ACT FIVE

FADE IN:

EXT. LAKE MEAD PICNIC AREA #13 - DAY

The silence out here is almost unnerving. Across the gravel a bug slowly makes its way toward shade. The shade is provided by a light blue 80's model car. The car is a boxy model, made to transport, not for beauty.

A gold Saver's rental car pulls up. Nick and Nate get out. Nate is carrying a bottle in one hand, and is messing with what looks like a flavor pack. The license plate reads: TU0-T0E

NATE
The crazy lady actually gave us the
right license plate.

NICK
Don't knock crazy people. They know
more than you'd ever guess.

Nate nods. He adds the flavor packet and stuffs the wrapper in his pocket. As he and Nick approach the car he caps it and casually shakes it.

Nick tires all four doors, but they're locked. He looks around for the missing Miranda. He heads toward the lake. At the top of the hill he spots a woman floating face down in the water.

NICK
Aw no. No, no, no.

Nick jogs down the embankment and goes into the water. He grabs an arm and pulls her to shore where Nate waits. He falls to his knees next to her, rolls her on her side and then onto her back.

Nick attempts CPR, but reality stops him. He leans back on his legs, letting his head fall back. Nick looks up at Nate. He offers his water to Nick.

Nick gets up and heads back up the hill. Nate doesn't follow right away. He his cell phone out of the car, dialing. He turns, watching Nate slowly walk up the hill and toward him. He turns his back on him.

BRASS (on PHONE)
What's up, Nicky?

NICK
Jim, I'm at picnic site thirteen at
Lake Mead.
There's a body here. Can you send
some officers and a coroner?

BRASS
Sure. What are you doing there?

NICK
I was looking for Miranda. I found
her in the lake.

Nick turns and it startles him a little to find Nate right behind him. He falls back a couple steps, staring at Nate's emotionless face. Warrick appears behind Nick -- that he's aware of but he doesn't take his eyes off Nate.

BRASS
Okay. I'll be there shortly with them.

NICK
Thanks.

Nick closes the phone.

NATE
I can't express emotions.

What's Nick supposed to do with that?

NATE
I liked Miranda. I'm sorry she's
dead. You always seemed to treat
her nice. You must have too.

NICK
I did.

Nate turns and leans against the car. He tips the bottle, but he holds it so Nick wouldn't know if he was really taking a drink or not. Nick looks down at the body on the shore.

NATE
Water?

Nick looks at him, and then the bottle he's holding out. He takes it but doesn't drink.

NATE
You've been pretty angry the last
few times you've left.

NICK
I've never seen you there.

NATE
I was there. But you were angry.
I'm not surprised.

Nick drinks some water and hands it back. Nate screws the cap back on.

NICK
Is she nice to you? Julia?

Nate looks at him.

NATE
Yes. But then, I'm not you.

NICK
What does that mean?

Nick turns to lean against the car and the world suddenly goes for a whirl around him. He reaches out to grab the door handle and his hand misses. He looks at Nate.

NICK
You drugged me?

Nate looks at the bottle, then Nick.

NATE
I'm willing to drug anyone for ten
thousand,
Nick. I guess that goes with having
no emotions, doesn't it?

Nick reaches out to grab Nate and he moves away, letting Nick fall. An arm slithers around Nick's neck and pulls him back. It's meant to restrain him, not strangle him.

KATRICK
Relax, Nick. It's better that way.

NICK
Who are you? Why are you doing
this to me?

The world becomes fuzzy as sleep creeps over him. He looks up and can see two faces over him. He can't make out any features.

KATRICK
That's it, Nick. Relax. You'll go to
sleep and won't even feel yourself drowned.

Nick tries to fight it but the drug is stronger. He falls asleep.

EXT. LAKE MEAD PICNIC AREA #13 - momeNTS LATER

Katrick, Nate, and a woman carry Nick to the lake. They toss him in, face down. His body floats a few feet from the shore and then rolls over onto his back. The three argue and finally Nate heads into the lake toward Nick.

Katrick pulls a gun from under his shirt and shoots Nate. Katrick and the woman drag Nate and Miranda's bodies to the boat hidden nearby.

They head for Nick, but the woman points out police cars in the distance. They head the boat in opposite direction.

By the time the police arrive, the current has pushed Nick's body out of sight, away from his would-be killers and help.

