CSI: CRIME SCENE INVESTIGATION 1X20: SOUNDS OF SILENCE ORIGINAL AIR DATE ON CBS: 04/19/2001 TRANSCRIBED FROM CBS/DVD Written by JOSH BERMAN & ANDREW LIPSITZ Directed by PETER MARKLE Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Do not archive this transcript without permission from The Transcriptionist. ========================== DISCLAIMER: ========================== "CSI: CRIME SCENE INVESTIGATION" and other related entities are owned, (TM) and (c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS Worldwide Inc., Alliance Atlantis Corporation, CSI Broadcasting, Inc., and CBS Productions, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: Grissom, Warrick and Sara investigate the murder of a deaf young man. While Catherine and Nick investigates a shoot out at a coffee shop. ========================== CSI: CRIME SCENE INVESTIGATION 1X20: SOUNDS OF SILENCE ========================== COLD OPEN: [EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT] SCENE #01: [EXT. ROADWAY -- NIGHT] (Women are laughing. A car, Nevada license #OVK 195, drives by. There are two women inside the car.) CHARLOTTE: That club was hot! LISA: We're just warming up, my girl. (LISA turns the car and CHARLOTTE doesn't recognize where they are.) CHARLOTTE: Wait, wait, wait. I don't think this is the right way. LISA: (turns to look at CHARLOTTE) It's a shortcut. (She laughs.) CHARLOTTE: A shortcut to where? (The car hits over something.) CHARLOTTE: Stop. Stop the car. LISA: It was just a pothole. (CHARLOTTE looks back. LISA looks in the mirror.) CHARLOTTE: I think you hit someone. (The tires screech as she stops the car.) CUT TO: SCENE #02: [EXT. ROADWAY -- NIGHT] (The ambulance drives off. The road has been taped off and OFFICERS and other Emergency Personnel walk around.) (GRISSOM and SARA get out of the vehicle and make their way toward SGT. O'RILEY who fills them in.) SGT. O'RILEY: Blonde behind the wheel. Girlfriend in the passenger seat called it in. Vehicular manslaughter. (GRISSOM looks at the body down on the roadway. WARRICK snaps a photo. SARA leans over to look at what he's photographing. There are three evidence markers on the roadway, #2-#4, marking pieces of a car taillight.) SARA: Taillight? WARRICK: Yeah. (GRISSOM shines the flashlight in the plastic bag to show the beer inside.) GRISSOM: You been drinking, Warrick? WARRICK: No. I'm having a block party. I marked it where I found it -- over on the sidewalk over there. (WARRICK points to the side. GRISSOM and SARA both turn to look at the body. They put their kits down.) (GRISSOM lifts the boy's shirt to expose his chest. SARA takes photos of the chest.) GRISSOM: Two distinct tire treads -- one wide ... one narrow. SARA: Given the extensive bruising from the wide tread mark, victim was killed by a larger vehicle. Not that compact. (GRISSOM takes off his glasses and looks over at SGT. O'RILEY who is walking toward the car with the two girls. He stops and turns around when GRISSOM calls to him.) GRISSOM: Hey, O'Riley, I wouldn't book those suspects just yet. I think they ran over a corpse. HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. SCENE #03: [EXT. ROADWAY -- NIGHT] (NICK flashes the siren on and off to get SARA and GRISSOM'S attention. SARA and GRISSOM head toward the car where NICK and CATHERINE are inside.) SARA: What's up? NICK: We got a call about ten minutes ago-- a shooting at Vegas Grounds Coffee Shop, eighth and main. Multiple fatalities. CATHERINE: We want this one. GRISSOM: You guys get over there. Keep me in the loop. Keep the media out of it. CATHERINE: Right. (CATHERINE shifts in her seat and coughs to get GRISSOM'S attention.) CATHERINE: Hey, remember about three months ago I applied to the American Academy meeting in Chicago? Well, the deadline for your approval is end of shift today. GRISSOM: It's not a problem. CATHERINE: There's important papers to be presented ... GRISSOM: You don't have to explain -- Consider it done. CATHERINE: Thank you. GRISSOM: Good luck. (GRISSOM turns to let them leave.) CUT TO: SCENE #04: [INT. CSI - FORENSIC AUTOPSY -- NIGHT] (DR. ROBBINS goes over his findings with GRISSOM, SARA and WARRICK.) DR. ALBERT ROBBINS: Printed your hit-and-run. AFIS found a match -- Brian Clemonds, 22, born in Vegas, and he's deaf. SARA: You can tell he's deaf by his fingerprints? DR. ALBERT ROBBINS: Actually, yes -- he was printed as part of a state aid program in '81. To confirm, I examined his ear canal. (Quick CGI POV to: Inside the ear to the malleus.) DR. ALBERT ROBBINS: (v.o.) Normally, the malleus is shaped like a hammer -- a long, smooth handle connecting to a blunt head -- but Brian's malleus is knotted, both of them-- birth defect. (The malleus morphs from normal to deformed. End of CGI POV. Resume to present.) GRISSOM: There's a college for the deaf about a mile from where we found him. WARRICK: So, Brian takes a walk crosses the street, doesn't hear the car, gets creamed. SARA: The vehicle -- probably a truck or an SUV, based on the width of the tire tread-- takes off. Later, along comes a compact - thump -- runs over his dead body. DR. ALBERT ROBBINS: Maybe, maybe not. (DR. ROBBINS lifts up the sheet to show them the right hand.) DR. ALBERT ROBBINS: See the dried blood on his knuckles? No associated wounding. Blood's probably not his. WARRICK: You know what that means -- smackdown -- the kid was in a fight. SARA: That ended in murder. GRISSOM: Did you send a sample of his blood to DNA? DR. ALBERT ROBBINS: When you find the suspect you'll nail him with his own body fluid. GRISSOM: Has his family been notified? DR. ALBERT ROBBINS: Not yet. CUT TO: SCENE #05: [EXT. VEGAS GROUNDS COFFEE SHOP -- NIGHT] (The ambulance drives away. CATHERINE and NICK walks up the sidewalk to the coffee shop.) NICK: One person dead, it's a shame; more than one's a party. CATHERINE: Get ready to pull a double. NICK: Thank you. (CATHERINE and NICK sign in with the OFFICER near the door. They walk into the crime scene and look around.) (NICK heads for one of the bodies. He notices the CD player and picks up the earphones to listen.) NICK: Speed metal. Couldn't hear a bomb go off over this. (BRASS walks up to them.) BRASS: Welcome to the caffeine wars. I got four dead, one on the way to the hospital. The kid who belonged to those headphones. CATHERINE: I count two -- where are the others? BRASS: One behind the counter. One in the back room. NICK: Guy wasn't light with the ammo. This place is raining shell casings. (CATHERINE walks up to one of the bodies and recognizes him.) CATHERINE: Hey, I know this guy. BRASS: I bet you do. Who doesn't know Frankie Flynn? Used to own the Orpheus. Lost his gaming license a couple of years ago. CATHERINE: Oh, yeah. Too many dips in the chips. BRASS: Yeah, you got that r NICK: Who's the muscle? BRASS: This is Al Robson -- Frankie Flynn's bodyguard. NICK: Cash taken? BRASS: Till's full, and all the wallets are accounted for. I don't think anyone was interested in the, uh, cash ... or the coffee. (NICK and CATHERINE both head for the back of the counter.) NICK: You're thinking hit? (BRASS looks around.) BRASS: Maybe. Frankie drives a bulletproof car. What