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#212 : Des fleurs mortes

Grissom et Sara enquêtent sur le meurtre de deux personnes, retrouvées cachées dans un chantier de construction au beau milieu d'un champ de luzerne, alors que Catherine et Nick enquêtent sur un prétendu accident de chasse. L'enquête menée sur le meurtre ayant eu lieu sur un chantier de construction révèle que les deux victimes étaient soeurs et que l'une d'elle entretenait une relation avec un ancien détenu, qui est aussitôt soupçonné, particulièrement lorsque l'equipe atteste, à l'aide des indices retrouvés sur place, qu'il était présent sur le lieu du crime. Pendant ce temps, Catherine et Nick commencent à douter sérieusement que la personne retrouvée morte dans les bois est la victime d'un accident de chasse regrettable. 


3.75 - 8 votes

Titre VO
You've Got Male

Titre VF
Des fleurs mortes

Première diffusion

Première diffusion en France

Plus de détails

Ecrit par : Mark Dube & Corey Miller
Réalisé par : Charlie Correll

Avec : Eric Szmanda (Greg Sanders), (Docteur Al Robbins), Geoffrey Rivas (Detective Sam Vega), Gerald McCullouch (Bobby Dawson), David Berman (Dr David Phillips), Wallace Langham (David Hodges) 


Guests :

  • Amanda Wyss ..... Donna Marks 
  • Holly Fulger ..... Madame Jasper 
  • Clayton Rohner ..... Park Ranger 
  • Rodney Rowland ..... Gavin Pallard 
  • Kirk B.R. Woller ..... Directeur de la prison 
  • Robia LaMorte ..... Joan Marks 
  • Thomas Kopache ..... James Jasper 
  • Nick Chinlund ..... Mickey Rutledge 
  • Amanda Righetti ..... Adolescente 



(Overhead view of dry land outside the city.)


SCENE #01:


(Camera cuts to a view of open plains and dry fields.  Just over the hill is an empty construction site with large machinery, white pipes and other materials.)

(In the background, we hear a horse neighing and off in the distance, we can see a single horse and rider approaching the site.)

(Cut to a closer view as the horse and rider approach the site.)

(The horse starts to struggle against the rider.)

RIDER:  What is wrong with you?

(She gets off of the horse, puzzled at what could have gotten the horse spooked.  As she checks out the large pipe directly in front of the horse, she finds a dead body hidden inside.)


SCENE #02:


(BRASS and GRISSOM check the dump site out.  All around them, the field is covered with officers.)

GRISSOM:  A girl in a culvert pipe ... at a highway construction site in the middle of an alfalfa field. 

(BRASS waits for GRISSOM to finish.  GRISSOM looks at BRASS.)

GRISSOM:  You got anything to add?

BRASS:  Nothing as poetic. 

(BRASS reaches into his coat pocket for his notebook and starts to read from it.)

BRASS:  Just, uh, road crew took off at 3:00.  Body was discovered 5:15.

GRISSOM:  Who found the body?

(BRASS turns to indicate the girl standing next to her horse just beyond the police tape.)

BRASS:  Our friend, Flicka.

GRISSOM:  Well, there goes that theory.

BRASS:  What's that?

GRISSOM:  Whoever finds the body is the first suspect.

SARA:  (o.s.)  Uh, Grissom ...

(GRISSOM turns to see SARA standing next to another culvert pipe. He and BRASS walk over to her.)

GRISSOM:  What do you got?

SARA:  The one thing you don't want to find at a murder scene.

(On the ground next to the culvert pipe, he sees it.)

GRISSOM:  A second body ...




SCENE #03:


(GRISSOM and ROBBINS stand between the two bodies on their respective tables. The wall clock reads 6:00.)

ROBBINS:  Who'd you like to start with?

GRISSOM:  Which one died first?

ROBBINS:  Identical body temps and vitreous humor.  Both women died approximately 12 hours ago.

GRISSOM:  My Uncle Phil used to say you can't kill two birds with one stone.

ROBBINS:  All I can tell you is cause of death.  Injury to the cervical spine. Looks to be hands-on.

(Quick POV of the dark-haired deceased's neck.  View changes to an X-Ray POV where we can see her spine and neck.  Her spine breaks.  End of POV.  Resume to present.)

