CSI: CRIME SCENE INVESTIGATION
3X22: PLAY WITH FIRE
ORIGINAL AIR DATE ON CBS: 05/08/2003
TRANSCRIBED FROM CBS
Written by NAREN SHANKAR & ANDREW LIPSITZ
Directed by KENNETH FINK
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
(Zenith - the Authority in HDTV)
RATING: TV-14-DLSV
==========================
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==========================
SUMMARY: The body of a dead woman is found in the high school announcer's
booth. In the middle of the investigation, an accident in the Chem lab causes
an explosion and sends Greg to the hospital.
==========================
CSI: CRIME SCENE INVESTIGATION
3X22: PLAY WITH FIRE
==========================
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. FOOTBALL STADIUM (STOCK) - NIGHT]
SCENE #01:
[EXT. HIGH SCHOOL FOOTBALL STADIUM - NIGHT]
LYRICS:
["Like Her", Album: Solace, by Mandalay]
I read you / god, I'm good at it / I'm so spot on / cold shapes of air /
compress that dissonance / if you dare / and you breathe it in
(Under the bleachers, a YOUNG MAN and a YOUNG WOMAN kiss each other. She pulls
away from him.)
YOUNG WOMAN: Stop.
YOUNG MAN: (groans) Oh, come on! We've gone way further than that.
(He looks at her expectantly and smiles. She smiles, grabs his hand and leads
him away from under the bleachers.)
LYRICS:
And I'm high enough from all the waiting / to ride away when you're inhaling /
and I'm high enough from all the waiting / to ride away when you're inhaling /
'cause I love you
(They run hand-in-hand across the field toward the opposite end of the stadium.)
(Cut to: They run up the bleachers and toward the announcers box.)
(cc) YOUNG WOMAN: Linda said you can see the strip from here.
(cc) YOUNG MAN: Yeah, you can. I mean, that's what I heard, too.
(cc) YOUNG MAN: Come on!
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER BOOTH -- NIGHT
(The door opens. They laugh at each other. He looks inside and gasps. She
looks inside and screams.)
(On the floor is the body of a WOMAN. There's blood on the ground and another
drop of blood drips from her head to the ground.)
FLASH TO WHITE:
SCENE #02:
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER BOOTH -- NIGHT]
(Out on the track below, cop cars are parked. Inside the booth, GRISSOM, BRASS,
NICK and DAVID go over the scene. NICK puts his kit down. DAVID is already
going over the body. GRISSOM stands next to BRASS and takes in the scene.)
BRASS: The vic's wallet was still in her purse. One credit card, couple of
20s. Nebraska ID. Her name was Alison Carpenter, age 28.
NICK: A little old for a student.
BRASS: School district has been contacted. They're checking their records.
(GRISSOM looks around. DAVID looks at her pupils.)
DAVID PHILLIPS: Petechial hemorrhaging indicates strangulation.
GRISSOM: She definitely died here.
DAVID PHILLIPS: Yeah, lividity bears that out. She wasn't moved.
(BRASS turns and indicates the door behind them.)
BRASS: The padlock's been cut. It was rusted over, definitely not recent.
(NICK checks out the countertop.)
NICK: Beer bottles.
BRASS: Well, it's high school.
(NICK picks up a used condom.)
NICK: Lover's lane.
(GRISSOM checks out the body and notices her hands.)
GRISSOM: Defensive wounds on her hands.
BRASS: Sexual assault?
(GRISSOM kneels down and lifts up her dress.)
GRISSOM: She's not wearing any underwear.
(GRISSOM goes back to checking the body and scene out. NICK turns to check out
the countertops. GRISSOM spots something on the victim's leg. It appears to be
a cut. He looks around and moves the door slightly where he sees the matching
blood on the bottom of the door.)
(Quick flashback to: The door is pushed open and hits the victim on her leg
leaving the mark. End of flashback. Resume to present.)
(GRISSOM turns around and looks back at the body.)
GRISSOM: David, I thought you said she wasn't moved.
DAVID PHILLIPS: Paramedics say they didn't touch her.
BRASS: Kids who found her swore they didn't touch her either.
(GRISSOM looks at the victim's face, the urgency building in his voice as he
realizes something.)
GRISSOM: There's still sweat on her upper lip. (to DAVID) Take a liver
temperature.
DAVID PHILLIPS: Let me just finish this ...
GRISSOM: (firmly) Now, David.
(DAVID gets the digital thermometer out and gets the body's temperature.)
DAVID PHILLIPS: Ninety-eight point one.
NICK: She's been dead less than an hour.
GRISSOM: The killer's still on her.
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
SCENE #03:
[EXT. HIGH SCHOOL FOOTBALL STADIUM]
(NICK rushes by the officer cars. He's carrying a heavy duffle bag.)
(Cut to: NICK runs up the bleachers.)
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER'S BOX - NIGHT - CONTINUOUS]
(NICK turns the corner and sets the bag down next to the body. GRISSOM
immediately opens the bag and they all work together to put the chamber together
to build an area around the body in which to print her.)
NICK: Latent prints on skin, oil on oils, we're cutting it pretty close here.
GRISSOM: Yes, we are.
(The frame is built.)
(The plastic is put over the frame and is taped down to the ground.)
(NICK places the cyanoacrylate fumer inside with the body. He backs away and
closes the plastic around the chamber. The men stand around the frame built
around the body. They each wear a mask over their faces.)
SHORT TIME CUT TO:
SCENE #04:
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER'S BOX - NIGHT - CONTINUOUS]
(DAVID carries the duffle bag and leaves the room. GRISSOM and NICK check the
body out.)
(GRISSOM moves the head.)
GRISSOM: Nothing usable around the neck.
(NICK checks out her legs. He finds something.)
NICK: I think I've got a partial on the ankle.
(GRISSOM checks it.)
GRISSOM: Very few sweat glands around the ankle. Prints survive longer.
(Quick flashback to: The door is pushed back and hits the woman on her leg.
The killer reaches down and grabs her ankle to move the leg. End of flashback.
Resume to present.)
(GRISSOM looks at the victim's face again.)
GRISSOM: Fortunately for us.
CUT TO:
SCENE #05:
[INT. CSI - HALLWAY TO LAB -- NIGHT]
(WARRICK and CATHERINE walk down the hallway. WARRICK carries a file; CATHERINE
holds a bagged container of green liquid.)
WARRICK: There's nobody in the evidence vault. I guess we're still between
shifts.
CATHERINE: Yeah, well, we'll log it in tomorrow.
WARRICK: You know, O'Riley interviewed the victim's wife.
CATHERINE: Yeah?
WARRICK: She said her husband was in the garage drinking and just "done fell
over."
(They walk into the print lab. CATHERINE opens the fumer and puts the bagged
container of green liquid inside next to the burn plate. She closes the fume
hood.)
CATHERINE: Oh, the ever-popular DFO.
(They leave the lab and walk down the hallway.)
CATHERINE: Right up there with the "mysterious dude" defense.
WARRICK: Right. You thinking poison?
CATHERINE: I wouldn't be surprised. Wife had two priors for spousal abuse.
Seems pretty straight up to me.
WARRICK: Well, that would be nice -- an easy case.
CATHERINE: Yeah.
WARRICK: These double-ups are killing me.
(They reach the front desk where CATHERINE signs the log book on the counter.)
CATHERINE: Although I'll take it when I can get it. These nannies do not work
cheap.
(WARRICK hands the clerk the file in his hand.)
