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Les Experts
#108 : Mort programmée

Un étrange message figure sur le répondeur d'un homme retrouvé mort dans sa baignoire. Grissom reconnaît là le signe distinctif d'un tueur en série, ayant visiblement repris du service. Parallèlement, Warrick et Nick mettent en commun leurs hypothèses concernant un accident de la route spectaculaire. La voiture d'un touriste est en effet tombée d'une falaise, et les explications vont bon train. Jusqu'à ce que le conducteur, qui a survécu, donne finalement sa version de l'histoire.  

Titre VO
Anonymous

Titre VF
Mort programmée

Première diffusion
24.11.2000

Première diffusion en France
20.01.2002

Extrait #01
Extrait #01

  

Extrait #02
Extrait #02

  

Extrait #03
Extrait #03

  

Plus de détails

Écrit par : Eli Talbert & Anyhony E.Zuiker
Réalisé par : Danny Cannon

Avec : Eric Szmanda (Greg Sanders), Robert David Hall (Docteur Al Robbins), Sheeri Rappaport (Mandy) 

Guests :

  • Barbara Tarbuck ..... Mme Harmon 
  • Tom McCleister ..... 
  • Ricky Harris ..... 
  • Matt O'Toole ..... Paul Millander 

Un homme visiblement malheureux se sert un verre d’alcool avant de rejoindre son lit. Quelque chose l’intrigue visiblement. Il se dirige ensuite vers la salle de bain lorsqu’il entend quelqu’un pénétrer dans sa chambre. 

Grissom longe le couloir qui le mène à la chambre de l’homme précédemment cité. Brass l’y attend déjà avec son équipe. Grissom, en inspectant les lieux découvre un homme inanimé dans sa baignoire, la fente de la salle de bain ouverte, sans doute pour alerter le voisinage de la présence d’un corps en état de décomposition et il prend vite conscience que ce cas de suicide déguisé à un air de déjà vu. Il fait alors le rapprochement avec l’affaire Harmon (Cf épisode 1) qui eut lieu trois mois auparavant, toujours non résolue à ce jour. Le cadavre tient dans sa main un dictaphone avec un message enregistré sur cassette sur lequel la victime annonce son suicide. Curieusement, cette fois la bande est inversée et contient le message suivant : « Je m’appelle Stuart Rempler. J’habite au 818 Boeing Hilcove. J’ai 43 ans et je veux mettre fin à mes jours. Je ne peux plus continuer. Je t’aime maman. » 

Générique

Grissom arrive au laboratoire, tenant dans un sachet plastique stérile le dictaphone. Il demande alors que la recherche d’empreintes sur cet indice soit prioritaire. Il se dirige ensuite vers la salle de repos où il trouve Nick et Warrick, en train de s’adonner aux joies d’un jeu vidéo. Grissom, passablement énervé et pas très sensible à leur humour, leur confie alors un 10.4 (accident de voiture). Le véhicule d’un automobiliste imprudent est tombé dans un ravin au niveau de Motherdam. Cet accident a été signalé par un appel anonyme. S’agit-il de la mise en scène d’un crime en accident ? Warrick et Nick devront faire la lumière sur cette mystérieuse affaire. 

Grissom rejoint ensuite Catherine et Sara qu’il compte associer à son enquête. Grissom et Catherine se chargent alors de mettre Sara au diapason de cette affaire puisqu’elle ne faisait pas encore partie de l’équipe lors du premier meurtre déguisé. Rappel des faits : la première victime était Royce Harmon, son meurtre a été déguisé en suicide. La nouvelle victime, Stuart Rempler a connu le même sort. Quant aux différents indices sur ces affaires, ils sont bien maigres. Les Experts ne disposent que d’un dictaphone contenant le message annonçant le suicide du défunt, d’une empreinte digitale retrouvée sur le premier dictaphone dont l’exploitation n’a pas donné de résultats concluants (l’empreinte a été faite à l’aide d’une main en latex enduite d’un corps gras, empruntée à un concepteur d’objets de farces et attrapes, disculpé par Grissom lors de la première enquête) et le meurtrier présumé a pris le soin de disséminé une multitude de fausses empreintes tout en stérilisant les lieux. 

Grissom distribue les tâches, Sara devra récolter et prélever traces et empreintes dans la chambre de la victime à l’aide d’un «mouchard rouge» délicatement conseillé par son mentor. Quant à Catherine, elle accompagnera Grissom chez le légiste. 

Warrick et Nick se trouvent sur le lieu de l’accident alors que les secours tentent de désincarcérer la victime de son linceul de taules. Ils constatent rapidement qu’il n’y a pas de conducteur, juste un passager installé à l’arrière du véhicule, celui-ci est toujours conscient. 

Nick découvre, en fouillant les lieux, un tesson de bouteille de bière, encore relativement fraîche. Quant à Warrick, il lui propose de gravir au niveau de la route afin d’inspecter minutieusement l’endroit où la voiture est sortie de route. 

À la morgue, Catherine et Grissom rejoignent le docteur Robbins qui a déjà procédé aux premières constatations sur la victime, à la lumière du dossier médical du précédent défunt. Il a constaté que les deux meurtres étaient similaires en principe mais il y a cependant quelques variantes non négligeables.
Ainsi, il a découvert deux impacts, une au niveau de la tempe (ce qui est similaire à l’affaire précédente, le meurtrier a collé son arme contre la tempe de sa victime pour la forcer à se rendre dans la salle de bain) et une blessure au niveau de la main causée par un tir par balle, qui a d’ailleurs atteint le corps de la victime.

Grissom tente alors de reconstituer les faits. L’assassin braque sa victime avec son arme et le tient en joue. Or ce dernier ne se laisse pas faire et tente de se rebeller, c’est à ce moment là qu’intervient le premier impact (contrairement à Royce Harmon, Stuart Rempler a lutté et a refusé d’entrer dans la baignoire). Les Experts ont bien affaire à deux homicides qui les conduits dans la salle de bain des victimes. 

Nick et Warrick se trouvent sur le talus, à l’endroit même où le véhicule est sorti de route. Pendant queWarrick prend des clichés du lieu, Nick procède à l’étude des différentes traces de dérapage, qui indiquent que le véhicule a déboulé à 100 – 120 Kh. Nick s’intéresse alors de près aux tranchées du talus faites par le châssis de la voiture, qui est restée en équilibre un moment avant de tomber dans le ravin. Il remarque aussi des traces de pas, partant du véhicule, un pied dehors puis une grande enjambée(puisque la trace du talon est peu marquée), et il finit par conclure que la seconde personne présente dans le véhicule (alors au volant de la voiture) serait partie en courant, pour aller chercher du secours. Pour lui ce ne serait qu’un accident. Warrick a une toute autre théorie à ce sujet. D’après lui, les traces présentes sur place sont en inadéquation et il pense plutôt à un crime déguisé. Ils prennent alors les paris sur l’issue de cette affaire, toujours dans le cadre de la compétition sans merci qu’ils se livrent depuis toujours. 

Dasn la chambre d’hôtel, Sara rejoint l’inspecteur Evans qui lui apprend que la victime était domiciliée en ville et qu’elle avait loué une chambre pour la nuit car sa demeure était en cours de fumigation. Il lui indique également qu’il a découvert plusieurs lettres, prêtes à être postées. Sara les inspecte minutieusement. Une des lettres attire son attention car son timbre est collé à l’envers. Elle décide alors d’embarquer le tout pour effectuer des analyses d’empreintes. Elle se dirige ensuite vers la salle de bain où elle compte faire un relevé d’empreintes à l’aide de la poudre magique délivrée par Grissom. Une fois les lieux saupoudrés, elle le scrute à la source lumineuse alternative mais cela ne donne pas les effets escomptés puisqu’elle découvre qu’il n’y a pas une seule empreinte d’exploitable, les lieux ayant été préalablement nettoyés et stérilisés par l’assassin. 

Catherine et Grissom se rendent chez la mère de la première victime, Royce Harmon afin d’obtenir des informations complémentaires. Ils lui indiquent que la petite amie de la victime a bien confirmé l’identité de la voix laissée sur l’enregistrement du dictaphone (alors que Mme Harmon n’a pas reconnu celle de son fils). Ils lui demandent alors si elle possède des enregistrements vidéo ou audio de son fils afin que des comparaisons soient effectuées. Après réflexion, elle leur donne alors un cadre parlant contenant la voix de son fils. 

