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Act I

Ballet Studio

(Girl gets out of taxi)

Party Girl: Thank you.

(Girl walks down street into deserted alleyway)

Catherine: (voiceover) Being a detective is about drawing lines: the lines between us and them, good guys and bad guys, perp and victim.

(Girl dials phone)

Party Girl: Hey, uh, you must've drunk-texted me. There's no party here. There's nobody here. Um, call me back before my phone dies, okay?

(Girl looks around street; metal bars clatter behind her; girl turns toward sound, then looks up; Gemma seen falling through air, body lands next to Party Girl)

Catherine: (voiceover) Then there are the lines we draw to protect ourselves: rules, protocol. It's about not crossing those lines because when you do...bad things can happen.

Opening Montage

Catherine's Apartment

(Catherine looks through articles and files of Vanessa's murder; Heather comes through front door)

Catherine: Heather, hey.

Heather: You are looking at, potentially, the new second assistant at Pierce London PR.

Catherine: I thought you were staying at Brian's tonight.

Heather: Well...I decided to surprise you with some spicy tuna from Haru. (looking at Catherine's desk) So, what is all of this?

Catherine: Oh, I, uh...I guess I was just feeling a little nostalgic. You know, with Dad's engagement and everything. But that is so sweet of you.

Heather: Oh, it's the least I can do. You've been letting me crash here. (picking up picture) Oh! Oh, my gosh! Look at us at Camp Moose Pine. Remember how homesick I was?

Catherine: Yep.

Heather: You'd tuck me in every night and read me bedtime stories until I fell asleep. This belongs on the fridge.

Catherine: Heather...that last year with Mom – I was away at college, but you were home. Did you notice anything weird?

Heather: Define "weird."

Catherine: Like, were there any new people in her life? Did you overhear any odd conversations?

Heather: Okay, this does not feel nostalgic.

Catherine: I think I might have some new information on Mom's case.

Heather: Mom's case has been closed for nine years.

Catherine: Yes, but you know it never made any sense to me. The police said it was a carjacking, but those guys came at us like hired killers.

Heather: Cat, you also thought you saw a beast. Look...what you went through that night, (flashback of Vanessa's murder) I can't even imagine. (voice fades into background) But maybe it's time to leave the past in the past.

(Catherine notices article in files about DNA sequence alteration)

Abandoned Warehouse

(Catherine gets out of car, crawls under barbed wire gate; walks up stairs and opens door; J.T. swings bat at her; Catherine ducks, then kicks J.T. and flings him to the ground, choking him with bat)

J.T.: Ow.

Catherine: J.T.?

(Catherine gets up and throws bat aside; J.T. gets up)

J.T.: Of course. It's you. Did you not see the fence?

Catherine: You guys don't have a doorbell, and I need to talk to Vincent. (walks inside; J.T. stops her)

J.T.: No. You don't. You need to stay away. That's what barbed wire means.

Catherine: J.T., I-I found something of my mom's.

J.T.: Then put it in a scrapbook and leave.

Catherine: No, it's one of her old research papers. She was an infectious diseases doctor. Every other paper of hers is about parasites and viruses. This? This is about splicing DNA or something. I-I don't fully understand it, but I —

J.T.: No, what you don't fully understand is that we have managed to stay off the grid for nine years. Everyone thinks he's dead. Then you show up, and people start dying.

Catherine: People were dying before. Like my mom. Vincent was a part of their DNA-altering experiment. He's a doctor, he might know if it's related.

J.T.: I'm a biochemist. I say it's not.

Catherine: J.T., please, just give this to him. (puts down paper, answers phone) Chandler.

J.T.: You brought a cell phone here?

Catherine: Yeah, I'll be right there. (walks out)

J.T.: Why not a flashing neon sign? "Vincent Keller lives here."

Ballet Studio

(Catherine wipes dirt off her face)

Evan: Who are you making yourself look so pretty for?

Catherine: And if I said you?

Evan: That would be nice, especially since the other woman I'm here to see doesn't have a pulse. You missed a spot.

Catherine: Don't you have work to do?

Evan: And it's all over your knees.

(Catherine wipes dust from her pants)

Tess: Will you guys get it over with already?

