ACT FOUR

FADE IN:

EXT. CSI BUILDING - NIGHT

To establish.

INT. CSI A.V. LAB

Riley is working on the computer and has images of Petra O'Connor up. The woman is the idealistic Vogue model - shocking beauty, healthy but still a size zero, a smile that can captivate anyone, flawless.

Catherine blows past the room, and then comes back.

CATHERINE
Is that Petra O'Connor?

RILEY
Yeah, and she has all the makings
of a psychopath Ms. America.

CATHERINE
What have you found so far?

Riley changes screens as she starts to answer.

RILEY
Her first assault charge was filed
when she was ten. She almost beat
another child to death.

EXT. 1964 R. HINKLEY S. - NIGHT

Nick spots a piece of fabric fluttering in the light breeze. He crouches down to investigate. He sets his kit down then lays his flashlight in the grass to shine on it. He lifts his camera and snaps a couple photographs.

RILEY (V.O.)
She continued having assault charges
after that until she was eighteen.

Behind him a person moves stealthily along the shadow of a privacy fence.

RILEY (V.O.)
Then she went into modeling and the
charges seemed to stop.

Nick pulls an envelope from his kit and uses tweezers to collect the fabric. He pulls a pen from a pocket and writes on the envelope.

RILEY (V.O.) (CONT'D)
In this country, that is. I
contacted Interpol and an agent
told me that Petra has assault
charges filed against her in every
country she's ever modeled in.

Slowly the shadow separates in his direction. The person's fingers outstretch and move as if they were already killing the soon-to-be victim. The person is a size zero with healthy curves that identify her as a woman.

RILEY (V.O.) (CONT'D)
He went on to say that in the
countries with no real law against
murder, they suspect she's murdered
often and frequently. They just
don't have proof.

Nick puts the tweezers, pen and envelope in his kit. He reaches for his flashlight as the killer lunges. The killer grabs him by the throat, shoving him to the ground.

RILEY (V.O.) (CONT'D)
If this is who you think is behind
the murders, Catherine, you may be right.

He fights back, trying to push his kit away.

INT. CSI A.V. LAB

CATHERINE
It wasn't my lead. It was Greg's
and I have more evidence he was
right. Have you seen him?

Riley almost smiles.

RILEY
Is, uhm, old age creeping up on you?

CATHERINE
What?

RILEY
You sent him and Nick on a call. I
gave Nick your note.

CATHERINE
I didn't give you a note for them.

RILEY
Henry gave it to me.

CATHERINE
Who gave it to Henry?

RILEY
I don't know.

Catherine calls Henry.

HENRY (ON PHONE)
Chem lab.

CATHERINE
Who gave you a note for Nick and Greg?

HENRY (ON PHONE)
A lab tech.

CATHERINE
Which lab tech?

Silence.

CATHERINE (CONT'D)
Henry, which lab tech?

HENRY (ON PHONE)
I-- I don't know. I'd never seen
him before. He said he was new.

Catherine puts two and two together.

CATHERINE (ON PHONE)
Did you read it? Do you know where
they were going?

HENRY
No. Is something--

She hangs up on Henry and heads for the door with Riley right behind.

RILEY
What's going on?

CATHERINE
The EMS Killer has moved on Nick
and Greg. He's lured them somewhere.
I don't suppose you read the address.

RILEY
No.

Catherine makes another call.

EXT. 1964 R. HINKLEY S. - NIGHT

The killer grabs the strap of Nick's camera and loops it around his neck. He grabs at it, but it's tightened before he can catch it. Nick tries to scream for Greg, but it comes out as an inaudible sound.

The killer rams a knee into Nick's back. It makes him fall on one arm, pinning it under him. He flails his free arm, trying to grab at the killer's hand or the camera strap. The fight pushes up the killer's pant leg and his hand brushes the killer's bare leg.

Nick curls his fingers and rakes them along the person's leg gathering skin under his fingernails. It causes the killer to move, but not to Nick's advantage. His struggle is quickly getting sluggish. He looks at the flashlight. The light is slowly fading out.

Greg comes around the corner of the house and quickly realizes the situation. He drops everything and charges the killer. The killer turns as he lunges to tackle and moves faster.

Greg grabs air and slides on the grass. He turns and the two wrestle until the killer has him on his back with his arms pinned. The killer pulls his latex gloves off and shoves them in his mouth. Greg tries to spit them out.