À l'hôpital du Comté, Warrick et Nick se rendent au chevet de la victime, un certain Walter Mangler. Le médecin leur indique qu’il souffre de fractures multiples, qu’il est actuellement sous sédatif et qu’il ne pourra parler qu’au bout d’une vingtaine d’heures. Ils décident alors d’observer son corps. Ils remarquent alors des traces de bronzage indiquant la présence d’une montre et d’une bague. Ils regardent alors dans ses affaires personnelles et ne découvrent qu’un portefeuille vidé de son contenu. Devant ces constatations, Nick et Warrick décident de faire monter l’enjeu de leur pari. 

Au laboratoire, Greg procède aux analyses des différents timbres retrouvés dans la chambre de la victime. La salive relevée sur le premier timbre correspond bien à celle de Stuart Rempler, quant à la salive du second timbre, elle serait celle d’un individu dont le profil reste encore inconnu. 

Au garage du Laboratoire, Warrick et Nick se chargent d’étudier minutieusement la carcasse du véhicule que Nick a préalablement paraffinée, ce qui rend Warrick sarcastique. 

Warrick a contacté six hôpitaux de la région afin de retrouver la trace du prétendu chauffeur ivre, sans succès. Quant à l’appel anonyme adressé à la police, il fut passé à partir du portable d’un individu se trouvant à Las Vegas. Nick lui apprend alors que le véhicule a été loué près de l’aéroport depuis trois jours au nom de Walter Mangler. Ils inspectent le véhicule et remarquent tout de suite des empreintes sur le volant, grâce à la paraffine utilisée par Nick

Catherine et Grissom se rendent chez Disco Placid, un spécialiste en acoustique assez fantasque(d’ailleurs, il plait à Catherine) afin d’établir une expertise vocale. Première constatation, la voix sur le dictaphone de la première victime correspond bien à celle de Royce Harmon. Seconde constatation, ils détectent un bruit de fond, que le spécialiste décide d’isoler sur une piste à part. C’est un bruit de claquement. Sous doute le son produit par des feuilles en train d’être tournées, on forçait donc la victime à lire quelque chose : son message d’adieu ! 

Au laboratoire, Nick et Warrick reçoivent le résultat du relevé d’empreintes effectué sur le volant du véhicule. Elles correspondent à une multitude de personnes, en fait la plupart des personnes ayant conduit ce véhicule. Nick se procure d’ailleurs la liste auprès de la société de location. Or, en observant attentivement l’empreinte de Walter Mangler au microscope, ils détectent la présence de résidus de couleur bleue. 

Au laboratoire, Sara rejoint Catherine et Grissom puis les informe qu’elle a dressé le profil des victimes. Ce sont des célibataires de sexe masculin, la quarantaine et surtout nés à la même date, le 17 août(1957 pour Stuart Rempler, 1958 pour Royce Harmon). La bande et le timbre inversés intriguentCatherine, qui, après un éclair de génie, les considère comme un signe évident : il leur faut remonter le temps afin d’avance dans l’enquête ! Sara est alors chargée de rechercher toutes les informations disponibles et exploitables sur le 17 août 1956 (puisque c’est la prochaine date remarquable dans cette affaire)

Les résultats du relevé d’empreintes sur le dictaphone parviennent aux Experts. Il y a deux empreintes superposées, la première appartient à Paul Mylander, disculpé dans la première affaire et la seconde appartient, d’après les résultats à une personne interne au Département, cette personne n’est autre queGrissom ! Le tueur aurait alors utilisé une empreinte laissée fortuitement par Grissom afin de l’exploiter dans le cadre de son jeu macabre. 

Au laboratoire, Nick consulte la liste des utilisateurs du véhicule, mais cette piste se révèle être nulle.Warrick étant présent, ils décident ainsi de monter les enjeux de leur pari. Ce dernier pense que la victime a été braquée juste après son accident, bien avant que son véhicule ne tombe dans le ravin. Cependant, certaines zones d’ombre demeurent, comme la poussière bleue et les traces de pas et de pneus. 

Grissom se rend au hangar de Paul Mylander afin de lui demander s’il lui reste un moule de la main qui a servi à déposer les empreintes ainsi que la liste de ses distributeurs afin de contrôler les relevés de cartes de crédit, mais Paul lui affirme qu’il ne garde aucune trace des ventes détaillées. 

Au laboratoire, Warrick consulte le référentiel des empreintes de chaussures afin de retrouver le modèle de la trace de pas laissée sur le lieu de l’accident. Finalement il s’agit d’une empreinte de tennis all star taille 43. Quant à Nick, il consulte une base de données afin de retrouver le modèle de la trace de pneu laissée au même endroit. Il s’agit d’une trace de dérapage d’un pneu monté sur un quidam. Il y en a trois à Las Vegas, deux sont déjà éliminés, le troisième vient à peine d’être nettoyé de fond en comble par son propriétaire. 

Brass apprend à Grissom que la carte de crédit de la dernière victime a été utilisée quelques jours après sa mort officielle afin d’effectuer plusieurs retraits d’argent en espèce à un distributeur automatique de billets. Grissom souhaite alors réquisitionner le système d’enregistrement vidéo de cet automate. 

Au laboratoire, Nick effectue des prélèvements sur les vêtements de la victime afin d’obtenir un élément de comparaison avec la mystérieuse poussière bleue des empreintes. Pour analyses, il se rend alors chez Greg Sanders, le technicien de labo qui lui apprend que ce résidu n’est autre que du silicium bleuté (utilisé au billard). Nick et Warrick confrontent une nouvelle fois leurs points de vue à la lumière des indices actuellement à leur disposition. Nick maintient la thèse de l’accident alors que Warrick pense toujours qu’il s’agit d’un crime impliquant un voleur de voiture. Dans les deux cas, le triangle indices – suspect - indices prélevés concorde. 

Grissom, en compagnie de Sara et Catherine, visionne les images de la caméra de surveillance du distributeur. Il y voit alors un clochard faisant visiblement défiler entre ses mains plusieurs pancartes illustrées par différents dessins. Ce serait un message codé : répétition des actes jusqu’à ce que la justice lui soit rendue. Brass intervient alors pour leur annoncer qu’il a retrouvé le clochard de la bande vidéo. Ils vont pouvoir l’interroger. 

À l'hôpital du Comté, Nick et Warrick rendent visite à la victime présumée qui est maintenant réveillée. Ils lui posent la question fatidique ! Il leur révèle qu’il n’y a pas eu d’agression. Il était ivre et il a pris le volant après une partie de billard particulièrement arrosée durant laquelle il a perdu tout son argent, ne pouvant pas régler ses dettes, il a été quelque peu chahuté par ses créanciers. Sur la route, il a manqué de peu un camion et s’est ainsi retrouvé sur le bas côté, son véhicule restant en équilibre sur le talus. Il est alors passé à l’arrière et s’est solidement attaché avant que sa voiture ne tombe dans le ravin. 

En salle d’interrogatoire, Grissom et Brass questionnent le clochard. Il leur raconte alors comment il a été démarché par le mystérieux meurtrier. Ce dernier lui a donné 100 dollars pour qu’il tienne des pancartes devant le distributeur automatique. Il leur donne son signalement qui visiblement correspond à celui de Paul Mylander ! Il les a donc grugés ! 

Grissom charge alors Sara, qui restera en liaison avec lui, d’effectuer des recherches approfondies sur Mylander dans toutes les bases de données disponibles. Pendant ce temps, Brass tient en alerte la brigade d’intervention de la Police Criminelle afin de procéder à l’arrestation du suspect. Sara trouve alors une information intéressante dans des archives. Le père de Paul Mylander est mort le 17 août 1959 dans ce qui semble être un suicide . 

Au hangar, la police intervient et constate que les locaux ont été vidés de leur contenu, le tout ayant été préalablement nettoyé. Seul reste un tabouret sur lequel est posée une lettre adressée à Grissom. Il prend ses précautions avant de l’ouvrir et découvre une feuille blanche (symbolique : ils n’ont rien)

Accueil Département de Police Scientifique, Mylander demande à l’hôtesse si Grissom est présent, elle lui répond par la négative. Elle lui demande si il souhaite laisser un message. Il lui charge de dire àGrissom qu’un ami est passé, il s’en va tout en prenant le soin de saluer les caméras de surveillance. 

Fait par Morte

COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]

CUT TO:



SCENE #01:

[INT. HOTEL MONACO - HOTEL ROOM - NIGHT]

(Camera close up of a tumbler. Someone drops three ice cubes and pours the rest
of the vodka from the bottle into the glass.)

(He picks up the glass and walks around the room. He sits on the bed and drinks
from his glass.)

(He stands up and walks into the bathroom to stand in front of the foggy mirror.
He uses the back of his hand to wipe it clear. He stares at himself and sighs.)

(He turns around.)

CUT TO:



SCENE #02:

[INT. HOTEL MONACO - HALLWAY -- NIGHT]

(GRISSOM turns the corner to the hotel hallway and makes his way to the officer
who stands just outside the hotel room door. The OFFICER signals GRISSOM inside
the room.)