Catherine: And be another notch on his belt? Besides, we work together. And who are you to dish it out, Miss I'm-on-a-Man-Cleanse?

Tess: Just saying, two of my five brothers met their wives on the force.

Joe: And now how about meeting your victim?

Tess: Love when the boss is in such a cheery mood.

Joe: What do you want me to say? "Nice non-regulation earrings"?

Tess: (removing earrings) What, we can't go out?

Joe: Name's Gemma Parker, age 22, danced for the Bertrand Ballet Company. ID'd her off her cell phone, which we recovered along with the body. The company's housed in the top floors of this building.

Tess: Security?

Joe: No cameras, no guards. Unis are canvassing for witnesses.

Catherine: What about the woman who called it in?

Joe: She provided the time of death, along with the party of the year was on 10th Avenue instead of 10th Street.

Victoria: (walking to crime scene) Oh, my God. Oh, my God, Gemma?

Catherine: (walking up to Victoria) Excuse me, Miss.

Victoria: (seeing Gemma) Oh, my God, what happened?

Tess: (stopping Victoria) Wait over here.

Victoria: I came...I came to meet her to rehearse.

Catherine: I'm sorry. You are?

Victoria: I'm-I'm Victoria Hansen. I'm her understudy. What? Did she fall?

Tess: We're not sure yet.

Catherine: Last time you spoke with her, did she seem upset or depressed?

Victoria: I-I mean...she was stressed. She's dancing Odette in Swan Lake. It's, like, the hardest variations in ballet and she was struggling, but...Why? You think she jumped?

Catherine: Excuse me a minute. (walks towards Evan)

Evan: Defensive wounds. Bruises to the face, cut to the scalp.

Catherine: So she was fighting someone off?

Evan: Is that what you were doing? When you were rolling around in the dirt?

Catherine: I was not "rolling," I tripped. Look, understudy makes it sound like she could've been primed for suicide.

Evan: What do you weigh?

Catherine: What?

Evan: You're probably the same size. What, a buck two? Based on the height of the building and how far into the street she landed, understudy was right about something. This was no accident.

Joe: (talking to all officers) Okay, coroner's office ruled out accidental death, so we're looking at a suicide or homicide. Perimeter's secure, so we need to do a sweep of the building, see what we can find. Steadman, Grant, you take the first three floors. Newman, Moore, next three. Chandler, Vargas, theater and above. Let's go.

(Tess and Catherine walk up stairs, onto stage and hear music playing)

Catherine: Where is that coming from? (notices door open in the back; Tess and Catherine walk up stairs, into rehearsal room) This must be where she was rehearsing. Music's still on. Window's open.

Tess: (turns off music, checks Gemma's wallet) Money's still in her wallet.

Catherine: There's no sign of a struggle in here. I'm gonna keep going. (leaves room)

(Catherine walks up stairs, opens door and steps onto roof; She notices ashtray, then piece of torn cloth and blood drops nearby; looks down onto street at crime scene.

Vincent appears behind Catherine, covers her mouth; Catherine starts struggling until she sees him)

Vincent: Shh, it's okay, it's okay. It's okay. It's okay.

Catherine: Vincent, what the hell?

Vincent: I heard you were looking for me. Okay, you can't just show up at my place like that anymore.

Catherine: Says the guy disturbing my crime scene.

Vincent: It's dangerous.

Catherine: Yeah, and J.T. might come at me with a bat again.

Vincent: I read your mom's paper.

Catherine: And?

Vincent: It's about genetic therapy for dengue fever. It's got nothing to do with the experiments they did on me or her murder.

Catherine: Then why were those guys following her? Were they Muirfield?

Vincent: Catherine, don't.

Catherine: Was she working on some other research for them?

Vincent: I don't know.

Catherine: But you told me that they were tracking her.

Vincent: Yes, so you would know it wasn't your fault and you would stop pursuing this.

Catherine: No, but it means that you know more than you're telling me.

Vincent: (looks down towards street) I know that woman is lying.

Catherine: What?!

Vincent: The other dancer you interviewed.

Catherine: How long have you been up here?

Vincent: Her pupils were dilated, she was sweating, I could hear her pulse racing.

Catherine: You could hear her pulse racing, from all the way up here?

Vincent: Yeah.

Catherine: Okay, well...maybe her pulse was racing because she just found out her friend died.