With fingers straight, the killer jabs Greg in the throat and he gags, then starts choking on the gloves. The killer pulls electrical tape off their clothes and tapes Greg's mouth shut before he can recover.

Greg sees another piece come off and is about to tape his nose closed so he struggles harder. The killer punches him in the ear, dazing him long enough to tape his nose. Greg turns his shoulder, throwing the killer off balance suddenly.

He tries to get away but the killer jumps on his back. While covering his mouth and nose with one hand, the killer pulls him down with the other. In his struggle to pull away or push the killer off, he grabs a handful of hair, ripping it out by the roots.

Greg's struggle quickly grows weaker as he suffocates. Everything around him blurs. He falls back, seeing sky. He slowly blinks. Then he sees Catherine's blurry face.

CATHERINE
(very distant)
Greg, breathe. Breathe! GET THE
PARAMEDICS BACK HERE! Riley,
there's Nick. He's not breathing
either. Greg? Greg, look at me.
Come on, breathe, Greg. Don't you
give up on me! Don't you dare give
up on me!

Then the stars fade into black.

INT. AMBULANCE - NIGHT

Greg becomes aware of voices and slowly opens his eyes. His face is bruised from where he was hit. The world is a dizzying blur of color and light. He can hear a heart monitor beeping somewhere.

Someone takes his hand. The heart monitor increases with his faster, scared heartbeats. He tries to pull away.

CATHERINE
(quietly)
Easy, Greg, easy. I'm getting your
attacker's hair off your hand.

GREG
Is Nick okay?

Catherine's face comes into focus.

CATHERINE
Yes.

GREG
Perfume.

CATHERINE
Perfume?

GREG
She was wearing perfume. It's on
my shirt.

CATHERINE
I'll get a bag in a minute.

Greg tries to get up but that sets his world spinning. Catherine's hand appears and he lets it push him back.

CATHERINE (CONT'D)
Relax, Greg. You and Nick did a
good job collecting evidence
tonight. We'll have enough for an
arrest warrant by tomorrow.

The best news he's heard in weeks helps him relax.

INT. PENTHOUSE - NIGHT

Petra O'Connor is having a party. She mingles with socialites and celebrities. She wears a hat to cover the bald spot where Greg pulled hair out and thigh high boots that cover the scratch on her thigh Nick left behind.

She goes out onto the balcony as the front door opens. Brass, Catherine, Nick, Greg, and police officers enter the penthouse. Nick's neck is red and raw from the rope burn she gave him with the camera strap. Greg's neck and ear have ugly bruises.

Brass spots her and leads the entourage toward her. He motions two police officers to secure the premises. As they pass people stop talking and watch. Blaine Juhl is among the guests and follows, but carefully keeps his distance.

EXT. PENTHOUSE - BALCONY - NIGHT

The person Petra is talking to stops talking. She doesn't turn around, even though the person is staring. Brass stops behind her.

BRASS
Petra O'Connor?

She turns her head.

PETRA
This is a private party you're crashing. I could call the police.

BRASS
I am the police.

With a smile Petra turns.

PETRA
You better not have invaded my home
without a warrant, or I'll have
your badge.

BRASS
Oh. Then I'm in luck.

He produces the warrant. She holds her hand out. Nick and Greg come up behind Brass and she tries not to stare at each of them. But Brass and both CSI notice. Brass hands over the warrant. She reads it, then hands it back.

PETRA
Murder and attempted murder? Those
are awfully hefty charges. I'll call
my lawyer and meet you at the station.

BRASS
That's not how this works, lady.
You're going now. Then you use that
one phone to call your lawyer.
(pulls out handcuffs)
Turn around.

PETRA
You don't have evidence.

BRASS
For starters, maybe you shouldn't
have worn such expensive perfume to
a murder. One that you buy every
month, Petra O'Connor. Or is it
Petra Toomey?

Petra's lips thin. She hands her drink to the person she had been speaking with and slowly turns, putting her hands behind her back. Brass is cuffing her when one of the POLICE OFFICERS he sent off pushes through the crowd to Catherine.

POLICE OFFICER
Sir, there's something I think you

and your CSI need to see.

Brass grabs her arm and lead her toward the door. She makes eye contact with Greg as she passes.

PETRA
Enjoying your wake up service, Greg?

Brass gives her arm a yank. She giggles.

Greg follows Nick and Catherine. The officer leads them into the master bedroom and into the closet. He points at a door disguised as a shoe rack.

