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307-Searching the sewers This article is undergoing major changes.
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Opening Quote: "There she paused for a while thinking... but the temptation was so great that she could not conquer it." – Bluebeard


Scene: It's night time. Someone is looking windows and door. A gas duct is turned on. A woman breaks through a window. She's now running down an empty street on the bridge. She's scared and barefoot. Suddenly it seems there's a creepy spider thing and a saw that are attacking her which scares her even more. She keeps running but a car comes out of nowhere and hits her.

Man: Uh! [he sees the woman and gets out of the car to see if she's all right] Oh my God. Oh my God! [He bends down to look at her] Oh...
Mysterious man: She's still breathing. Call 911. Hurry up, call 911! [The driver leaves to get his phone while the mysterious man stays with the woman. He touches her face and it seems there's a type magic coming off him. She relaxes and there's whispering voices].
Woman: Oh, kiss me.
Man: [from afar] Hello? Yeah...[while he's on the phone, the mysterious man covers the woman's mouth and suffocates her] I was in a car accident and a woman got hit. She's--she's hurt really bad. [She struggles] She--she's lying on the ground. [She struggles a little more but she ultimately dies] She's still breathing [The man hangs up and goes over to the woman. The mysterious man is gone].


Scene: The same place, but it's day time and there are bunch of police officers.

Hank: Thanks, man.
Officer: You got it.
[Nick approaches Hank]
Hank: The driver of the car is Leroy Kent. Says he's driving home from work, drives onto the bridge, sees the victim running. She runs right in front of his car. Says it happened so fast, couldn't do anything.
Nick: Get an I.D. on the vic?
Hank: No wallet, no purse--looks like she just got out of bed.
Nick: Well, Mr. Kent have anything to drink?
Hank: He's had a couple but he's under the limit.
Nick: Any witnesses?
Hank: Well, drive said there was one other guy. Told him to call 911, but he didn't stick around. I got guys doing a canvass now. [They arrive where the ambulance is park and Leroy Kent is sitting there with a bandage on his head as he is being treated].
Nick: Mr. Kent?
Leroy: Yes?
Nick: How you feeling?
Leroy: is she dead?
Hank: Yeah.
Leroy: At first I--I thought she might be okay. I mean the guy said she was still breathing.
Hank: This the guy who told you to call 911?
Leroy: Yes. I--I ran over there as soon as it happened. And he just walked up.
Nick: And where'd he go?
Leroy: I don't know, I--I called 911. I looked back, he was gone.
Nick: Any idea what he looked like?
Leroy: Not really, no. [starting to get emotional] I was pretty shook up and I...I was paying attention to her.
[A CSI appears]
CSI: We're done. You guys want to take a look?
Nick: Yeah.
Hank: Thank you, Mr. Kent.
[They walk toward the crime scene where the body is].
Hank: Barefoot and ready for bed, but still wearing makeup?
Nick: Maybe she wasn't alone. [pointing at her arm which is bloody and has cuts] We got some glass here.
Hank: Windshield didn't shatter, and the headlights are still intact. This didn't come from the accident.
Nick: There's no cuts or abrasions on her feet. The guy said she was running. She couldn't have run too far.
Hank: Wonder where she was running to.
Nick: Or what she was running from.


Scene: A taxi arrives at a cheap hotel and drops off a unknown man with a case. He is staying at the Joyce Hotel. He goes to his room and opens the door. He's in room 307. He sets the key on the bed as well as his case. His phone rings, he answers as he opens his case.

Man: C'est moi...je suis ici (It's me...I am here) I'll call when It's finished.
[He hangs up and opens his case. He takes out a piece of an article from a newspaper. It read 'Off duty detective shoots attacker'. The article is about Nick. The man opens a compartment to reveal that he is carrying a scythe similar to the same man that tried to kill Aunt Mary. He opens it, and he turns into a creature that is ugly-looking].


Scene: The morgue. Nick Burkhart and Harper are examining the body.

Harper: Notice the iris is fully dilated, filling the eye completely?
Nick: Looks like a shark's eye--is that normal?
Harper: Well, there's usually dilation after death, but I've never seen anything like this before. [They back away from the body, but they are still looking at it].
Nick: You get a tox report?
Harper: Preliminary says she had a few drinks, not a lot. [She reads from the report] Alcohol was .06.
Nick: Well, what about drugs?
Harper: So far, none of the usual suspects. Finding the unusual's going to take a little more time.
Nick: Any sign of sexual assault?
Harper: No, but there was something interesting. No crush on the lungs.
Nick: What does that mean?
Harper: She was asphyxiated, but it wasn't a result of the accident.
Nick: Someone suffocated her after she was hit by the car? [Hank arrives with a report in hand].
Hank: So we got a homicide?
Harper: These contusions around her nose and mouth--looks like somebody pinched off her air.
Hank: I got a hit on her prints. Victim's name was Faith Collins, 33. Busted for a DUI a few months ago. License was suspended.
Nick: Get an address?
Hank: About a mile away from where she got hit. We knew she didn't run very far, so it makes sense that she lived close by.
Nick: Well, maybe she was running from home.
Hank: I think maybe she was running from her husband. Roy Collins. Got a record for spousal abuse.