Vincent: Just trying to help.

Catherine: Vincent, I need help with my mom's case.

Vincent: No, okay? You are playing with fire. These people from Muirfield – they will not stop until they've buried me and anyone who knows about me.

Catherine: So it did have to do with Muirfield.

Tess: Cat? (Vincent and Catherine both turn towards voice; Vincent jumps over ledge and disappears; Catherine stares after him; Tess walks up to ledge and notices fabric) Blood, torn leotard. I don't think she jumped. This girl was up here with someone.

Catherine: Yeah, she was. (looks back at ledge where Vincent jumped)

Main Titles: Beauty & the Beast

Morgue

Catherine: (holds up bag) Smoke?

Evan: No, thank you, and from the looks of Gemma's lungs, she didn't, either.

Catherine: Looked like a smoking lounge. So what was she doing up there so late?

Evan: Taking in the view?

Catherine: Wasn't exactly a novelty. She'd been at the company four years.

Evan: Maybe she was with someone she knew, and they got into an argument, which would explain this – the cut on her scalp. It matches the end of this hairpin. (holds up bag) But there are no cells on it, which means, though, there has to be another one.

Catherine: Killer could have taken it.

Evan: And she had a powder on her hands. Could be makeup?

Catherine: Missing hairpin and makeup. Sound like a catfight to you?

Precinct Office

Catherine: Victoria Hansen. When you talked to her, did you get her alibi?

Tess: She was at home getting ready to go to the studio, but no one was with her to corroborate.

Catherine: According to the company Web site, she played Odette last year.

Tess: And now she's the understudy?

Catherine: Did it seem like she was lying to you?

Tess: Cat, it always seems like they're lying.

Ballet Studio

(Victoria rehearsing, cut to Catherine and Tess following Bertrand)

Catherine: So, Victoria has her old role back?

Bertrand: I begged the board to postpone the show, but financially, they said we just can't take the hit.

Catherine: Mr. Bertrand, as Artistic Director, you obviously worked closely with both Gemma and Victoria. What was their relationship like?

Bertrand: Oh, they were like sisters.

Catherine: Sisters can be competitive.

Tess: Especially given Victoria's demotion.

Bertrand: Demotion? No, she broke her toe. It sounds minor. It's a devastating injury. She had to leave the city for almost a year to recover.

Tess: It's not so devastating that she can't dance Odette now.

Bertrand: Look, Victoria didn't have to kill anyone. The role was already hers. We were just waiting for her to make a full recovery.

Tess: Wait. You mean, Gemma was only a temporary Odette?

Bertrand: That was no secret to anyone, including both the girls.

Catherine: Could there have been another rivalry between them? Maybe a boyfriend?

Bertrand: No, neither of them. I would know. The girls are here 24/seven, which is why I was pushing the board to pay for a security system. Anyone...(hands file to woman passing by) Thank you.

Woman: Thanks.

Bertrand: ...can just wander off the street.

Tess: Well, actually, one theory is, this is someone Gemma knew.

Catherine: We're gonna need you to show us her locker.

(Cut to Bertrand opening Gemma's locker, which is empty)

Tess: From the look on your face, I take it there's usually stuff in here.

Bertrand: Overflowing. I don't understand.

Catherine: Did anyone else have access?

Bertrand: Not that I'm aware of.

Catherine: Maybe she gave her combo to somebody.

Tess: Like a sister?

(Bertrand, Tess, and Catherine look to janitor's cart)

Bertrand: Maybe someone threw her things out.

(Tess and Catherine look through trash, find flowers)

Catherine: They're fresh.

Tess: Yeah, the only time I toss fresh flowers is when they're from someone I don't like.

Catherine: (rubbing her fingers together) Do you feel something powdery?

Precinct Office

Evan: (on phone) You're good, Chandler. Powder on her hands was lily pollen.

Catherine: She got flowers from someone she didn't like right before she died.

Evan: Ex-boyfriend? Overbearing stage mom?

Catherine: Her parents live in Ohio, and so far, no indication of a boyfriend. (taking file) Thanks.

Evan: Well, blood work says she had something. We found Mifepristone in her system.

Catherine: (on phone) Do you just use big words to make me feel dumb?

