COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY - FIREWORKS (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO (STOCK) - NIGHT]
CUT TO:
SCENE #01:
[INT. CASINO - NIGHT]
(The camera gives us various shots inside the casino - of the gaming tables, of
the people at the slots, of the craps table.)
CRAPS PLAYER: Five! Baby, go!
CRAPS PLAYER: Seven. Whoo!
(A player puts a bill flat on the table and slides it over to the DEALER. The
DEALER looks over at the manager who is standing nearby. She calls out to him.)
DEALER: Changing $100.
(The Manager, MAX DUNCAN, gives his approval.)
MAX DUNCAN: Change $100, go ahead.
(The DEALER puts the hundred in the table slot. The MANAGER stands off to the
side watching the casino proceedings.)
(A SECURITY OFFICER pushes the cashbox equipment to the table. They remove the
table's cash box and puts it on the metal rack. A cash box is removed and put
under the DEALER'S table. The SECURITY OFFICER looks up at the surveillance
camera, raises his hand and signals.)
CUT TO:
(Camera POV of the SECURITY OFFICER signaling to the camera.)
SECURITY: Section G-3 all clear. On route to H-4. And then soft count.
(Cut to: Camera view of the entrance stairs into the casino area.)
CUT TO:
(Three women walk into the casino: One blonde, One brunette, and One red-head.
The blonde stops near the entrance. The brunette and red-head continue on into
the casino.)
(The SECURITY OFFICERS continue to push the metal cart full of cash boxes
through the casino.)
(The blonde woman pulls out a gun and shoots at the huge chandelier hanging from
the ceiling, hitting it and making it crash to the floor below.)
(Customers start screaming and scrambling for cover.)
(The brunette and the red-headed woman both pull out their guns and start to
fire. They both manage to hit the two SECURITY OFFICERS.)
(The two women continue to the metal cart with the cash boxes. They start to
put the cash boxes into a bag. The woman at the entrance continues to watch
their escape route.)
(Another SECURITY OFFICER rushes down the entrance stairs. The red-haired woman
shoots and hits the SECURITY OFFICER.)
CUT TO:
(In the security camera office, SECURITY OFFICERS call for additional help as
all hell breaks loose on the multiple monitors in front of them.)
SECURITY: Section G-4.
SECURITY: Security three intersect at G-5.
SECURITY: Where the hell is metro?!
CUT TO:
(The three women have their cash boxes and start to leave. The gunfire
increases exponentially as they make their way to the exit. Additional SECURITY
OFFICERS start to fire from behind the bar.)
(The red-headed woman gets shot and falls to the ground. The other two escape.)
CUT TO:
SCENE #02:
[INT. HOTEL CASINO -- NIGHT]
(GRISSOM and BRASS walk down the entrance stairs into the casino. GRISSOM
carries his kit while BRASS fills him in.)
GRISSOM: And the body count?
BRASS: Five guards, three civilians wounded. One dead bad guy. Armed robbers
snatched the lock boxes from the two high-stakes tables right off the rolling
cage.
GRISSOM: Cash on wheels.
BRASS: Busiest time of night. Three women-organized and muscled.
GRISSOM: Small time crooks, Jim.
BRASS: Hey, they got away with 250K.
GRISSOM: Yeah? That's a mere pittance to a Vegas casino. Cashiers alone are
sitting on a million and change.
(They reach the red-haired woman.)
BRASS: Small time or not these ladies are dangerous.
(GRISSOM glances down a the body. He puts his kit down and kneels down next to
the body. The looks up at BRASS.)
GRISSOM: Dangerous, yes. Ladies ...
(GRISSOM reaches over and pulls the red-haired wig off of the "woman". He holds
it up to BRASS and shakes his head.)
GRISSOM: ... no.
(BRASS shrugs.)
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
SCENE #03:
[INT CASINO - NIGHT]
(The wounded are being tended to. WARRICK and NICK go through the scene.
WARRICK is kneeling on the floor looking through a small instrument measuring
the base of a discarded bullet.)
WARRICK: These guys packed enough .45 caliber ammo for a small army.
(NICK picks up a bullet from the floor near marker #6.)
NICK: Security managed to return a few rounds. Nine millimeter.
WARRICK: Less than a year ago security couldn't even carry guns.
NICK: Times have changed.
WARRICK: Yeah.
CUT TO:
SCENE #04:
(BRASS and GRISSOM talk in the casino.)
BRASS: The same M.O. as Laughlin. Last month, cottage casino, men dressed as
women shot the place to hell. In and out in under five.
GRISSOM: My bet was that that was the practice run.
BRASS: And the more you practice ...
(BRASS and GRISSOM walk up to MAX DUNCAN talking with an OFFICER. They overhear
part of what he says.)
MAX DUNCAN: I don't know what the hell's going on with the world. Everything's
crazy. I risk my life just coming into work. Makes you miss the mob days, huh?
Back then, this never would've happened. And if it did, those scumbags, they'd
be dead, every last one of them and we would never know about it.
BRASS: Mr ... Mr. Duncan -- take a deep breath and tell us what happened.
MAX DUNCAN: We'd just made a money transfer to the rolling cages. Then, bang--
the chandelier comes crashing down. Sounded like an explosion. So I dropped to
my knees-- I took cover.
BRASS: Anything else?
MAX DUNCAN: Yeah, I started praying for the gunfire to stop.
BRASS: Okay. Thanks a lot. And check in with triage before you leave.
(MAX DUNCAN leaves.)
BRASS: Well, that was helpful.
GRISSOM: (looking at the chandelier) Actually, it was. Gives us a starting
point.
(Quick flashback to: The chandelier flares and starts to fall from the ceiling.