[HOTEL ROOM -- CONTINUOUS]

(GRISSOM walks into the room. BRASS is inside with two other OFFICERS. He
looks at GRISSOM.)

BRASS: Oh ... you're going to love this.

(BRASS pulls out a cloth from his pocket to open the bathroom door. They look
inside.)

[BATHROOM -- CONTINUOUS]

(At the far end of the bathroom, is a tub ... with the dead body inside.)

BRASS: Ring any bells? Rub-a-dub-dub, dead man in a tub.

(BRASS and GRISSOM step into the bathroom. GRISSOM puts his kit down near the
door.)

BRASS: Sleeping bag for easy cleanup. Open window so the stench alerts the
neighbors.

(GRISSOM looks around.)

GRISSOM: It's Royce Harmon all over again.

(Quick flashes of: A shot of the chest bullet wound. Flash to: The revolver
in the man's left hand.)

GRISSOM: What do you think? "Suicide" note in the same place?

(GRISSOM steps forward.)

BRASS: You tell me, Karnak.

(GRISSOM cautiously look, reaches out and finds the tape recorder clutched in
the body's right hand. He takes it and looks at it.)

BRASS: Now, that's weird.

GRISSOM: Not weird. Intentional.

(GRISSOM presses play.)

RECORDED VOICE: (from tape) ... narl loop sair momoph reet reet seer pute
narfenging ...

(GRISSOM shuts it off.)

BRASS: What kind of language is that? Swedish?

GRISSOM: It's backward.

(GRISSOM thinks about it for a moment, then turns around to look at BRASS.)

GRISSOM: Would you excuse me a minute?

BRASS: (nods) Sure. Okay.

(BRASS steps out of the bathroom and closes the door behind him.)

[INT. HOTEL MONACO - MAIN ROOM - NIGHT -- CONTINUOUS]

(BRASS shuts the door.)

OFFICER ARVINGTON: He okay in there?

BRASS: Quincy wants to be alone. We had a case like this three months ago -- a
guy found dead in his bathtub. Turned out the suicide was staged. Found a
mini-recorder as a suicide note.

(BRASS turns to look at the closed bathroom doors.)

BRASS: Killer may have struck again.

OFFICER ARVINGTON: Why does he want to be alone?

(BRASS looks at OFFICER ARVINGTON.)

BRASS: He wants to get his mojo working.

CUT TO:



SCENE #03:

[INT. HOTEL MONACO - BATHROOM - NIGHT -- CONTINUOUS]

(GRISSOM turns the tape recorder on and plays it backward, then flips the switch
to play it forward.)

RECORDED VOICE: Man on mini-recorder: My name is Stuart Rampler. I reside at
818 Noeing Hill Court, Las Vegas, Nevada. I am 43 years of age, and I'm going
to kill myself. I just can't do it anymore. I love you, mom.

(He shuts the recorder off and stands there a moment. He turns to look at his
reflection in the mirror.)

GRISSOM: You're back.

HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS.

(COMMERCIAL SET)



FADE IN.

SCENE #04:

[INT. CSI - HALLWAY -- NIGHT]

(GRISSOM walks into the hallway reading the assignment sheets in one hand; the
bagged tape recorder in the other. He looks up and sees SHIBLEY walking toward
him.)

GRISSOM: Shibley, take this recorder to the print lab.

(GRISSOM hands the tape recorder to SHIBLEY, then continues down the hallway.)

GRISSOM: Have Manny dust it and run prints on it right away.

(SHIBLEY gives GRISSOM a large envelope.)

SHIBLEY: Photos from tonight's suicide. Put a "rush" on them for you.

GRISSOM: Photos. Thank you.

(GRISSOM walks down the hallway and stops when he hears what sounds like a
football game whistle coming from the break room. He looks inside.)

CUT TO:



SCENE #05:

[INT. CSI -- BREAK ROOM - NIGHT -- CONTINUOUS]

(WARRICK and NICK play a video football game.)

NICK: Oh!
WARRICK: Throw the flag, ref!
NICK: Uncatchable, bro.

(GRISSOM walks into the break room.)

GRISSOM: (irritated) Hey! You guys want an assignment slip or a pink slip?

(WARRICK stands up; NICK shuts the game off and also stands up.)

WARRICK: Just taking a little coffee break.

NICK: Is it true?

WARRICK: Same guy?

GRISSOM: (calmer) I don't know. We'll see. Here. 410. Reckless driver out
at Hoover Dam. Car went over a cliff. Anonymous caller. Could be foul play.

(GRISSOM gives WARRICK the assignment sheet.)

WARRICK: Oh, me and him, working together? Oh, it's on.

NICK: You're going down, bro.

(WARRICK hands the sheet to NICK. The two gearing up for the challenge ahead.)

GRISSOM: (irritated) Hey! Work together tonight. All right?

(WARRICK nods demurely. GRISSOM leaves the room. Once his back is turned, NICK
and WARRICK look at each other and smile ... gearing up for the challenge
ahead.)

CUT TO:



SCENE #06:

[INT. CSI - GRISSOM'S OFFICE -- NIGHT]

(GRISSOM walks into the office.)

GRISSOM: Okay, we're going off the board tonight.

SARA: Off the board?

CATHERINE: "The ones that got away." Fish.

SARA: Ah. I missed that one.

(GRISSOM stands in front of the large fish-shaped corkboard and takes down some
photographs.)

GRISSOM: First victim, Royce Harmon. About three months ago, Brass and I found
this guy dead in his own bathtub, but his "suicide" was staged. I think the
killer has killed again.

(He hands the photos to SARA.)

GRISSOM: Photos of tonight's victim: Stuart Rampler. Play the "pick six
things that are different" game. Bet you lose.

(CATHERINE looks at the photos.)

SARA: This guy's good.

CATHERINE: Not good. Exceptional. Print examiner lifted a thumbprint off the
mini-recorder near the tub of our first victim. The print came back this.

(CATHERINE looks around GRISSOM'S office and finds the fake hand. She shows it
to SARA.)

GRISSOM: The killer purchased one of these rubber hands laced the fingertips
with cooking spray and proceeded to place false prints all around the crime
scene.

SARA: This guy is good. Whose prints are these?

GRISSOM: Some guy who works in a warehouse making Halloween paraphernalia.
Scary masks, air-brushed tombstones, rubber hands. Turns out he used his own
hand for the mold.

CATHERINE: So what do we do?

GRISSOM: We split up. You and I go to the coroner. Sara, you go to the hotel.
Dust every inch of that bathroom. Here. Use this --

(GRISSOM reaches for a container on the shelf. He gives it to SARA.)

GRISSOM: "Red Creeper." My own concoction.

SARA: (impressed) Wow.

GRISSOM: Well, serious case, serious print powder. Be thorough. Don't take
anything for granted.

SARA: Yes, sir.

(SARA leaves the office.)

(CATHERINE and GRISSOM also leave the office.)

CUT TO:



SCENE #07:

[EXT. HOOVER DAM - CRASH SITE - NIGHT]

(NICK and WARRICK enter the crash site. Emergency crew work on the car.)

WARRICK: Everyone still breathing in that car?

PARAMEDIC: So far.

NICK: Call came in blind. You see who could have made it?

PARAMEDIC: No. We were first on the scene. Fire department came in two minutes
behind. Place was dead quiet.

(The fire department crew cut the top off of the car. They start working on the
unconscious man in the back seat of the car.)

WARRICK: Where's the driver? He get thrown?

OFFICER: Didn't find anybody.

(NICK and WARRICK look up above where the car fell.)

NICK: I'm thinking DUI.

WARRICK: You calling it?

(NICK looks around on the ground and finds something.)

NICK: I'm calling that beer bottle.

(NICK uses a pen and picks it up to look at it.)

WARRICK: How you know it's from the car?

NICK: It's still cold. Foam in the bottle. Take it up top?

WARRICK: After you ...

CUT TO:



SCENE #08:

[INT. CSI - FORENSIC AUTOPSY -- NIGHT]

(DR. ROBBINS pulls the body out of storage. He goes over the body with GRISSOM
and CATHERINE.)

DR. ALBERT ROBBINS: I've read Klausbach's report on Royce Harmon the first
staged suicide.

GRISSOM: Similarities?

DR. ALBERT ROBBINS: Well, based on the entry wound, they were both murdered.
But here's where it gets fun.

(DR. ROBBINS shows them the wound on the back of STUART RAMPLER'S left hand.)

CATHERINE: That looks like he was shot trying to protect himself.

GRISSOM: What else, Doc? My mind is painting.

DR. ALBERT ROBBINS: He was paid a little visit from Mr. Muzzle stamp.

