CSI: MIAMI
1X20: GRAVE YOUNG MEN
ORIGINAL AIR DATE ON CBS: 04/14/2003
TRANSCRIBED FROM DVD
Written by LOIS JOHNSON
Directed by PETER MARKLE
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
RATING: TV-PG-LV
HDTV
==========================
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SUMMARY: Delko and Calleigh help Horatio look for an ex-con's missing son.
Speedle investigates the death of a man found dead in bed after a night with his
mistress.
==========================
CSI: MIAMI
1X20: GRAVE YOUNG MEN
==========================
COLD OPEN:
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) -- NIGHT]
[EXT. -- NIGHT]
(Horatio walks Yelina to her car.)
YELINA SALAS: Well, this is me.
HORATIO: That's right.
YELINA SALAS: Are you okay?
HORATIO: Yeah. You okay to drive?
YELINA SALAS: What, do I seem...?
HORATIO: Happy? I haven't seen that smile on your face in a while.
YELINA SALAS: Yeah. You know, for the past two years, every morning when I
wake up, I'd have this thought that comes to my head: Raymond is dead. And
now, in these ... in these past few weeks, it's just not the first thing I think
of.
(She smiles.)
HORATIO: You going to bring Ray Junior tomorrow?
YELINA SALAS: Is that all right?
HORATIO: Yeah. Looking forward to it.
YELINA SALAS: Good. Thank you.
HORATIO: Good night.
YELINA SALAS: Good night.
(She walks up to her car.)
HORATIO: Drive safe.
(Off screen, the car door opens and closes. The engine starts.)
(Horatio walks over to his car. His car alarm chirps. He stops in front of his
car door. Through the car's reflection, he sees a man walk up to him.)
PETER WILTON: Detective Caine?
HORATIO: (cautiously) Can I help you?
PETER WILTON: Pete Wilton. Knocked off a chain of grocery stores about six
years ago?
(Horatio turns around and looks at Peter Wilton.)
PETER WILTON: You caught me in Liberty City?
HORATIO: I remember, Pete. Good Samaritan got hit and you got manslaughter,
right?
PETER WILTON: Yeah, and your testimony helped put me away.
HORATIO: Is that why you've been following me?
PETER WILTON: I'm two years into my parole, and I've got a problem.
(Pete reaches for inside his jacket.)
HORATIO: Pete, if you make that move, it's going to be your last.
PETER WILTON: Relax, Lieutenant, it's a photograph.
HORATIO: Take it out. Slowly.
(Pete reaches into his jacket pocket and takes out a photo.)
PETER WILTON: It's my son. Jeff. Went to school three days ago and never came
back.
(He shows the photo to Horatio.)
HORATIO: You call 911?
PETER WILTON: Yeah, I went to PD, but they're not too concerned with parolees'
kids. He's not the way I used to be. I know that something happened to him.
HORATIO: Okay, well, I'm sure the detectives are on it. Let me call.
PETER WILTON: No. It's got to be you. Look, I was guilty. And you knew it.
You came after me with everything you had. And I saw that. I know you can find
my boy.
HORATIO: What kind of trouble was he in?
PETER WILTON: None. Really. No, I just figured if you could bulldog a guy
like me, you could do half as good with a good kid. Worth saving.
HORATIO: Okay, Pete, listen to me. If you're lying, I'm out. You understand?
PETER WILTON: I do.
(They look at each other.)
PETER WILTON: Thank you.
(Pete Wilton leaves.)
(Horatio looks at the photo of Jeff Wilton.)
CUT TO:
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - DAY]
(Horatio walks into the bullpen and sees Det. Frank Tripp issuing out orders to
his team.)
DET. FRANK TRIPP: Right, right, he backed up into your knife eleven times. Sit
tight, Kilroy ... while I, uh, rustle up some booking slips.
(Horatio walks up to him.)
HORATIO: Got a minute?
DET. FRANK TRIPP: Thirty seconds.
HORATIO: Okay, Jeff Wilton.
DET. FRANK TRIPP: Who?
HORATIO: Jeff Wilton is a high school kid from homestead that disappeared three
days ago.
DET. FRANK TRIPP: Father's an ex-con.
HORATIO: And a concerned parent.
DET. FRANK TRIPP: A divorced parent. Soon as he got out, wife took off, left
the kid behind. Told the neighbor she liked the guy fine enough, as long as he
was in prison.
HORATIO: You think the kid did the same thing?
DET. FRANK TRIPP: No, I think Jeff's in the keys with a cheerleader. I think
he'll run out of money, stroll back in a couple of days with a hickey on his
neck and a smile on his face.
HORATIO: What if he doesn't?
DET. FRANK TRIPP: I got twelve confirmed dead yanking at my chain right now.
HORATIO: So you're not interested in the kid unless he's dead?
DET. FRANK TRIPP: You know what I mean.
HORATIO: Okay, Frank, why don't you let me take this one off your hands.
DET. FRANK TRIPP: There's no crime scene to investigate.
HORATIO: Maybe not, but that doesn't mean there wasn't a crime.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI COASTLINE (STOCK) -- DAY]
[DEAD BODY]
(Quick flashes of a dead body.)
[INT. BUNGALOW - BEDROOM - DAY]
(Alexx snaps photos of the dead body in the bed. In the bathroom, Det.
Bernstein interviews Alison Roufow. She fiddles with the tie of her white satin
robe.)
DET. BERNSTEIN: I want to be sure I got it right. You and the deceased had
drinks last night, came back here around midnight ...
ALISON ROUFOW: Made love ... for ... I don't know how long.
(Speedle walks past the bathroom on his way to the bedroom. He pauses and
watches as Alison lightly touches Det. Bernstein's notebook.)
ALISON ROUFOW: And when I woke up this morning, he was beside me... dead.
DET. BERNSTEIN: Thanks.
SPEEDLE: Bernstein?
(Det. Bernstein turns and puts his notebook in his jacket pocket.)
DET. BERNSTEIN: Speedle.
ALISON ROUFOW: Who are you?
SPEEDLE: I'm a Crime Scene Investigator.
(Speedle turns and heads on to the bedroom.)
ALISON ROUFOW: I thought you were the Detective.
DET. BERNSTEIN: I am. But Speedle analyzes the scene. The forensic that might
explain the death in question.