WARRICK: Yeah, how is Lindsey, by the way?
(They head down the hallway.)
CATHERINE: She got caught fighting at school.
WARRICK: Lindsey? Fighting?
CATHERINE: Ah, she lost her dad recently. She's just having a hard time.
CUT TO:
SCENE #06:
[EXT. FOOTBALL STADIUM - LOT -- DAY]
(SARA and NICK go over the parked car next to the bleachers.)
SARA: Company said the vic checked the car out three days ago. The contract
was for a week.
NICK: It's a generic econo-box. Might as well just paint a bull's-eye on it.
You got the front?
SARA: Yeah.
(NICK looks at the back seat.)
NICK: I've got a ripped-up pair of panties. Possibly the vic's. Bag that for
me, will you?
(He hands SARA the panties and picks up the ALS.)
NICK: Whoa. Sex in the backseat.
(SARA finds something.)
SARA: Blister pack.
(She finds something on the car floor.)
NICK: What have you got?
SARA: Ceramics, maybe?
NICK: Hey, who's working trace tonight?
SARA: Hodges.
NICK: Oh, great. Guarantee you that kiss-ass will have the results to Grissom
before we do.
SARA: So I'm thinking the vic was car-jacked, dragged to a secluded location
...
(Quick flashback to: A woman screams and is pulled into the back seat of the
car. End of flashback. Resume to present.)
SARA: ... raped, murdered, body dumped. What do you think?
NICK: Killer had her in the car. Easy getaway. But still, why take her all
the way up the bleachers, to risk getting caught in a room with only one way
out?
CUT TO:
SCENE #07:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over ALISON )
ROBBINS: Cause of death was asphyxiation due to strangulation. Multiple round
oval bruises over the interior and lateral neck with occasional crescentic red
abrasions.
GRISSOM: Fingertip bruises and fingernail scratches.
ROBBINS: Apparently.
GRISSOM: No ligature marks.
ROBBINS: None that I could find, but take a look at this. (points to her neck)
The, uh, bruises are concentrated on the left side of the neck. On the right
side, there's only one.
(GRISSOM puts his hand over the neck marks.)
GRISSOM: Killer strangled her with his right hand. One hand only.
ROBBINS: Yeah, prolonged pressure on the jugular.
(Quick flashback to: ALISON CARPENTER is being held up against the wall by the
killer's right hand around her neck. She struggles. End of flashback. Resume
to present.)
GRISSOM: He must have been looking right in her eyes.
ROBBINS: Yeah, that takes hate. I'll get a measurement of the, uh, grip size.
GRISSOM: What about the SART kit?
ROBBINS: It's on Graves' desk, but he's pretty backed up, more than usual.
GRISSOM: Bruises on her hands, her arms, upper torso -- it's consistent with
rape.
ROBBINS: Maybe not. I did a vaginal clock on her. Signs of activity at 11:00,
12:00, and 1:00, and that would imply rough sex, not rape.
GRISSOM: May have started as sex, but it ended as murder.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
SCENE #08:
[EXT./INT. MOTEL ROOM -- DAY]
(BRASS and NICK check out ALISON CARPENTER'S motel room.)
BRASS: Alison Carpenter was a waitress at a coffee shop outside Omaha. The
boss said that she asked for this week off over a month ago. And, uh, no
immediate family.
NICK: Single woman on vacation in Vegas ... alone?
BRASS: Yeah, weird. We're looking into it.
NICK: Who takes a tape recorder with them on vacation?
BRASS: Well, I keep one by the bed. In case I dream anything useful.
(NICK looks at BRASS.)
NICK: Hmm?
BRASS: What? I can't have deep thoughts?
(BRASS laughs.)
BRASS: Just kidding.
CUT TO:
SCENE #09:
[INT. CSI - HALLWAY -- DAY]
(DAVID HODGES catches up with GRISSOM in the hallway. GRISSOM is reading
through a file.)
DAVID HODGES: Hey, boss. Just analyzed the evidence found in your vic's rent-
a-car.
GRISSOM: You should be telling Nick or Sara.
DAVID HODGES: (brushes it aside) Yeah, couldn't find them. They must be on
another break. Anyway, the blister pack is methadone. 40 milligrams, former
smack addict dose. (beat) And that ceramic chip? Not ceramic. It's acrylic
with a quartz resin composite used primarily in dental crowns. Cheap ones.
GRISSOM: Good work.
DAVID HODGES: Yeah, thank you. Listen, I'd like to think that and I ...
GRISSOM: Now go tell Nick or Sara.
(GRISSOM continues down the hallway leaving DAVID HODGES behind. He sighs.)
CUT TO:
SCENE #10:
[INT. CSI - PRINT LAB - DAY]
(JACQUI FRANCO goes over the partial print with GRISSOM.)
JACQUI FRANCO: Problem is AGIS doesn't play real nice with partials. So here's
what I'm going to do. I'll pick eight or nine distinctive features, run those
through the system, and examine anything with a 60% or better match.
GRISSOM: You could end up with over 100 hits.
JACQUI FRANCO: You trying to discourage me? It's all about interpretation.
Knowing what's commonplace, and what's unique.
(JACQUI continues to work. The computer beeps. The monitor reads:
No Match
4,742 Possible Matches Found
(JACQUI lines a portion of the print. And continues the search. The computer
beeps. The monitor reads:
No Match
501 Possible Matches Found
(She continues to work on the print and continues the search. The monitor
reads:
No Match
9 Possible Matches Found
JACQUI FRANCO: That's where skill comes in.
GRISSOM: You still have to check each one by hand.
JACQUI FRANCO: You're going to have to sign my time sheet.
(JACQUI and GRISSOM look at each other.)
(GREG rushes into the lab excited at what he's found.)
GREG: Grissom! I'm about to rock your world. The semen inside your victim --
I got a DNA match through CODIS. It's Jason Kent. Ring a bell? 1987, they
called him "The Circle Killer."
CUT TO:
SCENE #11:
[INT. APARTMENT - HALLWAY - DAY]
(BRASS and GRISSOM walk down the hallway toward JASON KENT'S apartment. They're
accompanied by other officers.)
BRASS: Guy's only been out of jail six weeks.
(BRASS knocks on the door. JASON KENT opens it.)
BRASS: Las Vegas police. This a bad time?
(BRASS walks into the apartment.)
[INT. JASON KENT'S APARTMENT - DAY -- CONTINUOUS]
BRASS: You know, I know a couple of guys who worked your case. Viking circle?
Remember that girl you suffocated while you were raping her? What was she, a
cheerleader, homecoming queen, or both?
JASON KENT: She was a friend.
BRASS: Oh, I didn't expect that. I expected you to say, uh, "No, I'm innocent"
or "No, it was an accident."
JASON KENT: I served my time.
BRASS: That's right. You did the whole bit. The whole fifteen years. You're
a hard-core ex-con. This must really piss you off.
JASON KENT: You know what? I know the conditions of my release. So you can
check whatever you'd like. You want to tell me what this is about?
BRASS: You're under arrest for the murder of Alison Carpenter. Last night,
your old high school, go monarchs.
JASON KENT: I'm not talking to you without a lawyer.
GRISSOM: Looks like you bit your lip. May I see your hands, please?
(JASON KENT holds out his hands. GRISSOM looks at them.)
Recently clipped your nails, huh?
BRASS: And you're such a smart guy, bet you flushed them down the toilet.
