ACT THREE
FADE IN:
INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT
Danny shifts in his chair. He glances at the clock by the bed. It's now two in the morning. He looks at the gunman standing beside the window. The man has a piece of paper in his hands that he's carefully folding. At his feet are other origami shapes.
DANNY
You really like that origami, don'tcha?
GUNMAN
These are for my daughter. I'll be
seeing her soon.
DANNY
You have a kid, huh?
The gunman smiles.
GUNMAN
A beautiful daughter. After this
last job, I'll take her somewhere
no one will ever find us.
DANNY
Your kid know you kill people for a living?
The gunman's eyes drift up. Danny's hit a sore spot.
GUNMAN
Don't talk about my daughter, Danny.
DANNY
Then tell me why we're just sitting here?
GUNMAN
Why are you concerned?
DANNY
I want to know what Lindsay died
for; what I'm going to die for.
The gunman resumes his origami.
GUNMAN
Something valuable.
Danny looks at the jewelry and full wallet on the dresser.
DANNY
More valuable than what would have
been easy to grab and run with?
GUNMAN
Much more.
DANNY
And this more valuable thing...
Where is it?
GUNMAN
In the panic room.
DANNY
The panic room? How are you
planning on getting in there? Since
we're out here, I'm guessing your
prints aren't in that biometric scanner.
GUNMAN
The girl will open the door.
DANNY
What girl?
GUNMAN
The teenager inside.
Danny glances at the door.
DANNY
Why would she do that? There's
probably a camera in that dome up
there. She can see you're out here.
GUNMAN
Because after a few days you're
partner's corpse is really going
to stink.
Danny manages to keep control of his anger.
DANNY
That's where Lindsay is?
GUNMAN
She isn't Lindsay any more, is she?
She's just meat and bones now.
DANNY
What the hell is so important she
had to die for it!?
With a sigh, the gunman shoots Danny in the leg. The CSI falls forward, holding the gunshot wound. He looks up when the gunman walks up to him.
GUNMAN
Are we done talking?
DANNY
Yes!
MATCH CUT:
INT. PANIC ROOM - NIGHT
Lindsay watches Danny fall and the short conversation between the two. The gunman goes back to his place, resuming his origami. Danny grabs a tie from nearby, ties it around his leg, and crawls back into the chair. He leans over, holding the wound.
She turns, staring at Ana. Curled up in a chair, the teenager stares blankly at the wall. Lindsay gets up and walks over to her chair.
LINDSAY
Ana, please give me back my gun and
unlock the door for me.
ANA
NO!
Ana turns her shoulder to Lindsay. Lindsay looks down. She pulls her phone off, staring at the cracked LCD screen. The phone won't even power on.
ANA
I told you it wouldn't work in here.
LINDSAY
It was worth another try, but it's
broken so it doesn't matter.
ANA
You and that policeman out there
must be close.
LINDSAY
We're criminalist, and yes.
Lindsay looks up, finding Ana holding out her Razor.
LINDSAY
I can use it?
ANA
Yeah. If you can get a signal.
Lindsay smiles, taking the phone.
LINDSAY
Thank you so much.
Ana nods. Lindsay gets up and walks around the panic room searching for signal. She finds it in a corner near the kitchen.
LINDSAY
I have a signal!
Ana jumps up and runs to her side, pressing in close. Lindsay dials the first number that comes to mind...
INT. MAC'S OFFICE - NIGHT
Mac is on the phone with the police chief when Flack bursts in. He carries two rolled up tubes of papers.
FLACK
You are not going to believe our luck!
Mac glances out of his office. Cusack sits on a bench in the hall. He gets up and saunters toward the office.
MAC
Sir, I'll have to call you back.
Mac hangs up, watching Flack unroll one of the tubes on his desk. Cusack stops inside the door, leaning against the frame.
FLACK
I couldn't get the name of the
owner; I'm sure Cusack had something
to do with that. But he missed a
few things in city planning, like
an ex-girlfriend.
Cusack doesn't respond to the comment.
FLACK
This is the city planning map of a
five-mile area this house is in.
Right here is a small National Park
preserve, right in the center of
all this private property.
Flack circled the area of the preserve with his finger.
FLACK
And here's 14283 Rhianna Drive.
He stabbed his finger against the section to the south of the preserve. Mac's cell phone rings. He glances at the screen, doesn't recognize the number, and sets it down again. Flack looks Mac in the eye with a grin.
FLACK
Here's the best part. The house was
built in the mid 30's and had a lot
of renovations since then. But the
one that's our advantage...
Flack unrolls the second tube revealing architecture plans. He smacks his finger down in the middle of the house were two parallel lines of dashes begin.
As he talks, he runs his finger to the end and what could be mistaken for a cottage, except that the outer wall is also dashed lines. The building is located several hundred feet from the house.
FLACK
A nuclear bomb shelter built during
the Cold War and now located on the
preserve, hidden by trees, and the
guy's view. The entrance into the
house is in the basement. If this
guy is in the room with the panic
room, we can assume that's at least
on the first floor and--
CUSACK
Second floor. If the tunnel door
hasn't been sealed he'll never hear
you coming.
