COLD OPEN:
[EXT. LAS VEGAS (STOCK) - NIGHT]
[EXT. LAS VEGAS (STOCK) - NIGHT]
[EXT. LAS VEGAS (STOCK) - CONSTRUCTION OVERHEAD -- NIGHT]
CUT TO:
SCENE #01:
[EXT. CONSTRUCTION SITE -- NIGHT]
(The site is active. Construction workers are busy. The camera starts about
floor three then pans downward through the second floor and down to the first
floor where a white truck with a worker wearing a white hard hat arrives on the
premises. It stops by a man in a green hard hat, the supervisor.)
CONSTRUCTION SUPERVISOR: You're late
CONSTRUCTION WORKER (IN TRUCK): Thursday night. Traffic on the strip.
CONSTRUCTION SUPERVISOR: Yeah. Every night. Traffic on the Strip. We're on a
deadline, let's go.
(A yellow hard hat his the truck's windshield, cracking it. The CONSTRUCTION
SUPERVISOR looks up. Following the hard hat is a body free falling the same
path. Upon impact ... )
HARD CUT TO:
SCENE #02:
[EXT. CONSTRUCTION SITE - NIGHT]
(CLOSE UP of the man on the ground in a pool of blood. GRISSOM walks up to the
body and looks straight up.)
GRISSOM: Man versus Gravity.
(He looks down at the body and shakes his head.)
GRISSOM: Man lost.
ROBERT HARRIS: I think that was his point.
SHERIFF BRIAN MOBLEY: Hello, Bob.
ROBERT HARRIS: Hello, Brian.
SHERIFF BRIAN MOBLEY: Grissom, what are you doing here?
GRISSOM: What do you think?
SHERIFF BRIAN MOBLEY: I didn't use the word "homicide."
GRISSOM: Dispatch called. The body's on county property.
SHERIFF BRIAN MOBLEY: We're not looking at a crime here. Bob explained it to
me on the phone. His guy was alone up there. He jumped. It was suicide.
GRISSOM: Then why are you here, Sheriff?
ROBERT HARRIS: Look. Roger Valenti was an unhappy guy. Money problems. Family
problems. He took the easy way out.
SHERIFF BRIAN MOBLEY: It's a tragedy, but it's not a crime.
GRISSOM: Suicide, huh? I don't know, Brian. On the day you decide to end your
life, why would you go to work?
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL BREAK)
SCENE #03:
[INT. CONSTRUCTION SITE -ELEVATOR - NIGHT]
SHERIFF BRIAN MOBLEY: Fourteen hundred new beds means 1,400 criminals off the
street. That old jail's maxed. Prisoner population's increased by ten percent
in one year. If this place isn't built soon, you do the math
GRISSOM: You look like the Sheriff, but you talk like the Mayor. Mr. Harris,
you get an extra bonus for early completion?
ROBERT HARRIS: Twenty grand a day. I'm ten days ahead.
GRISSOM: Wow, $200,000. You must work your guys pretty hard, huh?
(The elevator stops and everyone gets off.)
[INT. CONSTRUCTION SITE - 12TH FLOOR - NIGHT -- CONTINUOUS]
GRISSOM: Where exactly was Valenti's work station?
ROBERT HARRIS: He had the whole floor to himself. Valenti was usually my first
guy up. He would drill the holes for the safety cables. No one walks a new
slab until the cables are looped around the perimeter.
(Quick Flashback showing Valenti drilling in the holes for the cables. Flash to
white. Resume to present.)
GRISSOM: Terminal velocity's 9.8 meters per second, squared. He would've hit
the ground at under five seconds.
(A Siren wails in the background.)
(GRISSOM, wearing a white visitor's hard hat, walks to the edge of the floor.
He puts his kit down and kneels on the ground to look over the edge.)
(FLASH POV: As he peers over the edge, the figure of VALENTI'S body falls past
him and straight down to the impact point on the ground beneath them. End of
Flash. Resume to present.)
(GRISSOM looks around and notices the drill hanging off the side of the floor.
He pulls it up.)
GRISSOM: Did this belong to Mr. Valenti
ROBERT HARRIS: Well, like I said he was the only one up here.
(GRISSOM examines the drill and notices that the metal housing is charred.)
GRISSOM: This drill is shorted out. Do you think he "jumped" before or after
he got the shock of his life?
ROBERT HARRIS: GFCI would have prevented shock.
SHERIFF BRIAN MOBLEY: What is GFCI?
ROBERT HARRIS: The Ground Fault Circuit Interrupter.
GRISSOM: Big words meaning you won't get electrocuted.
(GRISSOM grabs his kit and notices the outlet. He moves to examine the plug and
notices that the third prong of the plug is cut in half.)
ROBERT HARRIS: You see, if there's and electrical imbalance the GFCI trips the
circuit and the tools are suppose to shut itself off.
GRISSOM: But if the third prong of the plug is compromised, the interrupter
won't work. Will it, Bob?
ROBERT HARRIS: The third prong grounds the drill. Without it, the
interrupter's useless.
GRISSOM: These prongs don't usually snap off by themselves.
(GRISSOM looks around and sees a pair of metal cutters on the floor nearby.)
GRISSOM: Are all your workers this careless with their tools?
(He reaches into his CSI kit and pulls out pexi-glass, portable evidence box and
begins to set up a chamber to super-glue the prints into the handle of the
tool.)
SHERIFF BRIAN MOBLEY: You mind telling me what you're doing?
GRISSOM: These cutters may have been used to tamper with the grounding prong.
SHERIFF BRIAN MOBLEY: What happened to good old-fashioned dusting for prints?
GRISSOM: When your crime scene is twelve stories up ... I don't want to take
any chances. I'm going to lock in these prints.
(The gas heats up and fills the containers. Fingerprints appear on the tool's
handle.)
CUT TO:
SCENE #04:
[INT. DR. LEIGH SAPIEN'S RESIDENCE - DAY]
(CATHERINE and NICK walk up to the house. They're met by DETECTIVE O'RILEY.)
CATHERINE: Hey, O'Riley, we got the 419.
O'RILEY: Dylan Buckley-- 14 years old.
(They enter the house where the boy's body is on the floor.)
SGT. O'RILEY: Paramedics pronounced. Coroner's on his way.
NICK: Was he home alone?
SGT. O'RILEY: Not alone. And not his home. (From behind him, a woman dressed
in white approaches.) Catherine Willows, Nick Stokes, crime lab. Dr. Leigh
Sapien. This is her residence.
CATHERINE: Well, good. Then you can fill us in.
DR. LEIGH SAPIEN: We were in the middle of a session.
CATHERINE: You're a Therapist.
DR. LEIGH SAPIEN: Psychiatrist.
