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#323 : Le Mystère de la chambre forte

Des braqueurs s'attaquent à une banque et tuent l'inspecteur Cyrus Lockwood, qui se trouvait sur les lieux par hasard et tentait de protéger une femme et son enfant. Chargés de l'enquête sur ce cambriolage meurtrier, Gil Grissom et son équipe découvrent un fait étrange : les voleurs n'ont emporté qu'un coffre de dépôt. Il semble donc que l'établissement n'ait pas été attaqué simplement pour l'argent. Après quelques recherches, les experts apprennent que le coffre volé par les malfrats appartient au mentor de Catherine. L'enquête les mène donc dans le milieu des casinos : la jeune femme renoue avec son passé. 

Titre VO
Inside The Box

Titre VF
Le Mystère de la chambre forte

Première diffusion
15.05.2003

Plus de détails

Écrit par : Anthony Zuiker & Carol Mendelsohn
Réalisé par : Danny Cannon 

Avec : Jeffrey D. Sams (Detective Lockwood), David Berman (David Phillips) , Romy Rosemont (Jacqui Franco), Gerald McCullouch (Bobby Dawson), Scott Wilson (Sam Braun) 

Guests :

  • Lawrence McNeal III ..... Cambrioleur 
  • Emilio Rivera ..... Cambrioleur 
  • Michael Shamus Wiles ..... Rob Rubio 
  • Christie Lynn Smith ..... Mère 
  • Scott DeFoe ..... Chef Unité Spéciale 
  • Dennis Keiffer ..... Cambrioleur 
  • Keith Davis ..... Driver Larry Whiting 
  • David Selberg ..... Bank Manager 
  • Jimmy "Jax" Pinchak ..... Boy 

Des hommes lourdement armés et portant cagoule attaquent une banque. Au lieu de s'emparer de l'argent, un des braqueurs se rend à la salle des coffres et y fait exploser des charges. Dans la banque, le détective Lockwood est abattu alors qu'il tente de sauver un garçon et sa mère. Pendant que les braqueurs s'enfuient à bord d'un monospace, des véhicules de police arrivent près de la banque. Ils reçoivent des balles tirées d'un immeuble, ce qui incitent leur conducteur à les arrêter sur place pour découvrir le tireur embusqué. 

Arrivés sur les lieux, Grissom et Catherine se rendent à la salle des coffres et Grissom spécule que les braqueurs n'étaient intéressés que par un seul coffre. En observant une vitre percée par une balle,Grissom détermine que le coup de feu qui a abattu Lockwood est venue de l'extérieur de l'édifice et non de l'un des braqueurs. 

Le monospace qui a servi à transporter les braqueurs est retrouvé, son chauffeur mort étranglé de façon experte. Dans le même temps, Grissom et Sara analysent la salle des coffres, confirmant les soupçons de Grissom. Il y ramasse au passage un boîtier de télécommande. Nick analyse les véhicules de police qui ont reçu des balles et en conclut qu'elles proviennent d'une arme à feu de précision. 

Sara de son côté tente de déterminer quel coffre a été volé. Warrick rapportera à Grissom que les braqueurs ont utilisé un onguent de camouflage, produit courant dans l'armée. 

En faisant des recherches, Catherine détermine que le chauffeur est un ancien détenu qui travaillait dans un casino détenu par son ami Sam Brown. Grissom et Catherine se demandent comment le casino a pu engager un ancien détenu, pratique interdite au Nevada. Grissom demande à Catherine de rencontrer Sam Brown, mais elle a des réticences puisqu'ils sont amis. Grissom lui donne le feu vert quand même. 

Catherine rencontre Sam Brown dans l'un de ses casinos. Il affirme ne pas connaître le chauffeur, mais elle ne le croit pas. Elle lui rappelle que l'an passé, une serveuse, Viviane, a été tuée au couteau dans l'un de ses casinos, ce qui est mauvais pour les affaires. Il lui réplique que certaines choses ne doivent pas être révélées. 

À l'appartement du chauffeur, Brass et Warrick découvrent qu'il gagnait beaucoup pour occuper un poste de valet affecté aux automobiles. 

Au laboratoire, Grissom apprend que les balles recueillies à la banque et dans le véhicule de police proviennent de la même arme, dont le propriétaire actuel est en pratique impossible à déterminer. Par contre, l'expert en balistique lui apprend que seuls des personnes formées par l'armée sont capables de tirer avec autant de précision. 

Plus tard, Nick trouvera le lieu d'où est parti le coup de feu, mais ne pourra trouver un indice qui le mènera au tireur. Sara, en replaçant les différents coffres éparpillés dans la salle des coffres, parvient à déterminer quel coffre a été retiré de la salle. 

Grissom et Catherine rencontrent Sam Brown pour qu'il leur parle de Benny Murdoch. Il en parle avec bonheur, même s'il est décédé depuis peu, l'ayant eu comme bras droit. Sam Brown fait remarquer àCatherine qu'il la connaissait bien, et vice-versa. Peu après, il les renvoie. 

De son côté, Grissom demande au docteur Robbins de diagnostiquer son problème d'audition. Robbins confirme qu'il est atteint au point d'être menacé de surdité et que Grissom peut sauver son audition en se faisant opérer au plus tôt. 

Plus tard, au laboratoire, l'équipe se demande comment remonter jusqu'aux braqueurs faute d'indices suffisants. Autour de la table, alors qu'ils mangent, Grissom demande comment une petite feuille de papier peut se retrouver dans un biscuit chinois. Nick explique le procédé et Grissom s'aperçoit qu'il y a un endroit où ils n'ont pas cherché : il se précipite au laboratoire et ouvre le boîtier ayant servi de télécommande à la banque. À l'intérieur se trouve une empreinte digitale qui provient du chef de la sécurité de Sam Brown, un ancien officier militaire : Robert Rubio. 

Des policiers se précipitent dans la maison de Rubio, où ils découvrent le coffret de sûreté volé cuisant dans un barbecue. Dans le coffret, Catherine trouve un bout de tissu multi-colore et Grissom découvre une tache de sang, mais ils ne peuvent déterminer quels objets s'y trouvaient. 

Dans le désert, Sam Brown rencontre les braqueurs venus lui remettre un objet. Ils seront retrouvés, abattus sur place, par la police. Sur les lieux, Grissom voit un foulard accroché à un bosquet et battant au vent. Il le prend, croyant qu'il peut le mener aux coupables. 

Au laboratoire, Greg remet une photo à Grissom où apparaît deux plaies côte à côte alignées verticalement. Grissom en déduit que Viviane a été tuée par une paire de ciseaux. Il demande à Warrickde l'aider à trouver l'empreinte de la paire de ciseaux sur le foulard. En recréant en partie son image, ils déterminent qu'il s'agit d'un gros format, peu courant, ayant servi à l'inauguration du Rempart, hôtel appartenant à Sam Brown

Lorsque Catherine demande à Grissom de l'accompagner pour confronter Sam Brown, il lui confie la suite de l'enquête. Il révèle qu'il a rendez-vous pour une chirurgie. Lorsque Catherine lui demande si c'est pour son audition, Grissom confirme. 

Rubio est amené au poste pour interrogatoire. Brass explique à Rubio comment il a tué le détectiveLockwood à l'aide d'un fusil de précision, ainsi que les trois autres braqueurs de la banque. Brass donne le choix à Rubio : la condamnation à perpétuité ou la mort. Rubio réplique qu'il préfère le couloir de la mort, affirmant qu'il vivra plus longtemps. 

Seule face à Sam Brown, Catherine lui déclare qu'il a tué Viviane. Sam Brown dénie, affirmant que Benny Murdoch l'a tué car il les a surpris ensemble. Catherine réplique que le foulard était taché du sang de deux personnes différentes. Le premier provenant de sa mère, l'autre du tueur. L'ADN du tueur provient de son père, qui n'est autre que Sam Brown

COLD OPEN:

WHITE FLASH TO:

[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]

(Cut to:  Camera close up of automatic weapons being locked and loaded.)

(Cut to:  Close up of a man's eyes, his face camouflaged and covered.)