(Det. Bernstein turns and leaves the bathroom. Alison Roufow watches him go.)
[INT. HOTEL ROOM - BEDROOM - DAY - CONTINUOUS]
(Alison Roufow walks out of the bathroom and into the bedroom. She heads for
Speedle, past Alexx who is working on the body of the dead man in the bed.)
ALISON ROUFOW: Do you have any questions for me?
SPEEDLE: Yeah. Why do women do that to their nails?
ALISON ROUFOW: What? Put little charms on them? It's easy. To attract men.
(She rubs Speedle's shoulder. He glances down at her hand on his shoulder.)
SPEEDLE: Hey, do you mind taking that tea and drinking it over there?
ALISON ROUFOW: Sure ... whatever helps.
(Alison takes her cup of tea and moves to the side. Speedle walks over to
Alexx. She looks at him and rolls her eyes.)
SPEEDLE: Well, the guy was in good shape.
ALEXX: She said he runs marathons. Well -- ran. May have an enlarged heart.
(Alexx picks up her flashlight and turns it on.)
ALEXX: Something of the pulmonary nature. (She checks his gums.) Frenulum
isn't torn. (She checks his eyes.) Tardieu spots in the conjunctivae and
eyelids.
SPEEDLE: Asphyxiation? Sleep apnea?
ALEXX: Hard to tell.
(In the background, Alison walks across the room. Speedle turns and glances at
her.)
ALEXX: Almost impossible to distinguish accidental from homicide. Result of
closing off the air to the windpipe's the same.
(Quick CGI POV of: The man's chest. The heart and lungs inside the chest are
visible. Camera zooms into the lungs. Extreme close-up of the alveoli which
dries up.)
ALEXX: (v.o.) Blood stops carrying oxygen to the alveoli.
(Resume to present.)
ALEXX: I'd say he fell asleep in his pillow. (mutters) If I hadn't watched
Miss Thing put her suave on Bernstein earlier.
(Speedle turns and looks back at Alison Roufow.)
CUT TO:
[EXT. MIAMI COMMUNITY (STOCK) - DAY]
[INT. WILTON RESIDENCE – JEFF'S BEDROOM -- DAY]
(The bedroom door opens. Peter Wilton, Horatio and Delko walk in.)
PETER WILTON: This is Jeff's room. I didn't touch anything. Left everything
just the way it was the morning he left for school.
HORATIO: Okay. You know, Pete, I am going to take you up on that coffee now.
PETER WILTON: Sure. Okay.
DELKO: Make it two, if you don't mind.
PETER WILTON: You got it.
DELKO: Thanks.
(Pete leaves the room. Delko closes the door.)
(Horatio looks through the closet; Delko looks through the things on the desk.
He opens the desk drawer and finds a stack of NEWSVIEW magazines.)
(On the top shelf of the closet, Horatio finds a tube of oil.)
HORATIO: "Three-in-one oil."
DELKO: Used to use that to make boat models. Now I use it to clean my gun.
(Delko opens the NEWSVIEW magazine and finds a WEAPONS OF DEATH magazine
inside.)
HORATIO: What do we have here?
(Horatio finds a gray t-shirt in the hamper.)
HORATIO: "Four Twenty Boyz." Time to get high, I bet.
DELKO: How do you know that?
HORATIO: My brother worked narcotics undercover. So, Jeff ... where is it?
(Horatio looks into a shoebox and finds the bag of weed.)
HORATIO: Our friend Jeff is a stoner.
DELKO: His father lied.
HORATIO: You see, kids make excellent criminals. They're sneaky. Here's how
it might've gone. Jeff sits up here at night, in the dark, without his dad
being any the wiser.
(Horatio walks over to the window and opens it. On the outside windowsill are
black marks.)
HORATIO: This is gunshot residue. And it's possible ... Jeff ... was doing
more ... than smoking out this window.
(He holds out his hand as if holding a gun and pointing it out the window.)
(Quick flashback to: [NIGHT] Jeff fires several rounds out the window. As he
fires, the residue powder gathers on the windowsill.)
(End of flashback. Resume to present.)
[EXT. WILTON RESIDENCE - BACKYARD - DAY]
(Horatio walks over to the tree and finds it riddled with gunshot holds. He
lines up the laser to the windowsill.)
(Calleigh and a workman with a saw walk around the back. Delko steps up to
Horatio and looks at the tree.)
DELKO: Wow, someone definitely used this tree for target practice.
HORATIO: Not all the bullet holes are fresh, either. Calleigh, how many
different weapons do you think have been used here?
CALLEIGH: Well, I see nines, .22s, there's even some rifle action. I'll be
able to tell you more when I get it back to the lab.
HORATIO: Okay, so weed, bullets -- let's go over to Jeff's high school locker
and see what other surprises he has for us.
DELKO: School property could take a day to get permission. Red tape.
HORATIO: Cut through it as fast as you can. And the same goes for this tree.
(The worker turns the saw on.)
CUT TO:
[INT. BEDROOM - DAY]
(Alexx is still with the body. Speedle puts his kit down and stands next to
her.)
SPEEDLE: You're not going to roll him?
ALEXX: Think our boy's been moved enough. Dual lividity. Body laid on its
stomach, then was flipped over.
SPEEDLE: The paramedics must've flipped him.
ALEXX: No. No, he was on his stomach long enough for blood to settle. Couple
of hours.
(Quick flash to the body. Camera zooms in on the skin and shows the skin
darkening as the blood settles. End of flash. Resume to present.)
ALEXX: But before that, he was dead on his back another couple hours.
(Quick flash to under the body. Camera holds on the back and shows the skin
darkening as the blood settles again. End of flash. Resume to present.)
ALEXX: Something or someone moved him into secondary position.
SPEEDLE: Flip-flop usually means somebody can't decide to call 911 or skip
town.
(Alexx turns and looks at Speedle.)
[HALLWAY - DAY - CONTINUOUS]
(Speedle walks into the hallway and finds Alison in the bathroom sitting on a
chair.)
(He walks in and puts his kit down.)
SPEEDLE: I'm going to need to swab under your fingernails.
(She stands up.)
ALISON ROUFOW: Sure. How come?
(Speedle notices some scratches on Alison's chest in the V of her robe.)
SPEEDLE: It's just part of the investigation.