does that tell you? (CATHERINE sees the dead girl behind the counter and closes her eyes for a moment. She sighs.) NICK: She's probably still in high school. (CATHERINE turns and heads for the back of the shop. She pushes the door open. She and NICK both see the other girl dead at the back of the room. NICK groans at the sight.) (CATHERINE closes her eyes. NICK walks past CATHERINE to check on the body.) NICK: Bless her heart. (He kneels down. BRASS walks into the back.) CATHERINE: Assuming Flynn was the target, and it was a hit the shooter followed Flynn ... (Quick flashback to: [SHOOTER'S POV] of FRANKIE FLYNN and AL ROBSON as they walk into the coffee shop.) CATHERINE: (v.o.) ... in the front door ... shot the muscle first ... (The SHOOTER raises his gun and points at AL ROBSON first. ROBSON reaches for his gun, but the SHOOTER fires. ROBSON goes down.) CATHERINE: (v.o.) ... then Flynn ... (The SHOOTER turns and fires at FLYNN.) (Cut to: The BOY with the ear phones on senses someone approach him from behind. He turns.) CATHERINE: (v.o.) ... and some poor kid minding his own business. (He stands and the SHOOTER fires.) (End of flashback. Resume to present.) CATHERINE: The girls were last. (Quick flashback to: THE SHOOTER walks around the counter to the first girl hiding behind the counter. He fires.) (The final girl hears the gunfire and tries to run out through the back.) CATHERINE: (v.o.) ... four dead. One is still alive. (End of flashback. Resume to present.) (BRASS' beeper goes off. He checks it and reads the message.) BRASS: Make that five. Guy died on the way to the hospital. (CATHERINE turns around to look at BRASS.) CUT TO: SCENE #06: [EXT. /INT. CLEMONDS RESIDENCE -- NIGHT] (GRISSOM and an OFFICER walk up to the door. GRISSOM rings the door bell. The light goes on inside.) (The porch light goes on outside and the door opens.) GRISSOM: Mrs. Clemonds? MRS. CLEMONDS: Yes? GRISSOM: My name is Gil Grissom. I'm with the Las Vegas Crime Lab. (He holds up his ID for her to look at.) MRS. CLEMONDS: Crime lab? GRISSOM: May I come in for a minute? MRS. CLEMONDS: Okay. (She steps aside and GRISSOM walks into the house. The officer waits outside. She closes the door. GRISSOM steps inside and looks around. He notices the bell near the floorboards.) MRS. CLEMONDS: My son is deaf. That bell is connected to the doorbell. GRISSOM: The bell sets off vibrations which reverberate on the floorboards so that he knows someone's at the door. MRS. CLEMONDS: Yes. GRISSOM: Mrs. Clemonds, I'm here about your son Brian. There's no easy way to say this. (She starts to cry.) MRS. CLEMONDS: Oh, god, please, no. GRISSOM: Brian was killed tonight. MRS. CLEMONDS: No, no, no. (She slowly sits down on the couch, crying.) MRS. CLEMONDS: This is my fault. GRISSOM: No. No, it's not. MRS. CLEMONDS: When I was pregnant, I had the German measles and the virus took away his hearing. It's my fault. GRISSOM: No, Mrs. Clemonds... we think he might have been murdered. MRS. CLEMONDS: (shakes her head) Murdered? GRISSOM: Would you like to talk to a Family Services Counselor? MRS. CLEMONDS: (she laughs weakly) Talking is overrated, Mr. Grissom. Just find out who did this to my boy. Please. (He nods slightly.) CUT TO: SCENE #07: [INT. CSI - FORENSIC AUTOPSY -- NIGHT] (DAVID PHILLIPS assists while DR. ROBBINS goes over the bodies with CATHEIRNE.) DR. ALBERT ROBBINS: It's been a hell of a night. First the deaf kid, now a hit. It's going to take a while to process all the bodies. CATHERINE: What do you know about Flynn? DR. ALBERT ROBBINS: I always start with the celebrities. Frankie Flynn, 38 gunshot wounds to the head and the abdomen. CATHERINE: Any bullets recovered? DR. ALBERT ROBBINS: Only one -- out of the head -- nine-millimeter .357. I deal with the pin cushions. Ballistics deals with the pins. Shooter could have saved himself a lot of trouble if he'd waited a month or two. CATHERINE: Why? DR. ALBERT ROBBINS: Invasive colon cancer. On his way out. CATHERINE: Guess he got off easy. DR. ALBERT ROBBINS: Hmmm. (CATHERINE turns to the next body.) CATHERINE: I.D.? DAVID PHILLIPS: Erin McCarty, 20. DR. ALBERT ROBBINS: Wonder if she even knew she was pregnant. CATHERINE: Just keeps getting better. Someone notify the husband? DAVID PHILLIPS: Cop said she's single -- she lives at home with her mother. CATHERINE: How far along was she? DAVID PHILLIPS: About six weeks. CATHERINE: She knew. (She shakes her head.) CUT TO: SCENE #08: [INT. VEGAS GROUNDS COFFEE SHOP -- NIGHT] (NICK takes a picture of evidence markers #3 and #4. He reaches down to get a swab of the blood on the floor. NICK puts the swab in the box and closes it.) (Cut to: NICK takes out a bullet casing from the wall. The marker on the wall reads: NS-12.) NICK: Another nine-millimeter, just like our casings. BRASS: Yeah. Nine bullets, all the same caliber. Looks like Robson never got a shot off. I wouldn't want him as my bodyguard. (CATHERINE walks in.) CATHERINE: Need help with the measurements? BRASS: Sure. (OFFICER METCALF walks in.) OFFICER METCALF: Captain, I got the manager outside. (BRASS walks out to meet with the MANAGER.) CUT TO: SCENE #09: [EXT. VEGAS GROUND COFFEE SHOP - NIGHT -- CONTINUOUS] (OFFICER METCALF points out the MANAGER to BRASS.) BRASS: Okay. OFFICER: That's the guy right there. BRASS: This one? OFFICER: Yep. That's the one. (BRASS clears his throat to get the MANAGER'S attention. CATHERINE and NICK follow.) BRASS: I'm Detective Brass. Catherine Willows. Nick Stokes from the crime lab. BRAD KENDALL: Brad Kendall. I heard it on the news. They're saying it was some kind of a hit. Where are Erin and Alice? BRASS: They didn't make it. (BRAD KENDALL sighs.) BRAD KENDALL: Did you call their parents? NICK: Once the coroner makes a positive I.D. Their families will be notified. CATHERINE: Shooting occurred around closing time. Is it customary for your employees to close up? BRAD KENDALL: (upset) Erin locked up twice a week -- 10:00 on the nose. She was training Alice - moving on at the end of the month. I can't believe they're gone. CUT TO: [EXT. GILBERT COLLEGE OF THE DEAF - DAY] SCENE #10: [INT. GILBERT COLLEGE OF THE DEAF - DR. GILBERT'S OFFICE -- DAY] (SARA and WARRICK try to talk with DR. GILBERT with the use of an interpreter. Neither SARA nor WARRICK have much experience in this area and don't fare very well.) SARA: (loudly) Dr. Gilbert ... (SARA turns around to look at the interpreter who stands behind them.) SARA: (looking at the interpreter) We need your help. Brian Clemonds was murdered. (DR. GILBERT can't see what SARA'S saying.) WARRICK: Was he having any difficulties? (WARRICK turns around to look at the interpreter "talk" to DR. GILBERT.) (SARA turns to look at the interpreter.) SARA: Anyone have a grudge against him? (DR. GILBERT watches them, then shakes her head. SARA misinterprets the motion and then continues her questioning, but she's again looking at the interpreter.) SARA: We understand you don't want a homicide investigation upsetting your students. JANE GILBERT: I'm severely deaf, and I can communicate fine. I'd appreciate it if you'd look at me when you speak to me. I wear a hearing aid and I