Evan: It's a medication, which, at these low doses, is used as the Morning After Pill. And no, it's to impress you.

Catherine: Well, what would impress me more is if you could tell me how Victoria fits in.

Evan: Ah, sticking with your catfight theory.

Catherine: Maybe it was, like – I don't know – a love triangle gone wrong?

Evan: Those never seem to work out, do they?

Abandoned Warehouse

(Vincent sits at his desk, suddenly looks up, aware; cut to Catherine standing outside the fence near her car. Vincent appears)

Catherine: I didn't want to get hit by a bat, and I'm not here about my mom.

(Catherine and Vincent sitting at his desk)

Catherine: So, working theory is, secret boyfriend but they're deli lilies, so they're untraceable.

Vincent: You want a drink or something?

Catherine: No, I want to figure out how Victoria fits into all this. Her alibi is weak, but she has no motive.

Vincent: Don't you have a partner to talk to about all this?

Catherine: You're the one who said she was lying.

Vincent: You're the one who said her pulse was racing because her friend died.

Catherine: Okay, so, is she guilty, or is she just trying to cover something up?

Vincent: A lie's a lie, okay? Just like you say you're here about your case, when you're really just wanting information about your mom.

Catherine: What, my pulse is racing, too?

Vincent: A little.

Catherine: I swear, I used to be a normal person.

Vincent: Well, from where I stand, you seem pretty normal.

Catherine: Well, so much for your super-senses. I saw this, um...old photo from camp yesterday. Couldn't even recognize myself. You know, ever since that day, I...I can't let it go. Just the thought that the people responsible for killing my mom are out there.

(Vincent walks away, then comes back and puts a photo down in front of Catherine)

Vincent: Can't recognize myself, either.

Catherine: Look at your hair.

Vincent: Yeah.

J.T.: (walking in) Ah. I thought I heard squealing. You owe me $29.99 for this lumbar pack. Can I, uh...?

Vincent: Yeah. (to Catherine) I'll be right back. (walks away with J.T.)

J.T.: You were supposed to deal with this.

Vincent: It's not about her mom.

J.T.: Oh, great. So now she's just dropping by for some chit-chat?

Vincent: J.T., relax.

J.T.: Relax?

Vincent: Yeah.

J.T.: Don't tell me to relax. I don't tell you to relax. You were gonna make sure she never came back here. And it's not just Muirfield I'm worried about.

Vincent: She's not going to expose us.

J.T.: I'm talking about you. You look like you're about to make her a playlist in there.

Vincent: Come on, J.T. We were talking about a case.

J.T.: It doesn't matter what you were talking about. You know what happened last time you were busy making playlists. And this would be worse. She's a cop.

Vincent: Yeah, okay, well, this isn't last time.

(J.T. walks away, Vincent walks back to Catherine)

Catherine: All good?

Vincent: Yeah.

Catherine: So who are they?

Vincent: Just guys.

Catherine: Were they part of...?

Vincent: Yeah.

Catherine: Will you tell me about them? Like...Like this guy (pointing to guy in photo) – who is he?

Vincent: That's Ray. We used to call him Pammy Sue. His girlfriend back home. He would always talk about her. Convinced she was cheating.

Catherine: Was she?

Vincent: He never got to find out.

Catherine: Vincent, you ever thought about coming forward? About what Muirfield did?

Vincent: You're kidding, right?

Catherine: No, we could investigate them.

Vincent: No, we are not investigating anything.

Catherine: But this photo – it proves that it wasn't just you.

Vincent: Do you not understand yet what these people from Muirfield can do?

Catherine: Okay, but if we did this right, you could come out of hiding. You could tell me what you know about my mom.

Vincent: And it comes back to your mother. Okay, yes, they were from Muirfield – the men that were tracking her. That is all that I know.

Catherine: Then we can work together to get these guys. I have access to databases, classified information

Vincent: Catherine, I'm a criminal.

Catherine: You're a victim.

Vincent: Don't you have some ballerina's secret boyfriend to track down? Yeah, maybe focus on that instead of starting a whole movement.

(Vincent walks away; Catherine continues to stare at pictures, then walks away)

Act II

Precinct Office

(Catherine puts photo on scanner, runs facial recognition on faces; then looks up Operation Muirfield)

Tess: (walking up to Catherine) So I haven't been totally honest.