(GRISSOM checks out JASON KENT'S bathroom. He picks up the nail clippers.
Camera zooms in to note that there's some skin still attached to the clippers.)
(GRISSOM looks pleased with the find.)
CUT TO:
SCENE #12:
[INT. CSI -- BREAKROOM]
(SARA sits at the table and takes her sandwich out of the bag. She takes a bite
and looks up. In the hallway, GRISSOM walks with his nose in a file. He stops
to sign some papers then continues on.)
(SARA sees this. She gets up from her seat and follows him.)
CUT TO:
SCENE #13:
[INT. CSI - HALLWAY-LAB-HALLWAY -- CONTINUOUS]
(GRISSOM stops in the DNA lab where GREG is working.)
GRISSOM: How'd you do with the nail clippers?
GREG: Right over here. Figured it wasn't high priority since I'd already ID'd
the semen in the victim.
GRISSOM: That only proves that they had sex. The nail clippers can place Jason
Kent at the murder scene. His nails, her DNA, traces of the booth, et cetera.
GREG: Killer, victim, location.
GRISSOM: Holy trinity, Greg. I need that.
(GRISSOM finishes with GREG and leaves the office.)
(SARA follows him.)
CUT TO:
SCENE #14:
[INT. CSI - HALLWAY-A/V LAB-HALLWAY -- CONTINUOUS]
(GRISSOM stops in front of the A/V lab. He steps inside.)
GRISSOM: So?
ARCHIE: Just getting started. I'll keep you posted.
(GRISSOM steps out of the A/V lab into the hallway. He marks the clipboard in
his hand and continues to walk down the hallway.)
(SARA takes a deep breath and follows him with an intent to catch up to him.)
(GRISSOM'S just a few steps in front of her. A Secretary catches up with him.)
SECRETARY: Mr. Grissom, I have your phone messages.
GRISSOM: Thank you.
(GRISSOM heads down the hallway and into his office. A MAN walks into the
office after him.)
MAN: Grissom, do you have a second?
(SARA stops. She smiles at the ill-timing of it all, then instead of going to
GRISSOM, she heads down the hallway.)
CUT TO:
SCENE #15:
[INT. CSI - CHEM/DNA LAB -- CONTINUOUS]
(GREG steps away from the fumer.)
(It explodes.)
(The force of the explosion sends GREG crashing through the glass wall behind
him.)
CUT TO:
[HALLWAY]
(As SARA walks down the hallway, she is thrown off her feet by the explosion.
GREG falls to the ground near her. There is glass everywhere. The lab is on
fire and the fire system kicks on.)
(Stunned, SARA raises her head and looks in front of her at GREG who is still
conscious. He raises his head a little, then finally puts his head down.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #16:
[INT. CSI -- HALLWAY]
SLOW MOTION CAMERA
(GREG is wheeled out on a gurney. He is conscious and lying on his side, the
sounds around him garbled.)
RESUME MOTION
(GRISSOM walks next to the gurney as the EMT fills him in on GREG'S condition.
EMT TECHNICIAN: Vitals are stable. We've got full thickness burns on the neck
and back.
(GREG'S eyes open again and he looks around at the damage to his lab as they
wheel him out.)
(GRISSOM looks at GREG.)
(They exit the building.)
[EXT. CSI - PARKING LOT - DAY -C ONTINUOUS]
(Outside, injured people are being attended to. JACQUI FRANCO turns around, her
forehead cut. She's disoriented, but she sees the gurney come out of the
building.)
VOICE: (o.s.) Burn unit. Let's move.
(The EMTs wheel GREG out of the building. GRISSOM follows.)
(ARCHIE, JACQUI and HODGES also follow.)
(They put GREG into the EMT vehicle [#876] and close the doors.)
PARAMEDIC: All right. Let's move.
(GRISSOM watches for a moment, then steps away. He looks around at the people
and the damage, then spots SARA sitting on the ground, alone.)
(Concerned, GRISSOM heads for her and kneels down in front of her.)
GRISSOM: (quietly) Are you okay?
(It takes her a moment, but SARA turns and looks at GRISSOM. She has a gash on
her forehead and another across her cheek. She's also holding her left hand
gingerly in her lap.)
SARA: (dazed) Uh-huh.
(GRISSOM looks down at her hand. He picks her hand up and sees the large
bloodied gash on her palm.)
GRISSOM: Honey, this doesn't look good.
SARA: (shakes her head) It's fine.
(SARA looks at GRISSOM.)
SARA: Cleanup's going to be something. We should get started.
(GRISSOM looks down at her hand.)
GRISSOM: You need to get stitches.
(SARA shakes her head again.)
SARA: I'm okay.
(She moves to stand up.)
GRISSOM: (shouts) Would you take care of her hand, please?
(GRISSOM grasps both her hands and helps SARA up. The PARAMEDIC walks over and
escorts SARA away.)
(DIRECTOR ROBERT COVALLO walks toward GRISSOM. He's on the phone.)
DIRECTOR ROBERT COVALLO: (to phone) Yes, sir, I just got here. Several
injuries, one serious. Fire department arson explosives are assessing the
damage right now.
(He hangs up and looks at the building. To GRISSOM)
DIRECTOR ROBERT COVALLO: What'd you do to my lab, Grissom?
(He walks away. GRISSOM follows.)
CUT TO:
SCENE #17:
[INT. CSI - DAY -- CONTINUOUS]
(GRISSOM and DIRECTOR ROBERT COVALLO walk through the damaged lab.)
DIRECTOR ROBERT COVALLO: I'm going to need a complete evidence inventory by
case. What's been lost, what's contaminated, what's salvageable.
GRISSOM: We have lims backup for every computer on the network. I'm sure we've
only lost an hour or two of data.
DIRECTOR ROBERT COVALLO: Well, we'll never sell that in court. Defense
attorneys will rip us apart. That, uh, double murder movie star case last year,
compromised evidence, lax procedures, mistakes.
GRISSOM: We got a conviction on that.
DIRECTOR ROBERT COVALLO: You got lucky. This is a priority. I want to know
how this happened.
GRISSOM: And who's to blame? I'm going to have Catherine run the
investigation. I'm on a murder case.
DIRECTOR ROBERT COVALLO: I'll be waiting for her report.
(He turns and walks away leaving GRISSOM behind.)
CUT TO:
SCENE #18:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS is interviewing JASON KENT with his lawyer sitting next to him.)
BRASS: So what was your relationship again with Alison Carpenter?
ATTORNEY: (sighs) Once again, my client asserts his fifth amendment rights and
declines to answer.
BRASS: Why bother? His semen was found inside the victim.
ATTORNEY: A finding from a crime unit that blows up its own DNA lab? You
really think that's going to carry a lot of weight?
BRASS: (over speakers): I understand you're in a methadone program.
ATTORNEY: So what? My client's a recovering addict. He got hooked in prison.
The war on drugs works about as well on the inside as it does on the street.
BRASS: Well, methadone puts him in the victim's car.
ATTORNEY: There are thousands of methadone users out there.
BRASS: With chipped dental crowns? We're going to need an orthodontic sample.
ATTORNEY: This is harassment. We're done cooperating here.
(JASON KENT reaches into his mouth and pulls out his teeth. He tosses them onto
the table.)
JASON KENT: My third week in prison. Break the new guy's teeth, he can't bite
down on something that's shoved in his mouth.
(BRASS picks up the teeth and looks at it. He notices the chip.)