can read lips. You could have asked if I needed an interpreter. SARA: I'm sorry. I didn't mean to offend you. JANE GILBERT: There are 152 students at my school. We live together, we study together, we eat together. We're a family. And Brian is dead. WARRICK: Dr. Gilbert, we're just following protocol. We need to speak with Brian's friends; his roommates. SARA: We'll also need access to his records. JANE GILBERT: The crime didn't happen here -- it happened out there. SARA: I'm not accusing anybody of anything. JANE GILBERT: Neither am I, but there are more of you, right? Send someone else - someone with more understanding of this school of my students. WARRICK: But we're here now, and evidence is time-sensitive. JANE GILBERT: How can you solve a crime without understanding the victim? (Frustrated, DR. GILBERT signs to the interpreter. SARA turns to look back at HALLEY.) HALLEY: Um ... she's kicking us out. (WARRICK and SARA both leave the office.) (HALLEY looks at DR. GILBERT and apologizes to her.) CUT TO: SCENE #11: [EXT. POLICE DEPARTMENT - PARKING LOT -- DAY] (SARA and WARRICK drive in to the parking lot and park the car. GRISSOM is just getting out of his car.) WARRICK: Hey. GRISSOM: How'd it go at the college? SARA: They're not cooperating. WARRICK: Yeah, we didn't have a warrant, so she kicked us out. GRISSOM: What did you do? SARA: What did we do? We met with the president, asked a few questions. WARRICK: She was kind of hostile. SARA: Like it's our fault we can hear. GRISSOM: All right. Let's go. CUT TO: SCENE #12: [EXT. GILBERT COLLEGE OF THE DEAF -- DAY] (Back at the college, GRISSOM, WARRICK and SARA make their way across campus.) [INT. DR. GILBERT'S OFFICE - DAY] (GRISSOM walks into the office.) GRISSOM: Dr. Gilbert? I'm Gil Grissom, with the Crime lab. You kicked my people out of your office. JANE GILBERT: Well, I'm kicking you out, too. (She stands up and indicates the door.) (GRISSOM stops her and signs as he speaks.) GRISSOM: (speaks & signs) Look, your student is dead. Don't you want to know who's responsible? I do. (SARA and WARRICK turn to look at each other, surprised to learn this new aspect of GRISSOM.) JANE GILBERT: Your people can't solve this crime. GRISSOM: (speaks & signs) Why? 'Cause they don't understand the victim? Help them understand. JANE GILBERT: When a deaf person meets a hearing person the hearing person so much as says, "I'm normal, you're not." GRISSOM: (speaks & signs) Is that what you think I'm saying? A student is dead. Maybe you feel responsible. Maybe you're angry. But don't be angry with us. We want to help you. JANE GILBERT: If I agree to cooperate you will include me in your investigation? GRISSOM: Yes, I will. I welcome your involvement. Now, may I see Brian Clemonds' file? Please? CUT TO: [FILE ROOM] (GRISSOM looks through the file.) JANE GILBERT: I did nothing wrong. GRISSOM: Brian filed six complaints against his roommate -- Paul Arrington. JANE GILBERT: Paul lost his hearing less than a year ago-- a tumor. He hasn't adjusted. He's angry. GRISSOM: And he took it out on Brian. Assaulted him. Brian requested a new roommate. Request denied? JANE GILBERT: There were no other available beds. GRISSOM: I want to speak to Paul. JANE GILBERT: He doesn't read lips or sign. GRISSOM: (speaks & signs) You don't need to hear or speak to communicate. Or ... commit murder. FADE OUT. (COMERCIAL SET) FADE IN. SCENE #13: [INT. HALLWAY -- DAY] (GRISSOM, SARA and WARRICK wait to see PAUL ARRINGTON.) SARA: So, you going to tell us how you learned to sign? GRISSOM: No. (SARA looks at WARRICK. He doesn't say anything.) SARA: Well, the president of the college is a real whack job. GRISSOM: Sara, you see deafness as a pathology. For Dr. Gilbert, her deafness is not her handicap -- it's her way of life. SARA: You know, I think you might be siding with her. GRISSOM: As long as you see this as us versus them, you're going to have problems on this case. (WARRICK turns and sees DR. GILBERT and PAUL ARRINGTON walk down the hallway toward them.) WARRICK: The roommate's here. (GRISSOM goes to meet them.) (SARA turns to look at WARRICK.) CUT TO: SCENE #14: [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (GRISSOM hands a sheet of paper to DR. GILBERT.) GRISSOM: This explains what we're doing. [OBSERVATION ROOM] (WARRICK and SARA walk in to the observation room to watch.) GRISSOM: (through speakers) I need for Paul to read it. SARA: What was that all about? Grissom signs. (SARA shuts the door.) WARRICK: Do you know what Grissom drinks when he goes out at night? SARA: He goes out? WARRICK: Exactly. Who knows anything about that guy? Hey, check that out. (They watch as GRISSOM puts a head band on PAUL ARRINGTON'S head.) SARA: Oh, I've read about this machine. Very Frankenstein. WARRICK: Brain printing. They call it a visual polygraph. SARA: You've used one of these before? WARRICK: Yeah, back in '97 Grissom and I used one to interview this rapist. The guy was mute but his brain waves spoke loud and clear. SARA: So, you show the suspect slides of the crime scene and if he's our guy ... WARRICK: ... then the oscillator will give him away. [INTERVIEW ROOM] (GRISSOM sets the machine up and starts with the first slide. It's of DR. GILBERT.) (GRISSOM looks at the monitor.) GRISSOM: Good. He recollects you. (DR. GILBERT nods. The next slide goes up of the "LIBRARY AND LEARNING RESOURCE CENTER".) GRISSOM: He recollects the college. (The third slide of BRIAN CLEMONDS goes up on the screen.) GRISSOM: He recollects Brian. (The next slide is of the crime scene where BRIAN is on the roadway.) GRISSOM: This is a shot of the crime scene. (GRISSOM looks at the monitor.) GRISSOM: No recollection. (The next slide goes up. It's a close up of BRIAN on the ground, dead. DR. GILBERT is mortified by the picture. PAUL tries not to show it, but he's upset by the picture. DR. GILBERT watches PAUL carefully and sees it. GRISSOM watches the monitor.) (She reaches out and rubs his shoulder in comfort.) GRISSOM: No recollection of the crime scene or of Brian under these conditions. JANE GILBERT: May we go now? (GRISSOM notices that the pictures are upsetting to them. He turns the monitor off. He removes the head band from PAUL.) (GRISSOM leans over the table and writes something on the pad in front of PAUL. When he's done, he pushes the pad in front of PAUL so he can see it: I'm sorry Paul.) (GRISSOM steps back. PAUL looks at the message, shakes his head, then pushes the pad away.) (In the observation room, SARA and WARRICK watch as they all head for the door. Before she leaves, DR. GILBERT turns to GRISSOM.) JANE GILBERT: If you want to find the killer look outside the school. (DR. GILBERT leaves the room.) (After a moment, GRISSOM turns to look at the observation room.) CUT TO: SCENE #15: [INT. CSI - GRISSOM'S OFFICE -- DAY] (The clock reads 5:17. Although the second hands moves, we hear nothing. GRISSOM stares at the clock. The camera swings down to show that GRISSOM is tapping the tip of his pen down on the table. Again, we hear nothing.) (The camera moves over to the tank where GRISSOM keeps his pet spider. He looks down at the spider. We hear nothing.) (CATHERINE