CSI: CRIME SCENE INVESTIGATION 3X13: RANDOM ACTS OF VIOLENCE ORIGINAL AIR DATE ON CBS: 01/30/2003 TRANSCRIBED FROM CBS Written by DANNY CANNON & NAREN SHANKAR Directed by DANNY CANNON Transcript by Intrepid Courtesy of http://www.grissomandsara.com/ Please do not archive without permission. (Brought to you in HDTV by SamSung Digitall) RATING: TV-14-LV ========================== 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 Productions 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. Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.grissomandsara.com/ For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: A case gets very personal for Warrick when the daughter of someone he knows is killed in a random act of violence. Meanwhile, Nick is challenged to figure out who killed a man found dead in a sealed computer room. ========================== CSI: CRIME SCENE INVESTIGATION 3X13: RANDOM ACTS OF VIOLENCE ========================== COLD OPEN: [EXT. LAS VEGAS CITY (STOCK) - DAY] FAST FORWARD TO: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] [EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT] CUT TO: SCENE #01: [EXT. SIDEWALK OUT FRONT OF RESIDENCE -- NIGHT] (A boy and a girl kiss out on the front sidewalk.) TEENAGED GIRL: I'm so sorry. TEENAGED BOY: I got to go, baby. (He pulls away from her and starts to walk away.) TEENAGED GIRL: I'll call you tomorrow. (The camera moves beyond them and into the house next door.) CUT TO: SCENE #02: [INT. PHELPS' RESIDENCE -- NIGHT] (TRAVIS PHELPS plays a video game on the television.) MATTHEW PHELPS: Get it off. I'm not going to say it again. TRAVIS PHELPS: Dad, just five more minutes and I'll be on level nine. MATTHEW PHELPS: Now! (AIMEE PHELPS walks out into the living room in her pajamas.) AIMEE PHELPS: Dad! You said I can watch nickelodeon. MATTHEW PHELPS: You've watched enough tv for tonight. It's time to go to bed. AIMEE PHELPS: How come he doesn't have to? MATTHEW PHELPS: Both of you, bed now! (AIMEE PHELPS turns around and stomps off to her room. MATTHEW PHELPS walks up to the television set and turns it off.) TRAVIS PHELPS: Dad! You got to save it first! MATTHEW PHELPS: This game saves it automatically. (TRAVIS PHELPS stands up to go to bed. He passes by the table and grabs the can of soda.) MATTHEW PHELPS: Oh, no, no, you know how much sugar's in that thing? (As MATTHEW PHELPS stands to take the can of soda, gunshots burst in through the living room window.) MATTHEW PHELPS: Get down! (MATTHEW PHELPS dives for his son and covers him. The gunfire continues.) (Outside, tires screech by.) MATTHEW PHELPS: (shouts) Son, are you all right? (His son, scared out of his wits, doesn't answer. MATTHEW PHELPS looks up.) MATTHEW PHELPS: Aimee? (MATTHEW climbs to his feet and runs to his daughter's room. MATTHEW PHELPS: Aimee! Aimee! Aim .. (He turns the corner and sees her room in shambles. The bullets tore through everything. And on the bed is his little girl, dead.) WHITE FLASH TO: SCENE #03: [EXT. PHELPS RESIDENCE -- NIGHT] (The lights of the Emergency vehicles parked in the driveway flash in the night. A large crowd of neighbors and curious on-lookers has gathered outside the taped off area.) (WARRICK and GRISSOM make their way toward BRASS.) WARRICK: Hey. GRISSOM: Didn't you grow up in this neighborhood? WARRICK: Yeah, not too far away. My grandmother still lives down the block. Lot of familiar faces. MAN: Hey, Brown, you going to find the guy who did this? WARRICK: We're going to do our jobs. BRASS: Jason Gilbert. Shot through and through. He going to be all right, though. WARRICK: What was he doing here? BRASS: Visiting his girlfriend next door. He hit the deck when the shooting started. Didn't see a car. GRISSOM: Drive-by. His girlfriend see anything? BRASS: Nobody saw a thing. Little girl inside wasn't so lucky. Aimee Phelps, age nine. (WARRICK starts at the name.) WARRICK: Phelps? BRASS: Father operates a rec center down the block. (WARRICK heads for the house. GRISSOM notes WARRICK'S response.) CUT TO: SCENE #04: [INT. PHELPS' RESIDENCE - NIGHT -- CONTINUOUS] (MATTHEW PHELPS holds a doll tightly in his hands. His head is lowered and his eyes closed.) (WARRICK walks into the room.) WARRICK: What happened, man? MATTHEW PHELPS: They killed my baby. (He puts his head down and starts to cry. WARRICK puts a supportive hand on the man's shoulder.) WARRICK: (softly) I'm sorry, man. I'm sorry. (GRISSOM walks into the house and as he does with any other crime scene, he starts looking around.) WARRICK: I got here as quick as I could. What happened? MATTHEW PHELPS: Cops said they were aiming at some white kid. I thought I was making a difference. (MATTHEW PHELPS closes his eyes and starts to cry again.) WARRICK: You are making a difference. I'm living proof. I'm sorry. (GRISSOM walks further into the house and notes the bullet hole in the bookshelf.) (Quick CGI POV to: Camera zooms forward taking the path of the bullet, through the cabinet, through the wall, through the pillow, and finally lodging in the little girl. End of CGI POV.) CUT TO: SCENE #05: [INT. PHELPS' RESIDENCE - AIMEE'S BEDROOM - NIGHT - CONTINUOUS] (GRISSOM appears in the bedroom doorway. He walks inside and approaches the little girl's body on the bed. He kneels down next to the body and turns on his flashlight, noting the bullet hole under her chin.) (GRISSOM also notes the bullet hole in the wall. He stands up and goes to look at it. WARRICK appears in the doorway. He sees the body on the bed. He pulls out his gloves and sits down on the bed. He reaches out to touch the body. GRISSOM turns around and notes WARRICK'S behavior.) (WARRICK sighs.) GRISSOM: You going to be able to handle this? (WARRICK looks up at GRISSOM.) WARRICK: (grimly) I want this case. HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. SCENE #06: [INT. PHELPS' RESIDENCE -- NIGHT] (WARRICK examines the empty display shelf.) WARRICK: Matt told me his house was broken into about a week ago. They took all of his awards, his medals. Everything in this case. I hope whoever took it, it meant as much to them as it did to him. (GRISSOM examines the bullet holes in the wall. He sighs.) GRISSOM: Well, we're obviously looking for an automatic. WARRICK: No doubt. All this damage. GRISSOM: The bullets went through the glass, shed their jackets or disintegrated completely on impact with the wall. (Quick CGI POV of the bullet hitting the wall and disintegrating. End of CGI POV. Resume to present.) GRISSOM: All we have left are lead cores, which are of no comparison value. (GRISSOM and WARRICK look