CSI: MIAMI
2X04: DEATH GRIP
ORIGINAL AIR DATE ON CBS: 10/13/2003
TRANSCRIBED FROM DVD

Written by: STEVEN MAEDA
Directed by: DAVID GROSSMAN

Transcript by Intrepid
Courtesy of http://www.kilohoku.com/

Do not archive this transcript without permission from the Transcriptionist.

RATING: TV-PG-LV
HDTV
==========================
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==========================
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==========================
SUMMARY: The team investigates the abduction of a teenaged tennis player.
==========================
CSI: MIAMI
2X04: DEATH GRIP
==========================



COLD OPEN:

[EXT. VARIOUS MIAMI-DADE CITY SCENES (STOCK) - NIGHT]

(It's raining. Thunder rumbles and lightning flashes in the night sky.) 



[EXT. RESIDENCE (STOCK) - NIGHT] 



[INT. RESIDENCE - BEDROOM - NIGHT]

(A little girl sleeps in bed. Thunder rumbles, lightning flashes. Camera moves
over to a second bed where an older girl is. Her eyes are open.) 

(She hears the window creak and turns to look. She leans forward and checks to
see that the other girl is sleeping.) 

(Lightning flashes. We see a man just outside the bedroom window. He uses his
fingertips and rubs against the window pane.) 

(The older girl looks at the window and sees no one there.) 

(The little girl rolls over.)

(Suddenly, the man is standing in the bedroom. The older girl's eyes widen.) 

CUT TO: 



[EXT. RESIDENCE - FRONT WALK -- NIGHT] 

(A siren chirps as a car pulls up to park in the front drive. Yelina walks over
to the car. Horatio's already asking questions through the open window even
before he stops the car.) 

HORATIO: What do you got?

YELINA: Lana Walker, fourteen, her sister, Molly, five--both taken from their
bedroom in the middle of the night.

(Horatio gets out of the car and they both head toward the house.) 

HORATIO: Approximately what time?

YELINA: 2:00.

HORATIO: Okay. Evidence of a break-in?

YELINA: Bedroom window. You know, statistically, most murders happen in the
first three hours of the kidnapping.

HORATIO: That's right, so we're on the clock.

CUT TO: 



[INT. HALLWAY -- NIGHT] 

(John Walker paces the hallway floor as he talks on the phone. An officer
stands near the bedroom doorway.) 

JOHN WALKER: (to phone) I want that money available in case there's a ransom
demand. Yes, I know what time it is. Just get it done. These are my kids
we're talking about.

(John Walker sees Horatio.) 

JOHN WALKER: Officer, is there anything we can do?

HORATIO: Mr. Walker, you can start by putting that phone down, please, and
allowing me to clear the scene up here.

JOHN WALKER: But ... but it's my house.

HORATIO: I understand that, but the person that broke in here may have left
something behind and, if I can find it, it may connect us to the girls. Okay?
So, please, join your family downstairs.

JOHN WALKER: Yeah.

HORATIO: All right?

(John Walker puts the phone down on the cradle and leaves.) 

CUT TO: 



[INT. WALKER RESIDENCE - BEDROOM - NIGHT]

(The bedcovers are pulled back and there's a spot of blood on the sheets. 
Horatio notes the blood. Yelina watches as Horatio looks down on the floor.) 

HORATIO: Okay. We got one set of footprints, which means one assailant, but
two girls are missing ... and that's an awful lot of baggage, isn't it? One of
them is five years old, isn't she? So if I ... if I was a five-year-old child,
where would I hide? Hang on.

(Cut to: [UTILITY ROOM] Horatio opens the dryer and finds Molly Walker hiding
inside.)

HORATIO: Hi. Now, this is a cool hiding space. Are you okay in there, Molly? 
(She doesn't say anything.) Okay. Molly, we're looking for your sister, and we
can't find her. Do you know where she is?

MOLLY WALKER: He took her.

HORATIO: Who took her?

(Molly whispers the answer to Horatio.) 

YELINA: Who took her sister?

HORATIO: She said a monster.

FADE TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

[EXT. VARIOUS (STOCK) - DAY]



[INT. WALKER RESIDENCE - BEDROOM -- DAY] 

(Speedle snaps several photos of the blood on the bedsheets and the footprint on
the carpet.) 

(Calleigh takes a swab of the blood.) 

(Horatio looks around.) 

SPEEDLE: Blood? He attacked her on her own bed.

CALLEIGH: You know, I'm not entirely sure that this is from the attack. It's
concentrated in the middle third of the bed. I found clotting. Plus, she was
fourteen. I think it's entirely possible this is menstrual blood.

(Horatio finds something near the window.) 

HORATIO: Take a look at this.

SPEEDLE: You got something?

HORATIO: There's an oil smudge from a nose or a forehead.

SPEEDLE: So he stood there looking at her.

(Quick flashback to: [NIGHT] The man is outside the window. Watching. End of
flashback. Resume to present.) 

HORATIO: And what do we have here?

(Horatio finds something and picks it up.) 

HORATIO: A shiny, purple fiber. Well, now we're looking back at him, aren't
we? Okay, Speed, let's get this to trace.

SPEEDLE: You got it.

CUT TO: 



[EXT. WALKER RESIDENCE - FRONT - DAY]

(Officers stand outside the front lawn. The crime scene tape cordons off the
house.) 

(In the back of an open van, Delko takes John Walker's fingerprints.) 

DELKO: All right, Mr. Walker, just relax your hand again.

JOHN WALKER: Are these for the FBI? When do they get here?

DELKO: Feds don't get involved without a reason: ransom note, interstate
transport, child under twelve -- that sort of thing.

JOHN WALKER: Well, there must be something we can do.

DELKO: Yeah, there is actually. You can make a list of all your recent
contacts -- Lana's and your wife's.

(Off to the side, Krista Walker holds her children's hands. Horatio exits the
house and walks over to her.) 

HORATIO: Mrs. Walker? Can I have a minute, please?

KRISTA WALKER: Hey, listen, why don't you go check out Daddy over by that cool
truck?

(The children leave.) 

HORATIO: I'm going to need a few things of Lana's-- a hairbrush, her clothing.

KRISTA WALKER: So you can identify her body?

HORATIO: No, let's not assume that yet.

KRISTA WALKER: Lieutenant, when you find whoever did this, I just want five
minutes alone with him. I want to see what my baby saw.

HORATIO: Mrs. Walker, there is a chance that you know this person already.

KRISTA WALKER: We don't know anybody who would do something like this.

HORATIO: Here's what I want you to do. If you think of somebody that you're
concerned about--in any way--I want you to call me without fail, day or night.

(He gives her his card.) 

HORATIO: Will you do that?

JOHN WALKER: (o.s.) Krista?

(John Walker joins them with the kids.) 

JOHN WALKER: Everything okay?

KRISTA WALKER: Uh ... yeah.

HORATIO: Do you guys have a place to stay?

(She picks Molly up.) 

KRISTA WALKER: We're not going anywhere. We want to be here when Lana comes
back.

HORATIO: I understand that, but this is a crime scene, and I'm going to need
the location. All right? So think about it.

(Horatio turns and heads back inside.)

CUT TO: 



[TV MONITOR]

(The news segment for "The Search for Lana" on WFOR NEWS 4 and a second segment
on "The Assault on Innocence" on WETX NEWS 3 airs.)

NEWSCASTER 1 (MAN): (from TV) The community is asking for your support in
finding this young girl.

(On WPDN NEWS 5, the segment for "Clinging to Hope" airs.)