People run for cover. The "woman" in red pulls out her gun and shoots the
guards.)
GRISSOM: (v.o.) The falling chandelier distracts the guards. Makes them easy
targets.
(End of flashback. Resume to present.)
GRISSOM: The armed robbers load up, head for the exits.
BRASS: Quick escape.
GRISSOM: Chaos moving in one direction, the money moving in the other.
CUT TO:
[EXT. ROADWAY - NIGHT]
SCENE #05:
[INT. CAR - NIGHT]
(CATHERINE and SARA drive to the crime scene.)
CATHERINE: Can you imagine living out here?
SARA: It's peaceful.
CATHERINE: Peaceful? The town just lost five percent of its population.
SARA: I thought you said this was a single homicide.
CATHERINE: Yeah, in a population of 20.
(SARA smiles. The car turns into the parking lot.)
SARA: We made it. State trooper.
(CATHERINE parks the car. They get out of the car.)
OFFICER SPENCER: Two hours to drive 75 miles. You guys got lost.
CATHERINE: What's the rush? Crime scene's not going anywhere.
OFFICER SPENCER: Yeah, but I am. Body's behind the counter. Dustin Bale --
store clerk. Bullet through the chest. The register's empty.
SARA: Officer Spencer, did you touch anything?
OFFICER SPENCER: Fourteen years as a state trooper. I know how to secure a
crime scene without contaminating the evidence.
SARA: Sorry.
OFFICER SPENCER: It's okay. Look, I cover 97.5 square miles. I got to book.
(CATHERINE and SARA head for the store.)
CUT TO:
SCENE #06:
[INT. GENERAL STORE - NIGHT -- CONTINUOUS]
(They enter the store and look around. The sign in the door says "Closed".
They put their kits down and look at the stuff on the floor.)
SARA: Vomit?
(CATHERINE picks up a sample and smells it. She shakes her head.)
CATHERINE: Not an expectorate. Potato. Blown to smithereens.
(SARA thinks about it.)
SARA: A poor man's silencer.
(Quick CGI POV to: A side view of a gun firing through a potato and the potato
shattering into bits. End of CGI POV.)
CATHERINE: Now, why would an assailant need silencer way out here?
(SARA stands up and picks up a potato from the stand. She goes behind the
counter. She sees the body on the floor. She steps over the body and checks
the cash register slip.)
SARA: Last paying customer -- eight hours ago.
CATHERINE: We just got the call. The place is open 24 seven. Why'd it take so
long?
(Quick flashback to: A person leaving the store and turning the sign in the
door over.)
SARA: (v.o.) The assailant flipped the sign on the way out, buying him time to
get away.
(End of flashback. Resume to present.)
(CATHERINE looks up and sees the security camera high in the ceiling.)
CATHERINE: But now without getting his picture taken first.
(SARA steps up and checks the camera.)
SARA: It's plastic.
CATHERINE: You're joking.
SARA: Nine volt attached to a blinking light.
CATHERINE: Real or fake, it didn't work.
CUT TO:
SCENE #07:
[INT. CASINO -- NIGHT]
(BRASS takes notes as he interviews a FRATERNITY GUY.)
FRATERNITY GUY: There was three of them. (pointing) They come from around the
corner, guns drawn ...
(Quick flashback to: The three women walk into the casino. They raise their
weapons. End of flashback. Resume to present.)
COCKTAIL WAITRESS: I think they came from over there. (indicates side) There
were two of them.
(Quick flashback to: The two "women" in wigs walk through the casino. End of
flashback. Resume to present.)
ELDERLY WOMAN: I said four.
BRASS: Right.
ELDERLY WOMAN: There were four of those lunatics. They were everywhere.
BRASS: Right.
ELDERLY WOMAN: (insistent) Write it down.
BRASS: I got it. Thank you very much. Excuse me.
(BRASS walks away from the ELDERLY WOMAN. GRISSOM walks up to BRASS.)
BRASS: (clears throat) I've interviewed 17 people. No two accounts are alike.
(He puts his notebook away.)
GRISSOM: A Harvard Professor conducted an experiment. Asked a bunch of
students to watch a basketball game -- count the number of times the ball was
passed.
BRASS: Yeah, groundbreaking.
GRISSOM: During the game a person dressed in a gorilla suit ran across the
court. Afterwards, the professor asked his students if they noticed the
gorilla. Fifty percent responded, "What gorilla?"
BRASS: That's wonderful, Gil. If I see a gorilla, I'll arrest it.
CUT TO:
SCENE #08:
[EXT. CASINO -- NIGHT]
VALET: The car was sitting right here.
NICK: Did you get a good look at it? Make, model?
VALET: No. It was beige, beat up. Hazards flashing. People leave their cars
here all the time. I wait ten minutes then call for a tow.
NICK: Car peel out?
VALET: No. The driver gunned it but I didn't hear a screech.
(NICK looks at the small oil spill on the ground. He smells it.)
NICK: Smells like burnt wood.
VALET: Motor oil?
NICK: No. No, transmission fluid. But it's brown, not red.
VALET: Which means?
NICK: (shakes his head) It's not the right color.
CUT TO:
SCENE #09:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS removes the bullet from the body. GRISSOM walks into the room.)
GRISSOM: Extraction is an art, Albert.
ROBBINS: I like to think so. So this is our cross-dresser in thee ? I.D.'d as
Adam Brower, shot in the back with a hollow point -- close range. Mushroomed
upon impact maximizing trauma.
(Quick CGI POV to: The bullet enters the flesh and opens up. End of CGI POV.
Resume to present.)
GRISSOM: Caliber?
ROBBINS: Forty-five.
(He puts the bullet in the tin.)