[EXT. LAS VEGAS COMMUNITY/CITY (STOCK) - DAY]

(Cut to: Men in camouflage sits in the vehicle. Camera close up of a watch which reads 3:15 p.m.)

[EXT. LAS VEGAS CITY (STOCK) - DAY]

WHITE FLASH TO:


SCENE #01:

[INT. FIRST MONUMENT BANK - DAY]

(The bank teller hands the customer his cash. The sign next to the teller says: Transactions after 3:00 p.m. will be processed on the next business day. The teller smiles and continues to do business with the customer.)

(Inside the bank, there's a line waiting for the next available teller.)

(The little boy at the front of the line turns around and looks at DET. CYRUS LOCKWOOD who stands near the end of the line.  LOCKWOOD searches his pockets and pushes his jacket aside.  On his waist is his gun and badge.  LOCKWOOD notices the little boy watching him.  The little boy smiles and continues to stare at LOCKWOOD.  JIMMY'S MOM notices JIMMY staring at LOCKWOOD.)

JIMMY'S MOM:  Jimmy, stop staring.

(JIMMY looks up at his mom and smiles.  JIMMY'S MOM smiles at LOCKWOOD.)

DET. CYRUS LOCKWOOD:  (smiling)  It's okay, ma'am.

CUT TO:


SCENE #02:

[EXT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]

(The white van stops in front of the bank.  The back doors open and men with guns get out.)

(The men head for the front door quickly.)

CUT TO:


SCENE #03:

[INT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]

(The gunmen open the front door.  The guard standing in front of the door turns around.  The first gunman swings his fist and knocks the guard in the jaw.  The guard spins around and falls to the floor.)

(The customers in the bank turn around to see what the commotion is about.)

(The second gunman raises his weapon to the ceiling and fires, getting everyone's attention.  The customers start to scream.)

GUNMAN:  Up against the glass, now!
GUNMAN:  Come on. Let's go. Move it!
GUNMAN:  Move it! Come on. Let's go!

(The customers rush toward the teller glass to comply.)

GUNMAN:  (to the other gunman)  Let's go. Let's go! Up there!

(One of the gunmen heads straight for the security camera and starts to cover the lens.)

(LOCKWOOD watches everything happen cautiously.  He puts his checkbook back into his breast pocket and heads for the glass with the rest of the customers.)

GUNMAN:  Get near the glass. Don't move!

(One of the gunmen gathers the customers to make sure that they comply.)

[SECURITY CAMERA VIEW]

(The gunman climbs up the chair, stares into the camera, and starts smudging something black onto the lens.  The view of the gunman and the rest of the bank is slowly blackened out.)

[INT. FIRST MONUMENT BANK - CONTINUOUS]

(The gunman points his gun at JIMMY'S MOM.)

GUNMAN:  (loudly)  Lady!  One peep, and you die.

GUNMAN:  The boy, too.

(LOCKWOOD hears the threat.)

(The final gunman walks into the bank.  He walks up to the teller glass.)

GUNMAN:  Hands on the wall, now!  Move it!

(The gunman fires at the teller glass and breaks it.  The women scream.  JIMMY'S MOM pulls JIMMY aside as the glass shatters around them.  She puts her arms protectively around JIMMY'S head.)

(The gunman jumps onto the teller counter and heads for the bank vault. He grabs the BANK MANAGER with his hands up standing in front of the glass doors. He pushes him in through the glass doors and follows him.)

GUNMAN:  Move it, let's go!  Come on!  Come on!  Come on!

CUT TO:


SCENE #04:

[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]

(POV inside the vault.  The front doors of the vault are clear and see through.  The GUNMAN pushes the BANK MANAGER up against the door.)

GUNMAN:  Move!  Let's go!  Let's go!

GUNMAN:  Open it!

(The BANK MANAGER hurriedly punches in a "5", a "4" & several other numbers on the keypad in front of the glass doors.)

GUNMAN:  Open it! Open it!

(The GUNMAN opens the doors and walks inside the vault.  He looks for a specific box.  He puts down his bag and pulls out some explosives.  He sticks it on the four corners of the bank box.  The third explosive pack goes on the bottom right corner of box #748.)

CUT TO:


SCENE #05:

[INT. FIRST MONUMENT BANK - MAIN FLOOR - DAY -- CONTINUOUS]

(The GUNMAN walks around the customers and purposefully aims his gun at one of the customers.)

GUNMAN:  You!  Don't look at me!

WOMAN:  (hysterical)  (b.g.)  I have to get out of here!

(The GUNMAN turns to the other customers.)

GUNMAN:  Any one of you moves a muscle, I'll blow you away.

WOMAN: (whimpering)  (b.g.)  Oh, my god!

(LOCKWOOD turns and looks at the GUNMAN.)

CUT TO:


SCENE #06:

[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]

(The GUNMAN inside the vault finishes putting on the explosives packs on the corners surrounding a particular box.)

(When finished, he grabs his bag and runs out of the vault.  He kneels down just outside the glass doors and takes out a detonator.  He pushes the buttons on the small black box.)

(Quick CGI to:  The camera travels rapidly along the vault boxes toward The specific box and stops at the explosives pack on the bottom right corner where the red light on the receiver unit starts to blink and beep.  End of CGI. Resume to present.)

(It explodes.)

(The boxes are ripped out of the vault, paper and things strewn on the vault floor. The center box flies out from the wall panel.)

CUT TO:


SCENE #07:

[INT. FIRST MONUMENT BANK - DAY -CONTINUOUS]

(LOCKWOOD and the customers hear and feel the vault explode.  JIMMY flinches and he's pulled in closer to his mom.)

(LOCKWOOD turns and sees the GUNMAN lower his gun a bit.  LOCKWOOD keeps his eye on the GUNMAN and slowly reaches for his weapon.)  

(JIMMY moves.  His mom turns to get him.  The GUNMAN sees the sudden movement.  He turns and swings around and sees LOCKWOOD with his weapon out.  The GUNMAN fires and hits LOCKWOOD.  LOCKWOOD falls to the ground.)

(JIMMY'S MOM screams.)

(The GUNMAN from inside the vault runs out carrying his bag.

GUNMAN:  Got it!  Go!  Go!

(He jumps over the counter.  Without a glance at LOCKWOOD, the gunmen heads out the front door.)

CUT TO:


SCENE #08:

[EXT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]

(Cut to:  The gunmen pass the FIRST MONUMENT BANK sign.)

(Cut to:  The gunmen climb into the back of the white van.)

GUNMAN:  Go!  Go!  Go!

(The last GUNMAN closes the van's back doors after everyone is inside.  The van speeds away.)

(As soon as the van turns the corner.  Several police cars arrive in front of the building.)

(The officers exit the vehicles and set up a blockade of sorts in front of the bank.  Their car doors are open, the officers are kneeling and pointing their weapons at the bank.  In the background, we see the white van turn the corner and travel out of camera sight.)

CUT TO:


SCENE #09:

[EXT. FIRST MONUMENT BANK - DAY]

(The police sirens blare as they turn the corner onto the street.  Gunshots are fired on the police vehicles.  They stop in front of the bank.  OFFICERS exit the vehicle with their weapons drawn.)

FLASH TO WHITE:


SCENE #10:

[EXT. FIRST MONUMENT BANK -- DAY]

(Armed OFFICERS exit the building.  GRISSOM makes his way to the front of the building.  The alarms blare.)

AUDIO FADES OUT

(We don't hear the alarm. GRISSOM ducks under the crime scene tape and walks to the building.)

AUDIO OFF

(GRISSOM shakes his head and looks up at the alarm bell.  He hears nothing.)

(CATHERINE walks up to GRISSOM from behind.  GRISSOM stares at the bank's alarm.)

CATHERINE:  (muffled)  What a day to come back to work.

(CATHERINE walks past GRISSOM toward the front doors.  She turns around to look at him.)

CATHERINE:  Coming?

AUDIO FADES IN

(The alarm sound grows louder.)

(After a moment, he follows CATHERINE into the bank.)

CUT TO:



SCENE #11:

[INT. FIRST MONUMENT BANK - MAIN AREA - DAY -- CONTINUOUS]

(CATHERINE and GRISSOM walk into the bank.  DAVID PHILLIPS is working on LOCKWOOD'S body.  BRASS kneels down next to him.)