EXT. DESERT PALMS HOSPITAL - NIGHT

To establish

INT. DESERT PALMS - ER - NIGHT

Nick slowly comes around. He's wet and blankets are piled over his shivering body. The people standing nearby are blurry and talking in hushed voices.

CATHERINE
Ian, he was in the water for at
least twelve hours. Are you sure he'll
be okay to leave when he wakes up?

Nick blinks, and can make out Catherine, Brass, and Doctor IAN Cooper.

IAN
He wasn't hurt in any way and by a
stroke of luck he ended up next to
the boat house for most of the day.
The water next to that building was
like being in a warm bath. The hypothermia
was just starting to set in when he
was found. He's lucky, Catherine.
Someone was watching out for Nick.

NICK
Why am I in the hospital?

The three turn, as if they hadn't expected him to wake up at all.

BRASS
You weren't at the picnic site you
told me you were at. Your car was, but
not you. A Park Ranger found you next
to their boat house an hour ago.

IAN
You almost overdosed on triazolam,
Nick. How many pills did you take?

Nick sits up and starts to get off the bed. Catherine grabs his arm, pushing him back.

NICK
I didn't take any.

CATHERINE
Nick.

NICK
I didn't take anything! I stopped
taking those damned pills when I
found out what they were!

Catherine glances at Brass. He reaches out, laying his hand on Nick's arm.

BRASS
Okay. Okay, Nicky. We believe you.
Ian wants you to get warmed up before
he releases you so why don't you
just relax. Okay?

Warrick appears between Brass and Catherine.

WARRICK
Listen to him, Nicky. Relax.

Nick stares at him, not moving. Ian notices Nick's attention isn't on Catherine or Brass.

IAN
What are you looking at, Nick?

Nick lays back.

BRASS
Doc, did you want to tell me about
the blood work?

Ian and Brass leave. Catherine leans against the bed.

CATHERINE
Did you tell Jim about Warrick?

NICK
I apparently talked to him when I
was drugged, but he's never said
or asked about it.

CATHERINE
It's been a pretty rough couple
weeks, hasn't it?

He solemnly nod. She pats him.

CATHERINE
For both of you. How's he been
through all this?

NICK
Himself.

CATHERINE
At least you've had some stability.
Someone's ear to bend.

Nick closes his eyes, pressing out a couple tears. He turns his face into the pillow. She rubs his arm.

CATHERINE
Jim said you were looking for some
patients who were seeing Julia
also, and you think something's
happened to one, and another is
dead. Tell me about that.

Nick opens his eyes.

NICK
Yeah. I went to see Hugh before I
wrecked the rental car. I--

CATHERINE
Oh! We found something about that
car, Nick. The rental place wasn't
wrong. The car you were in wasn't
theirs and it was registered to a
company that doesn't exist.

He can't stop from crying.

CATHERINE
That's good news.

NICK
(hushed)
I don't remember taking the rental
back. And how'd I get that car? Where
did it come from, Catherine? I don't
even know what lake you guys found
me in. I can't remember anything
past picking up Nate at his house
and going to see Miranda. Was it Lake
Mead? The woman at her house said
something about it, and then everything's
just gone. What is wrong with me?
Maybe I am taking all these drugs
or maybe I am just crazy.

It breaks her heart to see him so upset. She leans over, laying a hand on the side of his neck.

CATHERINE
You can't remember because there
was so much triazolam in you that
it should have killed you. But I
don't think for a minute you intentionally
overdosed, and I think there is
something very, very fishy going on.
I just don't know what, or why. But
I'm going to figure it out. And you
are not crazy. Understand me?

He nods, pulling it together. She gently pats his neck. She stands up when Brass comes back.

BRASS
You'll be out of here in an hour.
So, did you find the other two
patients?

Nick nods.

BRASS
Still have their addresses?

Nick slides off the bed and searches his jean pockets. He pulls out a soggy paper with addresses written on it. He unfolds it and is dealt another sucker punch.

CATHERINE
What's wrong, Nick?

NICK
There were three addresses on here
before, now there's only two.

Catherine takes the paper and holds it up to the light. Nick sits on the edge of the bed, wrapping a dry blanket around himself.

CATHERINE
I'm going to take this back with
me. Can you find their houses
without this?

Nick nods.

CATHERINE
Wait with Jim, and don't give Ian a
hard time. He's pulling a double and
is in a bad mood. Okay?

He nods again. She leaves the two. Brass looks at Nick for a second and then sits down in a chair.

BRASS
It's going to be a while on the
paperwork. You know how it is.