GRISSOM: The guards were armed with nine millimeters and they weren't hollow
point. So ... he was shot in the back by one of his own partners?
ROBBINS: Someone didn't want to share.
(Camera holds on GRISSOM.)
CUT TO:
SCENE #10:
[INT. GENERAL STORE -- NIGHT]
(CATHERINE prints the "Closed" sign. SARA watches her from behind as she clears
the counter.)
SARA: Wow. A fumette. Did you get that out of some museum?
CATHERINE: Hey, don't knock it. It's still the best tool for lifting prints
off cardboard.
(The sign shows many prints.)
CATHERINE: (quietly) Blow and print.
(SARA finishes clearing the counter and kneels down to look at it closely.)
SARA: If you were in a hurry how would you get back there?
CATHERINE: Easy. Jump the counter.
SARA: Exactly what I'm thinking.
(SARA pulls out a machine and checks the counter.)
(Quick CGI POV to: Top view of the thin film placed on the counter. Camera
moves downward under the film to show the prints adhering to the film. End of
CGI POV. Resume to present.)
SARA: Shoe prints.
CATHERINE: Lay it out.
SARA: Suspect entered ...
(Quick flashback to: Person walks into the store. Picks up a potato. The
clerk turns around. The gun fires. The clerk falls to the ground. The person
hops over the counter, takes the cash from the register and leaves.)
SARA: (v.o.) ... shoots the clerk through the potato... then hops up and
over, leaving behind shoe prints ... grabs the cash ... flips the sign from
"open" to "closed" and exits.
(End of flashback. Resume to present.)
CATHERINE: How old is the killer?
SARA: (shakes her head) What are you thinking?
CATHERINE: Shoe size is five, six tops.
SARA: We may be looking for a minor.
CUT TO:
SCENE #11:
[INT. CSI - A/V LAB]
(GRISSOM walks into the lab and joins WARRICK in front of the monitor.)
GRISSOM: You want to see me?
WARRICK: Yeah.
GRISSOM: This is the video surveillance from that heist. This camera was
trained on their entrance.
(On the monitor, the three "ladies" walk into the casino. The blond stays by
the stairs, the Red and Blue walk into the casino.)
GRISSOM: All the disguises in the world and they dress like women.
WARRICK: Ski masks are played out. Red and blue teamed up together and took
out the guards and their rolling cage.
(On the monitor, the Red and the Blue walk across the floor and shoot the
guards. The players duck down for cover.)
WARRICK: Black shot down that chandelier.
GRISSOM: Well, Blue's the decedent I.D.'d as Adam Brower ... so enlarge red.
(On the monitor, the frame is on pause and the picture of the woman in Red is
enlarged.)
WARRICK: No amount of makeup in the world could cover up that chunk of adam's
apple.
GRISSOM: That must be the one that killed Brower. .45 in the back at close
range.
(Quick flashback to: The Red shooting the Blue in the back.)
WARRICK: No honor among thieves.
GRISSOM: Photoshop black.
(WARRICK highlights and enlarges a close up of the blonde-haired woman in
Black.)
WARRICK: No stubble ... no adam's apple.
GRISSOM: Dressed as a woman among men dressed as women. Now, see? That's a
disguise.
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #12:
[INT. GENERAL STORE -- DAY]
(SARA kneels down next to the counter and dusts the countertop for prints.
CATHERINE lingers in the doorway. She finishes printing the glass on the door.
She turns around and sees SARA dusting for prints.)
CATHERINE: Fluorescent powders?
SARA: Eh, why not? They're in the kit.
CATHERINE: Protocol's black.
SARA: Since when do you care about my choice of powders?
(CATHERINE takes off her gloves. She's irritated.)
CATHERINE: Assistant coroners is four hours late and we are stuck out here
until he transports the body. And I haven't heard from Grissom ...
SARA: (picks up a power container and looks at it) You know, I've never tried
green ...
CATHERINE: I should've never been sent to this remote scene in the first place.
I've got seniority. I deserve -- no, I've earned the right to pick my cases.
(Without a word, SARA walks over to the front of the counter and hands CATHERINE
a candy bar. CATHERINE opens it.)
CATHERINE: (reasons) If I start eating, I will shut up.
(SARA walks around the counter and looks at the body.)
SARA: Do you have a mirror?
CATHERINE: Since when do you care about your appearance?
(CATHERINE takes a bite of the candy bar and starts to chew. SARA'S jaw drops.
She stares at CATHERINE. CATHERINE digs into her kit and hands her a mirror.)
SARA: Crime scene?? It's not for me.
CATHERINE: Sorry.
(SARA kneels down next to the body. CATHERINE stretches to look over the
counter.)
CATHERINE: We can't touch it.
SARA: I'm just getting a better look.
(SARA uses the mirror and looks at the victim on the floor. The door opens.
DAVID PHILLIPS walks in.)
CATHERINE: Oh, thank god. It's about time.
DAVID PHILLIPS: Nice to see you, Catherine. Well, I smell the body. Where is
he?
(SARA stands up from behind the counter.)
SARA: Hey, David. I wasn't touching him.
DAVID PHILLIPS: (smiling) I know you better than that.
CATHERINE: So, uh, what took you so long?
DAVID PHILLIPS: (simply) I made a wrong turn back at the fork.
CUT TO:
SCENE #13:
[INT. CSI - DNA LAB]
(GREG sits in his lab reading a "Sand and Surf" magazine. NICK walks in. He
looks at the magazine over GREG'S shoulder.)
NICK: You're a surfer now?
GREG: Dude, I rip.
NICK: We're 300 miles from the nearest beach.
GREG: Surfing's just a state of mind.
NICK: I got your page. Where's my report?