NEWSCASTER 2 (WOMAN): (from TV) Neighbors are shocked this could happen in
their own backyard.

(On WQRY-TV 12 NEWS, "Manhunt" airs.)

NEWSCASTER 3 (WOMAN): (from TV) Canals and waterways are being searched.

(On WETX NEWS 3, the segment for "Neighborhood in Crisis" airs 'live'.)

NEWSCASTER 4 (MAN): (from TV) A command post is being set up in a next-door
neighbor's garage.

(On WFOR NEWS 4, Ana Radesca reports.)

ANA RADESCA (REPORTER): (from TV) Lana Walker, a 14-year-old junior tennis
champion, was brazenly snatched from her bed while she slept.

[EXT. WALKER RESIDENCE - DAY -- CONTINUOUS]

(Camera moves away from the monitor and we find that the monitor was in a van
just outside the Walker residence. Ana Radesca, the reporter is recording.)

ANA RADESCA (REPORTER): Apparently, the kidnapper entered the house through an
upstairs window sometime after midnight. Although Miami-Dade ...

(Speedle walks over to the back of the vehicle and finds an unauthorized person
there.) 

SPEEDLE: Sir. I need you to step away from the vehicle.

WILLY CAMP: Oh, I'm sorry. I'm Willy Camp. I'm a volunteer. Whoop.

(Speedle closes the back door.) 

SPEEDLE: That's fine. You can't be here, sir. I can't have you here. This is
an active crime scene.

WILLY CAMP: Oh, actually, I live just across the street. You're using my
garage as a command post.

SPEEDLE: That's nice of you.

WILLY CAMP: Yeah, yeah. Well, anything I can do for that poor little girl, you
know.

SPEEDLE: What you can do is just hang back across the street.

WILLY CAMP: Sure. Enough said. Thanks, officer.

CUT TO: 



[INT. GARAGE - DAY - CONTINUOUS]

(Missing Person's flyers are being printed out. It reads:
LANA WALKER
Date of Birth - 8/15/87
Date Missing - 10/5/03
Missing from - Miami, Florida
L.E.A. - Miami-Dade County Sheriff Dept
Contact - Inv. Willard Batts
Telephone Number - (305) 555 - 0156 )

(Horatio watches the printer and pulls out a single flyer. He looks at it.) 

(Horatio heads out of the garage when Delko walks up to him.) 

DELKO: H, got Lana's clothes for the scent dogs. 

HORATIO: Any connection to the purple fibers?

DELKO: No, nothing in her closet or her sister's ... and nothing in the
laundry.

HORATIO: Okay, that's good news for us. That means the intruder brought it in
with him. Pass them out, please.

(Delko leaves; Yelina walks up to Horatio.) 

HORATIO: Get anything?

YELINA: Always do. They're like cockroaches: fifteen in a ten-block radius.

HORATIO: Fifteen registered sex offenders in ten blocks. How is that possible? 
Who's the candidate?

YELINA: You're looking at him.

(Standing just outside the curb surrounded by three little girls is Willy Camp.)

HORATIO: We have a winner.

(Horatio goes to talk with him.)

CUT TO: 



[INT. CSI - INTERVIEW ROOM -- DAY] 

(Horatio puts photos down on the table in front of Willy Camp.) 

HORATIO: Nice family photos, Willy. I guess the only problem is, this isn't
your family, is it?

WILLY CAMP: No. Look, this is Neighborhood Watch stuff. I'm supposed to
document any suspicious activity on the block.

HORATIO: Suspicious activity. My advice to you is to remember to place
yourself in the photographs next time.

WILLY CAMP: Look, I haven't done anything wrong.

HORATIO: On the contrary, Willy, a registered sex offender is prohibited from
owning material that is relevant to his sexual deviant behavior, and you know
that.

YELINA: I found more of these in his house.

HORATIO: Okay. Let's see what we have here.

(Horatio looks through photos of a little boy.)

HORATIO: These are just of the boy.

YELINA: You got it. I just checked the county list of registered sex
offenders. Willy's interests don't extend past young boys.

(Willy nods.) 

HORATIO: Is that true, Willy?

(Horatio's phone rings. He answers it.) 

HORATIO: Horatio.

INTERCUT WITH: 

[EXT. - DAY]

DELKO: H, search dog just alerted. Quad three.

HORATIO: Did you find the girl, Eric?

DELKO: Not exactly.

HORATIO: Okay, what does that mean?

DELKO: Think you better get over here.

(Camera moves up and we see that Delko is standing in front of a large body of
water. Delko closes his phone.)

FADE OUT.



FADE IN.

[EXT. CANAL -- DAY] 

(OPEN on a hand and an arm on the grass. The camera pulls back and we see that
the hand and arm are all that's on the grass. The arm is torn from just below
the elbow; there is no body attached to it.) 

(Horatio, Yelina and Delko stand over the arm.)

YELINA: I'll call emergency services. Tell them to call off the search teams.

HORATIO: On the contrary, double the teams. She may still be alive. We're
just getting started.

CUT TO: 



[INT. CSI - HALLWAY - DAY]

(Calleigh and Speedle walk through the hallway.) 

SPEEDLE: Knock-and-talk's turned up a witness down the street from the Walkers'
house.

CALLEIGH: Oh? What did they have to say?

SPEEDLE: They heard a car tear out of there after midnight.

CALLEIGH: They get the make and model?

SPEEDLE: Uh ... they actually didn't see anything.

CALLEIGH: Oh, well, I know I don't have to tell you, but, if they can't ID the
car ...

(Speedle shows her the tape.) 

SPEEDLE: No, I got it on tape. They were making a video.

CALLEIGH: At midnight?

SPEEDLE: A personal video.

(They head into the lab.) 



[INT. CSI - A/V LAB - DAY]

(Speedle and Calleigh sit in front of the monitor. We hear panting and groaning
from whatever they're watching.) 

SPEEDLE: Now, that's different.

CALLEIGH: Someone's been doing yoga.

(The door opens and a worker pops his head into the lab.) 

WORKER: You guys have a stapler?

CALLEIGH: (amused) No, but you're the third one to ask in the last ten
minutes. Do you want us to burn you a copy?

(The worker leaves.) 

(Just then, they hear a car engine on the tape.) 

SPEEDLE: That's our mystery car.

CALLEIGH: Can you back up?

(Speedle hits the keys on the keyboard.) 

(The sound on the recording plays again.) 

CALLEIGH: Sounds like he hit something.

SPEEDLE: Yeah, car bottomed out. Well, either way, he might have left some
transfer.

(Quick flash of: The wheels of a car dip into a pothole in the road. The
underside of the car hits the road. End of flash.)



[EXT. ROAD - DAY]

(Speedle finds something from the pothole.) 

SPEEDLE: It's an undercarriage scrape. Looks like fiberglass.

CALLEIGH: So I guess the kidnapper was driving a red sports car. It's not
exactly subtle.

SPEEDLE: Neither is murder. You want to run this?

CALLEIGH: No, man. You do the scrape, I'll do the tape. See what I can get off
the video.

SPEEDLE: Fair enough.

CUT TO: 



[EXT. WATERWAY - DAY]

(Alexx looks over the arm while Horatio watches.) 

ALEXX: Skin on the fingertips are sloughed off. We'll have to run DNA to
compare this to Lana Walker.

HORATIO: We've got her hairbrush.

ALEXX: I'll get this to Histopath, see whether she was alive or dead when the
arm was severed.

(Alexx picks up the arm.) 

HORATIO: What is that?

(Alexx pulls out a tooth.) 

HORATIO: Some kind of a tooth?