CUT TO:
SCENE #19:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(ARCHIE and NICK go over the ALISON CARPENTER'S micro tape cassettes. In the
background, officers put tape around the destroyed DNA lab.)
ARCHIE: All right. This is the third audio tape that we found from the bunch
in her motel room. She recorded about nine hours in total. Started like this.
(ARCHIE starts the tape recording for MAY 5, 2003 5:50 PM.)
ALISON CARPENTER: (from tape) It's almost 6:00. I'm almost ready.
(Quick flashback to: ALISON CARPENTER talks into her tape recorder while
standing in front of the mirror.)
ALISON CARPENTER: I know there's nothing to be nervous about, but I am. He's
suffered so much. I'm going to help him remember who he really is.
(End of flashback. Resume to present.)
NICK: So, she knew Jason Kent. He wasn't just some random pickup.
ARCHIE: At first I thought maybe she was working on a book or something. Then
I hit this. Day two.
(ARCHIE turns on the next recording.)
ALISON CARPENTER: (from tape) You threw four touchdowns that game, didn't you?
(Quick flashback to: ALISON CARPENTER and JASON KENT are both on the high
school football field.)
JASON KENT: And ran for one from right here. Everybody was thinking pass ... I
ran it right up the middle for six.
ALISON CARPENTER: Sounds amazing. I wish I could have been there with you.
(End of flashback. Resume to present.)
ARCHIE: Is it just me or does it sound like she's in love with this guy?
NICK: Maybe she was a murder groupie.
(ARCHIE looks disbelieving at NICK.)
NICK: Hey, Manson, the night stalker -- all those guys had them. I think for
some freaks, killing's a turn-on, you know?
ARCHIE: Well, check this out. Day before the murder. Last thing on her tapes.
ALISON CARPENTER: Well, this is an apartment and it is the right address, so I
guess I'm just waiting here.
(Quick flashback to: ALISON CARPENTER sits in her car. JASON KENT opens the
door and gets into the front seat next to her.)
JASON KENT: Let's go. Let's go. Start the car.
ALISON CARPENTER: (concerned) Jason, what happened?
(JASON KENT spits and a tooth falls out onto the floor.)
JASON KENT: I don't want to talk about it.
ALISON CARPENTER: This about Jesus Carden ...
JASON KENT: Jesus Cardenas is a scumbag convict, and we're not talking about
him.
ALISON CARPENTER: Okay, I'm sorry.
JASON KENT: Shut that thing off.
(End of flashback. Resume to present.)
NICK: Run Jesus through NCIC. Cardenas.
(ARCHIE types it in. The computer searches and finds the following results:
ENTER SEARCH ON: JESUS CARDENAS
{PHOTO}
<< SEARCH COMPLETE >>
NAME: JESUS CARDENAS
ID NUMBER: 004575
CONVICTIONS: HEROIN W/ POSSESSION
HEROIN W/SALE
MANSLAUGHTER
CURRENTLY SERVING TWENTY-FIVE YEARSA AT THE WESTERN NEVADA CORRECTIONAL
FACILITY.
ARCHIE: Jesus Cardenas. Heroin, possession for sale and manslaughter.
Currently serving 25 at the Western Nevada Correctional Facility.
NICK: The former residence of Jason Kent.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
SCENE #20:
[INT. HOSPITAL - GREG'S ROOM -- DAY]
(CATHERINE and WARRICK interview GREG who is conscious and lying on his side on
the bed.)
GREG: Look, I'm pretty tired.
CATHERINE: This won't take long, Greg. We promise.
WARRICK: Why don't you tell us exactly what happened. As best as you can
remember.
GREG: I was working three cases. Mixing solvents.
CATHERINE: Did you notice anything prior to the explosion? A power surge, a
spark, a smell?
GREG: Plastic. Burning plastic.
(Quick flashback to: In the lab, GREG is standing in the lab next to the
fumer.)
GREG: (v.o.) I turned around to see where it was coming from.
(He turns around and it explodes. Cut to: In the hallway, SARA hits the wall.
GREG is thrown through the glass wall. End of flashback. Resume to present.)
GREG: After that ... I'm sorry.
WARRICK: It's okay.
GREG: We done?
CATHERINE: Yeah, we're done. Feel better, all right?
WARRICK: Get some rest.
CUT TO:
SCENE #21:
[INT. CSI -- LAB]
(The fax machine prints out something. NICK picks it up and looks at it. It
reads:
... WESTERN NEVADA CORR FAC PAGE 3 OF 32
WESTERN NEVADA CORRECTIONAL FACILITY
INMATE APPROVED VISITOR LIST
C BLOCK
INMATE: KENT, JASON NV0086134
VISITOR: NUMBER TIME: IN
-RETT, JULIA / NV00867876 / 14:0-
-GAN, DIANNE / NV00803334 / 13:-
-ILLMAN, DANNY / NV00863112 / 12:-
-ORPE, TONY / NV00864457 /
(The next fax page reads:
... WESTERN NEVADA CORR FAC PAGE 17 OR 32
WESTERN NEVADA CORRECTIONAL FACILITY
INMATE APPROVED VISITOR LIST
C BLOCK
INMATE: CARDENAS, JESUS NV0080134
VISITOR: NUMBER TIME:IN
EVERETT, LOU / NV00862876 /
-- / NV00863334 / --
-- / NV00863112 / --
-- / NV00864457 / --
(NICK looks at the faxes.)
CUT TO:
SCENE #22:
[INT. OFFICE -- DAY]
(NICK sits at his desk and goes over both faxes. The information on the page
reads:
... NEVADA CORR FAC PAGE 4 OF 32
{LOGO} WESTERN NEVADA CORRECTIONAL FACILITY
INMATE APPROVED VISITOR LIST
C BLOCK
INMATE: KENT, JASON NV0086134
VISITOR / NUMBER / TIME
-/2002 VALDEZ, MAX / NV00819877 / 12:--
-/2002 KENDALL, BRAD / NV00869822 / --
-/2002 GREEN, FAYE / NV00861198 / --
-/2002 THORPE, TONY / NV00864457 / --
-/2002 HILLMAN, DANNY / NV00863112 / --
-/2002 RIGGS, JENNIFER / NV00869022 / --
-/2002 LOGAN, DIANNE / NV00863334 / --
-/2002 RAMIREZ, KENNY / NV0086--
-/2002 MARITA, KIM / NV008--
-/2002 PINE, DARREN / NV00861168 / --
-/2002 RITTEN, CURT / NV008--
-/2002 NELSON, AMELIA / NV008--
-0/2002 NEELY, ALICE / NV008--
-1/2002 DOYLE, MARK / NV008--
-/12/2002 RIGGS, JENNIFER / NV008--
-/12/2002 MARLOW, MELISSA / NV008--
-/12/2002 RITTLE, MINA / NV008--
-/13/2002 BRADLEY, VERONICA / NV008--
-/14/2002 DUFFY, CINDY / NV008--
-/15/2002 CARPENTER, ALISON / NV008-- (highlighted in yellow)
-/15/2002 HALL, JESSICA / NV008--
-/15/2002 GREEN, FAYE / NV008--
-/15/2002 ANDERSON, GWEN / NV008--
-/19/2002 CULPEPER, RICK / NV008--
-/19/2002 BARRETT, JULIA / NV008--
-/19/2002 RICHARDS, JAKE / NV008--
-/20/2002 CARPENTER, ALISON / NV008-- (highlighted in yellow)
-/20/2002 HARRIS, RENDA / NV008--
-/20/2002 RIGGS, JENNIFER
KENDALL, BRAD
(NICK picks up the second fax.)
