COLD OPEN:
[EXT. LAS VEGAS GOLF COURSE (STOCK) -- DAY]
Camera zooms through the following different scenes and views.
[EXT. LAS VEGAS - HOUSES ON GOLF COURSE (STOCK) -- DAY]
[EXT. LAS VEGAS - CLOSED COMMUNITY (STOCK) -- DAY]
[EXT. TRENT'S RESIDENCE -- DAY]
[INT. TRENT'S RESIDENCE - KITCHEN - DAY]
(LAUREL TRENT stands at the kitchen sink washing the coffee cup, wiping it and putting it aside as MIKE TRENT walks into the kitchen, puts his arm on her shoulder and kisses her on her cheek.)
Mike Trent: Ready to go? I'll get the paper, you get the car.
Laurel Trent: (smiles in agreement) Okay.
(She turns and heads out of the kitchen.)
[EXT. TRENT'S RESIDENCE - FRONT DRIVEWAY - DAY -- CONTINUOUS]
(The front door opens and MIKE TRENT steps outside. He picks up the paper on the front walk and heads for the garage. He crosses the lawn and absently opens the paper to read the headlines.)
(Cut to: [INT. CAR (PARKED)] LAUREL fiddles with the radio controls in the car. It's 6:40 a.m. She shifts the car into gear.)
(Cut to: MIKE reaches the bottom of the drive and waits for the car as it reverses down the driveway. He looks back down at the paper.)
(LAUREL smiles as she reverses the car. In the rear view mirror, she sees her husband. Suddenly from the side, a man dressed completely in black grabs MIKE from behind and puts a taser up to his neck, zapping him.)
(As she sits there in shock, a second man opens the driver's door and pulls LAUREL out of the car. She grabs the steering wheel and screams.)
WHITE FLASH TO:
(LAUREL TRENT lies dead on the driveway pavement in a pool of blood in front of her car, her eyes wide open.)
(Flash to: MIKE TRENT is also dead on the driveway facing up, his eyes wide open.)
WHITE FLASH TO:
[EXT. TRENT'S RESIDENCE - FRONT DRIVEWAY - DAY -- LATER]
(From a camera view high above the front of the house, we see Officers swarm around the crime scene and we also noticed the large blood smear from the top of the driveway down to the edge near the sidewalk. CATHERINE and GRISSOM get their things out of the cars.)
Catherine: Early morning call-out, the worst.
(CATHERINE shuts the back door of her car.)
Catherine: Where did you come from?
Grissom: Home.
(They turn and head toward the driveway.)
Catherine: Did you get any sleep?
Grissom: No. You?
Catherine: About a half an hour.
Grissom: I was watching the world series of poker. Waiting for Sam Farha to light his cigarette.
Catherine: Mm-hmm.
(BRASS looks at them.)
Brass: Ever been to the Acid Drop?
Catherine: I try to avoid those places.
Brass: The victims were the owners. Mike Trent and his wife Laurel. Both sh*t execution-style back of the head. A neighbor walking the dog found 'em. Mike used to own a semi-pro hockey team with some other guy. He made a ton of money, sunk it all into clubs like Acid Drop, uh, Psychedelic Hoe-Down ...
(An OFFICER calls out to BRASS.)
Officer: Captain Brass.
Brass: (trails off) ... fun joints.
(BRASS turns and leaves with the OFFICER.)
Catherine: Looks like they never got out of the driveway.
(Quick flashback to: MIKE TRENT is on his knees as the gunman fires sh*ts at the back of his neck. LAUREL TRENT watches, then is sh*t herself. End of flashback. Resume to present.)
Grissom: She dropped where she was sh*t, but he looks like he was dragged.
(Quick flashback to: The GUNMAN drags MIKE TRENT'S body down the driveway. End of flashback. Resume to present.)
Catherine: You drag a body away to hide it, not down a driveway for the world to see it.
Grissom: (looks out at the street thoughtfully) Unless that was the point.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. TRENT'S RESIDENCE - LIVING ROOM - DAY]
(The front door opens. CATHERINE and WARRICK walk into the house carrying their kits. They look around and notice the center foyer table full of framed photos of the couple.)
Warrick: Bling-bling.
(CATHERINE picks up a framed photo and looks at it.)
Catherine: The ol' trophy wife.
Warrick: You think?
Catherine: Classic Vegas. He pays for her boobs, tummy tuck, Prada, weekly spa, french manicure. And she's just hanging on his arm like she belongs.
Warrick: Tell us how you really feel, Catherine.
Catherine: Oh, it's gross. I wouldn't want to be her for the world. I wouldn't mind being her for a day, I guess.
Warrick: Well, not this day.
Catherine: (agrees) No.
Warrick: Looks like it was just the two of them.
Catherine: Nobody I know lives like this with kids.
(WARRICK'S phone rings. He answers it.)
INTERCUT WITH:
[EXT. EAST COAST BACK GATE]
(GREG stands outside the locked gate as he listens to the phone ringing.)
Warrick: Brown.
Greg: I've been here for twenty minutes. What's the code?
Warrick: You on the East Coast looking for a sunset?
Greg: I am.
Warrick: You're at the wrong gate. Drive back down the road, make three lefts. When you get to the main gate, speak to Officer Ray and tell her you're with the crime lab. When you get to the scene, make sure I'm the first person you speak to.
Greg: Okay.
(GREG hangs up.)
CUT TO:
[EXT. DRIVEWAY -- DAY]
(BRASS shows NICK and SARA the crime scene.)
Nick: Mike Trent?
Brass: Mm-hmm.
Nick: Boy, he's a big dog in the club world. Rumour is he paid Lil' Kim
$10,000 one time just to walk into one of his clubs, turn around and walk back out.
Brass: Yeah, I heard Jah Rule gets the same fee.
(NICK and SARA share a look.)
Brass: (shrugs) It's what I heard.
(SARA pops a cough drop into her mouth. NICK holds out his hand.)
Nick: Hey, uh, let me have one of those, Sara.
Sara: Sorry, last one.
Brass: (eye-ing her) You have a cold, Sara?
Sara: I've been feeling a little run down lately.