Nick stares at the floor. Warrick stands close by, watching him.

BRASS
So... Have you had time to follow
the NCAA tournament?

That earns Brass a faint smile. Nick nods.

BRASS
Who should I be putting my money on?

Nick thinks about the question before he answers. Warrick fades away when he starts talking.

I/E. BRASS' CAR - DAY

With Jim driving, Nick watches the houses pass. They're back in the expensive suburb of Shell Beach. He spots the house.

NICK
That one. That's Nate's.

Jim parks the car and turns it off. He looks at Nick, who's watching the house.

BRASS
Stay in the car, got it?

Nick nods.

BRASS
Don't say yes and then disobey.
Stay in the car.

Warrick leans forward, making a face at Brass.

WARRICK
He gets it!

NICK
I won't leave the car. I promise.

Brass gets out and walks up to the front door. Warrick and Nick watch him ring the door bell. A man opens the door -- it's not Nate. Brass and he talk for a minute, then Brass goes in.

Nick lays his head against the head rest, closing his eyes. He's asleep within minutes.

He jerks awake when the car comes to a sudden stop, and for a second is confused. The scenery has changed. They're no longer in Shell Beach and Brass is driving again.

BRASS
You and Warrick were having a lively
conversation about what's been
happening. It was creeping me out.

Warrick leans forward, looking at Nick when he glances at him.

WARRICK
He knows. Just tell him the truth.
He'll be cool with it.

NICK
Just a dream.

Brass isn't convinced but he doesn't press.

BRASS
Okay. Well, I have really bad news
about Nate's house.

NICK
Let me guess. He doesn't know me
and we've never met.

BRASS
No one with the name Nate lives or
works at that house, and they've
had it since it was finished two
years ago.

WaRRICK aND NICK
We talked to him there, Jim. We
picked him up from there. He sat in
the car with us.

Brass stops at a red light and then stares at Nick.

BRASS
We? We who?

NICK
I mean, me. I talked to him.

BRASS
Sorry, Tex. Let's go talk to Miranda.

Nick slouches in the seat, staring out the window.

NICK
Forget it. Take me home. She probably
doesn't exist either. You'll
probably think I'm really crazy.

WARRICK
Nick, I'm getting really tired of
saying this. You are not crazy!

Brass suddenly pulls over and turns to stare at him. Nick doesn't know what to make of this, so he keeps quiet.

BRASS
I don't believe for one second you
got hyped up on drugs. That's not
you. Ever. Me and everyone else believe
that someone is after you. We don't
know who or why yet, but we're going
to find out and throw an entire law
library at them. So as long as you're
my partner, even for one day, you
don't get to have pity trips, you
don't give up, and no more talking
about being crazy. Where's
Miranda's house?

WARRICK
You deserved that, Nick. Now grow
up and help him.

NICK
Go up to Rodeo and hang a left.

Brass pulls back into traffic. Nick turns his attention out the window. He glances at Warrick when he pushes his face in between the window and seat.

He makes a face and Nick smiles. Warrick chuckles, leaning back out of sight.

I/E. BRASS' CAR - DAY

Nick watches Jim and the old lady. Several times she tries to shut the door, but Jim pushes it back. She's agitated, but he keeps her talking.

WARRICK
What do you think they're talking about?

NICK
How crazy I am.

WARRICK
Stop being such a dick about this.

Jim heads back to the car.

NICK
Says the dead man who won't shut up.

Nick watches Brass get in. He starts the car, but doesn't pull away.

BRASS
Bad news or really bad news?

NICK
At this point, I don't think it matters.

BRASS
That woman is Miranda Thornton.

NICK
That woman is crazy.

Warrick slowly leans forward, staring at Nick. Nick mouths 'what?'

WARRICK
Don't call her crazy. Maybe she's
no more crazy than you are.

BRASS
Well, her word may not be very trustworthy,
but her driver's license is. I
wrote down the number just to
double check, but I'm pretty sure
that's her.

NICK
That isn't the Miranda Thornton I know.

BRASS
I know.

Brass pulls onto the street.

BRASS
I'm going to take you home. You get
some sleep, and then come in tomorrow,
and I'll sit you down with Archie.
You two make me some composites and
I'll put out a BOLO for them. Deal?

Nick nods.

INT. CATHERINE'S OFFICE - NIGHT

Ronnie Litre knocks softly on the doorframe, getting Catherine's attention. He walks in, handing her two plastic bags. One has Nick's note with the addresses -- now dry -- and another has a photocopied page from a handwritten report. At a glance, the writing on both looks similar. He also has a couple printouts of blown up letters and numbers.