... NEVADA CORR FAC PAGE 18 OF 32
WESTERN NEVADA CORRECTIONAL FACILITY
INMATE APPROVED VISITOR LIST
C BLOCK
INMATE: CARDENAS, JESUS NV0080136
/ BUCKLY, DYLAN / NV00819877
/ DELGADO, HECTOR / NV00869822
/ RUNDLE, CHIP / NV00861198
/ MARTIN, BOB / NV00864457
/ LEWIS, BRAD / NV00863112
/ KANE, PHILLIP / NV00869022
/ WESTON, BEN / NV0086863334
/ FRAM, DENNIS / NV00869917
/ MATTHEWS, CHAD / NV0086--
/ RITTEN, CURT / NV0086--
/ MURDLE, JOE / NV0086--
-/9/2002 LINDLOFF, ALEX / --
-/10/2002 DUDEK, HANK / --
-/11/2002 HALE, DUSTIN / --
-/12/2002 TEMPLETON, ELIAS / --
-/12/2002 MCFADDEN, HENRY / --
-/12/2002 CANNON, JAMES / --
-/13/2002 OVERTON, JESSE / --
-/13/2002 TADERO, JIMMY /
-/14/2002 CARPENTER, ALISON (highlighted)
- /2002 TYNER, JOE
- /2002 VALENTI, ROGER
- /2002 HYDE, RYAN
- /2002 HAYNES, PATRICK
- /2002 EVERETT, LOU
- /2002 RYCOFF, PAYNE
(NICK takes a yellow highlighter pen and highlights ALISON CARPENTER'S name on
the list.)
4/10/2002 NEELY, ALICE
4/11/2002 DOYLE, MARK
4/12/2002 RIGGS, JENNIFER
4/12/2002 MARLOW, MELISSA
4/12/2002 RITTLE, MINA
4/13/2002 BRADLEY, VERONICA
4/13/2002 DUFFY, CINDY
4/14/2002 CARPENTER, ALISON (highlighted in yellow)
4/15/2002 HALL, JESSICA
4/15/2002 GREEN, FAYE
4/15/2002 ANDERSON, GWEN
4/19/2002 CULPEPER, RICK
4/19/2002 BARRETT, JULIA
4/19/2002 RICHARDS, JAKE
4/19/2002 CARPENTER, ALISON
HARRIS, RENDA
(NICK leans back in his chair, a grim look on his face.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - LATE DAY TO EVENING]
SCENE #23:
[INT. CSI -- LAB]
(NICK reports back to GRISSOM.)
NICK: Jesus Cardenas and Jason Kent were two prisoners with the same taste in
visitors.
GRISSOM: Alison Carpenter.
NICK: (nods) Yeah, she visited Jason 13 times in the last 18 months. And the
last two times, she also visited Jesus.
GRISSOM: A murderer, his groupie and a heroin dealer, what a team.
NICK: Mmm.
GRISSOM: Does Western Nevada correctional use surveillance cameras in their
visitation room?
NICK: Yeah, and it's all cued up.
CUT TO:
SCENE #24:
[INT. CSI - A/V LAB -- EVENING]
(On screen, the surveillance camera from the Western Nevada Correctional
Facility is running from 00:17:49:26 on.)
ARCHIE: It's pretty casual for prison.
GRISSOM: It's medium security.
NICK: Nicer criminals.
ARCHIE: Right. Anyway, every time we visit it pretty much went the same way.
She sits down with Jason Kent, they talk for a little while, and Kent goes back
to his cell. Then the last two visits, she stayed behind.
(ARCHIE enhances the video of the man sitting at the table.)
NICK: Jesus Cardenas.
ARCHIE: They're offscreen here for about five minutes.
(On screen, ALISON CARPENTER stands up, JESUS CARDENAS follows. They go behind
the back wall.)
ARCHIE: Then they come back to the table and she leaves.
GRISSOM: Run that again. Can you enhance that?
ARCHIE: Yeah, I think so.
(ARCHIE enhances the video and they see what's really happening behind the
wall.)
NICK: (laughs) Jason's little girlfriend was screwing a guy he hates.
GRISSOM: Well, if you can't kill the one you want ... kill the one you're with.
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #25:
[INT. CSI - CHEM/DNA LAB]
(WARRICK and CATHERINE stand in the middle of the lab.)
CATHERINE: What a mess.
WARRICK: Want to strip it?
CATHERINE: I'm thinking spiral with an overlap.
CATHERINE: I'll head this way.
WARRICK: All right.
(CATHERINE puts her things down. She and Warrick start to process the scene.
WARRICK puts an evidence marker #6 down next to a piece of green glass.)
(CATHERINE looks at the damage done to the contents on the countertop.)
(Dissolve to: Cameras flash. Evidence markers are placed down. WARRICK puts
down evidence marker #54 on the floor.)
(CATHERINE puts down evidence marker #3 on the counter. She snaps a picture.)
(She picks up a burned evidence baggie containing the nail clippers. The label
reads:
ARTICLE: NAIL CLIPPERS
DATE {THIS PORTION IS BURNED}
WHERE THIS ARTICLE WAS FOUND: JASON KENT ...
INVESTIGATION OFFICER: G.G.
002-19873-2298-012
(She puts the baggie down.)
(Dissolve to: CATHERINE puts her clipboard down on the table. Camera cuts to
Evidence marker #4 on the counter.)
(WARRICK and CATHERINE continue to process the lab.)
CATHERINE: Damage radiates from here.
WARRICK: Well ... there's no crater.
CATHERINE: Yeah, so it's not a high explosive.
WARRICK: I guess we're looking for a combustible liquid?
CATHERINE: Yeah. That narrows things down.
(CATHERINE picks up the burner off of the ground. She looks at the switch and
sees that it was pointed on.)
CATHERINE: Somebody left the hot plate on inside of the fume hood. (beat)
Genius.
(WARRICK finds something.)
WARRICK: What do you think? Developer pan?
CATHERINE: Presence of acetone, methanol, all kinds of combustibles.
WARRICK: Mix that with a heat source, and what have you got?
CATHERINE: (indicates the lab) This.
CUT TO:
SCENE #26:
[INT. CSI - LOCKER ROOM]
(SARA stands in front of her open locker. She reaches and picks up her ID. She
brushes she dust and dirt away from the front and stares at it.)
(NICK walks by the open door and looks inside. He sees SARA and backs up.)
NICK: (calls inside) Hey. You back on?
SARA: Yeah. I hear you're going to prison.
NICK: Hmm.
(NICK leaves.)
NICK: (o.s.) I'll meet you outside.
(SARA closes the locker door and follows NICK.)
CUT TO:
SCENE #27:
[INT. CSI -- HALLWAY]
SLOW MOTION CAMERA
(SARA walks down the same hallway. As she passes the wall, she imagines (and we
see through superimposed CGI) she hears the explosion and sees the glass shatter
around her. She flinches, but continues to walk down the hallway.)
RESUME MOTION
CUT TO:
[EXT. LAS VEGAS (STOCK) - DAY]
SCENE #28:
[INT. WESTERN NEVADA CORRECTIONAL FACILITY - VISITOR ROOM -- DAY]
(NICK and SARA interview JESUS CARDENAS.)
NICK: What can you tell us about Alison Carpenter?
JESUS CARDENAS: Knew her real well, but I guess you already know that.