GRISSOM:  Somebody snapped her neck.

ROBBINS:  She died instantly.  Now, the blond.

(They turn to the other body.)

ROBBINS:  Contusion to the forehead, not fatal.  Whatever cut her face cut her
arm.  I found glass in all the incised wounds.  Except for these abrasions on
her neck.

(Camera close up of the scratches on her neck.)

GRISSOM:  Fingernails maybe.  Possible sign of struggle.

ROBBINS:  I swabbed the abrasions for foreign DNA sent it to the lab.

GRISSOM:  Cause of death?

(ROBBINS shows him the cut on her upper right arm.  Camera close up of the cut
moves to a CGI POV of the artery and a piece of sharp glass cutting the artery. 
The artery bleeds.  End of CGI POV.  Resume to present.)

ROBBINS:  Severed brachial artery.  She bled out.

GRISSOM:  Something doesn't seem right. 

(GRISSOM turns to the dark-haired body.)

GRISSOM:  Brunette ...

[CLOSE-CAPTIONED-GRISSOM:  Look at her neck.]

GRISSOM:  Elaborate tattoos ... perfectly dyed hair. 

(He shows ROBBINS her left ear with multiple piercings.  He lifts up the sheet
and shows him her pierced navel and scorpion tattoo.)

GRISSOM:  Multiple body piercing.  Tells me she craved attention.


GRISSOM:  Blonde ... seems almost prosaic.  She doesn't even have pierced ears. 

(GRISSOM looks under the sheet.)

GRISSOM:  She didn't shave her legs.

ROBBINS:  A wildflower and a wallflower.

GRISSOM:  So, besides time of death, what do our dead flowers have in common?



SCENE #04:


(The PARK RANGER leads CATHERINE, NICK and DAVID PHILLIPS out to the dead body
leaning against the tree.  DAVID puts his kit down and checks out the body.)

PARK RANGER:  Found his SUV in the turnout after closing so I scoped out the
area.  He should've been wearing his orange vest.

NICK:  Well, it looks like a through and through.

CATHERINE:  He bled out.

(NICK picks up the rifle.)

NICK:  Hunting rifle.  Winchester 70.

(DAVID takes out a thermometer and moves the deceased's arm aside.  The PARK
RANGER leans in curious.)

PARK RANGER:  Wait, what are you doing there?

DAVID PHILLIPS:  Checking liver temperature.  Estimating time of death.

(DAVID sticks the thermometer into the bullet hole.)

PARK RANGER:  Should be a total of five bullets.

NICK:  Four in the magazine, one in the chamber.  All accounted for.  This rifle
was never fired.

(CATHERINE snaps some pictures.  DAVID removes the thermometer and checks it.)

DAVID PHILLIPS:  88.6 -- ten degrees below normal.

CATHERINE:  So he died approximately ten hours ago.

PARK RANGER:  That would make it about 2:00 P.M.

DAVID:  Nick, Catherine, he's all yours.

CATHERINE:  Thanks, David.  Okay, let's see who you are ...

(DAVID moves aside.  CATHERINE reaches for the deceased's wallet and checks his

CATHERINE:  Nevada license.

[The Nevada Driver's License reads: 

LAS VEGAS, NV  89156
ENDORSE                  ]

CATHERINE:  James Jasper.

NICK:  When's hunting season?

PARK RANGER:  Deer season opened last week.  Record number of permits.

CATHERINE:  Well, you were right -- he should've been wearing his orange safety

(Quick flashback to a hunter with a rifle looking through its scope.

CATHERINE:  (v.o.)  Hunter lays in wait, spots a deer.   Hunter fires ...

(The hunter looks down the scope and fires.)

CATHERINE:  (v.o.)  ... deer takes off ... but the bullet keeps going until it

(The camera follows the bullet.  The dear takes off, but the bullet pierces
whatever is in its path.  The bullet, in this case, pierces some brown-colored
material.  End of flashback.  Resume to present.)

NICK:  No bullet in the body.

(NICK kneels down and checks the tree.)

NICK:  No bullet in the tree.

CATHERINE:  It's got to be somewhere.


SCENE #05:


(GRISSOM walks into his office reading a file and carrying his case.  He's
smiling.  He closes the file.  SARA walks in.)