Flack turns to glare at the man.
FLACK
Is the tunnel sealed?
Mac's phone starts ringing again -- same unknown phone number. He sets it down, noticing Cusack pushing his earpiece into his ear to listen to something. Cusack drops his hand, looking at Flack.
CUSACK
I don't know. As you pointed out,
Detective Flack, I missed a few
things. Like your ex-girlfriend.
MAC
Get us a warrant to go into the
preserve two houses over. I'll ask
the chief to get us equipment and
S.W.A.T. I don't suppose your ex
knows anyone who could locate the
entrance this early in the morning?
It's probably grown over by now.
FLACK
I'll ask.
He grabs the papers and leaves. Mac looks up at Cusack as his phone starts ringing again. He glances at the unknown number. Cusack turns to leave, again listening to something in his earpiece.
MAC
Thanks for the information about
the panic room.
CUSACK
That wasn't need to know.
MAC
You're not going to the bomb shelter?
CUSACK
I have to meet someone. You should
answer your phone.
Cusack leaves. Mac answers the phone on the last ring.
MAC
Mac Taylor.
LINDSAY (ON PHONE)
MAC! Mac, we're in trouble here.
I'm with--
Stella walks in.
MAC
Lindsay, where are you?
LINDSAY (ON PHONE)
The panic room at 14283 Rhianna
Drive. I'm with a teenager that
lives here. The gunman was still in
the house, he's holding Danny hostage.
Mac, he shot him.
Mac takes the news calmly.
MAC
I know Danny's being held hostage.
Are you two okay?
LINDSAY (ON PHONE)
Yeah.
MAC
You can see the gunman and Danny?
LINDSAY (ON PHONE)
Yeah. This room has a bank of
monitors and one shows the bedroom
outside the door. I have to get out
of this room. I have--
MAC
No, Lindsay. Stay in there with
that girl. You two are safe in there.
LINDSAY (ON PHONE)
But Danny--
MAC
Lindsay, stay in there. That girl
is a witness. She is your
responsibility, not Danny.
Lindsay sighs. She's frustrated with the order.
LINDSAY (ON PHONE)
Okay.
MAC
I need a description of the gunman.
Mac grabs a piece of paper and pen.
MATCH CUT:
INT. PANIC ROOM - NIGHT
Lindsay turns to Ana. She sways and braces herself against the wall.
LINDSAY
Ana, I need you to stand here in
this corner. I'm going to go over
to the monitor and describe the
gunman to you. You--
ANA
Why not just take a picture with my
phone and send it to them?
Lindsay smiles when Mac chuckles.
MAC (ON PHONE)
A photograph would work better.
LINDSAY
(to Mac)
I'll get a photo and send it to
you, but I have to hang up.
Lindsay closes her eyes. Bracing herself hasn't stopped her from swaying.
ANA
(quiet)
Are you okay?
MAC (ON PHONE)
Okay. Call back once you've gotten them.
LINDSAY
Uhm... I...
MAC
Lindsay?
She collapses and the call drops. Ana falls to her knees beside her, shaking her. She grabs the phone and moves into the corner, dialing the last phone number.
MAC (ON PHONE)
Lindsay? What happ--
ANA
She passed out. She--
MAC (ON PHONE)
Is she hurt?
Ana starts to lose it.
ANA
Yeah. The guy shot her in the head.
It won't stop bleeding! I keep putting--
MAC (ON PHONE)
Okay. Okay, Ana--
ANA
If she doesn't get to a hospital
soon, she--
MAC (ON PHONE)
Ana!
ANA
What?
MAC (ON PHONE)
Is it bleeding again?
ANA
Uh-huh.
MAC (ON PHONE)
Put another bandage over the old
one. Don't remove the old one. And
then cover her with a blanket.
Mac's calm works on her.
ANA
Okay.
MAC (ON PHONE)
After you've taken care of Lindsay,
I need you to take the photos of
the man?
ANA
Okay.
MAC (ON PHONE)
We'll get through this. Lindsay
will be fine.
ANA
Okay. I have to hang up now.
MAC (ON PHONE)
Okay. I'll be waiting.
Ana moves out of the corner and the call drops. She runs to the bathroom.
INT. CSI - A.V. LAB - NIGHT
HAWKES is trying to clean up photos of the killer. On a computer nearby are several photos of teenagers being teenagers. A few have Ana in them. Stella walks in, watching over Hawkes shoulder.
STELLA
Where's Adam?
HAWKES
He gave up on the photographs. He
told me I could give this new software
a try, but he didn't seem convinced
it would help.
STELLA
Has it?
Hawkes shakes his head.
STELLA
Is it her phone camera?
HAWKES
No. The resolution is just fine.
See these lines that are distorting
the image.
STELLA
Yeah?
HAWKES
That's from the monitors. On these
old CRT monitors, the lens can't
pick up the details due to a mismatch
of frequency or the way the
phosphor dots are perceived by the
camera lens. It's not something Ana
has any control over.
STELLA
Ana's description didn't help then?