CATHERINE: And why were you seeing Dylan?
DR. LEIGH SAPIEN: Doctor-Patient privilege.
NICK: Privilege doesn't extend post-mortem.
CATHERINE: We can always get a warrant to get your records.
DR. LEIGH SAPIEN: No need. Dylan suffered from Reactive Attachment Disorder.
He was with his mother and I've been treating him for sixteen months.
CATHERINE: Ten o'clock at night. You use your home?
DR. LEIGH SAPIEN: I see my patients whenever they need me. On weekends, at
night. At the office or here ...
NICK: (interrupting) Why don't you ... just tell us what happened.
DR. LEIGH SAPIEN: Dylan had an argument with his mother. He needed to unload.
(Quick Flashback during v.o. showing DYLAN BUCKLEY sitting on the couch across
from DR. LEIGH SAPIEN talking to her. White Flash to DYLAN BUCKLEY convulsing on
the couch and falling to the floor. DR. LEIGH SAPIEN trying to hold his head
still. DYLAN BUCKLEY hitting his head multiple times on the floor while
seizing.)
DR. LEIGH SAPIEN: He was complaining about his curfew blaming his mother for
problems at school. Suddenly, he began to convulse. I tried to stabilize his
head. I thought it was grand mal seizure. Dylan was an epileptic. He hit his
head. And when the convulsions stopped he was dead.
CATHERINE: Did you try to revive him.
DR. LEIGH SAPIEN: Of course, standard CPR. Cleared his airway, worked his
chest.
(NICK sees something on DR. LEIGH SAPIEN'S white sweater.)
NICK: I take it this wasn't his first convulsion.
DR. LEIGH SAPIEN: He was diagnosed with epilepsy at age 3.
(NICK slowly approaches DR. LEIGH SAPIEN in a manner that startles her.)
DR. LEIGH SAPIEN: What are you doing?
NICK: Catherine, we need to get a tape-lift here, please.
(CATHERINE conducts the tape-lift and NICK moves behind DR. SAPIEN looking for
anything else they may need.)
DR. LEIGH SAPIEN: Look, I dialed 9-1-1. I'm not hiding anything.
CATHERINE: I can see that.
CUT TO:
SCENE #05:
[INT. CSI -- FORENSIC AUTOPSY BAY]
(GRISSOM enters the morgue. ROBBINS is there to brief him over the body.)
ROBBINS: Quick. Name three human bones that can stand a twelve story drop.
GRISSOM: Bones of the inner ear: Malleus, Incus, Stapes. High cellular
density, completely protected by the skull. Why?
ROBBINS: They appear to be the only bones not fractured or broken.
GRISSOM: I want to see the entry and exit wounds.
ROBBINS: Gil, he wasn't shot. This is the guy that fell of the new jailhouse.
Are we talking about the same case here?
GRISSOM: He fell after he was electrocuted.
ROBBINS: News to me. I didn't find any physical evidence of electrocution.
GRISSOM: Faulty drill. There should be burn marks on one of his palms.
(Flash CGI POV of the current deceased's right hand (without burn marks)
morphing to a hand with burn marks as an electric sizzle moves from the palm up
the deceased's arm. The electric sizzle moves back down the deceased's arm
toward the palm leaving the current unmarked skin behind. End of Flash.)
ROBBINS: Negative on the burn marks. In most electrocution cases, capillaries
rupture, hemoglobin leaks into the perivascular tissue.
GRISSOM: Right. creating a fern-like pattern on the chest.
(Flash CGI POV of the current deceased's unmarked chest. An electric sizzle
moves from the deceased's lower right side up and across the chest leaving the
pattern behind. The electric sizzle moves back down the deceased's chest
leaving the current unmarked skin behind. Flash to white and back to the
present.)
ROBBINS: His body contradicts your crime scene.
GRISSOM: I don't care what the body says, this guy was electrocuted. It was
not an accident.
FLASH TO WHITE:
[EXT. LAS VEGAS (STOCK) - NIGHT]
CUT TO:
SCENE #06:
[INT. CSI -- TRACE LAB]
(GRISSOM is working on the drill, trying to get the outside casing off so that
he can look at its insides. On the same table some distance away, SARA is
staring at the pair of boots from the deceased. She stares at them some more.
She looks up. She sighs.)
GRISSOM: What?
SARA: I don't know what I'm looking for.
GRISSOM: Signs of charring or melting. You've done this before.
SARA: Yeah. But we always go back to the body. The body tells a story and in
this case, the body says there was no crime and you're not listening. Why?
GRISSOM: Every now and then, we have to break the rules. Start with a
conclusion and work our way backwards.
SARA: Like, for instance, when we don't agree with the coroner's report?
GRISSOM: Like, for instance ... in the 1800s, when surgery was Russian roulette
and patients were dying on the tables.
SARA: Germs.
GRISSOM: Until Louis Pasteur theorized that something we could not see,
microscopic organisms were attacking the patients.
SARA: Relevance ...
GRISSOM: Bodies tell a story because we interpret them the way our predecessors
taught us to. Just because we don't see something we're supposed to see doesn't
mean that it's not there.
(SARA goes back to work on the boots. GRISSOM gets the drill open and starts
digging through it. He immediately notices that someone crossed the hot wire
with the neutral wire.)
GRISSOM: Wires were crossed. (This gets SARA's attention.) Polarity's been
reversed. This confirms that someone tampered with Valenti's drill.
SARA: The rubber soles of his boots should have protected him from the
electrical shock. That is why you're safe when you're in a car during a
lightening storm. You're insulated by the rubber tires.
(SARA picks up the boots and holds it up. From GRISSOM'S POV, he can see the
bottom of the shoes. He also sees something else on the bottom of the right
boot.)
GRISSOM: Rubber's an insulator, but metal's a conductor. What form of metal
hides in plain view at a construction site?
(Flash POV close up to the nail in the bottom of the boot.)
SARA: A nail.
(SARA and GRISSOM smile at the find.)
CUT TO:
SCENE #07:
[INT. CSI - PRINT LAB]
(CLOSE UP of computer screen as the palm print on the left is compared to the
palm print on the right. SARA enters the lab. WARRICK is seated at the
computer. He's running the print through the database.)
SARA: Hey.
WARRICK: Hey.
SARA: How's that palm print Grissom got off those cutters?
WARRICK: Good. I'm running it through AFIS right now. The good thing is that
the jailhouse is a union gig and all the union guys are already in the database.
What I did for the print was I lined up a ridge detail from the partial that I
found on each handle.
SARA: Nice.
(WARRICK sighs.)
WARRICK: So ... you think that guy fried before he fell?
SARA: I don't know. We found a nail in his boot. It could have pierced the
protective rubber. It might have allowed electricity to course through his
body.