Catherine: Hey.

Tess: My man-cleanse. I was on a date the other night.

Catherine: Yeah, your earrings kind of gave you away.

Tess: I just...I can't help it. I broke the diet.

Catherine: Well, unlike you, I cannot find any evidence that Gemma had a boyfriend.

Tess: It's not a boyfriend.

Catherine: Or why she took that Morning After Pill.

Tess: (noticing Catherine's screen) She dating a platoon?

Catherine: (hiding screen) Um...pop-up. But I did find something. Gemma's Facebook page. In the last six weeks, there are 22 posts from some guy named Allen Arabesque.

Tess: Arabesque? That is not a real name.

Catherine: (reading screen) "You even make drinking your latte seem graceful."

Tess: (reading screen) "You looked smokin' in those red jeans today. " God, this guy sounds like a stalker. I'd toss flowers from him, too.

Catherine: Well, let's talk to I. T. , see if we can figure out where this Mr. Arabesque is posting from.

(shot of Catherine's computer showing someone hacking and shutting down the computer)

(Cut to Catherine and Tess talking with Joe in his office)

Catherine: The IP address matches the computer at the Bertrand Ballet Company.

Joe: (reading file) Secret stalker at work?

Tess: Well, explains how he knew her day-to-day so well.

Catherine: We cross-referenced everyone's time cards with those postings. The only employee there every time was Julio Ramirez, the janitor.

Joe: So what's your theory?

Catherine: He came forward, confessed his feelings.

Tess: Gave her lilies.

Catherine: She rejected him, he killed her.

Tess: He would have had access to her locker. Maybe he was looking for those red jeans.

Joe: Sounds like you two should go find Julio.

Julio's House

(Catherine and Tess looking through Julio's closet, while Julio's mother watches)

Julio's Mother: Julio wasn't even working that night. He has Zumba class on Tuesday.

Tess: You sure he went?

Catherine: (showing Tess red jeans) I'm not.

(Julio comes through front door)

Julio: Ma, I'm home and I'm starving.

Julio's Mother: We're in here, hijo.

(Julio sees Tess and Catherine, then runs out; Catherine and Tess chase him out onto the streets)

Man: Easy, pal.

(Julio bumps into woman)

Woman: Hey!

Catherine: Move.

(Julio runs through crowd, Catherine and Tess chase after him)

Woman: Aah!

(Julio runs into alley, Tess and Catherine run in, and stop at junction point)

Catherine: I'll take this way.

(Tess runs one way; Catherine runs the other; Catherine walks into empty building, draws her gun)

Vincent: (off-camera) Where's my picture?

Catherine: (turns to him) Vincent.

Vincent: Now, where is it?

Catherine: I left it in my office. I was going to give it back. Look, you say you're a criminal, but you're a victim, just like my mom.

Vincent: That picture is not about your mother.

Catherine: No, it's about you...and it's about those guys in your unit – Raymond, Matthew, Eric. I ran it through facial recognition.

Vincent: Are you insane?

Catherine: It is evidence.

Vincent: Muirfield tracks everything.

Catherine: Okay...I have to go.

Vincent: You think I just want to show up here, put you and me both in jeopardy if I don't have to?

Catherine: Vincent, I am trying to help; that's what I do.

Vincent: Help who, Catherine – me, J.T.?

Catherine: And those guys in your unit.

Vincent: Oh, Raymond? Well, his parents thinks their son died a hero. You want to tell them that they turned him into a killing machine? And J.T., you know, he has risked his life the past decade trying to hide me in a warehouse.

Catherine: You shouldn't have to hide. That's why we have to build a case.

Vincent: (slowly transforming) I am not one of your cases!

Catherine: Vincent, this was a huge injustice.

Vincent: (in beast form) Stop! (smashes and cracks concrete wall next to Catherine; Catherine stands frozen while Vincent transforms back to human)

(Cut to Tess chasing Julio into corner; Julio tries to escape, but can't; Tess cuffs Julio)

Tess: (on radio) Cat, I've got the perp.

Catherine: (running up to Tess) Sorry.

Tess: There you are. You okay? You're shaking.

Catherine: Yeah, just winded.