Scene: Nick and Hank Griffin arrive at a Roy Collins' work place.

Hank: [screaming over the noise as Roy works] You Roy Collins?
[Roy turns to see them and he scoffs as he stops working].
Roy: What she tell you? [he takes off his helmet and sets it aside] She saying I hit her?
Nick: She didn't say anything.
Roy: Well, that's different. She usually complains about everything I do. [he takes off his gloves and his protective glasses].
Nick: Well, she's not going to be complaining anymore. We found your wife's body last night.
Roy: [shocked] What?!
Hank: You're wife's been murdered.
Roy: Oh, no...
Hank: I know this is difficult, but we need to know the last time you saw her.
Roy: [still in shock] La--last night.
Nick: What happened?
Roy: I--I came home. I was hungry. Faith wouldn't get off the computer. Like always, she's got to connect with her 322 friends. I mean who the hell has got 322 friends? I mean, I'm hungry--I've been working all day.
Hank: So you argued.
Roy: Yeah...an--and she walked out. You know, mad. I didn't mean anything I said.
Nick: Did she tell you where she was going?
Roy: No.
Hank: Did you go after her?
Roy: No.
Nick: About what time did she leave?
Roy: I-I don't know. Ten or something like that.
Hank: So, she left. You stayed home? That's your story?
Roy: That's the truth.
Nick: Anybody see? You talk to anybody?
Roy: No, I--I was waiting for her to come back. She always comes back.
[Nick and Hank look at each other almost unsure. Roy looks at them incredulously].
Roy: You guys think I did something to her? You think I killed my wife?
Hank: Did you? [Roy looks almost aghast].
Nick: You want to do yourself a favor. Why don't you come downtown with us. We put you in a lineup, what do you say?
Roy: [angry and insulted] You want me for a lineup? Arrest me. But you don't got anything on me because I didn't do it. [a pause] Where is she?
Hank: Her body's in the morgue.
Roy: When do I get her?
Hank: Somebody'll contact you. [they leave and Roy is left alone].


Scene: At the police precinct. Nick and Hank are giving their Captain, Sean Renard, their report so far.

Renard: What do you got?
Nick: Well, according to her credit card, Faith had a couple drinks at a bar called the Blue Moon at around 10:30.
Hank: Bartender said she talked up a couple locals, but she left alone.
Nick: She didn't have her car. Her license was suspended. We're checking with cab companies now, see who picked her up.
Renard: [reading the report] Called to the house four times for domestic disturbance. The husband's been arrested twice for abuse. I mean, sounds like a battered wife who couldn't break the cycle. Sure the husband's not covering?
Hank: Could be. He admits to arguing with her.
Renard: Any chance she talked to a family member about her problems last night?
Hank: No calls on her cell after 9:00.
Nick: What about her 322 friends? Maybe she reached out to one of them.


Scene: Nick is on his computer. He's looking at Faith personal profile and a conversation with one of her friends named Katie. A picture of a garden with the caption 'Could this be any more enchanting?'.

Nick: Hey, check it... she posted last night. [Hank joins him] Looks like a park.
Hank: Or a private garden. What time did she send it?
Nick: 11:37. Now if this was taken from her cell phone, the GPS coordinates should be embedded in the file, right? [He types something. An address pops up] 1516 Longacre Road.
Hank: Map it.
Nick: That's right...here. [he point on the screen].
Hank: Right near the bridge.
Nick: Definitely running distance.
Hank: Click location.
Nick: The Bramble House Bed and breakfast.
Hank: You know it?
Nick: When do I have time for a bed or breakfast?
Hank: [grinning at Nick's response] Let's check with the cab companies, see if they made any drop-offs at a B&B you "don't have time for".


Scene: Nick and Hank arrive at the Bramble House.

Hank: [looking at the place] Not bad. You should make time for a place like this.
Nick: [looking at a car] Check out the '67 MGB Roadster! You ready for a little bit of trivia? Royal blue and Chrome bumpers. Collectors call that model right there the most desirable MG ever made. Impressed?
Hank: [as they both walk up the steps to the B&B] Mildly.


Scene: Inside the Bramble House. Hank and Nick are talking with the owner, Billy Capra.