ALEXX: Something's been gnawing on this tissue. Maybe one of the dogs?

HORATIO: Eric.

(Delko is off to the side talking with a couple of officers. He excuses himself
and heads over to Horatio and Alexx.) 

DELKO: Hold on a second. What's up?

HORATIO: Take a look at this.

DELKO: What you got?

HORATIO: Does this look like a dog tooth to you?

DELKO: No. This looks like an alligator--curved, conical for gripping,
drowning its prey. Bite's 3,000 pounds of pressure per square inch. Death
grip.

HORATIO: Okay, well, you know what that means, then. We need to look in this
canal. Get your suit on.

DELKO: I'm on it.

(Delko stands up and leaves. Alexx sees Krista Walker approaching the officer
at the tape.)

ALEXX: Uh-oh.

KRISTA WALKER: Excuse me, I'm looking for the lieutenant, No, I need to ... I-
I've got ...

(The officer stops her.) 

ALEXX: We may have a problem.

HORATIO: Oh, boy.

(He gets up and heads over to Krista Walker.) 

HORATIO: Okay, hang on a second. Hang on. 

KRISTA WALKER: Is it true, Lieutenant?

HORATIO: Mrs. Walker, hang on a second. Thank you.

(Horatio ducks under the tape and excuses the officer. The officer leaves.) 

KRISTA WALKER: Did they find Lana?

HORATIO: Okay, Mrs. Walker, you shouldn't be here right now.

KRISTA WALKER: I heard over one of the police radios they found some remains?

HORATIO: We have not found anything definitive. Now, I will call you ...

KRISTA WALKER: Just tell me.

HORATIO: I will call you if we find something.

KRISTA WALKER: I brought him into our lives. I made him angry.

HORATIO: What are you talking about?

KRISTA WALKER: My husband doesn't know. It'd kill him.

HORATIO: Who are you talking about?

KRISTA WALKER: His name is Art Pickering. He was going through a divorce, and
John was spending so much time with Lana, traveling to tournaments ...

HORATIO: And you had a relationship with this man?

KRISTA WALKER: I ended it. A month ago. Art didn't like that. He got weird
... aggressive.

HORATIO: Are we talking about violence?

KRISTA WALKER: No. But he said, "Go. Run back to your family." But it was the
way that he said it: "Your perfect little family."

HORATIO: (nods) I'm going to need Art's phone number, okay?

(Krista nods.)

CUT TO: 



[VARIOUS EXT. STREETS (STOCK) - DAY]

[VARIOUS EXT. PIER (STOCK) - DAY]



[EXT. PIER - DAY]

(Yelina and Horatio talk with Art Pickering.) 

ART PICKERING: Yeah, I was seeing Krista Walker. Went out for a couple of
months. Hooked up at the club.

YELINA: Did you know she was married?

ART PICKERING: Hey, she came on to me. Said her old man was ignoring her. I
got nothing to hide from you guys.

HORATIO: Hmm. How about those three domestic violence calls you had last year
with your ex?

ART PICKERING: My ex? Crazy bitch would make up anything.

(He shows Art the photo of an abused woman.) 

HORATIO: It's always somebody else's fault, isn't it? Your file also says you
kidnapped your own kid.

ART PICKERING: That was legit. We took a trip.

YELINA: Without your wife's consent. State police picked you up 500 miles
away.

(Horatio's phone rings. He answers it.) 

HORATIO: Hang on a second. (to phone) Yeah? Speed, what'd you get? Okay. 
(Horatio hangs up.) One more question, Art. What color is your car?

ART PICKERING: It's red. Why?

HORATIO: Let's go take a look at it.

(Yelina, Horatio and Art Pickering walk over to the red convertible.) 

HORATIO: Viper. Torch red. Nice.

ART PICKERING: You know what they say ... you are what you drive.

YELINA: Hmm. I was thinking the same thing.

HORATIO: Mind if I have a look? Pop that trunk, will you?

ART PICKERING: Go ahead.

(Art opens the trunk for them. Horatio looks inside.) 

HORATIO: Thank you.

(He finds a purple fiber.) 

HORATIO: Now, what ... what do we have here? That is a purple fiber. Every
contact leaves a trace.

YELINA: Edmond Locard.

ART PICKERING: Who's that?

HORATIO: Mr. Locard is the man who just got you arrested.

(Yelina puts him in handcuffs.)

CUT TO: 



[INT. CSI - INTERVIEW ROOM - DAY]

(Yelina and Horatio interview Art Pickering.) 

ART PICKERING: I didn't have anything to do with that girl.

YELINA: Then how did the exact fiber from her bedroom window end up in your car
trunk?

ART PICKERING: I don't know.

HORATIO: Identical strand, dye lot #207, identical color.

ART PICKERING: What are you talking about? Is this some kind of trick? 
There's no color here.

HORATIO: Art, tell me something. Have you ever been treated for a vitamin A
deficiency?

ART PICKERING: Yeah. How'd you know that?

HORATIO: Excessive blinking from dry eyes, and you can't see the color purple,
can you?

(Quick CGI POV of: Camera zooms into Art's eyes and we see the photo. The
purple strand turns black. End of CGI POV. Resume to present.) 

(He looks at the two black strands.) 

ART PICKERING: You're going to arrest me for that, too? I wish I could, Art. 
I wish I could. Cut him loose.

YELINA: All right, I'm lost.

HORATIO: He has night blindness. He couldn't possibly have driven to that
house to pick up the girl.

YELINA: Okay. What about the fibers you found in his trunk?

HORATIO: Fibers are a tie-in. Bear with me.

(Horatio puts the file folder down and leaves the room.)

CUT TO: 



[INT. GMAC - DAY]

(Todd is in the sound room listening to an engine running. He has earphones on. 
Through the window, Calleigh walks up and waves to him. He leaves the room and
joins her. He removes his earphones.) 

CALLEIGH: GMAC's best sound engineer.

TODD CUNNINGHAM: Calleigh Duquesne. Long time.

CALLEIGH: Hey, Todd.

TODD CUNNINGHAM: You still driving that little in-line four?

CALLEIGH: Oh, no, I traded up: 4.6-liter, dual overhead cam, multiport fuel
injection.

TODD CUNNINGHAM: I love it when a woman talks dirty.

CALLEIGH: Hey, were you able to get anything on that mystery car?

TODD CUNNINGHAM: I did. It took a bit of heavy listening.

(Todd sits down and turns the recording on. We hear an engine running.) 

TODD CUNNINGHAM: She revs high, definitely an eight-cylinder or better, auto
tranny, aluminum block. Driver's a cheap bastard.

CALLEIGH: Really? How do you figure?

TODD CUNNINGHAM: Well, you hear that pinging?

CALLEIGH: Yeah.

TODD CUNNINGHAM: He's using a lower-octane gas than the manufacturer has
recommended. Now, that's criminal.

CALLEIGH: Not if it helps us find him. Hey, do you think can get me any closer
to a make and model?

(He puts up a screen full of red cars. He and Calleigh start sorting through
them all.) 

TODD CUNNINGHAM: It's definitely not this. It's too ...

CALLEIGH: You thinking it's domestic?

VARIOUS DISSOLVES:

(They narrow the choices down.) 

CALLEIGH: No match. Well, at least we gave it a shot.

TODD CUNNINGHAM: Well, not yet, we haven't. Those are only the 2003 models. 
You want to order out? This could take a while.

(Calleigh smiles.)

CUT TO: 



[EXT. MIAMI-DADE COUNTY SKYLINE (STOCK) - DAY]



[INT. CSI - HALLWAY -- DAY] 

(Calleigh walks up to Horatio.) 