BRASS:  This crew was in and out.  Three, maybe four guys, depending on who you talk to.  Detective Lockwood drew his weapon protecting a woman and a child.

(BRASS picks up LOCKWOOD'S badge.)

CATHERINE:  Wrong place, wrong time.

BRASS:  There is no right time to kill a cop.

(GRISSOM looks around.  He notices the glass windows and heads for them.)

DAVID PHILLIPS:  I only see one bullet wound through the back.

BRASS:  Yeah, witnesses say that he was, uh, taken down with a single shot.

(CATHERINE notices and follows him.  GRISSOM takes off his glasses.)

GRISSOM:  Beveled edges on the inside.  The shot came from outside.  We need to get a picture of this.

CATHERINE:  These guys were pros.  (to BRASS)  How much did they get?

BRASS:  (stands)  According to the tellers, they weren't interested in money.

GRISSOM:  What were they interested in?

CUT TO:


SCENE #12:

[INT. FIRST MONUMENT BANK - VAULT -- DAY -- CONTINUOUS]  

(BRASS leads GRISSOM and CATHERINE into the vault.  The place is a mess.  Electricity crackles and hisses.)

GRISSOM:  See the blast marks?  Charges were placed in corner quadrants.  Four boxes up, five across.  The rest looks like collateral damage.

CATHERINE:  Whoever did this knew precisely what they were after.

GRISSOM:  Well, the one good thing about their precision ... it'll narrow our focus.

HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

SCENE #13:

[INT. FIRST MONUMENT BANK -- DAY]

AUDIO MUFFLED

(GRISSOM has his back to the door and is staring off at something.  SARA,
WARRICK and NICK walk into the bank.)

SARA:  (muffled) I heard "officer down."  I didn't know it was Lockwood.

WARRICK:  (muffled)  Wonder what he was doing here.  He's supposed to be off
duty.

NICK:  (muffled):  He was only 34 years old.

(CATHERINE walks up to them.)

CATHERINE:  (muffled)  All right, good. All here.  We've got a lot of work to
do.

(CATHERINE looks at GRISSOM who still has his back to the group, unaware that
they're all there waiting for him.)

CATHERINE:  Grissom...

RESUME AUDIO

(CATHERINE walks up to GRISSOM and puts a hand on his shoulder, startling him.  
He turns around.)

CATHERINE:  Grissom?

GRISSOM:  Sorry.  I was thinking.

CATHERINE:  Well, I was thinking that we need to start processing this bank.

GRISSOM:  Right.  I'll take the safety deposit boxes.  Sara, you're with me.

(GRISSOM and SARA walk out toward the vaults.)

NICK:  Radio car's shot up pretty good.  I'll dig around in there.

(NICK heads out the front door.)

WARRICK:  (pointing up)  Take the cameras.

(CATHERINE looks up at the cameras.)

VERY SHORT TIME CUT TO:



SCENE #14:

[INT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]

SECURITY CAMERA'S POV

(WARRICK swabs off some of the black stuff covering the camera lens.)

WARRICK:  They made sure we didn't have eyes.

CATHERINE:  Check the tape anyway.

BRASS:  (runs in)  I think we found the getaway vehicle.

CATHERINE:  Where?

BRASS:  Block from the off-ramp.  Coroner's en route.

CATHERINE:  The coroner?

BRASS:  The driver's dead.

CUT TO:



SCENE #15:

[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]

(SARA and GRISSOM work the vault.  SARA snaps pictures; GRISSOM checks out the
floor.  He find something.)

GRISSOM:  Electric blasting cap.

(SARA turns to look.)

SARA:  Brown leg wires feeding into the grommet.

GRISSOM:  Means they could've used C-4.

(GRISSOM looks up at the lock boxes.)

GRISSOM:  Utah, New Mexico, Colorado, and Arizona.

(Quick CGI to:  Camera zooms in on the explosive device with its flashing red
light stuck to the lock boxes.  Camera zooms in and through the light and
through the wires where the electricity passes through the explosives and
explodes.)

(Cut to:  The locked box in the center of the four explosive devices pops right
out amidst other paper items.  End of CGI.  Resume to SARA.)

SARA:  Four corners.

GRISSOM:  What does that tell us?

SARA:  Whatever they were looking for was definitely in the center.

GRISSOM:  The Monroe Effect:  All force generated towards one central area.

SARA:  How are we ever going to find out what's missing?

(GRISSOM looks around and finds something.)

GRISSOM:  I just found the detonator.

SARA:  I'll get it fumed.

CUT TO:



SCENE #16:

[EXT. FIRST MONUMENT BANK - PARKING LOT - DAY --CONTINUOUS]

(NICK is examining the car outside.  CATHERINE walks up to him.)

CATHERINE:  What have you got?

NICK:  Radio car traveled about 15 feet after being hit.  I followed the leakage
back to its original position.  Two in the hood, one in the windshield,
Lockwood.  High power, long range.

CATHERINE:  I'll take any part of that bullet.

CUT TO:



[EXT. LAS VEGAS CITY (STOCK) - DAY]



SCENE #17:

[EXT. ALLEYWAY - DAY -CONTINUOUS]

(CATHERINE and BRASS make their way to the getaway van.  CATHERINE looks)

BRASS:  Oh, god.

CATHERINE:  Near decapitation.  Wire's still around his neck.

BRASS:  The driver became a liability after the heist.  No honor among thieves,
I guess.

CATHERINE:  Tells us something about them.

(Quick flashback to:  The van is parked.  The driver looks back behind him.)

DRIVER:  Hey, why are we stopping here?

(The gunman pulls a wire and kills the driver.)

GUNMAN:  (raspy)  Your job is finished.

(The remaining GUNMEN get out of the white van and drive off in another
vehicle.)

(End of flashback. Resume to present.)

CUT TO:



SCENE #18:

[INT. CSI - FORENSIC AUTOPSY -- DAY]

(LOCKWOOD is on the table.  ROBBINS pulls out the bullet and puts it in the
metal tray.  He continues to work on the body.)

CUT TO:



SCENE #19:

[EXT. FIRST MONUMENT BANK -- DAY]

(NICK pops the front hood of the car.  He's looking for the bullet.  He extracts
the bullet.)

CUT TO:



SCENE #20:

[INT. FIRST MONUMENT BANK - VAULT -- DAY]

(SARA starts putting the lockboxes back into their slots.)

CUT TO:



SCENE #21:

[INT. CSI - AUDIO/VISUAL LAB -- DAY]

(GRISSOM is working on the video from the security camera.)

(On tape, the time clock starts at ??:27:22 where the GUNMAN runs into the bank
and heads straight for the security camera at full speed.  There is no
hesitation.  He jumps up and smears black stuff on the lens with his hand.  The
clock ends on ??:32:03.)

(GRISSOM sits in front of the video.  WARRICK stands off to the side.)

WARRICK:  Lockwood was a good cop.  It's too bad.  (beat)  Grissom, I just
talked to Hodges.  That black substance from the camera lens?  The FTIR spit
back magnesium aluminum, silicate, talc, methylparaben, and sunscreen.  All of
these chemicals are consistent with camouflage cream.

GRISSOM:  Blackface paint.

(Quick flashback to:  One of the gunmen putting on black face paint.  End of
flashback.  Resume to present.)

WARRICK:  My guess is the same stick they used to cover up that camera lens,
they used to paint their faces with.  I just found an eyelash in it.

(GRISSOM turns to look at WARRICK.)

CUT TO:



SCENE #22:

[INT. CSI - HALLWAY --DAY]

(GRISSOM walks rapidly down the hallway.  In the back in front of the counter is
ROBBINS.  He sees GRISSOM and calls out to him.  GRISSOM turns around.)

ROBBINS:  Gil.  I was just coming to see you.

(ROBBINS walks to GRISSOM and hands him the baggie.)

ROBBINS:  I pulled the bullet from Cyrus Lockwood.  Fully intact, well
preserved.

GRISSOM:  You didn't have to bring this over.  We could've picked it up.