(She nods. He opens his kit.)
ALISON ROUFOW: Am I a suspect?
(She holds out her hand and he takes a swab sample of her fingernails.)
SPEEDLE: A witness.
ALISON ROUFOW: You're looking for Chuck's skin under my fingernails, aren't
you?
SPEEDLE: I try never to have expectations.
ALISON ROUFOW: Never disappointed. Smart. I might as well tell you, things
got a little rough between Chuck and I ... sexually.
SPEEDLE: You saw me notice those scratches on your chest?
ALISON ROUFOW: He can get himself worked up.
(They look at each other.)
SPEEDLE: I'm going to need to, uh, photograph those markings, as well.
ALISON ROUFOW: Sure.
(Speedle goes to get the camera out. Alison removes her robe.)
ALISON ROUFOW: This okay?
(Speedle turns around and finds her naked. The camera flash goes off. He
clears his throat.)
SPEEDLE: Okay, um... sorry.
ALISON ROUFOW: It happens.
(Speedle raises the camera. He starts with her face, moves downward and snaps
photos of the scratches.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Calleigh has a section of the tree trunk on the table as she scans it into the
computer. Delko walks up to the door.)
DELKO: Hey, how's it look?
CALLEIGH: Like a starry, starry night. We've got rifle ammo, some buckshot.
Come on in, take a look for yourself.
DELKO: No, I can't find another lead apron, and Alexx isn't around.
CALLEIGH: Well, then, by all means, stay out.
DELKO: Calleigh, were you here at CSI when Horatio's brother was killed?
CALLEIGH: Ray? Yeah, I was new. Keeping my head down. Why do you ask?
DELKO: No reason, I just, uh ... I didn't realize his brother worked narco.
CALLEIGH: Yeah. Undercover narco cop gets killed in the line of duty, might
have been dirty - something like that.
DELKO: I didn't say that.
CALLEIGH: Nobody ever does.
DELKO: Was he dirty?
CALLEIGH: I don't know. I don't know what Raymond Caine was. I'm not entirely
sure Horatio does, either.
CUT TO:
[INT. CSI - LAB]
(Calleigh cuts the tree stump into sections.)
(She removes the outer bark.)
(She chips into the inner wood to get to the bullets.)
(She removes a bullet and looks at it.)
CUT TO:
[INT. CSI - LAB]
(Horatio walks into the lab. Calleigh already has a lot of the bullets removed
and lined up on the table.)
HORATIO: Wow ... this tree has more lead than wood. You got nines there, .44s,
.22s.
CALLEIGH: There were over two hundred expended projectiles that we couldn't
see.
(Quick flash to: [WILTON RESIDENCE] Jeff fires a shot. The bullet hits the
tree. The tree grows bark around the bullethole.)
CALLEIGH: (v.o.) So as the tree grew, the entrance holes grew over with living
cells.
(End of flashback. Resume to present.)
HORATIO: .30 carbine, short rifle.
CALLEIGH: 760 by 39 also.
HORATIO: A-K. This was not target practice; this is training. This is
training. Nice going.
FADE OUT.
FADE IN.
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM -- DAY]
(Horatio talks with Peter Wilton. His parole officer, Mac Adams is in the room
also.)
HORATIO: You lied to me, Pete.
PETER WILTON: I didn't know about the bullets in the tree. The neighbors asked
about the noise while I was at work. Jeff just said it was firecrackers.
HORATIO: Then how do you explain the weed I found in his room?
PETER WILTON: I didn't know he was into that.
HORATIO: Let's ask your parole officer what he thinks.
MAC ADAMS: Are you kidding me? All that ammo? Son's probably training to
knock off a chain of markets just like his old man here. What happened? He
borrowed your piece, and now you're a little worried he may get nervous and drop
it at a heist, huh?
(Peter looks at him.)
PETER WILTON: I don't have a piece.
MAC ADAMS: Right. You just got a hundred bullets in your backyard tree. Plus,
the weed. Unless you want to make a case to the board that this contraband is
your son's, you're going back inside, and you're going to serve out the rest of
your sentence.
HORATIO: Which is it?
PETER WILTON: The gun and the weed are mine.
HORATIO: Okay. So, he's all yours.
MAC ADAMS: Sold. 729 days at stark. Let's go.
(Pete moves to get up, but looks at Horatio.)
PETER WILTON: My kid ... is still out there.
CUT TO:
[EXT. PARKING LOT - DAY]
(Yelina drives in and parks in a stall. Raymond Caine, Jr., is in the car with
her.)
YELINA SALAS: Hi.
HORATIO: Hey.
YELINA SALAS: We brought you some lunch, but somebody here ate your fries.
HORATIO: That's okay.
YELINA SALAS: So listen, Raymond, I have to go get a file. I'll be right back.
Okay?
(Yelina gets up and leaves.)
HORATIO: How you doing?
RAYMOND JR.: Good.
HORATIO: Good.
RAYMOND JR.: She doesn't need a file. She wants you to talk to me.
HORATIO: That's right. She tells me that you've been getting into fights at
school.
RAYMOND JR.: This kid in school ...
HORATIO: Mm-hmm?
RAYMOND JR.: ...Said my dad was a bad cop.
HORATIO: Well, you know what? That is not true. Your dad was a hero, but his
job was to pretend he was a bad cop. See the difference?
(Ray looks at Horatio.)
RAYMOND JR.: He said I have my dad's name. That's why I was bad.
HORATIO: Let me tell you something. It's not important what people say about
us. It's only important what we know inside about ourselves. Do you
understand?
RAYMOND JR.: Yeah.
HORATIO: All right. So, no more fights at school, because it upsets your
mother.
RAYMOND JR.: All right.
HORATIO: Good man. Good man.
(Yelina returns and smiles at Horatio.)
CUT TO:
[INT. SCHOOL -- LOCKER ROOM -- DAY]
(Delko unlocks the pad lock on the locker. He opens the locker and looks
inside. He takes out his flashlight and finds a gun magazine: GUN HO.)
DELKO: Hello.
(Delko pulls out a pair of dirty shoes.)
(Camera zooms in on the dirt underneath. Delko puts the sneakers in a package.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Calleigh is running the bullets through IBIS.)
(The computer beeps. She's found a match.)