CALLEIGH: Hey. I hear you got a suspect.

HORATIO: He's not our guy. How are you doing?

CALLEIGH: Well, the engine noise we got was from the LT-5 V-8. It was made by
GM for Corvette for the 01 series from '90 to '95.

HORATIO: Very good. Okay, here's what we do. Let's put out an Amber Alert.

CALLEIGH: You got it.

(Calleigh takes out her phone and makes the call.) 

CALLEIGH: (to phone) Hey, this is CSI -- Calleigh Duquesne. I need to call in
an Amber Alert

(Camera zooms in through the phone.)

(Flash to: [EXT. MIAMI HIGHWAY (STOCK) - DAY]

CALLEIGH: (v.o.) ... for a 01 Corvette, torch red.

(Camera zooms along the highway and up to the sign where the Amber Alert posts
the announcement.) 

AMBER ALERT
MISSING GIRL
1990-1995 Chevy Corvette,
Color: Torch Red

FLASH TO:



[EXT. ROAD - DAY]

(Calleigh and Horatio kneel down next to the Corvette.) 

CALLEIGH: Trucker spotted the car on Highway 1. DMV confirms registration to a
one David Kendall with an address in the grove.

HORATIO: Okay.

(The license with the 12-04 registration is: 
FLORIDA
10S DUDE
SUNSHINE STATE

CALLEIGH: Guess what he does for a living?

HORATIO: "Tennis dude." Speed.

SPEEDLE: Paint's a match. There's a scrape under here. He definitely bottomed
out.

HORATIO: (to radio) What's your status?

(Four officers approach the motel room door.)

OFFICER: (to radio) Stat. Ready to approach the door.

HORATIO: (to radio) You've got a green light.

(The motel room door opens and a man walks out.) 

OFFICER: Lieutenant ... what the hell ... ?

HORATIO: Take him. Take him. Go, go!

(David Kendall walks out of the room.) 

OFFICER: You with the bag! Drop the bag!
OFFICER: Drop down to your knees. Drop down to your knees!

(Horatio joins them.) 

OFFICER: Move, move!
OFFICER: Move now! All the way down!

(David Kendall raises his hands and kneels on the ground.) 

OFFICER: All the way down! Drop to your stomach.
OFFICER: Move, move!

(The officers slide the bag over to Calleigh. She opens the bag and finds
tennis rackets inside.) 

(An officer pats David Kendall.)

OFFICER: Clear!

HORATIO: Okay, all right, what did you do with the girl, partner? What did you
do with the girl?

CALLEIGH: Got eye shadow, beginner blue.

HORATIO: Where is the ... ?

(Suddenly, there's movement from behind them. The door opens and Lana Walker
steps out wearing a short terry robe. Everyone reacts. Horatio turns, pointing
the gun at her; the officer nearest steps forward.) 

LANA WALKER: No! Don't hurt him!

(Horatio stands up.) 

LANA WALKER: Leave him alone! Leave him alone!

HORATIO: Lana ... are you okay?

(Horatio holsters his gun.) 

LANA WALKER: Yes, I'm ... very okay. I'm great!

HORATIO: Okay, he didn't hurt you in any way?

LANA WALKER: No. What are you talking about? David would never hurt me. Is...
is he in trouble?

HORATIO: I don't want you to worry about that now. Right now, I want you to go
with this officer. Go ahead. Take her. Go ahead. Go with him.

(The officers lead Lana Walker away while more officers lead a handcuffed David
Kendall away also. Speedle walks up to Horatio.) 

SPEEDLE: He didn't hurt her in any way, huh?

HORATIO: Uh-uh. We'll get her alone in a room, and we'll find out the truth,
won't we?

(Horatio follows them.)

FADE OUT.



FADE IN.

[INT. CSI - INTERVIEW ROOM -- DAY] 

(Horatio and Yelina interview Lana Walker.) 

YELINA: Are you telling us David Kendall did not break into your room?

LANA WALKER: I left the window unlocked.

HORATIO: Why would you do that?

LANA WALKER: 'Cause David asked me to.

HORATIO: Okay. Did Mr. Kendall coerce you or sexually assault you, Lana?

LANA WALKER: (scoffs) You don't get it, do you?

(Quick flashback to: [LANA'S BEDROOM - NIGHT] David Kendall and Lana Walker
kiss on the bed. End of flashback. Resume to present.) 

LANA WALKER: We made love. He said he'd come get me some night, and we'd go
away together, and he finally did.

HORATIO: Okay. Lana, I know this is hard to understand, but when a grown man
gets himself involved with a 14-year-old girl, he's not a good guy. And there
are laws against what he's done to you.

LANA WALKER: There shouldn't be. We're, like, equals. I love him.

CUT TO: 



[INT. CSI - WAITING ROOM -- DAY]

(Yelina and Horatio interview Krista and John Walker.) 

JOHN WALKER: He was coaching her for almost two years -- before school, after
school ... weekends.

HORATIO: And always alone.

JOHN WALKER: Yeah, to keep her focused. No distractions. He insisted. 

KRISTA WALKER: How long has he been doing this to my daughter?

HORATIO: Well, according to Lana, four months.

YELINA: Why wasn't he on the contact list you gave us?

JOHN WALKER: Because we weren't in contact. We fired the son of a bitch last
month.

HORATIO: Why'd you do that?

CUT TO: 



[INT. CSI - INTERVIEW ROOM - DAY]

(Yelina and Horatio interview David Kimball.) 

DAVID KENDALL: She wasn't advancing fast enough. Look, she's got typical
tennis parents. They all think their little girl's going to be the next Serena
or Venus.

HORATIO: But you stayed in touch. Didn't you?

DAVID KENDALL: She called me. (chuckles) You ... you got nothing.

YELINA: Try statutory rape.

DAVID KENDALL: Sex was consensual.

HORATIO: Yes, but not when the victim's a 14-year-old girl.

DAVID KENDALL: Well ... I guess I got nothing to worry about then. Right?

HORATIO: Now, why is that, Dave?

CUT TO: 



[INT. CSI - WAITING ROOM -- DAY]

JOHN WALKER: We lied about her age.

HORATIO: You lied about her age?

KRISTA WALKER: It was his idea.

JOHN WALKER: You wanted her career as much as I did.

KRISTA WALKER: You insisted.

JOHN WALKER: It gave her an edge. You know how competitive tennis is.

HORATIO: Excuse me.

JOHN WALKER: We did it for Lana.

KRISTA WALKER: No, John, we did it for you. This has always been about what
you want.

JOHN WALKER: I supposed I wanted you with Art Pickering, too.

HORATIO: Excuse me.

JOHN WALKER: He's a ... gigolo.

KRISTA WALKER: Well, he's good at his job.

HORATIO: Finished? Mr. and Mrs. Walker, how old is Lana exactly?

KRISTA WALKER: Sixteen.

HORATIO: Sixteen. When is her birthday?

JOHN WALKER: Six months ago. But she's still a minor, right?

YELINA: In the State of Florida, if you're sixteen or over, you can have a
sexual partner up to the age of 24. Mr. Kendall is 23.

KRISTA WALKER: So he walks out of here?

YELINA: Legally, he's done nothing wrong.

JOHN WALKER: (outraged) He took advantage of our daughter!

HORATIO: Yeah, and he's not alone, is he, Dad?

CUT TO: 



[INT. CSI - HALLWAY -- DAY] 

(David Kendall waits in the hallway for the elevator. He turns and sees Horatio
step out of the room. The two men look at each other.) 

(The elevator bell dings and the doors open. Smiling, David steps into the
elevator.) 