(DR. ROBBINS shows them the bruise on the temple.)

(Quick flashback to: The gun is against STUART RAMPLER'S temple. End of
flashback. Resume to present.)

CATHERINE: Forced into the tub at gunpoint?

GRISSOM: Okay. Let's play it out.

(GRISSOM turns around. The clock behind GRISSOM reads 4:35pm.)

GRISSOM: The killer's got him at gunpoint, right? Standing over him like this.

(Quick flashback to: STUART RAMPLER puts his hand up to block the gunshot.)

STUART RAMPLER: No!!

(Quick CGI that follows the bullet as it pierces through flesh. End of CGI.
End of flashback. Resume to present.)

GRISSOM: But this time, things got messy. Royce Harmon didn't fight back.
That's why there was no muzzle bruising to his temple.

CATHERINE: Stuart Rampler was resistant. He didn't want to get into that tub
too easily. He took a few jabs to the temple.

GRISSOM: But the killer just lost round one. We know how he gets his vics into
the tub and we know that both deaths were homicides.

CATHERINE: Not a bad start.

CUT TO:



SCENE #09:

[EXT. HOOVER DAM OVERLOOK - TOP -- DAWN]

(WARRICK stands at the top of the overlook near the broken railing. NICK
measures the tire marks on the road.)

NICK: The skid start way up the road. I got him doing at least 70.

WARRICK: More like 80.

NICK: These grooves are from the car's frame. It balanced before it fell.

(NICK looks a the shoe prints in the dirt.)

NICK: This is where he bailed. Wide spacing, slipping of the heel. He ran.

(WARRICK takes a photo.)

WARRICK: Who?

NICK: The phantom driver.

(Quick flashback to: [NICK'S VERSION] Inside the moving car.)

WALTER BANGLOR: Hey, hand me another beer.

PHANTOM DRIVER: No, you've had enough.

(The car heads straight for the truck. Its horn blares. The car swerves.)

PHANTOM DRIVER: Hey, hey...!

(Tires squeal. The car crashes through the railing and teeters on the edge of
the embankment, its engine still running. The PHANTOM DRIVER bails. The Drunk
Backseat Passenger, WALTER BANGLOR, stays in the car as it topples over and off
the cliff.)

(The PHANTOM DRIVER runs away. WALTER BANGLOR screams as the car falls down the
ravine.)

(End of flashback. Resume to present.)

WARRICK: So your drunk driver just got out and ran away?

(NICK looks at WARRICK and nods.)

WARRICK: Where to?

NICK: I don't know. That's why we're up here. But he left his buddy hanging
out to dry. I can tell you that.

(WARRICK points to the tire marks on the roadway behind NICK.)

WARRICK: Then how do you explain car number two?

NICK: Driver ran to this point, car picks him up. Here are your tracks ...
probably took him to the hospital.

WARRICK: Not if we have these.

(WARRICK looks down at the tracks in the dirt.)

WARRICK: They're kind of out of place. A walking stride up to the edge.

(WARRICK takes a couple of photos.)

WARRICK: No. This is a crime, not an accident.

NICK: You care to back that statement up? My phantom driver against your
criminal?

WARRICK: How much?

NICK: Fifty.

WARRICK: I don't get out of bed for less than a bill.

(NICK laughs and they shake on it.)

CUT TO:



SCENE #10:

[INT. HOTEL MONACO - BATHROOM -- DAY]

(SARA walks into the hotel room bathroom carrying her kit. She meets up with
DET. B. EVANS.)

SARA: Hey, Evans.

DET. EVANS: Hi.

(SARA puts her kit and things down.)

DET. EVANS: Victim's name is Stuart Rampler. Lives in town reserved a room for
one night because his house was being fumigated.

SARA: Hmm. Find anything unusual?

DET. EVANS: I bagged a couple of utility bills.

(He moves to the side and picks up a bag of bills and shows it to SARA.)

DET. EVANS: Ready for mail. It's almost as if he wanted to take care of some
unfinished business before he checked out.

(SARA takes the mail out of the bag and goes through the bills.)

SARA: Well, it's not likely. His suicide was staged.

(She notices something.)

DET. EVANS: It's an upside-down stamp. What does that mean?

SARA: I don't know.

SHORT TIME CUT TO:



SCENE #11:

[INT. HOTEL MONACO - BATHROOM - DAY]

(SARA uses the Red Creeper on the bathroom pipes.

SARA: (impressed) Wow. This stuff rocks. I love bathrooms. Last time I
printed a hotel bathroom, I had over 1,000 prints.

(SARA continues to dust the tub. She finishes.)

SARA: Okay ... close the doors and hit the lights, daddy-O.

(EVANS closes the bathroom doors and turns the lights off. SARA uses her ALS
and can't believe her findings.)

SARA: Not a single print.

DET. EVANS: He wiped it clean.

SARA: Yeah. This guy's a real pro. Not only did he wipe it clean -- it's
sterile.

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #12:

[INT. PAIGE HARMON'S RESIDENCE - LIVING ROOM -- MORNING]

(GRISSOM and CATHERINE interview PAIGE HARMON.)

PAIGE HARMON: I thought you were going to tell me that you caught him.

GRISSOM: Mrs. Harmon, we believe that the person who did this to your son may
have done it to someone else and we need your help.

PAIGE HARMON: Well, what can I do?

CATHERINE: We talked to the second victim's girlfriend -- played his suicide
recording for her. She confirmed that it was his voice.

PAIGE HARMON: But I already told you that the voice on that tape was not my
son's.

CATHERINE: I know. We just need to be absolutely certain. Do you have a
recording of your son's voice so that we could tie the killings together?

GRISSOM: Anything, Mrs. Harmon -- a home movie? A recorded message off your
answering machine?

PAIGE HARMON: All I have are pictures.

(She remembers something.)

PAIGE HARMON: I may have something.

(She stands up and picks up a picture frame.)

PAIGE HARMON: Royce gave this to me for mother's day last year. (GRISSOM
stands up.) It's a talking frame. It's all I have left.

ROYCE HARMON: Hey, mom, it's Royce. I know you're always complaining you don't
hear my voice in the house anymore. Well, now you can listen to it anytime you
want. I love you, mom.

PAIGE HARMON: (softly): I love you, too.

CUT TO:



SCENE #13:

[INT. HOSPITAL - HALLWAY -- DAY]

(WARRICK and NICK walk with DR. LEEVER down the hospital hallway.)

NICK: Mr. Backseat going to make it?

DR. LEEVER: Name's Walter Banglor. He'll live.

NICK: He well enough to talk?

DR. LEEVER: Subdural hematoma, compound rib fractures ...

NICK: All right, all right, I get the picture. How long until we can see him?

DR. LEEVER: I didn't say you couldn't see him.

(DR. LEEVER turns and leads NICK and WARRICK into the hospital room.)

[HOSPITAL ROOM]

(He pushes the curtain aside.)

DR. LEEVER: He's sedated. If you want to talk to him you're going to have to
wait until he comes off his meds in about 12 to 24 hours.

(NICK sighs. WARRICK looks at WALTER BANGLOR.)

WARRICK: Tan lines, no watch and no ring.

NICK: Check his personal effects.

(WARRICK picks up the envelope and checks its contents. He spills it out onto
the table. A wallet falls out.)

NICK: That's it?

WARRICK: Must have been one hell of a fall to knock his watch and his ring off
...

(WARRICK shows NICK the empty wallet.)

WARRICK: ... and take his money.

(NICK thinks about it.)

WARRICK: So what do you say? Do you want to up the stakes another hundred?

(DR. LEEVER looks over at NICK.)

NICK: To what, a deuce?

WARRICK: (shrugs) Say my foul play against your phantom driver?

NICK: You bet.

(They seal the deal with a hand "shake". DR. LEEVER watches and shakes his
head, a half-smile on his face.)

CUT TO:



SCENE #14:

[INT. CSI - DNA LAB -- MORNING]

(SARA tests the "upside-down" stamp.)

GREG SANDERS: Okay ... I've got Stuart Rampler's DNA profile ready. All I need
is something to compare it to.

SARA: Coming right up. Let's see if we can find out who this Licker is.

(SARA hands the sample vial to GREG. He puts it in the machine and switches it
on.)

(Short time cut later: The results print out. GREG looks at it.)

SARA: What do you got?

GREG SANDERS: Well, according to the DNA Stuart Rampler licked the right-side-
up stamps.

SARA: What about the envelope with the upside-down stamp?

GREG SANDERS: Well, it came back unknown.

SARA: (thoughtful) He's toying with us.

GREG SANDERS: Who?

SARA: Anonymous.