Brass: Okay, it's a gated community. The main gate has a guard all the time. The resident gate is at the north end, has punch-key access. Those are the only two ways in and out of this place.
Nick: I thought you moved into communities like this for this not to happen.
(NICK and SARA walk up to GRISSOM who is checking the purse inside of the car.)
Nick: Hey, Grissom. What do you got?
(They peer in through the open car window. He looks up.)
Grissom: So far, an empty briefcase and a purse.
Sara: You want us to take the perimeter?
Grissom: Yeah, please. Catherine and Warrick are inside. The bodies were found on the driveway, so any evidence of the K*llers is going to be out here.
Nick: I'll check the rear for any sign of forced entry.
Sara: I'll take the side yard.
CUT TO:
[EXT. DRIVEWAY - FRONT CURB -- DAY]
(WARRICK approaches GREG who is getting out of his car.)
Warrick: You just get off a shift?
Greg: Catherine called me. I'm here to help with the case.
Warrick: You look like a man who just rolled out of bed. You all right?
Greg: Yeah, why?
Warrick: T-shirt, sneakers. You're already a half hour late. Grissom will rip you a new one if he sees you like that.
(WARRICK walks around the car to take a look at GREG'S open trunk.)
Greg: Serious?
Warrick: Yeah, it's not a rebel game. It's a crime scene. See, this is what I'm talking about right here.
(He reaches into GREG'S kit and takes out his flashlight.)
Warrick: The battery's not changed kit's open. It's not stocked; no swabs. Did you sterilize your equipment after your last case?
Greg: Uh, no.
Warrick: See, you know when I'm on call because my clothes are folded next to my bed. Shoes, jacket, ball cap, bottle of water, pen, paper, Thomas Guide, next to the phone. That way, if I get a call at 3:00 in the morning, I'm not scrambled. Everything's there before the phone rings. My game is tight, like my trunk. Check it out.
(WARRICK shows GREG the trunk of his car.)
Warrick: Camera case, tripod, film is in the fridge. Markers, check. Extra field kit, fully stocked, sterilized. Shoeprint lift kit, wet weather gear. Files "mama." Forms for days. First call form, first officer form, consent to search, bird's eye view inside, bird's eye view outside. It's down to how I like my lunch. Picking up what I'm putting down?
Greg: Yeah. See, no one ever told me.
Warrick: You've been told.
Greg: Yes, sir.
CUT TO:
[EXT. DRIVEWAY -- DAY]
(SARA walks past the body on the driveway toward the side wall. She pops another cough drop into her mouth as she climbs over the wall. She starts looking around.)
(A few steps in, she finds some cigarette butts and orange peel pieces.)
(She takes off her glasses and kneels down to look. Thinking.)
(She looks up and visualizes the image of the gunman standing there, waiting, taking a puff of his cigarette and throwing it to the ground. The gunman pulls off an orange from the tree and ...
(The visualization ends to reveal NICK standing in the spot in front of SARA.)
Nick: No sign of disturbance in the rear.
Sara: Cigarette butts. Orange peel, seeds. Lying in wait, maybe.
Nick: You still sucking on that same cough drop?
Sara: Yeah. I'm a ... a slow sucker.
Nick: So, assuming the k*ller didn't live in the community, how did he gain entry?
(NICK checks out the rest of the yard while SARA stays with the cigarette butts and orange peels.)
(NICK finds some bike tracks in the dirt.)
(He walks back onto the driveway looking out over the hill where he visualizes the two gunmen each on their own bike riding over the hill. They ride out onto the street.
(End of visualization. Resume to present.)
(NICK looks down on the ground in front of him to see the bike tracks on the road.)
CUT TO:
[INT. TRENT RESIDENCE - STAIRWAY -- DAY]
(CATHERINE and GREG walk up the stairs up to the second floor.)
Catherine: Crime occurred in the driveway. Nothing to indicate that the suspects were inside the house.
Greg: Yes, ma'am. I got it. So, then, what are we looking for?
Catherine: Anything inside that'll make the outside make sense.
[BEDROOM - DAY -- CONTINUOUS]
(They walk into the bedroom.)
Catherine: On your hands and knees. Check the carpet for trace.
(GREG puts his kit down while CATHERINE checks out the closet. Starting along the doorway, Greg crawls along the carpet floor with his flashlight. CATHERINE opens the drawer inside the closet. GREG works his way toward the foot of the bed.)
(CATHERINE checks the jewelry box and finds it empty.)
Catherine: Hey. Greg. I'm going to need you to photograph something.
(GREG finds some storage boxes under the bed.)
Greg: Why, what'd you find?
Catherine: It's what I didn't find.
(At the foot of the bed, GREG finds some blood on the carpet.)
Greg: Well, I found something. Blood.
(CATHERINE walks out of the closet and finds GREG kneeling at the foot of the bed with one of the storage boxes in front of him..)
Catherine: Blood? Where?
Greg: Right here.
(He points to the spot with his flashlight. CATHERINE walks over and looks at it. GREG opens the storage lock box and finds a stash of p*rn video tapes - starring Laurel Lust.)
Greg: Ooh, I also found some videos. Looks like amateur p*rn.
Catherine: p*rn. That figures. (CATHERINE looks at one of the video tapes.)
"Sunburn Sin". Ooh. "Starring Laurel Lust." (realizing) That's Laurel Trent.
Greg: Isn't that the wife?
Catherine: Yeah. A few years back. (reading) "A Goode/Mike T. Production."
"Mike T" as in Mike Trent? (She flips the box over and reads the back.) Well, I bet he seduced her, and then he produced her.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over LAUREL TRENT'S body with GRISSOM.)
Robbins: Laurel Trent definitely had some work done. Implants which she later had removed. She has a four-centimeter-long scar at the edge of the collapsed fibrous capsules in both breasts.
Grissom: Fascinating. Cause of death?
Robbins: I was just getting to that. Two g*nsh*t wounds to the back of the head, just like her husband. Close range. Either one immediately debilitating and fatal. I sent the b*ll*ts to the lab. But this is why I sent for you.
(ROBBINS walks over to MIKE TRENT'S body and points out the burns on the neck.)
Grissom: Stun g*n burns?