up as the Coroners remove the body.) GRISSOM: The only bullet that may help us is inside that little girl. CUT TO: SCENE #07: [EXT. HYPERTRIX -- NIGHT] (NICK and DET. SAM VEGA walk up toward the business' front door.) NICK: Hypertrix? Sounds like a breakfast cereal. VEGA: Some internet service thing. I stopped thinking about that stuff when I found out my NASDAQ fund was worth less than my son's comic book collection. NICK: Dot com ... dot bomb. VEGA: The office floor where the DB's located is restricted-- authorized employees only. NICK: I'll need the access log. VEGA: I already spoke to building security. (VEGA hands NICK a sheet of paper.) NICK: Cool. CUT TO: SCENE #08: [INT. HYPERTRIX - NIGHT - CONTINUOUS] (DET. VEGA and NICK enter the office floor. The room is completely white.) VEGA: Night shift started at 6:00 P.M. NICK: And since then, four people have entered the building, and nobody left. VEGA: Three of them are still breathing. (They stop in front of a secured door with a card key access. VEGA slips the card key through the reader. The door beeps, then opens.) CUT TO: SCENE #09: [INT. HYPERTRIX - COMPUTER ROOM - NIGHT -- CONTINUOUS] (The door opens and NICK and DET. VEGA walk in. Immediately, NICK feels the temperature change.) NICK: Ooh. Hey, David. (DAVID PHILLIPS is already inside the room kneeling before the body taking the body temperature.) DAVID PHILLIPS: Nick. Cool enough in here for you? NICK: I'll manage. Most computers dissipate over two thirds of the energy they consume as heat. A/C's here for them, not the worker bees. VEGA: Victim's name's Garret Kwan. Job title, CTO. NICK: Chief Technology Officer. T.O.D.? (DAVID PHILLIPS looks at the digital temperature gauge. It reads 86.3 degrees F.) DAVID PHILLIPS: Ambient here's about 65 degrees, which makes core temp drop roughly two degrees per hour. Figure he's been dead five to seven hours. NICK: Apparent blunt force trauma. Minimal seepage around the wound. No blood on the floor. The paramedics roll him? DAVID PHILLIPS: Uh, yeah. Said they found him face down, head towards the rack. NICK: (to VEGA) Any sign of a weapon? VEGA: Nothing obvious. No windows. Only one way in or out. NICK: Yeah, but there's plenty of places to hide. (Quick flashback to: Someone hitting GARRETT KWAN over the back of the head from behind. He takes the hit and goes down. End of flashback. Resume to present.) NICK: Okay. One dead boss. Three live employees. I like the odds. CUT TO: [EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT] SCENE #10: [EXT. PHELPS' RESIDENCE -- NIGHT] (Evidence markers #2 & #3 are put down on the ground next to blood spatter out on the sidewalk.) BRASS: So, Jason Gilbert, the kid who was shot, not too popular in the neighborhood. Just in a fight last week, down the street. WARRICK: Yeah? BRASS: Uh-huh. WARRICK: You saw his girl. She was hot. They're probably macking on her. (pause) Matt said he heard tires screech. BRASS: Mm-hmm. WARRICK: And the bullets went from right to left. BRASS: Uh-huh. (BRASS figures it out and points somewhere to WARRICK'S left.) Over there? (WARRICK turns his head and they both head in that direction. They find a mailbox overturned.) BRASS: You know, it's a federal offense to be messing with the postal service. WARRICK: Took that corner pretty hard, huh? BRASS: Yeah. (WARRICK takes a picture of the overturned mailbox. He picks the mailbox up and turns it right-side up.) BRASS: Doesn't that dent look a little high to you? Like a truck or an SUV? (WARRICK takes a picture of the dent.) (Quick flashback to: An SUV rounds the corner, tires screeching and hits the mailbox, making the dent and knocking it over. End of flashback. Resume to present.) WARRICK: Yeah. BRASS: I'm not just another pretty face, you know. WARRICK: There's a silver paint transfer, though, right here. (WARRICK points to the portion of the dent where the mailbox made contact with the vehicle.) OFFICER: Captain. BRASS: Yeah? (They both turn around.) OFFICER: Just got a call. PJ's tavern, a few block away. Guy was brandishing an automatic weapon. They're holding him at the site. CUT TO: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] SCENE #11: [EXT. P.J.'S TAVERN -- NIGHT] (The Owner of the Tavern talks to the OFFICER. WARRICK and BRASS approach them.) OWNER: This guy's a punk. BRASS: Hey, tell me what you're telling him. OWNER: (pointing) This guy's no good. He's been in here before, and every time it's trouble, so this time, I exercised my right not to serve him. You know what the little freak does? Lifts up his jacket, and shows me a piece. I tell him to take a hike. (WARRICK looks over at GENE JAYCOBS who has suddenly taken an interest in WARRICK. His eyes never leave WARRICK.) BRASS: Yeah? (WARRICK notes with interest the semi-automatic weapon that the OFFICER confiscated from GENE JAYCOBS.) OWNER: Then he proceeds to tell me how I better watch my back, 'cause it wouldn't be the first time tonight he killed somebody. BRASS: No kidding. All right. WARRICK: Jay ... Jacobs? OWNER: No, it's Gene Jaycobs. WARRICK: Gene Jaycobs. I knew that kid. I went to school with him. He got kicked out. BRASS: Okay, let's see what the lad has to say for himself. Thanks a lot. (WARRICK puts on his latex gloves as he and BRASS head for GENE JAYCOBS.) BRASS: Hey, Gene! What's happening! Uncuff him. GENE JAYCOBS: (to WARRICK) Do I know you? WARRICK: (doesn't answer the question) Put your hands out in front of you. GENE JAYCOBS: (nods) Oh, it's like that, huh? (WARRICK takes a sample off of GENE JAYCOBS' hands.) WARRICK: I can process this now. It would tell me if you fired a gun within the last couple of hours. But I'm going to take this back to the lab, make you sweat it out. BRASS: Okay, officer, I think someone needs their cuffs put back on. (The officers put the handcuffs back on GENE JAYCOBS. WARRICK walks away.) CUT TO: SCENE #12: [INT. HYPERTRIX - WHITE OFFICE -- NIGHT] (TODD BENTON sits down in his chair.) TODD BENTON: I know what that is. You're checking me for blood spatter. I watch the discovery channel. (beat) I found the body, I called the police. Not too smart, if I'm the one who killed the guy. (TODD BENTON is talking to the wall. Or rather, he's practicing to himself. He pauses and evaluates what he says.) TODD BENTON: (quietly): That's good. (He stands up a little ... just enough to look over the wall. He sees NICK and DET. VEGA standing on the far end of the room. He sits back down.) TODD BENTON: (muttering) Not too ... not too smart, if I'm the one who ... (NICK and DET. VEGA approach TODD BENTON'S desk.) NICK: Mr. Benton, could you stand up for me, please? (TODD BENTON stands. NICK takes out his ALS and checks for blood. Just as he rehearsed, TODD BENTON runs through his lines.) TODD BENTON: I know what that ... is. I know what that is. You're checking me for blood spatter. I watch the discovery channel. Look, I ... I found the body, I called the police. Not too smart, if I'm the one who killed the guy. VEGA: Thanks for pointing that out. When was the last time you saw Garret Kwan? TODD BENTON: I didn't; not tonight. I was working. Working halfway to carpal tunnel syndrome. So-called ergonomic chairs. Should be a crime, if you ask me. The chairs are ... okay, you know, it's, it's not like my office has a good view of the door. You should be talking to Charlie. Charlie has the good view. NICK: Charlie? (TODD BENTON points to the desk behind NICK. NICK turns around and sees the empty desk. He looks back at TODD BENTON.) TODD BENTON: Yeah, okay, yeah, um, Charlie ... Charlie doesn't work here anymore, so that doesn't really help you. NICK: Could you hold your hands out for me, please? SHORT TIME CUT TO: SCENE #13: [INT. HYPERTRIX - WHITE OFFICES -- NIGHT] (NICK is checking out ANDERS MOLYNEAUX. He checks a swab.) NICK: Pretty easy to see the door to the server farm from here. ANDERS MOLYNEAUX: That is a fact. And here's another. I didn't see anything. I was coding. Link. Compile. Debug. All night. The work absorbs me. VEGA: What kind of work? ANDERS MOLYNEAUX: My code monitors internet traffic and server load. NICK: So you make your computer watch other computers that other people are watching? ANDERS MOLYNEAUX: Just because you can't see the beauty in data flow doesn't mean it doesn't exist. VEGA: What was your relationship to Garret Kwan? ANDERS MOLYNEAUX: I'm employee number seven. Kwan was employee number six. Big brain by reputation, my boss by random chance. (NICK looks at VEGA. VEGA nods.) SHORT TIME CUT TO: SCENE #14: [INT. HYPERTRIX - WHITE OFFICES -- NIGHT] (NICK and VEGA question SERENA CHASE.) SERENA CHASE: You know, they, um, they confiscated all my murder weapons when I left Microsoft, so I don't know if you'll find anything. NICK: Yeah, you don't exactly fit the corporate image. SERENA CHASE: Well, it's my image, the company doesn't get a say in it. VEGA: Looks like you get special treatment around here. SERENA CHASE: Yeah, well, I earn it. I optimize 'net infrastructure. I saved this company $8.3 mill last year. Got a five-figure bonus. And, uh, yes, I did see Garret go into the server farm around 6:00, 6:30. NICK: So your boss is laying there dead for five and a half hours plus, and you never even notice he's gone. SERENA CHASE: Oh ... well, I mean, nobody else did, either. Look, I was, you know ... NICK: Working. SERENA CHASE: That is what we do here. NICK: (smiles) Right. CUT TO: SCENE #15: [INT. CSI - FORENSIC AUTOPSY -- NIGHT] (ROBBINS goes over AIMEE PHELPS with GRISSOM. ) ROBBINS: Bullet entered through the throat, severing the spinal column. C2's adjacent to the brain stem. Sever that, respiration shuts down, resulting in almost immediate death. (ROBBINS picks up the bullet. Camera zooms in on the bullet.) ROBBINS: Wood splinters embedded in the jacket. GRISSOM: Well, it went through a bookcase. Nine millimeter. (ROBBINS puts the bullet in the bindle GRISSOM is holding.) GRISSOM: Thanks. (GRISSOM stands and leaves.) CUT TO: SCENE #16: [INT. CSI -- HALLWAY / BALLISTICS LAB -- NIGHT (GRISSOM walks through the hallway carrying the bindle. In the background, there's a muffled gunfire. Water splashes in a tank.) (GRISSOM rounds the corner and enters the Ballistics Lab where WARRICK and BOBBY DAWSON are testing the gun.) (BOBBY DAWSON opens the tank and retrieves the bullet. He closes the tank and heads for the scope. He looks up and sees GRISSOM. WARRICK takes off his goggles and walks toward the group.) (GRISSOM puts the bullet in a container of detergent. (BOBBY DAWSON takes the bullet out of the container and looks at both of them under the scope. He lines up the bullets and its a match.) BOBBY DAWSON: All right. Bingo. Your bullet came from that gun. GRISSOM: You're sure. BOBBY DAWSON: Yeah, I'm sure. WARRICK: We got him. CUT TO: SCENE #17: [INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT] (BRASS questions GENE JAYCOBS.) BRASS: So, Jason Gilbert -- what did he ever do to you? GENE JAYCOBS: Drawing a blank. BRASS: The kid you shot! GENE JAYCOBS: I didn't shoot nobody, man. BRASS: Jason's girlfriend told us that you were practically stalking her. She must have turned you down a hundred times. You didn't like that, did you? GENE JAYCOBS: Is that what she told you? BRASS: Yeah. GENE JAYCOBS: Lying bitch! I found that gun! (Quick flashback to: GENE JAYCOBS picking up the gun from the ground.) GENE JAYCOBS: Damn! GENE JAYCOBS: (v.o.) Gun was jammed, I cleared it. (End of flashback. Resume to present.) BRASS: You cleared it, all right-- into Mr. Phelps's home, killing his daughter! GENE JAYCOBS: (stands up) No, it was the last bullet. BRASS: What are you talking about? You threatened a bartender with an empty gun? GENE JAYCOBS: He didn't know that. I can show you where I found it: Alleyway behind Washington Avenue ... CUT TO: [OBSERVATION ROOM -- CONTINUOUS] GENE JAYCOBS: (over speaker) ... Next to a big yellow dumpster. WARRICK: Oh, come on. That's it? That's his genius story? GRISSOM: We only found a small amount of GSR on his hands. Could have been transfer from just picking up the murder weapon. WARRICK: He's lying. (GRISSOM turns to look at WARRICK.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #18: [EXT. GENE JAYCOBS' RESIDENCE -- DAY] (WARRICK exits the residence. Other Officers leave carrying boxes of stuff. WARRICK meets up with GRISSOM.) WARRICK: Our shooter isn't only a liar, he's a thief. Found tons of electronic equipment in there, still in the boxes. GRISSOM: Well, either he's buying in bulk, or that stuff's hot. WARRICK: No guns or ammo. But I do have his car keys. (GRISSOM and WARRICK walk down the stairs to the car. They unlock the car. The car alarm chirps.) (GRISSOM looks inside the car.) GRISSOM: I'm afraid the only bullets in here are silver bullets. (WARRICK looks outside the car for damage.) WARRICK: I may have something here. The shooter's vehicle took out a mailbox. The dent's in the right spot, and the car is the right silver color GRISSOM: You got any paint transfer? WARRICK: Nothing visible. GRISSOM: Call auto detail. We'll tow it back to the lab. CUT TO: SCENE #19: [INT. CSI - FORENSIC AUTOPSY -- DAY] (DAVID PHILLIPS goes over the