walks into the room. GRISSOM doesn't notice her.) CATHERINE: (no audio) Grissom! (GRISSOM doesn't look up. CATHERINE takes a step closer to his desk.) CATHERINE: (no audio) Grissom! (Again, GRISSOM doesn't turn around. CATHERINE starts to look worried at his non-response.) (Finally she yells.) CATHERINE: (muffled) Grissom! (He starts and turns around.) (GRISSOM sees CATHERINE and takes out the ear plugs.) (Immediately, the usual sounds of the office bustle is heard. He places the ear plugs on the table.) GRISSOM: Sorry. I was thinking. CATHERINE: About what it's like to be deaf? GRISSOM: About what it's like to hear. CATHERINE: Sara told me that you spoke in sign and now you're putting plugs in your ears. GRISSOM: I'm on a case. CATHERINE: Mm-hmm. Is that why you forgot about the conference? GRISSOM: (confused) The what? CATHERINE: You missed the deadline. No Chicago for me. GRISSOM: (remembers) Oh, Catherine ... CATHERINE: This is the one meeting I needed to attend. I don't always want to be second banana. I can probably do your job. I know that I can do Ecklie's. GRISSOM: I forgot. I'm so sorry. (CATHERINE looks at GRISSOM.) CATHERINE: Make sure to submit the paperwork by the end of the day. GRISSOM: I thought you said that it was too late. CATHERINE: Well, I knew you'd forget so I upped the deadline -- gave you a buffer. Don't forget again. (CATHERINE leaves the office.) (GRISSOM sighs, then looks for the paperwork on his desk to get it done.) CUT TO: SCENE #16: [INT. CSI - LAB -- DAY] (SARA runs the tire treads from the body through the database looking for a match. WARRICK walks into the room carrying an evidence box. He puts the box down.) WARRICK: Those the tire treads from the crime scene? SARA: (nods) I photo'ed the victim's torso and imaged the tread mark-- scanned it -- got it running through a tread assistance CD ROM. WARRICK: Any hits? SARA: Not yet. CD database-- 11,033 patterns. (WARRICK exhales at the number as he takes out a shirt.) SARA: Could take a while. WARRICK: Yeah. SARA: What are you doing? WARRICK: Checking out the dead guy's clothes. (WARRICK looks at the clothes and finds something unusual.) WARRICK: Whoa. What are these? (Camera zooms in for an extreme close up of some bugs on the shirt.) (Curious by his reaction, SARA walks over to take a look. She leans in close.) SARA: What? WARRICK: They look like lice. (SARA straightens up and tucks her hair back.) SARA: Lice? WARRICK: Wasn't our dead guy clean? SARA: Yeah, he was. Lice adhere to hair follicles. I didn't find any stray hairs on him. WARRICK: Well, he was in a fight, right? Maybe his attacker had lice and they crawled off on his sweater and they got comfy and the stray hair blew away. (GRISSOM walks by the doorway. He sees them inside and stops.) GRISSOM: (to SARA) Hey. Any luck on the tire treads? SARA: Computer's still processing but Warrick found something pretty interesting. (GRISSOM steps into the lab.) WARRICK: You know anything about lice? GRISSOM: Yeah. They make your head itch. And, after head colds the most common medical problem affecting children. WARRICK: Little problem no one talks about, huh? (GREG rushes into the lab for GRISSOM.) GREG SANDERS: Hey, Grissom, can I see you a second, Stat. (He looks up and sees SARA. GREG waves to her. SARA smiles back. GREG leaves the lab.) (GRISSOM turns around and tells SARA.) GRISSOM: Stay on the tire treads. (SARA nods.) Warrick? (GRISSOM leaves the lab. WARRICK rushes to get a sample of the lice.) WARRICK: Yeah. Right behind you. (SARA looks at the evidence package on the table. She reads the label, then opens it up. She pours its contents out onto the table. The three pieces of tail light fall onto the table.) (She takes the flashlight and looks at the numbers, SAE(2)AIP2 ... ) SARA: A few more numbers and this could have been cake. CUT TO: SCENE #17: [INT. POLICE DEPARTMENT - BRASS' OFFICE] (BRASS holds up the LAS VEGAS CHRONICLE with the headline: "IT'S A HIT, FRANKIE FLYNN MURDERED!") BRASS: Guess who used to sign Brad Kendall's paychecks six years ago? CATHERINE: Frankie Flynn. BRASS: Oh, yeah. (CATHERINE grabs the paper just as BRAD KENDALL turns and walks into the office.) BRASS: Hey, Brad, thanks for coming in. We just got a few more questions. (CATHERINE sits down. The door closes behind him.) BRAD KENDALL: Sure. BRASS: So you used to work for Frankie Flynn? BRAD KENDALL: Yeah. At the Orpheus. I was a waiter in the coffee shop. He came in all the time. BRASS: Sit down. Sit down. (BRAD KENDALL sits down.) BRASS: Did you see him outside the coffee shop? BRAD KENDALL: (sighs) Once in a while. He owned the place. He was everywhere. CATHERINE: Why don't you tell us about your CCW permit. BRAD KENDALL: I made cash deposits. I carry a concealed weapon. CATHERINE: What kind? BRAD KENDALL: Glock, nine millimeter. BRASS: We'll need to see the weapon and any spare ammo. BRAD KENDALL: Yeah, of course, I'll bring it in. CUT TO: SCENE #18: [INT. CSI - DNA LAB] (GRISSOM and WARRICK follow GREG who walks through the hallway, then stops and turns around to look at them.) GREG SANDERS: I am the man. WARRICK: Why? What did you do? Let me guess. You ran a DNA profile on the blood from the dead guy's knuckles and you got a match. GREG SANDERS: No. GRISSOM: You ran a DNA profile and something very distinctive popped up? GREG SANDERS: Not quite. WARRICK: You made it out of bed and you dressed yourself? GREG SANDERS: No. GRISSOM: What is it, Greg? (GREG turns around and points to the scope. GRISSOM puts his things down and looks.) GREG SANDERS: Just put your nose down the scope. [SCOPE VIEW] GRISSOM: Dots of blue light on a red sea. GREG SANDERS: Pyoverdin. GRISSOM: Pyoverdin. A pigment excreted from pseudomonas aeruginosa which is a bacteria occasionally found in the bloodstream. WARRICK: So what does that give us? GREG SANDERS: Your killer has fluorescent blue dots in his blood. WARRICK: So the guy's a glow-stick. How does that help us track him down? GREG SANDERS: (laughs) Haven't I done enough for one day? (SARA walks into the lab.) SARA: We have a lead -- I found a partial serial number on the broken taillight. GRISSOM: I saw it. It's missing six digits. It's useless. SARA: Maybe on its own but the tire tread database kicked out a match. The tire belongs to a ford explorer. A p235-75, manufactured specifically for their SUVs. Only one with the same partial serial number is registered in Vegas. GRISSOM: What do you call a guy with blue-dotted blood, lice and keys to a ford explorer? (SARA smiles.) WARRICK: A suspect? (GRISSOM turns to look at WARRICK.) GRISSOM: A killer. FADE OUT. (COMMERCIAL SET) FADE IN. SCENE #19: [INT. POLICE DEPARTMENT - PARKING LOT -- DAY] (GRISSOM waits outside as JANE GILBERT'S car (Nevada License #213 OAT) stops and she exits the vehicle. He holds the car door open for her.) JANE GILBERT: You found the car that ran over Brian? GRISSOM: Yes. (He closes the car door and they head for the building.) GRISSOM: The SUV's registered to Adam Walkey. He's 18 years old; no prior complaints. We're processing it now. I promised to keep you informed. JANE GILBERT: (smiling) You kept your word. CUT TO: SCENE #20: [INT. CSI - GARAGE -- DAY] [SCOPE VIEW of the lice] (WARRICK looks a the lice on the driver's seat.) WARRICK: Hmm. (SARA stands on the passenger side shining her flashlight into the car at WARRICK.) SARA: Lice? WARRICK: Creepy critters in the driver's seat. (SARA looks up and sees GRISSOM walking in to the garage with JANE GILBERT.) SARA: So ... that's why Grissom's late. WARRICK: You just don't like other women in his life. SARA: I'm going to pretend I didn't hear that. WARRICK: Affirmative on the head lice. SARA: Taillights match. GRISSOM: We have a suspect. CUT TO: SCENE #21: [INT. CSI - LAB -- DAY] (ADAM WALKEY and his LAWYER RANDY PAINTER are in the lab with GRISSOM and SGT. O'RILEY.) RANDY PAINTER: I'm advising Adam to invoke his fifth amendment rights. SGT. O'RILEY: No charges have been filed and I haven't asked a question. RANDY PAINTER: Go ahead and ask. He won't answer. GRISSOM: Well, that's why I suggested we meet here. I don't need him to talk. I just want his blood. RANDY PAINTER: Well, for that, you're going to need a warrant. (GRISSOM turns to look at SGT. O'RILEY who takes out a sheet of paper from his jacket pocket. He hands it to RANDY PAINTER who takes a moment to read it.) RANDY PAINTER: This warrant is for blood ... (He looks up confused.) RANDY PAINTER: ... and a scalp search. (GRISSOM holds up a lice comb.) GRISSOM: It's a licemeister. (and smiles) We're going to comb your hair. (RANDY PAINTER and ADAM WALKEY look at each other.) CUT TO: SCENE #22: [INT. CSI - BALLISTICS LAB - DAY] (CATHERINE turns the corner and walks into the lab where NICK is already there looking through a scope.) CATHERINE: Talk to me. NICK: Good news, bad news. Same caliber, different gun. (CATHERINE looks over at BOBBY DAWSON standing inside the lab.) CATHERINE: Bobby? BOBBY DAWSON: Striations don't match. (BOBBY points the monitor.) BOBBY DAWSON: The gun that killed those five people at the coffee house isn't your store manager's. The good news is -- all of the nine millimeter bullets fired at the scene ... from the same gun. (Quick CGI POV: Camera moves down and inside the barrel of a gun. The gun fires and the bullet exits the barrel. End of CGI POV. Resume to present.) BOBBY DAWSON: You're looking for only one guy. CATHERINE: Well, what about the breach-face marks on the casings? BOBBY DAWSON: (shakes his head) Indeterminate. CATHERINE: Hmm. (CATHERINE turns to look at NICK and she sees BRASS walk toward them into the room.) CATHERINE: Well, well ... looks like you got zip. BRASS: I got a ton of people out interviewing every two-bit stiff that ever had a beef against Flynn. They're all doing the smart thing -- keeping their mouth shut. CATHERINE: So we have no statements or physical evidence indicating it was a hit on Flynn. NICK: What we have is five dead bodies. CATHERINE: Yeah ... why? BRASS: You know something I don't know? CATHERINE: Not yet. (BRASS looks past CATHERINE toward NICK. CATHERINE turns around to look at NICK.) CATHERINE: Nick? NICK: (shrugs) Smoke and mirrors. CUT TO: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] SCENE #23: [INT. VEGAS GROUNDS COFFEE HOUSE - NIGHT] (NICK and CATHERINE are back inside the Coffee Shop.) NICK: If it was a hit, the guy came to the front door took out Al and Frankie, and got the witnesses. Bullets will confirm it. Shooter was standing here when he shot Al ... (NICK uses the red laser light to point it toward the "X" on the cardboard cut out representing "AL".) NICK: ... bamm. Once in the chest. This is Flynn. (NICK moves over to the next light set up on a tripod and turns it on toward the wall where they found the bullet.) NICK: One miss ... (He moves to the next light on the tripod and turns it on so the light hits the cardboard cut out representing "FLYNN".) NICK: ... One hit ... one through and through. (The next light goes on and is pointed through the hole in the cardboard cut out.) (CATHERINE moves to the other lights set up.) CATHERINE: Headphones. (She turns on the lights pointing them at the witness with the headphones who was killed.) CATHERINE: Ricochet. Through and through. (NICK walks around the room looking at the ray of lights. CATHERINE walks up close to the cardboard cut out of the witness. She stops and thinks about it.) (Camera cuts to a slow pan around the room at the various cardboard cut outs and lights indicating the shots fired. It stops on the laptop monitor of the room layout.) (Cut to: NICK and CATHERINE work on the computer laptop.) NICK: Each victim gets a different color. Blue beams are isolated. The kid with the cd player was alone. (Quick flashback to: The night of the shooting, the kid with the CD player has his back to the action. The camera moves slowly toward him and he turns around. End of flashback. Resume to present.) CATHERINE: Flynn was closest to the door. (Quick flashback to: The night of the shooting. FLYNN and AL ROBSON walk into the coffee shop and up to the counter. End of flashback. Resume to present.) NICK: Shooter was positioned between Flynn and the front door. Flynn eats it ... ? Nah. NICK: I would have taken out big Al ... bodyguard first. CATHERINE: Me, too. NICK: Ident found both of the bodyguards' paws on the counter. (NICK walks up to the counter and puts both his hands down flat on the countertop.) (Quick flashback to: The night of the shooting. AL ROBSON and FLYNN walk into the coffee shop. ROBSON walks up to the counter and puts both hands flat on top. End of flashback. Resume to present.) (NICK looks up at CATHERINE who's behind the counter.) CATHERINE: What if the shooter was here when he shot big Al? NICK: Big Al would already be dead. It doesn't make any sense. CATHERINE: If the shooter walked through the front door. NICK: What if he came through the back? (CATHERINE turns around and heads for the back.) (Cut to: CATHERINE opens the door. She and NICK walk inside. CATHERINE walks in toward the cardboard cut out that represents ERIN.) CATHERINE: Erin McCarty-- the employee who was supposed to close up. NICK: Yeah. Yeah. Shot twice in the back while headed for the rear exit. (CATHERINE and NICK start looking around the area.) (CATHERINE searches the shelves, then notices something behind the keys hanging on the hooks on the side of the shelves. It appears to be a small dent.) CATHEIRNE: If she was headed towards the parking lot, how do you explain this ricochet? NICK: What? (NICK walks over to see what CATHERINE'S found. He looks at the small dent in the shelf and thinks.) NICK: Like this. (NICK turns off the back room light and heads for the light on the tripod. CATHERINE gets the small mirror and puts it on the shelf to reflect the light. Together, they work to find the missing bullet.) (NICK moves the light until it hits the mirror. CATHERINE moves the mirror to show where the bullet could've possibly gone. The light winds up on a bag of 100% COLUMBIAN.) (NICK checks the bag.. He picks it up and opens it. He pours the beans out and finds the missing bullet. He looks back at CATHERINE and smiles.) NICK: I love this job. CATHERINE: The ricochet went out into the store. (thinking) There's no hole in the door. There's no hole in the