quick flash to:  Natal Peled sits in the car smoking her cigarette as she 
watches the house across the street.  She watches as Amanda gets into her car 
and drives away.  Natal tosses her cigarette out the open car window, starts her 
own car engine and follows her.  End of flash.)  

(Nick picks up a cigarette butt and looks at it.  Sofia joins him.)  

SOFIA:  What have you got?

NICK:  A smoking gun.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – EARLY EVENING]



[INT. CSI – DNA LAB -- NIGHT]  

(Wendy reports her findings to Nick.)  

WENDY SIMMS:  You're not going to like the answer.  The DNA on the cigarette 
butts doesn't match Natal.

NICK:  Come on.  You can't tell me we're back to square one on this deal.

WENDY SIMMS:  Well, we're not.  DNA was female, so I ran it against Amanda, 
thinking, I don't know, maybe she takes super-secret cigarette breaks.  And it 
wasn't a match, but they do have seven loci in common.  So, is there another 
sister maybe?

(Nick looks at the printout and thinks about it.)  

NICK:  Tiffany.

CUT TO:  



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

(Sofia talks with Tiffany Hughes.)  

TIFFANY HUGHES:  I'm confused.  This is 'cause I was smoking?

SOFIA:  Well, no, smoking is bad for you, but, no, this is really more about 
where you were smoking.

TIFFANY HUGHES:  I'm an only child who lives on a horse farm in the middle of 
nowhere with a horse- whispering mother and a dad who works all the time to 
avoid her.  When Amanda's letter came ... I was so excited at the idea of having 
a sister.  I was jumping out of my skin.  So I told my mom I joined 
cheerleading.  And after school, I would ... 

SOFIA:  You'd what?

TIFFANY HUGHES:  It started where I would just drive by.

SOFIA:  And then it escalated?

TIFFANY HUGHES:  Well ... once, I saw her in the yard, playing with her little 
boy.  So I started parking out front, hoping to see her again.

(Quick flash to:  Tiffany sits in the car watching Amanda push Henry in his 
plastic tricycle.)  

TIFFANY HUGHES:  (v.o.)  Basically, I would just sit there, imagining her in my 
life.  She'd make me tea.  And we'd go over my college applications and talk 
about boys.

(End of flashback.)  

TIFFANY HUGHES:  It was like a TV commercial.

SOFIA:  And then what?  Did your ... curiosity ... become an obsession?

TIFFANY:  Oh, my God.  No.  I could barely get up the courage to introduce 
myself.  That's why I'd just sit there smoking.  And then my stomach would hurt, 
so I would just drive home.  And now, I'll never get the chance.

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[INT. CASE RESIDENCE – LIVING ROOM -- NIGHT]  

(Two high-heeled black shoes hit the floor.  Jill Case’s body sways mid-air.)  



[BLACK SCREEN W/WHITE TEXT]

JILL



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



[INT. CASE RESIDENCE – LIVING ROOM -- MORNING]  

(Warrick walks around the room with his camera.  He approaches the computer 
table and finds something missing.  He snaps a photo of the cables.)

(He opens the desk drawer and notes the labeled container for PUSH PINS, BINDER 
CLIPS and NOTE PADS.)  



[EXT. CASE RESIDENCE – GARAGE – MORNING]

(Warrick opens the garage door and looks at the car inside.  He opens the back 
door and looks at how neat it is.  He slams the door closed and opens the car’s 
back door.  He looks inside, then slams it shut.)

(He opens the passenger door and looks around at how neat the car is.)  



[INT. CASE RESIDENCE – BEDROOM -- MORNING]  

(Warrick looks around the bedroom and snaps a photo.  He opens the bedside table 
drawer and snaps a photo of its contents.)

(Greg walks in.)  

GREG:  Hey, Grissom said you might need some help.

(Warrick turns and looks at Greg.)  

GREG:  What?

WARRICK:  I don't know, you don't look like you've been put through the ringer.

GREG:  Well, I guess the inquest was the easy part.  Now the kid's family wants 
to sue me.  Know any good lawyers?

WARRICK:  I hate lawyers.  Want to take the bathroom?

GREG:  Sure.

(Greg heads for the bathroom.  Warrick opens the second drawer and finds it full 
of handcuffs and toys.  He picks up a pair of handcuffs.)  