preliminary findings with NICK.) DAVID PHILLIPS: Blow came from an object roughly rectangular in shape, resulting in a depressed fracture of the parietal bone, (DAVID points to the wound at the back of the deceased's head.) (Quick flashback to: Someone standing behind GARRET KWAN, hits him on the back of the head, he falls to the ground.) (Quick CGI POV to: Camera zooms into the wound and to the skull where blood seeps through.) DAVID PHILLIPS: (v.o.) ... with radiating linear fractures extending outward from the point of impact. (End of CGI POV. End of flashback. Resume to present.) DAVID PHILLIPS: Based on the fracture pattern, I'd say it was a single strike to the head. NICK: Explains the lack of spatter at the scene. DAVID PHILLIPS: First hit's free. NICK: Killer knew what he was doing. (DAVID turns around to pick up something he found. He shows it to NICK.) DAVID PHILLIPS: And, uh, take a look at this. Black plastic. Found it in the wound. NICK: Possible transfer from a murder weapon? CUT TO: [EXT. LAS VEGAS COMMUNITY (STOCK) -- DAY SCENE #20: [EXT. 26th STREET RECREATION CENTER -- DAY] (WARRICK walks over to MATTHEW PHELPS who is painting the side of the building.) WARRICK: Hey. (MATTHEW PHELPS stops painting and turns around.) MATTHEW PHELPS: I heard you got the shooter. WARRICK: It's not that simple. MATTHEW PHELPS: You think it's him? WARRICK: We got all our guys on this, Matt, all right? MATTHEW PHELPS: Yeah. (MATTHEW PHELPS turns around and resumes painting. WARRICK watches as a group of kids jog by wearing football uniforms.) WARRICK: You still using them same old uniforms? (He stops painting and turns around to talk with WARRICK.) MATTHEW PHELPS: That stuff's expensive, man. WARRICK: Yeah. MATTHEW PHELPS: But we managed to get the basketball court tarmacked, thanks to contributions from folk like you. WARRICK: Hey, I ain't stupid. I know where I came from. I wouldn't be anywhere, if it weren't for this place. MATTHEW PHELPS: Well, you was always going places. You just lacked discipline. WARRICK: Still do. I don't recognize this ugly-ass gang symbol. MATTHEW PHELPS: You know, it's, it's hard to keep up with it all. I just don't know anymore. What with all the break-ins ... WARRICK: Break-ins?! MATTHEW PHELPS: Rec center's van was stolen a couple days ago. How am I going to tell these kids that they can't play in the semifinals 'cause I got no way of getting them there? WARRICK: I'll look into it for you, all right? We'll get them there. When's Aimee's service? MATTHEW PHELPS: Wednesday. WARRICK: Matt, if there's anything I can do ... MATTHEW PHELPS: Just get me five minutes alone with the shooter. Just five minutes. I know it's not going to bring Aimee back ... but I can't sleep at night, knowing that he's still breathing out there. Can you? (WARRICK'S cell phone rings. He answers it.) WARRICK: Brown. GRISSOM: (on phone) Jaycobs has an alibi. WARRICK: What? GRISSOM: (on phone) Meet me in PD. CUT TO: SCENE #21: [INT. POLICE DEPARTMENT - HALLWAY -- DAY] (WARRICK and MATTHEW PHELPS walk into the Police Department.) GRISSOM: Mr. Phelps, it's good to see you again, sir. (to WARRICK) Would you excuse us a moment? Warrick. (They walk to the side.) GRISSOM: What's he doing here? WARRICK: If Jaycobs is going to slip through our fingers, I need someone else to explain to him what went wrong. GRISSOM: This was not a good idea. (WARRICK looks over and sees a man standing in BRASS' office.) WARRICK: That's supposed to be his alibi? GRISSOM: David Artiss. Says he was with our suspect the night of the drive-by. Says he dropped him off at PJ's tavern right before we picked him up. Says he also saw him find the mac. WARRICK: Clothes he slept in, bloodshot eyes. The guy's a junkie, Grissom. You can see it, I can see it, and the jury will see it. (BRASS joins WARRICK and GRISSOM.) BRASS: DA listened to the alibi's statement. He knows it's questionable, but, uh ... WARRICK: But what? BRASS: Half an hour before the house was shot up, Jaycobs and his alibi were at the sports chalet. WARRICK: Come on. BRASS: Salesperson remembered seeing both of them. They bought a baseball bat. Artiss even has the receipt. WARRICK: Sports chalet is ten minutes away. That's no alibi. BRASS: I don't know. After what the DA heard, he said he's not going to file charges. Doesn't want the clock to tick. WARRICK: So that's it? As easy as that, he walks. (The hallway door opens and GENE JAYCOBS walks out. MATTHEW PHELPS stands off to the side and sees him walk out into the hallway.) BRASS: Look at it this way -- you have more time to build your case. MATTHEW PHELPS: Is that him? Why are they letting him go? Why are they letting him go?! What are you guys doing? (MATTHEW PHELPS sees GENE JAYCOBS and completely looses it. WARRICK stands in the middle and holds the man off. He pushes MATTHEW PHELPS out of the hallway.) WARRICK: Not here. C'mon. MATTHEW PHELPS: What are you doing?! He killed my daughter! WARRICK: C'mon. We're going to cool off. (WARRICK gets MATTHEW PHELPS out of the hallway.) BRASS: (to GRISSOM) They're going to put Jaycobs in protective custody to avoid repercussions in the community. Where are we going to put Warrick? (GRISSOM turns to look at BRASS.) CUT TO: SCENE #22: [INT. CSI - AUDIO/VISUAL LAB] (ARCHIE and NICK walk into the lab carrying boxes of evidence. They put the boxes on the table.) ARCHIE: ... Cool-looking office. It was kind of fun being out in the field. Pulling drives, collecting evidence ... flashing I.D. I think I got a flair for it. NICK: You bucking for a promotion? ARCHIE: Not bucking ... nudging. You know people put their lives on these hard drives? NICK: Yeah, yeah, that's what I'm counting on. CUT TO: SCENE #23: [INT. CSI - AUDIO/VISUAL LAB] (ARCHIE works on the hard drives taken from HYPERTRIX. NICK goes through a palm pilot. He finds a photograph of SERENA CHASE.) NICK: Hey, Arch. (ARCHIE turns around to see the photo on the palm pilot.) ARCHIE: (smiles) Wow! Serena. Can defrag my hard drive anytime. (NICK smiles.) CUT TO: SCENE #24: [INT. POLICE DEPARTMENT - WAITING ROOM -- DAY] (NICK holds out the photographs taken from SERENA CHASE'S palm pilot. She looks at them and smiles.) NICK: Are these, uh, business e-mails? I'm a little confused. SERENA CHASE: No, um ... this is actually harmless fun, so... VEGA: Court documents Garret Kwan was suing you for sexual harassment. SERENA CHASE: Are you, um, familiar with the term "spurious"? VEGA: Are you familiar with the term "murder suspect"? SERENA CHASE: I was just trying to let him know I was available, okay? Low pressure. The guy