Billy: Of course, yes, I remember her. She came in--I'd say it was after 11:00. I was in the kitchen pulling up some biscuits for breakfast. And I heard the bell ring, so I went and got the door. [He hands Nick a picture he must've gotten from them. A couple comes down with their bags] Oh, excuse me a minute. [he turns to the couple as he takes out a piece of paper from his back pocket]. I've got your bill right here. Hope everything was to your liking.
Young woman: [gives Billy a hug and a quick kiss on the neck] Oh, Billy, we just love this place. It's so magical. Thank you.
Billy: [at the same time as the young woman] Thank you. [he laughs].
Young man: Yeah, we'll see you on our anniversary. [Nick sees a doll and he grabs it and shows it to Hank].
Billy: I look forward to it--Oh, and tell your friends.
Young woman: Five stars on yelp. [she and her partner go to leave but she looks at Hank and Nick] And you two...you guys are going to love this place. [Hank and Nick look unamused as Hank takes the doll away from Nick and sets it down].
Billy: Newlyweds, they're a third of my business. So, I'm sorry, where were we?
Nick: The girl.
Billy: Of course, right, yes. Umm...I showed her a room and the garden.
Hank: But she didn't stay?
Billy: No, she didn't have a bag with her, so...I'm sorry, is there a problem?
Nick: A cab dropped her off. It didn't pick her up. Can you explain that?
Billy: I really don't know. I mean...if they don't want to stay, I can't force them to. You know, to tell you the truth, she seemed a little bit concerned or troubled. And it's not really my place to get involved in guests' personal lives, so...
Nick: Could we see the garden?
Billy: Of course, yes. Oh, but I warn you... you might want to stay. [he laughs. He walks pass them but he bumps into Hank] Oh, excuse me.
[Hank looks like he was suddenly hit with something that made him change his smile into a blank expression as he looks at Billy go].
Hank: No problem. [Nick looks back at him a little confused. Hank follows him as they leave to the garden].


Scene: The garden. It's got many flowers and plants as well as many beautiful animals.

Nick: [to the bunny on the steps] Hey! [they walk a little ahead as Nick looks at the picture of the garden on Faith's post] Yeah, this is the place. She came here, then what?
Billy: [as he shows them around] Oh, I showed her these Amber roses that bloom only in Portland. And, uh, my flowering Wisteria. And of course, the Agapanthuses. But don't get me started on those. And then she said she wanted to sit for a moment and gather her thoughts. So I said that this--be careful where you step!
[Just as the words come out of his mouth, Hank steps on a toad and he looks like he had been on a daze while Billy talked].
Hank: Sorry, I didn't mean to do that.
[There's almost an awkward silence as Hank lifts his shoe to reveal the squished toad as Billy grabs it. He looks devastated. In the reflection of the pond by them, it shows when Billy turns into a goat-looking creature. Nick sees it just in time before he retracts. Nick looks almost annoyed at having to deal with another creature].
Billy: The toad is an endangered species. It's the first sign of our extinction when toads die.
Hank: I'm--I'm sorry. I didn't see it. [there's another short pause].
Nick: Well, if you can think of anything else...[he hands Billy his card].
Billy: Of course, yes. I'll contact you immediately. Would you like me to show you out?
Hank: No, we're good.
Nick: [bumps Hank's arm so they can get going when he sees that he is not moving] Hey. [They leave].
Billy: Have a good day. [He sees them leave, Once they are gone. He looks at his hand where the dead toad is before he eats in one bite].


Scene: Back at the police precinct. The mysterious man arrives. Sargent Drew Wu is handing another detective a bunch of reports.

Wu: That's all I got, Jim. Let me know if you need anything else, yeah? [He notices the man who is looking around for Nick] Can I help you?
Man: Yes, I'm looking into the death of a friend of mine. He was shot by one of your detectives.
Wu: Are you a lawyer?
Man: No, just a friend of the family. Here is the newspaper article. [he hands Wu the piece of newspaper from earlier] I brought it along so you'd know what I was talking about.
Wu: Take a seat, please. [He reads the title].


Scene: The Captain's office. Renard is reading the newspaper clip.

Wu: He wants to talk to the officer who shot his friend.
Renard: What did you tell him?
Wu: I told him we don't give out that information. Sir, he's waiting. How do you want me to handle this?
Renard: Tell him the detective's not available, that someone from the department will get back to him.
Wu: Yes, sir. [He goes to leave].
Renard: Make sure to get his name, number, and address. [he's glaring at the back of the man's head] Do a background check and get back to me.
Wu: Yep. [He leaves].
[Renard sees Wu talking to the man before Wu leaves].


Scene: Nick and Hank arrive at the police precinct.

Nick: The cab picked her up from the bar but why did she go to the Bramble House?
Hank: She was probably just looking for a place to stay so she wouldn't have to go back home. Cab driver could've recommended it. What does it matter, she didn't stay.
Nick: Well, that's what we need to find out. She went there but she didn't stay. And she didn't call for another cab.
Hank: So you're thinking she ran from there to the bridge?
Nick: I'm thinking we have to run a background check on Billy Capra, see if any other women have had trouble at his place. Also run a check on unsolved attacks on women or missing women.
[As Nick and Hank walk into their department office, the man walks out without noticing them but Nick looks at him go without giving it much thought].


Scene: Aunt Marie's trailer. Nick is going over the books.

Nick: 'Germany 1895...Kitzbuhel Alps, South of Rattenberg. I have followed and observed a goat-like creature for several days now. I've finally been able to identify him as a Ziegevolk, sometimes known as Bluebeards. I now know he is responsible for defiling several women who seem to have fallen under some sort of spell.' [he keeps reading] I have not yet been able to determine how such an oafish man is so attractive to these poor, young women. [He looks like he has realized something].