POLICE OFFICER
I noticed a wear pattern on the
carpet. You've gotta see inside.

The CSI enter the secret room behind.

INT. PENTHOUSE – SECRET ROOM - NIGHT

The walls are covered with newspaper clippings and photographs of the bombed clinic. Several hundred faces of identifiable EMS are circled. Greg walks over to the photograph he's in, staring at the red X over his face.

Catherine turns to Nick.

CATHERINE
Start working the other rooms. The
more we have to convict this woman,
the more solid of a case we'll have.

Nick nods and leaves. Catherine joins Greg.

CATHERINE
I owe you an apology.

GREG
No you don't.

CATHERINE
I do. If you hadn't been so determined
to pursue your hunch and protect
you and Nick, we might never have
caught her. You did a good job.

GREG
(distracted)
Thanks Catherine.

CATHERINE
Are you sure you're okay?

Greg nods.

CATHERINE
Okay. Let's work the room.

Greg nods. Catherine starts on one end. Greg picks up his camera and starts taking photos. He focuses the camera on a shelf of family photos. Very slowly Greg lowers the camera.

Greg reaches out, taking a framed photo off a shelf. The photo is of Petra as a teenager, Craig Toomey, her mother, and a boy.

The photograph gives insight to a secret he's keeping, and brings out fear that makes his hand shake. Greg drops the photo, cracking the glass.

Catherine turns, staring at Greg. The young CSI looks as if he's seen a ghost, transfixed by the photograph.

CATHERINE
What is it?

GREG
I need some fresh air.

Greg rushes out before Catherine has a chance to respond. Catherine picks up the photograph, staring at it. What it means is a mystery to her.

INT. FRANK'S DINER - NIGHT

A clock on the wall reads 3 A.M. The waitress and cook are chatting over the counter. In a booth far at the back sits Greg staring into his cup of coffee. He hasn't had a decent night's sleep in days and it shows. He's listening to the iPod he's holding

Nick comes in. The waitress grabs a menu and greets him. The two exchange a short conversation as she leads him to a booth. Nick sees Greg and motions to him. She hands him the menu and he walks up to Greg's booth.

NICK
Hey.

Greg doesn't look up.

GREG
(monotone)
Hey.

Nick slides into the booth opposite Greg.

NICK
Surprised to see you here on your
vacation. Didn't that start yesterday?

Greg nods. The waitress comes over and pours Nick a cup of coffee.

NICK
(to waitress)
Thanks.

She leaves. Nick leans on the table, looping one finger through the cup handle.

NICK
You look like hell. What's wrong?

GREG
Can't sleep.

NICK
I'm guessing you mean more than
just tonight.

Nick waits for Greg to say something, but the young man doesn't. Greg sips his coffee. Nick leans back in the booth.

NICK
Nightmares?

GREG
Worse.

NICK
It'll get better.

Greg shakes his head.

GREG
Not until this is over.

Nick's confused.

NICK
Until what's over?

Greg looks up.

GREG
I compared the dispatch recordings
that sent EMS responders to Petra.
It's the same person. Here. Listen.

Greg pulls his earbuds out and hands them to Nick. Nick puts them in his ears. The fake dispatch calls play, and in every one it is Blaine's voice.

Hearing the voice shakes Nick. He yanks the earbuds out, throwing them on the table. Greg is surprised by the reaction.

GREG (CONT'D)
What?

Nick swallows hard.

NICK
(low and angry)
That's the fake dispatcher that I
talked to.

GREG
(nodding)
He was also the person that
pretended to be Petra's manager.
And he's been calling me dozens of
times a day. All he says is a time.
I've turned my phone off while I'm
on vacation just so I can get a
little sleep.

NICK
He's been calling me and saying
just a time too. Been keeping me up
for four days straight now.

GREG
Have you checked the numbers he's
calling from?

NICK
(nods)
Pay phones, never ones with cameras around.

GREG
What are we gonna do?

Nick shakes his head. He leans on the table staring into his coffee cup.

NICK
I don't know. But... Whatever we're
gonna do, we gotta do it before he does.

Greg nods. Both men stare into the dark liquid of their coffee cups.

EXT. ALLEY - NIGHT

A vagrant pushes an overloaded shopping cart down the alley, coming up on a car. He looks in as he passes.

Blaine Juhl meets his eyes and offers a wicked smile. The vagrant hurries away. Blaine watches the two men, pacified by the song on the radio for now.

FADE OUT.

THE END