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#203 : Un trait sur le passé


Titre original : "The Truth Is Out There"

Réalisé par : Tony Wharmby   Ecrit par : David Amann
1ère Diffusion USA : 07/10/2002   1ère Diffusion FR : 13/04/2003

Jordan emmène Nigel dans un supermarché. Elle lui a bandé les yeux et il s'attend à une belle suprise. Il ne cache pas sa déception lorsqu'il voit qu'il est simplement arrivé dans un supermarché, où Jordan veut acheter un cadeau pour son père. Elle lui explique qu'elle lui a bandé les yeux car elle était certaine qu'il ne l'aurait pas accompagnée. Alors qu'ils choisissent une tondeuse à gazon, Jordan et Nigel entendent un cri. Un vieil homme vient de s'effondrer, apparemment victime d'une crise cardiaque. Plus tard, un avocat réclame le corps du défunt et refuse qu'il soit autopsié. Jordan et Nigel sont très intrigués. Ils mènent leur enquête...


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Plus de détails

Titre VO
: Un trait sur le passé
Titre VF : The Truth Is Out There
Diffusion USA : 07/10/2002 
Diffusion FR : 13/04/2003
Ecrit par : David Amann
Réalisé par : Tony Wharmby  

Résumé : Jordan et Nigel enquêtent sur un décès suspect. La victime semble avoir été terrassée par une crise cardiaque. Mais un individu se faisant passer pour un avocat a tenté de s'emparer de la dépouille à la morgue...

The Truth is Out There


[Scene: Car Park. Jordan and Nigel are sitting in a car. Nigel has a blindfold on.]

JORDAN: We're here. Count down to ecstasy.

NIGEL: Oh, you are naughty. Have you taken me some place seedy and awful? The lotel motel. Hey, did you bring any feathers? I'm quite fond of having my...

JORDAN: Just take it off, Nige.

NIGEL: I love it when you tell me what to do.

(Nigel takes off the blindfold and notices they're parked in front of Total Mart.)


[Time lapse. Jordan and Nigel are walking towards the door.]

NIGEL: You know that moment right before I took off the blindfold, I was so happy. Awful thing to strip a man of his illusions.

JORDAN: Look at it this way. Would you have come if I just flat out asked you?

NIGEL: No. Why would you want me to?

JORDAN: I wanna get my dad a gift.

NIGEL: And this concerns me how precisely?

JORDAN: I found him something but I need a second opinion. You know, a manly perspective. Well, desperate times call for desperate measures.

(They walk into the shop.)

GREETER: Good morning to you. Welcome to Total Mart. Anything you want, I'm at your service.

JORDAN: Well, for starters you can fork over some of that positive attitude.

GREETER: Oh, I can do better than that, young lady. I'll give you the key to happiness.

JORDAN: Oh, well, I've looked all over the place for that. Who knew I'd find it here at Total Mart.

GREETER: Oh, it's quite simple, really. Don't let the hardship of the past rob the joy from the present.

JORDAN: Well, not a bad tip. Unfortunately for me it's about 20 years too late.

GREETER: I can assure you it's never too late.

JORDAN: You know, I'm gonna hold onto that. Thank you. You have a nice day.

GREETER: That's supposed to be my line. (He kisses her hand.) Bye, bye.

JORDAN: Bye. (Jordan and Nigel walk away.) What a cool guy. Imagine having a dad like him though. You know, kind of cute and cuddly, says what's on his mind.

NIGEL: Yeah.

JORDAN: (sarcastic) Yeah, just like my dad.

NIGEL: I thought you and Max were getting on.

JORDAN: Yeah, because we're avoiding each other. I figure maybe a peace offering is just the ticket. (They walk up to a ride-on mower.) So what do you think?

NIGEL: A tractor?

JORDAN: A riding mower.

NIGEL: It's a bit excessive, isn't it?

JORDAN: It's perfect for him.

NIGEL: It's just that given your recent conflicts with him, a gift like this could be misconstrued.

JORDAN: Misconstrued how?

NIGEL: Max has his secrets, does he not? About his past, your mother's death, and you've tried in various ways to make him reveal the truth and...

JORDAN: And now I'm trying to do it by bribing him?

NIGEL: No, no.

JORDAN: Is that what you think?

NIGEL: No, it's not. I'm just saying that I don't think this is the best way to get things back on track, that's all.

(They hear a woman scream.)

WOMAN'S VOICE: Help! We need some help over here!

(Jordan and Nigel rush over to where a crowd of people have gathered.)

JORDAN: Excuse me. (They push their way through the crowd and find the greeter unconscious on a lounge chair.) Call 911. (Nigel calls 911.) Sir, help please.

(A man helps Jordan lay the greeter on the floor. Jordan starts CPR.)




[Scene: Total Mart. The greeter couldn't be revived.]

NIGEL: His name is Clive Alpert. Apparently he's been a greeter here for 10 years. Coroner's van's on his way. Heart attack?

JORDAN: Looks like it.