(Calleigh appears behind Horatio.) 

CALLEIGH: Well, he got away with it.

HORATIO: Not yet, he hasn't.

(They watch as David turns and presses the button inside the elevator panel.) 

CALLEIGH: He's just going to do it again.

HORATIO: Or he already has.

(As the elevator doors close, David holds up a hand, waving back to them.) 

HORATIO: Here's what we do. Let's go take another look at that arm, all right?

CUT TO: 



[INT. CSI - FORENSIC AUTOPSY --DAY] 

(Alexx opens the morgue cabinet door and pulls out the table with the arm on it
as Calleigh and Speedle watch.) 

VARIOUS CUTS:

(Speedles takes a swab from the inside flesh of the arm. He tucks the swab in
the box and marks it.)

(Alexx examines the arm while Calleigh fills out the clipboard:
Date of Death: Unknown
Corner: A. Woods

C2 AUTOPSY
Pathologist: A. Woods
Date of Autopsy: 10/6/03
State of Decomposition:
Infectious Disease: 
Apparent Cause of Death: Unknown
Summary of Gross Autopsy Findings: )

(Alexx measures the width of the arm.) 

(In the DNA Lab, Speedle processes the swab.) 

(Calleigh examines the arm's torn flesh under a magnifying glass.) 

(The printer prints out Speedle's test results. Speedle looks at the results.) 

CUT TO: 



[INT. CSI - FORENSIC AUTOPSY -- DAY] 

(Horatio and Speedle join Calleigh and Alexx in the lab.) 

SPEEDLE: The spectra was a bust. There's nothing in the soil or the water to
tell us where this might have been.

HORATIO: Okay. Ladies?

CALLEIGH: Length of the metacarpals were consistent with a teenage girl,
approximately 5'4" to 5'6", but the musculature's a different story. The flexor
and extensor in her forearm is overdeveloped for her age.

SPEEDLE: She worked out?

ALEXX: Way too much. She's got early symptoms of lateral epicondylitis.

SPEEDLE: Tennis elbow?

(Alexx rolls the arm over and points out the area to Speedle.) 

ALEXX: Yeah. Right here. Micro-tears in the tendon, probably caused from
repetitive use of the arm.

(Quick CGI POV of: The elbow muscle turns and tears. End of CGI POV. Resume
to present.) 

HORATIO: So she may have had contact with our tennis dude. What about the
tissue itself?

CALLEIGH: It's non-hemorrhagic, so she was dead when the gator got her arm.

HORATIO: So we're looking for a body.

(Speedle's phone rings; he answers it.)

SPEEDLE: (to phone) Yeah. It's Speed. Hold on a second. (to Horatio) It's
Delko.

(He hands the phone to Horatio.) 

HORATIO: Okay. (to phone) Eric.

INTERCUT WITH: 

[EXT. CANAL - DAY]

DELKO: H. Yeah, we rolled snake eyes at the canal.

HORATIO: Okay. Can we expand the search?

DELKO: Yeah. We'll, uh, start looking for nests, see what we can find.

HORATIO: Okay. Eric, we've had a million gators down here. Where are you going
to start?

DELKO: An old college buddy of mine's in town, and, uh, he's kind of an expert
in the field. I'm going to see what he can do to help.

HORATIO: Okay. Make use of him, and keep me posted.

(Horatio hangs up.) 

CUT TO: 



[EXT. MARSHLAND (STOCK) - DAY]



[EXT. CANAL -- DAY] 

(An alligator slips into the water. Jeff Corwin grabs the alligator for the
cameras as he films.) 

JEFF CORWIN: Don't try this at home, guys. I'm a professional, so this is
exactly what we're looking for. It's a perfect specimen. This is the American
alligator.

VOICE (MAN): (o.s.) Cut, cut, cut! We lost sound.

JEFF CORWIN: (sighs) Oh ...

(Jeff Corwin lets the alligator go. Delko and Calleigh walk up to him.) 

DELKO: Hey, animal guy, you think that gator's coming back for "take two"?

JEFF CORWIN: Eric Delko. Eric Delko!

(They hug like old friends.) 

DELKO: How's it going?

JEFF CORWIN: Thought you fell off the planet. You look great.

DELKO: How's it going, man?

JEFF CORWIN: Awesome, man. The last time I saw you was ... Well, we won't talk
about that.

DELKO: Yeah, please, let's not, okay? (Delko makes the introductions.) 
Calleigh Duquesne, Jeff Corwin.

(They shake hands.) 

CALLEIGH: Pleasure to meet you.

DELKO: Fraternity brothers at U. of M.

JEFF CORWIN: Pleasure's all mine.

DELKO: Easy.

JEFF CORWIN: Now, I hear you guys have some sort of a reptile situation.

DELKO: Yeah, more like a needle in a haystack. We're, uh, we're looking for
the gator well, that belongs to this.

JEFF CORWIN: Well, I can tell you this: you're not going to find him. Look at
the shape of this tooth. See that? It's conical, and has those ridges. 
Alligators don't have teeth like this. There's only one animal that has this
tooth, and that's the American crocodile, not the alligator.

CALLEIGH: Ah. Okay. I thought crocodiles were only down in the Keys.

JEFF CORWIN: Well, they are down in the Keys, but, in fact, they've been
migrating up, and today we have about three thousand of them living around the
southern part of Florida.

CALLEIGH: Oh. Like you said, "needle in a haystack."

JEFF CORWIN: Well, not really. You see, they're all pretty much living at the
nuclear power plant.

CALLEIGH: Really!

DELKO: (nods) 'Cause of the heat, right?

JEFF CORWIN: Exactly. It's kind of like their own privately heated swimming
pool.

CALLEIGH: Oh.

DELKO: Well, how many of them are hanging out there, you think?

JEFF CORWIN: Well, that's the beauty of it--all three thousand of them.

(Delko chuckles.) 

CUT TO: 



[EXT. PIER - PARKING -- DAY] 

(Horatio pulls up alongside Art Pickering and his parked torch red car.) 

HORATIO: Mr. Pickering.

(Horatio exits the car.) 

ART PICKERING: I was the wrong guy this morning. I'm still the wrong guy this
afternoon.

HORATIO: Yes, you mentioned that. Do you know anybody named David Kendall?

ART PICKERING: He's a pro at the club. I've seen him around.

HORATIO: Did you ever give him a ride in your pretty red car?

ART PICKERING: No, no, never.

HORATIO: I need to understand how the purple fibers that he brought to the
kidnapping ended up in your car.

ART PICKERING: I already told you, I don't know.

HORATIO: No? Okay. Would you mind if I took a look in your shed here?

ART PICKERING: Knock yourself out.

HORATIO: Okay. Let's start with these boxes. All righty. Rock and Stone,
huh?

(Horatio opens the nearby box and looks inside. He finds some t-shirts with
purple fibers on them.)

HORATIO: "Pickering Rock and Stone." You sponsor a lot of sports teams?

ART PICKERING: I'm a community-minded kind of guy.

HORATIO: Yeah, I bet you are. Maybe you're just looking for a tax write-off,
huh?

ART PICKERING: Charity works both ways.

HORATIO: Yeah, it does, doesn't it? Here's what I need. I'm going to need a
list of all of the places that you handed these out. Okay?

CUT TO: 



[EXT. VARIOUS MIAMI-DADE CITY (STOCK) - DAY]



[EXT. COMMUNITY CENTER -- DAY] 

(Kids are out on the yard playing. They're wearing the Pickering t-shirt. 
Yelina and Horatio are there and notice the shirts.) 