freaked out, he thought I was trying to get him into some bogus lawsuit, so he preempted me with one of his own. It's called a scare tactic. NICK: Scared to lose your job? Your five-figure bonus? VEGA: Scared enough to kill him? SERENA CHASE: Okay, look, I was flirting with the guy. I will e-mail you with the number from my lawyer. (She stands up and leaves the room.) CUT TO: SCENE #25: [INT. CSI - GARAGE -- DAY] (WARRICK searches GENE JAYCOBS' car. He looks inside the front seat. Frustrated that he's not finding anything, he throws the cup down and slams the front passenger door shut.) (WARRICK checks out the back seat. He hits the back seat and hears a hollow sound. He looks under the seat and finds a bag full of items. He pulls the bag out. He opens the bag and finds the missing trophies from MATTHEW PHELPS' house.) CUT TO: SCENE #26: [INT. CSI - LAB -- NIGHT] (WARRICK enters the lab carrying the bag of tropies.) WARRICK: (angry) This guy's been in Matt's house. GRISSOM: What is this? (WARRICK puts the bag on GRISSOM'S lab table and opens it. He starts pulling out trophies and showing them to GRISSOM.) WARRICK: Matt's team won this three years ago. This trophy was given to the rec center last year. I found all this stuff in Jaycobs' car. (GRISSOM stands up.) GRISSOM: Well, if this is evidence, it needs to be tagged and catalogued. WARRICK: This is the same guy who shot Matt's daughter in the head. He's walking around laughing at us. GRISSOM: Can you prove that? WARRICK: (yelling) What is this? I've been putting guys away like this for years. And now that it matters, it's like you're holding me back here. (He's getting louder. GREG and another office worker come out of their labs to see what's going on.) GRISSOM: The job, Warrick, is to process evidence. Objectively, and without prejudice. WARRICK: I'm so tired of hearing that. I've heard it a million times. I can't be like you. I'm not a robot, okay? (This surprises GRISSOM.) WARRICK: I actually care about these people. (JACQI FRANCO in her lab pushes her chair to see what's going on.) (GRISSOM doesn't argue with WARRICK.) GRISSOM: You know what? You're not working on this case anymore. I'll have another assignment for you tomorrow. WARRICK: Keep it. (WARRICK picks up the bag of trophies and leaves the lab. He pushes the mail cart aside as he storms out the hallway.) (GRISSOM watches WARRICK leave.) (LAB TECHS head back into their labs as WARRICK walks by. GRISSOM turns his head and looks at BOBBY DAWSON in the ballistics lab.) GRISSOM: Where were we? BOBBY DAWSON: At a dead end. GRISSOM: Go back to work. (Camera holds on GRISSOM.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #27: [INT. CSI - LAB / HALLWAY] (NICK walks through the hallway carrying a file folder. GREG leans on the door frame and calls out to him.) GREG: Hey, Stokes? NICK: Yeah? (GREG motions to him.) GREG: We got to talk. NICK: Hey, did you I.D. that scraping from my vic's head wound yet? GREG: Yeah, yeah, it's a common plastic, polyethylterephthalate -- P.E.T.-- Used in everything from garbage bags to magnetic tape to floppy disks. NICK: Okay, thanks. (NICK turns to walk away. GREG stops him.) GREG: Yeah, but that's not what I wanted to talk about. NICK: What, then? (GREG motions for NICK to come into his lab. Amused, NICK steps forward.) GREG: Look, I thought that we had a relationship. What are you doing taking Archie out into the field, instead of me? NICK: (laughs) It's the right tool for the right job, man. You have to understand the world you're investigating. Hey, Archie. ARCHIE: (lifts his head) Yeah? NICK: Hey, what's that star trek episode where the guy's got the forehead thingy, and the time portal ... ? ARCHIE: In Classic, TNG, DS9, Voyager or Enterprise? (NICK looks back at GREG.) GREG: Point taken. (GREG slips back into his lab.) CUT TO: SCENE #28: [INT. CSI - AUDIO/VISUAL LAB -- CONTINUOUS] ARCHIE: ... Or were you thinking about Farscape? NICK: I have no idea what you are talking about. ARCHIE: It doesn't matter. Look, I got something to show you here. I found this on Anders' computer. NICK: What is this, a video game? ARCHIE: No, it's actually an FRPG: "Fantasy role-playing game." You see, players use avatars to represent themselves in a fantasy world. There's Serena, Todd, and Kwan in this alternate universe conjuring up a gateway, which summons a beast-like Anders, who decapitates Kwan. NICK: You know a lot about this stuff, don't you? ARCHIE: Mm-hmm. NICK: You got to get a girlfriend. (NICK leaves. ARCHIE turns around to look at NICK.) ARCHIE: You first. CUT TO: SCENE #29: [INT. HYPERTRIX] (NICK and VEGA question ANDERS MOLYNEAUX.) ANDERS MOLYNEAUX: It was merely a game. An entertainment. NICK: Nah, it's more like a place where you can play god, right? Maybe treat people the way you wish you could treat them in real life? VEGA: Virtual murder is not quite as satisfying as the real thing, is it? NICK: You look a little uncomfortable, Mr. Molyneaux. ANDERS MOLYNEAUX: This office is always uncomfortable. Ventilation sucks. I put Kwan in my game because I was upset. NICK: Upset about what? ANDERS MOLYNEAUX: I was designing characters for a new multi-player Sim ... on company time. Kwan found out ... somehow. Man always seems to be one step ahead of his underlings. NICK: How? ANDERS MOLYNEAUX: If I'd known, he would've been working for me. In this instance, he informed the board. Unauthorized use of bandwidth. Nearly got me fired. VEGA: But you didn't kill him. ANDERS MOLYNEUX: No. Am I sorry he's gone? No. CUT TO: [EXT. LAS VEGAS COMMUNITY (STOCK) - DAY] SCENE #30: [EXT. SIDE STREET -- DAY] (GRISSOM stands up. He's inside the yellow trash bin. He jumps out of the trash bin and looks at the ground. Driving up on the side road is a police car.) (He looks up and sees the Police Car stop on the street. The officers exit the car.) GRISSOM: What's going on, fellas? OFFICER: Possible burglary. Homeowner's on vacation. Neighbor called it in last night. Just getting around to it. (to the other officer) I may have to climb over. (GRISSOM watches the officers. he looks at the driveway gate and pushes it open.) (The driveway gate opens startling the officers. GRISSOM looks at them from the other side of the gate. The officers walk in. They look at the large broken window.) (GRISSOM notices something. One of the iron points on the gate is broken.) (Quick flashback to: A car drives by and a gun is tossed out its window. The gun hits the iron point, bending it and breaking the gun at the same time. End of flashback. Resume to present.) (GRISSOM starts looking