WARRICK:  I found her naughty drawer.

(Greg is in the bathroom.)  

GREG:  My favorite part of any bedroom search.

WARRICK:  I don't believe these girls anymore.

(Warrick heads over to the second bedside table.  He opens the drawer and finds 
men’s stuff – deodorant stick, shaving gel, a shaver, comb and condoms.)  

(Warrick picks up a shaver.)  

WARRICK:  Looks like someone's been elevated to drawer status.

(Greg steps out into the bedroom, holding bottles of pills.)  

GREG:  Well, apparently, love can't cure all that ails.  Alprazolam, clonazepam, 
diazepam and sertraline -- all in her medicine cabinet.

WARRICK:  Well, I said dude had a drawer, I didn't say it was love.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CSI – GRISSOM’S OFFICE – DAY]

(Grissom talks with Dr. Gus Hoffman.)  

GUS HOFFMAN:  Jill had OCD-related depression, which is very deceiving because 
the sufferers are high functioning.  It's not your usual, you know, "lie on the 
couch and listen to the Beatles" kind of depression.

GRISSOM:  Did she ever talk about family?

GUS HOFFMAN:  You know, when a patient dies, the doctor-patient confidentiality 
clause is void.  But I'm just sort of feeling a little uncomfortable.  Do I have 
to ... call a lawyer?

GRISSOM:  It's entirely your choice.  We can subpoena her records, or you and I 
can talk.

GUS HOFFMAN:  Okay.  All she would say was that she didn't get along with her 
parents, and that, um, you know, relationships in general were difficult.  I 
mean, her condition made her excel professionally but flop personally.  

GRISSOM:  We, uh, checked her records.  She was adopted as an infant. 

(Grissom looks at the file folder in front of him.

     STATE OF NEVADA
     CHILD ADOPTION RECORDS DIVISION
     DATE: 11-15-06 TIME: 14:17
     DL/NO: EXPIRED*B/D: 11-04-55: MONA/TAYLOR*
     ADDR AS OF 10-23-01: 102 MESQUITE AVE LAS VEGAS NV 89101
     OTH/ADDR
     AKA
     CHILD >>>>> CASE, JILL
     BIRTH MOTHER >>>>> SUPPRESSED
     ADOPTION DATE >>>>03/14/72
     OPERATOR: 3398 /////8714DAKOTA CLASS C    )

GUS HOFFMAN:  Her parents never told her.  Huh.  Well, that explains her 
abandonment-attachment issues, and why she always felt like a square peg in a 
round family.

GRISSOM:  Did you believe she was suicidal?

GUS HOFFMAN:  Off the record, no, I don't.  I don't think she was suicidal, I 
thought, I actually thought she was getting better.

GRISSOM:  So then how does an attractive, successful 36-year-old woman hang 
herself from her own balcony?

GUS HOFFMAN:  'Cause the choice was there.

(Quick flash to:  Jill Case puts the tie around her neck and climbs over her 
second floor balcony.)  

GUS HOFFMAN:   (v.o.)  At the end of the day, when an obsessive brain is 
presented with a choice, it just, sometimes, it just can't shut off the clatter 
of the idea until it sees it through to conclusion.

(End of flash.)  

GUS HOFFMAN:  The idea found its way in.

CUT TO:  



[INT. FORENSIC AUTOPSY -- DAY]  

(Robbins pulls out the morgue cabinet with Jill Case’s body on it.  He explains 
his findings to Grissom.)  

ROBBINS:  It wasn't suicide.  These bruises developed postmortem.  Two on the 
front, eight on the back.

GRISSOM:  Strangulation.

(Quick flash to:  Someone strangles Jill Case.  End of flash.)  

ROBBINS:  Murder.

CUT TO:  



INSERT:  CGI

(We start at the camera, then follow the UBS cord IN THROUGH the disk as it 
writes and OUT TO the monitor where its –

-- DOWNLOADING photos on a monitor.)



[INT. LAS VEGAS GLOBE – NEWSROOM – DAY]

(Brass and Warrick cross the newsroom.)  

ALLISON SHRAM:  (to phone)  No, she missed the morning news meeting. All the 
section editors are biting my head off.  Look, I don't have a straight answer 
for you.  No, I've called, I've e-mailed, I've texted.  She'd have to be lying 
dead in a ditch not to answer her phone.  I know. Bye.  