(The monitor reads:
NICK GORDON
349 N. SALZEDO ST.
MIAMI, FL 33133
SEX: M
RACE: C
AGE: 45
DOB 8/20/57
HAIR: BRN
EYES: HZL
WGT: 165
CRIMINAL HISTORY )
(Calleigh reports her findings to Horatio.)
CALLEIGH: I found the owner of one of the guns that fired a bullet into the
Wilton family tree. Nick Gordon, age 45. Six months ago, the gun was used to
shoot out the scoreboard at Antioch High School.
HORATIO: Antioch. That's where Wilton's kid goes.
CALLEIGH: So I called the principal, and found out that Ben Gordon, age 17, was
responsible for shooting out the scoreboard. However, they believe that another
kid was with him, but because of the privacy laws, they can't say anything. But
the principal did hesitate when I tried a name on for size.
HORATIO: Of course. Jeff Wilton.
CALLEIGH: Our parolee's son.
HORATIO: Okay, let's get Ben Gordon and his father in here.
CALLEIGH: You got it.
CUT TO:
[INT. CSI - LAB -- DAY]
(Speedle is examining the pillow. He finds a tear and pulls out a feather. He
looks at the computer.)
(The phone rings. He answers it.)
SPEEDLE: (to phone) Yeah? Yeah, it's Speed. All right, I'll be out there in
a minute.
CUT TO:
[INT. CSI - RECEPTION -- DAY]
(Speedle walks out into reception and finds Alison Roufow at the front desk.
She has a travel bag with her.)
ALISON ROUFOW: Hi. Thanks for coming out.
SPEEDLE: You going somewhere?
ALISON ROUFOW: Actually, um ... there somewhere else we can talk?
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Speedle and Alison Roufow walk through the hallway.)
ALISON ROUFOW: I have a photo shoot tomorrow in St. Thomas.
SPEEDLE: You're a photographer?
ALISON ROUFOW: A model. Bathing suits. It's probably why I was so comfortable
when you wanted to take pictures of me. I realized later I might have been a
little too casual.
SPEEDLE: So your boyfriend dies and you're able to go to work the next day?
(She sits down.)
ALISON ROUFOW: Chuck and I weren't married. I wasn't in his will. Yes, I need
to make a living.
SPEEDLE: (sighs) Alison, did you move the body?
ALISON ROUFOW: Is that what the autopsy said?
(He shrugs.)
ALISON ROUFOW: When I woke up, and he didn't respond, yes, I rolled him over on
his back and called 911.
SPEEDLE: Homicide has you calling 911 at 7:00 am. Paramedics show up at 7:08.
It takes hours for lividity to form.
ALISON ROUFOW: Really?
SPEEDLE: Yeah.
ALISON ROUFOW: I did roll him over in the middle of the night.
(Quick flash to: [BEDROOM] Chuck's arm is on Alison.)
ALISON ROUFOW: (v.o.) His arm was plopped over my head and ...
(End of flash.)
ALISON ROUFOW: ... I couldn't sleep.
(Quick flash to: [BEDROOM] Alison pushes Chuck's arm off her.)
ALISON ROUFOW: (v.o.) After I rolled him, I must have fallen right back to
sleep.
(End of flash. Resume to present.)
SPEEDLE: So he was already dead in the middle of the night.
ALISON ROUFOW: I suppose so. I read in Vanity Fair that time of death could
never be exact. It's all estimates. Within hours.
SPEEDLE: No. You can't go on your shoot.
(Speedle starts to leave.)
ALISON ROUFOW: Tim ... would you let me know what you find?
(He turns and looks at her.)
SPEEDLE: I can't do that.
(They look at each other.)
SPEEDLE: Look, when it's, uh, appropriate, okay?
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Nick Gordon is on the phone. Horatio waits for him.)
NICK GORDON: (to phone) No, first class on that equipment's as bad as
business. Look into charters.
HORATIO: Mr. Gordon.
NICK GORDON: (to phone) Look, I'm being pulled into something; call me later.
HORATIO: I thought you were supposed to bring your son in.
NICK GORDON: I did-- he's out front, having a smoke. I can't stop him; he's
right out there.
(He points.)
CUT TO:
[EXT. CSI - DAY]
(Horatio walks up and finds Alexx with several dead bodies on gurneys. She
walks up to him.)
ALEXX: Kid's been staring at dead bodies for ten minutes. Naturals, traumas.
My first year MEs would have passed out by now. Says he's here to see you.
HORATIO: (chuckles) Okay, thank you.
(Alexx leaves. He turns to the young man staring at the dead bodies.)
HORATIO: Ben. I'm Lieutenant Caine.
BEN GORDON: Hey, you ever kill anyone?
HORATIO: Uh, in the line of duty.
(Ben puts the cigarette up to his lips.)
HORATIO: You want to put that out, please?
(He tosses it to the ground.)
HORATIO: Thank you.
BEN GORDON: It's an entrance wound, right?
HORATIO: mm-hmm.
BEN GORDON: It's small because the skin snaps back into place once the bullet
passes through.
HORATIO: That's correct. You like guns.
BEN GORDON: Yeah. They're cool.
HORATIO: Jeff Wilton thinks guns are cool, too. Was Jeff with you when you
shot out the scoreboard?
(Ben looks at Horatio.)
BEN GORDON: No, I did that alone.
HORATIO: You ever go shooting with Jeff?
BEN GORDON: If I fired a gun, it wouldn't be at a stupid tree.
HORATIO: What would you shoot at?
BEN GORDON: The kid who killed Jeff.
HORATIO: So you know Jeff is dead?
(Ben swallows.)
HORATIO: Ben?
BEN GORDON: If he was alive, he would have called me by now.
HORATIO: You know what? Why don't you and your dad go have lunch for a couple
of hours and then come back, all right? Go ahead.
(Ben turns and leaves. Horatio walks around the gurney and picks up the
cigarette from the ground. He looks back at Ben.)
CUT TO:
[INT. CSI - LAB - DAY]
(Det. Bernstein walks into the lab where Speedle is with the pillows.)
DET. BERNSTEIN: Heard you were looking for me.
(Speedle nods. He sees the pillows.)
DET. BERNSTEIN: Sleeping on the job?
SPEEDLE: You a down man or a feather man?
DET. BERNSTEIN: They aren't the same thing?
