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Les Experts
#709 : La légende vivante

Les Experts passent au peigne fin le véhicule d'un célèbre parrain de la mafia, qui a disparu mystérieusement dans les années 1970. La voiture a été retrouvée au fond du Lac Mead. A son bord, les Experts découvrent de singulières photographies. Les clichés intriguent beaucoup les enquêteurs : ont-ils un rapport avec la disparition du mafieux ? C'est ce qu'il va leur falloir déterminer. Mais l'affaire connaît un rebondissement avec la mort d'un proche de l'ancien caïd. Des pseudonymes empruntés à des classiques des films d'horreur rendent les policiers encore plus perplexes. 


3.75 - 4 votes

Titre VO
Living legend

Titre VF
La légende vivante

Première diffusion

Première diffusion en France

Plus de détails

Écrit par : 
Réalisé par


David Berman (David Phillips), Archie Kao (Archie Johnson), Larry Mitchell (Officer Mitchell) 

Guests :

  • Roger Daltrey ..... Mickey Dunn 
  • Brian Goodman ..... Derek Paul 
  • Barbara Bain ..... Mrs. Iris Paul 
  • Bob McCracken ..... Mason Carter 
  • Louis Giambalvo ..... Ken Billings 
  • J. Omar Castro ..... Crew Chief 
  • Ion Overman ..... Female Reporter 
  • Tangie Ambrose ..... Waitress/Tina 
  • Kristin Minter ..... Hooker 
  • Griff Furst ..... Photographer 
  • Clark Middleton ..... Freddie Sloan 
  • Rik Young ..... Young Mickey Dunn 
  • Amy Scott ..... Young Catherine 
  • Jeff Howard ..... Young Ken Billings 
  • Mark Elias ..... Young Mason Carter 
  • Jesse Jensen ..... Young Johnny D'Angelo 
  • Nico Samano ..... Officer Sanchez 


(Open on various cuts of footage of the GOLDEN NUGGET GAMBLING HALL.)  

TALLY JEFFERS (REPORTER):  (v.o.)  It was the '70s, it was Las Vegas, it was the 
time of Mickey Dunn ... 

(A rolls pulls up to the front of the casino.  Mickey Dunn exits the car.)  


TALLY JEFFERS (REPORTER):  (v.o.)  ... the legendary organized crime figure who 
ran Vegas operations of extortion and racketeering by day ...

(Mickey Dunn is in the casino with a woman in each arm.)  

MICKEY DUNN:  I love America!

(More footage of Mickey Dunn playing in the casino.)  

TALLY JEFFERS (REPORTER):  ... and partied on its disco dance floors by night.  
Until August 1976, when federal authorities linked Dunn to the murder of a low-
level mob informant.  

(Photo of a dead man on the concrete.)  

TALLY JEFFERS (REPORTER):  (v.o.)  It was the case prosecutors were waiting for.  
The arrest warrant was issued, the party was over.  But the legend had just 

(Photo of Mickey Dunn in front of his Cadillac with the license plate, 

TALLY JEFFERS (REPORTER):  (v.o.)  Mickey Dunn and his fabled gold Cadillac 
vanished that hot summer night, never to be seen again – 

(On the footage, “the” Cadillac turns the corner out of view.)

(Cut to:  TALLY JEFFERS reporting.  The news caption reads:  BREAKING NEWS, 

TALLY JEFFERS (REPORTER):  (v.o.)  -- until today.

(She turns to speak with an old Spanish-speaking fisherman.)  

FISHERMAN:  (in Spanish)  

(He holds up a gun.)  

TALLY JEFFERS (REPORTER):  (from tv)  So you went fishing, your line got stuck, 
and you pulled this up.  Do you know what this might be?

FISHERMAN:  Si, si ... Everybody, they know Mickey Dunn.

(A small crowd had gathered just beyond the crime scene tape.  One person 
watches the news report on a portable tv.)  


ANCHOMAN:  (from tv)  Thank you, Tally.  We look forward to the next installment 
of the Mickey Dunn story.

(Catherine and Warrick make their way through the crowd toward the crime scene 

WARRICK:  Coming through.  Crime Lab, coming through.

(The officers hold the tape up for them to walk through.)  

WARRICK:  Thank you.

(They make their way toward the lake.)  

VOICE:  (o.s.)  All right, we're all hooked up-- let 'er rip.

(A couple of divers are in the lake near the car.)  

CATHERINE:  You ready for this?

WARRICK:  Ready to waste my morning on another Mickey Dunn sighting?  Yeah, right.

CATHERINE:  The guy's been spotted more places than Elvis.

WARRICK:  I know somewhere in hell, Mickey and his old pal   Jimmy Hoffa are laughing their asses off at us poor dumb taxpayers.

(The crane starts and the car is pulled out of the lake.)  