WARRICK: Bobby Dawson's taking odds. Two to one, Grissom's wrong. Five to
one, he gets suspended for shutting down that jailhouse. And ten to one ...
SARA: Fired?
(Computer beeps. WARRICK manually lines up the two palm prints. The computer
screen reads:
"FILE HR_145406 AT6501(?)" in green with the words: "MATCH FOUND" (blinking in
red)
(The Union ID Card of the person identified pops up on screen along with a
picture with the following information. It belongs to ROBERT HARRIS, night-
shift project manager for the new Clark County Jailhouse.)
[UNION IDENTIFICATION
(Name) ROBERT HARRIS
(Union ID) ELE2908-3492-0982-EEC
(Soc. Sec #:) 1291-555-3528
(Classification:) Class 4F
(Sex) M
(Endorse) M
(Insured) 12-1990]
GRISSOM: (v.o.) Sounds like you got a match.
(WARRICK and SARA are both surprised to see GRISSOM leaning against the open
door. Neither one knew he was standing there. Both wondering ... )
WARRICK: Hey, Griss. How long you been standing there?
SARA: (interrupting) Yeah, yeah, we do. The, um ... it's a former union guy
turned night shift project manager.
WARRICK: Robert Harris. Does that name mean anything?
GRISSOM: Yeah. Especially if you bet against me.
(GRISSOM walks away leaving SARA and WARRICK wondering just how much he heard.)
FADE TO BLACK.
(COMMERCIAL BREAK)
SCENE #08:
[INT. POLICE DEPTARTMENT - MAIN HALLWAY]
(GRISSOM is talking with ROBERT HARRIS. SHERIFF BRIAN MOBLEY is also there.)
ROBERT HARRIS: My prints are on the metal cutters because my prints are all
over everything at the site. I'm the project manager.
SHERIFF BRIAN MOBLEY: There's no mystery here.
GRISSOM: You're the project manager but you don't actually use all the tools,
right?
ROBERT HARRIS: I'm vigilant about safety. I'm always inspecting the equipment,
tools ...
SHERIFF BRIAN MOBLEY: Look, this is what's going to happen here. The
construction site is going to reopen and the investigation goes away.
GRISSOM: Sure. After the lab processes all the evidence.
(Behind the group, through the glass wall, BRASS is standing there. He taps on
the window to get GRISSOM'S attention.)
GRISSOM: Excuse me.
(GRISSOM and BRASS talk out in the hallway.)
BRASS: For the record, I don't like being put in the middle.
GRISSOM: Who does?
BRASS: I did a little homework on the guy who took a nosedive after he was
electrocuted. Three days ago, he was voted union rep. Demanded more overtime
pay, pressed for a walkout.
GRISSOM: Motive?
BRASS: Right. (he turns to leave, then stops.) Well, in case you're
interested Bob Harris was the sheriff's best man.
(GRISSOM turns to go back to meet with ROBERT HARRIS and THE SHERIFF.)
SHERIFF BRIAN MOBLEY: Well, what was that about?
GRISSOM: Ah, we're in a bowling league together.
SHERIFF BRIAN MOBLEY: Can we wrap this up?
GRISSOM: Sure. Someone tampered with Roger Valenti's drill. And I have only
one suspect. (He looks at ROBERT HARRIS.)
SHERIFF BRIAN MOBLEY: I read the coroner's prelim. There is nothing in it
about electrocution.
GRISSOM: That's why they call it a prelim. Mr. Harris, were you opposed to
Roger Valenti's union activities?
ROBERT HARRIS: Of course not. I'm a union man myself.
SHERIFF BRIAN MOBLEY: You're fishing, Gil. We're done here. Moving on.
(Both THE SHERIFF and ROBERT HARRIS leave GRISSOM standing there with a grim
look on his face.)
CUT TO:
SCENE 09:
[INT. CSI LAB]
(NICK opens the package of evidence. He pulls out DYLAN BUCKLEY'S clothes and
begins examining it. One shirt, one pants and one pair of boxers. He examines
the shirt and the pants. He finds nothing. Then he sees it. The tan-colored
fibers on the white boxer shorts. He collects it.)
CUT TO:
SCENE #10:
[INT. FORENSIC AUTOPSY ROOM B-28]
(ROBBINS is walking MRS. BUCKLEY out of the room.)
ROBBINS: Mrs. Buckley, do you have someone to drive you home? (she doesn't
answer him) Mrs. Buckley?
MRS. BUCKLEY: Yes?
ROBBINS: Do you have someone to drive you home?
MRS. BUCKLEY: No, uh, thank you. I'll be all right.
[INT. CSI HALLWAY -- CONTINUOUS]
(MRS. BUCKLEY slowly makes her way out into the hallway. NICK is on his way to
see DOC ROBBINS and sees her.)
NICK: Mrs. Buckley? I'm Nick Stokes. I'm from the crime lab. I've been
assigned to your son's case.
MRS. BUCKLEY: Crime lab?
NICK: It's protocol.
MRS. BUCKLEY: We were just having pizza together. He seemed fine. And I
dropped him off at Dr. Sapien's and ... my husband passed away three years ago
and now my ...
(She's distraught and can't continue.)
MRS. BUCKLEY: (whispers) ... my baby's gone.
NICK: (quietly) I understand.
MRS. BUCKLEY: If you'll excuse me, I need to go make arrangements.
NICK: Sure.
(She walks past him. Without turning around, he says ... )
NICK: I'm sorry for your loss.
MRS. BUCKLEY: Thank you.
(She walks off screen. Camera holds on NICK.)
CUT TO:
SCENE #11:
[INT. FORENSIC AUTOPSY ROOM -- CONTINUOUS]
(NICK enters the room. ROBBINS is standing over the body.)
ROBBINS: My youngest just turned 14. Tough age.
NICK: Cause of death?
ROBBINS: Cranial-cerebral injuries. Comminuted fractures of the occipital
bone.
(FLASHBACK CGI POV: Camera starts above DYLAN BUCKLEY'S head and falls forward
through his forehead, though the muscle and down to the skull where it cracks.
Flash to white. Resume present.)
NICK: Injuries consistent with a grand mal seizure?
ROBBINS: First blush? Yes. Waiting on toxicology. In the meantime, check out
his torso.
NICK: He's covered in bruises. Possibly from being thrashed during the
seizure?
ROBBINS: Possibly.
NICK: I found tan fibers on his boxers.
ROBBINS: You, too, huh? His body's covered in them.
NICK: Fibers on his body and his underwear but not on his shirt and pants, why?
ROBBINS: Well, maybe it was as simple as he wasn't wearing his shirt and pants.
