CSI: CRIME SCENE INVESTIGATION
2X13: IDENTITY CRISIS
ORIGINAL AIR DATE ON CBS: 01/17/2002
TRANSCRIBED FROM CBS
Written by ANTHONY E. ZUIKER & ANN DONAHUE
Directed by KEN FINK
Transcript by Intrepid
Courtesy of http://www.grissomandsara.com/
Please do not archive without permission.
(Simulcast in HDTV)
(CBS Interactive Program)
RATING: TV-PG-V
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==========================
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SUMMARY: Paul Millander is back in this final episode where he matches wits
with Grissom.
==========================
CSI: CRIME SCENE INVESTIGATION
2X13: IDENTITY CRISIS
==========================
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Lightning flashes and thunder crashes. It's raining in Nevada tonight.)
CUT TO:
SCENE #01:
[INT. CAR -- NIGHT]
(The driver drives through the rain. There's a small film reel charm hanging
from his rear-view mirror. It's a heavy rain outside.)
(The driver sees a hitchhiker standing outside the side of the road carrying a
sign, "VEGAS". The driver passes him by, slows the car down and thinks about
it.)
(He reverses the car and stops to pick up the hitch-hiker. PETE WALKER opens
the car door and calls out.)
PETE WALKER: Hey, you need a lift? (The hitchhiker climbs into the car and
closes the door.) So, where are you headed?
PAUL MILLANDER: It's not where I'm headed.
CUT TO:
SCENE #02:
[EXT. GOOD SPRINGS - WAREHOUSE -- NIGHT]
(Police cars park in the front of the home, their lights flashing. CATHERINE
exits the vehicle. She and GRISSOM meet up with the DETECTIVE.)
DET.: Welcome to Good Springs.
CATHERINE: Long drive.
DET.: Well, I know it's out of your jurisdiction, but your name is on the tape.
GRISSOM: Where is he?
DET.: Inside. We left the recorder where we found it.
CATHERINE: Anything else?
DET.: Victim's wallet.
(The DETECTIVE hands the wallet to CATHERINE. He lifts up the crime scene tape
for GRISSOM and CATHERINE.)
GRISSOM: Thank you.
(They head into the warehouse.)
CUT TO:
SCENE #03:
[INT. GOOD SPRINGS - WAREHOUSE -- NIGHT -- CONTINUOUS]
(Inside, the place is empty except for a single bathtub in the center of the
large room. GRISSOM and CATHERINE walk to the tub.)
CATHERINE: (reading) Pete Walker, California. Date of birth: August 17,
1957. It's got to be the work of Paul Millander. What do you think brought him
back out?
GRISSOM: (looks around) The rain?
CATHERINE: Hasn't changed his M.O .-- Kills men whose birthdays are on the
anniversary of his father's murder.
GRISSOM: In descending order -- first victim was August 17, 1959; second
victim, August 17, 1958; this guy, 1957.
(CATHERINE picks up the micro cassette tape recorder.)
CATHERINE: Ready for this?
GRISSOM: I have a pretty good idea what it's going to say.
PETE WALKER: (anxiously) (on tape) My name is Pete Walker. I reside at 715
Lady El Sol and I'm 44 years of age. I'm going to kill myself. I'd like to say
"I love you" to my mother. I'm so sorry, I never wanted to put you through
this. I just can't do it anymore."
(On the tape, there's a gunshot.)
PAUL MILLANDER'S VOICE: (on tape) Happy... birthday, Mr. Grissom.
CATHERINE: Isn't your birthday in August?
GRISSOM: August 17, 1956.
(CATHERINE looks shocked. GRISSOM doesn't.)
HARD CUT TO
END OF TEASER.
ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
SCENE #04:
[INT. GOOD SPRINGS - WAREHOUSE -- NIGHT]
(SARA, NICK and WARRICK walk in and up to GRISSOM and CATHERINE who are already
working on the bathtub.)
WARRICK: Hey. Is it true? Millander?
SARA: Yeah, it's true. Gunshot, suicide script leaves the body in a bathtub.
(GRISSOM bags the tape recorder.)
GRISSOM: Paul Millander. Remember the first victim? Royce Harmon?
(Quick flashback to: Scene from 1X01: Pilot and of ROYCE HARMON in the
bathtub.)
(Quick flash to: Scene from 1X08: Anonymous and of STUART RAMPLER in the
bathtub.)
GRISSOM: (v.o.) Stuart Rampler, second ...
(End of flashback. Resume to present.)
GRISSOM: ... and now ... Pete Walker.
SARA: Grissom, Catherine briefed us about your birth date.
WARRICK: Yeah, what's up with that?
GRISSOM: Coincidence. Make anything more of it gives Millander more power than
he deserves.
NICK: We work together; he can't outsmart all five of us.
GRISSOM: Yes, he can.
(CATHERINE looks at GRISSOM.)
CATHERINE: (takes over) Plan of attack -- split up. Nick, take the tape over
to A-V. Break it down. Warrick, Sara -- examine the perimeter. We need to
know how he got in and got out. We'll stay with the body.
(NICK, SARA and WARRICK pick up their kits and leave.)
GRISSOM: (to CATHERINE) Thanks.
CATHERINE: Anytime.
CUT TO:
SCENE #05:
[EXT. GOOD SPRINGS - WAREHOUSE -- NIGHT]
(SARA walks up to WARRICK.)
SARA: Rain washed away everything. What I got will never hold up in court.
WARRICK: Well, I got some mud prints. Check these out.
SARA: This is the point of origin. They stop at the warehouse threshold.
WARRICK: He must've taken off his boots before he stepped in.
SARA: Only one set of prints ...
WARRICK: Check out the depth of the impression compared to mine.
SARA: He carried the body in. The extra weight explains the deeper impression.
WARRICK: Shoot it.
(WARRICK puts a ruler down next to the print and SARA snaps a picture.)
CUT TO:
SCENE #06:
[INT. GOOD SPRINGS - WAREHOUSE - NIGHT -- CONTINUOUS]
(CATHERINE snaps a photograph.)
GRISSOM: Cath ... Come here, take a look at this.
(GRISSOM looks at the body in the bathtub. CATHERINE stands up to see what he
wants her to look at.)
GRISSOM: It's not lividity.
CATHERINE: He's got stippling on the side of his face.
(Camera close up of the stippling on the skin.)
GRISSOM: From what I can tell, he was shot once in the chest. Unburned
gunpowder wouldn't plume this way.
CATHERINE: No entry wounds near his face.
GRISSOM: I'll have Robbins check for leaks. Maybe he can find a hidden bullet.
(CATHERINE stands up and walks over to the other side of the body. She finds a
strand of hair.)
CATHERINE: Wait ... wait a minute. I got something.
(CATHERINE picks it up.)
CATHERINE: Hello, Dolly. Dark hair, 12 inches. Female?
GRISSOM: So another victim ... or an accomplice?