HORATIO: Well, there's Art Pickering's t-shirts, so I guess he was telling the
truth.

YELINA: I spoke to the director over the phone. Kendall spends one day a week
here, coaching for free. That's why this place didn't show up on his client
list.

HORATIO: Mmm. Bet you they think he's a saint for all his community service
work, too, huh?

YELINA: Well, we know our victim played tennis. I guess let's start looking
for anyone who hasn't shown up lately.

HORATIO: We may not have to. Take a look at that.

(Posted on a tree is a missing poster and photo of a girl: 
DESAPARECIDA
CONSUELA VALDEZ
POR FAVOR LLAME
305-555-0174

YELINA: (reads) "Consuela Valdez. Desparecida."

HORATIO: "Disappeared."

CUT TO: 



[INT. VALDES RESIDENCE - DAY]

(Yelina introduces Horatio to Francisco and Milagra Valdez, Consuela's parents.) 

YELINA: Horatio, this is Francisco and Milagra Valdez. They said their
daughter, Consuela, went missing three weeks ago.

HORATIO: Mr. and Mrs. Valdez, have you spoken to the police yet?

FRANCISCO VALDES: The police say she ran away from home. They say a girl of
fifteen is often a go-away.

YELINA: Does she run away from home often?

FRANCISCO VALDES: Never. Never. Consuela's a very good girl. Pura niņA.

MILAGRA VALDES: We kept her off the streets. Kept her involved in
organizaciones. Um, she lives for tennis.

HORATIO: Did she ever receive instruction from a man named David Kendall?

FRANCISCO VALDES: Seņor David, yes, yes. He gave her free lessons. He was
very generous to ... to her. To all of us.

MILAGRA VALDES: He even drove us in his car looking for-for her when she ...
desaparecida.

HORATIO: Did she own a sweatshirt with purple lettering on it?

FRANCISCO VALDES: She was wearing it the last time we saw her.

(Milagra looks at Horatio.) 

HORATIO: I'm sorry.

(She starts to cry.) 

MILAGRA VALDES: No.

HORATIO: We'll need something of your daughter's to verify our finding.

MILAGRA VALDES: Why? Why didn't they help us? We begged for help. No one
cares.

HORATIO: That's not true. Almost no one.

FADE OUT.



FADE IN.

[EXT. VARIOUS MIAMI CITY & BEACH (STOCK) -- DAY] 

[EXT. VARIOUS MARSHLAND (STOCK) - DAY]

(Speedle, Delko and Calleigh speed along through the marshlands.) 



[EXT. MARSHLAND -- DAY] 

(Jeff Corwin instructs the group.) 

JEFF CORWIN: All right, people, here's the drill. These animals are very
powerful. The last thing you want to do is get any of your limbs inside one of
these creature's mouths. If you do, you'll lose it. Any questions?

SPEEDLE: Yeah, I got a question for you, Jeff. Uh, how are we supposed to know
when we find the right one?

JEFF CORWIN: Okay, well, that's easy. (He shows them the tracker.) All of you
guys have trackers, okay? Basically, part of the management program as
endangered species is that every one of these animals has been implanted with a
microchip through a syringe into the skin.

(Quick CGI POV of: A syringe is inserted and the microchip is implanted under
the skin.)

(End of CGI POV. Resume to present.) 

DELKO: Okay, now, just take the mini-tracker and pass it along the crocodile's
back like a checkout scanner.

(Quick flash of: The scanner is run along the back of the crocodile and it
beeps.)

(Quick CGI POV shows the chip under the crocodile's skin. The number on the
readout is 2243.)

(End of flash. Resume to present.) 

DELKO: Look at the reading. And DNA tells us from the tooth that we recovered
that our lucky croc's number is 0116. (Calleigh jots the number down on her
hand.) Get that one, we got it. Let's go.

(They each take off.) 



VARIOUS CUTS OF: 

(Speedle, Delko and Calleigh lead their team as they catch and check the
crocodile tags.)

(Jeff Corwin holds a crocodile as Delko scans the tag. It's a match: 0116.) 

DELKO: That's it. This is our croc. Get Horatio Caine on the phone!

SHORT TIME CUT TO: 



(They move the crocodile. Horatio stands next to Alexx as she puts her gloves
on.) 

ALEXX: It's a shame to have to kill an animal for doing what comes naturally.

JEFF CORWIN: Guys, we can't kill this animal. I mean, it's endangered. It's
federally protected.

HORATIO: Okay. Let's irrigate his stomach then.

JEFF CORWIN: All right. Let's just see what he coughs up.

(He puts a thick tube in the croc's mouth.) 

JEFF CORWIN: There we go, okay. 
VOICE: Okay. 
JEFF CORWIN: Close his jaw. Awesome.
VOICE: Okay.
JEFF CORWIN: All right. All right, hit the pump.

(They start the pump.)

(Jeff runs a hose down through the tube, pumping water into the croc's stomach.) 

(Quick flash of: The water pushes into the croc's stomach pushing the items
inside out. End of flash. Resume to present.) 

(A fish head comes out of the tube.) 

JEFF CORWIN: You got some fish heads there, and ... some crab and ... you got
some ... foot!

(A foot pops out of the tube, startling Jeff.) 

VOICE: Okay.

(Speedle and Alexx step forward.) 

(Delko appears bothered and quietly moves away from the area. Calleigh notes
him leave.) 

ALEXX: Stomach acid's done its damage, but tennis shoe? Adolescent bone? I'd
put money this is our girl.

(Calleigh turns and follows Delko.) 

(Speedle picks up a piece of cloth from a Pickering t-shirt.) 

SPEEDLE: Purple fibers. I'm thinking passive transfer.

(Quick flash of: [NIGHT] The killer carries the dead body through the
marshlands.) 

SPEEDLE: (v.o.) He picked up the fibers from Consuela's body. 

(Cut to: [INT. LANA WALKER'S BEDROOM -- NIGHT] David Kendall opens the bedroom
window and climbs inside.) 

SPEEDLE: (v.o.) So that means he must have worn the same jacket to Lana's.

(Camera zooms in on the fiber evidence stuck to the window pane.) 

(End of flashback. Resume to present.) 

SPEEDLE: Links our two girls together.

HORATIO: The man in the middle is still the missing link.



(Meanwhile, Calleigh joins Delko.) 

CALLEIGH: (quietly) Hey. You okay?

DELKO: Blond girl's missing and the National Guard turns out to help. Hispanic
girl, no one gives a damn.

CALLEIGH: I think there are a lot of people here.

DELKO: Oh, come on, Calleigh. You saw the media's response to Lana Walker. 
You know? Where was the yellow ribbons for Consuela Valdez? The recovery
center. It's the same song, you know? You want any real attention in this
world, you got to have blond hair and blue eyes. No offense.

CALLEIGH: None taken. My eyes are green.

(Delko chuckles softly. He sighs.) 

DELKO: I'm just mad that we couldn't save her.

CALLEIGH: Let's go get this guy.

DELKO: Yeah.

(They turn and head back together.)

CUT TO: 



[EXT. TENNIS COURT -- DAY] 

(David Kendall has his arms wrapped around another teenaged girl, showing her
how to hold the grip on the racket. In the background, Horatio leans against
the wire fence watching.) 

DAVID KENDALL: Now, you want your grip to be firm but supple. Yeah.

TIFFANY: All right.

DAVID KENDALL: Like this.
TIFFANY: Okay.
DAVID KENDALL: Yeah.
TIFFANY: All right. Okay. Oh.

(The tennis ball machine pops the first ball toward them. David Kendall helps
her hit the ball.) 