(She looks up.  Brass shows her his badge.)  

ALLISON SHRAM:  Can I help you?

BRASS:  I'm Detective Jim Brass, Las Vegas Police.  This is Warrick Brown from 
the Crime Lab.  We have a warrant to search Jill Case's office.

ALLISON SHRAM:  Okay, is she in some kind of trouble?

BRASS:  Well, it wasn't a ditch.

ALLISON SHRAM:  Oh, my God.  I ... (Several reporters step closer.)  God.

(They linger around.)  

JAKE LENOIR (REPORTER):  What's going on?

ALLISON SHRAM:  Back off. Get away.  All of you, go!  Go!  

(She takes her earpiece off and whispers to Brass.)  

ALLISON SHRAM:  Look, you can't drop a hot one in a room full of vultures.  They 
smell blood.  Half of them were wanting to pry her ass out of that chair for 
months.

BRASS:  I'll need a list of all the employees who work for the paper -- can you 
provide that?

ALLISON SHRAM:  I don't have access to that kind of information.  You're gonna 
have to go down to Human Resources.

BRASS:  Human Resources.  Okay.   (to Warrick)  You're on your own.

(Brass leaves.)  

WARRICK:  I'll be taking a look inside her office, okay?  

(He heads for her office.  Allison follows him.)  

WARRICK:  Did Jill have a computer?

ALLISON SHRAM:  Yeah, her laptop, of course.  It was like an extra limb.

(Warrick opens the drawers and finds them just as organized as the ones at home.  
The final drawer won’t open.)  

WARRICK:  What's with the locked drawer?

(He notes the damage to the desk.  He tugs and the drawer opens.)  

ALLISON SHRAM:  That was a new thing.  She's always been neurotic, but lately 
she's been secretive, like sneaky – rolling her own calls, making her own 
appointments, talking with editors from other newspapers.  Honestly, I just 
thought she was looking for another job.

(He looks through the drawer, then pulls it completely out.  He finds a flash 
drive taped to the side.)  

WARRICK:  Did you ever try to open this drawer?

ALLISON SHRAM:  Are you kidding?  She had the only key, and protecting her 
privacy was how I kept my job.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]

ARCHIE:  (v.o.)  Because Amanda's murder -- 



[INT. CSI – A/V LAB – DAY]

(Archie goes over his findings with Grissom and Catherine.  He has the address 
books on two monitors.)  

ARCHIE:  -- is still unsolved, I cross-checked the twins' address books.  Now, 
they have no contacts in common, but ... there are a couple freaky things.

(On the monitor is Amanda’s hand-written address book with dry cleaning crossed 
out and “Henry ear doctor” written in.)

CATHERINE:  So Amanda was set to pick up dry cleaning in the morning, but it 
looks as though she had a sick child, so she went at night instead.

ARCHIE:  Right.  And if she'd gone earlier than she was supposed to, she 
might've run into Jill, who was scheduled to pick up her dry cleaning at 8:30 in 
the morning.  

(On the monitor, Archie has Jill’s printed address book with the following:
     PILATES
     PICK UP DRESS AT CHENS
     MEETING WITH LAYOUT DESIGNER
     LUNCH MEETING     )

ARCHIE:  But it gets better.  Based on receipts from Amanda's planner and 
Quicken listings from Jill's Treo, they used the same dry cleaner, same car 
dealership, they both had a weakness for the same frozen yogurt and blended 
mochas, and in two weeks, Jill was scheduled to teach a university extension 
class in photography.  Guess who was signed up to take the class?

CATHERINE:  Amanda.

GRISSOM:  Huh.  They would've finally met.

CATHERINE:  So having the same toe nail polish and watch made sense when we 
thought they knew each other, but now?  I mean, they even have almost the same 
handwriting.

GRISSOM:  Well, people's first explanation with twins is always parapsychology, 
but the truth is, there's a lot of biological encoding at work.  I mean, if you 
have the same musculature and bone structure in your hand, the chance of writing 
the same is not out of the question.  If beauty is in the eye of the beholder, 
and you both see with the same eyes or taste with the same tongue ...

ARCHIE:  Well, I don't know whose eyes she was using for this guy.