NICK: Okay, then at some point he was with his Shrink in his underwear.
ROBBINS: Exactly what kind of therapy was this?
(Camera hold on NICK.)
CUT TO:
[EXT. PARKING LOT OUTSIDE LVPD - NIGHT]
SCENE #12:
(GRISSOM parks his car in front of the LAS VEGAS POLICE DEPARTMENT. He gets out
and makes his way to the building entrance. He's stopped on the sidewalk. From
behind him, a hand grabs him by the shoulder.)
IAN WOLF: Gil Grissom?
GRISSOM: Yes.
IAN WOLF: I have information about Roger Valenti.
GRISSOM: Call Jim Brass at homicide.
(GRISSOM turns around to leave. The man stops him again.)
IAN WOLF: I was the union rep before Roger. The walkout was my idea. Bob
Harris threatened me and my family. I wouldn't betray the union so I gave up my
position at the local. Roger picked up where I left off.
GRISSOM: Why are you telling me this?
IAN WOLF: Because it could have been me.
CUT TO:
SCENE #13:
[INT. CSI LAB]
GREG: Cheese. Milk. Sweaters. What do these things have in common?
CATHERINE: Goat cheese, goat milk.
NICK: Goat ... sweaters?
CATHERINE: Angora.
GREG: Ding, ding, ding. Fibers from the lady shrink, fibers from the boy.
Both are angora.
(GREG hands CATHERINE an opened book.)
NICK: Angora is processed goat hair?
GREG: Mm-hmm.
CATHERINE: Sheered, washed, spun and dyed. Angora's 100% goat. You didn't
know that, Nick?
(CATHERINE hands the book to NICK and leaves.)
NICK: Must be a chick thing.
(GREG laughs.)
CUT TO:
SCENE #14:
[INT. CSI - HALLWAY]
(ROBBINS is closing up for the night. GRISSOM rounds the corner just in time to
catch him.)
GRISSOM: I need to see the body again.
ROBBINS: No can do. Released six hours ago.
GRISSOM: Final report?
ROBBINS: Another 24, but there's nothing in there to support Valenti was
electrocuted.
GRISSOM: Doc, please?
ROBBINS: You want to look at my notes?
(ROBBINS turns around to go back inside.)
CUT TO:
SCENE #15:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS opens the case file folder that contains his notes. GRISSOM is sitting
on the seat next to him.)
GRISSOM: So, what have you got? I mean, anything unusual, even the mundane.
ROBBINS: His troponin enzymes are elevated.
GRISSOM: Troponin levels become elevated following ventricular fibrillation
which could be caused by electrocution, right?
ROBBINS: Sure, but troponin's found in all victims of cardiac arrest, most of
whom have not been zapped.
GRISSOM: Work with me, will you?
ROBBINS: Uh, vic also had an elevated concentration of iron in his blood --
six, seven times normal.
GRISSOM: Life-threatening?
ROBBINS: No.
GRISSOM: What else?
ROBBINS: Well, it fits the bill of "mundane." His skin looked jaundiced.
GRISSOM: Postmortem deoxygenation.
ROBBINS: Dead or alive, your vic's epidermis is yellow.
GRISSOM: Tell me about his testicles.
ROBBINS: (surprised) What? ... Okay, I'm working with you. Uh, I don't
remember. I mean, genetics can be fascinating -- and there are things I take
note of -- but I didn't focus on his genitals.
GRISSOM: Thanks, doc.
ROBBINS: You're welcome.
(GRISSOM leaves.)
CUT TO:
SCENE #16:
[INT. CSI - BREAK ROOM]
(GRISSOM walks into the lounge and sees SARA and WARRICK. GRISSOM looks a
little annoyed.)
GRISSOM: What're you guys doing?
SARA: Waiting for an assignment. You got a new case for us?
GRISSOM: A new case?
WARRICK: Well, we heard the sheriff put the brakes on the investigation.
GRISSOM: You didn't hear that from me, did you?
(GREG takes the hint, gathers his things up and stands up to leave.)
GREG: I think I smell something burning in the DNA lab. Love to stay and chat,
but ...
(He almost makes it to the door when ... )
GRISSOM: Greg ... I hope that's not the crossword puzzle.
(GREG stops, turns around and silently hands the folded origami crane to GRISSOM
and leaves. Yep, it looks like the used the crossword puzzle as paper.)
GRISSOM : What about the nail that we pulled out of Valenti's boot? Dusted?
SARA: No, because ...
GRISSOM: (interrupting) Process the nail, please. And if you get a print ...
(SARA stands and heads out the door.)
SARA: I'll compared it to Bob Harris' ten card. Anything else?
GRISSOM: Yes. Metal cutters. I need you to prove or disprove whether they were
used to sever the drill's grounding prong.
SARA: Okay.
(SARA leaves. GRISSOM turns to WARRICK.)
GRISSOM: And you're with me.
(WARRICK stands up to follow GRISSOM.)
CUT TO:
[EXT. LAS VEGAS (STOCK) -- NIGHT]
SCENE #17:
[INT. FUNERAL PARLOR]
(WARRICK and GRISSOM enter the funeral parlor. It looks like a very classy
place. Vivaldi's Four Seasons is playing rather loudly in the background. They
walk to the back where we find MR. RANDY GESEK, Funeral Director, air conducting
enthusiastically to the music.)
GRISSOM: Mr. Gesek!
(RANDY GESEK turns around, slightly embarrassed.)
GRISSOM: You're conducting ...
(He turns the tape recorder near by off. He's out of breath.)
RANDY GESEK: I didn't hear you come in.
GRISSOM: ... Vivaldi, Four Seasons.
RANDY GESEK: Vivaldi ... Valenti. Both Italians. It's like being in Venice.
Why are you here? Do I need a lawyer?
GRISSOM: Have you prepped him yet?
RANDY GESEK: I was just about to commence draining when I got distracted.
GRISSOM: Yeah, I know, Venice. I need to see his testicles.
RANDY GESEK: I always thought there was something weird about you.
(GRISSOM approaches the body, getting ready to lift the sheet up when GESEK
stops him.)
RANDY GESEK: Excuse me. You can't just come in here and look at my guy's
goods. If I let you see them I have to let everybody see them. But ... perhaps
we can work something out.
WARRICK: What? Do you want us to pay to see them?
RANDY GESEK: That's a good idea, but no. I'm starting a new business. Crime
scene cleanup. I'm going to want some referrals.
GRISSOM: I'll put you on the list.
(GRISSOM puts on the latex gloves and lifts up the sheets to look at MR.
VALENTI.)
GRISSOM: Testicular atrophy. They're the size of peas.
RANDY GESEK: Poor guy.
WARRICK: Yeah, that's rough. And the significance of this evidence?