SARA:  I processed the crime scene.   Lots of treads and tracks, but nothing

GRISSOM:  What about the culverts?

SARA:  I came up empty.  I worked from the victims out till I hit the highway. 
Nothing.  Nothing to process, no follow-up, zip. 

(GRISSOM turns around and gives SARA the "look" which she recognizes

SARA:  You have something.

GRISSOM:  Print lab ID'd one of the vics.

SARA:  Blond or brunette?

GRISSOM:  Brunette.  Joan Marks.  At 18, she was booked for felony shoplifting. 
Lived at home, we got the address.  Warrick grabbed a uniform.  He's on his way
there with a warrant.


SCENE #06:


(Through a night scope POV, NICK scans the woods hoping to find something.  He
takes a couple of steps, turns and tries again.  This time, he finds a bullet
lodged in a tree.  He smiles.)

(NICK walks up to the bullet in the tree.  He calls over his shoulder.)

NICK:  Catherine!

CATHERINE:  You find the bullet?

(CATHERINE walks over.)

NICK:  Yeah.  But how am I going to get it out of there without damaging it.

(NICK sighs.)

CATHERINE:  You know what the textbook says -- if you're not a hundred percent
sure how to collect it, bring the whole thing in.

(NICK looks up at the extremely tall tree.)

NICK:  Yeah, I'll figure it out.

(CATHERINE smiles, pats him on the shoulder, then leaves.)




SCENE #07:


(GRISSOM and SARA check in with the officer outside.  They walk into the garage
carrying their kits.)

(Cut to:  SARA opens the car door and sits in the car behind the wheel.  GRISSOM
opens the passenger door and kneels down to look inside.)

SARA:  Twelve hundred miles and it's an older model.  Driver doesn't get out

(GRISSOM opens the passenger door and looks in the glove compartment.  He pulls
out the car registration paper.)

GRISSOM:  Registered to a Donna Marks.

SARA:  Could be our blond.  Related to Joan Marks.  I'll check with DMV.

(WARRICK walks up to the car.  GRISSOM and SARA stand up.)

WARRICK:  I already did.  28 years old, blonde, blue eyes, 125 pounds, five-six 
...  sound familiar? 

SARA:  That's her.

WARRICK:  Uniform's talking to a neighbor.  Donna is Joan's older sister.

GRISSOM:  (chuckling):  Well ... we know what they have in common now, don't we?

WARRICK:  Genetics.  House belonged to their mother.  Donna's lived here alone
since their mother died.  Joan lived in Henderson.  The real action's around


SCENE #08:


(On the outside patio floor, there is broken glass everywhere.  Markers are on
the ground where evidence needs to be examined.  WARRICK shows GRISSOM and SARA
the broken glass door.)

WARRICK:  If the highway was the dump site, this is the primary.

GRISSOM:  Makes sense.  The blonde's lacerations were filled with glass.

SARA:  She went through that door.

GRISSOM:  From inside out.

(GRISSOM and SARA walk into the kitchen and look at the broken door.  WARRICK
crosses under the police tape.)

SARA:  To take out one of these doors you need some serious momentum. 

WARRICK:  No doubt.  I'm going to collect the glass.  And then I'll start with
the doorframe.

GRISSOM:  How are you at solving puzzles?

WARRICK:  You're the puzzle guy.

GRISSOM:  I have a hint for you.  When they cool sheet glass, they lay it out on

WARRICK:  So the side that kissed up to the tin will fluoresce under UV.

SARA:  Still going to be a long couple of days at the lab.

WARRICK:  I got some imprints on these blood spots here. 

(GRISSOM and SARA both kneel to look at what WARRICK'S looking at.  In front of
marker #2, there's a partial shoe print in blood.) 

WARRICK:  Looks like the killer may have stepped in Donna's blood.

SARA:  Or maybe her sister stepped in it.  There was some blood on Joan Marks'
right shoe. 

(Quick flashback to SARA looking down at the body's right shoe.  End of
flashback.  Resume to present.)

WARRICK:  Hmm. That would place Joan at the house.

GRISSOM:  And establish a timeline.

SARA:  If Joan did step in Donna's blood that would mean that Donna was injured
and bleeding while Joan was still walking around.