TIFFANY: Like that?

DAVID KENDALL: Yeah, that's better already.

(He turns and sees Horatio near the fence.) 

DAVID KENDALL: One minute, Tiff.

(David Kendall walks over to Horatio.) 

HORATIO: Firm but supple. You got a real racquet going here, don't you, Dave?

DAVID KENDALL: Racquet?

HORATIO: Mm-hmm.

DAVID KENDALL: Never heard that before.

HORATIO: Listen, I don't want to rain on your parade, but how does child
abduction sound to you?

DAVID KENDALL: Lana loves me. There's no abduction involved.

HORATIO: Is that right? I'm talking about Consuela Valdez. Sound familiar? 
Oh, your strings are tightening on that one, huh?

DAVID KENDALL: Look, I helped look for Consuela. That's ...

HORATIO: Yes, you did. Yes, you did. And you transferred ... you transferred
fibers from her sweatshirt into Lana's bedroom.

DAVID KENDALL: Fibers?

HORATIO: Yes. I'm the fiber king, Dave. I'm the fiber king. So, what do you
want to do? Easy or hard -- it's up to you.

DAVID KENDALL: Easy for you.

HORATIO: Mm-hmm.

TIFFANY: David, come on. We have twenty-five more minutes.

DAVID KENDALL: One minute, Tiff.

HORATIO: Tiffany, the lesson is over. You're going to come with me.

TIFFANY: But my parents -- they pay for fifty minutes. I mean, I think they're
going to want their money's worth.

HORATIO: I understand, and I think they'll understand. All right?

(David Kendall doesn't say anything.) 

HORATIO: (to David) You had your chance.

(Horatio turns and walks with Tiffany.) 

HORATIO: Come on, Tiffany. I'm Lieutenant Caine with the Miami-Dade Crime Lab.

CUT TO: 



[EXT. MIAMI-DADE COUNTY (STOCK) - DAY] 



[INT. CSI - RECEPTION - DAY]

(Yelina hands the papers back to the officer.) 

YELINA: Hey. Thank you.

(The officer stands up and leaves. In the background, the elevator doors ding
and open. Krista Walker steps out. Yelina looks up, surprised to see her.) 

YELINA: Ms. Walker.

KRISTA WALKER: She ran away again. Lana. She left me a note. She said not to
come after her this time. I called David Kendall's house, and the phone just
rings.

YELINA: One thing at a time. Your daughter Lana is still a minor, okay? So
I'll walk you over to Missing Persons. You can file a report.

KRISTA WALKER: I know she's with David Kendall.

YELINA: I understand, but the law is about what you can prove. Okay? This
way.

(Yelina walks with Krista Walker.) 

CUT TO: 



[INT. CSI - FORENSIC AUTOPSY - DAY]

(Alexx examines the foot.) 

ALEXX: Some kind of binding around the ankle. Someone tied her up.

(Calleigh stands near the table watching her. Alexx cuts the yellow string.) 

ALEXX: Restrained her. I've seen that string before.

(Quick flash of: Calleigh finds a large roll of yellow string in David
Kendall's tennis bag as she looks through it. End of flash. Resume to
present.) 

CUT TO: 



[SCOPE VIEW: YELLOW STRING]

(Calleigh examines the ends of the yellow string under the scope.) 

[INT. CSI - LAB -- DAY] 

(Calleigh reports to Horatio.) 

CALLEIGH: The string from the leg is identical to the string from Kendall's
bag, so if I can just match up the pattern and the angle of the cut, we can tie
him to the Valdes girl.

HORATIO: Okay.

CALLEIGH: (disappointed) They don't line up.

HORATIO: Hmm. Okay, but that doesn't mean that they're not from the same source
though, does it? Hmm.

(Deep in thought with his mind on something else, Horatio leaves the lab without
another word.)

(Calleigh sees him leave.) 

CALEIGH: (to the empty room) Bye. (beat) Later. (beat) Keep me posted.

CUT TO: 



[INT. VALDEZ' WORK PLACE -- DAY] 

(Francisco Valez is cutting a fish.) 

HORATIO: (o.s.) Mr. Valdez. 

(He looks up and sees Horatio walking in.) 

HORATIO: Mr. Valdez, you mentioned that Mr. Kendall gave Consuela gifts.

MILAGRA VALDES: Yes.

HORATIO: Could I see those?

(Francisco turns and goes in the back for a moment. Milagra looks at Horatio as
if she wants to say something to him, but she doesn't. Francisco returns with
two tennis racquets strung with the yellow string.) 

MILAGRA VALDES: Don't let him do this to another family.

HORATIO: You have my word on it. Okay?

(She nods.) 

CUT TO: 



[INT. CSI - LAB -- DAY] 

(Delko and Speedle are taking the yellow string off from the racquet frame.) 

CUT TO: 

(Calleigh is matching the end of the yellow string to the string tied around
Consuela's ankle.)

[SCOPE VIEW: YELLOW STRING]

(The ends of the yellow string fit.) 

CUT TO: 

(Horatio is marking the photo of the string around Consuela's ankle to the
string in both tennis racquets to the string found in David Kendall's bag.)

CUT TO: 

(Delko places the unraveled string on the counter in front of Calleigh. She
smiles as she looks at him.) 

CUT TO: 



[INT. CSI -- LAB] 

(Calleigh reports her findings to Horatio.) 

CALLEIGH: String from the leg to the racquets to the bag. A to B to C -- all
from the same spool of string.

HORATIO: Okay, bottom line is, David Kendall bound the Valdes girl with this
string, and now we've got forensic proof. Nice going.

(He turns and sees Yelina walking in the hallway. Horatio leaves the lab.)



[INT. CSI - HALLWAY - CONTINUOUS]

(Horatio catches up with Yelina.) 

HORATIO: Yelina, we got Kendall. Let's draw up a warrant. Let's pick him up.

YELINA: Good. Mrs. Walker will be pleased. Her daughter ran away again.

HORATIO: When did that happen?

YELINA: Today. I helped her file a missing persons.

HORATIO: Wait a second. Wait a minute. What time did you file?

YELINA: Couple hours ago. I dealt with it.

HORATIO: Okay. That's not my point. Now she's going to deal with it.

(Horatio leaves quickly.)

CUT TO: 



[EXT. MOTEL ROOM -- NIGHT] 

(Horatio pulls up his vehicle in the parking lot and stops, tires screeching. 
He gets out of the vehicle and draws his gun as he hurries to the motel room
door. As he approaches, he finds the door wide open and voices coming from
inside.) 

(He enters and finds Krista Walker holding a gun on David Kendall. Lana Walker
is at David Kendall's feet.) 

KRISTA WALKER: (upset) I'll shoot! I'll kill you before I let you touch my
daughter!

LANA WALKER: Mom, stop!

HORATIO: Mrs. Walker.

(Krista Walker turns, swinging her arm and pointing the gun at Horatio.) 

HORATIO: (softly) Mrs. Walker, don't do this. Mrs. Walker, don't make this
mistake.

KRISTA WALKER: He's not going to stop.

HORATIO: No. That's not true. We have him. We have him for killing another
little girl just like ... just like Lana.

KRISTA WALKER: He's going to get away with it.

HORATIO: No, he's not. But if you make this mistake, Mrs. Walker, Lana loses
you, and you lose everything for him. And he's not worth it. Give me the gun.

(She releases her hold on the gun. Horatio takes the gun from her.) 

HORATIO: Good.

(In the background, we see David hold Lana in front of him. Krista turns and
gasps.) 

KRISTA WALKER: Lana?