(Quick flashback to: [EXT. TRENT'S DRIVEWAY] MIKE TRENT is waiting for his wife to pick him up when the gunman rushes up behind him zapping him on the neck with a stun g*n.)
(End of flashback. Resume to present.)
Robbins: If you're close enough to stun him, you're close enough to sh**t him.
Grissom: And we suspect that there were two assailants.
Robbins: Well, maybe they were trying to buy time.
(b*at)
Grissom: For what?
(GRISSOM slowly turns and looks at ROBBINS.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. COMMUNITY GATE -- NIGHT]
(WARRICK and NICK walk across the lawn.)
Warrick: Now, the first order of business is to k*ll the Trents. Then the suspects go upstairs and rip off laurel's jewelry.
Nick: And bail on bikes. That's a little low-rent, don't you think?
Warrick: Yeah, but I'm thinking, in a neighborhood like this, if you burn rubber out of here, it's gonna cause a lot of attention. If you roll quietly away on a bike, though ...
Nick: Ah, no one's the wiser. Okay, I get it.
(They stop in front of the community gate.)
Warrick: This is the resident gate that Greg called me from; he couldn't get in. He needed a code.
Nick: Sara did find an orange peel in the side yard. What do you think, sticky fingers?
Warrick: Does citrus illuminate?
Nick: Sure it will, if it's derivatized. Do you have any fluorescent reagents?
Warrick: I've got ANTs. Not the insect.
Nick: Amino-Naphthalene Trisulfonic acid.
Warrick: (jumps in) -- Trisulfonic acid.
Nick: You're trying to stump me. I can feel it.
(WARRICK puts his kit down and takes out the container. He hands it to NICK.)
Warrick: Let me check it out. The ants should make it light up under the ALS.
(NICK dusts the key pad for prints. WARRICK uses the ALS and checks the key pad for the numbers that glow.)
Warrick: One, three ... five and six. In some configuration. They had the code.
CUT TO:
[INT. GRISSOM'S OFFICE -- NIGHT]
(CATHERINE is with GRISSOM in his office. She stands near the window as he sits behind his desk with a file folder open in front of him.)
Catherine: We're mid-case. Why do we have to do this now?
Grissom: I have to get this evaluation in, or I'm gonna get written up.
Catherine: Okay. My goals. Mm ... oh, all right, okay.
(She takes a seat in front of GRISSOM'S desk.)
Catherine: For starters, I'd like two consecutive nights off. I would like to cut my triples down to ten a year instead of the usual twenty, and, uh, I would love to find a reliable baby-sitter, so I could have myself some kind of a personal life.
Grissom: You don't have a personal life?
Catherine: I ... write this down: I haven't had sex in six -- no -- seven months.
(GRISSOM looks at CATHERINE.)
Grissom: (sighs) How can I help?
(CATHERINE stares at GRISSOM, her eyes wide.)
Grissom: (awkwardly) You. Advance, I mean. Do you ... have any interest in changing sections in the lab, for instance?
Catherine: Gil, how do you do this? Honestly, how do you juggle scheduling and vacations and ...
Grissom: The goal of any supervisor is to teach someone how to take his place someday. Are you going someplace?
Grissom: You never know.
Catherine: Are you considering me?
Grissom: Why not? You're certainly qualified. But ... a CSI who uses the DNA lab to establish her own paternity ... calls into question ... her judgment, don't you think?
(He moves the evaluation file folder in front of CATHERINE. She looks at what he's written.)
Catherine: You've left that out. Are you covering for me?
Grissom: I believe that we've dealt with this issue, handled it internally. As far as I'm concerned, it's dead. Besides, you'll never do it again. So just sign your name by the red "X."
(CATHERINE hesitates.)
Catherine: Before I sign, um, since we're putting all of our cards on the table, there's something you should know. Sam Braun wrote me a check, and ... I cashed it.
Grissom: For how much?
Catherine: Enough to where Lindsay and I can do anything and ... not enough to where we can do nothing.
Grissom: Sam Braun was a m*rder suspect in one of your cases. How does this not look like a payoff?
Catherine: I consulted an attorney. It is a check from a father to a daughter. It is completely out of departmental jurisdiction.
Grissom: What about conflict of interest? Not just for you but for this lab.
Catherine: Gil, I would never compromise you or the lab.
Grissom: Maybe not legally, but ethically?
(CATHERINE doesn't say anything.)
Grissom: What else should I know, Catherine?
Catherine: That's everything.
(She signs the evaluation, stands up and walks out of the office.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(SARA'S in the lab going through the things found at the site. CATHERINE walks in putting on a pair of latex gloves.)
Catherine: Talk to me.
Sara: Orange peels, seeds, cigarette butts. I'm logging them in and moving them to DNA.
(CATHERINE picks up the purse, opens and closes it, then goes through the other bags on the table.)
Catherine: Okay, so you've gone through her purse, uh, her wallet ...
Sara: Yeah, everything's there -- money, credit cards.
Catherine: What about the briefcase?
Sara: Empty. Stop. I-I got a system here. I found this wadded up in her purse. It's a release form -- permission to film an adult movie at the Acid Drop from Drake the Snake productions. Signed by a Drake Snow.
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[INT. ACID DROP -- NIGHT]
(CATHERINE walks through the club. She shows her I.D. to the bouncer.)
Catherine: I need to see your boss.
Bouncer: (motions to her) Follow me.
[BACK]
(The BOUNCER leads CATHERINE to the back room where his boss, CHRIS BEZICH, is giving last minute instructions to the waitresses.)
Chris Bezich: Tonight's for Mike. We pay our respects by ringing the register. Now, I don't mind if you're talking, just as long as they're drinking. Watch the doubles ...
(He looks up and sees the BOUNCER with CATHERINE.)
Chris Bezich: Uh ... Watch the doubles. Be smart. You do that, we're gonna take this party through till 6:00 in the morning. And most importantly, have fun.
(The waitresses smile.)
Waitress: Okay.
Chris Bezich: Go make some money. See you later.
Waitress: Thanks.
(The waitresses leave. He turns his attention to CATHERINE.)
Chris Bezich: You here about Mike?
Catherine: Yes, I am.
Chris Bezich: Let's go somewhere private.