(GRISSOM stands and walks into the kitchen.  He stops to look at the
refrigerator and notices the take out order sheets pined to the door.  The first
is for "Pizza Land #2" (Italian Kitchen), the second for "Capt Krauser Cookin"
(Free Delivery) and the third for "Free Delivery [(702)-555-2438].  SARA also
stands to see what GRISSOM'S looking at.)

(GRISSOM puts on his gloves and opens the refrigerator door.  Inside are
containers of take-out food.  He reaches in and opens the top container. He
smells it and holds it out for SARA to smell.)

SARA:  Sweet and sour pork.

GRISSOM:  It smells fresh.

(He puts it back on the shelf.  He grabs another opened container in the back of
the refrigerator, smaller than the first.  He smells it.)

GRISSOM:  More sweet and sour.

(He holds it out for SARA to smell.  She immediately reacts to the age of the

GRISSOM:  Mostly sour.

SARA:  Single servings in the back, spoiled.  Family sized boxes in front, one
or two days old.

(GRISSOM picks up another container and opens it.  Inside there are four spring

GRISSOM:  What do you think?  Increase in appetite, or ... perhaps a guest?


SCENE #09:


(SARA pushes the door to the study open.  She and GRISSOM both walk inside. 
Against the far wall behind the door are a stack of fedex boxes.  The computer
on the desk is still on.)

GRISSOM:  Universal remote.  She could do everything she wanted from this chair
but cook a roast.

(GRISSOM sits down behind the desk.)

SARA:  Well, we already know she cooks like I do -- takeout on speed dial. 

(SARA riffles through the stack of catalogs on the desk.)

SARA:  Pottery barn, Lillian Vernon magnolia, Yafa Pen ...  She's a catalogue
junkie -- we're on the same mailing lists.

GRISSOM:  Catalogues, the internet, mail order, takeout ...  1,200 miles on her
car.  Agoraphobic maybe?  Or she just doesn't like people?

SARA:  (smiling)  Ah, that's you talking.

(GRISSOM looks at SARA.)

SARA:  I'll haul in her PC, check her e-mail look in on her social life.

(SARA turns around and looks at the bathroom.)

SARA:  Hey ... the toilet seat's up.

(GRISSOM turns around and looks at the bathroom.  He sees it, too.)

SARA:  There was a man here.




SCENE #10:


(CATHERINE turns the hallway corner.)


(CATHERINE walks up to NICK.)

CATHEIRNE:  Tell me what you got?

NICK:  Coroner said it's cut and dry.  Bullet severed an abdominal artery.

CATHERINE:  Trajectory?

NICK:  Front to back.  Straight across.  Round entered one inch to the right of
the umbilicus.  Bullet's with ballistics.  Vega's got the widow.  They're ready
for us.


SCENE #11:


(CATHERINE, NICK and DET. VEGA interview MRS. JASPER.  She speaks slowly, still
stunned by the news.)

MRS. JASPER:  Jimmy left early, before I got up.  When he didn't come home for
dinner I just figured that he got himself a deer.

NICK:  Did he go by himself?

DET. VEGA:  He took a day off of work in the middle of the week?

MRS. JASPER:  Well, um, we had both been laid off recently.  He was in
insurance.  He was an auditor.

CATHERINE:  And how was your husband handling that?

MRS. JASPER:  Well, you know, he was okay.  I mean, uh ... we had to borrow
money from his folks to pay the rent.  That was hard on him.

(She turns to CATHERINE.)

MRS. JASPER:  I have to call them.  I haven't called them, I ...

(She moves to stand up.  CATHERINE stops her.)

CATHERINE:  Mrs. Jasper, was your husband an experienced hunter?

MRS. JASPER:  Yes.  Since he was a kid.  (sighs)  He always looked forward to
deer season.  But, with the baby and all, he missed the last few.

(She starts to cry.)

MRS. JASPER:  It's me.  Isn't it?  I encouraged him to go.  I thought that it
would help him take his mind off things.  Oh ... what am I going to do?

(DET. VEGA and NICK look at each other.)

NICK:  Can you think of any reason James wasn't wearing a safety vest?

MRS. JASPER:  (sighs)  No.  I mean, he was always so careful.  That doesn't
sound right.