WORKMAN:  Easy now.
WORKMAN: All right, here she comes. Easy ... easy ... WARRICK: What do you know. (Catherine reads the license plate.) CATHERINE: CHAINSAW. WARRICK: That looks like him. WORKMAN: (b.g.) That’s good. Keep it coming. (The car is pulled out onto the beach.) CUT TO: [INT. KARAOKE BAR – NIGHT] (A man is on stage singing.) MICHAEL MYERS: (singing) 'Cause this fine old world keeps spinning round, I've been a puppet, a pauper, a pirate, a poet, a pawn and a king, I've been up, down, over and out and I know one thing, Each time I find myself laying flat on my face, I pick myself up and get back in the race. That's life, That's life. I just can't deny it, Many times, I've thought of quittin', But my heart won't buy it. (A man in the audience simply enjoys the singing.) MICHAEL MYERS: (singing) But if there's nothin' shakin', Come here, this July, I'm gonna roll myself up, in a big ball, and die -- my, my. (The audience cheers and applauds.) KEN BILLINGS: Shut the machine off. You can't top that. (He laughs. He sees Michael Myers leaving the stage and stops him.) KEN BILLINGS: Hey, whoa, whoa, man, man. No, no, you're not going anywhere until I buy you a round. Come on. (Michael Myers stops and heads over to Ken, who is in a wheelchair. They shake hands.) KEN BILLINGS: That's my music! (Michael sits down.) KEN BILLINGS: Them that can sing it, never heard of it, and them who heard of it, they can't sing it no more. MICHAEL MYERS: Well, there's still some of us left. KEN BILLINGS: I thought I was the last of a dying breed. MICHAEL MYERS: Myers. Call me Michael. KEN BILLINGS: Ken Billings. What are you drinking? MICHAEL MYERS: What do you got? KEN BILLINGS: Tina, Tina. (The waitress comes over and takes several Polaroids of the two men, drinking and having a grand time.) (She hangs one up on the board.) WHITE FLASH TO: [LATER] (Everyone has gone and the two men are still having drinks.) KEN BILLINGS: I don't remember the last time I closed a joint down. You know ... we gotta do this again. MICHAEL MYERS: Anytime. Now, can I give you a hand? KEN BILLINGS: Oh, no, no, no, no. I'm fine; I'm fine. No problem. WHITE FLASH TO: [EXT. KARAOKE BAR – NIGHT] (Michael Myers is behind Ken as they leave the karaoke bar. Ken is singing.) KEN BILLINGS: (singing) Riding high in April, shot down in May ... (Michael grabs the wheelchair bars.) KEN BILLINGS: No, wait. I told you, I don't need any help. (Ken lets Michael push him. He points to his car, the only one left in the parking lot.) KEN BILLINGS: Right over there. (Michael continues pushing Ken past his car.) KEN BILLINGS: I thought I was drunk. No, back there. Back there. (Michael isn’t drunk. He continues to push Ken down the sidewalk.) KEN BILLINGS: Back there! (Now, he starts running.) KEN BILLINGS: What are you doing? (In front of him is the busy road.) KEN BILLINGS: No, no, stop ... Stop! Stop! Stop! (Ken uses his hands and tries to stop the wheels, but Michael continues to push the wheelchair toward the busy road.) KEN BILLINGS: Stop! Stop! Help! Help! (Michael pushes the wheelchair into the path of an oncoming SUV driven by a group of partying kids.) (The car hits the wheelchair.) CUT TO: [EXT. ROAD -- NIGHT] (Grissom examines the wheelchair. Brass is interviewing the kids.) BRASS: All right, fine. Okay, all right. Thanks. (He finishes the interviews and heads over to Grissom. He sighs. Grissom snaps photos of the wheelchair.) BRASS: At least the driver was sober. I can't say the same about the boatload of high school kids he was driving around town. Listen to some of the wonderful statements I got: "We go, 'errr ...' dude goes 'aah.' "We go bam ... Dude goes, 'Aah!'" GRISSOM: The wheelchair brake attachment has been loosened. BRASS: Well, maybe it broke on impact. GRISSOM: Impact was from the left side. But the bolts were loosened on both sides. (Grissom stands up and looks at the body on the road.) BRASS: Well, then... that looks like we have a homicide-related road pizza. GRISSOM: Yeah. Who ordered it? FADE TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN: [EXT. ROAD -- DAY] (Grissom is measuring the distance from the car to the body. David Phillips is checking out the body.) GRISSOM: Force of impact propelled the body just over 47 feet. DAVID PHILLIPS: Not a lot of spatter. GRISSOM: External damage, mostly superficial. DAVID PHILLIPS: Bet he's mashed up on the inside. GRISSOM: Probably dead before he hit the ground. (Quick flash of: The car hits Ken Billings. End of flashback.) (David checks the body and finds something.) DAVID PHILLIPS: Oop ... Wallet. (He checks the wallet. Grissom looks around the area. The wallet info reads: BILLINGS, KEN 7543 CASTLE BANKS RD. LAS VEGAS, NV 89101 DAVID PHILLIPS: License ... registration ... Kenneth Billings. Nevada resident. Date of birth, 11-9-52. (David finds a photo in the front shirt pocket.) DAVID PHILLIPS: Photo. (He hands the photo to Grissom. Grissom takes it and looks at it. It’s a photo of Mickey Dunn and four other men standing in front of a Cadillac. Two of the men have large black X’s on their faces.) CUT TO: [INT. KARAOKE BAR -- DAY] (Brass talks with Tina, the bartender. She pulls the Polaroid off the bulletin board and hands it to Brass.) TINA: Michael Myers. Never seen the guy before. Sure was the life of the party, though. BRASS: Hmm. And the victim? TINA: Kenny -- a regular. He'd come in for Karaoke Nght. Drink a little, go home. You'd never notice him, except for the wheelchair. BRASS: Well, this is a late-night place. It ever get rough in here? TINA: Sometimes. You think it could've been a hate crime? BRASS: It's a karaoke bar. I don't see a lot of hate here. TINA: Me neither. (Nick looks at the WHO’S NEXT? sign up board. M. MYERS is listed at #9.) NICK: M. Myers. Here he is, Jim. Knucklehead left us his autograph. BRASS: So what was our boy drinking? TINA: The good stuff -- Well's Head Lager. BRASS: You sell much of that? TINA: (shakes her head) I'm lucky if I move a case a