[BACKROOM]
(They make their way to a back room. CHRIS BEZICH sees some PATRONS leaving the back room.)
Chris Bezich: (to patrons) Sorry for the inconvenience, everybody. When you come back, next bottle's on me.
Patrons: Great.
(He motions CATHERINE inside.)
Chris Bezich: Go ahead.
(CATHERINE clears her throat.)
Chris Bezich: Thanks, chief. We're going to shut her down for about half an hour.
Catherine: (looks around) Well ... this is private.
Chris Bezich: It was, um ... it was a real shock, you know? Mike and Laurel getting k*lled like that. But I got to say, if they had a choice how to go out, it would have been together. For him, the sun rose and set with her.
Catherine: He didn't treat her like a trophy wife?
Chris Bezich: No. You kidding? No. He got her off the VHS covers, and she made a home for him.
(He sits down and motions for her to sit down also.)
Chris Bezich: Have a seat.
Catherine: Um, and what was, uh ... what was your professional affiliation with him?
Chris Bezich: I run his clubs. Ever since he got out of the partner business with Kyle Goode.
Catherine: Have you seen this Mr. Goode lately?
Chris Bezich: He shows his face every once in a while. I just try to keep him away from Mike, you know? As much as humanly possible.
Catherine: And ... What about this Drake Snow guy?
Chris Bezich: Drake? (chuckles) Drake the Snake. I, uh ... I hired him. He's harmless. He saw one Ron Jeremy movie. Now the guy just sees dollar signs.
Catherine: Uh, and how did he get along with the Trents?
Chris Bezich: Why don't you go ask him?
Catherine: Reading my mind.
Chris Bezich: Mm.
(She stands up and he also stands up, rushing to stop her from leaving.)
Chris Bezich: You, uh ... you never gave me your name.
Catherine: Oh. Catherine.
Chris Bezich: Catherine.
(They shake hands.)
Catherine: Willows.
Chris Bezich: Chris Bezich.
Catherine: Chris Bezich.
Chris Bezich: (motions to her) Come on.
[BAR -- LATER]
(CATHERINE sits and talks with the bartender, DRAKE SNOW.)
Drake Snow: Mike and Kyle -- they made all their money out of Laurel taking it off. She-she was a cash register in panties is what she was.
Catherine: And you wanted in?
Drake Snow: No. Trust me. The last thing that I wanted was to be partners with Mike. Guy'd ... would chew you up and spit you out soon as look at you.
Catherine: And Kyle -
Drake Snow: Forget it. Guy'd tell you right to your face he's sticking it to you. Pasadena, baby. I got my own plans. I-I just ... I just need a location. One location.
Catherine: And what? Mike didn't agree to it?
Drake Snow: Didn't ask him. Last time I asked him for something, he took a swing at me.
(Quick flashback to: [INT. TRENT'S RESIDENCE - KITCHEN] MIKE TRENT throws DRAKE SNOW out of the house.)
Mike Trent: Get the hell out of my ...
Drake Snow: I just want the same sh*t that you had, Mike. Laurel said that ...
Mike Trent: You two aren't in business anymore.
(MIKE takes a swing and hits DRAKE SNOW in the face.)
(End of flashback. Resume to present.)
Catherine: In the kitchen, you said?
Drake Snow: Yeah. So, I wasn't going to make that mistake again, so I had to try something different. So, I pulled a Geffen. I went straight to Yoko.
Catherine: Oh, you gave Laurel the release form.
Drake Snow: Yeah. She was going to give it to Mike. He was going to sign it, and they were going to get it back to me. So much for that.
Catherine: All right. So, uh, listen, Drake. I'm going to help you get that dream sh*t. So that when you do get into the p*rn biz, you won't have a m*rder rap hanging over your head.
(She takes out a swab.)
Catherine: Here. Crime Scene 101. Stick this in your mouth.
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(WARRICK rolls in another set of bikes.)
Nick: Hey, you can set 'em right there.
Warrick: Can't believe that there's this many abandoned bikes in Charleston Hills. These were found in the alley behind the fire department, so check them out.
(NICK dusts the handlebars and sees some prints glow under the ALS.)
Nick: Sugar on the handlebars of both bikes. Just like the keypad.
Warrick: So we may have our getaway bikes.
Nick: We could check the serial numbers, but they're usually not recorded.
(WARRICK sighs.)
Warrick: You know what? I got an idea.
Nick: Hmm?
(WARRICK takes the seat off of the bike.)
Nick: What are you doing?
Warrick: Get me a pair of tweezers, will you?
(He checks inside the seat and pulls out a receipt.)
Nick: Now how did you know that receipt was in there?
Warrick: Well, I used to read point spreads. Now I read books.
Nick: Good for you. Bad for Ross Davis, though.
CUT TO:
[INT. CSI - WAITING ROOM -- NIGHT]
(GRISSOM and WARRICK interview ROSS DAVIS.)
Ross Davis: This is a little intense for getting my bike stolen. I already got a new one.
Warrick: Did you report it?
Ross Davis: No. You're kidding me, right? I got jumped, man.
Warrick: By whom?
Ross Davis: By two bucked-ass brothers. They were both yoked as hell. Ripped. I thought for a second they were going to k*ll me.
(Quick flashback to: [NIGHT] ROSS DAVIS rides his bike along the street. A car screeches to a halt in front of him, blocking his path. A man in black jumps out of the car and stuns him.)
(End of flashback. Resume to present.)
(He rubs the back of his neck.)
Warrick: Something wrong with your neck?
Ross Davis: Man, it's k*lling me. I don't know what the hell they hit me with, but my knees was the first to go.
Grissom: I believe you were hit with a stun g*n.
Warrick: Just like Mike Trent.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(CATHERINE walks down the hallway; GREG rushes to catch up with her.)
Greg: I found something on your butt.
Catherine: Checking out my butt again, Greg?
Greg: I was ...
Catherine: mm-hmm.
Greg: ... as well as the four butts Sara got at the crime scene.
Catherine: Oh.
Greg: Found something on them that I can't explain, so I sent them over to Hodges. Your butt's fine.
(b*at.)