NIGEL: You did everything you could.

(People near by stare at them.)

VOICE: Whoa, dead body.

JORDAN: Hey, could we show a little respect here?

NIGEL: I'll take care of this. (to crowd) All right, all right, now stop with the looky-loo crap, all right? Just go back to your lives. Come on, come on, nothing to see here.

(A man and a woman paramedic bring in a stretcher.)

JORDAN: Sorry, guys, I think we're way past the ambulance phase.

MALE PARAMEDIC: This is the patient, right? We got a call on a heart attack.

JORDAN: Yeah, well, then you should've received the second call cancelling the first. We ran CPR and defibbed for three seconds...

MALE PARAMEDIC: Ma'am, ma'am, we gotta take him to the hospital so a doctor can pronounce him.

JORDAN: Yeah, I am a doctor and I already did. (She holds up her badge.) Believe me, I know dead when I see it.

MALE PARAMEDIC: Uh, I'm afraid I'm gonna have to follow procedure here, doctor.

JORDAN: I'm not letting you bill his family for a pointless trip to the hospital. He's going with me.


[Scene: Outside ME's Office. Garret pulls into a car park. He sees a sign on the wall in front of the parking space. It reads: "This space reserved for Dr. Elaine Duchamp only. All others will be towed."]


[Cut to the Crypt. Garret walks out of the elevator.]

EMMY: Dr. Macy, I was starting to get worried. Bottleneck on the 90 again?

GARRET: Bottleneck implies the traffic was actually moving. And including my parking spot, that was the real highlight of my morning.

EMMY: Sir, Dr. Duchamp wanted a word with you.

GARRET: Good, 'cause I want a word with her.

EMMY: I thought you might so I tried to call you on your cell...

GARRET: The battery crapped out. Is my name still in my office or did that get switched too?

EMMY: I'm sorry? (He walks down the corridor.) Sir, about Dr. Duchamp. She wanted me to tell you that if...

GARRET: Where is she?

EMMY: I'm trying to tell you. You were late and she had an appointment to make, so she told me that she wants you to meet her there.

(She holds out a note. Garret snatches it off her.)


[Cut to the Lobby. Jordan and Lily are there.]

JORDAN: I'm just used to the living and the dead being separate, you know? Our worlds are colliding.

LILY: Jordan, if you want to talk.

JORDAN: Thanks for the offer but I think you should save it for the people he left behind.

LILY: That's probably true. I got a hold of Mr. Alpert's son, Dale. He's pretty upset.

JORDAN: I'm sure he is. His dad was a really sweet guy.

(A man walks up to them.)

MAN: Dr. Cavanaugh? Louis Pate, attorney at law. (Lily walks away.) I gather you're handling the Clive Alpert case?

JORDAN: Don't tell me I'm being sued.

LOUIS: No, I represent the decedent's son, Dale Alpert. He's quite distraught right now and he's asked me to handle the arrangements in regard to his father. You see, it's my client's request that his father not be subjected to an autopsy.

JORDAN: I'm inclined to go along with that. Given Mr. Alpert's age and history of heart trouble.

LOUIS: I'm pleased to hear it. The sooner we can hold the funeral, the sooner Dale can start the healing process.

JORDAN: Well, the body and personal effects can be released probably by the end of the day.

LOUIS: We'd prefer it to happen sooner.

JORDAN: End of the day is pretty soon. I mean, it's not like we have a drive through window here.

LOUIS: Doctor, surely the process can be expedited.

JORDAN: But even if I rush the paperwork, it still takes time to arrange transport to the mortuary.

LOUIS: There's transport standing by right now. We just need to sign out the body.

JORDAN: What the hell is going on here?

(Lily and Dale walk in.)

LILY: Jordan? This is Mr. Dale Alpert.

JORDAN: I'm very sorry for your loss. But what exactly is the big hurry here?

DALE: I'm not sure what you mean.

JORDAN: I mean your attorney's ready to wheel the body out here himself.

DALE: My attorney?

JORDAN: Louis Pate. He's right...

(She looks behind her and Louis has gone.)


[Scene: Cemetery. Garret walks up to Elaine.]

ELAINE: Garret, you got my message.

GARRET: Loud and clear. About as subtle as a pipe bomb. Now I have a message for you.

ELAINE: Believe me, I was shocked to see my name on your space. Graphics apologised for the mix up and promised to be corrected by end of business today.

GARRET: You could've told that to Emmy instead of asking me to come out just to hear it from you.

ELAINE: We have another matter to discuss, Garret, of a more delicate nature.

GARRET: What matter?

ELAINE: Three years ago, Diane Clark, a transient and known drug user OD'd on heroin, or at least according to her autopsy.

GARRET: Not sure I follow. Are you saying a mistake was made?

ELAINE: Diane Clark came here from Detroit, right around the time that addicts were dropping there like flies from a bad batch of heroin laced with rat poison. It just got around to catching the wacko responsible. Detroit police believe that she may be linked to the suspect.