ROBBINS:  I wanted to.  Every day I see people I don't know, but I saw a lot of
Lockwood, and I did get to know him.  I felt like I owed it to him.

GRISSOM:  Thanks, doctor.

ROBBINS:  Yeah.

(GRISSOM turns and heads down the hallway.  Camera holds on ROBBINS.)

CUT TO:



SCENE #23:

[INT. CSI - PRINT LAB - DAY -- CONTINUOUS]

(GRISSOM opens the door and enters the lab.  CATHERINE is already there behind
the computer.  GRISSOM holds up the baggie.)

GRISSOM:  We got a bullet.

CATHERINE:  We got prints.  Getaway driver.  Larry Whiting.  29.

(GRISSOM looks over CATHERINE'S shoulder.  On the computer monitor they see the
following:

     RAMPART CASINO EMPLOYMENT CAR

     {PHOTO ON RIGHT)

     NAME:  LARRY WHITING
     OCCUPATION:  VALET
     EMPLOYEE #:  948249245
     SIGNATURE

(She moves the employment card information aside to show the record underneath.  
It reads:

     Match Found:  Larry Whiting
     Case ID: 4845-20154
     {photo on left}
     Larry Whiting
     Las Vegas, Nevada
     CRIMINAL RECORD:
     * 10-05-99 Assault
     * 11-12-98 Drunk and Disorderly

     Served:  12-10-98 till 06-22-00

CATHERINE:  He was convicted of assault and drunk and disorderly five years ago.  
Did some time.

GRISSOM:  Occupation:  Valet at the rampart.  Isn't that one of Sam Braun's
hotels?

CATHERINE:  Mm-hmm.

GRISSOM:  You have to have a non-gaming work card to park cars at a Vegas
casino.  How does a guy with a criminal record get one?

CATHERINE:  He doesn't.  

GRISSOM:  Unless he was juiced in by Sam Braun.

CATHERINE:  Well, it is his hotel.  It's his call, ultimately.

GRISSOM:  Yeah?  Well, it's our case, so it's our call.

CATHERINE:  Mmm.

GRISSOM:  Check it out.

(GRISSOM heads out the front door.  CATHERINE turns around to stop him.)

CATHERINE:  I may be compromised.  You know I have a personal relationship with
the guy.

GRISSOM:  You'll be fine.

(GRISSOM leaves the room.  Camera holds on CATHERINE.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. LAS VEGAS CITY (STOCK) - DAY]



SCENE #24:

[INT. CASINO - MAIN FLOOR -- DAY]

(CATHERINE walks across the main casino floor she stops.  Across the casino, she
sees SAM BRAUN talking with some people.  He turns and sees her.  He smiles and
waves at her.)

(She smiles and waves back.)

SHORT TIME CUT TO:



SCENE #25:

[INT. CASINO - BAR - DAY -CONTINUOUS]

(CATHERINE and SAM sit at the bar.)

SAM BRAUN:  I'm going to have to talk to H.R. about this Larry Whiting.  Human
resources is never supposed to process anyone with a record.

CATHERINE:  Well, his record caught up with him, Sam.  We suspect he was
involved in the First Monument Bank robbery.  Getaway driver ... except everyone
got away but him.

SAM BRAUN:  I have to tell you, Mugs, name doesn't ring a bell.

CATHERINE:  (laughs)  Sam ... That's like you telling me when I was a kid that
you were too tired to drive home every night when you were sleeping with my
mother.

SAM BRAUN:  Well, you can't fault a fellow for wanting to be with his two best
girls.

CATHERINE:  All right.

SAM BRAUN:  Where is all of this leading?

CATHEIRNE:  Well, last year, one of your cocktail waitresses is murdered.  Still
unsolved.

SAM BRAUN:  She worked at another one of my hotels -- the Whiskey Town.

CATHERINE:  And this Whiting guy worked here at the Rampart ... They're both
your hotels .... How does that look for business?

SAM BRAUN:  Mugs, I got a P.R. Department that deals with that.  When one white
tiger killed another one in the secret garden at the Mirage, the P.R. Department
had it buried on page 16e, under the car ads, about ... this big.

CATHERINE:  Right. They made it go away.

SAM BRAUN:  Some things are people's business.  Some things aren't.

CATHERINE:  Well, this is my business.  It's not going to go away.

SAM BRAUN:  Then I'll be rooting for you.

CUT TO:



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



SCENE #26:

[EXT. WHITING RESIDENCE -- NIGHT]

(BRASS and WARRICK stand outside the door.  BRASS has his gun out.  WARRICK
turns on his flashlight and puts his hand on his gun.)

BRASS:  Las Vegas police.  Manager said he lived alone.

(BRASS opens it and they enter.)

[INT. WHITING RESIDENCE - NIGHT -- CONTINUOUS]

(BRASS heads off in one direction, WARRICK looks around the living room where he
sees LARRY WHITING'S uniform and name tag.  He also finds LARRY WHITING'S ID
card.)

WARRICK:  If this getaway driver's stupid enough to get whacked by his partners,
he's stupid enough to leave something behind.

BRASS:  This whole neighborhood's stupid.

WARRICK:  Whew.  Whew.

(WARRICK sees the liquer cup stuffed with cash.  He picks it up and looks at
it.)

WARRICK:  Sixty grand a year for jockeying cars?  I'm in the wrong line of work.

BRASS:  Well, look on the bright side:  You're still alive.

(WARRICK looks down and sees something.)

BRASS:  Bedroom's a bust.  What do you got?

(He picks it up for a closer look.)

WARICK:  I got two $5,000 stacks from the rampart.

BRASS:  Sam Braun's hotel.

CUT TO:



SCENE #27:

[INT. CSI - BALLISTICS LAB]

(BOBBY DAWSON goes over the bullet comparisons with GRISSOM.)

BOBBY DAWSON:  Um, Lockwood's bullet on the right, and the cop car bullet ...
what's left of that cop car bullet's on the left.  Both projectiles with 308s.  
Consistent with the m1a.

GRISSOM:  Long gun.

BOBBY DAWSON:  Mm-hmm.  And long guns are only registered to the person who
makes the initial purchase ... and the serial numbers aren't recorded.

(GRISSOM sighs.)

GRISSOM:  Impossible to trace, so it's a dead end.

BOBBY DAWSON:  Well, forensically, yeah, but not cognitively.  See, shooting
someone from long range, and taking out the engine of a radio car while it is
hauling ass ... you're looking at one sharp shooter.  And that kind of training
only comes from ...

GRISSOM:  The military.

CUT TO:



SCENE #28:

[INT. FIRST MONUMENT BANK -- NIGHT]

(The ceiling lights turn on.)

NICK:  (looks up and yells)  Thank you!

(NICK is standing in the bank with a dummy set up to find out where the shot
came from.)

(NICK inserts the light into the dummy and turns it on.  He gets some spray and
uses it to see where the bullet came from.  The red laser light aligns perfectly
with one of the bullet holes from the glass window.)

(NICK heads out of the bank to find out where the shooter was standing.)

[EXT. FIRST MONUMENT BANK - NIGHT - CONTINUOUS]

LYRICS:
 We fall / sign / a sign / we fall / sign / a sign / we fall / sign / a sign /
here I lay / our questions answered / fear inside / is truth uncovered / while
we fight / sharing in the other...

(NICK ducks under the crime scene tape and heads for the cop car in the front of
the bank.  He inserts a second light into the hood of the car where the bullet
hole is.  He turns the light on.  Immediately, it's noticeable that the two
shots came from the same room from the building across the street.)

CUT TO:



SCENE #29:

[INT. BUILDING ACROSS THE STREET]

(NICK walks up the escalator and heads for the floor.  He stops and finds the
two red laser lights hitting against a wall.  He turns around and heads for the
office where the lights are coming from.)

(NICK walks into the office and looks around.  He walks up to the window.  He
does a GSR test on the window sill and it comes out negative.  He looks around
and does a GSR test on the chair.  It comes out positive.)

(He drags the chair in front of the window and visualizes the shooter lifting up
the long gun and putting it on the chair in front of the window.)

(Quick flashback to:  The shooter taking aim and firing ... twice.  End of
flashback.  Resume on NICK.)