CUT TO:



SCENE #15:

[INT. CSI - GARAGE -- MORNING]

(WARRICK walks into the garage to find NICK fuming the entire car.)

WARRICK: Supergluing the entire car? It's a little excessive, don't you think?

NICK: Hey, man, this is war.

WARRICK: (chuckling) You know, I checked with six different medical centers,
and no phantom driver at any of them.

NICK: (waves it away) Minor setback. How about the 911 call?

WARRICK: Las Vegas cell phone. PD's putting a name to it.

NICK: Good.

WARRICK: What's all this?

NICK: Car was rented from the airport three days ago.

WARRICK: To ... ?

NICK: Walter Banglor. I figure Vegas vacation; side trip to Hoover Dam.

WARRICK: Makes sense.

NICK: Mm-hmm.

WARRICK: You find his watch and ring?

NICK: (grudgingly admits) No.

WARRICK: (laughing) my pockets are getting fat!

NICK: No, he travels light. There was only a change of clothes in the damn
suitcase.

WARRICK: God, you see all that money in there?

NICK: All right, the fumes have settled. Give me a hand.

WARRICK: Yeah.

(They lift the plastic sheet off of the car. NICK sees the prints on the
wheel.)

NICK: You can run ... but you can't hide.

(Camera cuts to the prints on the dashboard.)

CUT TO:



SCENE #16:

[INT. CSI - HALLWAY -- DAY]

(CATHERINE and GRISSOM walk through the hallway.)

CATHERINE: "Disco Placid" -- what's that?

GRISSOM: He's a jazz producer. Specializes in audio. Does voice comparisons
for me from time to time. He hears in perfect pitch.

CATHERINE: Really?

GRISSOM: He's gifted.

CUT TO:



SCENE #17:

[INT. BASEMENT - AUDIO ROOM -- DAY]

(DISCO PLACID sits behind his equipment listing to the music on the ear phones
and timing it with the watch in his hand. Song overhead is "Ain't No Sunshine
When She's Gone", by Bill Whithers.)

(GRISSOM and CATHERINE walk up to the doorway behind him.)

DISCO PLACID: (sings along) Yeah, better leave young thing alone / but ain't
no sunshine when she's gone.

(He sees them and smiles. He takes off his earphones.)

GRISSOM: I'm sorry to hear that.

DISCO PLACID: Oh, that's Bill Withers, man. The man cuts me up inside.

GRISSOM: Catherine Willows, Disco Placid.

CATHERINE: A pleasure.

DISCO PLACID: A pleasure.

LYRICS:
Ain't no sunshine when she's gone...

GRISSOM: How are we coming with our voice comparisons?

DISCO PLACID: Got it right here. All I got to do is, uh, heat this thing up.
It's a mini-cassette recording of the first victim.

ROYCE HARMON: (on tape) I'm going to kill myself.

DISCO PLACID: Comparing the "I love you's..."

ROYCE HARMON: (on tape) I just can't do it anymore. I love you, mom.

DISCO PLACID: Now the talking frame.

ROYCE HARMON: (on tape) Now you can listen to it anytime you want. I love you,
mom.

DISCO PLACID: Minnesota Twins.

CATHERINE: The mother was wrong. That is her son's voice.

DISCO PLACID: I laid in both suicide notes in the computer, stripped the tracks
one by one. Picked this up in the b-ground.

(He plays the tape for them.)

ROYCE HARMON: (on tape) My name is Royce Harmon. I reside at 7642 carpenter
street, Las Vegas, Nevada. I am 41 years of age.

GRISSOM: What is that?

DISCO PLACID: I don't know, man. It sound like a flag or a tarp or something.
Give me a sec. I'll give it to you in a chinese to-go box.

CATHEIRNE: Play the second victim's tape.

DISCO PLACID: Okay.

STUART RAMPLER: (on tape) My name is Stuart Rampler. I reside at 818 Boeing
Hill Court, Las Vegas ...

(He turns the tape off. Behind them, GRISSOM pulls out a sheet of paper and
waves it making the same sound as the one on the tape recordings.)

CATHERINE: No. Play it through.

STUART RAMPLER: ... Nevada. I am 43 years of age, and I'm going to kill
myself.

GRISSOM: Play them side by side.

BOTH RECORDINGS: My name is Royce Harmon / Stuart Rampler / I reside at 818
Boeing Hill / 7642 Carpenter Street. Las Vegas, Nevada. I am 41/43 years of
age.

GRISSOM: It's "fill in the blanks."

CATHERINE: He's just reading from a suicide script.

(Again, GRISSOM waves the sheet of paper around.)

CATHERINE: What do you think?

DISCO PLACID: (smiles) Disco.

CUT TO:



SCENE #18:

[INT. CSI - PRINT LAB -- MORNING]

(NICK and WARRICK walk into the print lab. MANDY doesn't look up from the
scope.)

MANDY: So I've got some good news and mysterious news.

NICK: Give me the good news.

MANDY: Well, your results are back from the prints on the car. And your vic,
Walter Banglor, is top of the list.

NICK: It's a big list.

MANDY: You fumed the entire car. What did you expect?

WARRICK: What's the mysterious news?

MANDY: I found some speckles of blue dust in the ridges of Banglor's print.
Here. Look it.

(She steps aside from the scope. WARRICK looks at it.)

NICK: Let me see.

(WARRICK moves aside and NICK looks at the scope.)

WARRICK: What do you think?

NICK: I have no idea.

CUT TO:



SCENE #19:

[INT. CSI - BREAK ROOM -- DAY]

(SARA fills GRISSOM and CATHERINE in on what she's found.)

SARA: I did some comparative digging on both victims -- Royce Harmon and Stuart
Rampler. Both are white males in their 40s, single and ... both have the same
birthday.

GRISSOM: Royce Harmon, born August 17, 1958. Stuart Rampler, born August 17,
1957. One year apart.

CATHERINE: Okay, so maybe it's some reverse or backwards pattern. August 17,
1958 ... 1957. The suicide message was recorded backwards; the postage stamp was
upside-down ...

SARA: Yeah.

GRISSOM: Maybe he's telling us, in order to go forward, go back. Sara, go back
one more year -- August 17, 1956. See if anything pops up with the same M.O.

SARA: I'm gone.

(SARA leaves the office. MANDY appears in the doorway.)

MANDY: Mr. Grissom, the prints are back from Stuart Rampler's mini-recorder.

CUT TO:



SCENE #20:

[INT. CSI - PRINT LAB - CONTINUOUS]

(CATHERINE and GRISSOM walk into the lab where MANDY sits in front of the
computer.)

GRISSOM: Can we see the print?

MANDY: Not print-- prints.

CATHERINE: What do you mean? It's more than one person?

MANDY: It's two thumbprints overlapped.

GRISSOM: Can you separate them?

MANDY: Yeah. Running both prints through AFIS.

(The first print comes back "UNKNOWN". The second print comes back
"COMPLIANCE".)

MANDY: How can that be?

(MANDY works on the keyboard and stands up to look at the printout.)

CATHERINE: "Compliance"?

GRISSOM: Someone within the department?

(MANDY looks at the results, then glances at CATHERINE. She looks at GRISSOM.)

GRISSOM: What?

MANDY: Uh, Catherine, can you excuse us for a moment? I need to speak with Mr.
Grissom in private.

(CATHERINE glances at GRISSOM.)

GRISSOM: Anything you have to say to me you can say to her.

MANDY: Well, the top print came back Paul Millander.

GRISSOM: I expected that. He's the guy who makes the rubber hands. I've
already cleared him. What about the compliance -- the bottom print?

MANDY: It came back you.

CATHERINE: It's Grissom's print?

(MANDY nods.)

CATHERINE: Wait a minute. Somebody got ahold of your prints.

GRISSOM: How? I wear gloves at every crime scene. I was printed for the job.
We all were.

CATHERINE: Well, somebody's obviously making this personal. They could've got
your print from a glass that you touched at a restaurant. From a latex glove
that you discarded and they turned inside out ...

(CATHERINE sighs.)

CATHERINE: Oh, god ...

(GRISSOM thinks about it and something occurs to him. He looks at the monitor,
the one print over the other.)

GRISSOM: I get it. Whoever it is is telling me that he's got me under his
thumb.

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #21:

[INT. CSI - BREAK ROOM -- DAY]

(NICK is in the break room reading something. WARRICK walks in.)

WARRICK: So ... who's your phantom driver?

NICK: Possibly a cop from Philly. Or a ... a nurse from Omaha. Don't forget
the mail carrier from Nashville. (NICK laughs as he looks at the list of
names.)

WARRICK: Man, it's a rental. Those prints are probably older than you are.

NICK: Well, this is going nowhere.

WARRICK: You giving up?

