ACT FOUR

FADE IN:

INT. COFFIN - DAY

Ryan comes to, hearing Chrissie and another WOMAN talking.

WOMAN (O.S.)
This tests positive. How much do you have?

CHRISSIE (O.S.)
How much do you need?

The woman chuckles a little.

SUPER: Five Days Ago

WOMAN (O.S.)
Is it really clean? I'm kinda leery about drugs
kept in some dead guy's hollowed leg.

CHRISSIE (O.S.)
They were packaged.

WOMAN (O.S.)
What do you have in this other coffin?

Something softly taps the coffin lid.

CHRISSIE (O.S.)
My pet.

Ryan kicks at the side of the coffin.

RYAN
I am not your damned pet!

WOMAN (O.S.)
There's someone alive in there?

CHRISSIE (O.S.)
Just my fiancée. We're having some
relationship issues.

RYAN
WE ARE NOT ENGAGED!

WOMAN (O.S.)
Is he cute?

The lid opens. Ryan glares at the two women standing at the foot the coffin. The woman, undercover FBI AGENT GILLIAN, looks the part of a drug dealer.

FBI AGENT GILLIAN
He is kinda cute. Could use a shave and shower.

RYAN
Bite me!

Chrissie laughs.

CHRISSIE
He has issues with that.

FBI AGENT GILLIAN
Is he one of those mail order husbands? You
can't trust them to go anywhere alone.

CHRISSIE
Yeah.

Chrissie closes the lid.

RYAN
I am a Miami Dade Police officer you psychotic
bitch! LET ME GO!

CHRISSIE (O.S.)
So, do we have a deal?

FBI AGENT GILLIAN (O.S.)
You're asking more than I was expecting. I
need to think about it. Can I come back
tomorrow? Around eight?

CHRISSIE (O.S.)
Fine. But if you're late, we won't be here. We
have to leave the country in three days.

FBI AGENT GILLIAN (O.S.)
Yeah? Going somewhere tropical?

CHRISSIE (O.S.)
Russia. That's where we're getting married.

RYAN
I AM NOT MARRYING YOU!

FBI AGENT GILLIAN (O.S.)
To each their own. I'll be back at eight then.

The voices go silent. The lid opens again and Chrissie climbs on top of Ryan, kissing him.

CHRISSIE
We have the rest of the afternoon to play!

He closes his eyes in an attempt to take himself away from the situation.

EXT. LAS VEGAS (STOCK)

To establish.

INT. CSI NEVADA - CORRIDOR - DAY

Catherine and Horatio are walking down the hall going over the recent results. Greg blows past the hall, and then comes back. He's carrying print outs

GREG
CATHERINE!

The two turn, watching him run up. He holds out a sheet of paper between them, not sure which to hand it to. Catherine takes it.

GREG (CONT'D)
Okay, first, I had been waiting on results from
Wendy on the blood on the jacket. The first two
samples were expected -- Ryan and the dealer
from Iowa.

Greg turns the pages before Grissom's ready.

GREG (CONT'D)
There were blood drops on the sleeve that was
a female and we have a hit: FBI agent Gillian
Huff. I've put word into the field office, haven't
heard anything back.

Greg shoves the next pages in front of Catherine.

GREG (CONT'D)
And the hair Ray found came back to this guy,
Jerry Regnirps. And his last known residence
is right next to a mortuary in Boulder City.

Catherine calls Brass.

CATHERINE
Jim, we have a suspect's address.

INT. HEARSE - DAY

SUPER: Three Days Ago

FBI AGENT GILLIAN (O.S.)
Wake up.

A hand pats Ryan's face. He's drugged and waking isn't coming easy. The hand slaps him, waking him. He looks up at Gillian crouched next to the coffin.

FBI AGENT GILLIAN (CONT'D)
Sit up. It'll help.