SPEEDLE: Feathers are for flying; down's for insulating. The more mature the
down, the better air-trapping ability. It's called "loft."
DET. BERNSTEIN: That would explain the scratches on Alison. Slow death.
(Quick flash to: [BEDROOM] Chuck Maxfield holds the pillow over Alison's head
as she struggles.)
(End of flashback. Resume to present.)
DET. BERNSTEIN: He had air between those feathers.
SPEEDLE: Down. Goose, to be exact. That's one scenario. What'd you get?
DET. BERNSTEIN: Chuck Maxfield died one day shy of his wedding.
SPEEDLE: Alison never said anything about them getting married.
DET. BERNSTEIN: They weren't. That might've been the problem. Chuck was
marrying a girl from Coconut Grove. Reception was to have been tonight at the
Delano.
SPEEDLE: Did you talk to the bride?
DET. BERNSTEIN: Mother. The girl was too broken up to talk, especially when
she found out where the guy died.
SPEEDLE: They knew Alison?
DET. BERNSTEIN: Never heard of her. She was his little secret. You know what
we call that over at robbery homicide.
SPEEDLE: Yep -- motive.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Delko catches up with Horatio.)
DELKO: H, I processed the sneaker from Jeff's locker. Found soil in the tread.
HORATIO: And?
DELKO: Soil's humus -- high organic content, very low mineral content, with one
significant man-made material, an epoxy called mastico.
HORATIO: "Mastico"? What's it used for?
DELKO: Repairing headstones.
HORATIO: Headstones? Jeff's friend Ben. There's a recurring theme.
DELKO: Mm, I'm thinking Redeemer Cemetery. It's the oldest one in the county.
HORATIO: Yes, and within walking distance of the high school.
CUT TO:
[EXT. COMMUNITY (STOCK) - DAY]
[EXT. REDEEMER CEMETERY -- DAY]
(Horatio puts his gloves on as Det. Frank Tripp looks around the cemetery.)
DET. FRANK TRIPP: Looks like the last person buried here was 1968. First was
1860.
(He looks around the cemetery.)
HORATIO: Something wasn't buried here very recently.
DET. FRANK TRIPP: Decomp?
HORATIO: Yeah. It's stronger from over here.
(They follow the smell and walk around the tree.)
HORATIO: Here you go.
(Horatio finds the body.)
HORATIO: Here you go.
(He kneels down and pushes the brush away.)
HORATIO: Now ... maggots will go to a wound. We have an exit wound, head.
DET. FRANK TRIPP: Sweet going in, and ugly going out.
HORATIO: Mm-hmm.
(Quick CGI POV: The bullet enters the head and takes flesh with it as it
leaves. End of CGI POV. Resume to present.)
HORATIO: Got another one here in the back.
(Horatio lifts the body to show the blood on the back.)
HORATIO: This is an entry wound.
DET. FRANK TRIPP: Looks like an ambush. So much for me saying he was in the
keys.
HORATIO: You know what? Maybe he was, because this body was moved. You see,
we got no blood spatter anywhere ... but we do have gravitational blood droplets
on his clothes. So he was moved.
DET. FRANK TRIPP: Laid out like a Christmas package. Well, I'll pay a visit to
our parolee Pete Wilton, let him know we found his son.
HORATIO: I would hold off on that. This is not his kid.
FADE OUT.
FADE IN.
[EXT. REDEEMER CEMETERY -- DAY]
(Alexx is looking over the body. She opens the wallet.)
ALEXX: Boy's I.D. Says, "Mark Hubbard." Born in 1986. Found his library card
from Antioch High, and, yes, he was moved.
(Alexx hands the wallet to Horatio.)
ALEXX: I'll find you for the post.
HORATIO: Particular attention to the fingernails, please.
ALEXX: If there's an epithelial, I'll dig it out.
(Calleigh is looking around the cemetery when Delko steps out of the mausoleum.)
DELKO: Calleigh, check out what I found in here.
[INT. REDEMMER CEMETERY - MAUSOLEUM - DAY - CONTINUOUS]
(The mausoleum is a mess. Delko leads Calleigh into the main room.)
DELKO: The real damage is over here. Watch your step.
(They look around and find the blood spatter on the tomb.)
CALLEIGH: High-velocity spatter, 100-feet-plus per second ... it's consistent
with a gunshot.
(Quick CGI POV of: A gun fires an blood spatters on the cement. End of flash.
Resume to present.)
DELKO: A shot in the back, right?
CALLEIGH: Well, after his head's hit, he didn't go anywhere, so ... trajectory
suggests that he was bent over. Mist is waist high.
(Quick flash of: A person leans over to pick up something. The gunman fires
from behind, hits the person in the back. The person falls. End of flash.
Resume to present.)
CALLEIGH: And there's the projectile. I'm going to take that with me.
(Delko kneels down and looks at the items on the ground.)
DELKO: Bat bag, crumpled. Maybe that's why he was bent over, reaching for it.
Bat bag, scoreboard ... maybe there's a theme here.
CALLEIGH: Well, blood pool is here, so he was bleeding out.
(Quick flash of: The person shot is bleeding out. End of flash. Resume to
present.)
(Horatio joins them.)
HORATIO: There's a second hit on the wall over here.
CALLEIGH: Which means he managed to make his way over, and dropped to his
knees.
(Quick flash of: The person shot is bleeding and falls to his knees. End of
flash. Resume to present.)
HORATIO: And was shot a second time.
(Quick flash of: The gunman fires a second time. End of flash. Resume to
present.)
DELKO: The suspect dragged him from here ... to the cemetery.
(Quick flash of: [NIGHT] The gunman drags the body out into the cemetery.
End of flash. Resume to present.)
HORATIO: There was a third person here.
(Calleigh looks at the wall and finds the blood outline on the wall.)
CALLEIGH: Yeah, there's a void in the blood.
HORATIO: Which also means that there was someone behind the victim.
(Quick flash of: The gunman fires. Blood spatters on the person standing near
the wall. The blood spatters on the wall. End of flash. Resume to present.)
DELKO: Question is, the third guy was helping or hindering?
(Horatio looks down. He picks up a cigarette.)
HORATIO: I've got a cigarette ... that might help us.