SCENE #12:


(GRISSOM turns the corner and enters the lab.  He stops and stands in front of
GREG.  GREG looks up from his scope.)

GREG:  If you're here about the blood on Joan Marks' shoe, I already told Sara. 
I'm backed up.

GRISSOM:  I'm here about foreign DNA on Donna Marks' neck.

GREG:  Oh.  Well, on that, I got an ID. 

GRISSOM:  You found a match in CODIS?

GREG:  Nope, but I ran a DNA profile on both victims.  What do all sisters have
in common?  DNA.

(GREG hands GRISSOM the test results.)

GRISSOM:  You're saying that Donna's sister scratched her?

(Quick flashback to:  Close up of DONNA MARKS' neck.  A woman yells out. 
Another female hand scratches the neck leaving behind bloodied marks.  End of
flashback.  Resume to present.)

(GREG makes a cat hissing sound complete with hand motions.)

GREG:  So, did I solve the case?

GRISSOM:  No, Greg, you didn't.  But you've helped.

(GRISSOM leaves.  Camera holds on GREG.)


SCENE #13:


(BRASS turns the corner and walks rapidly down the hallway.  SARA turns the
corner behind BRASS and shouts to get his attention.  She rushes to catch up
with him and together they continue down the hallway.)

SARA:  Hey, Brass.  Heard the database kicked out a Temporary Restraining Order. 
Joan Marks against her old boyfriend.

BRASS:  I'll do you one better.  The old boyfriend, Gavin Pallard had one
against her.

SARA:  Tit for tat.

BRASS:  They both filed last month. 

(BRASS stops in front of a room.  He turns to look at SARA.)

BRASS:  Want to find out why?

(SARA smiles at the invitation.)

SARA:  Don't mind if I do.

(BRASS opens the door and they both enter the room..)


SCENE #14:


GAVIN PALLARD:  See this?  (GAVIN PALLARD points to a small scar to the right of
his chin.)  Didn't get this french kissing.  Joanie had a temper.  Punctuated
her sentences by throwing furniture.  Made it hot, you know.  We'd break up to
make up.

(BRASS and SARA interview GAVIN PALLARD, JOANIE MARKS' (ex)-boyfriend.)

BRASS:  What about the last time?

GAVIN PALLARD:  Look, the whole T.R.O. business ... she'd been in and out of my
house three times.  Couldn't stay away.

SARA:  According to you.  When did you see her last?

GAVIN PALLARD:  Yesterday.  I dodged a coffee pot.  She hit the road.

SARA:  What was she driving?

GAVIN PALLARD:  My Thunderbird.  I'd lent it to her, and used my bike.  But, um,
you know ... I'd like it back now.

BRASS:  When we find it.

SARA:  Did she tell you she was going to her sister's?

GAVIN PALLARD:  No.  Why would she go there?  It's oil and water.  And Joanie
liked action.  Real partier.  Last party Donna went to was her third birthday.

SARA:  What about you?  You been to Donna's house recently?

GAVIN PALLARD:  No.  Boring.  Was always glued to her computer.  Plus Joan
thought Donna owed her rent and ... the house was in both their names, so ...

SARA:  May I ... see the bottom of your shoes?


SARA:  Why not?

(Thinking nothing of it, GAVIN PALLARD swings his legs up and rests his feet on
the table, soles of his shoes facing SARA.  SARA uses her flashlight and
examines the bottom of his shoes.  She finds blood stains.)

SARA:  (smiles)  I like the shoes.  I like them enough to get a warrant.

(Camera holds on GAVIN PALLARD.)


SCENE #15:


(NICK and CATHERINE walk to the Ballistics Lab.  BOBBY DAWSON sees them coming.)

BOBBY DAWSON:  I was just calling you.

CATHERINE:  You were?

(NICK and CATHERINE walk into the lab.)

BOBBY DAWSON:  Yeah, carved your bullet out of that hunk of tree.  Ah ... you
know, a bullet's only this big. 

(BOBBY holds his index finger and thumb an inch apart to show the length of a

BOBBY DAWSON:  Y'all gave me a pound of redwood.

CATHERINE:  That's cottonwood.

BOBBY DAWSON:  You should know.  (beat)  Heard you wanted Nick to chop down the
whole tree.

(BOBBY grins.)