CUT TO:
SCENE #07:
[INT. CSI - A/V LAB -- NIGHT]
(NICK and ARCHIE go over the tape recording.)
PETE WALKER: ( Recorded voice ): My name is Pete Walker. I reside at 715 Lady
Del Sol ...
ARCHIE JOHNSON: First things first. This tape was not recorded in the
warehouse. No auditory echo.
NICK: Contained quarters first.
ARCHIE JOHNSON: Yeah, a car, a small SUV. The tape was an inch from his mouth.
Sibilant pops bear that out. Helps that the killer uses hi-fi mini-cassettes.
Picks up everything let me get rid of the wipers.
(ARCHIE clicks on the keyboard and plays a sound extracted from the main tape.
It's a low whirring noise.)
NICK: What is that, that whir sound?
ARCHIE JOHNSON: I don't know yet. But ... recognize this?
(ARCHIE extracts another sound from the main tape. He plays it. It's a country
song.)
NICK: Oh, yeah. Willie Hank's "Don't Pay the Ransom." I'll contact the local
country and western stations get a time and tape on when the song aired.
Establish a timeline. What else?
ARCHIE JOHNSON: Now, here's where it gets funky. Watch my sensor levels.
PETE WALKER: (on tape) My name is Pete Walker. I reside at ...
ARCHIE JOHNSON: See how the color wands gravitate towards the bottom right
corner?
NICK: Mm-hmm.
ARCHIE JOHNSON: There's an auditory imbalance.
NICK: From what, a blown speaker?
ARCHIE JOHNSON: A blown left speaker. Sounds like the driver's side one blew.
NICK: Pulling all of the sound bottom right. Now if that were true the victim
may have been sitting in the passenger seat.
ARCHIE JOHNSON: What does that get you?
NICK: Millander was driving.
CUT TO:
SCENE #08:
[EXT. GOOD SPRINGS - ROADSIDE -- NIGHT]
(SARA and WARRICK walk up to BRASS who is holding the "VEGAS" sign.)
SARA: I believe hitchhiking is illegal in Clark County.
BRASS: Yeah, you got me. Came with the car along with the registration. The
R.O.'S our vic Pete Walker.
WARRICK: Who flagged it?
BRASS: Nevada State Patrol.
SARA: So, this is Walker's car. Millander was hitchhiking. Guy stops to do a
favor ... ends up dead.
WARRICK: Yeah, but how would Millander know that the guy who'd pick him up had
a birthday August 17, 1957?
CUT TO:
SCENE #09:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS goes over the initial findings with GRISSOM. He does a scan on the
body and stops over the bullet hole.)
ROBBINS: There's the initial bullet hole. No other leaks. Died from a single
gunshot wound to the chest just like the others.
GRISSOM: The others didn't have stippling on the side of their faces. Unburned
gunpowder doesn't change direction and stick.
(Quick CGI POV of a gun shot in the chest and the gunpowder puffing away from
the bullet hole. End of CGI POV. Resume to present.)
GRISSOM: Unless ... he turned his face away from the gun.
ROBBINS: Not likely due to the origin of the facial burn.
(Quick flashback to: Stippling adhering to the side of the victim's face. End
of flashback. Resume to present.
GRISSOM: Nobody misses from this distance.
ROBBINS: True.
GRISSOM: I think this might be intentional.
(Quick flashback to: Scene from 1X08:Anonymous. Inside Halloweird, PAUL
MILLANDER shows a sculpture to GRISSOM. Half of the face is normal, the other
half is deformed.)
PAUL MILLANDER: I-I-I call it "good versus evil."
(End of flashback. Resume to present.
GRISSOM: He's telling me he's going to show me both sides.
CUT TO:
SCENE #10:
[INT. PETE WALKER'S CAR -- NIGHT]
(SARA and WARRICK examine PETE WALKER'S car.)
WARRICK: I found some G.S.R.
SARA: Nice.
(WARRICK takes a sample.)
WARRICK: That's why Grissom didn't find a bullet.
SARA: It went out the window.
WARRICK: It went out the window.
(Quick flashback to: PETE WALKER sitting in his car reading from the script.
The window is rolled down. PAUL MILLANDER turns the gun on PETE WALKER and
fires.)
PETE WALKER: I'm so sorry. I never wanted to put you through this. I just
can't do it anymore. I've lost hope.
(End of flashback. Resume to present.)
WARRICK: I'm going to call Nick, tell him we found out what that unidentified
whir sound was -- the window going down.
CUT TO:
SCENE #11:
[INT. CSI - DNA LAB]
(Scope view of the hair tag.)
SANDERS: Your planted hair is full of information. It's got a complete
follicular tag.
CATHERINE: Well, the vic had light brown hair so we know it's not his.
GRISSOM: Could be Millander's.
(GREG shows CATHERINE the results.)
GREG: Well, that's impossible. The amelogenin on the follicle came back xx--
female.
CATHERINE: So, back to that again. Another victim, or an accomplice?
GRISSOM: Yeah, but what decade?
CATHERINE: What do you mean?
GRISSOM: Look under 400-X. The tag cell is aged.
(CATHERINE looks at the scope. Scope POV shows the follicular tag.)
CATHERINE: So Millander planted an aged hair? But once exposed, the tag would
dry up and fall off, especially in transport.
GRISSOM: Not if he nurtured it. Kept it in a freezer.
GREG: That would work.
CATHERINE: Okay, so what's he trying to tell us? That he used to kill women?
GRISSOM: Maybe just one.
CATHERINE: Grounds?
GRISSOM: (shakes his head) I don't know yet.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #12:
[INT. CSI - GARAGE]
(NICK examines PETE WALKER'S car. He checks out the glove compartment, the dash
and finds receipts in the front seat divider.)
(In the background, someone enters the garage.)
GREG: Is this the car the guy was killed in?
(NICK is startled by GREG.)
NICK: He was killed in the warehouse -- and don't sneak up on a person like
that.
GREG: Now you know how I feel, like ten times a day. So what's this Millander
guy's thing?
NICK: He saw his dad killed when he was a kid over some money dispute. Ends up
killing guys himself.
(On the bottom of the front seat divider, NICK finds a number, 909987-23.)
NICK: Check that out. Eight digit number with a dash.
GREG: Hmm ... Pep boys receipt? Dry cleaning tags?
NICK: Well, whatever it is it happened during the summer. Paper only burns
itself into plastic in high levels of heat.
GREG: So what kind of paper item would you she into the center console in the
heat of summer?
NICK: Something you didn't want. Or something you had to keep.
(NICK'S pager beeps. He checks it.)
NICK: Pow-wow.
(NICK gets out of the car and leaves the garage.)
NICK: Later.
CUT TO:
SCENE #13:
[INT. CSI -- LAB]
(Everyone's in the lab around the table. They're talking about the case. Their
voices muted. GRISSOM sits there thinking.)
CATHERINE: (muted) Nevada state patrol found the victim's vehicle here.
Found the body in good springs here.
SARA: (muffled) Warrick and I found stippling on the passenger side seat back.