GREG: Oh, relax, bro. The gc mass spec's working on it. Should be done, um
...
(The spectrometer beeps.)
GREG: ... now.
(He grabs the results and looks at it.)
GREG: Transmission fluid.
(He hands the sheet to NICK.)
NICK: Yeah, thanks. (reads it) Type "f" with dexron.
GREG: So?
(NICK grabs the magazine.)
NICK: So ... you should be reading Car & Driver instead of Sand and Surf.
Someone put the wrong type of fluid transmission. See, Ford automobiles use a
thick red Type-F transmission fluid. General Motors uses a thinner, yellow
fluid with dexron. Now, when dexron's put into a ford it thins that Type-F
fluid. Friction builds, gears grind.
(Quick CGI POV to: Close up of the transmission fluid in a car.)
NICK: (v.o.) The second gear is usually the first to go. Friction causes the
engine to overheat, in turn cooking the transmission fluid turning it brown.
(End of CGI POV. Resume to present.)
NICK: Leak on the pavement is the first clue you've got a problem.
GREG: Congratulations--you're looking for a Ford with a leak.
NICK: Not just Ford. The getaway vehicle has a stubborn second gear.
GREG: Which means it can't get very far.
NICK: My guess is it's already been dumped.
CUT TO:
SCENE #14:
[INT. APARTMENT - HALLWAY -- DAY]
(BRASS and WARRICK make their way to ADAM BROWER'S apartment.)
BRASS: Before Mr. Brower dressed up as a woman and heisted a casino, he was a
janitor at an office park off Flamingo. Before that, he was "out of town."
Fours years for grand larceny.
(They stop in front of the apartment door.)
WARRICK: Well, the manager's not in?
BRASS: I got a warrant.
WARRICK: I got a key.
(WARRICK uses the tool and punches out the door lock.)
CUT TO:
SCENE #15:
[INT. ADAM BROWER'S APARTMENT - DAY -- CONTINUOUS]
(WARRICK and BRASS enter the apartment.)
BRASS: Whoo, tidy little camper, isn't he?
WARRICK: Yeah.
(WARRICK starts looking around.)
BRASS: What are we looking for?
WARRICK: Anything that links Brower to his co-conspirators.
(WARRICK puts his kit down and lifts up a pair of jeans.)
BRASS: Dirty laundry?
WARRICK: I'm thinking trace elements in the clothes could tell us where he was
before the heist. I'm going to take it all back to the lab.
BRASS: Okay. Let's see ...
(BRASS opens the closet door. He lifts up a bra.)
BRASS: Well, while you're at it don't forget his wigs and bras.
CUT TO:
SCENE #16:
[INT. CSI -- LAB]
(SARA scans the shoe print into the computer. She runs a database search on
it.)
CUT TO:
SCENE #17:
[INT. CSI - PRINT LAB -- DAY]
(SARA walks into the lab. CATHERINE is already there with the Technician.)
CATHERINE: Anything on the shoe print?
SARA: Skechers. Adult size five. Female.
CATHERINE: Well, at least, we're not chasing a kid.
SARA: How's the prints coming?
TECHNICIAN: You two lifted 82 suspect prints. 43 are partial.
CATHERINE: We ID'd on from the "open/closed" sign.
SARA: Great.
CATHERINE: No. Not so great. State trooper.
SARA: You got to be kidding me. "Officer Moron" contaminated the scene.
CATHERINE: Yep. Well, I'll just beef him to his captain.
TECHNICIAN: Tough. I like that.
(The computer beeps.)
TECHNICIAN: Match. Print off the register.
SARA: What have you got?
CATHERINE: (reading) Tammy Felton.
SARA: Who's Tammy Felton?
CATHERINE: A fugitive and clinical psychopath that Grissom and I put behind
bars. She tried to play but I didn't bite.
[Scenes from 1X17: Face Lift. (Quick flashbacks of TAMMY FELTON with a pleading
look on her face, of CATHERINE as she turns around, and of TAMMY between the
jail cell bars. End of flashback. Resume to present.)]
CATHERINE: Her biological parents posted bail and then she bailed on them.
SARA: Biological parents?
CATHERINE: Tammy was kidnapped as a child. Raised by her kidnapper. When she
found out the truth, she killed him. Hey, finish running the prints.
(CATHERINE stands up and heads out the lab.)
CATHERINE: Tammy uses people. She wasn't alone.
CUT TO:
SCENE #18:
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
CATHERINE: (o.s.) Grissom!
(GRISSOM turns around and sees CATHERINE walking toward him. He turns around
and continues down the hallway. CATHERINE chases after him.)
GRISSOM: If you're going to badger me about your crime scene location, put it
in a memo.
CATHERINE: You don't read memos. Do you remember Tammy Felton?
GRISSOM: I always remember the ones that get away.
CATHERINE: She's back.
(GRISSOM stops and turns around. CATHERINE catches up with GRISSOM.)
CATHERINE: She's been to Calnevari. She's a prime suspect in our convenience
store homicide.
(GREG enters the end of the hallway and calls out to GRISSOM.)
GREG: Grissom ... (They turn to look at GREG.) I need you, ASAP. Please.
(GRISSOM pulls CATHERINE down with him as he follows GREG.)
CUT TO:
SCENE #19:
[INT. CSI - DNA LAB]
(GREG sits in his chair. On the table in front of him are bullet samples.)
GREG: So, ballistics sent me a bullet from the casino. It's a .45 so we know
it came from one of the "ladies'" guns.
GRISSOM: And this is a special bullet?
GREG: No, but there was a foreign substance adhered to it.
GRISSOM: And the substance is special?
GREG: Not exactly.