She grabs his shoulder to help him sit up. He looks down at his wrists, unable to grasp right away that he's free. The cuts on his wrists are swollen and red with infection. She gently touches them and winces when he pulls back.

FBI AGENT GILLIAN (CONT'D)
Yeah. Those are bad. Are you Ryan Wolfe?

RYAN
(groggy)
Yeah.

FBI AGENT GILLIAN
Come on. This place is crawling with militia.
We have to move.

He lets her help him, but he's confused and unsteady.

RYAN
Who are you?

FBI AGENT GILLIAN
A friend.

EXT. UTAH FOREST - DAY

They start through the forest, heading for a gate down the hill. Outside the gate is a black car.

RYAN
Thank you.

She smiles.

FBI AGENT GILLIAN
Welcome. Can you pick up the pace?

He tries to. A gunshot goes off and Gillian falls, taking Ryan down with her. He turns to help her up and finds she's been shot in the back of the head.

He looks back, seeing Jerry aiming a rifle at him. Ryan scrambles to his feet and runs for the gate. Jerry fires several more shots, barely missing Ryan.

He is within feet of the gate and freedom. From out of nowhere, a man tackles Ryan. Then more men and women appear and start beating him. One kick fractures his hipbone, another kick breaks three ribs.

CHRISSIE (O.S.)
STOP!

The people move back, keeping him surrounded. Ryan tries to get up but the combination of malnutrition, injuries and drugs has weakened him. Chrissie comes through the circle and draws her gun, aiming it at his forehead.

The group cheers and encourages her to shoot. He sinks to the ground, closing his eyes, and giving up to fate. Chrissie doesn't shoot. The group grows quiet.

CHRISSIE (CONT'D)
Put him back in the coffin.

They drag him back and tie him down again.

INT. COFFIN - DAY

The lid is slammed shut. For the first time, Ryan breaks with silent tears and whispering a prayer.

FADE TO.

INT. JERRY'S HOUSE - DAY

BRASS and local police are in the house when Greg, Riley and Catherine enter. The place has a few pieces of broken furniture and thick layer of dust.

Brass motions them to follow and leads them to the back room. There are long tables with a variety of tubes, jars, and equipment for manufacturing a variety of drugs.

BRASS
Landlord said Jerry paid through the end of the year.

CATHERINE
This guy isn't coming back.

Greg stares at the equipment, his frustration penning up again.

Riley wanders into the kitchen.

INT. JERRY'S HOUSE - KITCHEN - DAY

The place is a mess. Rotten, moldy food lays everywhere. She starts poking through the cupboards. She opens the pantry door. There are a few cans on the shelves. Riley closes the door and turns. She turns back and opens the door, looking at the floor.

She crouches, noticing a slot the size and length of a flat screw driver. Riley pulls a knife from her pocket and unfolds the blade. She slips it into the groove and slowly works it around until she's lifting up a board. A trap door made to look like part of the floor pulls up.

She pulls it away and stares at the stairs leading into the cellar. A cord is attached to a joint within reach. Riley reaches out and slowly pulls it. Lights come on in the cellar.

Drawing her sidearm, Riley slowly descends the steps. She stops at the bottom, staring.

Greg comes into the kitchen and notices the door of the pantry open. He walks to it, seeing Riley at the bottom.

GREG
Anything down there?

RILEY
A freaking arsenal!

INT. JERRY'S HOUSE - CELLAR - DAY

Greg rushes down the stairs and stops next to Riley. The cellar is full of weapons. Two tables have stacks of papers, including a map of the airport and a topographic map. Greg pulls on gloves and picks up the topographic map.

Riley walks over to another pile of papers, pulling on gloves. She sifts through the papers.

Brass and Catherine come down the stairs.

BRASS
Think they were arming for world war three?

RILEY
Why does the Spring Mountain Militia sound
so familiar?

Catherine walks over to him, pulling on gloves. He takes the paper Riley hands him.

GREG
And I have a map of the militia's compound.