(He glances up at the security camera in the corner.)
JESUS CARDENAS: How did you like the show?
SARA: Alison Carpenter is dead.
JESUS CARDENAS: I got an alibi.
SARA: Yeah, you're completely innocent, and so, tell me, why would a woman like
Alison Carpenter, who was obsessed with Jason Kent, have anything to do with
you?
NICK: You remember Jason. Two cells down. Hates your guts.
JESUS CARDENAS: A lot of anger in that boy. Not much sense. Doesn't
understand how things work.
NICK: In here or out there?
JESUS CARDENAS: Either way. It doesn't matter. This is still the U.S. Of A.,
my man. It's capitalism. Every one us a buyer or seller.
SARA: Which one was Alison?
JESUS CARDENAS: Exchange of goods for services. I gave Jason credit, he walks
out of here in debt. Thinks because he's on the outside, he don't have to pay.
Man who doesn't pay his debt undermines the whole system.
SARA: What did he owe you for?
CUT TO:
SCENE #29:
[INT. CSI - HALLWAY -- DAY]
(NICK and SARA fill GRISSOM in as they walk through the hallway.)
NICK: We pulled Jason Kent's disciplinary file. He spent some time in
solitary. His co caught him with heroin on two separate occasions. Once in,
uh, '97 and again in '99.
GRISSOM: Did our lab examine the physical evidence?
SARA: Yeah, we pulled those records, too. The analysis had yielded a black tar
heroin
(Quick flashback to: Standing near the wire fence, JASON KENT inhales a smoke.)
SARA: (v.o.) ... with trace amounts of blue and red linen fibers.
(Quick CGI to: Inside the joint, the black tar heroin burns red and is swept
inside through the filter. End of CGI.)
(JASON KENT exhales. End of flashback. Resume to present.)
GRISSOM: Linen? In a prison?
SARA: You know, they got him on the heroin once. They didn't follow up with
the trace.
GRISSOM: So how did Jason Kent get the heroin?
NICK: Uh ... you-you know how these guys are. All they do 24/7 is figure out
how to beat the system. We figure the drugs probably came from Jesus.
(GRISSOM reaches the reception area and someone passes him a stack of papers.)
GRISSOM: So what are we saying? Jesus sells Jason Kent heroin. Kent falls
into debt, and pays him off with Alison Carpenter?
(Quick flashback to: Inside the Correctional Facility's Interview Room, JASON
KENT meets with ALISON CARPENTER.)
ALISON CARPENTER: I'll-I'll get the money somehow. I'll work another shift,
and we'll ... pay him later.
JASON KENT: I owe him. And one way or another, he's going to collect.
ALISON CARPENTER: I'll do whatever I have to do.
(End of flashback. Resume to present.)
NICK: Yeah, they passed her around like a party favor.
SARA: Actually ... she passed around herself.
(GRISSOM turns around with the papers and walks away leaving NICK and SARA at
the counter.)
CUT TO:
SCENE #30:
[INT. CSI - TRACE LAB -- DAY]
(WARRICK and CATHERINE interview DAVID HODGES as he works.)
CATHERINE: We understand that you handled a meth lab yesterday.
DAVID HODGES: Contaminated filter papers. So what?
WARRICK: So, you had to do a solvent extraction? What did you use?
DAVID HODGES: Chloroform, methanol and acetone. I cleaned the pan.
(HODGES looks up at them.)
WARRICK: Same way you turned off that hot plate?
DAVID HODGES: If it was on, it wasn't my fault. That thing gets turned on by
accident all the time.
(Quick flashback to: DAVID HODGES in the lab. Camera close up of the burner
turned on to the #5 setting and burning red. End of flashback. Resume to
present.)
WARRICK: Mysterious dude defense.
CATHERINE: Well, our report is going to reflect the fact that an active heat
source was under the fume hood.
(Quick flashback to: DAVID HODGES finishes up his experiment. He closes the
fume hood. Camera close up of the hot plate still on. End of flashback.
Resume to present.)
DAVID HODGES: I know what this is. You guys hear the lies and rumors about me
from L.A. You know how much Grissom depends on me. So you figure, let's get
rid of him. I'll lawyer up before I let you pin the tail on the new donkey.
WARRICK: Start dialing.
CUT TO:
SCENE #31:
[INT. CSI - PRINT LAB -- DAY]
(JACQUI FRANCO goes over with GRISSOM the comparison of the partial with JASON
KENT'S prints.)
JACQUI FRANCO: Partial from your vic's ankle on the left. Jason Kent on the
right.
GRISSOM: One point of commonality?
JACQUI FRANCO: That's it.
GRISSOM: So it's not his print?
JACQUI FRANCO: Couldn't be. 'Cause it belongs to another guy. Ten points of
commonality. I think I could get a couple of more, not that we need it.
(JACQUI FRANCO hits the keyboard and shows the ID of the print match. It reads:
Match Found: Miguel Durado
Case ID: (4845-2097)
{photo}
MIGUEL DURADO
A.D.A. "Mickey D"
Las Vegas, Nevada
CRIMINAL RECORD:
*10-23-01 Petty Theft
*11-29-02 Vandalism
*01-05-03 Possession of Heroin
(trial *** - not guilty)
GANG AFFILIATIONS: A Las Culebras
GRISSOM: Miguel Durado. Mickey D. Las Culebras.
(Quick flashback to: JESUS CARDENAS. Camera close up of a snake tattoo on the
side of his neck. End of flashback. Resume to present.)
JACQUI FRANCO: What's the connection?
GRISSOM: Jesus Cardenas is in the same game. Mickey D. Could be the guy who's
getting the heroin into the prison.
JACQUI FRANCO: How did his prints turn up at the scene?
GRISSOM: I'm not sure how, but I may see a potential why.
(Quick flashback to: In the announcer's box, JASON KENT and ALISON CARPENTER
are making out. JASON takes his shirt off. The door opens and MICKEY D walks
inside interrupting them.)
GRISSOM: (v.o.) Could be Mickey D. is collecting Jason Kent's debt.
(JASON KENT turns around. MICKEY D. punches JASON KENT and sends him down.
MICKEY D. grabs ALISON CARPENTER. She struggles He kills her.)
MICKEY DURADO: One way or another, you got to pay what you owe. Suze can't
wait to see you again.
(End of flashback. Resume to present.)
GRISSOM: Jason Kent was suitable for framing.
CUT TO:
SCENE #32:
[INT. CSI - EVIDENCE ROOM]
(CATHERINE is inside the room putting all the pieces together. She has a
schematic of the CHEM/DNA LAB in front of her. It's littered with blue dots
where the evidence from HODGES was found.)
(She picks up a baggie with the label that reads:
DATE: 5-7-03
... OFFICER: CW
EVIDENCE DESCRIPTION: DEVELOPER PAN
LOCATION: CSI - FINGERPRINT LAB
(She adds a final blue dot to the map, then removes the plastic covering with
blue dots on it.)
(She picks up another baggie with the following label:
ARTICLE: GREEN GLASS SHARD
DATE/TIME COLLECTED: 5-7-03
WHERE ARTICLE FOUND: DNA
... OFFICER: CW
(She looks around at the plastic covering with green dots on it. She picks up
another baggie containing another piece of green glass. She looks down at the
pattern of green dots on the plastic covering. There is a definite pattern to
it.)
(CATHERINE realizes what happened and who caused it.)
(WARRICK walks into the room.)
WARRICK: Hey.
CATHERINE: Hey.