RONNIE LITRE
The addresses are a very, very good forgery.

Catherine is surprised by the opening statement.

CATHERINE
Really? They look--

RONNIE LITRE
--almost identical, I know, but
that's why you brought them to me.
I magnified them, and at first I
thought they were both Nick's
handwriting too. I--

CATHERINE
I never said this was Nick's handwriting.

RONNIE LITRE
I've been reading his case files
for enough years to know his
handwriting, Catherine.

She smiles, unable to dispute that fact.

RONNIE LITRE
After digging, I finally found
discrepancies here on his capital E
and the numbers 2 and 5. There's
hesitation marks. Then see this T?

Catherine nods.

RONNIE LITRE
I've seen every subtle change there
is in Nick's handwriting, from when
he's mad, tired, or in a great mood.
None of these match anything I've
seen. This T is too straight, too...
Forced. These are all slight imperfections,
so subtle I had to really dig, so
whoever wrote this either knows Nick's
writing or is an outstanding forger.

CATHERINE
Thank you, Ronnie. This will help.

RONNIE LITRE
Is he okay?

CATHERINE
Yes. Why?

RONNIE LITRE
Why would someone forge an address
in his hand? What were they doing that
for? Did he go to these addresses yet?

Her phone saves her from answering.

CATHERINE
I don't know enough to answer that,
yet, Ronnie. Thank you.

She answers her phone and he leaves.

CATHERINE
Willows.

Greg (on PHONE)
Come to the garage. I've got
something.

INT. CSI - GARAGE - NIGHT

Greg has overalls on and is at a computer running a comparison print. Behind him is Nick's rental car. It's on blocks and has been almost stripped. Catherine walks in, staring at the pieces.

CATHERINE
Greg, when I said be thorough, I
didn't mean quite this thorough.

GREG
Be glad I was. I found a print on
the bottom of the door in some grease.
It wasn't Nick's or any of the
employees at Savers Rental. Well,
at least none that I could find.

Catherine looks at him.

CATHERINE
There were employees you couldn't find?

GREG
One. They said he was a manager that
transferred from out of state and he
worked for three days, then just
never came to work. He gave an address
and phone number to a restaurant across town.

CATHERINE
Did they give you a description?

GREG
Yeah. I didn't get any hits. But
that's not what I called you for.

Greg reaches in a tray with containers and bags of trace, and picks up a capped plastic tube. Inside is a used three milliliter syringe. He hands her the tube.

GREG
That could easily fit into the palm
of a postman.

She looks up at him.

CATHERINE
Wait... Which car is this? I thought
you were taking the first rental
car and Riley had the second one.

GREG
That is the first one.

CATHERINE
I thought we were told this car was
detailed. Did they just happen to
remember this?

Greg grins.

GREG
Nope. This was in the wheel well in
some mud. So I'd guess that wherever
Nick was taken when they switched
cars, there was mud. For all we
know they injected him again and
threw this, but mud kicked up in
the wheel well and packed it in
there. When they detailed the car,
they didn't get in the wheel well, thankfully.

She hands the syringe back.

CATHERINE
Is Nick still here working on composites?

Greg nods.

CATHERINE
Ask him to make you one of this manager too.

He nods once, watching her leave.

INT. CSI - CORRIDOR

Catherine is passing the A/V lab and sees Archie and Nick working on a composite. Well, actually Nick is, Archie is playing with his cell phone. She stops, watching Nick. Warrick walks up beside her, watching him too.

It hits her how defenseless he is against whoever is out after him.

CATHERINE
(whisper)
Warrick... Watch his back.

Warrick looks down at her. She turns and walks away as she makes a call.

CATHERINE
Jim? Are you in your office? I need
you to do me a favor.

Warrick walks through the wall and stands next to Nick. Nick glances at him but says nothing.

INT. JULIA'S OFFICE - RECEPTION AREA - DAY

Brass walks into the office and stops at the desk, flashing his badge at Arlene.

BRASS
I need to speak to Julia Green.

ARLENE
She's with a client.

BRASS
I'll wait.

ARLENE
What's it regarding?

BRASS
Well, I'm trying to figure out how
a man who had no problems before he
started seeing her is suddenly having
all kinds of problems, and just how involved
she is on a couple attempts on his life.