NICK: No, no, no, no. We're still on. I may be stalled, but I'm not out.

WARICK: You want to take it to three?

NICK: You want to take it to three?

(They agree and seal the deal by knocking knuckles.)

NICK: You still think he was robbed?

WARRICK: Tan lines where his ring and watch used to be. On vacation in Vegas,
but no money in his wallet. His face all bruised up before he took that
cliffside tumble. Damn right, I think he was robbed.

(Quick flashback to: [WARRICK'S VERSION] A man runs out into the street to
flag down the moving car.

MOTORIST: Hey!

(Inside the car, WALTER BANGLOR puts the bottle down to brake.)

MOTORIST: Hey!

(The car swerves and crashes through the railing and stops halfway over the edge
of the hill. WALTER BANGLOR leans back in his seat.)

(The front door opens and the MOTORIST

MOTORIST: You all right, man?

WALTER BANGLOR: Yeah. Yeah, I guess so.

(The MOTORIST pulls a gun on WALTER BANGLOR.)

MOTORIST: I want the ring, the watch and all your cash.

WALTER BANGLOR: Okay, all right.

MOTORIST: Come on.

WALTER BANGLOR: All right, all right.

(He hands over money, watch and ring.)

MOTORIST: Now get your ass in the back.

WALTER BANGLOR: What?

MOTORIST: I said get your ass in the back!

(WALTER BANGLOR crawls into the back seat.)

MOTORIST: Strap in.

WALTER BANGLOR: Okay.

(He straps himself in. The MOTORIST runs around to the back of the car and
pushes it over.)

WALTER BANGLOR: What are you doing?

(End of flashback. Resume to present.)

NICK: He lays in wait, he robs him, he tries to kill him, but he lets him
buckle in?

WARRICK: I don't think the robber expected Banglor to get drunk and go crash
his car. He probably freaked and put him in the back seat trying to fool me
into thinking someone else was driving. But he only fooled you.

NICK: What about the blue dust, Warrick?

WARRICK: What about it?

NICK: Don't you think it matters?

WARRICK: Maybe. There's other questions to answer first.

NICK: Okay, like?

WARRICK: Footprints and tire tracks.

NICK: (nods and whispers) I hate you.

WARRICK: You love me. Who you kidding?

CUT TO:



SCENE #22:

[INT. HOLLOWEIRD - MAIN WAREHOUSE -- DAY]

(GRISSOM walks into the warehouse, looking for PAUL MILLANDER. In the back of
the warehouse, PAUL MILLANDER is working on a sculture.)

GRISSOM: Mr. Millander?

PAUL MILLANDER: Hey, it's the forensics guy. I forgot your name. I-I'm sorry.

GRISSOM: Gil Grissom.

(They shake hands.)

PAUL MILLANDER: Hi, Mr. Grissom. It's been a couple of months. How are you,
sir?

GRISSOM: I'm okay. What are you making?

(He turns the head around to show GRISSOM.)

PAUL MILLANDER: I-I-I call it ... "Good versus Evil." You like it?

GRISSOM: Yeah, it reminds me of our supervisor on days.

PAUL MILLANDER: So, what brings you down to my humble abode?

GRISSOM: I have a couple of questions regarding that staged suicide. Remember?

PAUL MILLANDER: Yeah. How's that going?

GRISSOM: Not too well.

PAUL MILLANDER: Say, w-would you like a cup of coffee? I got instant.

GRISSOM: Sure.

CUT TO:



SCENE #23:

[INT. HOLLOWEIRD -- BACKROOM -- DAY]

(PAUL MILLANDER walks in the back to get the coffee. GRISSOM follows him and
looks around.)

GRISSOM: I envy you, Mr. Millander. I do. You can work by yourself ... no one
around to bother you. You just ... do what you do. I'd love to have that kind
of autonomy.

PAUL MILLANDER: It's really all I know. I ... started out doing ice carvings
but the artwork never lasted.

(GRISSOM chuckles.)

GRISSOM: I know what you mean.

(PAUL hands GRISSOM his drink.)

GRISSOM: Thank you.

PAUL MILLANDER: Let's sit.

(They both sit down.)

PAUL MILLANDER: How can I help you?

GRISSOM: Do you remember the, uh, rubber hand mold that you made from your own
hand?

PAUL MILLANDER: How could I forget?

GRISSOM: Well, whoever the perpetrator is has killed again. And again, your
print came up. So I was hoping you could help me.

PAUL MILLANDER: Sure.

GRISSOM: The last time we talked, you told me that you had sold several
thousand units last Halloween?

PAUL MILLANDER: Bestseller. Yes, sir.

GRISSOM: Could you provide me with a list of your distributors?

PAUL MILLANDER: I really don't have a list. Uh ... Why?

GRISSOM: I was hoping to do a credit card search ... go back ten days before
the first murder occurred ... try and run some names ... see if any priors pop
up.

PAUL MILLANDER: I would really love to help you, Mr. Grissom, but ... I just
don't keep track of ... of individual purchasers. I-I-I'm just a wholesaler. I
don't ... I don't crunch numbers. I-I just ... spook the children.

GRISSOM: Of course you do. I'm sure you do it well.

(GRISSOM leans back in his chair and takes a sip from his cup.)

CUT TO:



SCENE #24:

[INT. CSI - RESEARCH ROOM -- DAY]

(WARRICK looks through a binder full of shoe prints. He flips the page and
finds the match.)

WARRICK: Finally.

(NICK walks into the room. He's eating an apple.)

NICK: Hey, partner, you get a match yet? Ooh! Converse all-star.

WARRICK: Size 11.

NICK: And you needed all the books for that?

(NICK takes a seat.)

NICK: Those soles have been around 20 years.

WARRICK: I needed to be sure.

NICK: You look tired, buddy. You want me to make you a bottle, go nigh-nigh?

WARRICK: You want me to clack that jaw, make you go nigh-nigh?

NICK: (rubbing it in) You should have worked the tire tracks. Jimmy in trace
put together a digital catalog of treads ... has thousands on file. Took me
three minutes.

(NICK tosses the file folder onto the desk in front of WARRICK. WARRICK looks
at the results.)

WARRICK: Pirelli low profile p-zeros. High performance.

NICK: And standard on your alleged getaway vehicle ... the '99 Bentley Arnage,
red label. It's a sweet ride, man -- handcrafted. So, how many people in Vegas
you think drive that kind of price tag?

CUT TO:



SCENE #25:

[INT. CSI - HALLWAY]

BRASS: Three. Did a DMV search.

WARRICK: Any reported stolen?

BRASS: Yeah, one. Last week. It came in a couple of hours ago.

(BRASS holds up the photos.)

BRASS: Take a look.

(He gives them the photos.)

NICK: Oh-ho! So sweet!

(WARRICK grabs a photo and compares it to the tire marks in the folder.)

WARRICK: Check this. One-to-one says that's the car.

BRASS: Yeah, well, don't bet the sub shop, Warrick. That's about all the
evidence you're going to get out of the Bentley. We found it at a car wash off
of warm springs. It's been vacuumed detailed -- the whole works. It's cleaner
than brand-new.

(NICK smiles.)

NICK: Well, I wish Banglor's rental car company were as considerate as your
thief.

(He slaps WARRICK on the back and chuckles as he leaves.)

CUT TO:



SCENE #25:

[INT. CSI - GRISSOM'S OFFICE -- DAY]

(BRASS walks into GRISSOM'S office.)

BRASS: Dr. Livingston. Your dead man is making cash withdrawals.

GRISSOM: Which one? The first victim or the second?

BRASS: The second. Stuart Rampler. The bank called. His ATM card showed a
couple of withdrawals after his time of death.

GRISSOM: (pleased) ATM machines take photographs every three seconds. Maybe
we can get a Kodak moment of this guy. I want the machine here. I want prints.
I want film. I want everything.

BRASS: The whole machine?

GRISSOM: Yeah, the whole machine.

BRASS: Okay.

(BRASS turns and leaves the office.)

CUT TO:



SCENE #26:

[INT. CSI - EVIDENCE ROOM -- NIGHT]

(NICK goes over WALTER BANGLOR'S clothing. NICK finds a blue stain near the
jean's button fly. He takes a sample of it just as WARRICK walks into the
room.)

WARRICK: You got his clothes?

NICK: That's right.

WARRICK: What are you doing? His laundry?

(NICK holds up the swab.)

NICK: Something to compare our mystery blue dust to.

WARRICK: Ah.

CUT TO:



SCENE #27:

[INT. CSI - DNA LAB -- NIGHT]

(GREG starts testing the blue substance.)

GREG SANDERS: So ... what's the pot up to?

NICK: (flatly) We don't bet on cases.