door 'cause the door had to have been open. NICK: Assuming Erin was running for her life the shooter follows her in the back room shoots her twice -- he would have been shooting toward the parking lot. CATHERINE: He shot toward the parking lot first and then toward the front of the store. NICK: He'd only shoot toward the front if there's somebody there. CATHERINE: So who was in the line of fire? What if we have it backwards? What if ... the shooting began back here ... with Erin? NICK: Yeah, and somebody else saw. Frankie Flynn was an innocent bystander. Wrong place, wrong time. CATHERINE: The target was Erin ... the pregnant girl and the rest was damage control. CUT TO: SCENE #24: [INT. CSI - HALLWAY / DNA LAB -- NIGHT] (WARRICK, SARA and GRISSOM walk through the hallway.) WARRICK: Adam Walkey doesn't have lice? GRISSOM: Not even lice eggs. SARA; Maybe he got rid of them since the other night. GRISSOM: Delousing agents take time to kick in. There would have been evidence of the infestation. (They walk into the DNA LAB where GREG is waiting for them.) GREG SANDERS: Hey... got good news. Walkey's blood sample ... GRISSOM: Pseudomonas aeruginosa? GREG SANDERS: Fluorescent blue. (GRISSOM leans in to look through the scope.) [SCOPE VIEW] WARRICK: Same as the blood we found on Brian's knuckle. GRISSOM: Greg, start a DNA comparison. This gives us enough to hold Walkey. (GRISSOM walks out of the lab. WARRICK and SARA follow.) WARRICK: It's just like Dr. Gilbert said ... the killer came from out here. GRISSOM: Dr. Gilbert can afford her personal bias. We can't. (GRISSOM stops and turns around to look at them.) GRISSOM: And we need a lot more than day-glo bacteria to get a conviction. FADE OUT. (COMMERCIAL SET) FADE IN. SCENE #25: [INT. CSI - HALLWAY] (NICK and CATHERINE walk through the hallway on their way to forensic pathology.) NICK: You really think Erin knew she was pregnant? I mean, six weeks? CATHERINE: Twenty-year-old girl, living at home? She would have taken a test if she was five seconds late -- panic city. NICK: Yeah. Brass talked to her parents. There was no guy in her life. CATHERINE: Well, it's not immaculate conception. If the guy was Mr. Right she would have told her folks. Which means he was Mr. Wrong. Maybe Mr. Married. [INT. CSI - FORENSIC PATHOLOGY - CONTINUOUS] (NICK and CATHERINE walk into pathology. DR. ROBBINS looks up from the counter he's working at.) DR. ALBERT ROBBINS: Back for more? CATHERINE: You still have the pregnant girl? DR. ALBERT ROBBINS: Mortuary is going to pick her up later this afternoon. NICK: Stall them. We want a paternity test. DR. ALBERT ROBBINS: At six weeks? CATHERINE: Six weeks with half of someone else's DNA in her body. (NICK turns and opens the door for CATHERINE.) CUT TO: SCENE #26: [INT. CSI - GARAGE -- DAY] (SARA and WARRICK check under ADAM WALKEY'S SUV. They look around. SARA sees something, a tear in the muffler. There's a piece of cloth caught in the tear.) SARA: Check this out. (SARA reaches up and takes the sample.) SARA: This fabric matches the victim's sweater. WARRICK: That's the muffler. And this is the back of the car. SARA: And the taillight was smashed. WARRICK: There's no way this car was moving forward when it ran over Brian Clemonds' body. SARA: Who drives backwards on a downtown street? CUT TO: SCENE #27: [INT. CSI - BREAK ROOM -- DAY] (SGT. O'RILEY and GRISSOM interview ADAM WALKEY and RANDY PAINTER.) SGT. O'RILEY: First degree murder. That's how we see it. (RANDY PAINTER looks at ADAM WALKEY and nods.) RANDY PAINTER: It's okay. (to O'RILEY) In that case, my client is now prepared to make a statement. Tell him, Adam. ADAM WALKEY: I may have hit the guy. SGT O'RILEY: That's some statement. ADAM WALKEY: Okay. I remember hitting something. It was dark. I-I just kept driving. Didn't look back. GRISSOM: Adam ... we found lice in the driver's seat of your vehicle but your scalp was clean. Was there anyone else there? A witness who might support your account? (ADAM WALKEY turns to look at RANDY PAINTER who clears his throat and nods.) ADAM WALKEY: (sighs) Yeah, someone was with me. Mark. Mark Rucker. He can confirm everything I told you. (In the hallway, JANE GILBERT walk past the glass walls and heads toward the door. She angrily walks into the break room.) JANE GILBERT: I want to see him. (GRISSOM looks up.) JANE GILBERT: Is that the coward who killed Brian? (ADAM WALKEY looks up. DR. GILBERT speaks and signs as she walks slowly toward ADAM WALKEY.) JANE GILBERT: (upset) What happened? He scare you? Talk a little funny? Make a lot of noises? Screamed? Or maybe he just looked at you the wrong way? ADAM GILBERT: Get away from me! (GRISSOM appears next to DR. GILBERT.) JANE GILBERT: (speaks & signs) You make me sick. (GRISSOM takes DR. GILBERT out into the hallway.) CUT TO: SCENE #28: [INT. CSI - HALLWAY - DAY -- CONTINUOUS] (DR. GILBERT storms out of the hallway with GRISSOM behind her. She stops and turns around.) JANE GILBERT: (accusing) You said you'd include me. GRISSOM: You offered to help with my investigation and now you're compromising it. JANE GILBERT: You found the killer. GRISSOM: (speaks and signs) Who says it was a hit-and-run. Not murder. He has a witness. JANE GILBERT: Who will lie for him. GRISSOM: The witness can say whatever he wants. The important thing is that Adam Walkey was not alone when he killed Brian. (The anger leaves DR. GILBERT as she realizes what GRISSOM is saying.) GRISSOM: Until now, I did not know who was with him. JANE GILBERT: And now you do. GRISSOM: His witness is our other suspect. CUT TO: SCENE #29: [INT. CSI - BALLISTICS LAB] (NICK walks into the lab toward BOBBY DAWSON.) NICK: 911 page? (BOBBY DAWSON looks up.) NICK: What's up? BOBBY DAWSON: Right gun, wrong barrel. NICK: Son of a bitch swapped the gun barrel out. BOBBY DAWSON: Check this out. (BOBBY puts in the barrel and shows it to NICK. Camera zooms in for a close up to show the dent.) NICK: Could be an incomplete tool mark. Maybe the guy dropped his gun. Either way, we still don't have the barrel. BOBBY DAWSON: This is true. NICK: But we've got Kendall's ammo. What about bullet batching? BOBBY DAWSON: Match the bunter marks? NICK: Every casing's got two pieces of information on it: Manufacturer and caliber. BOBBY DAWSON: Etched in by an electrodischarge machine. (Quick CGI POV of: The etching on the bottom of the casing. End of CGI POV. Resume to present.) BOBBY DAWSON: Every casing from a given batch of ammo has the same markings. NICK: So if you compared the casings we collected at the crime scene with the casings from Brad Kendall's gun... BOBBY DAWSON: ... on a microscopic level, we should find similar characteristics ... NICK: Which would link Brad's ammo to the crime even though we can't link his gun. BOBBY DAWSON: Not as airtight as matching the barrel. NICK: But still enough to build a case. BOBBY DAWSON: What about motive? NICK: Well, Catherine's working on a hunch. CUT TO: SCENE #30: [INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY] (BRASS and CATHERINE question BRAD KENDALL.) BRAD KENDALL: Me? The father? No way. I'm married. I don't fool around. BRASS: Would you like us to