WARRICK: (muffled) We were thinking Millander posed as a hitchhiker
overpowered Walker, and then faked a gunshot in the car.
(The audio clears when NICK speaks.)
NICK: I put a call into three area country and western stations. Got the FCC
list ... during the time of the victim's suicide recording KWV had Willie Hank's
"Don't Pay the Ransom" playing from 1:47 A.M. To 1:51 A.M.
CATHERINE: And what time was sunrise this morning?
NICK: 5:13 A.M. So that's about a three hour window. He was racing daylight.
CATHERINE: So in that time he had to get the recording and get rid of the body.
NICK: Made the recording in the car killed him in the warehouse.
WARRICK: No, he carried him into the warehouse.
NICK: Yeah?
SARA: Mud prints -- one set in, one set out.
(SARA puts the footprint photos on the table. NICK looks at them.)
CATHERINE: Are we sure he didn't kill him in the car? He was shot in the
warehouse. He was incapacitated in the car.
SARA: Okay, how?
(CATHERINE looks at GRISSOM.)
CATHERINE: Grissom, you want to add something to this?
GRISSOM: Yeah. None of it matters. It's one of those few cases where physical
evidence isn't helping us much. I mean, put it in context. The victim's
birthday is always on the anniversary of the murder of Millander's father.
Staged like his father's death. A planted hair, a planted fingerprint ... it's
all biographical. He's using the evidence to tell us a story.
(BRASS appears in the doorway.)
BRASS: Hey... Peter Walker, our victim worked for cinema road services in
Valencia, California. Drives the newly released film reels back and forth to
Vegas.
(BRASS walks into the lab and joins them around the table.)
BRASS: Drops off the new reels every Tuesday for Friday's release. Brings the
old one back.
WARRICK: Drives the same route all the time?
BRASS: Yeah, according to his mileage log.
SARA: Did Walker have any kind of record?
BRASS: Pretty much a boy scout except for a speeding ticket.
NICK: Speeding ticket? How long ago?
BRASS: July 2, last year.
NICK: (nods) Summer.
CUT TO:
SCENE #14:
[INT. - BRASS'S OFFICE]
(BRASS does a search for the speeding ticket on the computer.)
NICK: 909987-23...
[COMPUTER SCREEN 1:
Searched OL DEPARTMENT OF MOTOR VEHICLES, NV
Dates searched 01/01/1992 THROUGH 12/20/2001
IDENTIFICATION INFORMATION ON FILE
NAME: PETE WALKER DOB: 08/17/1957
ADDRESS: 715 LADY DEL SOL, SANTA CLARITA, CA
REMARK/OTHER:
DRIVER RECORD SERVICE REPORT FOR CALIFORNIA
Report Date: 05/26/01 142227422-000
==============================
*** DRIVING RECORD HISTORY *** ]
BRASS: Pete Walker. Excessive speed. July 2, 2001.
NICK: Walker's birth date's on the ticket. August 17, 1957.
GRISSOM: Run the other two vics. Royce Harmon.
[COMPUTER SCREEN 2:
STATEWIDE, NV
Searched DL DEPARTMENT OF MOTOR VEHICLES, NV
Dates searched 01/01/1992 THROUGH 09/20/2001
IDENTIFICATION INFORMATION ON FILE
NAME: ROYCE HARMON DOB: 08/17/ ....
ADDRESS: 7642 CARPENTER ST.
EMPLOYMENT: DINNERS DELIVERED
Remark / Other
Driver Record Service Report for California ]
CATHERINE: Employment -- Dinners Delivered. Need a car for that.
NICK: What about his driving record, Jim?
[COMPUTER SCREEN 3:
Type -- Viol/Sus -- Conv/Rei -- Description
VIOL -- 10/14/98 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345 VEH LIC#928A83A9?
CT LOC: Nevada
Officer on Duty: T. Knoll, NHP.
VIOL - 06/14/97 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345 VEH LIC#:928A83A9
CT LOC: Nevada
Officer on Duty: Kevin Yarnell, NHP.
SUSP - 08/07/97 - SUSPENDED
FAILTURE TO APPEAR NOTICE
13365
SERV-TYPE: 1 SERV-DTE: 080598
FILE# MAILED:070898
RETURN UNCLAIMED
DRIVER RECORD SERVICE REPORT FO-
DEPT 602/03/99 ACTION TERM EFFECTIVE ]
BRASS: He drove himself right out of a license.
CATHERINE: Try Stuart Rampler.
[COMPUTER SCREEN 4:
STATEWIDE, NV
Searched DL DEPARTMENT OF MOTOR VEHICLES, NV
Dates searched 01/01/1992 THROUGH 12/20/2001
IDENTIFICATION INFORMATION ON FILE
NAME: STUART RAMPLER DOB: 08/1...
ADDRESS: 818 BOEING HILL COURT
EMPLOYMENT: TAPFORD PHARMACEUTICALS
Remark / Other:
Driver Record Service Report For California
Report Date: 05/26/01 142227422-000
=====================================]
COMPUTER SCREEN 5:
Type - Viol / Sus - Conv / Rei - Description
VIOL - 6/05/00 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345 VEH LIC#029836274
CT LOC: Nevada
Officer on Duty: Kevin Yarnell, NHP.
VIOL - 2/11/97 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345 VEH LIC#029836274
CT LOC: Nevada
Officer on Duty: N. Phillips, NHP.
VIOL - 10/03/91 - BASIC SPEED LAW
STATUTE: VC
DOC#: 1893345 VEH LIC#029836274 ]
NICK: There's a few tickets.
BRASS: Last violation -- excessive speed, June, 2000.
GRISSOM: So what's the commonality?
CATHERINE: Besides birth dates.
BRASS: Beside birth dates ...
[COMPUTER SCREEN 6:
BOX 1:
NAME: PETE WALKER DOB: 08/17/1957
ADDRESS:
VIOL 07/02/01 - EXCESSIVE SPEED
?2350: 1
Officer on Duty: Kevin Yarnell, NHP
BOX 2:
NAME: ROYCE HARMON DOB: 08/17/58
ADDRESS:
VIOL ??? - EXCESSIVE SPEED
?2350: 1
Officer on Duty: Kevin Yarnell, NHP
BOX 3:
NAME: STUART RAMPLER DOB: 08/17/59
ADDRESS:
VIOL 06/05/00 - EXCESSIVE SPEED
?2350: 1
Officer on Duty: Kevin Yarnell, NHP
BRASS: All the tickets were written by the same cop.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
SCENE #15:
[EXT -- DAY]
(GRISSOM and CATHERINE question OFFICER KEVIN YARNELL.)
GRISSOM: Excuse me. Officer Yarnell?
OFFICER KEVIN YARNELL: Yeah.
GRISSOM: My name's Gil Grissom, with the Las Vegas Crime Lab. May I ask you
how many speeding tickets you issue a day?
OFFICER KEVIN YARNELL: Why is it any business of yours?