GRISSOM: Hemochromatosis. Valenti had elevated levels of iron in his blood.
Yellow pallor, shrunken testicles ... I think he's been ingesting trace amounts
of iron over a long period of time.
RANDY GESEK: Why'd he eat iron?
WARRICK: Trace amounts are odorless, tasteless.
RANDY GESEK: He probably didn't even know. You're saying he was poisoned?
GRISSOM: No. Iron molecules take a long time to build up. Could have been his
diet repeated blood transfusions, excessive smoking possibly hereditary
abnormalities.
WARRICK: So, where does this get us?
GRISSOM: One step closer. Mr. Gesek? Stick a syringe in his carotid all the
way to his clavicle.
WARRICK: You want his blood?
GRISSOM: One pint, to go.
(COMMERCIAL BREAK)
SCENE #18:
[INT. CSI - HALLWAY]
(WARRICK is walking through the hallway when he meets up with SARA.)
SARA: Warrick.
WARRICK: Hey.
SARA: I got a thumbprint off that nail.
WARRICK: Cool.
SARA: Only a partial. Print lab's running a comparison.
WARRICK: Whatever happened with those metal cutters?
SARA: Serrations didn't match up. They weren't used on the grounding prong.
What's in the envelope?
WARRICK: Roger Valenti's blood. Grissom wants it packaged in plastic. I don't
know. Don't ask.
SARA: You want lunch?
WARRICK: Later.
(WARRICK walks away.)
CUT TO:
SCENE #19:
[EXT. HOT DOG STAND]
(NICK has his hot dog and is putting stuff on it.)
NICK: Hey, Catherine.
CATHERINE: Yeah?
NICK: You ever been in therapy?
CATHERINE: Who hasn't? Didn't save my marriage.
NICK: And you were okay sharing your problems with a complete stranger?
CATHERINE: Rather I tell them to you?
(SGT. O'RILEY parks his car across the street and gets out.)
SGT. O'RILEY: Somebody order a warrant?
NICK: Yeah.
SGT. O'RILEY: Mustard and relish. Hold the onions.
NICK: I hope it's a general.
SGT. O'RILEY: Epilepsy. Eyewitness physician dials 9-1-1. Coroner's not
making any noise. You're lucky to get a limited.
NICK: What do you mean, we're lucky? We've got fibers on a 14-year-old kid
and the shrink's clothing.
SGT. O'RILEY: Which would have got you nothing. But I did a background check
on the good doctor. While back, she had her license suspended. Sex with a
patient. Teen's parents filed a complaint with the A.P.A.
NICK: Sex with a minor. Suspension's a joke. Should have lost her license,
minimum.
CATHERINE: Yeah, well, this time, maybe she will.
CUT TO:
SCENE #20:
[INT CSI LAB]
(GRISSOM is busy stripping and rigging the electrical wires on a lamp. He
twists in the light bulb. WARRICK walks in with the envelope.)
WARRICK: Hey, Gris. Valenti's blood. Packaged, ready to go.
GRISSOM: Thank you.
WARRICK: You want to fill me in here? I mean, this wasn't covered in any
science class I took.
GRISSOM: Well, iron is a conductive mineral. I want to know if there was
enough iron in Valenti's blood to conduct electricity.
WARRICK: That's far out.
GRISSOM: Yeah, well ... we'll see. Plug in the blood.
(GRISSOM finishes putting the wires in the blood and hands the plug to WARRICK.
Oh, yeah. The light goes on. GRISSOM looks extremely pleased.)
CUT TO:
SCENE #21:
[INT. DR. SAPIEN'S RESIDENCE - DAY]
DR. LEIGH SAPIEN: Angora fibers? What does that have to do with anything?
(NICK is looking for something on the floor.)
DR. LEIGH SAPIEN: Excuse me. I don't appreciate being treated like a suspect.
NICK: Then maybe you should wait outside.
DR. LEIGH SAPIEN: Do you consider me a suspect? Because that's how I'm
feeling.
(NICK doesn't respond.)
DR. LEIGH SAPIEN: Fine. Don't answer me. It's your choice.
NICK: That's the funny thing about choices. Once you make them you have to
live with them.
(He shakes his head.)
NICK: Dylan Buckley was just a boy. He trusted you and you abused that trust.
(CATHERINE appears holding a folded tan-colored blanket wrapped in plastic.)
CATHERINE: Linen closet, top shelf.
NICK: Was that blanket here ... on the floor?
DR. LEIGH SAPIEN: Were you and Dylan under it?
(FLASHBACK POV of DYLAN BUCKLEY sitting on the couch. DR. SAPIEN sits next to
him and starts to kiss and caress him. NICK is in the background watching.
DYLAN BUCKLEY resists. DR. SAPIEN restrains him. Both are on the floor on the
tan-colored blanket. Flash to white.)
NICK: He was a 14-year-old kid. What's the matter with you?
CATHERINE: He resisted; you persisted. Then what?
DR. LEIGH SAPIEN: Look, I don't know the basis of your allegations but I have
never crossed the line with a patient.
NICK: That's not what your rap sheet says.
DR. LEIGH SAPIEN: "Rap sheet"?
CATHERINE: Sex with an underage patient.
DR. LEIGH SAPIEN: I was a resident. He was 17. We were in ... look, no
criminal charges were filed. It should have been expunged from my record.
CATHERINE: It doesn't make you any less guilty.
DR. LEIGH SAPIEN: Lady, I'm not a saint but I am not a killer or a child
molester. Dylan Buckley was an epileptic. He had a seizure. He hit his head.
That's the truth. You don't like it, you can leave.
NICK: We got what we came here for.
CUT TO:
SCENE #22:
[EXT. DR. SAPIEN'S RESIDENCE - DAY]
(NICK and CATHERINE are leaving.)
CATHERINE: What's going on with you?
NICK: I'm on a case.
CATHERINE: We're on a case.
NICK: Right.
CUT TO:
SCENE #23:
[INT. CSI - BREAK ROOM -- REFRIGERATOR]
(GRISSOM opens the refrigerator and is looking for something. Now, do we really
need to know that there is a full bottle of Welch's Grape Juice on the right and
among other things, a box of Pepperidge Farm Spritzers (lemon) cookies on the
left? Yeah, I thought not. GRISSOM moves this ... lifts that ... doesn't find
whatever he's looking for and closes the door.)
[INT. CSI - BREAK ROOM - DAY]
(On his way out, SARA walks in holding folders and a paper package.)
GRISSOM: Hey, is that from the deli?
SARA: Egg salad sandwich. You want half?
GRISSOM: No. Can I have your pickle?
SARA: Yeah.
(She hands him the wrapped pickle.)
