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Captain Jim Brass
Dr. Al Robbins
Grissom: Why did you move the body? Why didn't you call for help?
Harry: Because I didn't want anybody comin' into my space. Wanted to spend my time in the last place that I was ever happy. We were like a family back there, beautiful moment in time.
Sheriff Montgomery: Wilson signed a confession.
Grissom: Yeah, but they say some of you guys used to drive suspects out in to the desert, show 'em a hole in the ground and give 'em a choice of either signing a confession or getting in the hole.
Sheriff Montgomery: We got a good clean print.
Grissom: The file says that you lifted the print from Rosethal's alligator wallet, now I examined it, alligator skin would've left voids.
Sheriff Montgomery: Y'know, in the old days, criminals used to be afraid of us. Now it's the other way around.
Grissom (takes out a photo): Does he look familiar to you? He's been squatting at the Chateau Rouge. Now, I ran his prints against the unidentified from the scene in '58, this man was all over the place.
Sheriff Montgomery: All the crime that's goin' on in Vegas these days, you got time to poke around in my old cases? ... Good to see you, son. Thanks for the drink. (walks away)
Sheriff Montgomery: Well, I'll be damned. You're two years late, George deal 'em in.
Grissom: No, I can't, Sheriff, I'm workin'.
Sheriff Montgomery: Well, then what are you doing here?
Grissom: I was hopin' to talk to you, actually. About the Chateau Rouge.
Sheriff Montgomery: One hand. You win, I'll talk.
Sheriff Montgomery (while playing poker with Grissom): You haven't raised once. Either the county's still not paying you enough or you're bluffing.
Catherine (to Grissom, who is looking at the murder file of Jules Rosethal): Huh. You actually found a file this old that rodents haven't nested in.
Nick (upon entering the Le Chateau Rogue): Wow, it's like somebody yelled 'fire' 50 years ago, and nobody ever came back.
Greg: Yeah, you can still feel it in the air. Legands walked here. Louis Armstrong, Nat King Cole, Diana Washington, first integrated casino in town. This place was smokin' so hot every night, they added a 2:30am show. Sinatra, the Rat Pack, all the white headliners and tourists, came down from the strip, this place was singin' until dawn. Then six months after it opened, the joint closed over night.
Nick: How come?
Greg: Well, rumor has it the Kansas City mob didn't like the East Coast Boys, poachin' their pigeons. Back then there were only eight or nine casinos on the strip, 700 or 800 people were here instead of there... Well, you do the math.
Nick (looking at an old map of Vegas): So this was The Strip 50 years ago.
Catherine: The Vegas my dad came to. Now, any one of the big hotels have more rooms than all these put together.
Hodges: What I don't get is why anybody would wanna watch that show-- I mean, I don't. It's a talent contest, it's more like a humiliation ritual.
Archie: Well, you'd know all about that.
Catherine: There's the people who come to Vegas wanting to become rich or famous, and then there's the people that are from here. And we know that the odds are always in favor of the house. It's what built this town. You didn't come here to become famous, did you?
Grissom: I came to play cards.
Catherine: No, for real.
Grissom: I did - I came to play cards. I needed the money. I thought I was in love with this girl, in college, but I kept getting' into debt buying cadavers and fetal pigs. There was no money left for the girl. Science took the pot.
Catherine: Well, maybe it just wasn't the right girl.
Grissom: Plus, poker allowed me to be a loner and still make money.
Catherine: You're right, so when's the last time that you played?
Grissom: I can't remember. You know, to most people risk is a bad thing. But in Vegas, it's a good thing.
Catherine: See? You paid for your pigs, you got roots, you got friends, a family... Well, a work family anyway.
Grissom: Yeah... I think it's time to up the ante.
Greg (upon seeing a costume at Le Chateau Rogue, to Catherine): Wow. You know I have a glitter fetish, don't you? (Catherine smiles)
Grissom: Hi, I'm Gil Grissom. I'm with the crime lab.
Karen Rosenthal: Well, I hope your people are taking care of my property.
Grissom: I understand that it has quite a history.
Karen Rosenthal: You're too young to remember.
Grissom: I've heard stories. Wasn't there a night when Sammy Davis sang, and the only way they'd let him off the stage was if he took the whole crowd to breakfast?
Karen Rosenthal: More than once. Come on in, have a drink.
Grissom: Thank you, but I'm working.
Karen Rosenthal: Well, then you can watch me drink. (Grissom gets in the car with her) In Rome, they illuminate the ruins every night. The Italians see beauty in what ... what used to be. (gazes at the lights of the Le Chateu Rouge) It's been 50 years since I've seen lights on the Rouge.
Grissom: She walks in beauty, like the night.
Karen Rosenthal: My husband, Jules Rosenthal built this. Do you know that it was the first casino where blacks weren't turned away at the door?