GRISSOM: You wrote tickets to three people who ended up dead.
OFFICER KEVIN YARNELL: You think I had something to do with it? Look, I'm a
good cop. I protect and serve. I even go to court on my days off.
CATHERINE: You mean court dates for speeding tickets?
OFFICER YARNELL: Yeah. Sometimes, believe it or not, people actually contest
them and I'm there fighting it tooth and nail.
GRISSOM: Court.
OFFICER YARNELL: Yeah. In fact, I just responded to a challenge this morning.
CATHERINE: Always the same judge?
OFFICER YARNELL: No, there's three traffic court judges. Session's about to
start. Why don't you go bother them.
(GRISSOM and CATHERINE leave.)
CUT TO:
SCENE #16:
[INT. JUDGE MASON'S COURTROOM -- DAY]
BALIFF: All rise. Honorable Judge Douglas Mason presiding ... Municipal Court,
City of Mulberry, State of Nevada.
(Behind the BALIFF, the Judge enters the room and makes his way to his chair.)
(GRISSOM watches as he looks up at the JUDGE and instantly recognizes him.)
(The JUDGE looks up. It's PAUL MILLANDER.)
(Quick flashback to: Scenes from 1X08: Anonymous. Flash of PAUL MILLANDER;
Flash of PAUL MILLADER at Halloweird; and Flash of PAUL MILLANDER waving to the
security camera at CSI. End of flashback. Resume to present.)
(GRISSOM is completely surprised. JUDGE DOUGLAS MASON looks up from the bench.)
JUDGE DOUGLAS MASON (AKA PAUL MILLANDER): You may be seated.
(CATHERINE and everyone sits. GRISSOM doesn't move. He stares at JUDGE MASON.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #17:
[INT. JUDGE MASON'S COURTROOM]
(GRISSOM stands in the middle of the courtroom staring at JUDGE DOUGLAS MASON.
Everyone waits for GRISSOM to take his seat. They all stare at him. CATHERINE
looks at GRISSOM'S odd reaction with confusion.)
CATHERINE: Gil.
(Without taking his eyes off of JUDGE DOUGLAS MASON, GRISSOM removes his ID and
makes his way to the officer standing off to the side.)
(He shows his ID to the officer.)
GRISSOM: Excuse me, Officer. I'm with the Las Vegas Crime Lab. I need you to
arrest a murder suspect.
COURT ROOM OFFICER: Where's the suspect?
GRISSOM: Judge Mason. His real name is Paul Millander.
COURT ROOM OFFICER: You don't want to do this.
JUDGE DOUGLAS MASON (PAUL MILLANDER): (to GRISSOM) Sir, please take a seat.
GRISSOM: Officer, this man is not who he's pretending to be.
JUDGE DOUGLAS MASON (PAUL MILLANDER): Take a seat now or I'll have you removed
from this courtroom and charged with contempt.
GRISSOM: He's wanted in Clark County for murder.
JUDGE DOUGLAS MASON (PAUL MILLANDER): You are now in contempt of court.
Bailiff?
OFFICER: Come on.
(The OFFICER leads GRISSOM out of the Courtroom. CATHERINE stands up to follow.
JUDGE MASON stops her.)
JUDGE DOUGLAS MASON (PAUL MILLANDER): I apologize for the disruption. Let's
proceed. (to CATHERINE) You may be seated, Miss. You can leave this court
when it has concluded its business. Or find yourself in contempt along with
your friend.
(CATHERINE watches JUDGE MASON. She turns around and heads back to her seat.)
CUT TO:
SCENE #18:
[INT. JAIL CELL - DAY]
(GRISSOM sits on the bed in the cell ... thinking. JUDGE DOUGLAS MASON walks up
to the cell. GRISSOM turns to look at him.)
JUDGE DOUGLAS MASON (PAUL MILLANDER): Where are you from?
GRISSOM: You know where I'm from ... and I know who you are.
JUDGE DOUGLAS MASON (PAUL MILLANDER): I'm not who you think I am. Local police
have been out here twice this past year about this man -- Paul Millander, is it?
Every time his story's in the paper. I've heard I look like him.
GRISSOM: Identical.
JUDGE DOUGLAS MASON (PAUL MILLANDER): You've heard of the doppelganger
syndrome?
GRISSOM: That every person is supposed to have an exact double somewhere in the
world?
JUDGE DOUGLAS MASON (PAUL MILLANDER): Do you believe in it?
GRISSOM: Never been proved.
JUDGE DOUGLAS MASON (PAUL MILLANDER): A swiss neurobiologist recently published
papers supporting its viability. Brugger, I think his name is. Stands to
reason this Millander is my doppelganger. The monkey wrench for you is that
we're both here in the State of Nevada.
(GRISSOM stands up.)
(JUDGE MASON grabs a-hold of the cell bar and leans in.)
GRISSOM: Well, you know, we could always do a DNA test.
JUDGE DOUGLAS MASON (PAUL MILLANDER): You know, if you keep that up people are
going to start calling you crazy. Guard.
(The jail cell door opens. JUDGE MASON hands GRISSOM back his things and ID.)
JUDGE DOUGLAS MASON (PAUL MILLANDER): I trust you won't go near my courtroom
again.
(JUDGE MASON turns to leave.)
JUDGE DOUGLAS MASON (PAUL MILLANDER): Before you go back to Las Vegas why don't
you come to dinner. I tell my wife stories about my day and this one she may
need to hear in person. Six o'clock. (He gives GRISSOM a slip of paper.)
That's my address. We live right here in Mulberry.
(The JUDGE leaves.)
(GRISSOM eyes the cell bar as he puts his jacket on. CATHERINE appears.)
CATHERINE: Any chance he's got a twin?
GRISSOM: A doppelganger, evidently. Do you have your mentholatum?
CATHERINE: Why, you getting a cold?
GRISSOM: No. The judge just got sloppy. (CATHERINE hands GRISSOM the
container.) Thanks.
(GRISSOM opens the container and fumes the bar. Fingerprints appear.)
CATHERINE: Ah, fuming. (CATHERINE pulls out a tape.) I'll lift it and get it
to the lab.
GRISSOM: Go ahead and take the Tahoe. Call me later. I'm going to dinner.
(As CATHERINE takes the prints, GRISSOM caps the container and walks out of the
cell.)
CUT TO:
SCENE #19:
[INT. CSI - DNA LAB]
(SARA walks into the lab.)
SARA: Greg, did you look at the female hair from the crime scene tub?
GREG: When you say "jump I say "how high?" I found testosterone in female
hair. Post pubescent female hair.
SARA: Well, men and women both have testosterone in their systems. No big
deal, right?
GREG: Well, this is. This testosterone's endogenous.
SARA: What? What do you mean? Like outside the body?
GREG: Injections. Supplements.
(SARA looks at the results.)
SARA: So our mystery lady was trying to enhance her athletic performance?
GREG: Or increase her sex drive. (beat) You know women do that. I read.
None that I've ever met.