SARA: You can have it.
(GRISSOM unwraps it and holds it up.)
GRISSOM: Oh, that's a nice one.
(GRISSOM leaves SARA standing there with a puzzled look on her face.)
CUT TO:
SCENE #24:
[INT. CSI LAB]
(GRISSOM wires up SARA'S pickle and places it on an upside down petrie dish.
Completely curious at what he could possibly want with her pickle, SARA walks in
and lingers near the doorway while finishing up her sandwich. GRISSOM plugs it
in and fires up SARA'S pickle. It lights up. It flickers. It crackles. It
sizzles. It glows.)
SARA: You turned my pickle into a light bulb.
GRISSOM: I'm electrocuting it.
SARA: (amused) You sure are.
WARRICK: That would explain that smell.
GRISSOM: This is how I cooked my hot dogs in college.
(He unplugs the pickle and holds it up for everyone to examine.)
GRISSOM: Check out the burn marks.
SARA: There are none.
WARRICK: Just like Valenti's body. No evidence of electrocution.
GRISSOM: Pickles are high in sodium content.
WARRICK: And sodium is conductive, just like iron.
GRISSOM: Normally, the flow of electricity through a body generates heat.
(FLASHBACK POV showing us a crackle of electricity passing down a golf club
through the person holding it. A CGI electric sizzle asses through the man's
shirt showing us the fern-like pattern underneath. Cut to the man's legs as we
follow the electric current flow down the man's legs and into the ground. Cut
back to present.)
GRISSOM: Burn marks are the physical evidence of that heat. But ... if the
body offers no resistance to the flow of electricity-no heat, no burn marks.
WARRICK: Roger Valenti's body offered up no resistance because of the excess
iron in his blood.
SARA: The iron conducted the electricity.
WARRICK: Making his body one big wire -- path to ground.
SARA: In through his hand from the drill; out through the nail in the boot.
GRISSOM: No burn marks, but he was still electrocuted.
(GRISSOM gives SARA back her cooked pickle. She takes it and looks at it.)
(FLASHBACK POV showing us Valenti grabbing the drill and flicking the switch
turning it on. We follow the path of the switch from the drill back to the
damaged plug where it shorts. White flash as we follow the current tracking
back up the cord back up through the drill. CGI shows us the inside of the
drill where the current hits the crossed wires. It blows. White flash to the
current passing through the drill handle flowing through the veins as Valenti's
blood conducts the electricity. White flash back out from the nail in Valenti's
boot to the ground. White flash as Valenti is electrocuted. He and the drill
fall off of the twelfth floor. White flash to present.)
WARRICK: So, you've just proved murder.
(GREG walks in holding a piece of paper. He hands it to GRISSOM.)
GREG: I wouldn't break out that champagne just yet. Don't go shooting the
messenger. Thumbprint from the nail.
(GRISSOM looks at it. Surprised.)
CUT TO:
SCENE #25:
[INT. POLICE DEPARTMENT -- HALLWAY]
(GRISSOM is talking with SHERIFF BRIAN MOBLEY.)
SHERIFF BRIAN MOBLEY: Bob Harris' prints were not on the murder weapon. Is
that what you're telling me?
GRISSOM: They were not on the nail. You see, I think that someone stuck a nail
in the victim's boot and it evidently wasn't Bob Harris.
SHERIFF BRIAN MOBLEY: In other words, you made a suspect out of an innocent
man.
GRISSOM: Obviously, that wasn't my intent.
(THE SHERIFF walks away. GRISSOM follows.)
SHERIFF BRIAN MOBLEY: Oh, good. Then maybe you'll want to bring that up in the
newspaper article.
GRISSOM: What are you talking about? What newspaper article?
SHERIFF BRIAN MOBLEY: The one I'm arranging for your public apology.
GRISSOM: I'm not making an apology.
SHERIFF BRIAN MOBLEY: Oh, yes, you are. You don't go after a friend of mine,
sully his reputation and then walk away. Actions have consequences, Gil. Even
yours.
(THE SHERIFF leaves. Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL SET)
SCENE #26:
[INT. CSI -- LAB]
(GRISSOM is on the computer looking through the database of "UNION OF ELECTRIAL
WORKERS". BRASS walks in.)
BRASS: I heard the sheriff chewed you a new one.
GRISSOM: You get my message?
BRASS: Yeah, you want me to check out your "Deep Throat?"
(GRISSOM hands BRASS the print out that reads:)
[UNION OF ELECTRICAL WORKERS
WOLF, IAN
No. IW553620
493 Briarway, LV NV 89108
Write up on bottom, under the photo: "Mr. Wolf has worked as an electrical
contractor for over 24 years. His experience is mostly in the area of new
housing and tract housing developments. He is not limited to this kind of work,
however. He has also participated in massive government projects such as hi-
tech facilities, communications stations, energy generators, and others."]
BRASS: Well, that was fast.
GRISSOM: Ian Wolf, Union of Electrical Workers, Local 37. He wanted to make
sure that I stayed on Harris for the murder of Roger Valenti.
BRASS: Doesn't that tell you something?
GRISSOM: I told him to talk to you.
BRASS: I'll check out the guy. Gil, why do you do this to yourself?
GRISSOM: What?
BRASS: The guy's dead. It could have been suicide ... accident. But you've
always got to push it.
GRISSOM: Just like any other case.
BRASS: You know what I think? Adrenaline. You need the rush. But that's just
me.
(BRASS leaves.)
CUT TO:
SCENE #27:
(NICK works on swabbing the blanket. He unrolls it and methodically blocks off
sections of the blanket with swabs. It's a long, tedious process, but he seems
determined.)
(He starts with the first block completed. Dissolve to three completed
sections. Dissolve to ten completed sections. Dissolve to NICK working on the
final three sections of the blanket.)
CUT TO:
SCENE #28:
[INT. CSI - HALLWAY]
(CATHERINE is walking down the hallway with an open file folder in her hands.
She notices NICK in the lab talking with DAVID PHILLIPS, getting some test
results. CATHERINE stops by the doorway just in time to hear ... )
DAVID PHILLIPS: Stokes.
NICK: Okay. Thank you, David.
DAVID PHILLIPS: No sweat.
(DAVID PHILLIPS stands and leaves the room. He passes CATHERINE on the way
out.)
DAVID: (to Catherine) Hey, he asked for it.
[INT. CSI LAB]
CATHERINE: How many swabs does it take to process a blanket?
NICK: I'm thorough.
CATHERINE: The lab tested Dylan Buckley's blood for Creatine Kinase which would
be elevated post-seizure ...
NICK: ... but Dylan Buckley's levels were normal. I just got my own copy of
the report. Dr. Sapien lied.