CATHERINE: Just get to the point, Greg.
GREG: Tomato, to-mah-to, potato...
CATHERINE: Wait a second. There was potato on the bullet?
(GRISSOM turns to look at CATHERINE. He knows she knows something.)
GREG: You bet. Strange, huh?
CATHERINE: There was potato on the bullet because there was potato inside the
barrel of the gun.
GRISSOM: This bullet is from my investigation.
CATHERINE: Right. One of your armed robbers may have used a potato as a
silencer prior to the heist.
(Quick CGI POV to: Close up of the gun firing and the bullet shattering the
potato, passing through the potato and some of the potato getting back into the
nozzle of the gun. End of CGI POV. Resume to present.)
GRISSOM: Tammy Felton?
CATHERINE: (shakes her head) Maybe.
GRISSOM: Three armed robbers. Adam Brower-- killed at the scene Tammy Felton
... we're still one suspect short.
(SARA enters the lab. She pulls out the photo sheet from the envelope. She
gives it to CATHERINE.)
SARA: Cath, got another match from the convenience store. The print on the
outside doorknob belongs to an ex-con, Darin Hanson.
(GRISSOM looks at CATHERINE. They both look at each other. SARA recognizes the
look.)
SARA: You know this guy, too?
CATHERINE: He ran with Tammy's father, mostly from the law.
GRISSOM: So Tammy kills dad ... and she and Darin Hanson run off together.
[Scenes from 1X17: Face Lift - TAMMY FELTON on the side of the road as a car
pulls up to pick her up. DARIN HANSON gets out of the car. They smile at each
other.]
CATHERINE: A regular Bonnie and Clyde. Just what Vegas needs.
(Camera holds on GRISSOM.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
SCENE #20:
[INT. CSI - BALLISTICS LAB -- DAY]
(BOBBY DAWSON goes over the bullet comparisons with GRISSOM and CATHERINE.)
GRISSOM: Let me see, Bobby.
BOBBY DAWSON: Yeah.
(BOBBY moves aside so that GRISSOM can look into the scope.)
BOBBY DAWSON: Projectile on the left, .45 hollow point courtesy of Adam
Brower's back. On the right ...
(SCOPE VIEW of the two bullets.)
BOBBY DAWSON: ... a .45 hollow point extracted from Dustin Bale -- dead clerk
at the convenience store.
GRISSOM: Bullets confirm the story told by the potato.
CATHERINE: Same gun. Two crimes. One case.
GRISSOM: Three suspects. Adam Brower, deceased. Tammy Felton, Darin Hanson,
still at large.
(NICK enters the lab.)
NICK: Hey, guys. I just got a call from Brass. We got a possible getaway
vehicle off I-93.
CATHERINE: What makes you think it's the right car?
NICK: It's beige abandoned, '77 mercury cougar. Mercury's a division of Ford.
I'll drive.
CUT TO:
SCENE #21:
[EXT. OFF I-93 -- DAY]
(Open on the car in the bushes. BRASS stands off to the side looking at the car
in the bushes. On the road, the CSI'S get out of their Tahoe. They approach
BRASS. BRASS turns to meet them.)
BRASS: A trucker called it in.
GRISSOM: Well, if that's the getaway car there would have been a secondary
vehicle parked nearby.
NICK: Yeah. Check for treads, Jim?
BRASS: Yeah.
(BRASS turns to join NICK.)
GRISSOM: (to CATHERINE) Shall we?
CATHERINE: (nods) Let's go.
(GRISSOM makes his way to the front of the car. He looks inside.)
(Cut to: NICK and BRASS are topside looking for the second vehicle.)
NICK: If you were stashing a car, where would you hide it?
BRASS: All these bushes would provide good cover.
NICK: Oh ... check out that dirt displacement.
BRASS: Yeah. Skid mark; one tire.
BRASS: Where's the other one?
NICK: (realizes) There isn't one.
(Quick flashback to a single rider on a motorcycle. The engine revs and it
drives off. End of flashback. Resume to present.)
NICK: Dirt to pavement, then the trail goes cold.
(Cut to: CATHERINE helps GRISSOM back on top of the hill.)
GRISSOM: No damage. This car was barely moving.
CATHERINE: It was dumped.
(A piece of cloth is caught in the trunk hood.)
CATHERINE: Detail ... pop the trunk.
(The MAN pops the trunk open.)
CATHERINE: Thanks.
(They open the trunk and find TAMMY FELTON inside. Eyes wide open and dead.)
CATHERINE: It's Tammy.
CUT TO:
SCENE #22:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS examines TAMMY FELTON.)
ROBBINS: Contusions on the anterior neck. Streaking erythema on the lateral
aspect of zone one. Cartilaginous tracheal rings are crushed.
(CATHERINE walks in.)
CATHERINE: Hey, Doc.
ROBBINS: Catherine.
CATHEIRNE: She didn't put up a fight, did she?
ROBBINS: How'd you know?
CATHERINE: She was killed by the one person in life she trusted.
(Quick flashbacks to: TAMMY FELTON in her blonde wig kissing DARIN HANSON.
TAMMY takes off her wig. She and DARIN stand close to each other. DARIN puts
his hands on her shoulders. TAMMY smiles. DARIN'S grip starts to tighten and
TAMMY starts gagging. They fall to the ground as he chokes her. End of
flashback. Resume to present.)
CATHERINE: Darin Hanson stared her in the face and she never saw it coming.
ROBBINS: Put his thumbs around her air pipe and pushed.
(Quick flashback to TAMMY FELTON on the ground and gasping as DARIN HANSON
chokes her. End of flashback. Resume to present.)
ROBBINS: I swabbed her neck. Affirmative for epithelials.