CATHERINE:  (smiling)  I did.

NICK:  Tell us about the bullet now.  Striations, lands, grooves?

BOBBY DAWSON:  I found some discoloration on the bullet's tail.  Check it out.

(CATHERINE looks at the bullet BOBBY DAWSON'S holding under the magnifying

CATHERINE:  Ah, oxidation.

BOBBY DAWSON:  Yeah, copper jacketed.  The tail was exposed.

NICK:  Oxidation takes a lot more than 24 hours.

BOBBY DAWSON:  Yeah, no way to backdate it, but it's definitely older than
y'all's crime scene.

(DET. VEGA knocks lightly on the door and enters the lab.  He has a clipboard
with him.)

DET. VEGA:  How's it going?

CATHERINE:  Well, we've got the wrong bullet but the case still seems like a

NICK:  Yeah, nothing we have says that it wasn't a hunting accident.

DET. VEGA:  Insurance policy, two months old.  A million bucks goes to the

(DET. VEGA hands the clipboard to CATHERINE.)

NICK:  She was crying poverty when she was in the money?

DET. VEGA:  There's more.  It wasn't purchased by Mr. Jasper.

CATHERINE:  She bought it?

DET. VEGA:  Monthly installments taken on Mrs. Jasper's credit card.

CATHERINE:  He's in the insurance business and she buys a policy behind his

(NICK looks at CATHERINE.)

NICK:  We've got to find that bullet.

(She nods.)


SCENE #16:


(WARRICK starts to flip over the pieces of glass taken from the patio floor.)

(Using the hint given to him by GRISSOM earlier, he turns the light off and uses
a hand-held ALS.  He flips the pieces over to make them face the right way.)

(Dissolve to WARRICK making sure that all the pieces are flipped the right way.)

(Dissolve to top view of WARRICK, under regular light, putting the glass pieces
together like a big puzzle.)

(Dissolve to WARRICK standing and working on the left side of the table.  More
of the glass is in order.)

(Dissolve to WARRICK standing and working on the back side of the table.  Most
of the glass is in order.)


SCENE #17:


(Camera close up of the front page to Internet Online.  SARA clicks on "Mail
Shop" and it takes her to DONNA MARKS' e-mail.)

SARA:  (o.s.)  Donna Marks was a telecommunicator.  Liked to shop.  Mail order,
over the phone.  I retrieved lots of email confirmations.

(SARA is speaking to GRISSOM who looks at the monitor over her shoulder.)

GRISSOM:  If she shopped online why'd she place orders over the phone?

SARA:  Need for human contact.

GRISSOM:  Without physical contact?

SARA:  She spent time in chat rooms.  Book clubs, home crafts collected fountain

GRISSOM:  Personal e-mails?

SARA:  Only one buddy on her buddy list.  Screen name's "Apollo."

GRISSOM:  Pull up his most recent.

SARA:  That would be three days ago.  (reading)  "I know it sounds weird, but
... my life began when I first heard your voice ..." 

(Quick flashback to DONNA MARKS sitting in front of her computer reading the e-
mail out loud.)

DONNA MARKS:  "... when you said my name, it felt so right.  Did you feel it,

(End of flashback.  Resume to present.)

(SARA and GRISSOM look at each other.)

SARA:  It's easy to wear your heart on your sleeve when you're not looking in
his eyes.  He said her name so their relationship must've extended beyond the

GRISSOM:  So, what do we know about this "Apollo"?

(SARA pulls up another screen.)

SARA:  You know that garbage those numbers at the bottom of every email?


SARA:  It's actually a unique number that registers the location of the sender's

GRISSOM:  An address?

(The screen runs a program to search the location for the IP Address: 
417.216.55.69.  After a moment, the computer beeps that the IP Address has been

(The computer spits out seven IP Addresses.  It blinks on screen as it locates
the street address and location.)

SARA:  Internet Protocol Address.  CSI has access.  Seven different IP addresses
means he used seven different computers.

GRISSOM:  That's strange.

SARA:  Could be a network.

(The computer beeps.)

SARA:  "23000 Ganza Avenue, Ely, Nevada.  Western Nevada Correctional Facility."

GRISSOM:  Her greek god is in the slam.

(SARA turns to look at GRISSOM.)