Catherine looks at the topographic map Greg holds up. He turns to Brass.

CATHERINE
Call the FBI field office. We have enough for a
warrant to search the militia's land.

Brass heads back up the stairs to make the call.

INT. COFFIN - NIGHT (RE-ENACTMENT)

SUPER: Two Days Ago

The hearse comes to an abrupt halt, but the engine is left idling. He hears the car doors slam shut. Terrified, Ryan is sweating bullets. His mouth has been taped again.

CHRISSIE (O.S.)
Get it ready to roll. They weren't far behind.

He hears someone open a door and doing something. He hears another car's brakes squeak and then several car doors open and close.

BAD GUY (O.S.)
Ether coming through! Where do you want it?

CHRISSIE (O.S.)
Cover everything. The coffin too.

He hears the back door open and liquid splash. There's a bright flash of lightening followed by a deafening clap of thunder.

JERRY (O.S.)
Chris, it's going to rain. This may not work.

CHRISSIE (O.S.)
If the fire doesn't kill him, the landing will.

Ryan tries pulling his restraints loose. The lid opens and Chrissie is kneeling next to the coffin. She rips off the tape, dropping it in the coffin.

RYAN
Please, Chrissie...

She leans over and kisses him.

CHRISSIE
We could have been happy, but you just
couldn't see that, could you?

Desperate to live, Ryan's will sells out on him.

RYAN
I can. Chrissie. I'm--

She stands and slams the lid shut.

RYAN
CHRISSIE, I'M SORRY! I'M SORRY! I'LL MARRY YOU! CHRISSIE!

The hearse starts rolling again. Ryan hears a whoosh and he sees flames through the crack between the lid and body of the coffin. The windows break from the intense heat, metal groans, and smoke quickly fills the coffin.

The hearse hops up high. For an instant there is only silence and weightlessness. Then the coffin slides forward and wind whistles through the broken windows. Ryan hears plastic break and the coffin comes to a halt.

Gravity presses him against the side. He closes his eyes, waiting for the end. Everything stops moving in one bone jarring motion. Metal groans and complains as the coffin falls to the side. For a moment flames lick into the coffin.

Then the world turns somersaults, tossing the coffin and Ryan. Shards of glass and small rocks make their way into the coffin, slicing through Ryan's skin and clothes. His head bounces off the coffin lid several times before knocking him unconscious.

Everything stops moving suddenly, jerking Ryan against his bonds. The plastic ties tear into his skin. One last movement sends the coffin to the other side, cracking the lid open.

Flames lick in but are quickly dosed by a downpour. The rain drenches Ryan and cleans his bleeding wounds.

FADE TO:

I/E. QUINCY'S VEHICLE - DUSK

JANE and FRANK Quincy are driving down Lee Canyon Road in an old, beat up pick-up. The Nevada natives are newlyweds just returning from their honeymoon in town, and Jane is snuggled up to Frank's side.

Frank looks out his window as he passes something pale and out of place for the desert. He quickly brakes and leans out the window, looking back. Jane glances back and then at him.

JANE
What?

Frank puts the vehicle in reverse.

FRANK
I saw something.

Jane turns in her seat, looking back down the road. It's hard to see anything in the fading light. Frank stops at the spot he saw something and turns the car a little. Headlights show an arm. Jane grabs Frank's arm.

JANE
Frank... That looks like an arm.

FRANK
Stay here, honey.

He pulls away from Jane and gets out

EXT. LEE CANYON ROAD - DAY

Like a scene from the Twilight Zone's 'The Rip Van Winkle Caper,' the Good Samaritan cautiously approaches the still body. A light breeze toys with the hair. Frank stops at the shoulder, staring.

Ryan Wolfe's broken and bruised body lies on the embankment. His breathing is so shallow that he appears dead. His skin is yellow, black, or red and blistered. His face and eyes are sunken and bruised. His broken arm is swollen and black and blue around the break.