explain the mechanics of sex in the workplace? CATHERINE: You're the manager. Erin was the employee. BRASS: You had the power. Happens all the time. BRAD KENDALL: You got it all wrong. CATHERINE: Maybe we do-- we all make mistakes-- but, just to be sure why don't you give us a sample of your DNA and you'll be on your way. BRAD KENDALL: I don't believe this. Talk to anyone. I'm not like that. BRASS: I've got a court order. (BRASS puts the piece of paper on the desk. BRAD KENDALL looks at it, then admits it.) BRAD KENDALL: It was a one-time thing. I didn't even know she was pregnant. CUT TO: SCENE #31: [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (SGT. O'RILEY and GRISSOM question MARK RUCKER.) SGT. O'RILEY: I read him his rights. Last chance for a lawyer. MARK RUCKER: I didn't do anything. Why would I need a lawyer? SGT. O'RILEY: (to GRISSOM) Fire away. GRISSOM: I have just one question: Does your head itch? MARK RUCKER: (laughs) Do I have to answer that? GRISSOM: I'm going to just, uh ... rearrange your part a little. Hmm. According to Adam Walkey you were with him in his SUV the other night and your head lice ... confirmed his statement. They also tell me that you were driving. MARK RUCKER: Yeah, yeah, I was with him. And, like he told you, we didn't know he hit the guy. SGT. O'RILEY: How do you know what Adam told us? (GRISSOM takes off his gloves and sits down.) GRISSOM: Now, why don't you tell us what really happened. MARK RUCKER: Well, it was around midnight ... (Quick flashback to: That night. MARK RUCKER is driving.) MARK RUCKER: (v.o.) ... and we were listening to the radio. I changed the station. Adam got pissed. ADAM WALKEY: Dude, what are you doing? That song is a classic. MARK RUCKER: It's not a classic. It's crap. It's always been crap. Now, this ... this is tight. (They run over something with a loud thud.) MARK RUCKER: Wh-what was that? ADAM WALKEY: Probably a dog. Let's get out of here. (End of flashback. Resume to present.) MARK RUCKER: We just kept driving. It's the truth. GRISSOM: The evidence says otherwise. MARK RUCKER: What are you talking about? GRISSOM: Well, there weren't just lice in the SUV. There were lice on the victim's sweater. MARK RUCKER: So who cares about lice? GRISSOM: Do you know what lice eat? (MARK RUCKER doesn't know.) GRISSOM: Blood. I'm pretty sure I can prove that the lice on Brian Clemonds came from your head. MARK: We got out of the car. (Quick flashback to: That night. The SUV stops and both men get out of the car. They look at the body in the street.) MARK RUCKER: We got to call the paramedics. ADAM WALKEY: We tell anybody, we are in trouble. We could go to jail. (End of flashback. Resume to present.) MARK RUCKER: But I didn't want to leave him like that. Adam talked me into it. He had a scholarship to duke next year, you know. He couldn't risk it. (GRISSOM sighs.) GRISSOM: Let me tell you what I think happened. (Quick flashback to: Earlier that night. As they're driving past the liquor store, they see BRAIN.) GRISSOM: (v.o.) You and Adam saw Brian walking out of a liquor store carrying a six-pack. You're underage. Maybe you wanted him to front you some beer. (They lean out the open car window and yell out to him.) ADAM WALKEY: Hey, man, can you do us a favor? GRISSOM: (v.o.) Brian doesn't respond. ADAM WALKEY: Hey! (to MARK) What's his problem? MARK RUCKER: Let's find out. (The SUV stops in front of BRIAN and the men get out of the car.) GRISSOM: (v.o.) ... Then you got out of the car. (They circle BRIAN and continue to talk to him.) ADAM WALKEY: Hey, moron, we just want you to buy us some beer. MARK RUCKER: How about we just grab yours, huh? ADAM WALKEY: What do you want? MARK RUCKER: What do you say? You going to give it up? GRISSOM: (v.o.) You started taunting him. And then everything escalated. (They beat BRIAN up and leave BRIAN on the road.) GRISSOM: (v.o.) The blood on the victim's knuckles led us to Adam. (Camera moves from the bloodied knuckles on BRIAN'S hands to ADAM'S bloodied nose.) GRISSOM: (v.o.) The average male loses 80 hairs a day. A stray hair left behind lice, which brings us to you. (ADAM brushes his hand through his hair. Slow motion camera follows the single strand of hair as it falls onto BRIAN'S sweater.) (The two men leave BRIAN and get back into the SUV.) (End of flashback. Resume to present.) GRISSOM: It would have ended there but, as you were about to drive away, something caught your attention. (Quick flashback to: That night. Both men are in the SUV and slam their doors shut. They start the car and move forward when they notice BRIAN get up.) GRISSOM: (v.o.) Something in your rearview mirror. (In the rearview mirror, they see BRIAN get up and start yelling. MARK puts the car in reverse and hits BRIAN. BRIAN flies backward. MARK continues and runs the car over BRIAN.) (Camera close up of the piece of sweater caught in the muffler.) (End of flashback. Resume to present.) GRISSOM: And you took off. MARK RUCKER: I want a lawyer. GRISSOM: Let me tell you something, son. SGT. O'RILEY: Gil, the interrogation is over. He's requested counsel. (MARK RUCKER looks at GRISSOM smugly.) GRISSOM: Fine. No more questions. (GRISSOM slowly gets to his feet.) GRISSOM: Just this. You want to know why Brian Clemonds ran away from you? It was dark, you were shouting at him and he didn't understand what you were saying. Brian Clemonds was deaf. (MARK RUCKER looks up at GRISSOM.) GRISSOM: He was afraid of you. But you were more afraid of him ... weren't you? (GRISSOM turns to leave the room.) CUT TO: [EXT. LAS VEGAS CITY (STOCK) - DAY] SCENE #32: [INT. VEGAS GROUNDS COFFEE SHOP -- DAY] (The door opens and BRASS walks inside. CATHERINE and NICK talk with BRAD KENDALL. They show the pictures on the monitor to BRAD.) BRAD KENDALL: What am I looking at? NICK: Microscopic surface analysis. This ought to make things more clear. CATHERINE: A bunter tool makes a unique mark. (Quick CGI POV to: The etchings on the bottom bullet casing at close up as the tool burns in the mark. Camera pulls back to show the two "R" from the bullet casings side-by-side. End of CGI POV. Resume to present.) NICK: Casings from your gun are on the right. Casings collected from the crime scene are on the left. CATHERINE: They're identical. You came here that night ... to kill Erin. (Quick flashback to: That night. ERIN takes off her smock when the back door opens. BRAD KENDALL walks in.) CATHERINE: You came in through the back. Erin was in the office. BRAD KENDALL: We got to talk. ERIN MCCARTY: I'm tired of talking to you. BRAD KENDALL: Listen to me! ERIN MCCARTY: I'm tired of listening to you. BRAD: I will take care of this. ERIN MCCARTY: All you take care of is yourself. BRAD KENDAL: Erin, think! Use your head for once. I'm not going to let you ruin my life! (The back door opens and ALICE NEELY peeks inside.) ERIN MCCARTY: I already have thought about it. I'm going to have this baby and you are going to support it. (ERIN walks past BRAD toward the back door.) ERIN MCCARTY: I'll let you know if it's a boy or a girl. (BRAD takes out his gun and shoot her in the back. ALICE NEELY gasps. BRAD turns around seeing ALICE standing