Scene: Monroe's house. Inside, Monroe is playing the cello. Suddenly, there's a knock on the door. He stops, but ignores it and continues. Another knock and he looks annoyed. He gives up and goes to open the door. It's Nick.

Monroe: Really?
Nick: Look, if I had anybody else I could talk to about this stuff, I'd go there.
Monroe: I feel like I should complain, but...I'm just not in that mode right now. Come on. [He lets Nick in and they take a seat by where Monroe was playing Cello].
Nick: You know anything about Ziegevolk?
Monroe: A little...they're mostly like preachers...game show hosts--you know, actor-types. You know, guys like to be in the public eye. Why, did one goat out on you?
Nick: Yeah. Do you know some?
Monroe: I knew one in High School. Elvis Greenspan. Got all the chicks. Like, every hottie in school. Okay, kid was 5'4". Weighed in at like 280. It's hard to believe but Ziegevolk give off this sort of scent.
Nick: What you mean like pheromones?
Monroe: Yeah, they secrete it in their sweat or something. Chicks can't resist it. And if one of these goat guys touches you, look out man, they own you. Why do you think those Hollywood types are always hugging everybody, right?
Nick: And would they ever kill?
Monroe: No, Bluebeards got a bad rep. They're lovers, not fighters, you know? They like to have a lot of females hanging off their every word. Not exactly the monogamous type, you know? They live for the rut.
Nick: The what?
Monroe: The rut! Picking out their choicest females, you know? For breeding. You see them in bars all the time. They're players. [he grabs his Cello as to put it away] One-night-stand type guys. [Nick looks like that last part helped him understand something].


Scene: Grocery store. A pregnant woman and her husband are doing their shopping. The husband then leans down for a quick kiss. When they pull apart, Nick was watching them from behind them. Juliette Silverton comes up near him with a list as she grabs vegetables. She sees what he had been looking at and looks back at him with a smile.

Juliette: What are you thinking?
Nick: Oh, I'm just wondering why certain people are attracted to each other.
Juliette: It's all about chemistry.
Nick: Oh, well, that explains Dale Armstead. The guys who stole your...[Juliette is looking at him incredulously but with a smile on her face]...guy...your first love.
Juliette: That wasn't love.
Nick: Well, it certainty wasn't looks or intelligence.
Juliette: [she looks back at Nick scandalized] You're the one to talk! I met your first girlfriend.
Nick: Okay, that was not chemistry. That was stupidity.
Juliette: Well, how do you know if you're not being stupid by being with me?
Nick: I don't. I just--I think there's a lot more to it than that. [he steps closer to her and wraps his arms around her waist, and Juliette wraps her arms around his neck].
Juliette: You know, in Biology, like systems tend to integrate.
Nick: [sarcastically] That's so romantic.
Juliette: How about we get the shopping done and go home and integrate?
Nick: Give me the list and get the car started. [he walks away with the list and Juliette just smiles].


Scene: On a computer back at the precinct, Hank is reading an article on Billy Capra. Nick arrives and gives him a report.

Nick: Lab results on the glass removed form the gashes on Faith's arm. [Hank starts to read it] It was regular window glass.
Hank: So, it must've come from a house or an apartment.
Nick: Maybe she was trying to break out of a window.
Hank: Well, we know she was running from something.
Nick: [sitting on his chair] What'd you get on Capra?
Hank: All I got is that he moved into town about a year and a half ago and bought the bed and breakfast. I'm having a little trouble on the background before that. I think out boy must have changed his name. But, I did get a hell of a hit on missing women here in Portland in the last six months. One came from Los Angeles, another from Seattle, and a third from Eugene. All open cases.
Nick: Are there clusters like this on other cities?
Hank: I think we better find out.


Scene: Captain Renard's office. Nick and Hank are telling him about their case so far while Renard reads the missing women reports.

Nick: It's the same story with each one of these women.
Hank: They all came her in the last four months and vanished.
Renard: Any record of these women staying at Capra's place?
Hank: No, but then we figured he wouldn't want any record of them staying there.
Nick: And we think Faith got away from him. Then he hunted her down and killed her. We also found these other clusters of missing women. One in Detroit, four years ago. [He drops a file] Another batch in De Moines, two years ago, six women there [he drops another file] and four women in Tucson in 2000.
Hank: And here's the really weird thing: all 17 women were eventually found alive, 14 of them pregnant. The DNA checked out to be the same father for each one.
Renard: So we've got ourselves a serial rapist, not a serial killer.
Hank: This guy is definitely a breeder.
Renard: Well, can you connect him to De Moines, Detroit, Tucson?
Nick: We're working on it. We think he changes his identity every time he moves.
Renard: Any of the women able to identify him?
Nick: No, every testimony made it sound like they were kept in isolated conditions using some kind of gas to keep them disoriented. They didn't know where they were or who was holding them.
Hank: if this is the same guy here in Portland, we need to be watching him.
Renard: Well, you guys keep watching him, just make sure he doesn't burn you.
Hank: We're on it.