HORATIO: David, let her go.

DAVID KENDALL: There's one thing you're missing. That Lana loves me. Tell
him. Tell him you love me.

LANA WALKER: We're in love. Why can't you just go away? This is none of your
business.

HORATIO: Lana, I will be going to a memorial for another little girl your age
who was killed by David. Right, David? Tell Lana how you killed Consuela. You
don't have the guts, do you?

(Horatio holds out his hand.) 

HORATIO: Lana. Come on.

(David Kendall lets Lana go and she walks over to her mother.) 

HORATIO: Well, there you go. Down on your knees. Hands behind your head. 
Let's go.

(David doesn't move.) 

HORATIO: (shouts) Move!

(David Kendall gets down on his knees. Officers enter the room and put
handcuffs on David.) 

HORATIO: You know, David, that's the first good decision I've seen you make. 
Get rid of him.

(The officers grab David and pull him out of the room. Krista looks at Lana.) 

KRISTA WALKER: It's okay.

CUT TO: 



[EXT. MIAMI-DADE COUNTY - EARLY MORNING]



[EXT. CANAL -- DAY] 

(A white rose is thrown into the canal next to another white rose already
floating there. Camera pulls back and we see a white cross and small memorial
set up on the spot where Consuela's arm was found.) 

LYRICS: 
I can fly /

(Francisco and Milagra Valdes stand in front of the small memorial. Others
stand with them.)

LYRICS: 
but I want his wings
I can shine even in the darkness

(Milagra steps aside and Horatio steps forward to throw his white rose into the
canal. Behind him, Delko steps forward to stand next to Calleigh. Horatio
turns and looks at Milagra Valdez.)

LYRICS: 
but I crave the light that he brings
revel in the songs that he sings
my angel Gabriel

(Horatio steps back and Delko steps forward. He lifts the white rose, then
throws it into the canal.) 

LYRICS: 
I can love ...

(Calleigh steps up next to Delko and adds her rose to the canal. They look at
each other.) 

(Horatio stands in the back for a moment before turning to leave. He's met by a
reporter.) 

JAKE GRANT: Excuse me, Lieutenant Caine. Jake Grant with the Sun-Times. I'm
doing a story on CSI's involvement with the David Kendall case.

HORATIO: Mm-hmm.

JAKE GRANT: Do you have any comment?

HORATIO: I'll do better than that. 

(Horatio takes a piece of paper out from his jacket pocket and hands it to Jake
Grant. Jake looks at the paper.) 

JAKE GRANT: It's a list of names.

HORATIO: Yes. In the last twelve months, Jake, seven Hispanic girls and five
black girls disappeared right here in Miami, and not one of them made it to the
front page.

JAKE GRANT: What's your point?

HORATIO: What's my point? (Horatio starts to leave and throws over his
shoulder.) Make it your next story.

FADE TO BLACK.



LYRICS: 
My angel Gabriel, my angel Gabriel ... 

FADE OUT.

==========================
THE END
==========================

[Captioning Sponsored by CBS and CSI Productions Captioned by Media Access Group
at WGBH access.Wgbh.Org]

Courtesy of http://www.kilohoku.com/

Transcript by Intrepid
Beta: DianeM
Contact the Transcriptionist at (intrepidly002@yahoo.com)

Do not archive this transcript without permission from the Transcriptionist.

==========================
TITLE/OPENING CREDITS
==========================
CSI: MIAMI
2X04: DEATH GRIP
ORIGINAL AIR DATE ON CBS: 10/13/2003
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
SOFIA MILOS as Det. Yelina Salas
VIRGINIA MADSEN as Krista Walker
JOEL GRETSCH as John Walker

MATTHEW SETTLE as Art Pickering
JEFF CORWIN as Himself
SARA PAXTON as Lana Walker

RYAN BITTLE as David Kendall
TEGAN WEST as Willy Camp

Music Composed by: GRAEME REVELL

Edited by SCOTT LERNER
Production Designer: CAREY MEYER
Director of Photography: THOMAS YATSKO

Co-Producer: GINA LAMAR
Co-Producer: SUNIL NAYAR

Producer: BRUCE GOLIN
Producer: STEVEN MAEDA
Producer: JOE CHAPPELLE
Producer: ELIZABETH DEVINE

Supervising producer: SHANE BRENNAN
Consulting Producer: JONATHAN GLASSNER
Produced by: SCOTT SHIFFMAN

Co-Executive Producer: DANNY CANNON
Executive Producer: JONATHAN LITTMAN

Written by: STEVEN MAEDA
Directed by: DAVID GROSSMAN

==========================
END CREDITS
==========================

Executive Producer: JERRY BRUCKHEIMER

Executive Producer: ANN DONAHUE
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN

JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.

Co-Starring
ADAM CARL as Todd Cunningham
TESSA MUNRO as Latina Reporter
ELLE FANNING as Molly Walker
ELIZABETH DENSMORE as Tiffany
MANOLO TRAVIESO as CSI Tech

FERNANDO JIMENEZ as Commander Medina
MANOLO COEGO, JR. as Francisco Valdes
ELENA MARIA GARCIA as Milagra Valdes
VINCE FIORILLO as Jake Grant

Line Producer: DON TARDINO
Associate Producer: SCOTT LAUTANEN

Casting by: NAN DUTTON SELLS

Original Casting by: ROBERT ULRICH, C.S.A., ERIC DAWSON, C.S.A., CAROL KRITZER,
C.S.A.

Executive Story Editor: MIKE OSTROWSKI
Story Editor: ILDY MODROVICH
Story Editor: LAURENCE WALSH
Unit Production Manager: ROBERT ROTHBARD / TERRY MILLER

First Assistant Director: PHIL DUPONT / SAM HILL
Second Assistant Directors: ANDY SPILKOMAN / TY ARNOLD
Costume Designer: JULIA SCHKLAIR
Forensics Consultant: JOHN HAYNES

Production Sound Mixers: DONOVAN DEAR
Script Supervisor: CLAUDIA YARMY
Special Make-Up Effects: MATTHEW W. MUNGLE / EDDIE VARGAS
Art Director: COLIN DE ROUIN / MARK HARRINGTON

Set Decorator: DAVID KONEFF / BARBARA PETERSON
Construction Coordinator: MIKE CLARK
Special Effects Coordinators: DAVID KELSEY / BOBBY VASQUEZ

Property Master: RANDY ERIKSEN / DAVID SCOTT / PHIL SCHNEIDER
Key Grip: JOEY KRAFT
Gaffer: RUSS CALDWELL
Department Head Make-Up and Special Effects Make-Up: CHERI MONTESANTO-MEDCALF

Key Hairstylist: LANA SHARPE
Camera Operator: MARCIS COLD
2ND 2ND Assistant Director: ANYA ADAMS 
Production Coordinator: AMY ELLIOTT
Location Manager: BRIAN O'NEILL / ELIZABETH ELWELL

Costume Supervisor: KATHY KANN
Transportation Coordinator: TIM RYAN
2ND Unit Coordinator: ERIC MIRICH
Associate Producer: CORINNE MARRINAN

Colorist: PAUL WESTERBECK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: DAVID LEBOWITZ
Post Production Supervisor: MELISSA BLACK
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: ANDREW ORLOFF

Digital Effects by ZOIC
Computer Playback and Graphics by ZOIC
High Definition Post Production by THE POST GROUP
Film Laboratories by FOTOKEM
Post Production Sound Provided by TODD AO STUDIOS
Filmed at RALEIGH MANHATTAN BEACH 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 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:08/29/2005~lky
http://www.kilohoku.com/