there. He shoots at her and misses. The bullet ricochets off the shelf.) (ALICE quickly closes the door and heads back into the main shop. BRAD follows.) CATHERINE: But Alice saw so you shot her. (BRAD fires and shoots ALICE.) CATHERINE: (v.o.) You thought that Erin had locked up but there was a kid drinking coffee (BRAD looks up and sees the customer at the table. The door opens and FLYNN and AL ROBSON walk into the shop. CATHERINE: ... and then things got out of hand. (AL ROBSON walks up to the counter and sees BRAD KENDALL standing there. He puts both hands on the counter and looks over the top where he sees ALICE on the floor.) (He looks back at BRAD and reaches for his gun. BRAD fires. He walks around the counter and finishes killing everyone in the shop.) (End of flashback. Resume to present.) BRASS: Brad Kendall, you're under arrest for the murder of Frankie Flynn, Al Robson, Roy Hinton, Alice Neely and Erin McCarty. NICK: Six weeks pregnant with your child. (BRAD looks down.) BRAD KENDALL: I didn't mean for it to happen like that. I just wanted to talk. CATHERINE: Is that why you brought your gun? CUT TO: SCENE #33: [EXT. GILBERT COLLEGE OF THE DEAF -- DAY] (GRISSOM and DR. GILBERT sit outside the front of the college.) GRISSOM: Some people are just afraid. JANE GILBERT: And that's why they killed Brian. Because he was different. You don't see us as different. (Shakes his head.) GRISSOM: You're not. JANE GILBERT: (speaks & signs) Who taught you to sign? GRISSOM: (speaks & signs) My mother. JANE GILBERT: (speaks & signs) Tell me about her. And use your hands. You're a little rusty. (GRISSOM smiles sheepishly at her.) [Note: Very loose translation. I'm no expert.] GRISSOM: (signs) She lost her hearing when she was eight. (Off of GRISSOM, camera shot of DR. GILBERT.) GRISSOM: (signs) ... loved to swim. I asked her what it was like to be deaf. She told me to stick my head under the water ... JANE GILBERT: (laughs and signs) True. GRISSOM: (signs) She taught me not to make fun of "she" ... "you" ... "everyone" ... "the same". (Camera is behind DR. GILBERT, off her shoulder at GRISSOM then slowly pulls back.) JANE GILBERT: (signs) ... GRISSOM: (signs) ... JANE GILBERT: (signs) ... (Conversation continues ... The only sounds we hear are the water fountain and birds chirping.) FADE TO BLACK. (Sounds continues ... then fades ... ) ========================== THE END ========================== [Captioning sponsored by Paramount Pictures, CBS, C.S.I. Productions and Volkswagen. Captioned by media access group at wgbh access.Wgbh.Org] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Do not archive this transcript without permission from the Transcriptionist. ========================== TITLE/OPENING CREDITS ========================== CSI: CRIME SCENE INVESTIGATION 1X20: SOUNDS OF SILENCE ORIGINAL AIR DATE ON CBS: 4/19/2001 TRANSCRIBED FROM CBS / DVD Starring: WILLIAM PETERSEN as Gil Grissom MARG HELGENBERGER as Catherine Willows GARY DOURDAN as Warrick Brown GEORGE EADS as Nick Stokes JORJA FOX as Sara Sidle and PAUL GUILFOYLE as Jim Brass Created by ANTHONY E. ZUIKER Starring ERIC SZMANDA as Greg Sanders DEANNE BRAY as Dr. Jane Gilbert MARIO SCHUGEL as Brad Kendall TOM GALLOP as Atty. Randy Painter ROBERT DAVID HALL as Dr. Albert Robbins ELAINE KAGEN as Mrs. Clemonds JONAH ROONEY as Mark Rucker AUSTIN NICHOLS as Adam Walkey SKIP O'BRIEN as Sgt. O'Reilly Composer: JOHN M. KEANE Edited by LOU ANGELO Production Designer: RICHARD BERG Director of Photography: JONATHAN WEST, A.S.C. Co-Producer: BERNIE LARAMIE Co-Producer: JOSH BERMAN Co-Producer: ANDREW LIPSITZ Producer: DANNY CANNON Producer: CYNTHIA CHVATAL Producer: WILLIAM PETERSEN Consulting Producer: JONATHAN LITTMAN Co-Executive Producer: SAM STRANGIS Co-Executive Producer: ANTHONY E. ZUIKER Executive Producer: ANN DONAHUE Executive Producer: CAROL MENDELSOHN Written by JOSH BERMAN & ANDREW LIPSITZ Directed by PETER MARKLE ========================== END CREDITS ========================== Executive Producer: JERRY BRUCKHEIMER JERRY BRUCKHEIMER Films Alliance Atlantis Productions, Inc. CBS Productions, Inc. Co-Starring ARLENE MALINOWSKI as Halley GREG ANDERSON as Brian Clemonds DAVID BERMAN as David Phillips GERALD McCULLOUGH as Bobby Dawson SCOTT "JESIC" CAUDILL as Paul Arrington JOSEPH PATRICK KELLEY as Officer D. Metcalf CAROLINE BARBA as Lisa SAMANTHA HARRIS as Charlotte JOANNAH PORTMAN as Erin McCarty Featuring: MARK GINTHER as Al Robson KANAN HOWEL as Roy Hinton BONNIE MORGAN as Alice Neely JEFF PODGURSKI as Frankie Flynn Line Producer: FRANK BALLOU Associate Producer: PHILIP CONSERVA Casting by: ROBERT J. ULRICH, C.S.A., ERIC DAWSON, C.S.A., CAROL KRITZER, C.S.A. Original Casting by: APRIL WEBSTER, C.S.A. Staff Writer: ELI TALBERT Unit Production Manager: RICK TUNELL First Assistant Director: DAVID WHORF Second Assistant Director: MOLLY RODRIGUEZ Costume Designer: EILEEN BAKER Production Sound Mixer: MICK FOWLER Set Decorator: DANIELLE BERMAN Camera Operator: JEFFREY HUNT, S.O.C. Key Grip: DALE ALEXANDER Gaffer: KURT JOHNSON Script Supervisor: PAULA BARRETT-BARBIER Key Make-Up Artist: NICK PAGLIARO Key Hair Stylist: LEE ANN BRITTENHAM Special Effects Make-up: JOHN GOODWIN Casting Associate: ANDY HENRY Technical Consultant: ELIZABETH DEVINE Property Master: TOM CAHILL Transportation Coordinator: TOM THOMAS 2nd 2nd Assistant Director: STACY MURPHY Location Manager: PAUL WILSON Post Production Supervisor: KIM M. CYBULSKI Visual Effects Coordinator: BRAD TANENBAUM Construction Coordinator: ALLAN JOHNSON Special Effects Supervisor: MARK BYERS Stunt Coordinator: JON EPSTEIN Assistant Editor: JOE ROCKOM Supervising Sound Editor: MACE MATIOSIAN Music Editor: STAN JONES Sound Effects Editor: DAVID VAN SLYKE Colorist: GARETH COOK Visual Effects Supervisor: LARRY DETWILER Digital Effects by STARGATE DIGITAL High Definition Post Production by ENCORE Film Laboratories by CREST NATIONAL Promotional consideration furnished by KODAK "Who Are You" by Pete Townshend, Performed by THE WHO The persons and events portrayed in this film are fictitious. Any similarity to actual persons, living or dead, or any events is unintentional. (c) 2001 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights Reserved CBS Broadcasting Inc. and Alliance Atlantis Productions Inc., are the authors of this program for the purposes of copyright and other laws. ========================== DVD DISCLAIMERS: ========================== JERRY BRUCKHEIMER films CBS Productions Alliance Atlantis (c) 2000 & 2001 CBS Worldwide Inc, and Alliance Atlantis Productions, Inc., All Rights Reserved. CBS Broadcasting Inc., and Alliance Atlantis Productions, Inc., are the authors of this program for the purposes of copyright and other laws. Alliance Atlantis with the stylized A design is a registered trademark of ALLIANCE ATLANTIS Communications Inc. Warning: This motion picture is protected by law and authorized for private home use only. Any unauthorized copying, hiring, lending, distribution, exporting, importing, dissemination, exhibition or public performance is prohibited by law. Dated:08/05/2003~lky http://www.webphilia.com/~anthology/wnp.html