GREG SANDERS: Ah. Of course you don't. So who's winning?

WARRICK/NICK (BOTH): I am.

GREG SANDERS: Fiends.

(GREG puts the sample vial in the machine and runs it.)

(Short time cut to: The printer prints the results.)

GREG SANDERS: Your mystery dust is ... silicon blue dye.

WARRICK: What's that?

GREG SANDERS: Pool cue chalk.

CUT TO:



SCENE #28:

[INT. CSI - BREAK ROOM -- NIGHT]

(Inside the break room, NICK and WARRICK revamp their scenarios. WARRICK sits
and listens as NICK stands, pacing the floor and playing with a football in his
hand.)

NICK: Banglor's shooting stick with the phantom driver ... tosses a few back
... piles into the rental ... ...I-93, Hoover Dam. But don't drink and drive.
You might spill your drink ... car skids ... bangs into the railing ...

(Quick flash to: [NICK'S THEORY] The car going through the railing. End of
flashback. Resume to present.)

NICK: ... see-saws ...

(Quick flash to: The car teetering over the edge. End of flashback. Resume to
present.)

NICK: ... on the edge ... what does the driver do? Man, he bails. He leaves
Banglor in the back seat to take the fall.

(Quick flashback to: The PHANTOM DRIVER leaps over the railing and runs down
the road. End of flashback Resume to present.)

NICK: Literally.

(Quick flashback to: The car falls down the ravine, WALTER BANGLOR inside,
screaming. End of flashback Resume to present.)

NICK: Fingerprints, grooves, footprints: All the bases are covered. Victim,
suspect, crime scene. Like a laxative ...

(Done, he tosses the foot ball to WARRICK, who catches it.)

NICK: It works.

(NICK sits down and exhales. WARRICK thinks about it and starts his own
theory.)

WARRICK: Banglor shooting stick -- I'll give you that. Burping bourbons --
I'll give you that, too. But he left solo. A few miles down the road,

(WARRICK stands up and starts pacing the room as he goes over his scenario,
evidence by evidence.)

WARRICK: ... Bentley thief flags him down ...

(Quick flashback to: [WARRICK'S THEORY] The MOTORIST flags the car down. End
of flashback Resume to present.)

WARRICK: ... spooks him into a skid ... boom, crash!

(Quick flashback to: The car headlights. End of flashback Resume to present.)

WARRICK: He's robbed ... forced into the back ... pushed over the edge.

(Quick flashback to: The MOTORIST pushes the car over the edge of the hill.
End of flashback Resume to present.)

WARRICK: With Banglor out of the way, the thief gets in his stolen Bentley ...
hightails it out of there. No watch ... no rings, no cash ... stolen Bentley
tire treads, converse all-star size 11 ... all bases covered. Victim, suspect,
crime scene. Like a canary ... it sings.

(Done, WARRICK tosses the ball to NICK. He catches it. WARRICK takes a seat.)

NICK: You know, I hate to admit it ... but I like your theory. It does work.

WARRICK: I was sitting here thinking the same thing about your phantom driver.

NICK: So, what do you think? Can two solid theories, each backed by evidence
both be correct?

(WARRICK shrugs. NICK tosses the football to WARRICK.)

CUT TO:



SCENE #29:

[INT. CSI - PHOTO LAB -- DAY]

(Everyone watches the bank ATM machine security camera footage. On the monitor,
a bum stands directly in front of the camera. A second person stands off to the
side directing the bum. He hands the bum the card.)

GRISSOM: (o.s.) There. There's our guy ... handing it off.

(On screen, the man on the side hands the bum a stack of cue cards. The bum
turns the cards one after the other in front of the camera.)

GRISSOM: Life ... like holding a dove.

GRISSOM: Hold it too hard ...

CATHERINE: ... you kill it.

GRISSOM: Hold it too soft ...

SARA: ...and it'll fly away.

(The bum continues to flip the cards. Thinking that he's done, the bum turns to
the side to walk away, but the man pushes him back in front of the camera to
continue flipping the cards.)

CATHERINE: :Have we located this bum?

GRISSOM: Brass's guys are looking for him. Okay ... significance of the
flipping?

CATHERINE: He's obviously making a point.

SARA: What does the dove symbolize? Peace.

CATHERINE: But I don't think it's peace in terms of ... human civility or
unrest. I think maybe it's "peace of mind." (beat) What do you have to attain
to have peace of mind? (realizing) Justice.

GRISSOM: "I'm going to keep doing this over and over again until I get
Justice."

HARD CUT TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #30:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]

(GRISSOM opens the interview room. Inside is the bum.)

BRASS: How you doing?

GRISSOM: (looking at the bum) Hmm. How'd you find him?

BRASS: We canvassed a square-mile radius of the ATM machine. Started throwing
bums hamburgers out the car window in a nice tight spiral. They ratted him out
in 20 minutes.

BRASS: You want to tell him how you were approached?

BUM: You know, I think better when I eat.

BRASS: No kidding?

GRISSOM: Jim, call the steak house at Circus. Get this fella a porterhouse.

(BRASS picks up the phone.)

BRASS: How do you like it -- Medium rare? No, you look like a well-done kind
of guy.

BUM: Rare.

CUT TO:



SCENE #31:

[INT. HOSPITAL - HALLWAY -- NIGHT]

(NICK and WARRICK sit side-by-side in the hallway. NICK glances at his watch.
DR. LEEVER steps out.)

DR. LEEVER: Two minutes, understand?

NICK: That's all we'll need.

(They head into WALTER BANGLOR'S room.)

CUT TO:



SCENE #32:

[INT. HOSPITAL - ROOM - NIGHT -- CONTINUOUS]

(The door opens. NICK and WARRICK walk into the room.)

NICK: Hey, hey. How are you feeling, Mr. Banglor?

WALTER BANGLOR: Uh, better, I guess. I understand last night was exciting,
though.

WARRICK: Yeah.

NICK: I'm going to come right out and say it. What happened to you is not
right. The person responsible needs to be brought to justice. You tell me who
that person is. Who was driving that car?

WALTER BANGLOR: Who the hell are you guys?

(WARRICK and NICK both talk at the same time.)

WARRICK: I'm Warrick ...
NICK: I'm Nick ...

(They stop and look at each other.)

NICK: I'm Nick Stokes. This is Warrick Brown. We're with criminalistics.
We've been working your accident.

WARRICK: Actually, sir, I-I don't think it was an accident. I think you were
robbed and any information that you remember about your attacker would be very
helpful.

WALTER BANGLOR: I wasn't attacked.

(At this, WARRICK'S face falls.)

WALTER BANGLOR: I was drunk .. really drunk.

(At this, NICK'S face falls.)

WALTER BANGLOR: No way I should've been driving that car.

(Quick flashback to: [POOL BAR] WALTER BANGLOR looses another game and puts
his pool stick down on the table. He sighs.)

WALTER BANGLOR: Yeah! I guess that's enough for me.

POOL PLAYER: Then it's time to pay up.

(Cut to: WALTER BANGLOR looks into his wallet, then glances at the POOL PLAYER
in front of him.)

WALTER BANGLOR: Looks like I'm a little short.

(He chuckles. The POOL PLAYER turns to the THUG behind him and motions to
WALTER.)

POOL PLAYER: Hit him. Take everything he's got.

(The THUG hits WALTER in the stomach and in the face.)

(Cut to: WALTER BANGLOR is driving home. He's drinking as he's driving. He's
not paying attention to the road and is startled awake when the truck headed
toward him honks his horn.)

WALTER BANGLOR: Jeez!

(WALTER gets control over his car and swerves. He crashes through the railing
and teeters on the edge of the cliff.)

(To balance the car, WALTER crawls into the back seat. He fastens himself in
just as the car tilts over the edge. And like a wild park ride, the car rolls
down the hillside.)

(End of flashback. Resume to present.)

WARRICK: You mean you got hustled?

WALTER BANGLOR: I won the first game.

NICK: (astonished) You climbed in the back seat yourself?

WALTER BANGLOR: Yeah.

WARRICK: So buckling up ... really did save your life. You know that?

WALTER BANGLOR: Yeah, I guess it did.

WARRICK: You get well, okay?

NICK: Glad we could help.

(They both walk out of the room.)

CUT TO:



SCENE #33:

[INT. HOSPITAL - HALLWAY - NIGHT -- CONTINUOUS]

(NICK and WARRICK walk out of the room and into the hallway.)

NICK: Well, the only thing we didn't factor in was his will to live.

WARRICK: And the Bentley thief, size 11-- he could've been at that crime scene
anytime last week. So we push on the bet? No winner?

NICK: (agreed) No loser.

(NICK'S pager goes off. The wall clock reads 4:02. NICK checks his pager.)