(Camera holds on NICK.)

CUT TO:



SCENE #30:

[INT. FIRST MONUMENT BANK - VAULT]

(SARA finishes putting the lockboxes in their rightful positions.  She steps
back and looks at her handiwork.  CATHERINE and GRISSOM walk into the vault.)

CATHERINE:  Wow.  Almost looks good as new.

(SARA continues to look at the lock boxes in front of her.  Behind her are the
stacks of money stacked up neatly.)

CATHERINE:  Kind of.

(Camera swings around and shows us that all the boxes are in place except for
one that's missing.)

SARA:  This was the epitome of precision.  The outer rim of boxes sustained the
most damage the intent was not to blow out the 23 surrounding boxes, but to
preserve the sanctity of the center box.  Box 729?  It's history.  It's the only
thing that's gone.

CATHERINE:  That's the box they were after.

(GRISSOM leans in.)

GRISSOM:  And we still don't know what was inside.

FADE OUT

(COMMERCIAL SET)



FADE IN.

[EXT. LAS VEGAS CITY (STOCK) - DAY]



SCENE #31:

[INT. FIRST MONUMENT BANK - LOBBY -- DAY]

(GRISSOM and CATHERINE sit in the lobby waiting for the BANK MANAGER.  GRISSOM
stares out into space, his eyes in front of him and away from CATHERINE.  
CATHERINE sits in the chair in front of the desk.)

(CATHERINE sighs.)

CATHERINE:  (mutters)  What is up with the bank manager?  We've been waiting
forever.

(She turns and looks at GRISSOM who isn't paying any attention to her and not
giving her any indication of even having heard her.  She looks at him.)

CATHERINE:  Hey.

(GRISSOM turns and looks at CATHERINE.)

CATHERINE:  (muffled)  How long have we known each other?

GRISSOM:  In days, months, or years?

CATHERINE:  I'm serious here.

(CATHERINE levels GRISSOM a look.)

AUDIO:  OFF

CATHERINE:  (muffled)  Can you hear me?

(The BANK MANAGER rushes into the bank through the front door.  He makes his way toward GRISSOM and CATHERINE.  He doesn't answer her.  GRISSOM shifts his eyes away from CATHERINE and looks at the BANK MANAGER approaching them.)

BANK MANAGER:  Sorry I'm late.  Been on the phone all night with corporate ... not to mention I had a gun in my face.  So, you want to know the lessees of some of our safe deposit boxes?

CATHERINE:  Oh, not some, just one.  Box 729.

BANK MANAGER:  Why don't you just hold up a touch?  I want to help you, but ...
you're going to have to give me a court order.

CATHERINE:  Oh, no worries.

(CATHERINE pulls out the warrant and gives it to the BANK MANAGER.  The BANK
MANAGER heads back to his desk to look up the information.)

(A grid of the bank boxes appear on the monitor.  Box 729 is highlighted in
yellow.  The following information appears on screen:

         SECURE DATA
Name:              BENNY MURDOCK
Account #:         B0063776603
Address:           2974 Westfall Ave.
                   Las Vegas, NV  89156
Driver License #:  180063759502

BANK MANAGER:  Box 729 lessee is Benny Murdock.

CATHERINE:  Benny Murdock?

(CATHERINE looks at GRISSOM.  He catches the look.)

GRISSOM:  You know him?

CATHERINE:  Yeah.

CUT TO:



[EXT. LAS VEGAS CITY (STOCK) - DAY]

SAM BRAUN:  Benny ...


SCENE #32:

[INT. HOTEL - SAM BRAUN'S OFFICE -- DAY]

(CATHERINE and GRISSOM talk with SAM BRAUN.)

SAM BRAUN:  He was my first doorman at the whiskey town.  A year later, I made him a casino host at pike's gambling hall.

(SAM BRAUN sits down across from them.)

SAM BRAUN:  Within six months, he had all the play at the Tangiers.

(He laughs to himself.)

SAM BRAUN:  Six months.  Became my right arm when we opened the Rampart.  I never thought I would outlive him.

CATHERINE:  He died a couple of weeks ago, right?

SAM BRAUN:  Brain aneurism ... you never know when you're going to go.  All those memories ...

(Quick flashback to:  SAM BRAUN, BENNY MURDOCK and another woman raising their glasses in a toast.)

SAM BRAUN:  Benny, we're going to have a great summer.

(The WOMAN giggles.)

(End of flashback.  Resume to present.

CATHERINE:  Did Larry Whiting ... know Benny?

SAM BRAUN:  Everybody who was anybody knew Benny, including you.

CATHERINE:  (shakes her head and smiles)  Informally.

SAM BRAUN:  Informally enough for him to direct the high-end whales your way when you were dancing.

CATHERINE:  (laughs)  Ooh ... that is Old Vegas, Sam.  Sunset on that time.  I hear you and Benny had a little sunset of your own.  A falling out about six months ago.

WOMAN ON INTERCOM:  Mr. Braun, it's "bravado"  regarding BJ 19.

SAM BRAUN:  If you will excuse me, I have to take care of that.

(SAM BRAUN stands and leaves the area.)

(GRISSOM turns around and notices a framed photograph of the opening of the RAMPART.  A group of people stand in front of a large ribbon with "RAMPART" on it.)

SAM BRAUN:  (b.g.)  (to phone)  Yeah?

(GRISSOM turns to look at SAM BRAUN.  He hears part of what's being said though it's muffled and echo-y.)

SAM BRAUN:  (to phone)  Raise the limit, and change the cards.  If he wins three double downs in a row, call me back.  We'll send "Mr. Happy."

(SAM BRAUN hangs up the phone, turns around and heads back to GRISSOM and CATHERINE.)

SAM BRAUN:  I'm sorry. Where were we?

CATHERINE:  Benny.

SAM BRAUN:  Sorry. That's off limits ... but I was with him in the hospital when he died.  We made our peace, if it's for the record.

GRISSOM:  You wouldn't happen to know what he kept inside his safe deposit box, would you?

SAM BRAUN:  You'll have to ask him.

CATHERINE:  Well, I wish we could.

SAM BRAUN:  If you'll excuse me, someone is robbing me downstairs.

(SAM BRAUN turns and leaves.)

CUT TO:



SCENE #33:

[INT. CSI - DNA LAB -- DAY]

(GREG looks through a scope.  CATHERINE walks into the lab.)

CATHERINE:  You know what "off the record" means, don't you, Greg?

(GREG turns to look at CATHERINE.)

GREG:  Yeah.

CATHERINE:  (sighs)  Good.

CUT TO:



SCENE #34:

[INT. CSI - FORENSIC AUTOPSY -- HALLWAY]

(ROBBINS stands in the hallway.  GRISSOM walks up to him.)

GRISSOM:  Albert, got a minute?

ROBBINS:  Sure. What's up?

GRISSOM:  I'd like a second opinion.

SHORT TIME CUT TO:



SCENE #35:

[INT. CSI - FORENSIC AUTOPSY]

(GRISSOM sits in the chair while ROBBINS finishes looking at his ears.)

ROBBINS:  Boy, I wish you'd come to me sooner.  Your condition's pretty far
along.  Why did you wait?

(GRISSOM sighs.)

GRISSOM:  I hoped it would go away.

ROBBINS:  Doesn't your mother have this condition?

GRISSOM:  Yeah. It's hereditary.  I know.  I wasn't rational.

ROBBINS:  Look, Gil, I'm not going to preach to you.  You came to me, but ...
Doctor to Doctor ... there's a chance the bone deposits have spread into the
inner ear, in which case, your hearing loss will eventually be permanent.  If I
were you, I'd schedule surgery as soon as possible.

CUT TO:



SCENE #36:

[INT. CSI - HALLWAY / BREAKROOM]

(The CSIs and GREG are eating.)

GREG:  You know the eyelash Warrick found embedded in the black greasepaint -- I
extracted the DNA, ran it.  CODIS gave me a, uh, mongolian beef.

(GREG tips over the carton.)

SARA:  I'm sorry.  What does that mean?

WARRICK:  That means he got nothing.

GREG:  There, try these, big guy.  Training wheels.