His palm of his other hand has a second degree burn on it. Blood has soaked his pants and bends out where the bone has finally torn through the skin. His cheek is swollen from a scorpion bite.

Frank crouches next to Ryan and pushes his fingers against the CSI's neck in search of life. Ryan's good eye opens.

RYAN
(whisper)
Help. Please.

FRANK
JANE! CALL 911! BRING WATER!

Frank sits next to Ryan.

FRANK (CONT'D)
Lay still. Don't move. We'll get help. What's
your name?

RYAN
Miami. Dade C... C...

FRANK
You're from Miami?

Ryan's eye closes. He barely nods.

FRANK (CONT'D)
What's your name? Can you tell me your name?

RYAN
Ryan. Wolfe.

Frank is stunned.

FRANK
You've been all over the news! They're
searching for you!

Ryan doesn't respond. Jane runs up with bottles of water and has her cell phone pressed to her ear.

JANE
Here. Yes, I'm still on the line. I don't know. Is
he responding, honey?

Frank looks up at her, taking the water.

FRANK
Tell them we found Ryan Wolfe. He's alive but
they need to hurry. He's
in really bad shape.

Frank uncaps a bottle and gently lifts Ryan's head, drizzling water into his mouth. Ryan drinks, the only sign he's still fighting for his life.

EXT. MCCARAN INTERNATIONAL AIRPORT

A hearse pulls up to a plane being loaded by two baggage handlers who are an FBI agent and Nick. The two turn, watching Jerry and Chrissie get out. Nick is playing a stereo-type: stupid Southerner.

NICK
Your dead guy about missed his flight.

Chrissie smiles, walking up to him. She hands him the keys to the hearse wrapped in a hundred dollar bill.

CHRISSIE
We're supposed to accompany the body.
Would you mind parking the car for me?

NICK
Sure.

He drops the items in his uniform pocket. He and the guard unload the casket and put it on the baggage ramp. Nick looks at both ends, and then turns to the two.

The officer walks over to a baggage rack, behind Jerry. Nick sees him give Nick a nod and he pulls his weapon from under a bag. Nick puts his hands on his hips.

NICK (CONT'D)
There's no bio-tag on this casket, ma'am. We
gotta have that to ship it.

CHRISSIE
There isn't one?

NICK
No. We gotta have one.

He has her attention so she doesn't notice the agent walk up to Jerry and put his gun against Jerry's temple. Jerry slowly raises his hand. The agent pulls Jerry's weapon from under his suit jacket. From behind equipment, carts and vehicles, Horatio, policemen, and FBI materialize, closing in on Chrissie.

CHRISSIE
Isn't there some way I could convince you to
overlook it this one time?

She seductively pulls a bill from her bra, waving it in front of Nick's nose. Nick smiles.

NICK
Me, maybe, but this new guy I'm working with,
he's a stickler for regulations.

Chrissie turns, staring at Horatio's gun aimed at her. She reaches in her purse as she turns. She finds Nick's gun aimed at her head.

It doesn't stop her from aiming her revolver at Nick's face. Brass, Catherine, and Riley with more police emerge, all with weapons aimed at Chrissie and Jerry.

BRASS
Put the gun down, Chrissie Mandias!

Panicked, she looks for an escape.

NICK
Hey, Chrissie.

She turns back to him, her gun aimed at his face. Nick's smile is as cold as his voice.

NICK (CONT'D)
Ryan's still alive. He wanted you to know that.

Chrissie has lost and she knows it. Her thumb reaches up and she cocks her pistol. Horatio and Nick don't hesitate -- two gunshots go off. One hits between her eyes, the other tears into her back and heart.

Chrissie crumples to the tarmac.

Horatio and police cautiously approach. Nick just stands, staring at her body. Horatio stops next to him.

NICK (CONT'D)
Good shot, Horatio.

HORATIO
The same to you, Nick. The same to you.

FADE OUT.

THE END