Greg: Switching gears. Blood found in the Trents' bedroom is a match to Drake Snow.
Catherine: So he told the truth about the blood and lied about the kitchen. Figures.
Greg: Three of the four cigarette butts are also a match to Drake.
Catherine: Puts him at the scene. And the fourth butt?
Greg: Female, not a match to Laurel Trent.
Catherine: Orange seeds?
Greg: Two additional donors, both male. Not a match to any of our players. No hits on CODIS.
Catherine: So we're looking for two guys and a gal who might know Drake.
(GREG nods. They both walk out of camera frame.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS interviews DRAKE SNOW.)
Brass: We already know you lied. We found your blood in the Trents' bedroom, not in the kitchen. So what were you doing in there? You putting the sh*t in her, or what?
Drake Snow: Hey, look. I know where you're going with this. Okay, I was in the bedroom. She wasn't on her knees. I was. I was begging. Not for sex. I was begging for my business. Drake the Snake Productions. Mike comes busting in, goes ballistic, smacks me in the nose ...
Brass: I mean, I know I keep coming back to this three-and-out thing, but maybe because you're in bed with his wife.
Drake Snow: Laurel and I didn't have sex in the bedroom. We had it on the set- past tense -- long time ago.
Brass: Then along came Mike.
Drake Snow: Mike was good for Laurel. Mike was not good for me. She got carte blanche -- Laurel. Me, I got a bar back. Now I'm popping blue pills looking for something to bring me down, but I know the business. I just don't have the capital to get behind the camera.
Brass: So what does k*lling the Trents get you?
(pause)
Drake Snow: Zero. No one was more upset than me.
Brass: You're still pouring drinks. Boo-hoo. And what are you doing smoking around their place?
Drake Snow: (shakes his head, confused) What?
Brass: Yeah, we found cigarette butts with your DNA on it on their property.
Drake Snow: I don't know what you're talking about. I don't. I smoke one place, okay? I smoke at work. I'm down to one a day. Right after happy hour, I have my one cigarette, and it's out back by the service register. You ask anybody.
CUT TO:
[INT. ACID DROP - BACK BY SERVICE REGISTER - NIGHT]
(CHRIS BEZICH leads CATHERINE out back by the service register.)
Chris Bezich: Drake's telling the truth, you know? He smokes one a day. Not on the floor, right here, my rule.
Catherine: mm-hmm. Well, I'll have to verify it with evidence.
(CATHERINE puts her kit down.)
Chris Bezich: You verify everything?
Catherine: Everything. Including you. You're clear.
Chris Bezich: Can you blame Drake, you know? He's trying to give up cigarettes. That's like me trying to give up ...
(CATHERINE pours a shovel of sand into the baggie. She turns around.)
Catherine: Sex?
Chris Bezich: Everybody needs to indulge in a vice at least once a day, right?
Catherine: Yes, well, I did happen to notice those little waitress girlies trying to serve their way into bed with you.
Chris Bezich: That's work. I prefer women. Speaking of work, do you, um ... ever get a day off?
Catherine: What? You want to get to know me?
Chris Bezich: Yes.
(They inch closer and closer together until finally, they kiss. CATHERINE pulls back.)
Catherine: Um ...
Chris Bezich: What?
Catherine: Wait. Hang on. I'm on the clock.
Chris Bezich: You started it.
Catherine: Yes, and when the time is right, maybe I'll finish it.
(She smiles at him.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - BREAK ROOM -- NIGHT]
(BRASS steps out into the hallway and finds SARA sipping coffee in the break room.)
Brass: How you feeling?
Sara: Hey. What do you mean?
Brass: Well, you were popping cough drops at the scene the other day a mile a minute.
Sara: I thought I was coming down with a cold.
Brass: Ah. Yeah, I, uh ...
(They both sit down.)
Brass: I understand colds. You know, back in Jersey when I was getting it from both ends, from my wife and my work, uh ... things started to get heavy. I started "medicating". (He motions drinking with his hand.) "Cure" my cold. And, um, and god forbid I had an early morning roll-out and I had that tell-tale breath, you know what I mean? So I would dodge my supe, and I started popping cough drops.
Sara: Huh.
Brass: I mean, what I'm trying to say is that ... there's more problems than answers in the bottom of a bottle, believe me.
Sara: Yeah.
(She sighs.)
Sara: Actually, I had a couple of beers with breakfast when I got off shift. And then I got called in.
Brass: Just a couple?
Sara: Yeah.
Brass: (smiles a bit) I'm just looking out for you.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(BRASS walks into the office and finds GRISSOM sitting at his desk looking at the photos of jewelry.)
Brass: Hey, what are you doing after work?
Grissom: More work.
Brass: You've photos of Laurel Trent's jewelry.
Grissom: Yeah, two-carat diamond earrings, ruby necklace, diamond and sapphire bracelet, lady's gold rolex.
Brass: The insurance company says it's worth somewhere north of two mil. I got every pawn shop in town on the lookout.
(GRISSOM nods.)
Brass: What?
Grissom: You know that feeling you get when you just can't quite put your finger on something?
Brass: What can't you put your finger on besides the clock-out button?
Grissom: Why did they drag his body down the driveway?
Brass: Dragging's your racket. But I can tell you who's dragging Mike Trent into court. His ex-business partner, Kyle Goode.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(DAVID HODGES shows CATHERINE the results of the evidence sent to trace. He holds up the evidence bag.)
David Hodges: Evidence.
(He puts a hand on the scope.)
David Hodges: Evidence in context. Take a look.
[SCOPE VIEW OF CIGARETTE BUTT]
Catherine: Trace on the cigarette butt is a match to the sand I collected from the ashtray.
David Hodges: At Acid Drop.
(He puts in a different slide under the scope.)
David Hodges: Now ... take a look at this. I found trace amounts of soil in the orange seeds and the orange peel ...
[SCOPE VIEW OF THE SOIL]
David Hodges: ... but not on any of the butts.
Catherine: So it's possible that the butts were planted.
(Quick flashback to: PERSON places the cigarette butts on the found near the orange peels. End of flashback. Resume to present.)
Catherine: May explain why there seems to be so many suspects at the crime scene.
