Csi: Crime Scene Investigation

CSI: CRIME SCENE INVESTIGATION

6X02: ROOM SERVICE

ORIGINAL AIR DATE ON CBS: 09/29/2005

TRANSCRIBED FROM CBS

Written by: DUSTIN LEE ABRAHAM & HENRY ALONSO MYERS

Directed by: KENNETH FINK

Transcript by Intrepid

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

Do not archive this transcript without permission from the Transcriptionist.

RATING: TV-14-DLSV

HDTV 5.1 SURROUND

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SUMMARY: A taxi cab driver is found dead from a shot in the neck and a

Vietnamese man is found dead in a parking lot - both deaths are connected by a

third man found dead earlier in his car at the base of a hill. Warrick and Nick

investigate the death of an actor in his hotel room.

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CSI: CRIME SCENE INVESTIGATION

6X02: ROOM SERVICE

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FLASH IN.

[VARIOUS EXT. LAST VEGAS CITY LIGHTS (STOCK) - NIGHT]

CUE SONG: "Mad World", Gary Jules

FADE IN.

[INT. CLUB -- NIGHT]

(Men and women drink. One man smiles as he's flanked by two women - one woman

busy kissing his neck.)

(Across the room, a blonde-haired woman stares worriedly at her cell phone.)

[EXT. STRIP - NIGHT]

(Outside, a limo passes by. In the back seat of a car, a young Vietnamese man

sits and watches the limo pass by. His face is bruised and there are tears

staining his cheeks.)

(The cab he's sitting in drives away.)

[INT. TAXI POV]

(The young man looks out the windows as the taxicab drives around the strip.

The bright lights from passing motels and other establishments reflect back

through the rolled-up window.)

(The taxi driver's sweating.)

(The young man in the back seat glances over at the taxi driver.)

[START: SPLIT SCREEN]

(Top half: [INT. CASINO] The man from the bar leaves with two women.)

(Bottom half: [TAXI CAB] The taxi stops and parks. The driver engages the

brakes and sees the young man leave.)

TAXI DRIVER: Hey! Where's my money?

(The young man turns around and yells back to the taxi driver.)

YOUNG MAN: You wait here!

(Top half: Cameras flash as photographers snap photos of the man walking

through the casino; several women follow him.)

(A young woman in red snaps a picture of the man walking by. He notices her and

turns back to look at her as he passes.)

MAN: You want to come with us?

(A man standing in the back glares at the man walking by.)

(Bottom half: The taxi driver waits. The fare changes from 7.20 to 7.40. The

taxi driver continues to wait.)

(Top half: The blonde-girl in red turns to her friend standing next to her.)

TALLY JORDAN (WOMAN IN RED): Oh, my God. Come on.

(The two head out, following the man.)

(Bottom half: The taxi driver takes out his log and writes in it: 270 7888

OAKEY ST.)

(Top half: The party has moved outside to the pool.)

(Bottom half: The taxi driver continues to wait. The fare changes from 8.00 to

8.20.)

(Top half: The blonde-haired woman in red and her friend are now sitting on

either side of the famous dark-haired man. He pays her special attention.

(Bottom half: The taxi driver continues to wait. The fare changes form 8.20 to

8.40.)

FLASH CUT TO WHITE:

END OF SPLIT SCREEN

CUE SOUND: GUNSHOT

FADE IN FROM WHITE

[EXT. 7888 OAKEY STREET - NIGHT]

(Police cars with their flashing lights are at the site. Officers mill about

the area.)

(Camera moves into the car and we notice the fare is now at 24.00. The taxi

driver is slumped forward against the driver's wheel, his eyes closed. We note

the blood coating the shirt covering his right shoulder.)

(Sara turns on her flashlight and looks at the driver's wound.)

SARA: Gunshot wound to the neck. No visible GSR.

(She looks up and notices the visor. She flips it down and sees the money.)

SARA: Money on the visor. It wasn't a robbery.

(Grissom is looking in the back of the cab.)

GRISSOM: Dirt clods on the floor mat look undisturbed. Could be from the last

fare. I don't see any shell casings, though.

SARA: Partition's closed. Bullet-proof glass. He was not shot from inside.