(In her address book, she has:
     7:00 pm  DINNER AT JOIE DE VIVE

ARCHIE:  Jill was scheduled to have dinner at Joie de Vive on the night she 
died.

(Archie shows footage of Jill holding flowers and being kissed on the cheek by a 
man.)  

ARCHIE:  So Warrick called over and got the surveillance footage.  I don't have 
an ID yet.

(He pauses the footage and Grissom recognizes the man.)  

GRISSOM:  I do.

CUT TO:  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM]  

(Brass talks with Gus Hoffman.)  

GUS HOFFMAN:  Her relationship with me was the most intimate she's ever had.  I 
actually felt like we were making progress.

BRASS:  Until the murder.

GUS HOFFMAN:  What are you talking about?  She committed suicide.

BRASS:  Did I tell you that?

GUS HOFFMAN:  What are -- What are you suggesting, that I murdered my own 
patient?

BRASS:  Let me run down the sequence of events.  So you took your "girlfriend" 
out to dinner.

(Quick flash to:  Jill is tied to the bed.)  

BRASS:  (v.o.)  Then you brought her home for a little tie-me-up, tie-me-down.  
But things get wonky and in the throes of passion, you remembered, "Wait a 
minute she's a patient.  Uh-oh."

(Cut to:  Jill is dead on the bed.  Gus picks up the dog leash.)  

BRASS:  (v.o.)  So she had a history of depression.  So you used that knowledge 
to cover it up.

(End of flashback.)  

GUS HOFFMAN:  Well, we did go to dinner that night, but afterwards I dropped her 
off.  Because she said she had to work to do.  I didn't even go inside, so I 
don't even understand your question.

BRASS:  Are you saying the two of you never had rough sex?  Now, be careful 
here, doctor.

GUS HOFFMAN:  Yeah, It's true that, in the past, we engaged in some, you know, 
some, uh, role playing sex games to help get her comfortable, but ...

BRASS:  But what?

GUS HOFFMAN:  She was the "S."  I was the "M."

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CSI – HALLWAY -- DAY]  

(Wendy Simms catches up with Greg in the hallway.)  

WENDY SIMMS:  Hey, um ... you know, how we thought that the shrink was a slam 
dunk for Jill's strangulation-hanging-combo?

GREG:  Yeah.  

WENDY SIMMS:  Well, I ran his DNA against the epithelials we found on the leash.  
And the epithelials are male, but they're not his.

(She gives Greg the results.)  

GREG:  Thanks.

(Greg turns and enters the -- 



[INT. CSI – A/V LAB – DAY -- CONTINUOUS]  

GREG:  News on our case ...

(Warrick and Archie don’t look surprised.)  

WARRICK:  The shrink might not have done it?

GREG:  How did you know?

WARRICK:  Because Archie found us another strong suspect.  You know that flash 
drive that I found in the locked drawer in Jill Case's office, ? I thought it 
was just a bunch of photos, but it turns out there was a little bit more than 
meets the eye.

GREG:  You mean the flash drive was a transformer?

WARRICK:  No.

ARCHIE:  Well, the pictures kind of were.  Check it out.  Look familiar?

(Archie puts a war photo on the monitor.)  

WARRICK:  This got bought by the AP.   It was on the front page of the Las Vegas 
Globe.  It won a Pulitzer.  It was everywhere.

GREG:  Okay. So what?

(Archie puts a series of photos up on screen.)  

ARCHIE:  These are Jake Lenoir's photographs taken in Iraq last summer.  Watch 
this.

(He puts components of the photos together to make the winning photo.)  

GREG:  The front-page news was actually a composite?

ARCHIE:  Well, it's a ... essentially an art project.

WARRICK:  And Jill printed it.  I assume she didn't realize it until it was too 
late.  And before she died, she was trying to figure out how to handle it.

GREG:  The only thing standing between Jake and the rest of his career was the 
truth.

WARRICK:  And Jill Case.

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[INT. POLICE DEPARTMENT – BRASS’ OFFICE]  

(Brass holds a printout of the photo and talks with Jake Lenoir.)  

BRASS:  Got a job that takes you around the world, get to meet some great girls, 
even win some awards.  So why would an adrenaline junkie like you waste his time 
with Photoshopping?