GARRET: Well, if the question is did she OD or was she poisoned, the answer is test her tissue samples. We should still have them.

ELAINE: We don't. In fact, samples from her may never have been taken. Based on the report, the autopsy was done in a very deficient matter which is why I've ordered the body exhumed.

GARRET: Let me clear up a misconception here, Dr. Duchamp. You're second chair, not first. You find evidence of a slip shot exam, you come to me immediately. As far as having a body exhumed, that calls by me and me alone. Is that clear?

ELAINE: I was trying to protect you from any appearance of conflict of interest.

GARRET: Where's the conflict?

ELAINE: You did the autopsy, Garret.


[Scene: ME's Office. Conference Room. Dale is there. Jordan walks in.]

JORDAN: I called the ABA. Whoever Louis Pate is he isn't a lawyer. I doubt his name's even Louis Pate.

DALE: My father came to Ellis Island with nothing but the lint in his pockets. Worked hard, made a life for himself and his family. And for this to happen. It's violation, violation of his memory.

JORDAN: We'll get this all sorted out, Mr. Alpert. For starters I've called the police. Detective's on his way over here.

DALE: Little late for that, isn't it?

JORDAN: Well, not if your father had enemies.

DALE: Dad didn't have enemies. He's the most decent man I ever know. Someone who touched the lives of everyone he met.

JORDAN: Yeah, I can see that. I was there in the store when it happened.

DALE: Did you talk to him?

JORDAN: Just briefly when I came in.

DALE: How was he?

JORDAN: Happy.

DALE: Why would someone try to take his body?

JORDAN: Possibly to conceal cause of death.

DALE: Are you saying he was killed?

JORDAN: I'm saying I think we should do an autopsy.


[Cut to Lily's Office. Garret is there. Lily walks in.]

LILY: Dr. Macy, hi.

GARRET: Hey. Thought I'd stop by and see how you were settling into your new office.

LILY: Great. Is that one of my intake files?

GARRET: I'm just doing a little research.

LILY: Oh. (She looks at the file.) Diane Clark.

GARRET: Yeah. I guess you've heard. It's probably all over the building by now.

LILY: Oh, I'm sure it's not true.

GARRET: Dr. Duchamp was to spread the word. She's after my job, Lily. This is about hard ball politics, pure and simple.

LILY: I thought this was about an autopsy.

GARRET: She's just using that to undermine me to attack my credibility.

LILY: Well, that is just going to back fire on her, right? Once all the facts came out. Garret?

GARRET: I have a little problem. Even after reviewing my own report, I can't recall a single thing about this woman.

LILY: That must happen once in a while.

GARRET: Not with me. It never happens. How can I defend myself against Elaine Duchamp if I can't remember the case?


[Cut to Autopsy. Jordan and Nigel are autopsying Clive Alpert.]

NIGEL: I suppose this has kind of hit home, right?

JORDAN: How so?

NIGEL: The bond between parent and child torn suddenly by death. The fragile fabric of our existence and all that. I mean, Max is getting on in years after all.

JORDAN: This case isn't about me. Or me and Max.

NIGEL: But my point is...

JORDAN: I know what your point is, okay? End of conversation.

NIGEL: Okay, so um, hard to fathom why someone who murdered the old bugger.

JORDAN: I'm not so sure anyone did. I mean, he had a history of coronary artery disease.

NIGEL: But if it's natural causes, why would someone try to pinch the corpse?

JORDAN: I couldn't have put it better myself. Though I would stay clear of the words "pinch". (They look at a sheet of paper.) That's weird. His pulmonar stats are sky high. The marker for a massive heart attack.

NIGEL: Well doesn't that confirm your theory?

JORDAN: No, I mean, massive, massive. With these enzyme levels, it would've been bang, Clive drops dead instantly.

NIGEL: I'm afraid I still don't see your problem.

JORDAN: Well, the store just opened, Clive was starting his shift. Why didn't he collapse at the entrance? How did he end up in a chair in the furniture department?


[Scene: Total Mart. Surveillance Room. Jordan, Nigel and two men are there.]

JORDAN: Can you fast forward it?

NIGEL: There's a stampede of consumers, why would he leave his post?

JORDAN: Can we pick him up from another camera?

(They watch as Clive makes his way over to the furniture department clutching his stomach.)

NIGEL: Well, he looks unwell. I thought you said a heart attack like his would hit straight away?

JORDAN: Yeah, it would. I don't get this. Uh, let's go back to the first angle when Clive walked away. Freeze.

NIGEL: What? What is it?

JORDAN: Now let's go to the furniture department when the paramedics showed up. Okay, freeze that. Can you blow up the paramedic? Okay, now let's do the same thing with the guy shaking Clive's hand at the door.

NIGEL: They're the same man.


[Scene: ME's Office. Corridor. Jordan and Nigel are showing Garret the surveillance photos of the man.]

GARRET: There's a resemblance. What about it?

JORDAN: Well, it raises a few questions, don't you think?