(NICK walks out of the lab. CATHERINE calls after him.)
CATHERINE: You're racing me, Nick. We're driving the same car.
(NICK doesn't stop walking down the hallway. He doesn't respond to CATHERINE'S
question.)
CATHERINE: Nick!
(NICK still doesn't respond. He keeps walking down the hallway.)
CATHERINE: Nick, I'll have you removed from the case.
(NICK stops. He turns around as CATHERINE approaches him.)
CATHERINE: You're confronting suspects before the evidence is processed.
You're flying solo, cutting me out. What's going on?
NICK: (he takes a deep breath) Okay. There are some people you're supposed to
be able to trust, you know? I was nine. And she was a last-minute baby-sitter.
(CATHERINE'S stunned.) All I can remember doing afterwards is sitting in my
room in the dark, staring at the door waiting for my mom to get home. But I've
never told anyone before.
CATHERINE: I'm sorry.
NICK: It's what makes a person, I guess.
(NICK apologizes.)
NICK: I'm sorry, Catherine.
(He walks away. Camera holds on CATHERINE.)
CUT TO:
SCENE #29:
[INT. POLICE DEPARTMENT INTERROGATION ROOM]
(BRASS is questioning IAN WOLF. GRISSOM is sitting in the back.)
IAN WOLF: You checked me out. So what? Worst thing I've done is get a
speeding ticket.
BRASS: And take a pipe to Roger Valenti's head four days before he died. No,
it wasn't on the foreman's report. Valenti's widow told me.
(GRISSOM looks over at IAN WOLF'S tool belt on the table next to him.)
IAN WOLF: It's a work site. Guys get in beefs all the time.
BRASS: But this guy died and Bob Harris had nothing to do with it.
GRISSOM: Despite your efforts to make it seem that way.
IAN WOLF: Look, I'm not saying another word till I talk to a union lawyer. I
pay my dues and these guys play hardball.
(IAN WOLF stands, picks up his hard hat and tool belt, and leaves the room.)
BRASS: He's guilty.
GRISSOM: Let's not make the same mistake twice.
CUT TO:
SCENE #30:
[INT. GREG'S LAB]
GREG: FYI. Thirty swabs in six hours? Not realistic, all right? Even for me.
NICK: Come on, Greg, I thought you liked a challenge. What are we looking at
here?
GREG: Lots and lots of epithelials. There were skin cells shed all over the
blanket.
CATHERINE: Dylan Buckley's. Dr. Sapien's.
GREG: You're two-thirds of the way there. I also isolated a set of cells from
another individual. Identity unknown. But when it's important to Nick here, I
push further. Seven of the 13 markers matched your dead kid.
CATHERINE: Familial DNA.
NICK: Father's dead, means we're looking at mom.
CATHERINE: Naked kid under a blanket at his shrink's late at night and his
mother's there.
GREG: Yeah, your case just entered a whole new dimension of weird.
(Camera holds on NICK'S thoughtful look. Behind him, we see GRISSOM walk into
the hallway his nose in a file, the camera follows GRISSOM.)
CUT TO:
SCENE #31:
(GRISSOM'S holding a file folder and definitely going somewhere.)
[INT. CSI - PRINT LAB]
(GRISSOM enters the room and sees SARA at the computer.)
GRISSOM: Where's Mandy?
SARA: She's cross-eyed from running our partial. I didn't want to lose any
time, so I took over. The database is 70,000. It could still take a while.
GRISSOM: What if I narrowed the scope? To one.
SARA: We got a suspect?
GRISSOM: Ian Wolf. Like the animal not the authors.
(SARA makes the entry and hits enter. The computer lines up the prints and
beeps with the results.)
[On the top left corner of the Left Print:
#9208390: IAN WOLF]
[ON THE BOTTOM OF THE LEFT PRINT: IN A BOX LABELED: "MATCH TREE"
IAN WOLF: REF# 9208390_DBASE F????74
(in red) MATCH PROBABILITY: 100%
(in red) L32,LT45, RH87, GHR29, PR11A(?), PR11B(?)]
SARA: Partial overlay. Perfect match. Now we've just got to place him at the
crime scene.
GRISSOM: Warrick's on it. I got a warrant for his tool belt -- metal cutters
included.
(GRISSOM leaves. Camera hold on SARA.)
CUT TO:
SCENE #32:
[INT. FORENSIC AUTOPSY ROOM]
(DOC ROBBINS is eating when NICK and CATHERINE walk in.)
NICK: Doc? The kid in his underwear ... Tell us about the Y-incision.
DOC ROBBINS: Leftovers from my anniversary dinner.
CATHERINE: Congratulations.
DOC ROBBINS: Thanks. Same tan fibers I found on the outside I found on the
inside. Mouth, nasal passages, both lungs.
CATHERINE: He was wrapped in that blanket.
NICK: Mm-hmm. Head-to-toe.
(Flash to White: CGI Flash POV showing us DYLAN BUCKLEY wrapped in the tan-
colored angora blanket. The blanket covers his entire head and body. Camera
starts from above the blanket. DYLAN opens his mouth and the camera dives in
and down through his air passages carrying some of the blanket fibers with it.)
FLASH TO WHTE:
SCENE #33:
[INT. POLICE DEPARTMENT INTERROGATION ROOM]
CATHERINE: Mrs. Buckley, we know that your son didn't have a seizure. We also
know that you were at Dr. Sapien's house with Dylan the night that he died.
NICK: He was in his underwear wrapped in a blanket fighting for every breath.
MRS. BUCKLEY: I loved my son.
NICK: That's what every parent says.
MRS. BUCKLEY: This ... this was therapy. I had tried everything else. Taken
him to so many specialists. But I couldn't reach him. So we ... we tried the
... (she looks at DR. SAPIEN) I have to tell them.
DR. LEIGH SAPIEN: It's called Re-Birthing.
NICK: Re-Birthing?
DR. LEIGH SAPIEN: It's a technique used to treat extreme behavioral disorders.
Idea is to turn back the clock. Wipe the slate clean. Allow the child to re-
bond with his mother.
CATHERINE: What is the blanket for?
DR. LEIGH SAPIEN: It represents the birth canal.
CATHERINE: So you wrapped Dylan up ... beat the hell out of him and hocus-
pocus, he's supposed to love you again?
DR. LEIGH SAPIEN: Rebirthing may not be a recognized therapeutic procedure, but
it's not illegal.
SGT. O'RILEY: Last time I checked, murder is.
MRS. BUCKLEY: I begged her to do it.
DR. LEIGH SAPIEN: All other methods of therapy had failed. Dylan was becoming
more belligerent, withdrawn, even dangerous.
MRS. BUCKLEY: I just wanted my son to love me. That's all.