Arlene and Brass stare at each other. Arlene looks down and picks up her phone, punching a button.

ARLENE
I'm sorry to bother you, Doctor
Green. There's an officer here to
speak to you.

Arlene hangs up.

ARLENE
She'll be out in a minute.

Brass sits down and he no sooner opens a magazine when Julia charges out of her office. She stops in front of him.

JULIA
What do you want?

BRASS
I'm here to talk to you about Nick Stokes.

JULIA
He missed his appointment today.
I'm going to have to--

BRASS
Yes, he did. His supervisors have
asked him not to come until we've
sorted out a few things. Starting
with why you're treating him like
you don't like him very much.

JULIA
Is that what he told you?

BRASS
No. I based that on some things
you've done.

JULIA
What did he claim I've done?

Brass digs out his notebook and flips to a page.

BRASS
Let's see here. You prescribed him
anti-psychotics, claiming they were
to help him sleep. Mysteriously, those
meds were mixed up, or so the pharmacist
and you claim. You asked for him to
release his session notes from his
personal therapist, and when he refused,
you demanded he be suspended
without pay. Then there's this
videotaping sessions without his permission?
(looks up at her)
Do you deny you did any of that?

She starts to reply and he smiles, motioning her to wait.

BRASS
I'm going to ask you to think on
that answer before giving it, because
if you lie to me, well, I might think
of a few charges here I could hold you on.

JULIA
The anti-psychotics were for sleep.
It's not my fault the pharmacy
messed that up. I--

BRASS
I hear you gave them to him without
him asking. Why is that?

JULIA
I wanted the notes so we could just
get started on his therapy. I--

BRASS
He was here for a psych eval, not
therapy. I've had a couple in my
time, and those psychiatrists never
needed anything from a previous doctor.

JULIA
I was being thorough.

Jim stands, putting his notebook away, and then looking her in the eye.

BRASS
Funny, Doctor Green, you don't seem
to be able to come with a lot of really
good answers for anything you've
done. Here's what I find interesting.
Nick has been seeing a therapist for
several years, and not once did she
prescribe him drugs, videotape his
sessions, or caused so much difficulty
in his work or personal life.

JULIA
Maybe she's not a very good therapist.

Brass smiles, then shakes his head.

BRASS
I doubt that. What can you tell me
about Nate Hutchins, Miranda Thornton,
and Hugh Kallen?

JULIA
Who?

BRASS
They're patients of yours.

JULIA
I don't have any patients by... Oh.
You mean the patients Nick invented
since he started here.

Brass is thrown a little.

BRASS
I'm sorry?

JULIA
He's been talking about them since
we started our sessions. They don't
exist. They never did.

BRASS
I tell you what, let's take a look
at a few of those tapes on days he
saw them here.
(pats notebook pocket)
I have a list of dates. Let's see
if they don't show up on them.

JULIA
Those fall under patient
confidentiality.

BRASS
Oh. Oh, I see. So tell me, how was
it wrong for Nick to deny you seeing
his therapy notes? Don't those fall
under patient confidentiality?

JULIA
It was his choice not to release
those to me.

BRASS
His choice?

JULIA
Yes.

BRASS
So because he chose not to release
them, that's why you asked for his
suspension and tacked two, then three,
then four weeks onto his psych
eval. Because he chose?

JULIA
Nick is a great danger to himself
and others, officer. After three
weeks, I don't need his session
notes to determine that.

BRASS
It's detective, doctor. I worked
hard to get that title.

Anger flashes across her face.

JULIA
You believe his hallucinations,
don't you? Has he told you about the
dead co-worker he talks to? And now
he has you believing I have patients
that I don't have. He isn't safe to
be on his own anymore. I have no choice
to have him committed.

BRASS
There is nothing wrong with him and
you know it.

JULIA
He is a danger to himself and others.
And now he's trying to make others
believe his hallucinations and paranoia.
For his own good, I have no choice.

Julia storms back into her office before Brass can rebuttal. He looks at Arlene. She quickly looks down, pretending to be busy. He walks over and she avoids eye contact with him.

BRASS
Does Julia have patients by the
name of Nate Hutchins, Miranda
Thornton, and Hugh Kallen?

ARLENE
I can't discuss anything with you.

He nods. He digs out a business card and sits it down in front of her. She looks up at him.

BRASS
When you find your guilty conscience
can't handle it anymore, give me a call.

He walks out of the office.

FADE OUT.

END OF ACT FIVE