GARRET: They say everybody's got a twin. My uncle Pete's a dead ringer for Boris Yeltsin.

JORDAN: This isn't two people, Garret. This is one man. He shakes Clive's hand and Clive kicks the bucket. Next thing you know he's back to EMT.

NIGEL: Yeah, but not from any local ambulance firms either. Because they all have company names sewn on their shirts and shoulder patches. This gent doesn't have any of that.

GARRET: Maybe he ran out of clean uniforms. Look, I don't have the patience to guess where you two are going with this, all right.

JORDAN: We think that this guy killed Clive Alpert.

GARRET: How? By shaking his hand?

NIGEL: Possibly, yeah. I mean, there are numerous toxins transmittable through close contact that could mimic a heart attack. It's not so far fetched. In 1978, the KGB assassinated a journalist in London with a poison tipped umbrella.

JORDAN: Okay, maybe the KGB thing isn't the best example but look how this all lays out. Clive dies right after meeting this guy who then dresses up as an EMT who tries to take the body. Another guy dressed up as a lawyer, tries to do the same thing. Something really funky's going on here.

GARRET: Then you should be telling this to the police, not to me. Oh, okay, you already talked to them but they didn't buy it.

JORDAN: They're on the fence, they just need a little nudge. Come on, Garret, what do you say?

GARRET: I can't make that call, Jordan.

(They walk into his office.)

JORDAN: You can't or you won't?

NIGEL: Why don't I just wait outside?

(He does so.)

GARRET: All right, I won't make that call. The last thing I need right now is you kicking up a lot of dust. Not with Elaine investigating...

JORDAN: It's sickening. You're afraid for you job?

GARRET: My job would be a hell of a lot more secure if it weren't for all the times I went out on a limb for you.

JORDAN: So what, I'm supposed to back off because you're on the bubble?

GARRET: You're supposed to bring me proof. I'm not sticking my neck out for some wild ass conspiracy theory. Proof, Jordan. Now put up or shut up.


[Time lapse. Autopsy. Jordan and Nigel are autopsying Clive Alpert.]

JORDAN: I got your proof right here.

NIGEL: Question is, what nasty little substance is gonna turn up?

JORDAN: You tell me. What's the hot KGB poison these days?

NIGEL: Well, for something that might trigger a heart attack? I favour extract of ascelepius or perhaps a variant of vactrivectrus (sp?).

JORDAN: Boy, you took the words right out of my mouth.

NIGEL: See, none of these would show up on a normal tox screen but our friend the gastromatograph reveals all.

JORDAN: And you know about this how?

NIGEL: Courtesy of the royal navy.

JORDAN: Since when does tox and expertise go hand in hand in swabbing decks?

NIGEL: I had some exposure, shall we say to the dark art of counter intelligence.

JORDAN: You were a spy?

NIGEL: I really don't appreciate your tone.

(Elaine walks in.)

ELAINE: Excuse me, Dr. Cavanaugh. But is it really your attention to order a gastromatograph on this man?

JORDAN: You bet.

ELAINE: Even though he died of a heart attack?

JORDAN: I think he had a little help.

ELAINE: I don't see that indicated anywhere on your preliminary report.

JORDAN: This is my case, Elaine. I don't even see why we're having this conversation.

ELAINE: Well, I can't in good conscience authorise that kind of blood work, not with the tox lab stretched to maximum.

JORDAN: Actually, that is not your call. It's Dr. Macy's.

ELAINE: Well, special test orders go through me now. I'm trying to lighten his work load.

JORDAN: Is that what you're doing?

ELAINE: Let's not make this about Dr. Macy.

JORDAN: Well, that'd be a lot easier if you got off his back and let him do his job.

ELAINE: Mr. Alpert's son is grieving and I won't let you needlessly drag this out. I want your final report turned in by day's end.

(Elaine leaves the room.)

JORDAN: Well, that puts a crimp in things.

NIGEL: Did you see this?

JORDAN: What about it? He had a tattoo removed.

NIGEL: The ink is likely still in the tissue, right?

JORDAN: Nigel, we have bigger things to worry about than his tattoo.

NIGEL: I don't believe it.

JORDAN: What? (Nigel takes a photo of the tattoo.) What is it?


[Time lapse. Computer Room. Jordan and Nigel are there. They have printed out the photo of the tattoo.]

JORDAN: Okay, so he had a tattoo of a circle.

NIGEL: Actually, it's the gothic letter O.

JORDAN: Come on, Nige, the suspense is killing me here.

NIGEL: Gothic O on Clive's upper left arm. It's the first time I've ever seen one in the flesh, as it were. Anyway, what we have here is a blunt group tattoo given only to officers of Waffen SS.

JORDAN: So what are you saying? That sweet old Clive Alpert was a Nazi?

NIGEL: Yeah.

JORDAN: Come on, Nigel, there's gotta be another explanation for this tattoo.

NIGEL: Like what? He's the right age, he came here after the war.