JAKE LENOIR:  Let me tell you something that the, um ... newspapers, TV stations 
don't want to hear.  There's nothing over there to photograph.  Insurgents?  
They fire off their outdated weapons, then run the other way.  When we do 
midnight raids in the villages, you know what the people tell us?  "Ali Baba not 
here."  We are fighting a fictional character.  And you got thousands of 
soldiers over there, kids, 18 years old, pumped up on testosterone, full of 
nicotine, and caffeine, waiting for something to bloody well happen.  And you 
know what?  You pray for a roadside bomb because it feels like action.  But you 
can't photograph the taste of gasoline.  It just looks like smoke.  So one day, 
yeah, I'm screwing around on my computer.  Couple of soldiers come by, took a 
look at what I'm doing.  You know what they say?  They say, "Yeah, yeah, that's 
our war.  That's what it's like waiting and bodyhauling."  So I had it. I had 
the image that said it all.  So yes, I used a lie to tell the truth.

BRASS:  Well, thanks for the insight.  But I'm looking for another kind of 
confession.  I'm here to bust you for the murder of Jill Case.

JAKE LENOIR:  What?

BRASS:  Come on, she was hip to your, uh, you know cut-and-paste scheme and she 
was going to blow the whistle on you.

JAKE LENOIR:  Yeah, yeah, yeah, well, I heard she committed suicide and look --

BRASS:  Oh, is that what you heard?

JAKE LENOIR:  Yeah.  Me and her, we-we had a history, okay.  We dated.  But if 
she felt like outing me for this all I had to do was accuse her of sexual 
harassment and we both go down.

BRASS:  Maybe ethical journalism was worth the price for her.

JAKE LENOIR:  Doubtful.  Without her job, she had nothing.

BRASS:  Well, for a while, she had you.

JAKE LENOIR:  Yeah, but not for long.  Bird was rigid in everything she did.  
Having sex with her was like ... eating glass.

BRASS:  The lab did a DNA test.  Your skin cells are all over the dog leash that 
was used to hang her.

JAKE LENOIR:  Well, I was probably the last person to actually walk that dog.  
God knows she never did.

CUT TO:  



[INT. LENOIR APARTMENT – DAY]

(Greg and Warrick enter the apartment and look around.)  

GREG:  Guess this is more like his crash pad between foreign assignments.

WARRICK:  I'm sorry, I just don't see Miss Neat Knickers and this guy making it 
as a couple, you know.

(They look around.  Warrick looks in the satchel.)  

WARRICK:  Still no laptop.

(Greg finds an empty software box in the trash.)  

GREG:  Steal it, scrub it and lose it.

WARRICK:  This guy's smart.  This is all just circumstantial.

(Warrick finds a note pad with some writing on it.  

     “On behalf of the Las Vegas Globe, I apologize for the mistakes I made.”

     “I apologize to the readers of this paper.”

     “My deepest apologies”    )

WARRICK:  Now we know how he got her to write the suicide note.  She wasn't 
sorry to be living.  She was sorry that Jake was such a liar.

GREG:  Well, this is more like what we need.

(Greg puts the pad down and looks around the area.  He finds a vent with a blue 
stocking on it.)  

GREG:  Hey, Warrick.  Didn't Nick's case have a blue thigh high stocking?

WARRICK:  Yeah.

(Greg checks the dryer and takes out a shirt.)  

WARRICK:  Even if he was the one that strangled Jill, there was no blood at the 
crime scene.

GREG:  Well, with two gunshots to the chest, Jill's twin sister was a bloody 
mess.

(Greg tests the shirt for blood.  It tests positive.)  

GREG:  Checkmate?

WARRICK:  So he killed them both.

CUT TO:  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM]

(Brass talks with Jake Lenoir.)  

BRASS:  You must have thought you were losing your mind?  Let me run it for you.

(Quick flash of:  Amanda pulls into Chen’s parking lot.  Jake is waiting for 
her, thinking it’s Jill.)  

BRASS:  (v.o.)  Jill always picked up her dry cleaning on Thursday nights.  So 
right place, right time, right car, looks like the right woman.

(He puts the stocking on, walks up to her and shoots her twice in the chest.)  

BRASS:  (v.o.)  You thought it was done.  So you go to the house, get the 
computer files and you think you're seeing your conscious walk through the door.

(Jake is inside Jill’s apartment when Jill comes home.  She goes to her 
computer, turns around and sees Jake in the house.  He is surprised to see her 
and reaches out to touch her arm.)  