NICK: 406. Burglary. Double or nothing?

WARRICK: You're talking to the wrong guy.

(They both walk out.)

CUT TO:



SCENE #34:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]

(The BUM finishes his meal.)

BRASS: Can we start again, please?

GRISSOM: Now, how did this man approach you?

BUM: He walked up to me. Told me he'd give me a hundred bucks if I flip some
cards.

BRASS: He pay you cash?

BUM: (nods) Mm-hmm. A hundred-dollar bill.

GRISSOM: You still have it?

(The BUM doesn't answer.)

GRISSOM: How tall was this man? Was he ... shorter or taller than Mr. Brass
here?

(BRASS stands up.)

BUM: A hair taller.

GRISSOM: By a hair, do you mean the hair of a rabbit or the hair of grizzly
bear?

BUM: Somewhere in the middle.

GRISSOM: Okay. Let's say he was five-ten. What else do you remember about
this man?

(BRASS takes a seat.)

BUM: He had a narrow chin. Uh ... his eyes were blue -- deep-sea blue, you
know? Uh, jet-black hair uh, Spock-like ears pointed nose, bushy eyebrows.
Sunken cheeks with a bad complexion, almost pock-faced.

(As he talks, GRISSOM puts it together.)

BUM: Uh ... thin as a soda cracker and his clothes were wrinkled, like, uh, he
slept in them. Oh ... and when he spoke, he spoke with a ...

GRISSOM: (realizing) ... stutter.

BUM: Yeah.

GRISSOM: Paul Millander. He set me up. (surges to his feet, angry) Son of a
bitch! I had him and I let him go!

(Quick flashback to: [HOLLOWEIRD] GRISSOM talks with PAUL MILLANDER.)

GRISSOM: You ever make any rubber hands?

(Cut to: GRISSOM shows PAUL MILLANDER the rubber hand.)

PAUL MILLANDER: I sold ten thousand of those units last Halloween. Even used
my own hand for the mold.

(End of flashback. Resume to present.)

(GRISSOM is angry ... with himself. BRASS watches GRISSOM.)

CUT TO:



SCENE #35:

[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]

(GRISSOM fills CATHERINE, SARA and BRASS in on his findings.)

GRISSOM: So when I picked up the hand he must have lifted my print, Catherine.

CATHERINE: Latex rubber surface, freshly dried paint a snip of scotch tape -

SARA: It wouldn't be that hard to lift and replant.

GRISSOM: Sara, we'll be on headsets. Run everything you can on Paul Millander.
Use forenz-l use nexus, search anything and everything.

BRASS: I'll call the brigade.

CUT TO:



SCENE #36:

[INT. CSI - RESEARCH ROOM -- NIGHT]

(SARA is on the computer, running the searches.)

SARA: Typing in search word: Paul Millander. Here it is. Paul Millander:

INTERCUT WITH:

[MOVING VEHICLE - NIGHT]

SARA: (from radio) Age 42, five-eleven, male caucasian. Address not on file.
No criminal record.

GRISSOM: Keep looking. Listen, check the business database. Search word:
"Halloweird."

(SARA does a search.)

SARA: There's no listing, Grissom.

GRISSOM: How can that be? I was just there.

CATHERINE: (to radio) Change databases. Newspaper index, periodicals index --
just keep trying.

SARA: (from radio) I got something out of the newspaper index.

GRISSOM: What is it?

SARA: (reading) "Two hotel security guards exonerated in alleged 'staged'
suicide. Boy's testimony shaky. Paul Millander, age ten, testified that he
watched in the closet while his father, John, was escorted by two hotel security
guards into his own bathtub at gunpoint where he was found shot to death.
Official cause of death was ruled ..."

GRISSOM: (to radio) ... suicide. (from radio) Check the date.

(SARA runs the search.)

SARA: Catherine, you were right. August 17, 1959, it's a pattern.

CATHERINE: So he was killing men who were born on the same day that his father
died.

CUT TO:



[EXT. HOLLOWEIRD - NIGHT]

(The police vehicle stops. OFFICERS suited up exit the back of the van.
Additional OFFICER vehicles arrive at the scene. BRASS exits his car, gun
drawn. GRISSOM and CATHERINE stick their heads out of the van after all the
OFFICERS exit.)

(The OFFICERS break down the warehouse door.)

CUT TO:



SCENE #37:

[INT. HOLLOWEIRD - WAREHOUSE -- NIGHT]

(The OFFICERS search the warehouse. It's completely empty. Everything's gone.)

OFFICER: All clear.

(GRISSOM, CATHERINE and BRASS walk into the empty warehouse. In the center is a
single stool with an envelope on it.)

(GRISSOM takes out his gloves and looks at the envelope. He opens it and takes
out the single piece of paper inside.)

CATHERINE: Blank. What's that mean?

GRISSOM: We have nothing.

CUT TO:



SCENE #38:

[INT. CSI - RECEPTION -- NIGHT]

(The RECEPTIONIST looks up from her desk at PAUL MILLANDER.)

PAUL MILLANDER: Mr. Grissom in?

RECEPTIONIST: No. He's out on assignment.

(PAUL looks around and sees the security camera in the corner nearby.)

RECEPTIONIST: Do you want to leave him a message?

PAUL MILLANDER: No. Just tell him a friend stopped by.

RECEPTIONIST: A friend?

PAUL MILLANDER: (nods) A friend. He'll know.

(PAUL steps away to leave. He walks in front of the security camera and waves.
He walks out.)

FADE TO BLACK.

Fait par drogba

Kikavu ?

Au total, 13 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

miss1110 
11.11.2016 vers 23h

ptitebones 
31.10.2016 vers 18h

RonanBart 
05.10.2016 vers 14h

sia31 
27.09.2016 vers 01h

tibo18 
10.09.2016 vers 14h

Maddy 
Date inconnue

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HypnoChat

stanary (21:46)

Merci !

Titepau04 (21:58)

Re !!! Félicitations Stanary!! Cest chouette ça!

Sonmi451 (21:59)

Pub aussi de mon côté

Sonmi451 (21:59)

y a vraiment trop de pub!

Titepau04 (22:17)

Graaaave!!!!

Sonmi451 (22:17)

Ca te casse carrément ton trip

Sonmi451 (22:17)

t'as encore une pub?

stanary (23:13)

Désolée j'etaisj'étais occupée. Merci tite ! Plus de pub alors ?

Titepau04 (23:25)

Vraiment trop!! Pas très longues mais à une fréquence!!! Au moins 6 pour 2h30

stanary (23:26)

Mais c'est bizarre ! Pour moi y a que 3 pubs normalement...

Titepau04 (23:27)

Bah d'habitude elles sont un peu plus longues mais moins fréquentes

Titepau04 (23:27)

Même entre les 2 épisodes yen avait une

Titepau04 (23:27)

Je pense qu'il y a eu 5 pubs en fait, 2 par épisode et une entre les deux

stanary (23:28)

Et c'est sur TF1 ?

Titepau04 (23:29)

Oui

stanary (23:29)

Ah bah alors ils ont tout changé

Titepau04 (23:30)

Je pense qu'ils ont fait parce que les épisodes étaient plus longs

Titepau04 (23:30)

65 min par épisode

stanary (23:33)

Ah oui la je comprends mieux. J'avais jamais vu ça à la télé c'est pour ça

Titepau04 (23:34)

C'est désagréable

stanary (23:37)

Au pire regarde si une autre chaine diffuse la série

Titepau04 (23:38)

Je crois pas qu'il y en ait d'autre ... c'était les derniers de la saison

stanary (23:42)

Et c'est déjà fini ?

Titepau04 (23:42)

Oui ça y est

Titepau04 (23:42)

Yen a que 8

stanary (23:44)

8 épisodes ? ah mais c'est meilleur alors !

Titepau04 (23:56)

Nooonnnnn c'est trop court!!!

stanary (00:17)

Ah ça, ça dépend quand même des séries. Bon moi je vais me coucher. Bonne nuit !

Titepau04 (10:33)

Bonjour tout le monde!!!

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Hello la citadelle!

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J'y go Mamy et toujours chez Dr House le sondage Bad Boys, votez pour votre chouchou inter-séries, et quelques clics pour Torchwood qui en a bien besoin, merci

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chrismaz66 (17:39)

'Soir, venez départagez nos ex-aequo au sondage House, et Torchwood va bientôt fêter ses 10 ans : animations signées Choup! Un petit coucou serait sympa Merci

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bonjour, venez voter à la photo du mois sur SONS OF ANARCHY et VIKINGS merci d'avance

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La bannière de noel d'urgences attendent vos votes dans préférence, merci.

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Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

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Calendrier de Noël pour les jolies sorcières de Charmed!!!

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