JORDAN: From England.

NIGEL: He could've fled there from Germany. Which is why I'm running a facial recognition program checking his DMV picture against the database of Nazi war criminals. It's really cool. It looks at things like bone structure, distance between the eyes.

JORDAN: You're really serious about this?

NIGEL: Yeah. (The computer beeps.) Ladies and gentlemen, we have a possible match. Herman Grace. An SS lieutenant. Oxford educated. Grace spoke fluent English. He vanished in late '45 near the end of the war. Prior to that he met the incoming trains at Raven's Point concentration camp. If this is our guy, it's not the first time Clive's been a greeter.

JORDAN: Even so, it still doesn't explain why someone would want to kill him half a century later. This would rock his son's world. I mean, he's already devastated.

NIGEL: We probably shouldn't tell him, or anyone really. This is a possible match. There are intriguing similarities to be sure, but we need something conclusive. We need fingerprints.


[Cut to the break room. Bug is there making a coffee. Garret walks in.]

GARRET: Hey, Bug. How's the java?

BUG: Like a water sample from Luft canal.

GARRET: Better than usual, huh? Maybe I'll join you. Listen, I imagine you know what's going on. (Bug nods.) Anyway, I was just going over Diane Clark's autopsy report. I noticed that you examined her in connection with the larval...

BUG: Larval development relative to body decomposition.

GARRET: Right, so I was just wondering...

BUG: You know, I really gotta finish up Mr. Fisher.

GARRET: He's dead, Bug. He can wait. I need to ask you about Diane Clark.

BUG: I'm sorry, Dr. Macy.

GARRET: What do you mean you're sorry? I'm still chief medical examiner here. You still work for me. If I have questions, I expect answers.

BUG: I understand that but I can't talk to you about this case.

GARRET: Why not?

BUG: Dr. Duchamp is doing the second autopsy on Diane Clark and she asked me to assist. I'm sure you can understand.


[Scene: Outside Clive Alpert's House. Jordan and Nigel are walking up to the front door.]

NIGEL: Do you know how many laws we're violating here? Stealing morgue property.

(Jordan takes the keys out of the personal effects envelope.)

JORDAN: Technically it's Clive's property. We're just borrowing it.

NIGEL: What possible value could there be to breaking into the guy's home?

JORDAN: Maybe his home can tell us what his body can't. Come on, 007. Where's your sense of adventure?

(They unlock the door and walk inside. The place is trashed.)

NIGEL: Blimey, someone gave this place a going over.

JORDAN: If they were trying to cover up a murder, why would they trash the place?

(Nigel looks at some photos of Clive and Dale.)

NIGEL: I can see why Mr. Alpert's son is so devastated. They seem very close.

JORDAN: Pictures don't tell a whole story.

NIGEL: They tell part of it. Bet there aren't three photos of me with my father. I envy anyone who has a dad who actually wants a relationship.

JORDAN: Check out this clock. It stopped at 8:08. Total Mart doesn't open until 9am. Which means they ransacked this place before Clive died. Whatever they were looking for they couldn't find it, so they went after Clive. Maybe it isn't his body they want at all. What if it's his personal effects they they're after?

(She pours the personal effects out of the envelope.)

NIGEL: I thought of that already and went through everything with a fine tooth comb. There's nothing there.

JORDAN: There has to be.


[Scene: ME's Office. Autopsy. Bug and Elaine are there. Diane Clark's body is laying under a sheet. Garret walks in.]

GARRET: All the summoning's getting a little bit obvious, Elaine. What's this about?

ELAINE: What is some of the physical signs of heroin overdose, Dr. Macy?

GARRET: Froth of the nose and mouth, pulmonary oedema, among others. Why?

ELAINE: And how would you determine if pulmonary oedema was present?

GARRET: The same way anyone else would. By opening her up and doing an internal exam. (Elaine uncovers the body.) There's no incision.

ELAINE: There certainly isn't. How do you explain that, Dr. Macy?


[Scene: Max's Bar. Jordan walks over to the bar with the envelope of personal effects.]

JORDAN: Hey, dad. Uh, thanks for doing this.

MAX: A step in the right direction I figure as long as we're clear on the ground rules.

JORDAN: I came here to talk about the case, not stroll down memory lane.

MAX: Good. Am I a killer or a victim?

JORDAN: Neither. You're like an expert witness.

MAX: That's not how we play the game.

JORDAN: Well, maybe we should change the rules. (She tips the personal effects on the bar.) I think whoever killed Clive is after something here. I can't see it, I'm hoping you can.

MAX: How does this square with him being a Nazi?

JORDAN: I don't know.

MAX: All right, let's say you're right. Say they wanted his stuff. It's not worth a plug nickel, so either he hid something here that Nigel couldn't find...


MAX: Or they got the wrong man and Clive Alpert is an innocent victim.

JORDAN: He's a victim, I wouldn't call him innocent.

MAX: I don't know. Photos of the grand kids, library card. What I'm getting is solen citizen, stand up guy.