Act III

Precinct Office

(Tess and Catherine sit in the interrogation room with Julio)

Tess: Julio, we just spoke to the Y. They confirmed you were at the 8:15 Zumba class the night Gemma was murdered.

Julio: I told you, I didn't do anything.

Catherine: That's not entirely true. You stole her things, and I think you did it because you cared.

Julio: I just wanted something to remind me of her. She was the only person who spoke to me there.

Tess: Did you give her flowers, too?

Julio: No.

Catherine: Julio, you kept pretty good tabs on Gemma. Did you see or hear anything that might help us figure out who did this to her?

Julio: I don't know what it was about, but, but a few days before she died, she went to a police station.

Catherine: How do you know?

Julio: I followed her. She seemed upset.

Tess: Which precinct?

Julio: 27th and Chelsea, near the ballet studio.

(Cut to shot of video on precinct monitor)

Catherine: (off-camera) Sign-in sheet says she walks in at 8:40.

Tess: There she is.

Catherine: (seeing woman walk up to Gemma) Is that Victoria?

Tess: (seeing Gemma push Victoria away) Ooh, Gemma does not look happy to see her. Gemma never filed a complaint. Maybe Victoria's trying to talk her out of it.

Catherine: Tess, this is dated four days ago. That's the same day Gemma got the Morning After Pill prescription.

Tess: So she had sex and then went to a precinct.

Catherine: Sexual assault.

Tess: Yeah, we should talk to that desk clerk, see if she heard anything.

Catherine: Do you mind taking care of that? There's something I need to follow up on.

Tess: Yeah, go do what you have to do.

Abandoned Warehouse

(Catherine walks up to fence, crawls underneath and knocks on door; J.T. opens door)

Catherine: Hey. I-I parked far away, I left all of my electronics at work.

J.T.: Come on in.

Catherine: Okay, okay. I'll I'll only be a few minutes. (walks in)

(Cut to J.T. and Catherine walking up stairs)

J.T.: No worries. May I get you something – water, soda, turkey sandwich? I think the turkey's still good. What's the cut-off – five days?

(Catherine sees loft empty, devoid of any items)

Catherine: What's going on?

J.T.: The turkey or...? Oh, you mean this?

Catherine: Where is everything?

J.T.: I'm assuming with him.

Catherine: Which is where?

J.T.: I have no idea, but wherever it is, it's safer than here, where you keep showing up.

Catherine: Okay, J.T., please, I just need to —

J.T.: What, see him again? Look around. This is not a subtle hint. He doesn't want to see you again. Not only do I not know where he is, I don't even know when or if he's coming back, so see yourself out.

(J.T. walks away; camera holds on Catherine)

Act IV

Ballet Studio

(Tess and Catherine walk into dressing room, where Victoria is standing)

Tess: Us again.

Catherine: You have a minute?

Victoria: Yeah, of course. I heard you guys think this is a murder.

Tess: Victoria, did you and Gemma have any issues or arguments just before she died?

Victoria: No. I mean she'd been on me about these crazy diets I've been on, and I guess I got defensive. But when I was out with my toe, I gained, like, 15 pounds.

Catherine: And Gemma felt the need to report that to the police?

Tess: Or was this about a sexual assault?

Victoria: Okay...look...I don't really know what happened. That's why I didn't mention it.

Tess: Who's the guy?

Victoria: I don't know. When I went to meet her at the precinct, she was so emotional, I could barely understand a word she was saying.

Catherine: So you talked her out of reporting anything?

Victoria: No. No, she's the one who wanted to leave.

Tess: And you let her, knowing what this was about?

(Catherine notices picture of Victoria with flowers in her locker)

Catherine: You know, Gemma got those exact same flowers the day she died.

Tess: Who gave you those?

Victoria: I don't remember. We get flowers all the time. That picture is from, like, last year.

Tess: Were they from Joshua? Yeah, I just spoke to the desk clerk at Precinct 27, and she didn't hear anything about pressure, but she did say you and Gemma were arguing about some guy named Joshua.

Victoria: I don't know a Joshua. Desk clerk must have heard wrong.

Tess: All right. Well, if you remember things differently, give us a call.

Victoria: Yeah. (walks out)

Catherine: So I guess we go back over everything.