DR. LEIGH SAPIEN: Dylan was a willing participant.
SGT. O'RILEY: He was 14.
DR. LEIGH SAPIEN: I instructed Dylan to lie down on the floor. In a fetal
position. As part of the process ...
(Flashback during (v.o.): DYLAN BUCKLEY in his boxers. DR. SAPIEN and MRS.
BUCKLEY are in the living room also. Flash to white. DYLAN BUCKLEY on the tan-
colored blanket. Flash to white to present. Camera hold on CATHERINE.)
DR. LEIGH SAPIEN: ... I asked him if he wanted to be reborn to his mother. He
said yes.
(Flashback: DR. SAPIEN and MRS. BUCKLEY gathering the edges of the blanket and
effectively wrapping the blanket around DYLAN.)
DR. LEIGH SAPIEN: Now we're going to close the womb. And twist it.
(End of Flashback. Resume Present. Camera on NICK.)
NICK: So, then what happened? Things got out of hand? He changed his mind?
(MRS. BUCKLEY covers her eyes as she begins to cry.)
CATHERINE: Somewhere in the middle of an angora birth canal?
(Flashback: DR. SAPIEN and MRS. BUCKLEY hold the blanket closed as DYLAN begins
to struggle inside.)
DR. LEIGH SAPIEN: It's time to be reborn. That's it, Dylan. Push harder, push
harder! Harder ...
DYLAN BUCKLEY: Mom, stop it! I can't breathe!
DR. LEIGH SAPIEN: Push hard.
DYLAN BUCKLEY: Mom, please just stop!
DR. LEIGH SAPIEN: Do you want to be reborn or stay in there and die?
DYLAN BUCKLEY: Quit pushing on me, please! Mom, please, I want this to stop.
MRS. BUCKLEY: ... maybe we should ...
DR. LEIGH SAPIEN: No, this is what happens. We can't stop now. Trust me. This
is the normal response.
(End of Flashback. Resume Present. Camera on MRS. BUCKLEY.)
MRS. BUCKLEY: I thought it was part of the process. She told me that that's
what he was supposed to say. That babies don't want to come out.
DR. LEIGH SAPIEN: That's right.
MRS. BUCKLEY: That that's why it's such an ordeal for the woman.
CATHERINE: So you pushed on him like a mother in labor?
(Flashback: DR. SAPIEN and MRS. BUCKLEY hold the blanket closed as DYLAN
continues to struggle inside.)
DR. LEIGH SAPIEN: Come on. Push harder.
DYLAN BUCKLEY: No, mom, I can't breathe!
(DR. SAPIEN and MRS. BUCKLEY hold the blanket closed as DYLAN continues to
struggle inside.)
DR. LEIGH SAPIEN: Push harder! (DYLAN continues to fight against them.)
That's it.
(DYLAN'S stops struggling. DR. SAPIEN and MRS. BUCKLEY open the blanket.
DYLAN'S not moving.)
MRS. BUCKLEY: Dylan? DYLAN? HONEY?
(End of Flashback. Resume Present. Camera on MRS. BUCKLEY.)
DR. LEIGH SAPIEN: When we opened the blanket, his eyes were closed. I thought
he was pretending to be asleep.
NICK: So much for your ... therapy.
(Both DR. SAPIEN and MRS. BUCKLEY look at NICK. NICK stands and leaves the
room.)
NICK: Excuse me.
MRS. BUCKLEY: And that's why we tried to hide it. We knew you wouldn't
understand.
(Camera holds on CATHERINE.)
CUT TO:
SCENE #34:
[INT. CSI LAB]
(WARRICK is processing IAN WOLF'S wire cutters. GRISSOM and SARA watch.)
WARRICK: Twin moons of Venus.
GRISSOM: Overlap to one.
WARRICK: Striations match.
SARA: Wolf stuck a nail in Valenti's boot, compromised the drill and cut the
grounding prong with his own cutters.
WARRICK: Seems like a lot of work to kill a guy.
GRISSOM: Not for an electrician I'm going to find Brass.
(GRISSOM starts to leave the room. WARRICK stops him.)
WARRICK: Hey, Griss. I think I can speak for both of us when I say I'm sorry
that we let you down.
SARA: We quit before we should have.
GRISSOM: Yeah, you did.
(GRISSOM leaves. Camera holds on SARA and WARRICK.)
CUT TO:
SCENE #35:
[INT. CONSTRUCTION SITE -- NIGHT]
(Sounds of construction hammering and drilling. BRASS, followed by GRISSOM and
a couple of officers find IAN WOLF at the construction site.)
BRASS: Mr. Wolf. We got you for murder. Premeditated.
IAN WOLF: You know this from my cutters?
GRISSOM: They're just part of the story.
(Flash to white: FLASHBACK POV showing us IAN WOLF opening ROGER VALENTI'S
locker, pulling out his right boot and sticking a nail on the bottom, pressing
it in with his thumb.)
GRISSOM: (v.o.) You spiked Roger's boot with the nail -- compromised the
insulation.
(Flash to white. Resume Present. Camera on GRISSOM.)
GRISSOM: You reversed the polarity in his drill.
(Flash to white: Flashback POV showing us IAN WOLF on the floor cutting the
drill's grounding prong with his wire cutters. Flash to white. A pair of wire
cutters slipping out of a plastic thermos being placed on the ground.)
GRISSOM: (v.o.) You cut the grounding prong, planted evidence. And killed a
man.
(Flash to white. Resume Present. Camera on GRISSOM.)
(Flash to white. Flashback shows us ROGER VALENTI picking up his drill, the
electricity coursing through his body, his hard hat falling off his head to the
ground below, getting electrocuted and falling off the 12th floor to the ground
below.)
(Flash to white. Resume Present. Camera on IAN WOLF.)
BRASS: You're under arrest.
CUT TO:
(The officers handcuff IAN WOLF and escort him to their cars. On their way out,
they run into THE SHERIFF.)
SHERIFF BRIAN MOBLEY: Grissom.
BRASS: (to GRISSOM) It's all you, man.
(BRASS goes with IAN WOLF. GRISSOM heads off to talk with THE SHERIFF.)
GRISSOM: Sheriff.
SHERIFF BRIAN MOBLEY: You got the bad apple.
GRISSOM: Yeah, how about that? Just in time for my big "public apology".
SHERIFF BRIAN MOBLEY: I may be changing the tenor of that piece somewhat. You
won't be the goat but you won't be the hero, either.
GRISSOM: Good, I leave that to you.
SHERIFF BRIAN MOBLEY: That's why we will continue to work well together.
(GRISSOM walks away without saying anything.)
SHERIFF BRIAN MOBLEY: Grissom ...
FADE TO BLACK.