year. NICK: Got trash? TINA: (nods) Mm-hmm. NICK: Empties should give us DNA and fingerprints. Not that we really need them. Mr. Myers has already left us his photograph and signature. (Nick snaps photos of the empty bottles) BRASS: And he sang karaoke. Do you have video? TINA: Tape's in the machine. BRASS: Perfect. NICK: Boy, you got to love it when a guy makes it easy for you. (Nick chuckles.) CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] [INT. CSI – GARAGE -- DAY] (Catherine and Greg unwrap the Cadillac from the lake, making sure the plastic is completely under the car.) GREG: Mickey Dunn's ride. Well, I guess it looked better in the '70s. CATHERINE: Live fast, die young ... Doubt he left a good-looking corpse. (Catherine opens the passenger’s front door and all the sludge and water from the car pours out onto the plastic.) GREG: Look at this. Thirty years of toxins, pesticides, heavy metal ... maybe some decomp. CATHERINE: Little piece of Vegas history right here. GREG: You know, in ‘Kicks and Kisses,’ Lois O'Neill wrote a whole chapter about Mickey Dunn. (Greg walks over with a sieve and water bottle. He places it on the bin.) CATHERINE: What, that he was a thrill in the sack? (Catherine grabs some sludge and puts it on the tray. Greg works through the dirt.) GREG: No ... no, that was Tony Constantine. Apparently, Mickey wanted to go down in a barrage of bullets, like Sonny in ‘The Godfather.’ CATHERINE: Quite the ego on that guy. Even in death, he was larger than life. GREG: Well, sure, but all the original mobsters were like that: Tony, Mickey Dunn, Sam Braun ... CATHERINE: My father was not a Mob guy. (Greg stops.) GREG: I wasn't comparing ... or speaking ill of the dead. (Catherine finds something in the car.) CATHERINE: Greg -- (She pulls out a skull. Greg clears off the sludge and they find the skull has a bullet hole in the center of its forehead.) GREG: Now we know how Dunn-Dunn died. CUT TO: [INT. CSI – A/V LAB -- DAY] (Sara and Archie watch the video of Michael Myers singing.) SARA: How can we be sitting on this much evidence and still have nothing? ARCHIE: Well, I can tighten up the image for you. SARA: I don't think more pixels are going to solve the problem. You got the face. ARCHIE: And the name. SARA: Plus photos, witnesses, DNA samples, handwriting, prints. There's no record in DMV or AFIS. ARCHIE: He knew exactly where the cameras were. SARA: He played right to them. ARCHIE: Obviously wasn't afraid of being identified. SARA: Why not? (Sara and Archie look at each other.) CUT TO: [INT. CSI -- LAB] (Nick is in the lab working on the photo. He clears some of the dirt off, wipes it, then puts it under different lights.) (He removes the black X’s off the faces and comes up with a clear picture.) (Camera moves along the row of men and stops on the man standing next to Mickey Dunn.) FADE TO: [INT. HOTEL – HALLWAY – DAY] (Mason Carter kisses his hooker girlfriend goodbye as she escorts him to the door.) HOOKER: Same time next week? MASON CARTER: Sure, baby. HOOKER: Okay. (She closes the door. He walks down the hallway and is stopped by an older woman peering out the open door.) OLD WOMAN: Excuse me, sir? Please, could you help me with my bags? I hate to bother you, but my back ... Getting old ain't for sissies. (Mason Carter walks into the room. She closes the door.) [INT. ROOM 200] (He reaches for the suitcases. From behind, she wraps something around his neck and pulls.) (He chokes and dies.) FADE OUT. (COMMERCIAL SET) FADE IN: [INT. ROOM 200 -- DAY] (Sara snaps photos of the dead man with the marking around his neck.) SARA: Garroted. Wire broke the skin but, from the discoloration, I'd say suffocation killed him. SOFIA: Do you know anyone who'd want to do this to him? (Sofia talks with the hooker.) HOOKER: I know he wasn't into breath-play. Choking on purpose. More bang for your buck. SOFIA: After he left the room, did you hear anything -- argument, shouting – anything like that? HOOKER: No. Whatever happened, happened fast. SOFIA: Okay, thank you; if we have any more questions, I'll contact you. (The hooker leaves.) SOFIA: I don't get it. A john walks by, the door may be open, but why walk in? SARA: Who was the room registered to? SOFIA: Well, the manager said an older woman. A "Pamela Voorhees." He's got a camera in the lobby. SARA: So we'll get a face. I'd love an address to go with that. (Sara checks the bags. The labels are blank. The suitcases are light.) (Sofia looks in the closet and finds it empty. Sara opens the suitcase and finds it empty as well.) SARA: Empty bags. Empty closet. Bags could have been a lure. (David Phillips walks in.) DAVID PHILLIPS: Hey, guys. Busy day. SARA: Hey, David. David ... can you get us a TOD, please? (He opens the victim’s mouth and finds it stuffed.) DAVID: Oh ... There's something in the mouth. Bizarre. (He opens the crumpled photo. It’s of Mickey Dunn.) DAVID PHILLIPS: It's my second one today. (points) That guy got hit by a limo. (Sara looks at the photo.) SARA: I guess that makes this a hit list. CUT TO: [INT. CSI – GARAGE -- DAY] (Greg continues to sift through the dirt, mud and debris from the car. Everything he finds, he puts aside next to the skull.) VARIOUS CUTS: (He finds pieces of bones.) [INT. CSI – FORENSIC AUTOPSY – DAY] (Robbins goes through the cleaned bones and puts them together on an autopsy table.) [INT. CSI – GARAGE – DAY] (Greg finds a tattered piece of cloth and what looks like a pin. He puts it down on the table, then continues to sift through the dirt.) (He finds a bullet.) [INT. CSI – FORENSIC AUTOPSY] (Warrick takes the bullet from the matching hole in the skull. He holds the bullet up and looks at it.) WARRICK: A lead .38 round-nose. I like it. It's kind of '70s. (Warrick and Catherine stand on either side of the table with the bones on it.) CATHERINE: You were a kid in the '70s. WARRICK: Yeah, but I was a Vegas kid, so I grew up on all those '70s stories. Like the "Ghost Rider" story. Remember that