SARA: Not yet anyway. Okay, I'm not sure what this means yet, but thanks.
CUT TO:
SCENE #20:
[EXT. MASON'S RESIDENCE -- NIGHT]
(GRISSOM gets out of the darkened police car. He double checks the address with
the slip of paper. He approaches the house.)
[PORCH OUTSIDE FRONT DOOR - NIGHT -- CONTINUOUS]
(GRISSOM rings the doorbell. As he waits for an answer, he looks down and sees
the boots. He picks up the boots for a better look. The door opens and a woman
answers.)
MRS. MASON: Mr. Grissom?
GRISSOM: I was admiring these rain boots.
(GRISSOM puts the boots down.)
MRS. MASON: Please come in.
(GRISSOM walks in.)
[INT. MASON'S RESIDENCE - NIGHT -- CONTINUOUS]
(He turns around.)
GRISSOM: You have a lovely home.
MRS. MASON: We like it.
GRISSOM: May I ask how long you've lived here?
MRS. MASON: We bought the year we adopted Craig, so that would be '92.
(She turns to look at the little boy in the living room.)
MRS. MASON: Craig, what did I tell you you had to do when our dinner guest
arrived?
CRAIG MASON: Hi, I'm Craig Mason. Nice to meet you.
GRISSOM: Nice to meet you, Craig.
CRAIG MASON: Want an I.D. Tag for safety?
(DOUGLAS MASON appears behind GRISSOM.)
MRS. MASON: (explains) Craig's school is sponsoring an identification program
for students. Parents get one, too.
PAUL MILLANDER (JUDGE MASON): Can't be too safe out there, can we, Mr. Grissom?
(GRISSOM turns around.)
GRISSOM: No, we can't.
PAUL MILLANDER (JUDGE MASON): Hungry?
SHORT TIME CUT TO:
SCENE #21:
[INT. MASON RESIDENCE - KITCHEN -- NIGHT]
(Everyone is sitting at the dinner table finishing up dinner.)
MRS. MASON: That reminds me, Doug. Be sure to tell Mr. Grissom where you
bought your rain boots. He was admiring them earlier.
PAUL MILLANDER (JUDGE MASON): Was he?
MRS. MASON: My husband's only hobby is driving around the state looking for
bargains, rain or shine. And I tell him, "you're a Judge now. We don't need
bargains."
PAUL MILLANDER (JUDGE MASON): To which I reply, "old habits die hard."
MRS. MASON: Truth is, I think he just enjoys his private time.
PAUL MILLANDER (JUDGE MASON): Dear. As a Judge, I don't want the outside world
privy to my private life because they'll use it against me.
(A camera flashes in GRISSOM'S face. CRAIG MASON pulls the polaroid picture
from the camera and puts it next to his dinner plate on the table.)
CRAIG MASON: You'll be safe now.
CUT TO:
SCENE #22:
[INT. CSI -- PRINT LAB - NIGHT]
(CATHERINE runs the print taken from JUDGE MASON on the database.)
(The computer finds a match.)
CUT TO:
SCENE #23:
[INT. MASON RESIDENCE - KITCHEN -- NIGHT]
(GRISSOM'S phone rings and steps away from the table when he answers it.)
GRISSOM: Excuse me. I'm sorry. (on phone) Grissom.
INTERCUT WITH:
CATHERINE: You're never going to believe who Judge Mason's fingerprints match.
Judge Mason. As printed when he was sworn before the bar Nevada State Superior
Court.
GRISSOM: Okay. Thank you.
(GRISSOM hangs up. He turns around.)
PAUL MILLANDER (JUDGE DOUGLAS MASON): My prints came back sound.
(GRISSOM looks surprised.)
MRS. MASON: Douglas?
PAUL MILLANDER (JUDGE DOUGLAS MASON): As I told you earlier, dear, Mr. Grissom
has confused me with a very bad man. I left him fingerprints so that he could
confirm that I am who I say I am.
GRISSOM: Uh, I have to get back to my lab right away. I'm sorry. Thank you
for a lovely dinner, Mrs. Mason.
(DOUGLAS MASON stands.)
GRISSOM: Craig ... your honor.
(CRAIG MASON looks down at the photograph next to his plate. Camera holds on
the photograph as it develops into a picture of GRISSOM.)
CUT TO:
SCENE #24:
[INT. CSI - HALLWAY]
(GRISSOM walks through the hallway with CATHERINE.)
GRISSOM: I don't care what the computer says, that guy is Paul Millander.
CATHERINE: Yeah, we know that. How do we prove it?
GRISSOM: We have to disprove this Judge Mason. Birth certificate -- was he
born in Mulberry?
CATHERINE: Well, that's the first thing Brass looked into. Apparently, the
records building burned down in 1982.
GRISSOM: Burned down?
CATHERINE: Ruled arson. No suspects ever found.
GRISSOM: So Judge Mason has no birth certificate. How convenient. Man, this
guy plays way out in front.
CATHERINE: Here's some good news. Brass went to the new records building
looking for anything on a Millander. Found current property-tax accounts.
(CATHERINE hands the file to GRISSOM.)
GRISSOM: (reading) In the name of Paul and Isabelle Millander.
CATHERINE: Mm-hmm.
CUT TO:
SCENE #25:
[EXT. MILLANDER RESIDENCE - NIGHT]
(GRISSOM and CATHERINE knock on the door. The door opens.)
CATHERINE: Isabelle Millander?
(The woman nods.)
GRISSOM: We're with the Las Vegas crime lab.
ISABELLE MILLANDER: Are you here about my husband? That happened over thirty
years ago.
CATHERINE: It's our understanding that your child witnessed your husband's
murder.
(ISABELLE MILLANDER steps aside. CATHERINE and GRISSOM walk into the house.)
[INT. MILLANDER RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]
(ISABELLE MILLANDER closes the door.)
CATHERINE: Thank you.
ISABELLE MILLANDER: My child was only ten years old. So brave to testify
against those men. But it didn't matter. The Judge ruled it a suicide and
those men went free.
CATHERINE: I hope we're not interrupting. It looks as if you're expecting
someone for dinner.
ISABELLE MILLANDER: I always set an extra place for Paul.
GRISSOM: Your son?
ISABELLE MILLANDER: My husband. My way of being together.
(GRISSOM turns and looks at some pictures on the table.)
ISABELLE MILLANDER: Those are from his best years. He started a company out in
Hollywood in the 1930s.
(Cut to: Camera close up of the building shop name: Halloweird.)
(Quick flashback to: Scene from 1X01: Pilot. GRISSOM walks through Halloweird,
PAUL MILLANDER walks behind him.)
GRISSOM: (v.o.) Halloweird.
(End of flashback. Resume to present.)
ISABELLE MILLANDER: Movie makeup. He used himself as a model.
(Quick flashback to: Scene from 1X01: Pilot. GRISSOM holds up a rubber hand.)
ISABELLE MILLANDER: (v.o.) He made hand molds and masks, everything. Like a
one-man company.