JILL CASE:  Don’t touch me!

(She fights him and he chokes her.  She falls to the floor, dead.)  

(He carries her up the stairs to the second floor.)  

BRASS:  (v.o.)  The first time you had a plan.  Try to make it look like a 
mugging.  The second time, you had to improvise.

(Jake secures the leash around Jill’s neck and tosses her off the second floor 
balcony.)  

(End of flashback.)  

JAKE LENOIR:  So there were two of them.  I dated Jill.  She kept the most rigid 
schedule of anyone I've ever met, you know.  It was always Thursday night pick 
up the dry cleaning night.  And I mean, God forbid I wanted to see a movie or 
catch a show or something.  Leave it to Jill to be so thorough.  Makes me have 
to kill her twice.

(Brass stands up and leaves the room.)  



[OBSERVATION ROOM]  

(Catherine and Grissom are watching Jake in the interview room.  Catherine rips 
the bill in half and offers it to Grissom.)  

CATHERINE:  We were both right.

GRISSOM:  That's a federal offense, you know.

CUT TO:  



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

(Grissom is reading “Walden” when Sara walks in.)  

SARA:  I heard the guys solved a double murder.

GRISSOM:  Mm-hmm.

SARA:  I spent the day sitting on a bench outside the courtroom; they never got 
to me.

GRISSOM:  That sucks.

SARA:  Feeling transcendental?

GRISSOM:  Hmm?

SARA:  Thoreau. I, uh, I haven't read him since college.

GRISSOM:  Me, neither.  It holds up.  "I would rather sit on a pumpkin and have 
it all to myself, than be crowded on a velvet cushion."

(Sara turns and picks up the clipboard with the crossword puzzle on it.)  

SARA:  Oh, look, you missed one.  Sixty-three down.  "Misanthrope."  

(Grissom looks at her.  She puts the clipboard down.)  

SARA:  I won't wait up.

(She turns and leaves the room.  Grissom closes the book.)  

FADE TO BLACK.

==========================
END OF EPISODE
==========================

[Captions sponsored by CBS, CSI Productions, and presented by Toyota.  Captioned 
by Media Access Group at wgbh access.wgbh.org]

Transcript by Intrepid
Beta: DianeM
Courtesy of http://www.kilohoku.com/

Contact the Transcriptionist at (intrepidly002@yahoo.com)

Do not archive this transcript without permission from the Transcriptionist.

==========================
TITLE/OPENING CREDITS 
==========================
CSI:  CRIME SCENE INVESTIGATION
7X08:  HAPPENSTANCE
ORIGINAL AIR DATE ON CBS:  11/16/2006
TRANSCRIBED FROM CBS

Starring:
WILLIAM PETERSEN as Gil Grissom
MARG HELGENBERGER as Catherine Willows

GARY DOURDAN as Warrick Brown
GEORGE EADS as Nick Stokes
JORJA FOX as Sara Sidle

ERIC SZMANDA as Greg Sanders
ROBERT DAVID HALL as Dr. Albert Robbins
LOUISE LOMBARD as Sofia Curtis

and
PAUL GUILFOYLE as Capt. Jim Brass

Created by ANTHONY E. ZUIKER

Special Guest Star
WALLACE LANGHAM as David Hodges

Starring:
LIZ VASSEY as Wendy Simms

JOANNA GOING as Amanda Sinclair & Jill Case
VALERIE MAHAFFEY as Dora Pomerantz
FRANK GRILLO as Dr. Gary Sinclair

HARRY VAN GORKUM as Jake Lenoir
J.C. MACKENZIE as Dr. Gus Hoffman
SAIGE THOMPSON as Tiffany Hughes

ARCHIE KAO as Archie Johnson
DAVID BERMAN as David Phillips
SHEERIE RAPPAPORT as Mandy Webster
KELLY SMITH as Allison Shram

Music Composed by:  JOHN M. KEANE
Edited by: AUGIE ROBLES

Production Designer:  RICHARD BERG
Director of Photography:  MICHAEL SLOVINS

Co-Producer:  PHILIP A. CONSERVA
Co-Producer:  KIM M. CYBULSKI
Co-Producer:  DAVID RAMBO
Co-Producer:  DUSTIN LEE ABRAHAM