one? CATHERINE: No. WARRICK: You never heard of the "Ghost Rider" story? That has everything to do with Mickey Dunn. Yeah, August 12, 1976. Officer Eddie Sanchez was the real- life motorcycle cop who radios in the last known sighting of Mickey Dunn's funky, gold Cadillac. CATHERINE: Is this on record? WARRICK: It's stuffed away in some police file somewhere. Know what happened to the cop? (Catherine shakes her head.) WARRICK: No one does. Officer Sanchez and his motorcycle disappeared that night. CATHERINE: What? In a puff of smoke? WARRICK: A puff of smoke -- never to be heard from again. Legend has it that you can still hear the Ghost Rider gunning up and down that highway. My grandmother used to try to scare me into good behavior with that one. CATHERINE: Did it work? WARRICK: Not when I was six. No. But a .38 round-nosed lead bullet was what Nevada Highway Patrol used back in the day. And I don't need to tell you there was a lot of dirty cops back then. (Catherine picks up the gold pin.) CATHERINE: There was a lot of dirty everything back then. WARRICK: Think about this. You're a motorcycle cop. You pull over a speeding gold Cadillac. Sitting in the driver's seat is Mickey Dunn. CATHERINE: Skipping town with a load of cash. WARRICK: Bang. Put a cap in Mickey Dunn. CATHERINE: So you think this motorcycle cop killed him? WARRICK: I think I'd like to find that police file. (Catherine fingers the gold pin.) WARRICK: What, you got a better story? CATHERINE: I was sixteen. (Quick flashback to: [INT. CASINO (1970’S) – NIGHT] Mickey Dunn walks through the casino.) CATHERINE: (v.o.) Jaws was sold out, so I went looking for trouble. Found Mickey Dunn. (Catherine smiles at him. He turns around. She notes he’s wearing the tie clip. He smiles at her; she smiles back.) (He turns and whispers something in her ear.) CATHERINE: (v.o.) All he said was, if I met him outside at 2:00 a.m. sharp, -- (End of flashback. Resume present.) CATHERINE: -- he'd show me the time of my life. WARRICK: No way. You and Mickey Dunn ...? CATHERINE: Well, I showed ... he didn't. WARRICK: You were sixteen, hot and ready, and he stood you up? CATHERINE: All I know is that I dodged a bullet. And he didn't. (Catherine walks out of the lab. Warrick puts the pin down and follows.) CUT TO: [INT. CSI – A/V LAB] (Grissom and Archie review the registration security video. On the video, the woman stands at the front desk talking with the clerk. The video is date- stamped, 11/24/06 at 9:55 AM.) GRISSOM: Our killer pays in cash to avoid identification. (Archie hits a couple of keys on the keyboard.) ARCHIE: Then she signs in. GRISSOM: Yeah -- giving us her name. (Grissom looks at the registration card for PAMELA VORHEES.) GRISSOM: Why? (Nick walks in.) NICK: Gentlemen ... blew up a clean copy of our hit list photo. Look at that. (He shows the photo to Grissom.) GRISSOM: Planted on two separate bodies by two separate killers. You know, Mickey Dunn practically owned Las Vegas -- these guys look like employees. NICK: Busboys, waiters, obviously at the Desert Inn. GRISSOM: Rumor has it that Mickey had a percentage of the DI. NICK: It still begs the question: Why are those guys killing these guys? GRISSOM: Yeah. I'll get PD to identify the last two. See what they have to say. (Grissom’s phone rings. He answers it.) GRISSOM: (to phone) Grissom. Yeah. Okay. (He hangs up.) Brass just got a call from someone claiming that the ghost of Mickey Dunn wants to kill him. (They look at each other.) CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] [EXT. D’ANGELO RESIDENCE – FRONT DRIVE -- DAY] (Brass walks up the front drive. An officer follows him. He reaches the front door and rings the doorbell.) (The door opens.) BRASS: Johnny D'Angelo -- Las Vegas Police. Look, we tried you at work, down at the chicken joint, but no Johnny. JOHNNY D’ANGELO: I'm not coming out. Think I'm crazy? BRASS: Slow down. Take it easy. JOHNNY D’ANGELO: He killed all the others, now he's coming for me. BRASS: Take it easy. JOHNNY D’ANGELO: Can't arrest him. How do you kill a man who's already dead? BRASS: Why don't you make it easy on all of us and blow off this ghost business, and ID the person who's after you -- preferably someone living. Okay? Now, you don't even have to say a name, all right? (Brass holds up the photo.) BRASS: Just point at one of these guys. (Johnny D’Angelo glances outside, then points to Mickey Dunn.) JOHNNY D’ANGELO: That's the ghost of Mickey Dunn. BRASS: Okay, Johnny, I'll bite. Why would a dead guy have a beef with you? JOHNNY D’ANGELO: You know? Back in the day ... BRASS: Yeah? JOHNNY D’ANGELO: Vegas was like ... (Quick flash to: [CASINO (1970’s) – NIGHT] Mickey Dunn sits with a beautiful woman under each arm.) JOHNNY D’ANGELO: (v.o.) -- out of some kid’s book. And Mickey Dunn was the king -- only this was real. And, in reality, -- (Mickey Dunn pulls up in his Cadillac and passes the keys to his valets. He puts his arm around a beautiful woman and heads into the casino.) JOHNNY D’ANGELO: (v.o.) -- the king has guys who work for guys all the way from the top to the bottom of the barrel. (He passes the bartender.) JOHNNY D’ANGELO: (v.o.) -- That was us: Kenny, Mason, me and Derek. (The four workers are in camera frame.) (End of flashback. Resume present.) JOHNNY D’ANGELO: You know how they say nobody saw Mickey Dunn leave Vegas that night? BRASS: Yeah. JOHNNY D’ANGELO: It's true. (Quick flashback to: [CASINO (1970’S) – NIGHT] Mickey Dunn leaves the casino. He pushes past one of his workers and puts his briefcase in the trunk of his car.) JOHNNY D’ANGELO: (v.o.) 