WARRICK:  Thanks.

NICK:  Hey, guys, guys, let's focus on the robbers.

(GRISSOM stares at the fortune cookie in his hand.)

CATHERINE:  Grissom?

(GRISSOM looks up.)

CATHERINE:  What do you think?

GRISSOM:  I think we're giving these guys too much credit.  They're experts at
robbing banks, not experts at concealing evidence.

CATHERINE:  Well, unless the answer's in that fortune cookie, what's the plan?

GRISSOM:  Do you ever wonder how the fortune gets inside the cookie?

(NICK puts his chopsticks down and sits back.)

NICK:  I know.

SARA:  (smiles)  Of course you do.

NICK:  The cookie comes out of a press, like a tortilla, and then some lady puts
the fortune in the center of the dough, and then folds the dough around a piece
of metal, and then folds it again.

GRISSOM:  That's the answer.

(With his fortune cookie in his hand, GRISSOM walks out of the breakroom while
everyone stares at him.)

CUT TO:



SCENE #37:

[INT. CSI - EVIDENCE ROOM -- CONTINUOUS]

(GRISSOM walks into the evidence room, shoves the fortune cookie in his mouth
and pulls down a file box of evidence.  He cuts the seals off the box.)

(He takes out one of the remote devices and unscrews the lid off.  He opens it.  
He takes out his print kit and brushes for prints.  He finds a nice prints.)

CUT TO:



SCENE #38:

[INT. CSI - PRINT LAB]

(The computer beeps and the results appear on screen for ROBERT RUBIO.)

JACQUI FRANCO:  Robert Rubio.  Work card.  Non-gaming.  He's in the hotel
business.  Rampart.  Hey, didn't that other guy work at the ...

GRISSOM:  (interrupting)  Run him through the military database.

JACQUI FRANCO:  Why?

CATHERINE:  (grimly)  Just run it.  After that, give us an address.

CUT TO:



SCENE #39:

[INT. RUBIO RESIDENCE -- DAY]

(OFFICERS burst in through the door.  They sweep the house and go from room to
room.)

OFFICER:  Clear.
OFFICER:  Clear!

(The OFFICERS head back out the front door where BRASS waits.)

OFFICER:  (to BRASS)  It's all clear.  There's something burning out back.

(BRASS steps into the house.  GRISSOM and CATHERINE follow him inside.  They
cross the room and head out for the back.)

BRASS:  Come on.  Let's see what's cooking.

(BRASS exhales.  In front of them is a burning barbeque with the lid down.)

BRASS:  Whoo!

CATHERINE:  Oh, well, that is... one example of the evince going up in smoke.

BRASS:  This guy's a piece of work, huh?

(BRASS leaves them to answer his ringing phone.  He steps aside.  GRISSOM opens
the barbeque hood and looks inside.  CATHERINE takes out her kit.)

GRISSOM:  One of the black coats, you think?

(GRISSOM takes out the bank box.)

CATHERINE:  Box 729.

GRISSOM:  Fire-resistant.

(GRISSOM opens the box and they find inside a piece of fabric.  CATHERINE picks
it up and looks at it.)

CATHERINE:  It's some kind of fabric.  Silk, maybe.  What do you make of that?

GRISSOM:  Out of context, I don't know.

(Inside the box, there are a couple of dried blood drops.  GRISSOM takes a
sample and tests it.)

CATHERINE:  Pink panther.

GRISSOM:  Well, Clouseau, how does blood get in a safe deposit box?

CATHERINE:  Maybe has something to do with this fabric.

(BRASS turns around and hangs up his phone.)

BRASS:  Mr. Nine volt, Rob Rubio -- ex-military, security expert.  Went to work
for casino owner Sam Braun when one of his soft count cronies got caught
skimming the skim, so... all roads lead to Rome, except, in this case... the
Rampart.

(CATHERINE turns away from BRASS at the news.)

CUT TO:



SCENE #40:

[EXT. LAS VEGAS DESERT -- DAY]

(Out in the middle of nowhere, a single black car is parked.  The doors open and
SAM BRAUN steps out carrying a metal briefcase.)

(He looks straight ahead at the vehicle coming toward him.  He puts the metal
briefcase down next to him.)

(The white car parks and the three GUNMEN from the bank robbery walk out toward
SAM BRAUN.)

HARD CUT TO BLACK.

(COMMERCIAL SET)



WHITE FLASH IN.

(Camera flashes onto the first body.)

(White flash to:  The second body.)

(White flash to:  The Third body.)

SCENE #41:

[EXT. NEVADA DESERT -- DAY]

(GRISSOM, CATHERINE and BRASS stand over one of the bodies.)

BRASS:  Triple homicide in the desert.

GRISSOM:  Old-time Vegas.  We found Tommy "the aspirin" out here.  Remember him?  
Used to make his boss' headaches disappear.

CATHERINE:  Until they made him disappear.

BRASS:  I think this is the origin of the word "termination."  There's the
corporate way, and the way of the gun.

(GRISSOM kneels down next to the body.)

GRISSOM:  High-powered rifle.  Close range.  Visible gunpowder.

(Quick flashback to:  A gun is fired and the FIRST MAN is shot.  He falls
backward.  End of flashback.  Resume to present.)

GRISSOM:  This guy got it in the chest, too.

(Quick flashback to:  A gun is fired and the SECOND MAN is shot.  He falls
backward.  End of flashback.  Resume to present.)

GRISSOM:  And this one took it in the back.

(Quick flashback to:  A gun is fired and the THIRD MAN is shot.  He falls
backward.  End of flashback.  Resume to present.)

(BRASS kneels over the first body and notices the firearm.)

BRASS:  This one's carrying a glock.  Never got a chance to use it.

CATHERINE:  Well, all three were carrying, so they're not tied up, and they're
still armed.

GRISSOM:  They didn't fly here.  Where's their car?

CATHERINE:  It's not a dump job.  Killer drove them here, killed them, and drove
away.

BRASS:  They knew their attacker.

(GRISSOM sees something and starts walking toward it.  CATHERINE swipes her
finger against the man's cheek.)

CATHERINE:  Never let a man do a woman's job.

BRASS:  What do you mean?

CATHERINE:  They didn't get all their makeup off.

(BRASS notices GRISSOM walking.

BRASS:  Where's he going

CATHERINE: Let's just hope he stops.

(GRISSOM stops in front of a nearby bush with a scarf stuck in it.  BRASS and
CATHERINE catch up with him.)

GRISSOM:  Look familiar?

CATHERINE:  Bloodstain.  Rainbow-colored thread.  Safe deposit box.  Those guys
are definitely the bank robbers.

BRASS:  Where's the fourth guy?

GRISSOM:  The guy who's rapidly becoming a mass murderer.

BRASS:  Rob Rubio.

CUT TO:



SCENE #42:

[INT. CSI -- HALLWAY]

(GRISSOM checks his pager and heads down the hallway.  At the other end of the
hallway in front of him, BOBBY DAWSON from Ballistics rushes in.  He turns his
head and sees GRISSOM.  He heads for GRISSOM.)

BOBBY DAWSON:  Grissom, hey.  

(GRISSOM doesn't look up.  BOBBY DAWSON puts a hand on GRISSOM'S shoulder to get
his attention.  GRISSOM looks up.)

BOBBY DAWSON:  (excitedly and rapidly)  Grissom, hey, just tested the bullets
from your trio in the desert.

AUDIO:  MUFFLED

BOBBY DAWSON:  (rapidly)  Same GRCs as the bullet from Lockwood.  Fired from the
same rifle.

(GRISSOM stops BOBBY.)

GRISSOM:  Slow down, Bobby.

BOBBY DAWSON:  (muffled)  I'm sorry.  I just got excited.  You don't get to see
many .30-caliber rounds used in crimes, but, uh ...

(GRISSOM stares at BOBBY and continues to walk away from him heading for the
lab.  The AUDIO fades out.)

(GRISSOM turns away and walks into the lab leaving BOBBY out in the hallway
staring after him, confused.)

CUT TO:



SCENE #43:

[INT. CSI - DNA LAB]

(GRISSOM opens the lab door.)

GRISSOM:  You rang?