David Hodges: Probably clears Drake Snow and your unidentified female smoker. Where does that leave you?
Catherine: With two guys on bikes.
CUT TO:
[INT. ARCADE -- DAY]
(ALEX GOODE plays the arcade machine as KYLE GOODE stands next to him watching and smoking his cigarette.)
Kyle Goode: Hit that ninja. On the bridge. KYLE GOODE: That's it.
(BRASS walks up to them.)
Brass: Kyle Goode?
Kyle Goode: Uh-huh.
Brass: I'm Detective Jim Brass, homicide.
(BRASS gives KYLE GOODE his card.)
Kyle Goode: I was wondering when you guys would get around to me.
Brass: Why's that?
Kyle Goode: My ex-partner's m*rder*d. I got a lawsuit against him. He owes me millions. I'd like me for it.
Brass: Great, then we won't have to pull teeth to get to the truth. Where were you yesterday morning?
Kyle Goode: With my son, Alex.
Brass: Where?
Kyle Goode: You're not going to believe anything I tell you. Why don't you ask him?
Brass: Okay.
Kyle Goode: Come, Alex. Get off the game.
(ALEX continues to play the game.)
Kyle Goode: That's enough.
(KYLE grabs the plastic g*n out of ALEX'S hand.)
Alex Goode: (whines) You cost me a man.
Kyle Goode: I got more quarters.
(KYLE takes out the quarters for ALEX.)
Brass: So, Alex, where were you yesterday morning?
Alex Goode: At grandma's.
Brass: All morning?
Alex Goode: No. She lives in Laughlin. My dad drove me.
Brass: What time did you get there?
Alex Goode: I don't know. I was sleeping. Maybe around ... 11:00?
Brass: You sure about that?
Alex Goode: Yeah. When I woke up, Captain Caveman was on.
Brass: Okay, Laughlin's about two hours away, so you and your son left home around 8:30?
Kyle Goode: More like 8:00. Alex likes those breakfast sandwiches. We picked a couple up. Ate them on the way.
Brass: Where'd you pick them up?
Kyle Goode: Sunny Side's over on Eastern. You looking for an alibi?
Brass: Something like that, yeah.
Kyle Goode: Come on, Alex. Let's go over to Circus Circus. They got a real arcade.
(KYLE takes a last puff from his cigarette and snuffs it out in the ashtray. He and ALEX leave. BRASS tucks his notebook into his jacket pocket and uses a handkerchief to take the recently discarded cigarette butt out of the ashtray.)
CUT TO:
[INT. SUNNY SIDE - COUNTER -- DAY]
Missy Wilson: Thank you for visiting Sunny Side's. Next in line, please.
(NICK steps up to the counter.)
Nick: Hi.
Missy Wilson: Would you like to try the Sunny Side's special?
Nick: No, I'm Nick Stokes. I'm with the Las Vegas crime lab. Can I talk to you for a second?
Missy Wilson: Um ...
(She looks around and motions to the clerk next to her. She steps aside with NICK.)
Nick: Are you Missy Wilson?
Missy Wilson: Are you a truant officer?
Nick: No. Your Manager said you were working breakfast the other day at the pick-up window.
Missy Wilson: Yeah.
Nick: Do you remember this guy?
(He shows her the DMV photo copy of KYLE GOODE'S license.)
Missy Wilson: Oh, my god. That's the creep who was hitting on me. He was so repulsive. You know what he said to me?
(Quick flashback to: KYLE GOODE muttering to MISSY WILSON through the order window.)
Kyle Goode: I'd like to bend you over the counter, baby.
(MISSY WILSON gasps at him, then closes the window shut.)
(End of flashback. Resume to present.)
Missy Wilson: And he said it in front of his kid. What kind of father acts like that?
Nick: Sounds like he wanted to make an impression.
Missy Wilson: Oh, he did. I hope you're going to arrest him.
Nick: One thing at a time. Now this window ...
Missy Wilson: I get all the creeps in drive-through -- teenagers, perverts, walk-ups, and those are my favorites. "Hi, I'm on a skateboard. Can I have a burger combo?" "No, dork."
Nick: Does this window have a surveillance camera?
Missy Wilson: Oh, yeah, we have cameras all over here. Even in the cooler.
CUT TO:
[INT. CSI - AUDIO / VISUAL LAB -- DAY]
(CLOSE UP: SECURITY VIDEO FOOTAGE of KYLE GOOD ordering through MISSY WILSON'S window.)
Nick: Confirms his alibi. Every suspect Brass leans on seems to have a case of the "airtights."
Grissom: Hold it. Run that back.
(NICK rewinds the video.)
Grissom: Pause it.
(He pauses the video.)
Grissom: What is that around the kid's neck?
Nick: I don't know. Let's enhance it.
(The video is enhanced with a focus on ALEX GOODE.)
Nick: Hard to tell, but, it almost looks like a canteen.
Grissom: You bring a canteen up to your lips, not to your eyes.
Nick: I'll pull some stills, see what I can make of it.
(The lab phone rings. GRISSOM answers it.)
Grissom: AV Lab. Grissom. (pause) I'll be right there.
(GRISSOM hangs up.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. RESIDENCE -- NIGHT]
(A body is dead from a g*nsh*t wound, blood seeping onto the carpet. A taser w*apon is discarded nearby.)
(Fade to: Several taser marks on the victim's skin.)
(Fade to: A g*nsh*t wound to the back of the head.)
(BRASS, GRISSOM and DAVID PHILLIPS is in the crime scene. DAVID is looking over the body.)
Brass: Well, he lived by the stun, but I don't think he d*ed by it.
David Phillips: He didn't. Uh, two g*nsh*t wounds to the back of the head. TOD is within the hour.
(GRISSOM looks around and sees the blood spatter on the walls.)
Grissom: Blood spatter everywhere. Multiple directionalities.
(GRISSOM looks around and sees a chain in the victim's pocket.)
Grissom: You almost done, David?
David Phillips: Uh, yes, sir. He's all yours.
(DAVID takes his things and moves away from the body.)
Grissom: Thanks. I want to pick his pockets.
(GRISSOM finds a rope chain with two initials charms on it.)
Grissom: M ... and T. Doesn't look like Michael Trent.