Scene: At the Bramble House, Billy is preparing to serve dinner. He takes a tray with three plates to the basement. He opens a door to reveal a bed. He takes the plates to three cages and sets the plates down.

Billy: Bon appetit. [He leaves, and suddenly, three women grab their respective plate].


Scene: Billy shuts the door later in the day because he's now wearing a suit. He turns on the gas handles and leaves the basement.

Scene: Hank is under Billy's MG. He is putting a tracker.


Scene: Billy is in the garden. He picks up a toad and puts it in his inside pocket. He's ready to leave.


Scene: Hank gets back in the car where Nick is waiting.

Hank: Piece of cake. We're good to go. We can track this guy anywhere.
Nick: [he looks at the tablet that shows where the tracker is] Working. We're set.
Hank: Now all we got to do is wait. Wake me when something happens.
[Just as Hank closes his eyes, ready to take a nap, Nick notices Billy leaving the Bramble house].
Nick: Wake up.
Hank: Not funny.
Nick: No, he's coming out.
Hank: What? [they see him walk and cross the street] He's not taking the car? Well, he's got to take the damn car. [Nick huffs in annoyance] I just got under the car and got a grease spot for nothing?
Nick: Al right, I'm going to follow him on foot. You stay here, take a look around the house. See if you find that broken window.
Hank: That'll give us our warrant which will give us our DNA.
[They get out of the car. Hank goes toward the B&B while Nick tries to inconspicuously follow Billy. Hank quickly arrives at the front door. Seeing that is locked, he opts to go around to the back].


Scene: Billy is walking past a store not noticing that Nick is following a little distance behind. He turns a corner].


Scene: Hank is trying to open the garden door, but that too, it's locked. Seeing that the jump over the fence is not too bad, he jumps it. He walks around with his flashlight looking for any sign of a broken window.


Scene: Billy is still walking, but he stops and looks around before hiding by a tree, still making sure no one is looking at him. He takes out the toad from earlier and eats it. He walks away like nothing and Nick follows still looking a bit confused from what he saw.


Scene: Hank is still looking around when he notices pieces of broken glass on the floor. He looks up to find some windows, but he quickly finds one that was left ajar. The kitchen from the window is the one Hank opens and gets into the B&B.


Scene: Nick sees Billy arrive at the Blue Moon bar. Billy, before entering, he morphs and fixes himself before going inside.


Scene: Hank, still in the kitchen, looks around. He goes further into the place.


Scene: Monroe is driving his car when he gets a call on his earpiece. He answers.

Monroe: Hello?
Nick: [back near the bar] Hey, it's Nick.
Monroe: [indignantly] how did you get my new cell phone?
Nick: Are you kidding me? I'm a cop. I need your help. [Monroe laughs incredulously] I can pay you.
Monroe: Seriously? What do I got to do?
Nick: All you have to do is go to a bar...
Monroe: That I can do.
Nick: And watch a guy...tell me what he does.
Monroe: Okay, who's buying the drinks?
Nick: Me.
Monroe: All right. Where do I have to be?
Nick: Blue Moon Bar. You know it?
Monroe: Do I know it? Dude, I'm there.


Scene: The mysterious man arrives at the front desk of where he is staying. He gets his keys handed over. He goes up to his room and sees that Renard is already there on the bed. Waiting for him.

Renard: Shut the door.
Man: You should rethink this.
Renard: Je sais qui tu est, ferme la porte. [the man shuts the door and the man is looking at Renard as he stands] First mistake was coming to my city. Second mistake was not knowing who you have to kneel before. [the man looks intimidated as he kneels. His eyes never leaving Renard. Renard moves to pick up the scythe on the bed] Your fellow Reaper brought this death upon himself.
Man: He followed the Grimm here. That gives him the right.
Renard: [walks behind the man who still kneels] He came without my permission.
Man: I claim my revenge for his death.
Renard: Funny...I deny it [he opens the scythe].
Man: Are you protecting the Grimm? [Renard swings the scythe and proceeds to chop of the man's left ear]. Ahh!
[Renard drops the scythe, and looks as the man screams loudly to the point where he is holding his injury and grunting in pain as he looks at him scared. Renard picks up the chopped ear].
Renard: [In French] This is so you remember to listen when I speak. [he throw it at him] [Still in French] Now go home. And don't come back. [the man is left bleeding and still grunting in pain].


Scene: Monroe arrives at the Blue Moon Bar.

Monroe: Okay...who am I supposed to be?
Nick: Just yourself.
Monroe: That's a little disappointing.
Nick: Okay, there's a Ziegevolk in the bar. He's average height, kind of on the skinny side--
Monroe: I know a Ziegevolk when I smell one, okay?
Nick: All right, call me when you get inside. I want to know what he does, who he talks to.
Monroe: How come you're not doing this?
Nick: He's seen me. He knows I'm a cop. Plus, I want you to do it because you know about Ziegevolk.
Monroe: [excited] Oh, Grimm work.
Nick: Oh, one more thing...I saw him eating a toad?
Monroe: Dude, he's a toad eater? That means he's not just a breeder. He's a herder, okay? [pensive] That's actually very rare for a Ziegevolk.
Nick: Well, rare or not, this guy is a serial rapist. Now you've got to get inside. I need to know what he's doing.
Monroe: Okay...[he hands out his hand to Nick. He looks at it. He hands him some money] Seriously? Come on. That's like beer and half an onion ring.
Nick: [he hands him more money] Half an onion ring. [Monroe grabs it and walks away].