'Cause we saw him, and we was nobody. (He shuts the trunk, takes his jacket off and gets into his car.) JOHNNY D’ANGELO: (v.o.) Mickey was acting like he owned the joint. Like he owned us. (The four workers watch Mickey start the car and leave. Derek talks to the others.) JOHNNY D’ANGELO: (v.o.) That's when Derek got smart. (Cut to: The car zooms down the road. Another car follows. JOHNNY D’ANGELO: (v.o.) Derek explained that we hadn't been paid in months. (Cut to: Mickey swerves off the road and hits a wire gate that gives way and opens. He parks. The second car parks behind him and the four workers get out.) JOHNNY D’ANGELO: (v.o.) We were young. We were stupid. But Derek ... (Derek walks up to the car and fires a shot at Mickey.) JOHNNY D’ANGELO: (v.o.) ... he was insane. (End of flashback. Resume present.) (Johnny D’Angelo takes a pill out and puts it in his mouth.) BRASS: What do you got there, nitroglycerine? JOHNNY D’ANGELO: (nods) Bum ticker. BRASS: You know you just confessed to armed robbery, right? JOHNNY D’ANGELO: (scoffs) Least of my worries. Now, either you get out there and you arrest the ghost of Mickey Dunn or you get the hell off my property. BRASS: We're the cops, not the Ghostbusters. (Johnny shuts the door.) CUT TO: [INT. CSI – HALLWAY / FORENSIC AUTOPSY] (Robbins heads back to his autopsy room. From out in the hallway, he sees camera lights flashing and hears the shutter click.) (He enters the autopsy room and finds a man snapping photos of the bones on the table.) ROBBINS: Excuse me? (The man glances back at Robbins.) ROBBINS: Hello. Who are you? (Robbins heads toward him. The man walks around the table. CAMERAMAN: I work here, in the, uh, lab. ROBBINS: No, I don't think so. I know everybody that works here, and I don't know you. (The man snaps another photo.) CAMERAMAN: (smiles) I'm new. (The man snaps another photo.) ROBBINS: You're lying. Give me that camera. (The man looks at his camera.) ROBBINS: Now. CAMERAMAN: All right, all right. (The man removes the camera from around his neck. The man pretends to give it to Robbins, then tries to get past him. He pushes the tray aside while snapping the camera flash in Robbins’ face.) (As he tries to get past Robbins, Robbins trips the man with his cane. The man hits the counter and falls down.) ROBBINS: (shouts) Security! (Using the end of his cane, Robbins pushes the man’s cheek to the side.) ROBBINS: Papparazzi. (Robbins looks at the bones and sees something. He turns on a light and the bones glow.) (An officer enters the autopsy room.) ROBBINS: Book that moron. Keep the camera. (The officer grabs the camerman.) CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] [EXT. PAUL RESIDENCE – FRONT -- DAY] (Officer Mitchell walks up to the front door. He knocks. Iris Paul opens the door.) OFFICER MITCHELL: Iris Paul? IRIS PAUL: Yes. OFFICER MITCHELL: Officer Mitchell, Las Vegas Police Department. Are you Derek's mother? IRIS PAUL: Yes, I am. But I haven't seen Derek in-in months, uh, not since he got out of prison, mm-mm. He might be in Florida. OFFICER MITCHELL: Florida. IRIS PAUL: Yeah. He loves it down there. OFFICER MITCHELL: Can you give me a description of Derek? IRIS PAUL: Sure, sure. Uh, he's very tall, very, very lean, he has very long, dark hair that he won't cut, no matter how many times ... (As she speaks, a door opens and closes o.s. Derek runs out into the backyard and makes a break for the fence. Two officers grab him and catch him before he can get away.) (Officer Mitchell glances to the side.) OFFICER MITCHELL: Kind of like that? (Iris Paul watches as the officers wrestle Derek to the ground and handcuff him.) CUT TO: [INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY] (Sofia talks with Derek Paul.) CURTIS: So why'd you run? DEREK PAUL: I don't like cops. SOFIA: We hear you don't like criminals, either. DEREK PAUL: Is that right? SOFIA: We know you worked for Mickey Dunn. We know you chased him, (Quick flashback to: [NIGHT (1970’s)] Derek and the other workers get out of their parked car and head over to Mickey Dunn’s parked car.) SOFIA: (v.o.) -- you ran him off the road, you stuck a gun in his face. That's armed robbery. (Derek points the gun at Mickey and fires.) (End of flashback.) (She shows him the photo.) DEREK PAUL: If it happened. SOFIA: Johnny D'Angelo said it did. DEREK PAUL: How is old scaredy-cat? SOFIA: Credible. DEREK PAUL: There were a lot of rumors going around. Mickey owned this, he owned that. He owned a piece of the DI. We just happened to work there. A lot of us guys did. SOFIA: See, I'm thinking that's not the full story. DEREK PAUL: You're young; you don't know. The memories, you get up there, they ... they start getting tricky. SOFIA: Well, why don't you tell me what you do remember. DEREK PAUL: We took a little joyride, -- (Quick flashback to: [NIGHT (1970’s)] The car with Derek and the other workers arrive at the lot. They get out of their car.) DEREK PAUL: (v.o.) -- looking for Mickey Dunn. But we never found him -- because someone else found him first, and who that was, I don't know. (The men look out at the sinking car in the lake.) DEREK PAUL: (v.o.) Because, by the time we got there, whoever had killed Mickey Dunn -- (End of flashback. Resume present.) DEREK PAUL: -- was already gone. Whoosh. Like a ghost. SOFIA: I don't believe in ghosts. But we got one scared guy, we got two dead guys, and we got you, Derek. How do you feel about your buddies getting bumped off? DEREK PAUL: I'm all torn up inside. (She shows him the photos of Michael Myers and of Pamela Vorhees.) SOFIA: You ever seen them? DEREK PAUL: Never. But ... they look like suspects. And I think you're fishing. And you got no legal right to hold me. If you can't hold me ... you got to let me go. (beat) CUE SOUND: (PRE-LAP) GUN COCKS AND FIRES CUT TO: [EXT. SIDEWALK – DAY] (Derek Paul is dead on the sidewalk from a gunshot to the chest. Johnny D’Angelo stands over him. He pulls out a photo and tucks it into Derek’s pants pocket.) (The door opens and Iris Paul steps out. Johnny simply tucks the gun in his pants, grabs an apple -- IRIS PAUL: Johnny? Johnny D'Angelo? -- tosses it up in the air and catches it with one hand. He turns and leaves.) (She sees her son dead on the concrete and Johnny D’Angelo walking away.) IRIS PAUL: No! FADE OUT. (COMMERCIAL SET) FADE IN: [EXT. LAS VEGAS CITY (STOCK) – DAY] [EXT./ INT. JOHNNY’S CHICKEN PALACE -- DAY] (Brass and several officers are outside the back door. An officer opens the door. An alarm blares.) BRASS: Johnny D'Angelo! Las Vegas PD! (They enter and search the kitchen. No one is there.) (Brass turns and motions to the officers at the doorway. The alarm shuts off. Brass holsters his weapon. He exhales and looks around the kitchen.) BRASS: (to radio) Yeah, go for Brass. SOFIA: (from radio) Scene is Code 4. Johnny D'Angelo is not at his house. (Brass toes a broken frame and glass on the floor.) BRASS: (to radio) Okay, got it. Thank you. (Up on the wall are various framed photos of famous people. There’s a blank where a frame should be.) (Brass sniffs the air and smells something unpleasant.) BRASS: Do you smell that? (Brass checks out the kitchen. He looks at the oven. He takes a couple of napkins out of the holder to use to open the oven door. We hear flies buzzing.) (Brass opens the large restaurant oven door and finds a dead body inside. It’s Johnny D’Angelo.) (Brass checks for a pulse just to be sure. There’s a photo clutched in Johnny’s hand.) (Brass finds some sort of goo on his fingertips.) BRASS: Maybe it was the ghost of Mickey Dunn. CUT TO: [INT. CSI – TRACE LAB -- DAY] (Hodges is at the scope. He finds something, then removes his gloves.) (He grabs the printout and looks at it. He smiles, turns and heads out of the lab.) [INT. CSI – GARAGE – DAY – CONTINUOUS] (Hodges walks into the garage. He looks at the car and whistles appreciatively.) HODGES: Sweet ride. (Hodges walks over to the open car door where Greg is working.) HODGES: Know what makes human bones glow in the dark? GREG: Love? HODGES: Tetracycline. (Greg is reaching under the car seat and pulls out a revolver. He looks at it. Hodges looks over his shoulder.) GREG: You want to help me with a little experiment? HODGES: Sure. (Hodges goes to the counter to put on a pair of gloves. Greg gets out and goes to the front of the car.) GREG: Grab that evidence bag? (Hodges walks over to Greg.) GREG: Okay, let me see that. (Hodges takes the hood ornament out of the bag and gives it to Greg. Greg gives Hodges the hood ornament he’s carrying.) GREG: Take this. (Greg tries the hood ornament on the hood. It doesn’t match.) GREG: No go. (He swaps ornaments with Hodges and tries it on the hood. Hodges watches intently. It matches.) GREG: Okay. Looks like a match to me. HODGES: This is your experiment? GREG: Actually, it is. Thanks. (He grabs the bag from Hodges.) CUT TO: [INT. CSI – LAYOUT ROOM -- DAY] (The photos of the victims are spread out on the table.) GRISSOM: The victims-- Ken Billings, Mason Carter, Derek Paul and Johnny D'Angelo -- all murdered in the last 24 hours. (Grissom, Warrick, Sara and Greg surround the layout table.) SARA: Four victims, three killers, no connection between them. GREG: Johnny D'Angelo's on both lists. WARRICK: Could be he hired the others. SARA: Could be. We don't know where they are. We don't know who they are. GRISSOM: Let's stick to what we do know-- all the victims worked for Mickey Dunn, who's been dead for thirty years. WARRICK: Well, check this out. I've been digging through the police files all morning, and guess who I found--Officer Eddie Sanchez. The "Ghost Rider." Now, assuming he's alive, the officer would be 55 today. And he has family down in Mexico. SARA: So you're thinking bike cop shoots Mickey Dunn, dumps the car and takes the money? GREG: And with the exchange rate, lives like a king, south of the border, for the last thirty years. WARRICK: Fast-forward -- Mickey Dunn's car gets discovered. SARA: By a Mexican fisherman who would be just about the same age as the bike cop. GREG: Only the discovery was bogus. Turns out the hood ornament pulled from Lake Mead is a fake. SARA: So ... the fisherman was what, pulling off a hoax? GRISSOM: That or fraud -- he either planted that Derringer at the crime scene, or maybe someone paid him to. (Grissom looks at the photos of the killers and at the photos of the victims.) WARRICK: Either way, whoever did it knew that this car was down there. GREG: And was missing the original hood ornament. SARA: Who could know that? GRISSOM: Someone who was there the night it went down. GREG: The motorcycle cop's looking better every minute. (Grissom takes the photos of the fisherman and of the killers.) SARA: (calls out) Hey, don't rule out the ghost of Mickey Dunn. [INT. CSI – HALLWAY – CONTINUOUS] (Hodges catches up with Grissom as he walks through the hallway with the photos.) HODGES: Doc told me to tell you your last vic, the one all pretzeled up in the oven, lividity's fixed: dead two days. GRISSOM: Before the Cadillac was found. HODGES: Yeah. Ah, and I got trace analysis on the sample Phillips collected on Chicken Johnny. GRISSOM: And? HODGES: Alginate and plaster of Paris. Combination used to make dental impressions. And you don't even seem to be the teeniest bit surprised. GRISSOM: I'm not. (Grissom walks into his office. Hodges sighs and leaves.) [INT. CSI – GRISSOM’S OFFICE – CONTINUOUS] VARIOUS CUTS OF (Grissom takes out a ruler and a notebook. He measures the photos and writes down his findings. He measures the fisherman’s eyes and writes: FISHERMAN EYE TO EYE – 2.25 (He measures Michael Myers’ eyes and Pamela Voorhees’ eyes. He writes in his notebook.) P. VOORHEES EYE TO EYE – 2.25 CUT TO: [INT. CSI – A/V LAB] (In the computer, Grissom has the three photos – the fisherman, Michael Myers and P. Voorhees. Measurements appear on the photo of the fisherman. Grissom explains his findings to Archie and Catherine.) GRISSOM: Our Mexican fisherman signed his television release form "F. Kreuger." CATHERINE: Freddy Kreuger, ‘Nightmare on Elm Street.’ ARCHIE: Yeah, and the karaoke singer was Michael Myers from ‘Halloween.’ CATHERINE: Parts one through nine. JOHNSON: Yeah, but ... who's the hotel killer now? Who's Pamela Voorhees? CATHERINE: ‘Friday the 13th.’ ARCHIE: No, that's Jason. Jason's the sequel. Pamela, the mother, was the killer in the original -- that's the question that tripped up Drew Barrymore in ‘Scream.’ CATHERINE: Yeah, and look what happened to her. ARCHIE: You watch slasher flicks? CATHERINE: (wry laugh) With Lindsay, I ... do. (scoffs) They never get the spatter right. (The faces of all the killers flash on the screen with the same matching measurements in every photo.) GRISSOM: All I know is the master of all scary movies was Lon Chaney, Sr., the man of a thousand faces, and that's what we're looking for. FADE OUT. (COMMERCIAL SET) FADE IN: [INT. CSI – HALLWAY -- DAY] (Grissom and Brass talk as they walk through the hallway.) BRASS: The thing that really gets me is, I talked to this killer dressed as Johnny D'Angelo, close enough to smell his breath and still he walks. GRISSOM: All the evidence says he was wearing state-of-the-art prosthetics. BRASS: I want to see him in an orange jumpsuit and cuffs. He's got the real Johnny's wallet. GRISSOM: Well, if he's got his driver's license, he could be using it to try and escape. BRASS: Yeah, but he said the vic's car is parked in the parking lot. GRISSOM: He doesn't need his car. He's got his face. CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] BRASS: (v.o.) I'll pull his credit records. I hope he bought something nice. [EXT. HIGHWAY -- DAY] (“Johnny D’Angelo” speeds along the highway in a convertible. “That’s Life” plays on the sound system.) LYRICS: “That's life (That's life) That's what all the people say / You're riding high in April, shot down in May” (A couple of police cars catch up with the convertible, their sirens wailing.) LYRICS: “But I know I'm gonna change that tune ...” (“Johnny D’Angelo” slows the car down.) LYRICS: “That’s life” CUT TO: (The two cars are stopped on the side of the road. The officer car doors open and officers get out, their guns drawn.) (Brass and Officer Mitchell approach the convertible.) BRASS: Put your hands on the wheel! Put your hands on the steering wheel now! (“Johnny D’Angelo”puts his hands on the wheel.) “JOHNNY D’ANGELO”: (singing) I just can't ... BRASS: Shut up and get out of the car. (Officer Mitchell opens the front door and helps “Johnny D’Angelo” out of the car.) “JOHNNY D’ANGELO”: (singing) Checking out, but my heart won't buy it (Officer Mitchell sees the revolver on the seat.) OFFICER MITCHELL: Gun on the seat. (Officer Mitchell frisks “Johnny D’Angelo.”) OFFICER MITCHELL: He's clean. “JOHNNY D’ANGELO”: (singing) And then I'd buy it (He’s handcuffed.) BRASS: I thought I was clear on the "shut up." “JOHNNY D’ANGELO”: (singing) That's life. (The officers pull him away from the convertible to put him in back of a squad car. Brass looks at the trunk.) BRASS: Pop the trunk. (Officer Mitchell pops the trunk.) “JOHNNY D’ANGELO”: (singing) And as funny as it may seem ... (The hood opens and inside are the ‘fake’ faces of the killers and of the old Spanish fisherman.) (Brass looks at the masks.) CUT TO: [INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY] (Catherine removes “Johnny D’Angelo’s” wig.) CATHERINE: Chainsaw -- sound familiar? MICKEY DUNN: You get to be my age, all kinds of things ring a bell. (Brass pushes a photo of Officer Eddie Sanchez toward him.) BRASS: How about this? Any chimes? MICKEY DUNN: That's a real good-lookin' boy. But as the poet said ... (Mickey Dunn removes his face mask and moustache.) MICKEY DUNN: "It ain't me, babe." CATHERINE: Mickey Dunn. MICKEY DUNN: Back from the dead. (points to the fake skin still hanging on his neck) You missed a spot. CATHERINE: I think I got all I need. MICKEY DUNN: (to Brass) Just going along. BRASS: Well, keep going, Mickey. Do you recognize him? (Brass shows him Officer Eddie Sanchez’s photo.) MICKEY DUNN: Could be a dead cop. CATHERINE: Yeah, Officer Eddie Sanchez. He had a wife, two kids. He also had a skin condition commonly known as acne which he treated with tetracycline. (Quick flash of: [AUTOPSY ROOM] Dr. Robbins snaps photos of the glowing bones.) CATHERINE: (v.o.) That drug incorporated into his bones, making them glow under ultraviolet light. (End of flashback.) CATHERINE: Helped us identify him. (Catherine sits down.) BRASS: Thing's aren't looking too good for you, Mickey. So now we know we got a dead cop's body in your old car. So tell me what happened. You were skipping town and Eddie Sanchez pulled you over and you shot him point-blank? MICKEY DUNN: (to Catherine) Like I told you, you missed a spot. You missed a big spot. I shot a lot of guys point-blank. But this nosy piece of garbage bike cop that you two are so teared-up about ... I shot him from 40 feet away with a soaking-wet revolver. It was one hell of a shot. (Quick flashback to: [LAKE – NIGHT] Eddie Sanchez turns his bike in to the embankment near the lake. He parks his bike and follows the tire tracks in the dirt all the way to the lake.) MICKEY DUNN: (v.o.) The poor dumb bastard didn't know what hit him. (He sees lights of the car in the lake.) MICKEY DUNN: (v.o.) He thought he'd been trained. They don't prepare you for what I got. (He’s startled when Mickey Dunn comes up for air. He takes his gun out and points it at Mickey. Mickey starts to walk toward him.) (He sees the gun in Mickey’s hand.) EDDIE SANCHEZ: Stop! Stop or I'll shoot! (Mickey doesn’t stop. He continues to walk toward Eddie.) EDDIE SANCHEZ: I said stop! (Mickey raises his gun and fires. He hits Eddie in the chest. Eddie falls back to the ground.) (Cut to: Mickey smashes in Eddie’s teeth.) MICKEY DUNN: (v.o.) You found the skull had no teeth because I bashed 'em in with the barrel of my gun. BACK TO SCENE. MICKEY DUNN: And all the forensics in the world ain't gonna show you that when I smashed his face in ... I liked it. BRASS: You're under arrest, Mickey, for murder. CATHERINE: Thank God you blew me off when I didn't know better. (Catherine gets up and heads out.) MICKEY DUNN: Sam Braun's daughter. (She stops at the door, surprised that he even recognized her.) MICKEY DUNN: You think that I would