Grissom: Your husband was a brave man.
Karen Rosenthal: No, he liked making money. He gave it the best of everything. The decor, the food, the music, it was exciting, magical really... As long as it lasted, but it died with him. I haven't been inside since-- since he was murdered there.
Grissom: Why didn't you sell the property?
Karen Rosenthal: There's no such thing as sentiment in Las Vegas. They would've torn it down and I- I couldn't bear that.
Grissom: Would you like to go in now?
Karen Rosenthal (shakes her head): Mm. You can only wake up once from a dream.
Brass: Hey, check it out. I've got you and Kip returning to the hotel after the time of the murder. You're like a team, right? You're in it together, 50-50. You know, the contest, the career, future earnings. It's a lot of money. And that's what this is about, right? The money?
Mr. Westerman: Thirty million people tune in to hear my kid sing every week. How many people want to watch you?
Brass: So you're on the road four months? How'd you work that out with your job?
Mr. Westerman: I took a leave of absence.
Brass: Come on, sailor, you abandoned ship. You quit your job, got a second mortgage on your house. If Kip screws up, you're wiped out. So I can understand how you'd cover up for him, and maybe you're even desperate enough to kill her yourself.
Brass: We know you left the Palermo around midnight. About 20 minutes later, your credit card was used at the Blue Madonna Motel.
Rich: I wasn't with Layla.
Brass: Her body was found three blocks from there. You beat rape charges once. Maybe you thought you wouldn't be so lucky a second time?
Rich: This is ridiculous. Look … I was with a hooker. All right?
Brass: Layla was pregnant with your child. That's statutory rape.
Rich: Age of consent in Nevada is 16.
Brass: No, have your lawyer look at the statute again. There's an exception when a person is in a position of authority with a teenager - like "executive producer". Come on, let's go.
Hodges: That type of ceiling material hasn't been used in 20 or 30 years. You know, it's as if your victim found a hole in the time-space continuum and was murdered decades ago.
Grissom: Brilliant theory, Dave. Thanks.
Grissom: Mrs. Rosenthal. That is Harry Bastille.
Karen Rosenthal: Well, you knew. So why did you want me to go look at him?
Grissom: We think that he may be the man that murdered your husband.
Karen Rosenthal: He didn't shoot Jules. ... I know because I was there. Do you know Sheriff Montgomery?
Grissom: Very well.
Karen Rosenthal: Well, I promise you that there is no evidence incriminating Harry.
Grissom: You seem to me to be a woman that doesn't change her tastes very often. I noticed last night that you had a fine bottle of pink champagne in your car. It's the same rare champagne that was found in the room where your husband was murdered. Now, champagne usually suggests a celebration, or maybe in this case, a romance.
Karen Rosenthal (looks at Harry through the window): We had no where to be together. So, we took a chance after the last show... Harry wanted to say that he did it. And I … I couldn't let that happen. I took the cash out of Jules' wallet and gave it to him and told him to run … and never come back.
Grissom: And then, you and Sheriff Montgomery framed Melchior Wilson.
Karen Rosenthal: No. I confessed. The town was very different then. And the men who ran it forced the sheriff to arrest Melchior. You see … a white woman could get away with murder … but she couldn't love a black man.
(viewing a dead body in the lab)
Catherine (sighs): They make it to Vegas for the finals. Every kid watching wants to be them. It just … it shouldn't end like this.
Grissom: Glamorous makeup. Fancy lingerie. Sex fetish that went too far? Perverted idol worship?
Catherine: Wholesome all-American girl. Did you do an SAE kit?
Doc Robbins: Not yet.
Grissom: She may have gotten what she wished for - she's an overnight sensation now.
International Episode Titles:
Czech Republic: Mladík a jeho ságo (Youth and His Sago)
Orginal International Air Dates:
Australia: March 8, 2009 on Channel 9
Norway: March 17, 2009 on TVNorge
Belgium: June 8, 2009 on VT4
Germany: September 24, 2009 on RTL
Finland: October 7, 2009 on MTV3
Spain: November 3, 2009 on AXN
Czech Republic: February 25, 2010 on TV Nova
Smoke Gets In Your Eyes - The Platters
Pre-production episode title was The Former Life of the Rich and Famous.
The character "Ajaya, with the fluffy hair", as Hodges called him, might be a subtle reference to "American Idol" singer Sanjaya Malakar who was a contestant on the musical reality show. He, too, was famous for his particular hairstyle which was dubbed a "ponyhawk" [a mix of a ponytail and a mohawk].
Grissom: She walks in beauty, like the night.
Grissom is quoting the famous Lord Byron poem She Walks In Beauty.
Episode Title: Young Man With A Horn
The title of this episode is a reference to the 1950 film "Young Man With A Horn" about a jazz musician which was based on a 1938 novel with the same title.
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