GREG:  Uh, yeah.  The, uh ... blood flecks from the safe deposit box-- two
distinct samples.  I only got one hit, though.  

(GREG picks ups the test results, his hands noticeably shaking.  GRISSOM reaches
into his pocket for his glasses.)

GREG:  Uh, the primary sample belongs to Vivian Verona, a cocktail waitress.  
She was killed on the top floor of the old pike's gambling hall about two years
ago.  Here's the report.

(GRISSOM takes the report and looks it over.)

GRISSOM:  Multiple puncture wounds, different depths, possibly two knives ...

GREG:  I've pulled the crime scene photos for you, too.  

(GREG hands GRISSOM the photos.)

GREG:  Case still pending.  Murder weapon was never found.  Now, the secondary
blood sample came back N.D.  Uh, could be the killer.  You always say murder's
messy.

(GREG holds the second test results in his hands.)

GRISSOM:  Greg, your hands are shaking.

GREG:  No, they're not.

(Concerned, GRISSOM takes the paper from GREG.)

GRISSOM:  Hold your hands out.

(GREG holds his hands out flat in front of him, palms down.  GRISSOM looks at
them as they shake.)

GREG:  Uh ... they've been shaking ever since ...

(GREG glances up and points at the DNA LAB next door.  GRISSOM looks up and sees
what GREG is looking at.)

GREG:  I can't really make it stop.

GRISSOM:  Is it affecting your work?

GREG:  (chuckles)  Well, if I was a bomb expert, maybe.  

(GRISSOM doesn't laugh.)

GREG:  No, I ... I think I have it under control.  

GRISSOM:  It'll stop.  If you need me, I'll be around.

GREG:  Okay.

(GRISSOM leaves the lab.  GREG looks down at his hands.)

CUT TO:



SCENE #44:

[INT. CSI - EVIDENCE ROOM]

(Camera close up of one of the photographs.  Its a picture of a celebration.  In
the photo, VIVIAN VERONA is wearing the rainbow-colored scarf and is standing in
the front smiling.  The banner behind the small group of people reads:  "$50,000
tip".)

(GRISSOM studies the photo.)

(He picks up a second photo of the crime scene where VIVIAN VERONA is dead on
the floor without her rainbow-colored scarf.  He picks up a third photo.)

(WARRICK walks into the evidence room.  He holds up the bagged scarf.)

WARRICK:  I have your scarf back from Sanders.

(He tosses the scarf onto the table.  GRISSOM picks up the bag and compares it
to the photo.  It appears to be the same scarf.)

(GRISSOM holds the evidence bag up to WARRICK.)

GRISSOM:  I need you to open this evidence bag and cut me an identical piece of
fabric.

(WARRICK takes the bag.)

WARRICK:  You want me to replicate the blood pattern?

GRISSOM:  Yeah.

(WARRICK reaches into his coat pocket and pulls out a pair of scissors.  He cuts
the bag open.  At that moment, GRISSOM glances up from the photos he's looking
at and sees WARRICK cutting the bag with the pair of scissors.)

(He realizes something.)

(NICK appears in the doorway, his mouth full of apple.)

NICK:  You guys need a hand?

(GRISSOM sees NICK, then turns back to WARRICK.)

GRISSOM:  Warrick, hand me those scissors.  

(GRISSOM looks up at NICK.

GRISSOM:  Nick, give me that apple.

NICK:  (resistant)  But I didn't get any lunch.

GRISSOM:  (firmly)  Give me the apple.  You're not supposed to eat in here.

(NICK hands GRISSOM the scissors.  GRISSOM looks at the apple and scissors.  He
picks up a photograph of the wounds on VIVIAN VERONA.  He holds it up for them
to see.)

GRISSOM:  Two puncture wounds, right?

(GRISSOM takes the scissors and puts it into the apple.)

GRISSOM:  Scissors.  That's what was wrapped in the scarf.

CUT TO:



SCENE #45:

[INT. CSI -- LAB]

(Close up of the computer screen of the scarf.  On screen, the computer works at
reconstructing what was wrapped inside.)

WARRICK:  These don't look like your ordinary household pair.

NICK:  No, man, look at the blades.  They're almost double the size of the
handles.

WARRICK:  What's the purpose of scissors that long?

GRISSOM:  Murder.

(CATHERINE walks into the room.)

CATHERINE:  I hear scissors, I hear murder.  What did I miss?

GRISSOM:  We may have the murder weapon.

(SARA walks into the room.)

SARA:  Hey, Vivian Verona worked for Sam Braun -- a cocktail waitress at Pike's
Gambling Hall.  Murdered the night before it was imploded in a penthouse suite.

NICK:  Sounds like somebody wanted her to disappear in the rubble.  Bet you
Braun hired his own clean-up crew for that one.

SARA:  The pyro guys found her on their last walk-through.  They assigned a CSI,
but the case ran cold before it even got started.  There was no suspect and no
motive.

(GRISSOM stares at the monitor.)

GRISSOM:  Warrick, enhance the blade area.

WARRICK:  Hmm, let me see if I can flip it around so we're not looking at an eye
chart.

GRISSOM:  R-p-r-T.

CATHERINE:  (softly)  Rampart.

(GRISSOM turns to look at CATHERINE.)

CUT TO:



SCENE #46:

[INT. CSI - LOCKER ROOM]

(GRISSOM appears in the doorway.  CATHERINE is putting her jacket on.)

CATHERINE:  (muttering)  He's not returning any  m my phone calls.  I just need
to confront this Sam Braun business once and for all.  I'll drive.

GRISSOM:  I'm not going with you.

CATHERINE:  What do you mean?

(CATHERINE closes the locker door.  GRISSOM steps into the room.)

GRISSOM:  I'm scheduled for surgery at Desert Palm.

(CATHERINE stops and looks at GRISSOM.)

CATHERINE:  Surgery?  

(GRISSOM doesn't say anything.  CATHERINE walks toward him.)

CATHERINE:  Your hearing?

GRISSOM:  (nods)  Yep.

CATHERINE:  I'm sorry.

GRISSOM:  I'm not.  Has to be done.

CATHERINE:  What can I do?

GRISSOM:  Nothing.  I'm fine.  Take care of the case.

CATHERINE:  Oh, eh, mm ... that's it?

GRISSOM:  That's it.  Um ... (he thinks about it) ... good luck.

(GRISSOM leaves the room.  CATHERINE stands there and shakes her head.)

CUT TO:



SCENE #47:

[INT. POLICE DEPARTMENT -- HALLWAY]

SLOW MOTION

(OFFICERS escort ROBERT "ROB" RUBIO through the hallway.  BRASS leads them to
the Interview Room.  Other OFFICERS stand along the hallway as they pass by.)

CUT TO:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - CONTINUOUS]

(BRASS interviews ROBERT RUBIO who is handcuffed in his seat.)

BRASS:  You must really like the ham steak at the Primm.  One more mile north --
you're gone forever.

ROBERT RUBIO:  They got good ham.

BRASS:  That's good to know.  I'll know what to get you for your last meal ...
for killing a cop.  You know the rifle we found in your trunk?  The bullets
match one we pulled out of a friend of mine -- Detective Cyrus Lockwood.

ROBERT RUBIO:  Tough losing one of your own.

BRASS:  You lost three of yours.  Ballistics made a match there, too.

(BRASS leans in, his hands flat on the table.)

BRASS:  So, you're ex-military.  That why Sam Braun hired you to be head of security at the Rampart?

ROBERT RUBIO:  You asking me, or you telling me?

BRASS:  I'm telling you.  My guess is Sam needed a job done, he came to you.

ROBERT RUBIO:  You know, when I get out of here, I'm going to take pleasure in putting air in your head.

BRASS:  Let me put a fact in yours.  You left a lot of yourself behind, killer.

(Quick flashback to:  ROBERT RUBIO aims and fires three times.  He picks up his bag and leaves.  End of flashback.  Resume to present.)

BRASS:  So, here's the deal.  You give up your boss, you get to spend the rest of your life in a jail cell, not on death row.

RUBIO:  I'll take death row.  I'll live longer.