(ROBBINS hands the swab box to CATHERINE.)
CATHERINE: I'll run them against Darin Hanson's DNA.
ROBBINS: Parents called. They're on their way in to I.D.
CATHERINE: How did they sound?
ROBBINS: Oddly, relieved.
CATHERINE: They finally know where she is.
(CATHERINE sighs.)
CUT TO:
SCENE #23:
[INT. CSI - GARAGE]
(NICK walks around the car to stand in front of WARRICK who gets out of the
front seat. He holds out his index finger to NICK. NICK looks at it and shakes
his head.)
NICK: I'm not pulling it.
WARRICK: I found similar dust on Adam Brower's dirty clothes. Check it out.
(NICK uses the magnifying glass and looks at the dust on the tip of WARRICK'S
finger. Camera zooms to the magnifying glass view of the dust on the tip of
WARRICK'S finger. Camera zooms in further to show a microscope view of the dust
crystals.)
CUT TO:
SCENE #24:
[INT. CSI - DNA LAB]
(GREG looks up from the scope.)
GREG: Real-life fairy dust.
NICK: Yeah, it turns grown men into criminals.
WARRICK: What's the composition?
GREG: S-I ... O-2. Silica dust. Each particle's a hundred times smaller than a
grain of sand.
(GRISSOM walks into the lab.)
GRISSOM: I thought you guys were processing the car?
WARRICK: Yeah, um... what do you know about silica?
GRISSOM: It's used to make glass. It's mined in open pits. Why?
NICK: Silica found both on Adam Brower's clothing and the getaway vehicle.
GRISSOM: There's an abandoned silica mine outside calnevari.
GREG: (impressed) What don't you know?
CUT TO:
SCENE #25:
[EXT. SILICA MINE]
(Police cars drive up to the abandoned silica mine. NICK, WARRICK and GRISSOM
exit the Tahoe. They start looking around. Officers also start looking around
the place.)
GRISSOM: Come here.
(NICK and WARRICK join GRISSOM to see what he found. GRISSOM points. Across
the way, a motorcycle is parked next to a shed.)
NICK: Motorcycle tracks at the vehicle dump site.
(They make their way toward the shed. On the ground are silica crystals.)
NICK: Yeah, that smells nice.
WARRICK: Shouldn't smell at all, if this place is abandoned.
(Behind GRISSOM, NICK and WARRICK both get their guns out. GRISSOM stands in
front and looks at the shed.)
GRISSOM: Get your guns out.
(They approach the shed. GRISSOM reaches out and opens the door. Inside is a
dead MAN shot in the forehead.)
GRISSOM: Say hello to Darin Hanson.
(WARRICK picks up a shell casing from the ground.)
WARRICK: Shot with a .45. Execution style.
NICK: Adam, Tammy ... now Darin... all dead.
GRISSOM: And ... we're out of suspects.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
SCENE #26:
[INT. CSI -- LOUNGE]
(GRISSOM hands out photographs on the table.)
GRISSOM: Three armed robbers hold up the casino. Tammy's in black, Adam was
the one in blue and that leaves us Darin.
CATHERINE: We found Darin and Tammy's prints at the convenience store. Hours
before the heist, gets murdered.
(Quick flashback to: The clerk turns around and gets shot. End of flashback.
Resume to present.)
NICK: Shot with the same gun used to kill Adam at the casino.
GRISSOM: The surveillance video tells us that Darin was the only one in
position to shoot Adam.
(Quick flashback to: The "Woman" in Red shooting the "Woman" in Blue". End of
flashback. Resume to present.)
NICK: Why did Darin kill Adam?
SARA: Greed. Fewer slices. Bigger pieces.
CATHERINE: Which explains why he killed Tammy.
(Quick flashback to: TAMMY FELTON on the ground, gasping and being choked by
DARIN HANSON. End of flashback. Resume to present.)
NICK: That's confirmed?
CATHERINE: Epithelials on her neck are a match to Darin's DNA.
NICK: So, Darin thought he was getting the whole score.
SARA: But now he's dead. So, who killed him, and where's the money?
GRISSOM: And we still don't know why Darin and Tammy took out the convenience
store clerk.
CATHERINE: Why kill a man for a few hundred bucks when you're about to steal a
hundred thousand?
SARA: We've got more questions than answers.
(WARRICK enters the room.)
WARRICK: I just got off the phone with the Laughlin CSI assigned to last
month's cottage casino case. He told me the casino's cameras captured four
assailants, not three.
NICK: Maybe Tower Club surveillance missed something.
WARRICK: Actually, it didn't. We did.
CUT TO:
SCENE #27:
[INT. CSI - AUDIO/VISUAL LAB]
(Everyone is back in the A/V Lab. WARRICK is in front of the computer showing
them the surveillance video.)
WARRICK: Tower casino surveillance. The screen on your left the camera's
trained over where Tammy, Darin and Adam entered. The screen on your right is
trained on the gaming tables. Okay, check it out.
(On the monitor, the video plays.)
SARA: What are we looking for?
WARRICK: What, you missed him? All right. I'll play it again ... slower, just
for you. (WARRICK smiles. NICK throws SARA a glance and smiles.) Now, keep
your eye trained on the pit boss and the chandelier.
(On the monitor, the video plays in slower motion. It's apparent that MAX
DUNCAN drops before things happen.)
SARA: He ducked before the chandelier fell.
NICK: Yeah, before Tammy drew her gun.
CATHERINE: Play it again.
(WARRICK plays the video for a third time.)
GRISSOM: Well done, Warrick. You found our mole.
WARRICK: Yeah. Pit boss' name is Max Duncan. Started working there about
three weeks ago. Before that ...