(End of flashback. Resume to present.)
CATHERINE: May I use your bathroom?
ISABELLE MILLANDER: Last door down the hall.
CATHERINE: Thank you.
(CATHERINE leaves the room.)
GRISSOM: Would you happen to have any of his work still?
ISABELLE MILLANDER: I kept only what's most sentimental.
GRISSOM: Might I take a look at it?
CUT TO:
(CATHERINE walks down the hallway. She opens a closed door to a bedroom. She
walks out and opens the closed door at the end of the hallway to the bathroom.
She closes the bathroom door and opens a third closed door to a pink little
girl's room.)
(CATHERINE takes off her hat and looks around. She looks at the picture on the
wall and a name plate for "PAULINE".)
CUT TO:
SCENE #26:
[INT. MILLANDER RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]
(ISABELLE MILLANDER unwraps a hand mold and shows it to GRISSOM.)
GRISSOM: Hmm, it's rudimentary. Almost childlike.
ISABELLE MILLANDER: Our child made it.
GRISSOM: It's an ashtray?
ISABELLE MILLANDER: My husband used his own hand to imprint the center.
(GRISSOM thinks.)
GRISSOM: May I?
(ISABELLE MILLANDER hesitates, but doesn't say anything. GRISSOM looks at the
hand mold.)
(Quick camera zooms in to show a green substance at the tip of the finger
impression of the mold. End of camera zoom.)
GRISSOM: I wonder what this green discoloration is.
ISABELLE MILLANDER: I was often curious about that.
GRISSOM: I could take this back to the lab and analyze it. I promise to bring
it back.
(ISABELLE MILLANDER consents.)
CUT TO:
SCENE #27:
[INT. MILLANDER RESIDENCE - PAULINE'S BEDROOM - NIGHT - CONTINUOUS]
(CATHERINE looks around the bedroom. She opens the top drawer and looks inside.
Underneath the little girl dresses, she finds a stack of baseball cards.)
(She closes the dresser drawer. She walks to the closet and opens it. She
turns on the closet light and looks through the clothes on the hangers. On the
clothes, she finds a strand of hair. She picks it up.)
ISABELLE MILLANDER: (from the doorway) What are you doing in my daughter's
room?
(CATHERINE turns around and looks at ISABELLE MILLANDER. She smiles at being
caught.)
CATHERINE: Oh ... I have a daughter myself. I was admiring the old clothes.
(GRISSOM appears in the doorway.)
CATHERINE: (indicating the photo on the wall) She's beautiful.
(ISABELLE MILLANDER turns to look at the photo.)
ISABELLE MILLANDER: She died.
CATHERINE: (sadly) I'm sorry.
GRISSOM: When did she die?
ISABELLE MILLANDER: A long time ago. A lifetime ago.
GRISSOM: What about your son Paul?
ISABELLE MILLANDER: I think it's time for you to go now.
CATHERINE: Mrs. Millander we're just trying to clarify ...
ISABELLE MILLANDER: (upset) Please?
(CATHERINE walks toward the door. GRISSOM turns to the hallway.)
CUT TO:
SCENE #28:
[EXT. MILLANDER RESIDENCE - FRONT WALK - NIGHT]
(CATHERINE and GRISSOM leave the house.)
CATHERINE: So, Paul Millander killed his sister.
GRISSOM: It's plausible. It's not provable ... yet.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #29:
[CONTAINER POV]
(Camera close up of green goo being poured into a container.)
CUT TO:
SCENE #30:
[INT. CSI - DNA LAB]
(GRISSOM lifts the green goo from the mold. He examines it closely.)
GREG: No, you were right. The substance is microcil-like but it's really old-
school-- alginate. The book says that, uh ... makeup people used it up to the
'70s to make molds and impressions. It's green, hence the "algin" in
"alginate."
(Quick flashback to: Scene from: 1X01: Pilot. In Halloweird, GRISSOM looks at
the rubber hand and listens to PAUL MILLANDER explain about the mold.)
PAUL MILLANDER: We sold 10,000 of those units last Halloween. Even used my own
hand for the mold.
(End of flashback. Resume to present.)
GRISSOM: These were his father's prints. He was planting them as if they were
his own.
(Quick flashback to: PAUL MILLANDER standing in the warehouse over the tub and
placing a print on the tape recorder. The tip of his finger is green.)
GREG: (v.o.) The guy's pretty shrewd.
(End of flashback. Resume to present.)
GREG: Every murder comes back to a dead man.
GRISSOM: Greg, if I refer to Millander as smart, it's one thing but I mind if
other people do it, okay?
GREG: (nods) Got it.
GRISSOM: What have you got on the hair Catherine recovered?
GREG: Processing it next, sir.
GRISSOM: Find me.
(GRISSOM takes off the latex gloves and leaves the lab.)
CUT TO:
SCENE #31:
[INT. CSI - PRINT LAB -- CONTINUOUS]
(GRISSOM walks into the lab to check with CATHERINE.)
GRISSOM: Did I miss something?
CATHERINE: It's a kid's fingerprint from the baseball card.
GRISSOM: Clear ... concise ... anonymous.
CATHERINE: Brass found no prints from little Pauline no birth records, no death
certificate. I'm going to use the prints from the only other kid who lived in
the Millander house.
GRISSOM: Here come de Judge.
(The computer shows a comparison match.)
CATHERINE: Ridge analysis proof. Judge Mason is ...
GRISSOM: ... Paul Millander.
(GRISSOM'S pager beeps. He checks it.)
GRISSOM: It's ... it's Greg.
(GRISSOM turns around to look at the DNA lab.)
GRISSOM: (to CATHERINE) Come on.
(GRISSOM heads back to the DNA lab. CATHERINE follows.)
CUT TO:
SCENE #32:
[INT. CSI - DNA LAB - CONTINUOUS]
(GRISSOM and CATHERINE walk into the lab. SARA is already there with GREG.)
GREG: Okay. The hair you found in Pauline Millander's bedroom two x
chromosomes-- female.
GRISSOM: You didn't beep me for that.
GREG: Well, Sara had me compare it to the hair found in the tub at the crime
scene. They're a perfect match. (beat) DNA identical.
CATHERINE: So her brother planted it?
(GREG looks at SARA.)
GREG: Well ... not exactly.
SARA: Yeah, he planted it. He planted his own hair.
CATHERINE: Millander. It's a female hair.
SARA: With endogenous testosterone. Pauline was taking male hormone
injections.
(GRISSOM looks at the test results.)
GRISSOM: Why?
SARA: My theory? Sex change.
CATHERINE: You know, when I was back at the house I saw several photographs of
Pauline and nothing of Paul. In fact, the only proof of Paul is a hidden
baseball card.
SARA: There is no birth or death record for Pauline.
GRISSOM: Paul killed Pauline. But he didn't murder her.
CUT TO:
SCENE #33:
[INT. MILLANDER RESIDENCE - LIVING ROOM -- NIGHT]
(Camera opens on the dining room table set for two.)