Brass: If he's one of our bad guys on the bicycle, where's his partner?
Grissom: And where's the rest of the jewelry?
Brass: That's probably what his partner said before he tossed the room.
(GRISSOM nods. They both stand up and look around. GRISSOM sees the open window and looks outside.)
[EXT. RESIDENCE - NIGHT - CONTINUOUS]
(GRISSOM walks outside the side of the house. He walks around the house to the open window where he finds some blood drops on the outside of the wall.)
(He looks around and finds blood drops on the fiber glass sheet on the ground.)
(Quick flashback to: THE GUNMAN is bleeding on the fiber glass. He coughs and runs through the bushes.)
(End of flashback. Resume to present.)
(GRISSOM heads into the bushes where he finds a SECOND BODY dead on the ground. He kneels down to look at the body.)
(BRASS walks around the corner carrying a plastic bag. He holds it up.)
Brass: Hey, look what I found: A Kn*fe with blood on it.
Grissom: Look what I found: A dead guy.
(BRASS nods.)
(GRISSOM picks up the g*n at the scene.)
Grissom: Nine-millimeter. Pillowcase full of jewelry. Two stacks of $10,000 bricks.
Brass: Well, either they pawned some diamonds at the US Treasury, or they're on someone's payroll. You know what that means: Hit-for-hire.
Grissom: And we're still looking for somebody.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(GRISSOM and ROBBINS stand between the two bodies.)
Grissom: Who gets the honors: Him or him?
Robbins: Eh, let's start with Mr. Head wound.
(They turn to the first body. ROBBINS points to the stun g*n burns on his chest.)
Robbins: You've seen these before.
Grissom: Stun g*n. The debilitator of choice.
(Quick flashback to: The two GUNMEN fight. One uses the stun g*n on the other, driving him to his knees, then down to the ground.)
(Flash to: Close up of a g*n f*ring two sh*ts.)
(End of flashback. Resume to present.)
Robbins: Heard you found a nine-millimeter at the scene?
Grissom: Mm-hmm.
Robbins: I sent the b*ll*ts to ballistics.
Grissom: How about his buddy? Any lead in him?
(They turn to the second body.)
Robbins: No, but he took a blade to the stomach. The cut was shallow, five or six centimeters below the sternum. Like the soft spot in a dragon.
(Quick CGI flashback to: The Kn*fe sinks into flesh, then is pulled out. The fight between the two men ensue and the taser g*n brings the other man to his knees. White flash to end of CGI Flashback.)
CUT TO:
[INT. CSI - HALLWAY]
(BRASS and CATHERINE walk through the hallway.0
Catherine: Sounds like no honor among thieves.
Brass: Well, I'll tell you what they were fighting over. The jewelry was hot. Either you fence it fast or eat the loss.
Catherine: I'm thinking more and more it was never part of the plan.
Brass: You know, you could be right. I talked to the Trents' bank. They were on their way to the safety deposit box that morning and then off to Hawaii at the end of the week.
Catherine: So it was Laurel Trent who cleaned out her own jewelry box.
Brass: Yeah. m*rder was their wage, and jewelry was their tip.
CUT TO:
[INT. CSI -- LAB]
(CLOSE UP OF: WARRICK checking the bills.)
(Dissolve to: SARA and WARRICK are documenting bills.)
Warrick: How's your hands?
Sara: Sore. Document every single bill. Fun.
Warrick: I got to hand it to these casinos. They got it all figured out.
Sara: What do you mean?
(WARRICK holds the stack of money in his hand.)
Warrick: Well, this is a ten thousand dollar brick, right?
Sara: Mm-hmm.
Warrick: I could either lose this in a hand of blackjack, or I could lose cranberry chip. What's worse?
(SARA doesn't look up.)
Sara: To me, losing's losing.
(WARRICK chuckles. Camera holds on SARA. WARRICK watches her and notices that she's staring at something.)
Warrick: Sara?
Sara: I got a bloodstain.
(SARA looks up at WARRICK.)
CUT TO:
[INT. CSI - DNA LAB]
(CLOSE UP of the blood stain on One Hundred Dollar Bill, #CL89631217A.)
Greg: You know, the last time I checked, defacing government property was a federal offense.
Sara: Not when it's logged in as property, Greg. The blood might be from a paper cut.
Greg: Okay, but you're my witness.
(GREG cuts off a bit of the bill with the blood on it.)
Sara: Run it against all our players.
Greg: Uh-huh.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(NICK stands in front of GRISSOM'S desk holding a file folder in his hands.)
Nick: I finished up on those still photos. The canteen around Little Alex's neck ... is really a set of binoculars.
(GRISSOM looks at the clear photo still of ALEX looking through a pair of binoculars in the car.)
Nick: If you keep flipping, it tells the rest of the story.
(He goes through each photo still one by one.)
(Quick flashback to: The photo stills moving faster showing KYLE GOODE grabbing the binoculars out of ALEX'S hands.)
Kyle Goode: You're going to break them. ALEX GOODE: I-I-I ...
(End of flashback. Resume to present.)
Nick: Now, call me crazy, but it looks like daddy doesn't like the little man wearing the binoculars around his neck so much.
Grissom: I wonder why?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. TRENT RESIDENCE - FRONT DRIVEWAY -- NIGHT]
(GRISSOM and NICK check out the front driveway as Christmas lights in the trees behind them and the front car headlights light their way. Cute.)
(GRISSOM looks at the empty lot beyond the fence across the street from the driveway. He looks down and positions himself where the blood ends.)
(Quick flashback to: MIKE TRENT lying on the concrete drive. End of flashback. Resume to present.)
(GRISSOM looks up and sees a lit spot across the street on the hillside.)
Nick: What are you thinking?
Grissom: Stay right here until I call you.
(NICK shrugs.)
(GRISSOM moves forward to leave.)
DISSOLVE TO:
[BINOCULARS VIEW: NICK standing in the driveway]
(GRISSOM focuses the binoculars on NICK.)
(He takes out his cell phone and dials. NICK'S phone rings. He answers it.)
Nick: Yeah?
Grissom: Nick, would you move about halfway up the driveway?
Nick: Back where Mike Trent was sh*t?