JORDAN: Yeah, yeah. I bet he was a real hit at the labour camp.

MAX: You don't know that's really him, Jordan.

JORDAN: His whole life was a lie, I know that much.

MAX: Looks to me he was just trying to be a good man and lead a good life.

JORDAN: He betrayed his family. His own kid doesn't know the truth.

MAX: Yeah? Maybe it should stay that way.

JORDAN: But it isn't going to.

MAX: What are we really talking about here, Jordan?

(She picks up the personal effects.)

JORDAN: I guess I made a mistake.

(Jordan walks out of the bar and to her car. The man who posed as the paramedic walks up behind her and points a gun.)

MAN: You have something I need.


[Scene: ME's Office. Elaine's Office. Elaine and Dale are there. Jordan walks in.]

ELAINE: Have a seat, Dr. Cavanaugh. To be candid with you, I hardly know where to begin.

JORDAN: Look, just let me explain.

ELAINE: Right now I suggest you listen. Since you didn't submit your paperwork, Mr. Alpert has not been able to claim his father's body. And on top of that, his father's effects are now missing. I don't suppose you know anything about that?

JORDAN: They were taken.

DALE: Well, obviously they were taken.

JORDAN: I mean, from me. I was robbed.

ELAINE: You took them from lockup without authorisation?

DALE: All dad's things. His money clip, his glasses, those were keepsakes.

JORDAN: I'm sorry.

DALE: Why are you doing this to me?

JORDAN: The man who robbed me was involved in your father's death.

DALE: My father died of a heart attack. What is this crusade you're on? Who the hell do you think you are?


[Cut to Garret's Office. Garret and Lily are there.]

GARRET: This will be seen as gross incompetence. If I don't figure this out, my career will be as dead as Diane Clark.

LILY: I don't think now is the time to worry about damage control.

GARRET: Really? When would be a better time?

LILY: Garret, what you need to focus on is why.

GARRET: Damn it, I don't know why!

LILY: Don't yell at me, I'm trying to help you.

GARRET: I'm sorry, it's just this has never... How can I not have done an internal exam and why can't I remember it?

LILY: Maybe you blocked it out somehow.

GARRET: It's not like I knew the woman. No offence, but I don't see the psychological angle's going anywhere.

LILY: Okay, what about this? Do you still have your schedule from 3 years ago?

GARRET: I've got my appointment books going back 10 years. Legal makes me keep them.

LILY: Maybe if you check your schedule for the day of the autopsy, see if it reminds you. Works for me sometimes.

(Garret takes a book off of the shelf and opens it.)

GARRET: July 18th.

LILY: Yeah.

GARRET: Wednesday, July 18th. Staff meeting, meeting at the DA's office. I wish I could say it was all coming back to me.

LILY: Garret, what about this? Two days later.

GARRET: Atkins... Atkins Brothers?

LILY: Does that mean something to you?


[Cut to the corridor. Nigel walks up to Jordan.]

NIGEL: Where are you going?

JORDAN: Home. I'm in hot water. Hotter than usual.

NIGEL: Well, I may have just the thing to cool that off. I found something in Clive's effects. I think it's what got everyone's knickers in a twist.

JORDAN: In Clive's effects? His effects are gone. That's part of the problem.

NIGEL: Gone but not forgotten. See, when first went through Clive's things, I swiped his credit cards.

(They walk into the computer room.)

JORDAN: Didn't you say something about hot water getting cooler?

NIGEL: As in swiped through this magnetic card reader. It reads the magnetic stripe and then saves the information to the computer. Now this is Clive's Total Mart card. These 3 bands are tracks on the mag stripe and the dips and valleys represent the data. There's data on all 3 tracks.


NIGEL: So typically only 2 tracks have data on them. Third should be empty. And yet it isn't.

JORDAN: And this is a break through? All I see is hieroglyphics.

NIGEL: Watch what happens when I run a little de-encryption routine.

JORDAN: It's a list of men's names.

NIGEL: Yeah, 18 names to be exact. Each followed by two sets of digits.

JORDAN: Clive Alpert's there but who are these other guys?

NIGEL: I don't know. I'm not sure what the two sets of numbers are either.

JORDAN: I know what one of them is. Next to Clive Alpert's name. Social security number.


[Time lapse. Jordan and Nigel are each on a computer hacking into the social security database.]

NIGEL: Hacking into this is a federal crime, you know.

JORDAN: Let's just put it on my tab, shall we? I'm starting to see a pattern here, are you?

NIGEL: Yeah. All the same age as Clive, give or take a few years.

JORDAN: And they all got social security numbers right after 1946. After World War II.

NIGEL: And they all kicked the bucket.

JORDAN: Except for this one. He's still collecting benefits.

(Nigel goes over to Jordan's computer.)

NIGEL: Edmund Berg.

JORDAN: We need to find this guy.


[Scene: Atkins Brothers Funeral Home. Garret walks in.]