He shakes his head. Stella looks at the other photos.
STELLA
What are these?
HAWKES
Ana accidentally sent those with
these others.
The photographs intrigue Stella. She pulls one up on the larger screen. Hawkes looks at it.
HAWKES
Something wrong?
STELLA
Is this Ana?
Stella points at Ana. Hawkes shrugs.
HAWKES
I don't know. Why?
STELLA
I've seen her somewhere. Run her
photo too.
HAWKES
You think she's involved.
STELLA
I don't know, but she looks
familiar. Since the Secret Service
is involved, anything's possible.
They do protect children under the
age of sixteen.
HAWKES
For current and past presidents and
vice-presidents. I'd think we'd
know if it were one of those.
STELLA
I'm sure they make exceptions.
Her phone rings and she answers it.
STELLA
Yeah, Mac? I'll be right there.
Stella stops at the door.
STELLA
Sheldon.
He looks back at her.
STELLA
I know you were looking forward to
this vacation. Thank you for coming back.
HAWKES
They're my friends too.
INT. MAC'S OFFICE - NIGHT
Stella and Mac stop talking when Cusack comes in. The dignified Ambassador NASILI, representative of Tonga in the United Nations, follows him.
CUSACK
This is Ambassador Nasili. He owns
14283 Rhianna Drive.
Mac doesn't get a chance to respond.
NASILI
I am told that there is a gunman
holding hostages in my home.
Mac looks at Cusack.
MAC
The only way you would know that,
is if you've been monitoring
my calls.
CUSACK
We're the Secret Service. We don't
monitor calls.
MAC
But the CIA does, don't they?
CUSACK
We have the author--
NASILI
Does this really matter at this time?
Both men look at him.
NASILI
There are hostages being held at my
residences, are there not?
MAC
Why is that? What does this man want?
NASILI
He his trying to steal a royal
heirloom. He believes it belongs
to him and has attempted to steal
it before.
MAC
Why would your King send a royal
heirloom to America?
NASILI
He felt it was safer here.
Mac isn't buying this story.
MAC
In a panic room?
NASILI
Yes.
MAC
So you're telling me that a teenager,
who is in the panic room with my
injured CSI, is protecting an
heirloom that could most likely
be replaced?
Nasili doesn't answer.
MAC
Is this thing really worth lives?
NASILI
It is not your country that this
child protects, it is ours, and I
did not come here to argue politics
with you. I am told you are in
contact with the terrorist. I wish
for you to contact him again. Tell
him that his Royal Highness King
Tuku'aho is willing to offer
anything he desires for the safe
release of his hostages.
Mac contemplates the offer.
MAC
Has this man taken hostages when
he's tried to get this before?
NASILI
Yes. But the King of Tonga is
willing to pay whatever he asks for
the release of everyone, Detective
Taylor. Please. Call him.
Mac doesn't do it until he looks at Stella. She really wants him to make the call, but she's not going to ask. Mac picks up his desk phone handset and starts dialing.
INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT
Danny's phone starts ringing. The gunman walks over to him, expecting him to answer it.
GUNMAN
Answer it.
Danny just glares at him. The gunman puts the barrel of his gun against Danny's forehead.
GUNMAN
Answer it.
Danny yanks it from the holster and holds it out to the gunman.
DANNY
It's for you.
GUNMAN
Most likely. Put it on speaker, Danny.
He does.
GUNMAN
Yes?
MAC (ON PHONE)
Where's Danny?
DANNY
I'm here.
MAC (ON PHONE)
I have Ambassador Nasili here. He
would like to negotiate--
The gunman laughs, stepping back.
GUNMAN
Is he there to offer me anything I
want for the release of the
hostages? Again.
NASILI (ON PHONE)
I am.
The gunman leans on the arms of the chairs, looking Danny in the eyes.
GUNMAN
There is nothing that man could
offer that I want. He knows what I
want, and this time, Nasili, your
King will have to negotiate with
the Americans since they want their
officers alive.
NASILI (ON PHONE)
I can give you anything you want.
Anything. What you are trying to
take, you will never get.
GUNMAN
When I leave here, Nasili, I'm
taking her with me. And Danny too.
For entertainment.
The gunman pushes off the chair and walks to the window again. On the road he can see emergency vehicles.
NASILI (ON PHONE)
Surely there is something we can offer.
The gunman doesn't answer.
DANNY
I think he's done talking.
MAC (ON PHONE)
Hang in there, Danny. You'll be
seeing Montana soon.
Danny glances at the panic room door.
DANNY
(relieved)
Will I?
MAC (ON PHONE)
Yeah. Let us know if he changes his
mind about the Ambassador's offer.
DANNY
You'll be my first call.
Danny hangs up the phone.
GUNMAN
You want to visit Montana?
DANNY
Yeah.
GUNMAN
Perhaps we'll go there.
DANNY
Perfect escape for you and your daughter?
GUNMAN
My daughter, me... And you.
The two men look at each other. Danny realizes his situation goes beyond simply being this man's hostage. The gunman looks away, dropping the conversation.
FADE OUT.
END OF ACT THREE