around. On the ground he finds a bullet with a dent on it.) (The officer notices GRISSOM and calls out to him.) OFFICER: What have you got? CUT TO: SCENE #31: [INT. CSI - PRINT LAB] (An evidence bindle hits the table.) GRISSOM: Stovepipe. Possibly jammed in our murder weapon. Never fired, never exposed to the heat. JACQUI FRANCO: And you're thinking there might be a recoverable print. GRISSOM: Yes. JACQUI FRANCO: Dare to dream. (GRISSOM turns and heads out the lab.) CUT TO: SCENE #32: [INT. CSI - LAB] (NICK pulls down a box labeled: KWAN, GARRET / 003-4851. He opens the box and goes through the bags inside. He takes out a CD disk container. He opens it and looks at it.) CUT TO: SCENE #33: [INT. CSI - AUDIO/VISUAL LAB] (ARCHIE and NICK go through the disks.) ARCHIE: Well, you were right. Kwanspy. On every employee's computer. Program runs in the background, invisible. Copies documents, e-mails, every keystroke. NICK: Then transfers the data to Kwan's machine. Big brother. ARCHIE: Company owns a network, company owns what's on it. Sick, but legal. NICK: Well, knowledge is power. Kwan had his computer set up to auto-burn a new disk every night-- here. This was made the night of the murder. If we found out o was away from their desk at the time of death ... we got our killer. (NICK hands ARCHIE a disk. ARCHIE runs it and looks at the data.) ARCHIE: Nick, based on these time stamps, everybody in that office was working when Garret Kwan was killed. NICK: Great. We just eliminated all of our suspects. CUT TO: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] SCENE #34: [INT. OFFICE -- NIGHT] (WARRICK is alone in an office. He's on the telephone.) WARRICK: Assistant District Attorney Kelly's office, please. This is Warrick Brown. (pause) Oh, he's not in? Okay. Well, maybe you can help me out. I, uh, I have Gene Jaycobs' personal belongings, and I need to get them returned to him. I need his relocated address. (pause) Yeah, I know it's not standard procedure but, uh, I missed him at lockup, and I'm going to be in hot water if I don't get this stuff back to him, so ... good. CUT TO: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] SCENE #35: [EXT. LAS VEGAS MOTEL -- NIGHT] (WARRICK goes to the motel.) (Cut to: WARRICK makes his way toward the room door. He knocks on the door to room #12 and waits for GENE JAYCOBS to open the door.) (He pounds on the door. The door opens.) WARRICK: It's just me. Nobody here. Got no heater. GENE JAYCOBS: Well, w-hat, what, what can I do for you, Mr. Brown? WARRICK: I just thought I'd come by and let you know we're going to get you for robbery, if not murder. By the time you get to lockup, every roughneck in the joint is going to know you off'ed a nine-year-old little girl. (GENE JAYCOBS snickers.) GENE JAYCOBS: You know, in school, you were a nerd, Brown. You were, remember? Every kid there used to beat your ass. Thick glasses, hand-me-down clothes, always with a book in your hand, like you were better than everybody else. Nigga, I ain't scared of you. WARRICK: Want to step outside, then? (WARRICK backs out of the room.) (GENE JAYCOBS looks at WARRICK, then slams the door shut.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #36: [INT. DESERT PALM HOSPITAL - NIGHT] (GENE JAYCOBS is in the hospital room. He's beaten up pretty badly.) DR. LEWIS: Fractured nasal bone, fracture of the right zygomatic arch extending into the maxilla. Fracture of the right anterior ribs... BRASS: (to phone) Assistant D.A.'s office, please. DR. LEWIS: Who found him? BRASS: Motel manager called it in. No weapon was found at the scene. DR. LEWIS: Thank god his assailant only used his fists. Given the severity of force, anything else would have killed him BRASS: Thank you, doctor. (to phone) Yeah, this is Jim Brass. I'm at Desert Palm Hospital. I'm looking at a half dead Gene Jaycobs. Now, only two people knew where he was. That was you and me. You want to tell me how the hell this could happen? CUT TO: SCENE #37: [INT. CSI -- LAB] (GRISSOM throws a stack of photographs on the table in front of WARRICK. He doesn't say anything. WARRICK picks up the photos of GENE JAYCOBS' injuries. He's in shock.) WARRICK: What, you think I did this? GRISSOM: I don't jump to conclusions. WARRICK: Well, I didn't. (pause) I'd just to shake the hand of the guy that did, though. GRISSOM: Well, you may get a chance. (GRISSOM puts the police report in front of WARRICK.) Your new assignment. Check out the pattern in the center of this contusion. It's probative. (WARRICK picks up the photograph of the indention in GENE JAYCOB'S injury.) CUT TO: SCENE #38: [INT. HYPERTRIX - COMPUTER ROOM] (NICK and DET. VEGA stand in the room.) NICK: No suspect. No motive. No weapon. VEGA: You don't just spontaneously develop a fatal head wound. Somebody had to kill him. NICK: A guy goes into a room with no windows and no doors. How does he get out? VEGA: I don't know. NICK: Same way he got in. You know, there is one thing that comes in and goes out of here all the time. (NICK looks up at the vent.) NICK: Cold air. (Cut to: NICK climbs up the ladder and checks out the vent.) VEGA: Anything? NICK: Just black P.E.T., As far as the eye can see. (Camera zooms in to a tear in the lining.) And a possible transfer. CUT TO: [EXT. LAS VEGAS COMMUNITY (STOCK) - DAY] SCENE #39: [INT. PHELPS' RESIDENCE -- DAY] (WARRICK questions MATTHEW PHELPS.) WARRICK: Where were you last night? MATTHEW PHELPS: Right here, man. WARRICK: I'm going to need to see your hands. (TRAVIS walks out into the hallway to see what's going on.) TRAVIS PHELPS: Dad? MATTHEW PHELPS: Trav, go to your room. (TRAVIS goes back into his room. MATTHEW PHELPS holds out his hands.) WARICK: Other side. (He flips his hands over. On his hand is a ring. WARRICK pulls out the photograph with the injury on it.) MATTHEW PHELPS: Look, you went there too. That's how I knew where to go. WARRICK: But I never touched the guy. MATTHEW PHELPS: (yells) He didn't kill your daughter! WARICK: If he's guilty, we're going to put him away. MATTHEW PHELPS: Yeah, yeah. And then what? Lawyers? Trial? You wait ten years for somebody else's definition of Justice. And they always put the criminal's rights before the victim's. The first good night's sleep I had was last night. WARRICK: Eye for an eye and the whole world goes blind? You taught me that. MATTHEW PHELPS: My perspective has changed. Aimee's dead. WARRICK: I've got no choice here. My hands are tied. I got to let them bring you in. CUT TO: SCENE #40: [EXT. PHELPS' RESIDENCE - DAY -- CONTINUOUS] (OFFICERS escort MATTHEW PHELPS out of the