Tess: Yeah, maybe try to lip-read the precinct footage, 'cause now she really seems like she's lying.

Catherine: Yeah, she does.

Catherine's Apartment

(Catherine looks at case file, Heather walks in)

Heather: Cat, I'm moving back to Dad's.

Catherine: What?!

Heather: It's just all this stuff – the-the board, the boxes. I don't want to remember Mom like that.

Catherine: I didn't mean for you to see that. I'll keep it in my room.

Heather: But it-it's more than that. After Mom, I felt kind of like I lost you, too.

Catherine: (looking at phone) It's work.

Heather: Yeah.

Catherine: I'll just be two seconds, okay? (answers phone) Chandler.

Larry: Detective Chandler, it's Larry from I.T.

Catherine: Hi, Larry, how's my computer looking?

Larry: Well, I-I don't know what you did, but it triggered some nasty malware. The entire hard drive has been wiped clean.

Catherine: (in flashback) I ran it through facial recognition.

Vincent: (in flashback) Are you insane? Muirfield tracks everything.

Catherine: Can we tell where it's from?

Larry: I doubt it. This is some seriously bad-ass stuff. This is like the Ebola of malwares. You should get in here, tell me what's important, I'll see if I can salvage it.

(Shot of Catherine driving down street, messenger bike driving next to her; Catherine keeps looking in her rear-view mirror; biker suddenly appears in front of car; Catherine hits brakes and biker "falls" over; Catherine gets out of car and goes towards biker)

Catherine: Oh, my God. Are you okay? I am so sorry.

(Biker pulls out gun and aims at Catherine; Catherine moves out of way just before biker fires; Catherine kicks gun of his hands; Catherine and biker fight; Biker wraps bag strap around Catherine and throws her against wall repeatedly; Catherine falls to ground

Biker tries to strangle Catherine using strap; Vincent appears and throws biker onto nearby car, setting off alarm. Vincent walks toward body)

Catherine: Vincent? (Vincent stops, and looks back at Catherine) It's okay. I'm okay. (Both look at each other for moment, then Vincent runs away)

Man: (off-screen) Want me to call the cops?

Catherine: I am the cops.

Act V

Morgue

Evan: Victim shows signs of lacerations and subcutaneous hematoma, indicating blunt force trauma to the head and neck.

Catherine: I jumped out to help him, he came right at me – classic mugging scam.

Evan: No visible chest or torso injuries, no evidence of clinical fractures. You were off duty, right?

Catherine: Yeah.

Evan: Oh, he caught you while your guard was down.

Catherine: I thought it was up.

Evan: And there were no weapons involved?

Catherine: No, I used the force necessary to defend myself. He fell backwards, must have hit his head on the back of the car.

Evan: Cortex appears to be lacerated.

Catherine: Guess that's why bikers should wear helmets, even if they are muggers.

Evan: Yeah, but to cause this kind of impact, for somebody who's a buck two, you must have really been working out.

Catherine: Adrenaline kicked in. Evan, I obviously didn't mean for this to happen.

Evan: No, of course not. It's just...Are you sure that you did this?

Catherine: Yes. Why would I lie about it?

(Joe enters morgue)

Joe: Hey.

Catherine: Hey.

Joe: You okay?

Catherine: Mm-hmm.

Joe: You sure?

Catherine: Yes.

Joe: Evan...so, what am I telling Internal Affairs?

Evan: That it was self-defense.

Precinct Office

(Tess and Catherine in interrogation room with Victoria)

Catherine: I've been thinking about the lines we cross for the people we care about. Like telling a lie, or going too far, no matter who else gets hurt. Who could be that important to you, Victoria? A secret boyfriend named Joshua?

Victoria: There is no boyfriend named Joshua.

Tess: No boyfriend, but there is a Joshua.

Catherine: We remembered your toe injury. Most athletes – they get hurt, they sit on the sidelines and watch, but you moved away. For almost a year. And you gained 15 pounds doing it.

Tess: You know, we, um we subpoenaed your medical records. (puts down file) Your doctor wasn't an orthopedist. She was an OB. You were pregnant.

Catherine: That's who Joshua is. He's your son.

Tess: And those lilies – you got yours last year, right around the time Joshua was conceived. Gemma got the same ones after she was sexually assaulted.