Scene: Back at the B&B, Hank opens a room and walks up to the bathroom. He sees the window and walks toward it. He presses on the window seal and sees that it is still fresh.


Scene: At the bar. Monroe walks in and locates Billy who is talking to a woman.

Monroe: [to Nick through his earpiece] Got him.
Nick: [standing by Monroe's car] Well, what's he doing?
Monroe: Trolling. Talking to a very attractive woman. He's got game tonight. [sniffs] That must have been one potent toad he ate. I can smell him from here.
Nick: Well, can you get closer to him? I need to hear what he's saying.
Monroe: Check this out. [he starts to walk toward Billy] I am moving in on the bar--excuse me, pal. There's an opening directly to her left. I'm about 20 feet from the bar right now. I can be at the opening in about--
Nick: Okay, I don't need to know everything you're doing.
Monroe: Well, excuse me for being thorough. [he turns to a patron] Sorry, I'm not talking to you.


Scene: Outside the bar, Nick gets another call.

Nick: Yeah?
Hank: [on the phone] Hey, Nick. I think I found the window that was broken. [back at the B&B] I found a sliver of glass outside and the putty around the window was new.
Nick: You're inside the house?
Hank: We got probable cause here. I'm going to see if I can get a sample of that guy's DNA. You still got him?
Nick: Yeah, he's at the Blue Moon Bar.
Hank: You can see him?
Nick: Yeah...
Hank: Don't let him make you.
Nick: No, I'm being careful.
Hank: Call me if he starts back here. [He hangs up].


Scene: At the bar, Billy is talking to Lisa.

Billy: Human beings are malleable. [Monroe sits near them] I just--I think everyone needs, uh...emotional and physical rebirth.
Lisa: I totally agree.
Billy: Right.
Lisa: Yeah.
Billy: But you've got to have some place to do it.
Lisa: Uh-hu.
Monroe: Barkeep, double dead guy please.
Billy: A sanctuary. Place where the world can't intrude. A retreat for people just like you. [Monroe turns his head slightly toward them, listening into their conversation which Nick is also listening to].
Lisa: [through Nick's phone, who's outside] That sounds like exactly what I need.
Billy: [through phone] Yeah?
Lisa: [through phone] Yeah.
[Back at the bar. Billy pull out a business car with a smile and shows it to Lisa].
Lisa: [laughs] Oh, what a great name, Bramble House?
Billy: Thank you. Do you know that Bramble bushes, they extent these long arching canes that at first don't flower...[Monroe starts to look more interested in what Billy is saying] But then with a loving touch produce a succulent fruit, that is just bursting with flavor. [Monroe is suddenly in a trance and looks like a school girl as he has his head on his hand while a stupid smile cross his lips, but the bartender breaks him out of it].
Bartender: Double dead.
Lisa: Wow. [She goes for a drink of her white wine. Billy caresses her hand his his fingers, thus sending a wave of pheromones].
[Monroe looks away embarrassed and takes a sip from his drink].
Billy: Anytime you want to come by, just call the number or stop on by. [Lisa looks entranced].


Scene: Hank goes back down the stairs when he hears muffled groaning. He finds a vent on the floor, he approaches it and hears whimpering. He finds the basement. He goes down carefully when he hears groans and a faint hissing of gas. He unlocks the door and walks in. He smells the gas. he finds a bed but suddenly the post turns into a snake which begins to attack him. He falls down by one of the cages. He sees one of the women in a cage.

Hank: Oh my God. [The woman is mouthing something but he can't quite hear it].


Scene: Outside of the bar. Nick still waits by the car hidden by a tree. He sees Monroe leave and walk toward him.

Nick: What are you doing?
Monroe: No way. Dude, I can't be around that guy. He's way too potent. I almost bought him a drink.
Nick: No, I need you to go back inside. I need to know what he's going to do.
Monroe: He's hitting on a girl. She's buying the full toad. You know... He gave her his card. What more do you need to know? [Nick notices Billy leave the bar so he ignores Monroe and turns around, giving his back to him] Wh-what--now you're mad?
Nick: He's coming out. [Nick hides behind the tree the more Billy gets closer on the other side of the street].
Monroe: You want me to track him?
Nick: No, you're done. You did good. Thank you. You can go home now. [he leaves to follow Billy].
Monroe: I don't want to go home now. [he goes back to the bar].


Scene: Billy is walking back to his home, Nick following him close by.


Scene: At the bar, Lisa is signing her bill. Monroe walks up to her.