EDWARD: Dr. Macy. What a pleasure it is to see you, sir. Edward Atkins Jr.

GARRET: You know me? You know who I am?

EDWARD: In my line of work I should think so. You're chief medical examiner.

GARRET: So we've never actually met?

EDWARD: I wouldn't expect you to remember, I know you're a terribly busy man.

GARRET: Was it 3 years ago about mid July?

EDWARD: Yes, it was indeed.

GARRET: Why did I come here?


GARRET: Three years ago, what was the purpose of my visit?

EDWARD: Well, uh, it was in regard to one of our clients.

GARRET: Was it Diane Clark?

EDWARD: Yes. Yes, as a matter of fact it was.

GARRET: What about her? I need to know. Please.

EDWARD: As I recall, Diane Clark was not a woman of means, so we provided her with a basic package...

GARRET: A low budget funeral. Go on.

EDWARD: Well, on the day you visited, you dropped off a dress.

GARRET: A dress?

EDWARD: For Diane Clark to be buried in. I thought it was a very touching gesture, Dr. Macy.


[Scene: Paradise Retirement Center. Jordan, walks up to reception.]

JORDAN: Hi. I'm here to see Edmund Berg.

WOMAN: I'm sorry, visiting hours are over.

JORDAN: Even for family? I'm his daughter.

WOMAN: I wasn't aware Mr. Berg had any children.

JORDAN: Yeah, actually, neither was he until recently. Dad was kind of an important storm kind of guy if you know what I mean.

WOMAN: He's in room 118.

JORDAN: Thanks. (Jordan walks down the corridor. Her phone rings.) Hello?

NIGEL: Remember that 2nd set of digits? They're account numbers to Swiss banks.

JORDAN: I'll be sure to ask Mr. Berg about that.

NIGEL: While you're at it, see if he knows why all funds have been withdrawn and all accounts closed in the last 12 hours.

(Jordan walks up to Edmund's room. A doctor covers Edmund over with a sheet.)

JORDAN: That might be kind of tricky.


[Scene: Paradise Retirement Center. Jordan is walking down the corridor talking on her phone to Nigel.]

JORDAN: He died of apparent heart attack.

NIGEL: Well, that's a bit of a coincidence, isn't it? Anyone else pay him a visit?

JORDAN: Just medical staff. Look, I think we've taken this as far as it can go.

NIGEL: Okay, I'll call you later.

(She hangs up. She sees the mystery man in a doctor's coat enter the stairwell. She walks down the stairwell and sees the door at the bottom of the stairs close. She walks through the door which leads to the underground parking area. She looks around and sees nobody around. Suddenly, someone starts shooting and Jordan hides behind a car. She looks at her phone and it reads "No Service".)


(She takes off her shoes and sneaks behind another car. She sees the man near by holding a gun. She throws one of her shoes at a car and the alarm goes off. She runs towards her car and frantically tries to unlock it. The man walks up to her and points the gun. He presses a button on a remote control and the car alarm stops.)

MAN: Nice try.

JORDAN: People know that I'm here.

MAN: You should've let this one go.

JORDAN: I don't know how. It's one of my tragic flaws. Why'd you kill these men?

MAN: They died of heart attacks. No test will ever prove otherwise. All you've managed to do is put yourself in harms way, Dr. Cavanaugh.

JORDAN: At least tell me what this is all about. Why go after Clive Alpert? Haven't I earned the right to know?

MAN: He created and financed a support network for other war criminals.

JORDAN: And what's that have to do with you?

MAN: I'm a debt collector.

JORDAN: Collecting money from old Nazis.

MAN: Recovering stolen money on behalf of certain parties from whom it was taken.

JORDAN: And knocking off old men in the process.

MAN: My job was to make them pay.

JORDAN: But it's not up to you to be judge and jury.

MAN: Yet here I am.

JORDAN: So you just hand on heart attacks to Nazis or other people as well?

MAN: Some things are better left unknown.

JORDAN: I'm getting in my car now and I'm driving away. You do what you have to. (Jordan gets in her car and winds down the window.) You know, there's just one more thing.


[Scene: ME's Office. Autopsy. Bug is there. Garret walks in.]

BUG: I've been told not to discuss this case with you so it's best if you...

GARRET: No, no, no. I'm beyond asking questions, Bug.

BUG: For what it's worth, I wish the things hadn't gone this way.

GARRET: Maybe it's how they're supposed to go. I'd like a moment alone if you don't mind.

(Bug leaves the room. Garret pulls the sheet back from Diane Clark's face. Lily walks in.)

LILY: Garret?

(Garret covers Diane Clark back up and leaves the room.)


[Scene: Rooftop. Garret is sitting there. Lily walks onto the rooftop and sits beside him.]

GARRET: So I remember her now. It's 3 years ago, 3 years last July.

LILY: You mean when Diane Clark died?

GARRET: Maggie and I had split up.

LILY: What does that have to do...

GARRET: I was drinking too much, trying not to feel anything. I loved Maggie so much.