CUT TO:
[INT. CSI -- LAB]
(Delko sprays paper and places it on the pillow case. He puts a weight on the
paper and presses down. He removes the weight and the paper. He sprays the
paper again. He finds a white outline.)
SPEEDLE: Death mask.
(Quick flash of: [BEDROOM] Alison pushes the pillow on Chuck Maxfield's face.
He gasps for air. End of flash. Resume to present.)
(Hold on the nose and mouth outline on the paper.)
CUT TO:
[INT. CSI - INTERVIEW ROOM - NIGHT]
(Speedle interviews Alison Roufow.)
ALISON ROUFOW: What's a death mask?
(He shows her the photo of the paper.)
SPEEDLE: That's Chuck's saliva. DNA confirmed it.
ALISON ROUFOW: And?
SPEEDLE: Did you press his face into the pillow, causing him to suffocate?
ALISON ROUFOW: Yes and no.
SPEEDLE: Alison ...
ALISON ROUFOW: You're so sure I'm guilty. I could see it when you walked
through the door.
SPEEDLE: You have an explanation?
ALISON ROUFOW: Yes ... I pressed his face into the pillow. No ... I did not
suffocate him. He did, however ... orgasm.
(She pushes the photo back to Speedle.)
SPEEDLE: Excuse me?
ALISON ROUFOW: My marathon-running boyfriend was a pillow biter. Satisfied?
He liked to give himself over to me. I, uh, could be more explicit, but ...
SPEEDLE: I get it.
ALISON ROUFOW: We role-played around ... two in the morning. Then we drank
some more wine. We snuggled.
(Speedle stands up.)
ALISON ROUFOW: You okay?
SPEEDLE: Yeah. Um ... it's just that this job, it's weird uh, sometimes. You
know, you learn certain things about people.
(Det. Bernstein walks past in the hallway and stops when he sees Speedle with
Alison Roufow.)
(Speedle turns and walks out of the room.)
SPEEDLE: Hey.
DET. BERNSTEIN: Hey. You're interrogating our witness without me?
SPEEDLE: No, I was just running a few questions by her.
DET. BERNSTEIN: You interview her again, I better be there. It's protocol.
SPEEDLE: You will be there.
DET. BERNSTEIN: You got that?
CUT TO:
[INT. CSI - DNA LAB]
(The technician removes a cigarette from a bindle and cuts off a piece of it.
She tests it. She puts the remaining cigarette back in the bindle.)
CUT TO:
[INT. CSI -- LAB]
(Calleigh examines the thick canvass bag. She finds red markings on the black
handle. She logs into the clipboard: UNKNOWN MARKINGS.)
(The turns the bag inside out and sprays it. She finds GSR.)
CUT TO:
[INT. CSI - HALLWAY]
(The DNA Tech catches up with Horatio in the hallway.)
DNA TECH: Lieutenant?
HORATIO: Yeah?
DNA TECH: Results on those cigarette butts. Three separate donors. One
matched the sample you gave me from Ben Gordon.
HORATIO: Okay. Thank you.
DNA TECH: All right.
(The DNA Tech leaves.)
CUT TO:
[INT. CSI - LAB]
(Calleigh reports.)
CALLEIGH: There were weapons in this bag. Plural.
HORATIO: Rifles.
CALLEIGH: You don't use a bat bag just to carry handguns.
HORATIO: No, you don't.
CUT TO:
[INT. CSI - INTERVIEW ROOM]
(Horatio questions Ben Gordon with his father, Nick Gordon, in the room.)
HORATIO: Your son is in a great deal of trouble.
(Horatio shows Nick Gordon the photo of Mark Hubbard.)
NICK GORDON: He told me he was hanging out with Jeff Wilton. He admitted they
were shooting guns at Jeff's house, at the school.
HORATIO: Did he tell you that he was at the cemetery the morning that Mark
Hubbard was killed?
NICK GORDON: He told me they go there in the mornings, before school, for
horseplay.
HORATIO: I have a blood pattern, my friend, that says there were two people at
the cemetery when Mark was shot to death. So, are you the shooter, or was Jeff?
BEN GORDON: I'm not saying anything about Jeff.
HORATIO: Okay. Where are the guns?
NICK GORDON: What guns?
HORATIO: They carried their rifles in a bag and foolishly left it behind.
Right?
(Ben doesn't say anything.)
HORATIO: Hey. I can wait.
CUT TO:
[INT. CSI - LAB]
(Calleigh uses the ALS on the bag handle and finds the words: FOUR TWENTY
BOYZ.)
(She photographs it.)
CUT TO:
[INT. CSI - INTERVIEW ROOM]
(Calleigh reports. She shows the photo of the handle to Horatio.)
CALLEIGH: We found this on the handle of the bat bag. It's the same as the t-
shirt from Jeff's house.
HORATIO: Okay, thank you.
(Calleigh leaves the photo with Horatio.)
HORATIO: Hm, "The Four-Twenty Boyz." You, Jeff, and Mark, part of the Four-
Twenty Boyz, Ben? Is that what time you guys used to get high every day?
BEN GORDON: No.
HORATIO: No?
BEN GORDON: It's not a time; it's a date.
HORATIO: April 20 ... is what?
BEN GORDON: Hitler's birthday, all around the world, the whole week.
HORATIO: So we have Waco, the federal building, Columbine, and now Antioch. So
you guys were planning an action, weren't you?
BEN GORDON: No. Me and Mark backed out.
HORATIO: Is that why Jeff shot Mark?
(Quick flash to: [CEMETERY - MAUSOLEUM] Mark argues with Jeff.)
MARK HUBBARD: I said I'm not going through with this.
JEFF WILTON: Tough. No take-backs.
MARK HUBBARD: Forget it, Jeff. We're getting rid of the guns.
(Mark leans forward to pick up the guns off the ground. His back is to Jeff and
Ben.)
MARK HUBBARD: We're going to break these down, bury them somewhere.
JEFF WILTON: I'm warning you.
(Jeff raises the gun and shoots Mark in the back.)
(End of flashback. Resume to present.)
BEN GORDON: Jeff told me if I said anything ...
(Quick flash to: [CEMETERY - MAUSOLEUM] Jeff has just fired the gun a second
time. He points it at Ben.)
JEFF WILTON: You talk, you die.
(End of flashback. Resume to present.)
HORATIO: Where is Jeff right now?
