COLD OPEN:
WHITE FLASH TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
(Cut to: Camera close up of a*t*matic 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 sit side by side in the vehicle. Camera close up of a watch which reads 3:15 p.m.)
[EXT. LAS VEGAS CITY (STOCK) - DAY]
WHITE FLASH TO:
[INT. FIRST MONUMENT BANK - DAY]
(The bank teller hands the customer his cash. The sign next to the teller reads: 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 g*n 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:
[EXT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]
(The white van stops in front of the bank. The back doors open and men with g*ns get out.)
(The men head for the front door quickly.)
CUT TO:
[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 w*apon 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 g*n at JIMMY'S MOM.)
Gunman: (loudly) Lady! One peep, and you die. GUNMAN: The boy, too.
(LOCKWOOD hears the thr*at.)
(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:
[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! GUNMAN: 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 expl*sives. He sticks it on the four corners of the bank box. The third expl*sive pack goes on the bottom right corner of box #748.)
CUT TO:
[INT. FIRST MONUMENT BANK - MAIN FLOOR - DAY -- CONTINUOUS]
(The GUNMAN walks around the customers and purposefully aims his g*n 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:
[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]
(The GUNMAN inside the vault finishes putting on the expl*sives 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 expl*sives 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:
[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 g*n a bit. LOCKWOOD keeps his eye on the GUNMAN and slowly reaches for his w*apon.)
(JIMMY moves. His mom turns to get him. The GUNMAN sees the sudden movement. He turns and swings around and sees LOCKWOOD with his w*apon 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! GUNMAN: Let's go!
(He jumps over the counter. Without a glance at LOCKWOOD, the gunmen heads out the front door.)
CUT TO:
[EXT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]
(The gunmen walk out of the building.)
(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:
[EXT. FIRST MONUMENT BANK - DAY]
(The police sirens blare as they turn the corner onto the street. g*nshots are fired on the police vehicles. They stop in front of the bank. OFFICERS exit the vehicle with their weapons drawn.)
FLASH TO WHITE:
[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 anymore. GRISSOM ducks under the crime scene tape and walks up 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:
[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 w*apon protecting a woman and a child.
(BRASS picks up LOCKWOOD'S badge.)
Catherine: Wrong place, wrong time.
Brass: There is no right time to k*ll a cop.
(GRISSOM looks around. He notices the glass windows and heads for them.)
David Phillips: I only see one b*llet wound through the back.
Brass: Yeah, witnesses say that he was, uh, taken down with a single sh*t.
(CATHERINE notices and follows him. GRISSOM takes off his glasses.)
Grissom: Beveled edges on the inside. The sh*t 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:
[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 BREAK)
FADE IN.
[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 sh*t 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:
[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:
[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 expl*sive 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 expl*sives and explodes.)
(Cut to: The locked box in the center of the four expl*sive 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:
[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 b*llet.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[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:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(LOCKWOOD is on the table. ROBBINS pulls out the b*llet and puts it in the metal tray. He continues to work on the body.)
CUT TO:
[EXT. FIRST MONUMENT BANK -- DAY]
(NICK pops the front hood of the car. He's looking for the b*llet. He extracts the b*llet.)
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT -- DAY]
(SARA starts putting the lockboxes back into their slots.)
CUT TO:
[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. (b*at) 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:
[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 b*llet 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:
[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 b*llet.
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 as*ault
* 11-12-98 Drunk and Disorderly
Served: 12-10-98 till 06-22-00
Catherine: He was convicted of as*ault 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 BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[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:
[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?
Catherine: Well, last year, one of your cocktail waitresses is m*rder*d. 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 k*lled 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]
[EXT. WHITING RESIDENCE -- NIGHT]
(BRASS and WARRICK stand outside the door. BRASS has his g*n out. WARRICK turns on his flashlight and puts his hand on his g*n.)
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.)
Warrick: I got two $5,000 stacks from the rampart.
Brass: Sam Braun's hotel.