Grissom: Exactly.
(NICK turns and walks back up the driveway, hidden behind the bushes.)
Nick: How's this? Can you see me here?
Grissom: No, I can't. Thank you.
(NICK pulls the phone away from his ear and gets it. He smiles.)
(GRISSOM puts down the binoculars and hangs up
(Quick flashback to: MIKE TRENT is being dragged down the driveway. The GUNMAN pulls MIKE TRENT'S dead body down the driveway as SOMEONE across the street watches.)
(The GUNMAN stops and sits MIKE TRENT up to show the person that it really is MIKE TRENT.)
(The person across the street puts his binoculars down. It's KYLE GOODE.)
(End of flashback. Resume to present.)
(GRISSOM walks forward, his phone still in his hand. He takes out his flashlight and looks at the barrier in front of him where he sees some scrapings on the side.)
(Quick flashback to: A moving car scrapes the barrier, sparks fly. End of flashback. Resume to present.)
(GRISSOM dials.)
Grissom: (to phone) Jim? Gil. (He pauses.) I'm fine. How are you? Would you put an APB out on Kyle Goode's vehicle, please?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM interview KYLE GOODE in the presence of his lawyer.)
(BRASS puts the photo still on the table in front of KYLE GOODE.)
Brass: You recognize this?
Kyle Goode: That's my kid.
Brass: What's that around his neck?
Kyle Goode: That's his binoculars.
Brass: Yeah. Zeiss, 20x60, BSGA. Forty-five hundred a pop.
Kyle Goode: You know how it is. You got your kid in the car, traveling a long distance. Whatever keeps them occupied.
Grissom: According to your son, he slept all the way to Laughlin.
Lawyer: Kid falling asleep in a car on the way to his grandma's house? You guys won't even make it through the courthouse door.
Brass: Court. That's where the lawyers get fat. And you know all about that. I mean, you've got a lawsuit with your ex-business partner, and your ex-wife, who's suing you for past alimony ...
Lawyer: That's irrelevant.
Brass: Not according to his wife it isn't. She gave us permission for a hair sample from your son.
Kyle Goode: For what?
Grissom: The good thing about dr*gs? They work their way through the bloodstream in the urine, but not the hair. Our lab found trace elements of ambien, which is a hypnotic sleep sedative, in your son's hair root.
Lawyer: Until we see the test results, we're withholding comment.
Brass: No problem, counselor. Okay, moving on.
(GRISSOM hands the file folder to the lawyer.)
Brass: The "buy" money, the 20k that we found on the two geniuses you hired?
Kyle Goode: What geniuses?
Brass: You know, the brothers, who are so cool and laid back, they're in the morgue.
(KYLE GOODE looks surprised.)
Brass: Oh, what? You didn't know they're dead? Yeah, they greased each other over the jewelry. And that wasn't even part of the deal in the first place, was it?
(Quick flashback to: THE GUNMEN find the jewelry in the car ... and take it. End of flashback. Resume to present.)
Brass: Good help is hard to find, huh, Kyle?
Lawyer: He's not answering that.
Kyle Goode: I hated that son of a bitch. Mike Trent was a scumbag, worst of the worst. Use you up and blow right through you. I brought him in on my nickel. And he throws me out? Invests our money in clubs and kicks me out? To do what? To ride off into the sunset with my piece of sushi? And it's not just me. There's a lot guys out there got b*rned by him who wouldn't mind a little revenge. I'll even go so far as to say I'm not sorry he's dead, or rotting somewhere in some box.
(He looks at both of them.)
Kyle Goode: But I'll say this for sure: I didn't k*ll him.
Brass: I'm not saying you did.
Kyle Goode: Or his wife.
Brass: But your $20,000 incentive pulled the trigger. And you know what? You won't believe this -- a paper cut gave you away.
(Quick flashback to: [NIGHT] KYLE GOODE hands the stack of bills over to the GUNMEN.)
Kyle Goode: ... Ten makes twenty large.
(The GUNMAN takes the stack of bills out of KYLE'S hands, cutting his finger in the process. He sticks his finger in his mouth to stop the bleeding.)
Kyle Goode: When you do it, I want to see it. I'll be up here.
(End of flashback. Resume to present.)
Brass: We did the DNA test for the cigarette butt you left at the arcade. Plain view, right counselor? And we matched it to the blood we found on the money.
Lawyer: He didn't hire two K*llers. He only hired me.
Grissom: Yeah, well, lawsuits take a while. I don't think you cared about a verdict anyway, did you, Kyle? You wanted much more than that.
(Quick flashback to: [DAY] The GUNMAN rushes up and grabs MIKE TRENT from behind. He tasers his neck, bringing him down to his knees.)
(Cut to: The SECOND GUNMAN pulls LAUREL TRENT out of the car, screaming.)
Laurel Trent: God ... !
(He pushes her down to her knees.)
(Cut back to: The FIRST GUNMAN brings the g*n to the back of MIKE TRENT'S neck.)
(LAUREL TRENT tries to get to her husband. The SECOND GUNMAN fires twice, sh**ting her in the back of the head.)
Mike Trent: No!
(The FIRST GUNMAN fires twice at MIKE TRENT.)
(End of flashback. Resume to present.)
Lawyer: My client was with his son all day that day.
Grissom: Yeah, that's where he screwed up. Your hatred of Trent was stronger than your love for your own child. You drugged your son so you could use him as an alibi.
Brass: And that's all a jury's going to need to hear to convict you. (b*at)
Kyle Goode, you've been bad. You're under arrest.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EARLY MORNING]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(CATHERINE passes by GRISSOM'S office door and finds him sitting behind his desk.)
Catherine: Oh ... you're still here. Uh ... (She clears her throat as she puts her jacket on.) So I'm leaving. Need anything?
Grissom: No, I'm good.
(b*at)
Catherine: Are we good?
Grissom: We'll be fine.
Catherine: Okay. I'll see you tomorrow.
Grissom: Going out?
Catherine: I've got some unfinished business to take care of. (She smiles.)
I'll see you.
(She leaves. GRISSOM watches her as she goes.)
FADE TO BLACK
End
04x15 - Early Rollout
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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.