BEN GORDON: At the mausoleum.
HORATIO: He's not at the mausoleum. Where is he? Why don't you tell me what
time you were due out of school?
BEN GORDON: 3:00. But there's an assembly today after class.
HORATIO: At 4:20. He's going to start shooting. Today.
FADE OUT.
FADE IN.
[EXT. ROAD - DAY]
(The CSI vehicle speeds toward the high school. It's pouring. The vehicle
drives up the curb and toward the front steps.)
(A line of police cars drive down the road.)
[INT. ANTIOCH HIGH SCHOOL - DAY]
(Horatio gets out of the car and rushes for the front.)
(Bill Roland, the principal, rushes forward to meet him.)
BILL ROLAND: Lieutenant Caine. Bill Roland, I'm the principal.
(They shake hands.)
HORATIO: Okay, Bill, SWAT team is on the way. Any sign of Jeff Wilton?
BILL ROLAND: None. He could have slipped into the assembly with the other
students.
HORATIO: Okay, I'm going to need everybody out of the building right now.
BILL ROLAND: I don't want to create a panic.
(A girl screams. The school alarms blare. In the background the officer cars
have arrived and the officer rush for the front of the building.)
HORATIO: Something just did, Bill. Everybody out. Everybody out, Bill!
(Horatio turns the darkened hallway and sees kids lining the walls.)
HORATIO: (shouts) I need everybody to leave the building right now! Right
now!
(They rush for the front of the building.)
(A gun fires. Horatio runs up the stairs.)
(Students clamor to get out. The alarms continue to ring. Horatio continues to
run up the stairs.)
(Another gunshot fires.)
(The kids run for the exits. Jeff Wilton exits one of the classrooms with a
rifle. He fires and the trophy cabinet glass shatters.)
(He steps forward, aims and fires a couple of times.)
(The rifle is empty. He tosses it to the ground and takes out a handgun.)
(Horatio steps out into the hallway. He has his gun out and pointed at Jeff who
is turned, looking into the other hallway.)
HORATIO: Hey, Jeff.
(Jeff Wilton turns and points his gun at Horatio. Horatio advances toward
Jeff.)
HORATIO: Let's put the weapon down and not make it any worse, okay?
JEFF WILTON: You have no idea what I've done.
HORATIO: That's not true, Jeff. I know about the cemetery. And I know about
Mark. Jeff, you can put a stop to this right now if you want to.
JEFF WILTON: You're right. I can stop.
HORATIO: I want you to think about your dad.
JEFF WILTON: My dad didn't care about me.
HORATIO: That's not true. That is not true, Jeff. He's back in jail for you.
JEFF WILTON: Lies.
HORATIO: No, no. He took the gun rap. Two more years inside for you.
JEFF WILTON: He really went back in?
HORATIO: He did, Jeff. Listen to me now -- he came to me, and he asked me to
find you. That's the truth, Jeff.
(Behind Horatio, the SWAT team turns the corner.)
JEFF WILTON: Tell him I said thanks.
HORATIO: (warning) Jeff.
(Jeff points the gun at his temple.)
HORATIO: Jeff!
(He squeezes the trigger and the gun clicks. He checks the gun.)
(Horatio runs and tackles Jeff, pushing him back to the ground. The gun falls
from Jeff's hand and skids along the hallway floor.)
(Horatio kneels on Jeff and raises his gun, pointing it at Jeff.)
HORATIO: Jeff, don't move. Do not move.
(Horatio removes the guns and clips from Jeff's jacket.)
JEFF WILTON: I could have killed you.
HORATIO: Yeah, but you didn't. We're clear.
(Horatio stands up. Det. Frank Tripp steps forward.)
DET. FRANK TRIPP: You're lucky no one died here, kid.
CUT TO:
[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - EVENING]
[INT. CSI - BREAK ROOM -- EVENING]
(Alexx and Speedle have a meal in the break room.)
ALEXX: Tox is in. You interested?
(Speedle opens the file and looks at the results.)
ALEXX: Ethanol.
SPEEDLE: Alcohol.
ALEXX: Mm-hmm. Boyfriend was three times the legal limit. My guess is vodka.
No smell.
SPEEDLE: Would that amount, um, impede his sexual performance?
ALEXX: Oh, honey, that amount of alcohol would impede an elephant's sexual
performance. Catch her in a lie?
SPEEDLE: I have to take a look at the evidence.
(He closes the file folder.)
CUT TO:
[INT. CSI - LAB]
(Speedle is back with the pillow cases. Under the magnifying glass he finds a
indenture in the fabric. He looks at the pillow case again under the computer
and magnifies the marking on the pillow case.)
(He matches the markings on both sides of the pillow case to the death mask in
the center.)
CUT TO:
[INT. CSI - INTERVIEW ROOM]
(Alison Roufow is waiting. Speedle walks into the room. He rolls the chair
over and sits down. Alison takes his hand.)
ALISON ROUFOW: Hi.
SPEEDLE: The guy was passed out on his back.
(Quick flash of: [BEDROOM] Chuck Maxfield is on the bed sleeping. Alison
takes the pillow.)
SPEEDLE: (v.o.) You took a pillow ...
(End of flash. Resume to present.)
SPEEDLE: You put it over his mouth ...
(Quick flash of: [BEDROOM] Alison takes the pillow and presses it down on
Chuck's face. He struggles. End of flash. Resume to present.)
SPEEDLE: ... You pressed down as hard as you could, with these little hands ...
and this little charm.
(Close-up of the nail charm on her fingernail.)
(Quick flash of: [BEDROOM] Chuck Maxfield is on the bed sleeping. Alison
takes the pillow and presses down.)
(Quick CGI POV into the pillow ... through the down ... )
(Alison continues to press down on the pillow.)
(Quick Close-up on Alison's fingers pressing through the pillow case fabric.)
(Chuck gasps for breath.)
(End of flash. Resume to present.)
SPEEDLE: Probably for about five or six minutes. Would have taken less time
with an inferior fill, but ... only the best for you, right?
ALISON ROUFOW: I was glad when you called.
(She holds his hand.)
ALISON ROUFOW: It's crazy, huh? I mean, I knew ... but still, I was glad.
(Speedle takes his hand away from her.)
SPEEDLE: You've been playing me since day one.