Monroe: You know, if you like gardens, I happen to--
Lisa: Piss off. [She leaves]
Monroe: Okay. [turns to the bartender] One more please.


Scene: Billy walks down the streets. Nick is on the phone as he follows Billy. Hank is not answering his phone.

Nick: Hey, come on. Where the hell are you, man? [Back at the B&B, Hank still on the floor, can't move as his phone goes off. One of the women tries to reach it but they can't] Pick up the damn phone. He's on his way home. [He keeps following Billy before he loses him].


Scene: Billy arrives at the B&B. Nick is by the corner of the street. He tries to call Hank again.

Man on the phone: Portland Police.
Nick: Yeah, Detective Burkhardt. I need a 20 on detective Griffin. Track his cell.
Man: Tracking now.
Nick: Yeah, I'll stay on the line.
[Back at the B&B, Billy is going down the basement. He turns off the gas. Outside, Nick is still on the line when a car arrives at the Bramble House. It's Lisa. Nick watches her go].
Man: Still tracking.
Nick: All right, call me back when you find him. [He hangs up and sees Lisa go inside].


Scene: Lisa opens the door just as Billy walks in.

Billy: Well, that was fast.
Lisa: Why wait? I'm ready. [she closes the door behind her].
Billy: Fantastic. I'll show you a room. I promise you won't regret it.
Lisa: I really want to see your garden.
Billy: It's late...but I think I have one more tour left in me. Come on. [they start to walk away with smiles on their faces when the door opens and Nick walks in. They look confused].
Nick: Remember me?
Billy: Of course, yes. You're the detective. What can I do for you?
Nick: I need to talk to her.
Lisa: Me?
Nick: Would you mind stepping outside? I just need to ask you a few questions.
Lisa: Am I in trouble?
Billy: What's this all about?
Nick: Just come outside, please.
Billy: [he turns to Lisa and puts his hand on her shoulder] I'm sure it'll be fine. Why don't you go with him, and I'll be here when you get back. Okay?
Lisa: [walking outside] Okay. [She steps out first and Nick follows not before staring down at Billy, which makes him nervous. Once they are out of sight, he leaves].
Lisa: I wish you'd just tell me what this is all about.
Nick: You walked into the middle of a police investigation, and I need you to leave the premises. [His phone starts to ring. When he sees that she's not moving, he turns a bit forceful] Now! [he answer the phone] Yeah?
Man: We got a 20 on detective Griffin. We've identify the location as the Bramble House Bed and Breakfast on Longacre Road.
Nick: Thanks. [he hangs up. He walks back inside to see that Billy is gone. He draws his gun. He looks around for a bit before calling Hanks phone which starts ringing loud enough for Nick to follow it. Nick walks into the basement] Hank? Hank? [He grabs his flashlight and he keeps his gun out. He opens the door which has been left ajar. He walks in] Where are you?!
Hank: [faintly] Nick.
Nick: What happened?
Hank: [kneeling on the ground still looking dazed] I don't know, man. There's some kind of gas. [Nick goes to help him up when Hank point at the cages with his flashlight] Look here. Are they real?
[Billy closes the door and lock them inside. He turns on the gas].
Nick: [frantic] He's got some kind of gas coming in here. [he helps Hank up].
Hank: Gotta get the out of here!
Nick: [stopping him] We've got to shut that gas off first. We'll come back for them.


Scene: Billy is in his room packing money and other stuff into a duffel bag. He leaves the Bramble House and locks the door. When he turns around, Lisa is there.

Billy: Oh--
Lisa: Couldn't stay away.
Billy: Lucy me. [he starts to walk away].
Lisa: You're leaving?
Billy: Yes, it' such a lovely night, I thought I would take a drive.
Lisa: Well, I was hoping I could stay.
Billy: Well, why don't you come with me and we can talk about it, okay? [he grabs her hand as they walk away].
Lisa: Okay.


Scene: Basement, Nick and Hank are still trapped looking for a way out. Hank tries to go for the doorknob but it moves.

Hank: Ahh! You see that?
Nick: [confused] What are you talking about? Stand back [he goes to shoot the door, but Hank stops him].
Hank: No, the gas is going to blow!
Nick: We've got to find something to break this door open.
Hank: No--No time. Just us. Let's do it! [They align to break down the door] One...two...three! [they fail] Again! One...two...three! [this time they break it. Nick turns off the gas. He goes back inside for the women].


Scene: It's early morning and there are ambulances, and police cars everywhere while the women are being tended. Nick is talking to one of them.

Nick: You're going to be alright now. It's over. [Hank walks over]
Hank: House is clean. Car is gone. He's in the wind. [they start to walk to their car].
Nick: God, I'd hate to lose this son of a bitch.
Hank: No more than I do.
[As they get into the car and put their seatbelts on, Hank and Nick notice the tablet which tracks the tracking device on Billy's car].
Hank: Let it be my birthday. [He grabs it and turns it on. [he shows the screen to Nick].
Nick: You didn't get that grease spot for nothing. [They laugh as Nick starts the car].