CUT TO:


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


SCENE #48:

[INT. HOTEL/CASINO - SAM BRAUN'S OFFICE -- NIGHT]

(Camera pans across framed photographs hanging on the wall.  CATHERINE stands near the wall looking at the photos.  SAM BRAUN sits behind his desk looking at CATHERINE.)

CATHERINE:  Tangiers, pike's gambling hall ... Where are the Rampart scissors, Sam?

(CATHERINE turns around and heads for the seat across SAM'S desk.)

SAM BRAUN:  I think they went to one of those silent auctions.  You know, the kind where you put a number down and remain anonymous.

CATHERINE:  Uh-huh.  I'm sure they went to a good cause.  How much money they make?

SAM BRAUN:  More than I anticipated.

(CATHERINE takes a seat.)

CATHERINE:  I think that we're past playing games, Sam.  I need the truth.

SAM BRAUN:  You sure about that?

CATHERINE:  Oh, yeah.  Now more than ever.

SAM BRAUN:  Benny killed Vivian.  He caught her cheating on him ... with me.

(Quick flashback to:  BENNY MURDOCK walks into the room where he finds SAM BRAUN with VIVIAN VERONA.  He gasps.)

(cc)  VIVIAN VERONA:  I can explain.

(End of flashback.  Resume to present.)

SAM BRAUN:  When I heard he was dying, I went to see him.  He told me he killed her with my scissors from a ribbon-cutting ceremony.  He always kept the scissors--  had them shadow-boxed for me.

(Quick flashback to:  VIVIAN VERONA is dead on the floor.  BENNY MURDOCK stands over her with the bloodied pair of scissors in his hands.  End of flashback.  Resume to present.)

SAM BRAUN:  He stashed them in the safe deposit box.

CATHERINE:  Why would Benny ... do that?  Why would Benny ... murder Vivian and then keep the incriminating evidence, not even attempt to wash off the blood?

SAM BRAUN:  You're asking me to answer on his behalf?  I don't know.  Maybe he was paranoid.  Figured you would drag Lake Mead.

CATHERINE:  Let me just get this straight.  To protect Benny after he's already dead, you hire Rob Rubio and three cronies to commit Federal Bank Robbery to steal back a pair of scissors?

SAM BRAUN:  They weren't just any pair of scissors ... they were tied to a legacy.  If Benny goes down, I go down.  Forty years ... building a reputation... (he snaps his fingers) ... gone.  Games are meant to be played downstairs not upstairs ... so I ask Rob to take care of it.

CATHERINE:  We have the safe deposit box in our possession, Sam, along with the bloodstained sash the scissors were wrapped in.  We recovered two different blood samples -- one belonging to Vivian, and the other unknown.  I guess I didn't have a good enough reason until now, but ... I tested my DNA against the
unknown sample.

(She sighs.)

CATHERINE:  And wouldn't you know ... there were seven alleles in common.

(He leans forward and shakes his head.)

SAM BRAUN:  That supposed to mean something?

CATHERINE:  It means that you and I are biologically related. You killed her, Sam...and Benny covered for you.  

(Quick flashback to:  SAM BRAUN walks into the hotel room and finds VIVIAN VERONA with BENNY MURDOCK.  They both stand when they see SAM.  SAM grabs the pair of scissors on the side table and walks toward them.  End of flashback. Resume to present.)

CATHERINE:  Part of the old double standard.  No woman that you're with is ever going to be with another man.

(Quick flashback to:  VIVIAN VERONA is dead on the floor.  The camera moves up and shows SAM BRAUN holding a pair of bloodied scissors and standing over VIVIAN VERONA'S body.  He leans over and takes VIVIAN VERONA'S blue scarf.  End of flashback.  Resume to present.)

SAM BRAUN:  I swear on your mother ... it didn't happen that way.

CATHERINE: Oh, now, that holds a lot of weight. To this day my mother still sits at home waiting for your call.

(He leans back in his chair.)

SAM BRAUN:  Do you really think I could murder someone?

CATHERINE:  Science ... tells me that you did.  So, yes, I do.  (Her voice breaks.)  It's just such a lousy way to find out that you're my father.

CUT TO:


[EXT. LAS VEGAS CITY (STOCK) -- EVENING]


SCENE #49:

[INT. DESERT PALM - EXAM ROOM -- EVENING]

(GRISSOM sits in his hospital gown on the examination table.  The NURSE removes the blood pressure band from his arm.)

NURSE:  They're preparing the surgery right now, Mr. Grissom.  I'll be right back.

(The NURSE leaves the room.  GRISSOM waits.  CATHERINE appears in the doorway.)

CATHERINE:  Hey.

(GRISSOM turns to look at her.)

GRISSOM:  What are you doing here?

CATHERINE:  I just wanted to see you.  And I didn't want you to go in without wishing you good luck.

(Behind CATHERINE, The transporter appears with the wheel chair for GRISSOM.  GRISSOM stands up and walks up to CATHERINE.)

GRISSOM:  Thank you ... for being here.

(CATHERINE reaches out and hugs GRISSOM.  They look at each other.)

GRISSOM:  (to the transporter)  I don't need that.

(GRISSOM heads down the hallway.  CATHERINE turns to watch him leave.  She smiles.)

FADE TO BLACK.

THE END.

Fait par Wella

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

Sonmi451 (14:31)

Alors c'est tu bosses mais c'est pas rémunéré.

Sonmi451 (14:32)

et donc des études de quoi? ^^

stanary (14:32)

Oui j'avais pas vu ça comme ça mais t'as raison.... c'est nul !

Sonmi451 (14:33)

j'ai toujours raison même quand j'ai tord

stanary (14:37)

Oui c'est bien d'espérer...

stanary (14:37)

Sonmi451 (14:38)

Merci. lol

Sonmi451 (14:38)

L'espoir fait vivre comme on dit. ^^

stanary (14:39)

Oui c'est ce qu'on dit ! Alors et toi dis moi tu travailles dans quoi ?

Sonmi451 (14:41)

Moi je suis assistante maternelle mais en ce moment en congé parental.

stanary (14:43)

Ah bah alors ça va veut dire que t'aimes beaucoup les enfants hein ! Mais j'aime bien ça ...

Sonmi451 (14:44)

Tout à fait.

stanary (14:45)

Alors dis moi, tu fais quoi de beau ?

Sonmi451 (14:47)

Là en ce moment, je m'occupe de la migration des épisodes de Friends pendant que mes oreilles sont en train d'écouter si bébé dort toujours. Et puis mes yeux regardent de temps en temps, vers la fenetre pour voir si le grand arrive avec son papa. ^^

Sonmi451 (14:47)

Et toi?

stanary (14:49)

La migration ?
Bon pour moi faut pas chercher hein. Je n'ai pas de vie donc je suis chez moi entrain de ne rien faire si ce n'est lire

Sonmi451 (14:49)

Et en parlant du loup, il sort du bois. Mon grand vient d'arriver.

stanary (14:51)

Eh bah il est autonome ce grand !

Sonmi451 (14:51)

La migration c'est le passage d'un guide épisode à un autre guide, soit de l'ancien au nouveau.

Sonmi451 (14:52)

Je vais devoir te laisser. Il est autonome oui d'une certaine façon, mais il a encore "que" 5 ans.

Sonmi451 (14:52)

A bientôt peut être.

stanary (14:56)

A bientôt

billy (18:53)

Plus que quelques jours pour venir participer au concours de la photo de bienvenue du quartier Castle. Venez vous affronter avec les plus créatifs ^^

CastleBeck (19:15)

Billy : Je crois que ton message irait plutôt dans la room HypnoPromo maintenant
D'ailleurs, il faut que je me dépêche pour finir ma participation...

Chaudon (19:39)

Nouveau calendrier sur le quartier "Elementary" ! Donnez votre avis sur le quartier de la série !

Titepau04 (20:22)

Chaudon, tu t'es trompée de room !!!!

Titepau04 (20:23)

T'ai trompé*

Sonmi451 (22:00)

Hypnoroom promo pour les pubs allezzz, on y va vroouuuummmm

Titepau04 (22:01)

LOL!!!!

Titepau04 (08:52)

Bonjour tout le monde!!!!

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