ALISON ROUFOW: If you believed that ... your partner would be here right now.
SPEEDLE: I didn't think you heard us.
ALISON ROUFOW: People get smothered by pillows ... accidentally.
SPEEDLE: Yeah, but Chuck wasn't one of them. You should have let the guy get
married.
(Alison smiles at him.)
(Speedle turns and looks at the two-way mirror. Alison stops smiling. She
turns and looks.)
(Through the glass hallway, Det. Bernstein steps out. Det. Bernstein enters the
room with an officer.)
ALISON ROUFOW: He was watching ... from behind the mirror.
DET. BERNSTEIN: Just like the last time.
SPEEDLE: I don't conduct interviews without my detective, ever. It's time to
stand up, Alison.
(Alison stands up.)
DET. BERNSTEIN: You're under arrest for the murder of Charles Maxfield.
ALISON ROUFOW: Can't believe you did this to me.
(Speedle turns around and looks at Alison.)
SPEEDLE: Yes, you can.
(Det. Bernstein handcuffs Alison and leads her away.)
CUT TO:
[INT. HALLWAY - DAY]
(Jeff Wilton is dressed in prison orange and accompanied down the hallway by
Horatio and an officer.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(The door opens. Jeff Wilton is lead into the interview room where Peter Wilton
is waiting.)
(Jeff Wilton sits down across the table from his dad.)
PETER WILTON: It's a sorry state. I'm just grateful to Lieutenant Caine that
only one person was killed.
JEFF WILTON: I'm sorry I let you down, dad.
PETER WILTON: No. No, I let you down. But you killed someone, and you're
going to have to pay for that ... the rest of your life. I want you to think
about that ... hard. Every day they keep you inside. 'Cause when you do get
out, you're only going to get one more chance. And we're not going to see each
other for a long, long time.
JEFF WILTON: What's going to happen now?
PETER WILTON: That is up to you.
(Horatio nods to the guard. The guard leads Jeff Wilton away.)
PETER WILTON: You think he heard me?
HORATIO: I'll let you know.
(Horatio turns and leaves the room.)
CUT TO:
[INT. HALLWAY - DAY]
(Horatio steps out into the hallway. He puts his sunglasses on, turns and heads
out.)
(Camera lingers on Horatio for a moment.)
FADE TO BLACK.
==========================
THE END
==========================
[Captioning Sponsored by CBS and CSI Productions 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: MIAMI
1X20: GRAVE YOUNG MEN
ORIGINAL AIR DATE ON CBS: 04/14/2003
TRANSCRIBED FROM DVD
Starring:
DAVID CARUSO as Horatio Caine
EMILY PROCTER as Calleigh Duquesne
ADAM RODRIGUEZ as Eric Delko
KHANDI ALEXANDER as Alexx Woods
with
RORY COCHRANE as Tim Speedle
Created by ANTHONY E. ZUIKER, ANN DONAHUE, CAROL MENDELSOHN
Starring
RENA SOFER as Alison Roufow
MICHAEL WHALEY as Detective Bernstein
SOFIA MILOS as Det. Yelina Salas
AARON PAUL as Ben Gordon
DAYTON CALLIE as Adams
WHIP HUBLEY as Nick Gordon
Music Composed by: GRAEME REVELL
Edited by J. BENJAMIN CHULAY, A.C.E.
Production Designer: CAROLS BARBOSA
Director of Photography: WALT LLOYD
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: LOIS JOHNSON
Producer: STEVEN MAEDA
Producer: JOE CHAPPELLE
Supervising Producer: MARK ISRAEL
Consulting Producer: ELIZABETH DEVINE
Co-Executive Producer: LAURIE McCARTHY
Co-Executive Producer: DANNY CANNON
Executive Producer: DAVID BLACK
Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Written by LOIS JOHNSON
Directed by PETER MARKLE
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN
Executive Producer: ANN DONAHUE
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.
Co-Starring
HAYDEN TANK as Raymond Caine, Jr.
ROBERT ALAN BEUTH as Principal Bill Roland
CHAD GORDON as Mark Hubbard
TASIA SHEREL as DNA Tech
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Associate Producer: SCOTT LAUTANEN
Casting by: NAN DUTTON SELLS & JOHN A. AIELLO, C.S.A.
Original Casting by: ROBERT ULRICH, C.S.A., ERIC DAWSON, C.S.A., CAROL KRITZER,
C.S.A.
Story Editor: GWENDOLYN PARKER
Unit Production Manager: JEAN HIGGINS
First Assistant Director: GARY DAIGLER
Second Assistant Directors: NANCY P. TOWNSEND
Costume Designer: MYNKA DRAPER
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: DONOVAN DEAR
Script Supervisor: CLAUDIA YARMY
Special Make-Up Effects: MATTHEW W. MUNGLE / KRIS KOBZINA
Art Directors: TIM BEACH
Set Decorator: CINDY COBURN-ROTH
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: GARY D'AMICO
Property Master: MIKE SEXTON / DOUG POOLE
Key Grip: JOEY KRAFT
Gaffer: RICHARD ALARIAN
Key Make-up Artist: PEGGY TEAGUE
Key Hairstylist: TERRY ROBBINS
Camera Operator: MIKE GENNE
2ND 2ND Assistant Directors: ROBYN WILLEY
Location Manager: MAC GORDON
Costume Supervisor: BRIAN MAHON
Transportation Coordinator: BOB CAWLEY
2nd Unit: MICHAEL PHIRMAN
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: SCOTT LERNER
Post Production Supervisor: MICKIE REUSTER
Loop Group: THE REEL TEAM
Dialogue Editor: TODD NIESEN
ADR Editor: RUTH ADELMAN
Sound Effects Editor: BRAD KATONA
Re-Recording Mixers: YURI REESE / BILL SMITH
Music Editor: ASHLEY REVELL
Visual Effects Supervisors: MARC LEIDY / LARRY DETWILER
Digital Effects by STARGATE DIGITAL
Computer Playback and Graphics by E=MC2
High Definition Post Production by ENCORE
Film Laboratories by FOTOKEM
Post Production Sound Provided by TODD STUDIOS
Filmed at EL SEGUNDO STUDIOS
"Won't Get Fooled Again"
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 Broadcasting 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:12/18/2004~lky
http://www.webphilia.com/~anthology/wnp.htm