Scene: At a cascade, Lisa is looking at it while surrounded by a lot of people. Then Billy come up behind her with a cup of coffee.

Billy: Here you go.
Lisa: Thanks.
Billy: We should really get going soon.
Lisa: I can't believe I'm doing this. I've never done anything like this before. Am I crazy?
Billy: Maybe I'm crazy to take you. [he notices Hank and drops his coffee as he runs away].
Lisa: [clueless about what is going] Are we leaving now?
Hank: Stop! Police!
Lisa: Billy?
Hank: [running] Police, out of the way.
[Billy is running when he pushes someone aside and drops his bag to get rid of anything holding him back. Hank is close behind him].
Nick: Billy Capra, stay where you are!
[He keeps running but then Billy is almost trapped. Nick and Hank pull out their guns].
Hank: Get down! [Billy morphs and practically gets away by jumping down on rock roofs that help him land down safely] Get dow--
[he transforms back to normal and keeps running while Nick and Hank look at him go. Billy keeps running and he is runs to the middle of the street before noticing that a car is coming which ends up hitting him and leaving him hurt on the ground. Nick and Hank get there in time to see him get hit by the car].


Scene: Billy is put on a gurney with a neck brace.

Hank: He's one sick dude.
Nick: We'll send his DNA to Tucson, De Moines, and Detroit, and I'm betting it's the same guy.
Hank: Well, at least he's off the streets and out of the hotel business. I can't believe any of these women want to be near this guy.
Nick: You know what? I'm betting it's the toads.
Hank: Yeah, right, toads. If it was only that easy. Maybe I'll get me some toads [he walks away].
Nick: [looking down at Billy] See how he likes being in a cage for the rest of his life. [he walks away too].
[While they get Billy into the ambulance, a female paramedic is giving him some oxygen. He is looking at her, and she is touching his face in a caring manner which results in her getting some of his pheromones. Her dilate while she lick her lips. She looks entranced]


THE END

Transcripts
Season 1 "Pilot" "Bears Will Be Bears" "Beeware" "Lonelyhearts" "Danse Macabre" "The Three Bad Wolves" "Let Your Hair Down" "Game Ogre" "Of Mouse and Man" "Organ Grinder" "Tarantella" "Last Grimm Standing" "Three Coins in a Fuchsbau" "Plumed Serpent" "Island of Dreams" "The Thing with Feathers" "Love Sick" "Cat and Mouse" "Leave It to Beavers" "Happily Ever Aftermath" "Big Feet" "Woman in Black"
Season 2 "Bad Teeth" "The Kiss" "Bad Moon Rising" "Quill" "The Good Shepherd" "Over My Dead Body" "The Bottle Imp" "The Other Side" "La Llorona" "The Hour of Death" "To Protect and Serve Man" "Season of the Hexenbiest" "Face Off" "Natural Born Wesen" "Mr. Sandman" "Nameless" "One Angry Fuchsbau" "Volcanalis" "Endangered" "Kiss of the Muse" "The Waking Dead" "Goodnight, Sweet Grimm"
Season 3 "The Ungrateful Dead" "PTZD" "A Dish Best Served Cold" "One Night Stand" "El Cucuy" "Stories We Tell Our Young" "Cold Blooded" "Twelve Days of Krampus" "Red Menace" "Eyes of the Beholder" "The Good Soldier" "The Wild Hunt" "Revelation" "Mommy Dearest" "Once We Were Gods" "The Show Must Go On" "Synchronicity" "The Law of Sacrifice" "Nobody Knows the Trubel I've Seen" "My Fair Wesen" "The Inheritance" "Blond Ambition"
Season 4 "Thanks for the Memories" "Octopus Head" "The Last Fight" "Dyin' on a Prayer" "Cry Luison" "Highway of Tears" "The Grimm Who Stole Christmas" "Chupacabra" "Wesenrein" "Tribunal" "Death Do Us Part" "Maréchaussée" "Trial by Fire" "Bad Luck" "Double Date" "Heartbreaker" "Hibernaculum" "Mishipeshu" "Iron Hans" "You Don't Know Jack" "Headache" "Cry Havoc"
Season 5 "The Grimm Identity" "Clear and Wesen Danger" "Lost Boys" "Maiden Quest" "The Rat King" "Wesen Nacht" "Eve of Destruction" "A Reptile Dysfunction" "Star-Crossed" "Map of the Seven Knights" "Key Move" "Into the Schwarzwald" "Silence of the Slams" "Lycanthropia" "Skin Deep" "The Believer" "Inugami" "Good to the Bone" "The Taming of the Wu" "Bad Night" "Set Up" "The Beginning of the End"
Season 6 "Fugitive" "Trust Me Knot" "Oh Captain, My Captain" "El Cuegle" "The Seven Year Itch" "Breakfast in Bed" "Blind Love" "The Son Also Rises" "Tree People" "Blood Magic" "Where the Wild Things Were" "Zerstörer Shrugged" "The End"
Webisodes "Bad Hair Day" "Meltdown" "Love is in the Air: Elegant Endeavors"
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