CATHERINE: Let me guess. Laughlin, cottage casino?
GRISSOM: Yeah. I'll call Brass. He can make the arrest.
CATHERINE: I'll meet him at the station. Call you with an update.
(CATHERINE stands. She and GRISSOM leave the lab.)
CUT TO:
SCENE #28:
[EXT. DUNCAN RESIDENCE -- DAY]
(MAX DUNCAN hurriedly leaves his house (#23519) carrying a golf club set and
duffle bag. He puts them into the back of his car.)
(Police cars pull up and block his exit. BRASS and CATHERINE get out of the
car.)
BRASS: Max Duncan?
MAX DUNCAN: Yeah. What the hell is going on here?
CATHERINE: You going somewhere?
MAX DUNCAN: What's it to you?
BRASS: I'll tell you how this works: I'll ask the questions; you give the
answers downtown.
MAX DUNCAN: I'm calling my lawyer.
(An officer cuffs MAX DUNCAN. CATHERINE walks up to the side of MAX DUNCAN'S
car and notices the thin film of dust on it. She runs her finger along the car
side.)
CATHERINE: Good idea.
CUT TO:
SCENE #29:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS and CATHERINE question MAX DUNCAN. His lawyer sits next to him.)
BRASS: Max ... are you clairvoyant?
MAX DUNCAN: Excuse me?
CATHERINE: Surveillance tape from the Tower Club Casino. You ducked before
there was a reason to cover.
MAX DUNCAN: I saw a gun; I hit the ground.
BRASS: Okay, let's try this. Why were you leaving town? Trying to beat a
murder rap?
MAX DUNCAN: No. I didn't kill anyone.
CATHERINE: You forget about Darin Hanson? Your car was covered with gray dust-
- silica. It places you at the murder scene.
MAX DUNCAN: Well, I didn't kill him.
LAWYER: (warning) Max ...
MAX DUNCAN: I went there, but ...
LAWYER: I'm advising you not to say another word.
MAX DUNCAN: No, I want to clear this up. All right, I went out to the mine,
but I didn't kill Darin. He was already dead. All right, look, I ... I'll
admit I helped him out. I ... I told him when and where to hit. That's why I
ducked. But that's it.
BRASS: That's a lot.
CATHERINE: And it still doesn't explain why you went to see Darin.
LAWYER: Max, that is enough.
MAX DUNCAN: Well, I went to collect my share, but the money was gone. Darin
was dead, and I panicked, but I didn't shoot him. You can't get me for murder
on this.
BRASS: When someone is killed during the commission of a felony all the
conspirators are liable.
CATHERINE: Darin Hanson shot Adam Brower but you might as well have pulled the
trigger.
LAWYER: (looks at MAX DUNCAN) Let's make a deal.
BRASS: Tell me, who else was involved? Who killed Darin?
MAX DUNCAN: Look, Darin was the only one that I spoke to. I never even met the
other three.
BRASS: Then we got no deal. Officer.
(The OFFICER puts a hand on MAX DUNCAN'S shoulder. MAX DUNCAN and his LAWYER
leaves with The OFFICER. BRASS sits down.)
BRASS: You know what? I kind of believe him.
CATHERINE: Yeah, me, too. He confirmed a fourth. Darin plus three. Just like
Laughlin.
BRASS: So, the last man standing killed Darin.
CATHERINE: And he's still out there ... flush with cash and a .45 caliber.
CUT TO:
SCENE #30:
[INT. CSI - A/V LAB]
(On screen are photo shots of the robbers from the surveillance video of the
Laughlin robbery.)
ARCHIE JOHNSON: Surveillance stills from the laughlin heist. Four perps; we've
identified three: Darin, Tammy and Adam. All deceased.
GRISSOM: Yeah. All murdered.
ARCHIE JOHNSON: That leaves one.
SARA: I.D. the "unknown", good chance we solve both cases: Laughlin and Vegas.
GRISSOM: Except all we got is a gun in drag.
ARCHIE JOHNSON: (smiling) Well, that's why I'm here.
(ARCHIE gets to work on the photos on screen.)
ARCHIE JOHNSON: I've divided the photo into segments removed the disguise and
rebuilt the original image based on male physiological norms. Now, it's not
exact but you'll have an idea of what your guy looks like.
(SARA recognizes the man on screen.)
SARA: That's Dustin Bale.
GRISSOM: The clerk from the convenience store.
SARA: Whoa. Hold on. He was killed hours before the tower club heist. In on
Laughlin, out on Vegas. So, Darin took him out first. They cleared the
register just to make it look like a robbery.
GRISSOM: But the pit boss said it was Darin plus three.
SARA: Because he knew there were four at the Laughlin heist.
GRISSOM: Well, maybe he didn't know that the clerk wasn't there. He wasn't
counting wigs. He was hiding under a blackjack table.
SARA: And we're back to who killed Darin Hanson.
CUT TO:
SCENE #31:
[INT. CSI - BALLISTICS LAB]
(CATHERINE and NICK walk into the lab.)
CATHERINE: Bobby D.
BOBBY DAWSON: Yeah?
CATHERINE: We need your help.
BOBBY DAWSON: Another round from the casino heist?
NICK: Indirectly, yeah.
(CATHERINE hands BOBBY the envelope. He takes the bullet out and looks at it.)
BOBBY DAWSON: Well, tip didn't blossom. Not a hollow point, so it's not from
Darin Hanson's gun.
NICK: No, it's from his head.
(BOBBY DAWSON looks at NICK, surprised. He weighs the bullet.)
BOBBY DAWSON: All right, 230 grains gives us a .45 automatic.
CATHERINE: What else?