ever forget a face? (Quick flash to: [CASINO] Young Catherine in the casino as she smiles at Mickey.) MICKEY DUNN: (v.o.) That face? (He pushes her hair back and whispers to her.) MICKEY DUNN: Meet me outside, 2:00 a.m. sharp. BACK TO SCENE. MICKEY DUNN: Ask yourself what force on earth would have kept me from your soft teenage graces. Only one: Daddy. CATHERINE: Sam Braun stopped you? MICKEY DUNN: Sam always said that if I ever touched you, he'd tear me apart. (chuckles) That took a big pair to say that to me. He said that you were family. Still, now he's gone. We're here. We could always give it a go. CATHERINE: You're not going anywhere. (Mickey gasps and clutches his chest. Brass gets up and checks on Mickey.) BRASS: (to Catherine) He's having a heart attack. Call a paramedic. (Catherine turns and leaves the room. Brass and the other officer in the room help Mickey to the floor.) MICKEY DUNN: (gasps) Bum ticker ... right on time. (Brass does chest compressions on Mickey.) BRASS: Okay, take it easy, buddy. Take it easy. FADE TO WHITE: [INT. HOSPITAL – ROOM] (Mickey Dunn wakes up in a hospital bed. He’s handcuffed to the bedframe. Catherine stands over him.) CATHERINE: I'll give you a hint: you're not in heaven. How long you been living with a bullet in your chest? MICKEY DUNN: Who told you? CATHERINE: Why God invented X-rays. MICKEY DUNN: You'd like to take it out, have a closer look. Ah, but you can't do that, not without killing me. CATHERINE: I'm guessing it's a .38 ... (Quick flash to: [NIGHT] Derek Paul shoots Mickey Dunn and tosses the gun in the car.) (Cut to: Robbins pulls out a bullet from autopsy.) CATHERINE: (v.o.) ...which matches the .38 that we took from the body of Derek Paul, -- (Cut to: Greg sifts through the dirt found in the car and finds a bullet.) CATHERINE: (v.o.) -- which also matches the one that killed Eddie Sanchez. BACK TO SCENE. (Mickey Dunn smiles. Catherine sits down.) CATHERINE: You like horror movies, Mickey? MICKEY DUNN: You know ... I love 'em. CATHERINE: I got one for you. MICKEY DUNN: Does it got a monster in it? CATHERINE: (chuckles) Yeah. (Quick flash to: [NIGHT] Mickey crashes through the wire fence gate and onto the lake embankment. Derek Paul and the other workers follow him.) CATHERINE: (v.o.) I bet you heard it. It's strictly B-list stuff. No-name cast, summer release. (They park and get out of the car. Derek walks up to the car.) CATHERINE: (v.o.) Four Vegas punks run a monster off the road. (Derek shoots Mickey and tosses the gun in the car.) CATHERINE: (v.o.) They shoot him, they rob him, they leave him for dead. (Derek pops the trunk and takes the suitcase of cash. CATHERINE: (v.o.) But everybody knows that shooting the monster and killing him are never the same. (They push the car into the lake. The car hits the water. Mickey opens his eyes.) (The guys get in the car and drive away. Officer Eddie Sanchez arrives on his bike. CATHERINE: (v.o.) A young honest cop arrives and with him comes opportunity. (Mickey emerges from the lake. Eddie reaches for his gun. Mickey fires and kills Eddie. He changes clothes with Eddie.) CATHERINE: (v.o.) The monster changes his name, his face ... passes for human. (Mickey puts on the officer’s helmet.) CATHERINE: (v.o.) Rides off into the night. (He runs to the bike and rides away.) BACK TO SCENE. MICKEY DUNN: And the legend is born. The end. CATHERINE: Mickey, you know that real horror stories never end. MICKEY DUNN: Oh, this one does. (laughs) It's been huge fun coming back, trying new faces, leading you all around town by the nostrils. Setting up the big discovery. (Quick flashback to: [LAKE – DAY] The fisherman is holding the revolver hood ornament while being interviewed by Tally Jeffers.) FISHERMAN: Everybody here knows Mickey Dunn. (Mick changes masks. He pulls off his fake face.) TALLY JEFFERS: (v.o.) I'm Tally Jeffers, KRAC-TV, Lake Mead, Nevada. (FLASH TO: Michael pushes Kenneth’s wheelchair.) MICKEY DUNN: (v.o.) Going after Kenneth... (He puts the photo in Kenneth’s shirt pocket.) MICKEY DUNN: (to Kenneth) I'm Mickey Dunn. (He pushes Kenneth’s wheelchair out onto the street. Kenneth screams as he’s hit by the vehicle.) (Mickey removes his Michael Myers’ face.) (CUT TO: Pamela Voorhees chokes Mason in the hotel room. He shoves the photo in his mouth.) MICKEY DUNN: (v.o.) ...taking out Mason ... (He moves his Pamela face.) MICKEY DUNN: (v.o.) ... and the best part of all, -- (CUT TO: Mickey removes a cast from Johnny’s face.) MICKEY DUNN: (v.o.) the look on poor Johnny's face. (CUT TO: Mickey has his Johnny face on. He stands over Derek Paul’s body and tucks the gun into his pants.) MICKEY DUNN: (v.o.) Not the most handsome guy in the world, BACK TO SCENE. MICKEY DUNN: but a face worth wearing. And the hardest part? Learning Spanish. (He chuckles.) Good times. CATHERINE: Why now? MICKEY DUNN: Because that tiny piece of metal that Derek shot in my chest has finally moved. Doctors gave me a week, maybe two, to live. Figured I'd go out with a bang, never see the inside of a cell. It's really funny how one little bullet can make things suddenly seem so clear. (Catherine smiles at him and stands up.) CATHERINE: (innocently) You mean this bullet? (She shows him a bullet.) CATHERINE: Mob doctors ... (she puts the bullet on the table) ... become Mob doctors because they sucked in the first place. But we got a licensed surgeon that fixed you up good. Cheer up, Mickey, you're gonna live another twenty ... thirty years. And you'll be spending every day in the federal penitentiary. But only until you die. (Catherine turns and heads out. She stops.) MICKEY DUNN: Well, I'll still go out a legend. You haven't changed that. CATHERINE: Oh, you've been out of the game awhile. The homies they have in the pen these days never heard of you. MICKEY DUNN: That's impossible. CATHERINE: No, Mickey, that's life. (Catherine winks at him. She turns and leaves.) FADE TO BLACK.


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