CUT TO:
[INT. CSI - BALLISTICS LAB]
(BOBBY DAWSON goes over the b*llet comparisons with GRISSOM.)
Bobby Dawson: Um, Lockwood's b*llet on the right, and the cop car b*llet ... what's left of that cop car b*llet's on the left. Both projectiles with 308s. Consistent with the m1a.
Grissom: Long g*n.
Bobby Dawson: Mm-hmm. And long g*ns 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, sh**ting someone from long range, and taking out the engine of a radio car while it is hauling ass ... you're looking at one sharp sh**t. And that kind of training only comes from ...
Grissom: The m*llitary.
CUT TO:
[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 sh*t came from.)
(NICK inserts the light into the dummy and turns it on. He gets some spray and uses it to see where the b*llet came from. The red laser light aligns perfectly with one of the b*llet holes from the glass window.)
(NICK heads out of the bank to find out where the sh**t was standing.)
[EXT. FIRST MONUMENT BANK - NIGHT - CONTINUOUS]
Lyric: 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 / shari I ithe e 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 b*llet hole is. He turns the light on. Immediately, it's noticeable that the two sh*ts came from the same room from the building across the street.)
CUT TO:
[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 sh**t lifting up the long g*n and putting it on the chair in front of the window.)
(Quick flashback to: The sh**t taking aim and f*ring ... twice. End of flashback. Resume on NICK.)
(Camera holds on NICK.)
CUT TO:
[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 BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[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 g*n 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 ...
[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 d*ed 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 d*ed. 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:
[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:
[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:
[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:
[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:
[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:
[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 m*llitary database.
Jacqui Franco: Why?
Catherine: (grimly) Just run it. After that, give us an address.
CUT TO:
[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-m*llitary, 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:
[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 BREAK)
WHITE FLASH IN.
(Camera flashes onto the first body.)
(White flash to: The second body.)
(White flash to: The Third body.)
[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 g*n.
(GRISSOM kneels down next to the body.)
Grissom: High-powered r*fle. Close range. Visible gunpowder.
(Quick flashback to: A g*n is fired and the FIRST MAN is sh*t. He falls backward. End of flashback. Resume to present.)
Grissom: This guy got it in the chest, too.
(Quick flashback to: A g*n is fired and the SECOND MAN is sh*t. He falls backward. End of flashback. Resume to present.)
Grissom: And this one took it in the back.
(Quick flashback to: A g*n is fired and the THIRD MAN is sh*t. 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. k*ller drove them here, k*lled 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 m*rder*r.
Brass: Rob Rubio.
CUT TO:
[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 b*ll*ts from your trio in the desert.
AUDIO: MUFFLED
Bobby Dawson: (rapidly) Same GRCs as the b*llet from Lockwood. Fired from the same r*fle.
(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:
[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 k*lled 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. m*rder w*apon was never found. Now, the secondary blood sample came back N.D. Uh, could be the k*ller. You always say m*rder'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 b*mb 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:
[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:
[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: m*rder.
(CATHERINE walks into the room.)
Catherine: I hear scissors, I hear m*rder. What did I miss?
Grissom: We may have the m*rder w*apon.
(SARA walks into the room.)
Sara: Hey, Vivian Verona worked for Sam Braun -- a cocktail waitress at Pike's Gambling Hall. m*rder*d 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:
[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:
[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.
Roberto Rubio: They got good ham.
Brass: That's good to know. I'll know what to get you for your last meal ... for k*lling a cop. You know the r*fle we found in your trunk? The b*ll*ts match one we pulled out of a friend of mine -- Detective Cyrus Lockwood.
Roberto 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-m*llitary. That why Sam Braun hired you to be head of security at the Rampart?
Roberto 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.
Roberto 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, k*ller.
(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]
[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 k*lled 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 k*lled 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 ... m*rder 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 k*lled 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 m*rder 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]
[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.
End
03x23 - Inside the Box
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An elite team of police forensic evidence investigation experts work their cases in Las Vegas.
An elite team of police forensic evidence investigation experts work their cases in Las Vegas.