BOBBY DAWSON: Okay, normally, lands and grooves are highly delineated. (The
monitor shows the side of the bullet.) These are smooth, polished, which means
that your projectile was fired from a polygonal barrel. Be right back.
(BOBBY goes into the cage and takes out two gun samples.)
BOBBY DAWSON: These are the only types of .45 automatics with polygonal
barrels. So, the gun that fired your bullet was either a Heckler & Koch USP or
a Glock.
(BOBBY looks at the bullet again.)
CATHERINE: Narrow it further.
BOBBY DAWSON: (smiling) Well, that's what I'm doing: Dissecting your bullet.
BOBBY DAWSON: Hey, Nick.
NICK: Mm-hmm.
(BOBBY steps back and lets NICK count the stripes on the monitor.)
BOBBY DAWSON: Count the stripes.
NICK: One, two, three, four, five, six.
BOBBY DAWSON: Six lands angroves with a right-hand twist.
NICK: Mm-hmm.
BOBBY DAWSON: Glock's got eight; Heckler and Koch-- six. You got your gun.
NICK: Let's run ATF.
BOBBY DAWSON: Pretty unique weapon. Expensive. Not exactly what you'd buy out
of the back of a van.
(He inputs the information into the database.)
BOBBY DAWSON: Only take a second.
(The printer beeps and prints the results.)
BOBBY DAWSON: (smiling) See? Can I call it? Only 18 registered in-state.
Ten in Clark County; seven of them still in circulation.
(CATHERINE looks at the results.)
NICK: Any names jumping off the page?
CATHERINE: Just one. It's out of left field. About 75 miles out.
(CATHERINE looks at NICK.)
CUT TO:
[EXT. CLARK COUNTY - NIGHT]
SCENE #32:
[INT. -- DAY]
(BRASS, GRISSOM and CATHERINE question the State Trooper, OFFICER SPENCER.)
OFFICER SPENCER: You're accusing me of murder?
BRASS: And absconding with a quarter of mill stolen money.
CATHERINE: Where did you stash the cash?
OFFICER SPENCER: I'm a state trooper.
BRASS: How does a cop hook up with an ex-con like Darin?
CATHERINE: I can answer that. It's all in a day's work.
(Quick flashback to: OFFICER SPENCER rides in his vehicle and sees the car
parked outside the store. He hears the gunshot. He gets out of his vehicle and
draws his gun. End of flashback. Resume to present.)
CATHERINE: A potato silencer muffles a bullet but won't silence it. You went
in your gun drawn.
(Quick flashback to: OFFICER SPENCER enters the store with his gun drawn. He
sees TAMMY FELTON behind the counter and DARIN HANSON points his gun at OFFICER
SPENCER.)
DARIN HANSON: Take it easy, pal.
(End of flashback. Resume to present.)
CATHERINE: You should have arrested them. But something happened, didn't it?
My bet, Tammy made you an offer.
(Quick flashback to: TAMMY FELTON walks around the counter carrying some cash.)
OFFICER SPENCER: Drop the weapon.
TAMMY FELTON: Hey, uh, let's be smart about this. You can take us in or we can
cut you in.
(End of flashback. Resume to present.)
CATHERINE: They still had pockets full of cash from the Laughlin job. They
offered you a finder's fee.
(Quick flashback to: SPENCER looks at the cash that TAMMY FELTON holds out to
him.)
OFFICER SPENCER: This isn't going to do it.
DARIN HANSON: It'll hold you over ... till tomorrow.
TAMMY FELTON: Deal?
(Cut to: TAMMY and DARIN walk across the parking lot toward their car. SPENCER
leaves the store and flips the sign over on his way out. The door closes behind
him.)
(End of flashback. Resume to present.)
(CATHERINE kneels and looks at SPENCER'S shoes and pants.)
OFFICER SPENCER: What are you doing?
CATHERINE: You patrol on 97.5 square miles. Is the calnevari mine a part of
your jurisdiction?
OFFICER SPENCER: No. I'm east of the mine.
GRISSOM: But you've been there haven't you?
(Quick flashback to: At the Calnevari mine, OFFICER SPENCER looks at the
motorcycle. He draws his gun and approaches the shed. He opens the shed door
and catches DARIN HANSON inside. He aims and shoots. He closes the door and
looks around. He puts his gun back in his holster and leaves.)
BRASS: Where is the cash?
(OFFICER SPENCER doesn't say anything.)
GRISSOM: Jim, hit the overhead, will you?
(BRASS turns the lights off.)
GRISSOM: Silica is a crystal. It reflects the light. Even trace amounts will
show up. (chuckles) Huh. How about that?
(GRISSOM follows the silica trail into the hallway and into the locker room. He
pushes the door open and follows it to the locker.)
(He opens the locker. OFFICER SPENCER still doesn't say anything. He watches
as GRISSOM finds the false bottom on the locker floor. He removes the locker
and pulls out the bag with the money inside.)
(SPENCER kneels down.)
OFFICER SPENCER: More than I'd make in a lifetime.
GRISSOM: Was it worth it?
OFFICER SPENCER: You wouldn't understand.
CATHERINE: That's right. We make the big bucks.
OFFICER SPENCER: Look -- I was never "that" guy. You know, that guy that wins
the jackpots gets promoted, catches the breaks? It was right there.
BRASS: Yeah, well, you're still not that guy. Get him out of here.
(The OFFICER escorts SPENCER out of the room.)
CATHERINE: $250,000 turned a career cop bad.
GRISSOM: Yeah, well, he had his price.
CATHERINE: We all do.
(GRISSOM turns to look at CATHERINE. She smiles at him. Camera holds on
GRISSOM.)
FADE TO BLACK.
Fait par Loveangel