Catherine: That's what the fight in the precinct was about. Gemma wanted to come forward, but —

Victoria: No, he's a player, but he's not...He doesn't have to force himself on anyone.

Catherine: Maybe with Gemma, he did. And maybe he pushed her off that roof to keep her quiet.

Victoria: I didn't want to believe...After she went to the precinct, I told him what she was saying. He swore it wasn't true. I didn't have a father growing up. I didn't want that for Joshua. I was just trying to protect my son. He did it, didn't he?

Catherine: Who, Victoria? Who's Joshua's father?

Ballet Studio

(Bertrand walks across stage, where dancers are rehearsing; Catherine and Tess walk into stage)

Bertrand: Strong center. Support. Soft fingers.

Catherine: Mr. Bertrand, we need to speak with you outside.

Bertrand: I'm in the middle of rehearsal.

Catherine: We spoke to Victoria Hansen.

(Tess, Catherine, and Bertrand walk outside)

Tess: Put your hands behind your back.

Bertrand: This is ridiculous.

Tess: We found Gemma's hairpin in the Dumpster outside your apartment. Yours and her DNA are on it.

(Catherine puts cuffs on Bertrand and leads him away)

Catherine: You're under arrest for the rape and murder of Gemma Parker. Anything you say can and will be used against you...

(cut to Catherine writing at her precinct desk)

Catherine: (voiceover) The thing is, it's hard to always stay inside the lines. So we do the best we can.

(Cut to shot of J.T. taking coffee from the vendor)

J.T.: Ah. (sees Catherine walking up to him) What, do you have a tracking device on me now?

Catherine: Your TA said you couldn't give a lecture without your skinny caramel macchiato. I wanted to return this. (hands J.T. the photo) And if you do see him again, maybe you could give this to him, too? (hands J.T. letter) I'm sorry I screwed things up for you guys. (walks away)

Catherine's Apartment

(Catherine closes door, sees Heather with her luggage)

Catherine: I didn't realize you were leaving today.

Heather: Figure I get a jump start on Plan B. Oh, um, I have your key for you.

Catherine: (walks up to Heather) I don't want you to go. The boxes, the board – I shouldn't have left them out. She was your mom, too.

Heather: It's okay.

Catherine: No, it's not. I want to get back to where we were.

Heather: You don't have to —

Catherine: I am not just saying it.

Heather: (pointing to Catherine's neck) Do you have a hickey?

Catherine: (touching her neck) No, no, this is a work injury.

Heather: Oh.

Catherine: But if it's ever anything that exciting, I promise I'll tell you. Please stay.

(Heather hugs Catherine)

Heather: I'll go unpack. (walks away with luggage)

Catherine: Okay. And next week's sushi is on me.

Heather: Twist my arm.

Catherine: (voiceover) But somewhere along the way, I forgot that if you care about someone, you need to pay attention to their lines, too.

(Catherine leafs through mail, sees plain paper note; opens it; shot of note saying "Ballet roof" in Vincent's handwriting)

Ballet Studio

(Catherine walks onto roof, towards ledge Vincent is sitting on)

Vincent: I didn't know where else to meet.

Catherine: Vincent, I'm sorry I took the photo. You've been betrayed by so many people, and then I go and —

Vincent: Cross the line? (gets down off ledge, pulls out Catherine's letter from jacket pocket) I read your four-page manifesto – well, at least the first two pages, anyway.

Catherine: Okay, look, you were right. I haven't been thinking about anyone but myself. I have been so consumed with trying to figure out who did this that I push people away. I turn them into a case. But I won't bother you anymore. This time, for real; you can go back to the warehouse, and I promise that I will never say anything to anyone.

Vincent: That'd be great.

Catherine: Yeah.

Vincent: But...as much as I keep saying "Stay away," I...keep showing up, too. You know, the truth is...I don't really have anyone to contact. You know, I mean, there's J.T., but that's J.T. And, uh...you've seen me when I don't want anyone to see me, and you still haven't run.

Catherine: Looks like you haven't run from me either. Can we start over?

Vincent: Yeah.

(Vincent and Catherine look at photo, continue to talk in background)

Catherine: (voiceover) Like I said, being a detective is all about drawing lines, but being human – I think maybe it's about knowing how and when to cross them...together.

End

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