(WARRICK looks around at her progress.)
WARRICK: Oh, you work fast. Which color charts Hodges' developer pan?
CATHERINE: Blue.
(CATHERINE puts the plastic covering with the blue dots over the room layout.)
WARRICK: The blue. That's 180-degree array. That's not the epicenter of the
explosion.
CATHERINE: Hodges' pan wasn't the source. It got pushed out.
(Quick flashback to: The explosion in slow motion. End of flashback. Resume
to present.)
WARRICK: By what?
(CATHERINE puts the plastic covering with the green dots over the room layout.)
CATHERINE: By this. High primary frag.
(Quick flashback to: The glass container with the green liquid in the bag on
the table under the fumer. Camera pans around the glass as it explodes in slow
motion sending the green glass throughout the lab. Motion resumes. The
explosion continues in real time. End of flashback. Resume to present.)
WARRICK: Then who blew up the lab?
CATHERINE: I did.
(CATHERINE turns and looks at WARRICK.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
SCENE #33:
[INT. MIGUEL DURADO'S APARTMENT BUILDING - HALLWAY -- DAY]
(BRASS rushes up the stairway. Two officers and SARA follow him toward MIGUEL
DURADO'S apartment. They stop outside his apartment door.)
(He signals the officers to take up position. BRASS takes out his weapon. He
nods at the officer. The OFFICER kicks the door open.)
BRASS: Las Vegas police!
OFFICER: Miguel Durado. We know you're here! Come out!
[INT. MIGUEL DURADO'S APARTMENT BUILDING -- DAY]
(SARA waits a beat out side the doorway in the hallway. She follows them
inside. She takes out her weapon as the officers search the apartment.)
(SARA kicks in the bathroom door where MIGUEL DURADO is inside.)
SARA: I got him!
BRASS: Get back!
(BRASS pushes SARA aside and apprehends MIGUEL DURADO. An officer takes out his
cuffs to handcuff him.)
OFFICER: Okay? You got him?
BRASS: Yeah, I got him.
(BRASS walks up to SARA.)
BRASS: Okay. Holster your weapon. What were you doing? What were you
thinking? You know that we clear the room, not you.
SARA: I got him.
BRASS: You're all done, hombre.
(He sighs.)
CUT TO:
SCENE #34:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM looks at the photos spread out on his desk of the different bruises
found on ALISON CARPENTER.)
(The phone rings. He answers it.)
GRISSOM: (to phone) Grissom.
WOMAN: (from phone) Director Covallo is ready to see you.
GRISSOM: (to phone) Okay, thank you.
CUT TO:
SCENE #35:
[INT. DIRECTOR COVALLO'S OFFICE -- DAY]
(CATHERINE and GRISSOM sit in front of DIRECTOR COVALLO'S desk.)
CATHERINE: CSI Brown and I had collected evidence on a case involving a woman
whose husband had collapsed. We suspected poison. When we returned to the lab
...
DIRECTOR ROBERT COVALLO: You hadn't identified the liquid?
CATHERINE: Not yet, no.
DIRECTOR ROBERT COVALLO: And it was consumed in the explosion so I guess we'll
never know what it was. In any event, you placed this unidentified chemical
under the fume hood.
CATHERINE: Right.
DIRECTOR ROBERT COVALLO: Next to an active heat source.
CATHERINE: I didn't know that at the time.
DIRECTOR ROBERT COVALLO: Because you didn't check.
(Quick flashback to: CATHERINE walks into the lab. She opens the fume hood and
puts the bagged container with the green liquid under it next to the burner.
End of flashback. Resume to present.)
GRISSOM: Unlogged evidence gets placed under the fume hood. A hot plate was
left on. It's a lab. It's nobody's fault.
CATHERINE: It's my responsibility. I didn't follow procedure.
DIRECTOR ROBERT COVALLO: Why not?
CATHERINE: Because there's 24 hours in the day and I'm pulling 16 for the
county, spending three pretending to sleep and the other five lying to my
daughter that everything's going to be all right.
DIRECTOR ROBERT COVALLO: There were 13 active cases in DNA. They are all now
tainted or destroyed.
CATHERINE: What do you want to hear? I screwed up. I'm sorry.
DIRECTOR ROBERT COVALLO: "Sorry" doesn't cut it. You're on suspension. Five
days unpaid leave.
(CATHERINE stands up and leaves the office. GRISSOM gets up to follow her.
DIRECTOR COVALLO stops him.)
DIRECTOR ROBERT COVALLO: Grissom. We're not done here. I've heard rumors that
you've been kicking back Willows' reports.
GRISSOM: One report. The Jenkins case. She made a miscalculation. I've asked
her to reissue the report.
DIRECTOR ROBERT COVALLO: Great. Well, while you're at it, maybe she can
reissue the lab explosion. (beat) Let me explain something to you.
(DIRECTOR COVALLO turns sideways to face the wall away from GRISSOM.)
AUDIO STARTS TO FADE OUT
DIRECTOR ROBERT COVALLO: Every one of us ...
(GRISSOM focuses in on DIRECTOR COVALLO'S lips and tries to read it.)
DIRECTOR ROBERT COVALLO: (audio fading) In this building, all of us ...
AUDIO FADES OUT COMPLETELY
(DIRECTOR COVALLO continues to speak. GRISSOM interrupts him.)
GRISSOM: Robert. If you have something to say to me, say it to my face.
(The DIRECTOR turns to look at GRISSOM.)
DIRECTOR ROBERT COVALLO: Okay. It's not your job to protect your people. It's
to protect the integrity of this lab.
GRISSOM: Without the people, there is no lab.
(GRISSOM leaves the office.)
CUT TO:
SCENE #36:
[INT. MIGUEL DURADO'S APARTMENT -- DAY]
(NICK walks into the apartment past MIGUEL DURADO who stands handcuffed in the
middle of the room. BRASS sits on the arm of the nearby couch. NICK makes his
way to SARA who is going through papers.)
NICK: I hear you think you're indestructible now, Sara.
(SARA looks at NICK.)
NICK: Have you ever had a gun drawn on you, Sara?
SARA: No, I haven't.
(SARA opens the desk drawer and finds something unusual.
SARA: Hey, Nick.
NICK: Hmm?
SARA: Know those red and blue fibers we found in Jason Kent's heroin?
NICK: Mm-hmm.
SARA: I think I know where they came from.
(Quick flashback to: MIGUEL DURADO cutting out the faces of the dollar bills.
He glues the heroin to the back of the cut out center of the bill and puts it
back on the dollar. End of flashback. Resume to present.)
(SARA turns to look at MIGUEL DURADO.)
SARA: Take the G.W. bridge?
MICKEY DORADO: I don't know what you're talking about.
(NICK notices the cut on MIGUEL'S forehead.)
NICK: Did you cut yourself shaving or were you just thinking too hard?
MICKEY DORADO: Police brutality. You ever hear of it?
NICK: Those are human bite marks.
MICKEY DORADO: Yeah? His.
BRASS: You're not looking at assault, Mick. You're looking at murder.
MIGUEL DURADO: What?
SARA: You have Jason Kent's teeth marks on your head.
(Quick flashback to: MIGUEL DURADO grabs JASON KENT by his shirt and head butts
him in the mouth. JASON KENT falls back against the wall clutching his mouth.
MIGUEL DURADO continues down the hallway. End of flashback. Resume to
present.)
NICK: And your fingerprints are on Alison Carpenter's body.