(Grissom walks around the cab as Sara snaps photos of the dead body.)

(He sees the bullet holes in the passenger door.)

GRISSOM: Well, I got two bullet holes in the passenger door.

SARA: That's a weird side of the car for a drive-by.

GRISSOM: Maybe he wasn't shot here. Maybe he just ended up here.

(Grissom looks around the area. He sees the detective talking with someone in

uniform. Grissom calls out to him.)

GRISSOM: Excuse me?

(The man from the Transit Board looks up.)

GRISSOM: Are you with the Transit Board?

MTB REP: Yeah.

GRISSOM: Do you have the dispatch log?

(He hands the log to Grissom. From what we can see, the log shows:

270 2549 LAS VEGAS ---

270 465 LEXINGTON 10:01

270 3900 LAS VEGAS 10:45 1040

270 2112 WESTERN BL. 11:01 420

270 4500 W. TROPICANA 11:30 780

270 20 FREMONT 12:10 980

270 7888 OAKEY ST. 12:55. {BLANK} )

(Grissom hands the log back.)

GRISSOM: Thanks.

(Grissom turns and leaves.)

MTB REP: Why's he leaving?

(Sara takes a photo, then puts her camera down to answer the man's question.)

SARA: Well, that's kind of what he does.

(Sara leans forward into the cab and notices the camera.)

SARA: Is this camera always on?

MTB REP: Only on HBO. It takes stills for ten seconds when the door opens, and

then for the first ten seconds of the fare.

SARA: We're gonna need the pictures.

(Grissom is walking away from the site and dialing his cell phone.)

CATHERINE: (from phone) This is Catherine.

GRISSOM: (to phone) It's Gil. How you doing?

CATHERINE: (from phone) I'm busy. Checking up on me?

GRISSOM: (to phone) Why would I need to do that?

CATHERINE: (from phone) You tell me.

GRISSOM: (to phone) Look, I know you tend to get a little territorial about

your crime scenes, and I don't want there to be any tension between us, so I'm

giving you fair warning.

(Grissom stops when he sees the tire treadmarks on the asphalt.)

CATHERINE: (from phone) Fair warning for what?

(cc) You're at 7888 Oakey Street. Am I right?

Cut to:

[EXT. PARKING LOT - NIGHT]

(Catherine is kneeling down next to a dead body in the parking lot.)

GRISSOM: (from phone) Hi.

(She looks up and sees Grissom. He smiles and waves his cell phone at her.)

(Jaw dropped open, Catherine closes her cell phone.)

CUT TO:

[INT. -- NIGHT]

(Julian Harper's dead body rests against the cushions as Robbins takes his liver

temperature. Warrick snaps photos of the body.)

ROBBINS: Julian Harper. If it weren't for the cyanosis, I'd say he was doing a

photo shoot for GQ.

WARRICK: Yeah, I'm sure he wasn't ready for this photo shoot.

ROBBINS: Body temp's 95.

(Warrick snaps more photos. Robbins glances at his watch.)

ROBBINS: That would make TOD approximately 3:00 A.M.

(Warrick snaps photos of the bedside table with a couple of champagne bottles, a

hotel room VIP card key, a rolled-up bill and some white powder on the black

tabletop.)

WARRICK: Well, there's plenty of drugs around here. You think he OD'd?

(Robbins checks the victim's mouth and eyes.)

ROBBINS: Yeah, no edema. Some petechia. Could be suffocation or

strangulation. But no ligature marks or bruising. However ...

(Camera zooms in for an extreme close-up of black fibers on the victim's neck.)

ROBBINS: ... some fibers under the chin.

(Robbins puts the sample in a bindle. Warrick continues snapping photos.)

(Robbins takes a digital camera out.)

WARRICK: What are you doing?

ROBBINS: It's for my scrapbook. I've got a perfect spot for him -- a place of

honor between Tupac and Entwhistle.

CUT TO:

[EXT. MOTEL PARKING LOT -- NIGHT]

(Close-up of the victim, his head in a pool of blood. Grissom and Catherine

kneel down next to the body. Catherine snaps photos of the victim.)

GRISSOM: The taxi's last drop-off was this address. This guy's got dirt on his

shoes and pants. There was dirt in the cab. He's got to be the last fare.