Producer:  STEVEN FELDER
Consulting Producer:  MARLANE MEYER

Supervising Producer:  SARAH GOLDFINGER
Supervising Producer:  RICHARD J. LEWIS
Co-Executive Producer:  DOUGLAS PETRIE
Co-Executive Producer:  KENNETH FINK
Co-Executive Producer:  LOUIS SHAW MILITO

Executive Producer:  CYNTHIA CHVATAL
Executive Producer:  WILLIAM PETERSEN
Executive Producer:  NAREN SHANKAR
Executive Producer:  JONATHAN LITTMAN

Written by:  SARAH GOLDFINGER
Directed by:  JEAN de SEGONZAC

==========================
END CREDITS 
==========================

Executive Producer:  JERRY BRUCKHEIMER

Executive Producer:  CAROL MENDELSOHN
Executive Producer:  ANTHONY E. ZUIKER
Executive Producer:  ANN DONAHUE

JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Paramount Television

Co Starring:
MAXWELL HUCKABEE as Henry Sinclair
SARAI GIVATV as Natal Peled

Line Producer:  FRANK WALDECK

Co- Producer: BRAD TANENBAUM

Casting by:  ROBERT J. ULRICH, C.S.A.
Casting by:  ERIC DAWSON, C.S.A.
Casting by:  CAROL KRITZER, C.S.A.
Casting Associate:  ANDY HENRY

Original Casting by:  APRIL WEBSTER, C.S.A.

Story Editor:  RICHARD CATALANI
Story Editor:  ALLEN MacDONALD

Unit Production Manager:  STEVEN FELDER

First Assistant Director:  STACY MURPHY
Second Assistant Director:  MICHELLE PARVIN

Art Director:  DANIEL NOVOTNY
Set Decorator:  SARA INGRASSIA
Location Manager:  PAUL WILSON

Construction Coordinator:  ALLAN JOHNSON
Script Supervisor:  PAULA BURCHALTER BARBIER
Production Sound Mixer:  MICK FOWLER

"A" Camera Operator:  TIM BEAVERS
Gaffer:  JON HANEY
Key Grip:  ROBERT FISCHER

Property Master:  MICHAEL LINDSAY
Transportation Coordinator:  TOM THOMAS
Associate Producer:  CORINNE MARRINAN

Department Make-up Artist:  MELANIE LEVITT
Key Make-Up Artist:  THOMAS HOERBER
Department Head Hair Stylist:  JASEN SICA

Key Hair Stylist: LUMAS HAMILTON
Special Effects Make-Up:  MATTHEW W. MUNGLE / EDDIE VARGAS

Costume Designer:  EILEEN COX BAKER
Costume Supervisor:  ANNE MARIE THOMAS CASADOS
Stunt Coordinator:  JON EPSTEIN

Production Accountant:  ERIC C. PIKE
2nd 2nd Assistant Director:  ANDREW WARD

Senior Technical Consultant:  RICHARD CATALANI
Set Technical Consultant:  LARRY MITCHELL

Special Effects Supervisor:  MARK BYERS
Colorist:  PAUL WESTERBECK
Assistant Editor:  LOUIS BRAVO

Supervising Sound Editor:  MACE MATIOSIAN
Music Editor:  TROY HARDY
Sound Effects Editor:  DAVID VAN SLYKE

Music Supervisor:  JASON ALEXANDER
Re-recording Mixers:  YURI REESE / BILL SMITH

Digital Effects by ZOIC STUDIOS
Visual Effects Supervisor:  ANDREW ORLOFF

High Definition Post Production by THE NEW POST GROUP
Film Laboratories by FOTOKEM

Post Production Sound Services by TODD STUDIOS / SOUNDELUX
Promotional consideration furnished by KODAK

"WHO ARE YOU" By Pete Townshend
Performed by THE WHO

The persons and events portrayed in this film are fictitious.  Any similarity to 
actual persons, living or dead, or any events is unintentional.

(c) MMVI CBS Broadcasting Inc., and Alliance Atlantis Productions, Inc.  All 
Rights Reserved.

CBS Broadcasting Inc, and Alliance Atlantis Productions Inc, are the authors of 
this program for the purposes of copyright and other laws.

cbs.com

Dated: 01/15/2007~lky
http://www.kilohoku.com/