GRISSOM: So that's what you've been hiding? That your daughter is now your
son?
ISABELLE MILLANDER: Pauline went away and came back a very strange man.
(Quick flashback to: PAULINE MILLANDER walking into the elevator carrying a
yellow suitcase. The elevator doors open and a young PAUL MILLANDER in a
wheelchair is wheeled out of the hospital carrying a yellow suitcase. End of
flashback. Resume to present.)
ISABELLE MILLANDER: And I wouldn't let him stay here -- not like that.
GRISSOM: Mrs. Millander, we believe that your son has murdered three people and
that he's living under the assumed name of Judge Douglas Mason. I need your
permission to collect some hairs from Pauline's bedroom for use in court.
(ISABELLE MILLANDER looks at GRISSOM.)
CUT TO:
SCENE #34:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(GRISSOM questions PAUL MILLANDER. They both sit at opposite ends of the
table.)
GRISSOM: We took this hair from your childhood bedroom when you used to be
Pauline.
PAUL MILLANDER (JUDGE DOUGLAS MASON): They told my parents I had an "endocrinic
ambiguity." My chromosomes said female, but my body wasn't that sure. The
doctors told my parents to raise me as they saw fit. Unfortunately, they
disagreed.
GRISSOM: So, uh ... you were a girl when you were inside the house and a boy
when you were out in the world?
PAUL MILLANDER (JUDGE DOUGLAS MASON): I managed. Until ... that night.
(Quick flashback to: PAULINE looks out from a crack in her bedroom door. She
sees her father thrown into the bath tub and hears a gunshot fired. She watches
as two men leave. End of flashback. Resume to present.)
PAUL MILLANDER (JUDGE MASON): (upset) A boy ... could have saved his father.
GRISSOM: You did what you could do. You testified against them.
(Quick flashback to: PAULINE MILLANDER up on the courtroom stand.)
LAWYER: Do you see the man who killed your father in this courtroom?
(PAULINE stutters and struggles to get the answer out. End of flashback.
Resume to present.)
PAUL MILLANDER (JUDGE MASON): (stuttering) Y ... yes.
(GRISSOM watches in surprise. PAUL MILLANDER sits back in his chair and looks
at GRISSOM.)
PAUL MILLANDER (JUDGE MASON): They went free.
GRISSOM: And you started to identify with the aggressors.
(PAUL MILLANDER looks at GRISSOM and smiles proudly.)
GRISSOM: Why are you smiling?
PAUL MILLANDER (JUDGE DOUGLAS MASON): I am ... comfortable sharing this with
you. My, uh ... my mother wouldn't hear it. Against her wishes, I cut off my
hair. Started wearing big shirts. Big boots. If I got tough enough ... no one
would ever hurt me. I went to the clinic ... and became a man.
GRISSOM: Sexual reassignment. Not just a man, though-- a Judge. Doesn't get
much more powerful than that
(PAUL MILLANDER sighs.)
GRISSOM: But none of it solved your problems, did it?
Or else you wouldn't have killed three innocent men.
(PAUL MILLANDER doesn't respond. GRISSOM stands up and carries the warrant to
PAUL MILLANDER. He puts it on the table in front of him and takes out a swab.)
GRISSOM: I have a warrant for your DNA.
PAUL MILLANDER: Identity is so fluid, you know.
(Holds out his hand for the swab.)
PAUL MILLANDER: May I?
(GRISSOM hands the swab to PAUL MILLANDER. PAUL MILLANDER takes the sample and
caps the swab. He hands it back to GRISSOM.)
GRISSOM: See you in court.
(GRISSOM heads back to his seat to get his things.)
PAUL MILLANDER (JUDGE DOUGLAS MASON): Aren't you wondering about your birthday?
August 17, 1956.
GRISSOM: No.
(GRISSOM picks up his things and heads for the door.)
PAUL MILLANDER (JUDGE DOUGLAS MASON): Why I didn't kill you, since you were
next?
GRISSOM: No.
(GRISSOM opens the door.)
PAUL MILLANDER (JUDGE DOUGLAS MASON): I've already picked my next victim, if
you're curious.
(GRISSOM turns around and looks at PAUL MILLANDER.)
GRISSOM: It doesn't matter, Paul -- you'll be in jail.
(PAUL MILLANDER smiles. As GRISSOM walks out he signals the guard. The guard
walks into the room.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #35:
[INT. COURTROOM -- NIGHT]
BALIFF: Next up, People V. Landry. Are all the parties present?
(GRISSOM walks up to CATHERINE who is speaking with the prosecutor.)
GRISSOM: What is going on? I thought Millander was supposed to be arraigned at
8:00.
CATHERINE: Oh, this is just ridiculous. I mean, you'd think they'd make an
exception in this case -- three murders. This guy's telling me that Millander
is representing himself. Pro pers are always last on the docket.
(This concerns GRISSOM. He walks out of the courtroom. CATHERINE watches
GRISSOM leave.)
CUT TO:
SCENE #36:
[INT. - HALLWAY -- NIGHT]
(GRISSOM walks through the hallway. He shows his ID to the guard and continues
to walk through the hallway. He seems to know where he's going.)
(GRISSOM opens the door to the room and looks inside. On the chair in the small
room is the red prison clothing and a cut ID wrist band. GRISSOM picks up the
wrist band.)
(CATHERINE enters the room behind GRISSOM. He shows her the wrist band and
levels her with a look. PAUL MILLANDER is gone.)
CUT TO:
SCENE #37:
[INT. CSI - A/V LAB - NIGHT]
(GRISSOM goes over the security camera video. BRASS stands behind GRISSOM and
looks at the video over his shoulder.)
BRASS: A clean-cut guy in a suit -- no one looks too close. He must have got a
fake I.D.
GRISSOM: He had my I.D.
(Quick series of flashback to: PAUL MILLANDER copying GRISSOM'S ID badge. He
smiles as he takes it off of the machine.)
(Cut to: The polaroid picture of GRISSOM taken by CRAIG MASON at dinner on the
table among the other badge making pictures. PAUL MILLANDER cutting out his
picture from his own "School Safety ID".)
(Cut to: PAUL MILLANDER walking through the front security door and showing the
officer his badge which reads: )
(Picture of PAUL MILLANDER on the left with "C.S.I.", "Level 3".
[On the right:
LAS VEGAS
POLICE DEPARTMENT
CLARK COUNTY, NEVADA
GIL GRISSOM
PN 8690
EYES BRN / WEIGHT
HAIR BRN / HEIGHT ]
(Cut to: PAUL MILLANDER looks up at the security camera and just as he did back
in 1X08: Anonymous, he salutes to the video camera and walks out.)
CUT TO:
SCENE #38:
[INT. CSI -- HALLWAY]
(CATHERINE catches up with GRISSOM as he's on his way out.)
CATHERINE: You going home?
GRISSOM: Yeah. They know where to find me.