CATHERINE: So, somebody killed them both. And if it's about money, doesn't

look like this guy has much.

GRISSOM: Well, I guess it's relative.

START: SPLIT SCREEN

(Top screen: Robbins raises the digital camera to snap a photo of Julian

Harper.)

(Bottom screen: Catherine raises her camera to snap a photo of the victim.)

GRISSOM: It depends on who you are.

WHITE CAMERA FLASH TO:

END OF TEASER

ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

[EXT. MOTEL PARKING LOT -- NIGHT]

(Catherine checks out the victim's identification.)

WILLOWS: Samay ... Samay Thao. 15527 East Charleston Road. That's a long way

from here.

(Grissom notes the wounds on the victim's chest.)

GRISSOM: I count six shots in his chest. There were two in the cab, one in the

cabbie. If the math is correct, that's nine.

CATHERINE: Suggests semi-automatic, but I don't see any shell casings here.

GRISSOM: Yeah, there were none in the taxi, either.

CATHERINE: Killer could have picked them up.

GRISSOM: To shoot a guy six times in the torso, you either have to be very

close, or a hell of a shot.

DAVID PHILLIPS: It's okay if I roll him?

GRISSOM: Yeah.

(David rolls the body onto its side and pushes up the shirt as Catherine snaps

more photos of the victim's wounds.)

DAVID PHILLIPS: Well, no through-and-throughs. We should be able to recover

some bullets from the body.

GRISOSM: Hang on. (points) What do you make of that?

(He points to the markings on the victim's bloodstained shirt.)

DAVID PHILLIPS: Looks like he rubbed up against something.

(Catherine looks around.)

CATHERINE: Could be transfer from that railing. There's some paint flaked off

of that railing.

(Grissom turns and looks at the railing on the second floor.)

(Quick flash of: Samay Thao is on the second floor. Someone uses a semi-

automatic weapon and shoots Samay Thao. The impact form the bullets pushes him

up and over the railing.)

(End of flash. Resume to present.)

(Grissom and Catherine make their way down the second floor hallway. Grissom

checks the concrete floor along the way and finds a lot of blood spatter.)

GRISSOM: We got blood drops.

(Catherine looks over at the metal gate. Grissom looks down over the railing at

the body below.)

(Catherine sees metal cut.)

CATHERINE: Gil. This looks fresh.

GRISSOM: Hey, Brass?

SHORT CUT TO:

(An officer kicks the door in and rushes into the apartment. A second officer

and Brass follow. A man sitting on the floor starts shouting in Laotian.)

BRASS: Las Vegas Police! Put the gun down!

KEO VIPRAXAY: (shouting in Laotian)

BRASS: (firmly) Put the gun down! (softer) Put it down.

(The man puts the gun down. Immediately, officers push him to the floor and

handcuff his hands behind his back.)

KEO VIPRAXAY: (shouting in Laotian) (then, in English) I shoot ... burglar!

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - NIGHT]

[INT. PALMS HOTEL - HOTEL ROOM - NIGHT]

(Nick and Warrick stand at the base of the bed looking down at the body as they

both put on a pair of gloves.)

NICK: Julian Harper.

(Warrick nods.)

NICK: Wasn't he supposed to be like, uh ... (very quietly) the next Brad Pitt

or something?

WARRICK: Yeah. Now he's the next River Phoenix.

(Warrick turns as he looks around and walks into the next room where Sofia

Curtis is interviewing Gerald, also known as "Blinky". He stops and stands next

to her.)

SOFIA CURTIS: All right, Gerald.

BLINKY (GERALD ALLISON): Uh, they call me Blinky.

SOFIA CURTIS: And what was your relation to Julian Harper?

BLINKY (GERALD ALLISON): Best friends since kindergarten. Now I work for him.

SOFIA CURTIS: What did you do for him?

BLINKY (GERALD ALLISON): Pretty much everything. You know, bought his stuff,

hooked him up. Drove him to meetings.

WARRICK: Did you find the body?

BLINKY (GERALD ALLISON): I ordered room service. I wanted to see if he was

hungry. Boom, there he was.

WARRICK: Did you touch or move the body in any way?