LILY: I'm sorry, that must have been a very painful time.

GARRET: I also hated her. For what she was putting me through. I began thinking that everything would be all right if she were dead. That's when Diane Clark came in. I remember, I was just about to do the internal exam and I saw this birth mark on her stomach. Maggie had exactly the same mark, the same size, the same spot, everything.

LILY: You couldn't cut her.

GARRET: I could barely even look at her. I signed her out and walked away. Maggie left this dress in the closet. I took it to the funeral home for Diane Clark to be buried in.

LILY: You were going through a crisis. I mean, I'm sure Elaine will take that into account.

GARRET: No, she won't. She shouldn't.


[Time lapse. Garret's Office. Garret is sitting at his desk. Elaine walks in.]

GARRET: Come on in, sit down. I've been expecting you.

ELAINE: Then I hope I haven't kept you waiting.

GARRET: I wanna thank you.

ELAINE: Thank me?

GARRET: Yeah. See, I don't tend to look back, it's not my nature. But I've been forced to because of your investigation. I've been looking over my old cases. I remember them all. This guy wore a pendant around his neck with a photo of his beagle. I remember the names, the faces, the causes of death. Families I was able to comfort in some small way.

ELAINE: You don't have to defend yourself to me, Garret.

GARRET: I'm not. I'm just reminding myself of my role here. And I'm telling you I will vigorously fight any effort to remove me.

ELAINE: I would expect nothing less.

GARRET: I had a fear ego, not because of power politics but because this is what I do and I'm damn good at it.

ELAINE: Is there anything you'd like to say before I file my report on the Clark case?

GARRET: Just that I stand by my original finding that she overdosed on heroin.

ELAINE: And as far as the unusual way in which the autopsy was done?

GARRET: Sometimes the person on the table becomes more to you than just a body. Maybe you know what I'm talking about. If you don't, you're not fit to have my job. That'll be all, Dr. Duchamp.

(Elaine leaves the room.)


[Cut to Forensic Analysis. Jordan is in front of a computer. Dale is waiting in the corridor. Elaine stands at the doorway.]

ELAINE: You should know there's a nation wide alert for your paramedic.

JORDAN: He's probably out of the country by now. How'd you hear about it?

ELAINE: Dr. Macy held a briefing for the senior staff members in his office.

JORDAN: Nice to know he still has an office.

ELAINE: Diane Clark's tissue work came back confirming that she died of a heroin overdose. My report will endorse Dr. Macy's original autopsy.

JORDAN: That's good.

ELAINE: Has it ever occurred to you that someone higher up the ladder has it out for Dr. Macy?

JORDAN: So what, you're just the hatchet man?

ELAINE: You can afford to be righteous. You're lucky.

JORDAN: Well, I can afford it but it still costs me.

ELAINE: What's he still doing here?

JORDAN: Waiting for me to fill out the death certificate.

ELAINE: Well, you can whip that out in 5 minutes.

JORDAN: No, actually, we just got confirmation back from Interpol. Clive Alpert's fingerprints matched those of a Nazi war criminal. I don't know who's name to put down here. If I tell the truth he loses his dad all over again. If I don't, I'm just part of the lie.

ELAINE: Some advice, don't do what's easy. Do what's right.


[Time lapse. Jordan hands Clive's personal effects to Dale.]

DALE: It's all here? Everything? (Jordan nods.) How'd you get a hold of them?

JORDAN: I found the guy who took them and then I asked him to give them back.

DALE: They're ordinary things but they're his. It makes them precious. I'm so grateful. I guess that just leaves the death certificate.


(Dale looks at the death certificate.)

DALE: Everything seems to be in order.

JORDAN: You know, people usually look at cause of death first. Not sure why but they do. You looked at his name.

DALE: I, uh, I just forgot dad's middle name was Harris.

JORDAN: Is it that? Or were you worried it might say who he really was?

DALE: I know who he really was. He was my father.


[Scene: Max's Bar. Max is there cleaning up. Jordan walks in.]

MAX: We're closed.

JORDAN: Just so you know, Clive Alpert was not a stand up guy. He was who I said he was.

MAX: I bet his son was glad you cleared that up.

JORDAN: I didn't. He already knew. He knew and he loved his father anyway. So you still closed?

MAX: What do you know. My watch is fast. Last call.

JORDAN: Let's make it a round. On me.

Kikavu ?

Au total, 18 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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Sonmi451, Avant-hier à 09:49

Un petit passage dans "Préférences" pour voter aux bannières, aux thèmes et vous y gagnerez mes remerciements. ^^

Sas1608, Hier à 14:40

Nouveau design sur le quartier Once Upon A Time. Storybrooke passe au vert ! Merci beaucoup à Locksley !

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Avec plaisir

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Nouveaux sondages sur Blacklist, A Discovery of Witches, pas besoin de connaître les séries : un clic, un com' (pas obligé), ça va vite. Merci

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Nouveau sondage sur Les 4400 concernant le reboot. Venez participer

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