CATHERINE: I re-read the backgrounds of Millander's victims. I think that he
slipped up. You know how every victim read the suicide note "I'd like to say 'I
love you' to my mother"? Well, Pete Walker had no mother. (beat) She died in
childbirth.
(With this information, GRISSOM thinks.)
GRISSOM: He never slips up.
(GRISSOM starts for the door, gaining speed with every step.)
CUT TO:
SCENE #39:
[EXT./INT. MILLANDER'S RESIDENCE - NIGHT]
(GRISSOM walks up the front walkway. It's quiet inside. His gun in his hand.)
(He pushes the door open and enters the darkened foyer.)
(The door closes behind him. GRISSOM turns on the flashlight. He takes a
couple of steps forward and turns to look in the Dining Room. ISABELLE
MILLANDER is sitting at the Dining Room Table with her back facing GRISSOM.)
GRISSOM: Mrs. Millander?
(She doesn't respond. GRISSOM walks up to her and sees the knife in her
abdomen. The food in front of her is untouched.)
(GRISSOM turns and continues to look through the rest of the dark house.)
(He walks down the hallway toward the open bathroom door. He pauses briefly in
front of PAULINE'S bedroom, but doesn't go inside. He continues toward the
bathroom.)
(He pushes the door open and finds PAUL MILLANDER dead in the bathtub, a tape
recorder left behind.)
(GRISSOM turns the tape recorder on.)
PAUL MILLANDER: My name is Paul Millander. I reside at 13891 Sand Creek Road.
I'm 46 years of age and I'm going to kill myself. I'd like to say "I love you"
to my mother, Isabelle.
(On the bathroom floor next to the tub is a piece of folded paper. GRISSOM
picks it up.)
[It a birth certificate. It reads:
LINCOLN COUNTY, NEVADA
DEPARTMENT OF HEALTH
BUREAU OF VITAL RECORDS
CERTIFICATION OF BIRTH
DATE OF BIRTH: AUG 17, 1956
TIME OF BIRTH: 4155 PM
CERTIFICATE NO.: 158-60-1443
DATE ??? 08-20-56
DATE ??? 08-
NAME PAULINE PAUL MILLANDER
SEX: FEMALE
MOTHER'S NAME: ISABELLE MILLANDER
FATHER'S NAME: PAUL MILLANDER
PAUL MILLANDER: (on tape) I'm so sorry. I never wanted to put you through
this. I just can't do it anymore. I've lost hope.
(The gun fires.)
(GRISSOM flinches when he hears the gunshot. He turns his head incredibly
saddened by it all.)
FADE TO BLACK.
==========================
THE END
==========================
[Captioning sponsored by CBS, CBS Productions and Volkswagen. Captioned by the
Caption Center WGBH Educational Foundation]
For corrections / inaccuracies, please contact the Transcriptionist at
(intrepidly002@yahoo.com)
Courtesy of http://www.grissomandsara.com/
Please do not archive without permission.
==========================
TITLE/OPENING CREDITS
==========================
CSI: CRIME SCENE INVESTIGATION
2X13: IDENTITY CRISIS
ORIGINAL AIR DATE ON CBS: 01/17/2002
TRANSCRIBED FROM CBS
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
ROBERT DAVID HALL as Dr. Al Robbins
MATT O'TOOLE as Paul Millander / Judge Douglas Mason
MICOLE MERCURIO as Isabelle Millander
NEIL FLYNN as Officer Kevin Yarnell
CHERYL WHITE as Isabelle Mason
ARCHIE KAO as Archie Johnson
STEVE WITTING as
ROB ROY FITZGERALD
JASON AZIKIWE
Music Composed by: JOHN M. KEANE
Edited by: ALEC SMIGHT, A.C.E.
Production Designer: RICHARD BERG
Director of Photography: JONATHAN WEST, A.S.C.
Co-Producer: BRUCE GOLIN
Consultant: JERRY STAHL
Producer: JOSH BERMAN
Producer: ANDREW LIPSITZ
Producer: CYNTHIA CHVATAL
Producer: WILLIAM PETERSEN
Supervising Producer: DANNY CANNON
Co-Executive Producer: JONATHAN LITTMAN
Co-Executive Producer: SAM STRANGIS
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: ANN DONAHUE
Written by ANTHONY E. ZUIKER & ANN DONAHUE
Directed by KEN FINK
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: CAROL MENDELSOHN
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CSB Productions, Inc.
Co-Starring
DEVON ALAN as Craig Mason
STEVEN M. GAGNON as Bailiff
RYAN JAMES as Young Paul
FRANK NOVAK as Clark County Judge
Line Producer: FRANK BALLOU
Associate Producer: PHILIP CONSERVA
Associate Producer: KIM M. CYBULSKI
Associate Producer: BRAD TANENBAUM
Casting by: ROBERT J. ULRICH, C.S.A
Casting by: ERIC DAWSON, C.S.A
Casting by: CAROL KRITZER, C.S.A
Original Casting by: APRIL WEBSTER, C.S.A
Executive Story Editor: ELI TALBERT
Story Editor: ELIZABETH DEVINE
Unit Production Manager: RICK TUNELL
First Assistant Director: MATT EARL BEESLEY
Second Assistant Director: STACY MURPHY
Art Director: TIM ECKEL
Set Decorator: JENNIFER GENTILE
Location Manager: PAUL WILSON
Construction Coordinator: ALLAN JOHNSON
Production Sound Mixer: MICK FOWLER
Camera Operator: JEFFREY HUNT, S.O.C
Gaffer: KURT JOHNSON
Key Grip: DALE ALEXANDER
Property Master: ROBERT LOYAL GOOD
Script Supervisor: PAULA BARRETT-BARBIER
Technical Consultant: ELIZABETH DEVINE
Key Make-Up Artist: NICK PAGLIARO
Key Hair Stylist: DANNY GOLDSTEIN
Special Effects Make-Up: JOHN GOODWIN
Transportation Coordinator: TOM THOMAS
2nd 2nd Assistant Director: NATALIE VAN DOREN
Costume Designer: EILEEN COX BAKER
Costume Supervisor: ANNIE MARIE THOMAS-CASADOS
Special Effects Supervisor: MARK BYERS
Stunt Coordinator: JON EPSTEIN
Casting Associate: ANDY HENRY
Assistant Editor: ERIK PRESANT
Supervising Sound Editor: MACE MATIOSIAN
Sound Effects Editor: DAVID VAN SLYKE
Music Supervisor: JASON ALEXANDER
Music Editor: SHERI OZEKI
Colorist: GARETH COOK
Visual Effects Supervisor: LARRY DETWILER
Digital Effects by STARGATE DIGITAL
High Definition Post Production by ENCORE
Film Laboratories by CREST NATIONAL
Post production Sound Provided by TODD STUDIOS BURBANK
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) 2002 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights
Reserved
CSB Productions Inc. and Alliance Atlantis Productions Inc., are the authors of
this program for the purposes of copyright and other laws.
Dated:03/23/2003~lky
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