house. Gathered outside are friends and neighbors. MATTHEW PHELPS looks and sees his son, TRAVIS off in the distance.) MATTHEW PHELPS: It's going to be okay, Trav. I love you, son. (to WARRICK) Look .... make sure they take care of him, all right? WARRICK: Of course. MATTHEW PHELPS: All right. (The OFFICERS put MATTHEW PHELPS into the car. The car leaves.) (An OFFICER reports to WARRICK.) OFFICER: Sir. You, um, asked us to check on a stolen minivan? WARRICK: Yeah. OFFICER: You know, from the rec center? We located it. WARRICK: Great, thanks. CUT TO: SCENE #41: [EXT. ROAD -- DAY] (Thunder rolls in the distance. WARRICK approaches the abandoned rec center van. WARRICK puts his gloves on. Inside the back of the van, he sees it immediately. empty bullet casings litter the back seat floor. He picks one up.) (GRISSOM checks out the outside of the van.) WARRICK: Hey. GRISSOM: Blue paint transfer. Possibly from your mailbox? I found a jammed nine millimeter cartridge in the backyard of a house a few doors down from where Jaycobs said he found the gun. Backyard of a house that had been broken into. You said he was a thief, right? WARRICK: Yeah. GRISSOM: See, I think he lied about where he found the gun so we wouldn't know he was breaking into houses. Apart from that, I think he was telling the truth. (Quick flashback to: GENE JAYCOBS and friend breaks the glass window of the house they're going to rob.) (A van speeds by and tosses the gun over the fence and into the yard.) (The gun hits the ground. It catches their attention. GENE JAYCOBS picks the gun up.) (End of flashback. Resume to present.) GRISSOM: Shall we? (GRISSOM takes a sample of the blue paint on the outside of the van.) (WARRICK checks out the front of the car. On the car floor, he finds an abandoned lollipop stick. He picks it up and looks at it.) WARRICK: Grissom. (WARRICK shows the lollipop stick to GRISSOM.) WARRICK: Matt used to have this really harsh rule about no eating in the van. CUT TO: [EXT. LAS VEGAS CITY (STOCK) - EVENING] SCENE #42: [INT. HYPERTRIX] (DET. VEGA knocks on the door to the office.) HUGO KARLIN: Yeah? (DET. VEGA and NICK walk in. HUGO KARLIN stands on top of a ladder, his head in the ceiling.) VEGA: Hugo Karlin? HUGO KARLIN: Yeah, uh, you know what? You guys aren't supposed to be back here. This is a restricted ... VEGA: Detective Vega. LVPD. This is Nick Stokes from the crime lab. (He closes the ceiling and gets down from the ladder. NICK checks out the man's toolbelt as he walks down the ladder.) HUGO KARLIN: Uh, hey. What's up? NICK: Interesting choice of words. VEGA: Facility management says you've been working on the air conditioning above hypertrix. (HUGO KARLIN puts the ladder away. He turns around. HUGO KARLIN: Yeah, well, I work this whole building. That's a lot of companies. I-I don't really keep track of the names, I just fix the air. (NICK sees the man's hammer.) NICK: You'd remember this company. It's where you killed a guy ... with that. (Quick flashback to: HUGO KARLIN works on the ceiling vents. As he works, the hammer on his tool belt gets loose and falls down through the vent and hits GARRET KWAN on the head. He falls to his knees on impact. End of flashback. Resume to present.) (VEGA turns to NICK.) VEGA: One in a million shot. NICK: It happens. HUGO KARLIN: It was an accident. You got to believe me. I, I always keep my hammer right here. I don't even know how it came loose. NICK: Oh, it just came loose, huh? HUGO KARLIN: Yes. NICK: Okay. Well, then how'd you pick it up? HUGO KARLIN: Um, the same way I close the duct cover. (He goes to the shelf and pulls out a long tool.) Call this my grabby tool. (Quick flashback to: HUGO KARLIN uses his grabby tool to pick up the hammer which is next to GARRET KWAN'S body. End of flashback. Resume to present.) HUGO KARLIN: I made it myself. You know, people never notice me when I'm around here, and I just figured that if I covered my tracks, this time wouldn't be any different. (NICK holds out his hand. HUGO KARLIN gives NICK his grabby tool.) NICK: (to VEGA) Why don't you, uh, show him our grabby tool? VEGA: You're under arrest. You have the right to remain silent ... (DET. VEGA handcuffs HUGO KARLIN.) CUT TO: SCENE #43: [INT. HYPERTRIX - MAIN COMPUTER OFFICES -- NIGHT] (OFFICERS escort HUGO KARLIN out of the building. DET. VEGA and NICK follow. All the employees watch as they leave.) CUT TO: SCENE #44: [INT. CSI - LAB HALLWAY -- NIGHT] (GREG is leaning against the door talking with a lab tech. She's giggling at something he says.) (GRISSOM and WARRICK walk down the hallway toward him. GREG turns around.) GRISSOM: Greg. How many licks does it take to get to the center of a tootsie pop? GREG: (to the girl) The world may never know. (The girl giggles. She stops when she looks at GRISSOM. GREG turns back. WARRICK hands the evidence baggie to GREG.) WARRICK: Just see if you can get some DNA off of this stick, would you? (When GREG'S back is turned, the girl walks away.) GREG: All work and no play make Greg a dull boy ... (GREG turns around and she's not there.) GRISSOM: All play and no work make Greg an unemployed boy. (JACQUI FRANCO comes out of her print lab.) JACQUI FRANCO: Hey, Grissom. Your stovepipe ... (GRISSOM and WARRICK follow her back to the lab.) CUT TO: SCENE #45: [INT. CSI - PRINT LAB -- NIGHT] (The database runs the print comparison.) JACQUI FRANCO: Pulled a good thumbprint. Happens sometimes when they load the magazine. (Quick flashback to: A gun is being loaded, a person's thumb presses the bullet into the magazine. End of flashback. Resume to present.) (The search results appear on screen.) WARRICK: Tyrel Constantine. Arrested last June for joyriding. Date of birth '87? This guy's a juvie. He's only 15. (GRISSOM looks at WARRICK. WARRICK looks back at GRISSOM. He shakes his head and leaves.) CUT TO: SCENE #46: [INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY] (BRASS questions TYREL CONSTANTINE. TYREL'S advocate/lawyer and GRISSOM are also in the room.) BRASS: So, Tyrel, let me get this straight. You didn't know Jason Gilbert? TYREL CONSTANTINE: I never heard of him. BRASS: So you shot someone you didn't know? TYREL CONSTANTINE: Who says I shot anyone? GRISSOM: That would be me. (TYREL looks over at GRISSOM.) CUT TO: SCENE #47: [INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY] (WARRICK questions MATTHEW PHELPS.) MATTHEW PHELPS: Tyrel Constantine. Oh, yeah, I knew him. He used to hang out at the rec center. WARRICK: He used to? MATTHEW PHELPS: Until he lost his privileges. WARRICK: So you threw him out? MATTHEW PHELPS: He was smoking weed on the field. Showing up late to practice. Starting fights. WARRICK: When did this happen? MATTHEW PHELPS: A couple weeks ago. CUT TO: SCENE #48: [INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY -- CONTINUOUS] (GRISSOM puts the baggie with the lollipop stick on the table in front of TYREL CONSTANTINE.) GRISSOM: We found your saliva on this lollipop stick in Mr. Phelps's van, and we found your thumbprint on this bullet. (He holds up the evidence baggie with the bullet inside.) BRASS: You stole a van from the rec center, didn't you? GRISSOM: The van wasn't hot-wired, so I think you knew where Mr. Phelps kept his keys. CUT TO: SCENE #49: [INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY -- CONTINUOUS] MATTHEW PHELPS: Why, why, why are you asking me about Tyrel? WARRICK: The vehicle that was used in that drive-by was the van that was stolen from your rec center. (This news surprises MATTHEW PHELPS. WARRICK nods his head.) MATTHEW PHELPS: Oh, god. CUT TO: SCENE #50: [INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY -- CONTINUOUS] BRASS: Look, we know you didn't mean to shoot anyone. It was a stray bullet that hit Aimee Phelps. TYREL CONSTANTINE: I just wanted to scare him. BRASS: Scare who? Jason Gilbert? TYREL CONSTANTINE: No. Mr. Phelps. LAWYER: That's it, we're done here. (The LAWYER picks up her things and stands up.) BRASS: No, wait, Tyrel, wait. Talk to me. TYREL CONSTANTINE: (louder) They need to know it was an accident. He shouldn't have thrown me out. Pushed me around like that in front of my friends. I just wanted to shake him up. (Quick flashback to: TYREL CONSTANTINE drives the van and fires the gun out the window. He runs into the mail box as he makes the turn. End of flashback. Resume to present.) GRISSOM: So Jason Gilbert was just collateral damage. TYREL CONSTANTINE: I was driving pretty fast, didn't look where I shot. BRASS: What about Aimee? (TYREL CONSTANTINE shakes his head and looks down..) CUT TO: SCENE #51: [INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS] (MATTHEW PHELPS is being escorted back to his cell. As he passes the hallway, the door to the other interrogation room opens and TYREL CONSTANTINE walks out. MATTHEW PHELPS stops and watches. TYREL CONSTANTINE turns around and looks at MATTHEW PHELPS as they lead him down the hallway.) MATTHEW PHELPS: (to WARRICK) I gave up on him. If I hadn't ... WARRICK: He gave up on himself. (MATTHEW PHELPS looks at WARRICK. The OFFICER comes by and leads MATTHEW PHELPS away.) (Cut to GRISSOM watches WARRICK from the doorway. WARRICK looks at GRISSOM.) WARRICK: (nods) I blew it. GRISSOM: Yeah. But you're not the one who's paying for it. (GRISSOM turns and walks down the hallway leaving WARRICK standing there.) CUT TO: SCENE #52: [EXT. 26th STREET REC CENTER - DAY] (WARRICK walks the pathway to the 26th street recreation center. OFFICERS are already there locking the doors and putting signs on them.) (The large sign on the main door reads: "Recreation Center will be closed until further notice." The OFFICERS chain the doors.) (WARRICK watches as the rec center, that had done so much good for him, closes.) (Camera holds on WARRICK.) FADE TO BLACK. ========================== THE END ========================== [ Captioning sponsored by CBS, C.S.I. Productions and Volkswagen. Captioned by media access group at wgbh access.Wgbh.Org] 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 3X13: RANDOM ACTS OF VIOLENCE ORIGINAL AIR DATE ON CBS: 01/30/2003 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 ERIC SZMANDA as Greg Sanders ROBERT DAVID HALL as Dr. Albert Robbins and PAUL GUILFOYLE as Jim Brass Created by ANTHONY E. ZUIKER Special Guest Star KEITH DAVID Starring DWAYNE L. BARNES ROMY ROSEMONT as Jacqui Franco MAURY STERLING MELISSA MARSALA KEVIN CHAPMAN DAVID PACKER GEOFFREY RIVAS as Det. Sam Vega ARCHIE KAO as Archie Johnson JIM RASH GERALD McCULLOUCH as Bobby Dawson TOM VIRTUE Music Composed by: JOHN M. KEANE Edited by: ALEC SMIGHT, A.C.E. Production Designer: RICHARD BERG Director of Photography: MICHAEL BARRETT Co-Producer: ELIZABETH DEVINE Producer: KENNETH FINK Producer: JOSH BERMAN Supervising Producer: ANDREW LIPSITZ Produced by: LOUIS SHAW MILITO Co-Executive Producer: NAREN SHANKAR Co-Executive Producer: CYNTHIA CHVATAL Co-Executive Producer: WILLIAM PETERSEN Executive Producer: DANNY CANNON Executive Producer: JONATHAN LITTMAN Written by DANNY CANNON & NAREN SHANKAR Directed by DANNY CANNON ========================== END CREDITS ========================== Executive Producer: JERRY BRUCKHEIMER Executive Producer: CAROL MENDELSOHN Executive Producer: ANN DONAHUE Executive Producer: ANTHONY E. ZUIKER JERRY BRUCKHEIMER Television Alliance Atlantis Productions Inc. CSB Productions, Inc. Co-Starring DAVID BERMAN as David Phillips PALMER DAVIS as Margaret Finn DANIEL FARRIS as Tyrel Constantine CHANEL GAINES as Aimee Phelps BARRY SIGISMONDI as Police Officer SHAWN H. SMITH as Travis Phelps TY UPSHAW as Uniform Line Producer: SCOTT SHIFFMAN Coordinating Producer: PHILIP CONSERVA Associate Producers: KIM M. CYBULSKI Associate Producers: 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 Unit Production Manager: STEVEN FELDER 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: JON HANEY Key Grip: CRAIG PEIFFER Property Master: ROBERT LOYAL GOOD Script Supervisor: PAULA BARRETT BARBIER Transportation Coordinator: TOM THOMAS Technical Consultant: RICHARD CATALANI Key Make-Up Artist: NICK PAGLIARO Key Hair Stylist: LEE ANN BRITTENHAM Special Effects Make-Up: JOHN GOODWIN 2nd 2nd Assistant Director: RUBY STILLWATER Costume Designer: EILEEN COX BAKER Costume Supervisor: ANNE MARIE THOMAS CASADOS Special Effects Supervisor: MARK BYERS Stunt Coordinator: JON EPSTEIN Casting Associate: ANDY HENRY Colorist: PAUL WESTERBROOK Assistant Editor: ERIK PRESANT Supervising Sound Editor: MACE MATIOSIAN Sound Effects Editor: DAVID VAN SLYKE Music Supervisor: JASON ALEXANDER Re-recording Mixers: YURI REESE / BILL SMITH Visual Effects Supervisor: LARRY DETWILER Digital Effects by STARGATE DIGITAL High Definition Post Production by THE POST GROUP Film Laboratories by FOTOKEM Post Production Sound Services by TODD / SOUNDELUX Promotional consideration furnished by KODAK "WHO ARE YOU" By Pete Townshend Performed by THE WHO cbs.com The persons and events portrayed in this film are fictitious. Any similarity to actual persons, living or dead, or any events is unintentional. (c) 2003 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. Dated:03/15/2003~lky http://www.grissomandsara.com/