MICKEY DORADO: You're not putting this murder rap on me. It was that freak
Jason. He did it.
BRASS: We're placing you at the scene.
MICKEY DORADO: Yeah. I was there ... for the money. I told him that he had
one day to pay up what he owed. Make everything right with Jesus. That's it.
CUT TO:
SCENE #37:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM re-interview JASON KENT with his lawyer there.)
BRASS: You know, it's not a bad deal for prison. Mickey D. brings the heroin
to Jesus Cardenas and you trade him a woman for smack.
LAWYER: Testimony from Mickey D.? Hearsay from a gangbanger?
BRASS: Oh, there's more. You left prison without paying your tab and when
Jesus sent his collection agency after you, you figured you'd pay him back just
the way you did in the joint.
GRISSOM: We know that you had sex with Alison Carpenter that night. Most
probably in her car.
BRASS: Get her in the mood.
(Quick flashback to: JASON KENT leads ALISON CARPENTER up the bleachers. He
stops and turns around to her.)
JASON KENT: I want you to do something for me.
ALISON CARPENTER: Anything you want.
JASON KENT: Good, come on.
(Cut to: They go into the announcer's box where MIGUEL DURADO is waiting.)
JASON KENT: This get us square?
MICKEY DORADO: Yeah. For now.
JASON KENT: Take care of him.
ALISON CARPENTER: No, I don't want to.
JASON KENT: You said you'd help me.
ALISON CARPENTER: I did help you.
JASON KENT: Alison, just one time. Come on.
ALISON CARPENTER: No!
(JASON KENT grabs ALISON CARPENTER and pushes her up against the wall, holding
her there, his hand around her neck. She struggles.)
(MIGUEL DURADO closes his eyes.)
(JASON KENT kills her. ALISON CARPENTER falls to the ground dead.)
(MIGUEL DURADO walks toward the door.)
JASON KENT: You're in on this.
(MIGUEL reaches the door but can't open it wide enough to get out. The door
hits ALISON CARPENTER'S leg. MIGUEL reaches down, picks up her ankle and moves
her leg out of the way.)
MIGUEL DURADO: You're going back in the joint, freak.
(MIGUEL leaves.)
(End of flashback. Resume to present.)
LAWYER: You can't prove any of this. You have no evidence that places my
client at the scene.
GRISSOM: Would you place your hand -- your right hand -- on this paper, please?
Extend the fingers outward.
(JASON KENT puts his hand on the paper. GRISSOM takes an outline of his hand.)
ATTORNEY: You have a known gang member in custody and yet you persist in
harassing my client.
BRASS: You're protective, aren't you?
ATTORNEY: Of my clients.
(BRASS takes out a sheet of paper and shows it to the lawyer.)
BRASS: Do you pay the rent for all your clients or just the ones you really
like?
(GRISSOM pulls out a piece of paper.)
GRISSOM: Mickey D ... has a hand span of 19 centimeters. The hand that
strangled Alison Carpenter ... has a span of 22 centimeters.
(GRISSOM measures the hand span.)
GRISSOM: And your hand ...
(GRISSOM shows the results to them.)
GRISSOM: ... 22 centimeters.
CUT TO:
SCENE #38:
[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
(The Officers escort JASON KENT out of the interview room and down the hallway
past BRASS and GRISSOM.)
BRASS: You going to go to the DA with a connect-the-dots hand on a piece of
tracing paper?
GRISSOM: It's all we got that links him to the murder. Everything else blew up
in the lab.
BRASS: The guy's going to walk.
GRISSOM: Yep.
CUT TO:
SCENE #39:
[INT. HOSPITAL - GREG'S ROOM -- NIGHT]
(CATHERINE stands in the hospital room waiting for GREG to wake up. GREG groans
and opens his eyes. He sees CATHERINE standing by the window.)
GREG: What time is it?
CATHERINE: Late.
GREG: How long have you been here?
CATHERINE: A while. (pause) I got a little time on my hands.
GREG: You figured out what happened in the lab, didn't you?
CATHERINE: Yeah.
(CATHERINE pulls up a chair and sighs.)
CATHERINE: Yeah, and, um ... I wanted you to hear it from me.
CUT TO:
SCENE #40:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(GRISSOM sits at the corner of his desk riffling through his rolodex. He finds
a card:
DR. KAREN ROTH, ENT
SUNDOWN MEDICAL GROUP
?9548 DESERT WAY
LAS VEGAS, NV 89108
(702) 555-0127
(SARA appears in the doorway and leans against the door frame.)
SARA: You ... got a minute?
(GRISSOM looks up and takes the card out of the rolodex.)
GRISSOM: I was just leaving.
SARA: Yeah, the, uh, schedule says you're off tonight.
GRISSOM: I am.
SARA: Me, too.
(GRISSOM tucks his glasses into his pocket.)
GRISSOM: You should be on paid leave.
SARA: I'm fine.
GRISSOM: You were fortunate. And I'm not talking about the explosion.
SARA: You, uh, you talked to Brass?
GRISSOM: And Nick.
(GRISSOM gathers his things.)
SARA: We got the guy.
(He stands up and takes a couple of steps toward the door.)
GRISSOM: Is that all you have to say?
SARA: Would you like to have dinner with me?
(GRISSOM stops.)
GRISSOM: No.
SARA: Why not? Let's ... let's have dinner. Let's see what happens.
GRISSOM: Sara ...
(GRISSOM pauses and sighs.)
GRISSOM: I don't know what to do about this.
SARA: (nods) I do.
(They look at each other.)
SARA: You know, by the time you figure it out, you really could be too late.
(SARA turns and leaves. GRISSOM stares after her. He takes a step forward,
then reaches out and turns off his office lights. GRISSOM leaves.)
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]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Do not archive this transcript without permission from the Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
CSI: CRIME SCENE INVESTIGATION
3X22: PLAY WITH FIRE
ORIGINAL AIR DATE ON CBS: 05/08/2003
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
BOB GUNTON as Director Robert Covallo
Starring
MAX MARTINI as Jason Kent
LUIS ANTONIO RAMOS as Jesus Cardenas
REBECCA McFARLAND as Jason Kent's Attorney
WALLACE LANGHAM as David Hodges
ROMY ROSEMONT as Jacqui Franco
ARCHIE KAO as Archie Johnson
OLIVIA ROSEWOOD as Alison Carpenter
RAYMOND CRUZ as Miguel Delgado
Music Composed by: JOHN M. KEANE
Edited by: ALEC SMIGHT, A.C.E.
Production Designer: RICHARD BERG
Director of Photography: FRANK BYERS, A.S.C.
Co-Producer: BRUCE GOLIN
Co-Producer: ELI TALBERT
Co-Producer: ELIZABETH DEVINE
Producer: RICHARD J. LEWIS
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 NAREN SHANKAR & ANDREW LIPSITZ
Directed by KENNETH FINK
==========================
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.
CBS Productions, Inc.
Co-Starring
DAVID BERMAN as David Phillips
BRANDON KIRSCH as Officer Almada
JOSH JACOBSON as Boy
DANIELLE PANABAKER as Girl
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.
Unit Production Manager: STEVEN FELDER
First Assistant Director: STACY MURPHY
Second Assistant Director: NATALIE VAN DOREN
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: PAUL THRELKELD
Property Master: PAUL BYERS
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: TIA ARDRAN
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 WESTERBECK
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
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:06/11/2003~lky
http://www.webphilia.com/~anthology/wnp.html