SCENE #18:


(The WARDEN escorts GRISSOM into the facility from the outside.  They walk
through the hallway)

WARDEN:  Like it or not, prison is a business.  This facility is privately
owned.  Contract with the state.  Our aim is simple:  Customer Satisfaction.

GRISSOM:  The key to any successful business, huh?  Word of mouth.

WARDEN:  A body in every cot.  Criminals are cutting deals to get sent here.

GRISSOM:  I imagine.  It's like a theme park.

WARDEN:  More guys through the turnstile, more money we make.

(They come to a door and a guard buzzes them in.)

GRISSOM:  So, as long as I'm in business, you're in business. 

WARDEN:  K'ching.


(They enter a room where the inmates are telephone operators and work on
computers.  There are guards posted inside the room.)

GRISSOM:  Are your inmates allowed to use e-mail anywhere else but here?

WARDEN:  No, personal computers are prohibited.  But they're allowed to surf the
web, send and receive e-mail?  Only at these terminals.  And all internet
activity is strictly monitored.

(GRISSOM looks around the room.  We can hear some of the inmates taking down
telephone orders.)

INMATE #1 (OPERATOR):  The blouse comes in Laguna Blue, Amazon Green and
Tahitian Red, which is our most popular color.

INMATE #2 (OPERATOR):  How would you like that shipped?  UPS?  Second day air? 

(GRISSOM turns around and faces the WARDEN.)

GRISSOM:  Something tells me state funds aren't your only source of revenue.

WARDEN:  We have contracts with several retailers.  Perfectly legal.

GRISSOM:  So, let me get this straight.  I receive a catalog in the mail.  I
call a toll-free number to place an order and I'm giving my personal credit card
information to a "Hello, I'm doing 'time-life'" operator?

WARDEN:  Once the order's routed to the fulfillment center only the retailer has

GRISSOM:  All right, let's cut to the chase.  I'm investigating the deaths of
two young women one of whom was having a "relationship" with an inmate at this
facility.  I need to speak to that inmate.  His e-mail alias is "Apollo."

WARDEN:  I'll check the log.

(The WARDEN walks off to one of three clipboards hanging on the wall.  He takes
the clipboard and returns to GRISSOM.)

WARDEN:  I'm sorry, I can't help you.

GRISSOM:  I can get a warrant.

WARDEN:  Won't do you much good.


WARDEN:  Mickey Rutledge, aka "Apollo," was released three days ago.

(Camera holds on GRISSOM.)



SCENE #19:


(WARRICK picks off a dark-colored fiber off of a piece of clothing.  He cuts the
tip off of the fiber and looks at it again under the magnifying glass.)

(SARA enters the lab.)

SARA:  Hey.


SARA:  How's the glass puzzle going?

WARRICK:  Still putting it together.  I'm just doing a trace on Donna Marks'
clothing and I came across this fiber.  Look at this cross section.

(SARA leans in and looks at what WARRICK is holding.  Camera zooms in to the
fiber for a close up.)

SARA:  Triangular.  That means it can't be clothing fiber.

WARRICK:  Yeah, short and coarse.  Car upholstery?

(SARA takes a couple of steps back.)

SARA:  Yeah ... but that still doesn't get us anything.  We found both vics near
the freeway.  We've been thinking vehicle transport from the start.

WARRICK:  Well, it's from black upholstery.  What color was the boyfriend's
missing thunderbird?

SARA:  I'll ask him ... and his lawyer.  The blood from his shoe was consistent
with Donna Marks' DNA-- he lied.  He was at the house.

WARRICK:  Really?  What about the blood from Joan Marks' shoe?

SARA:  Also a match.  Joan and Gavin ... both stepped in Donna's blood.

(WARRICK nods as he thinks about it.)


SCENE #20:


(SARA and BRASS question GAVIN PALLARD with his lawyer sitting next to him.)

GAVIN PALLARD:  Fine, I went there.

SARA:  We already know that.

BRASS:  We're looking for, "Fine I went there ... and..."

LAWYER:  My client went there after the fact.  He was looking for his girlfriend
-- didn't find her.

BRASS:  Right ... he found a crime scene.

SARA:  Broken glass a pool of blood.

BRASS:  But you didn't call 9-1-1.

GAVIN PALLARD:  I was scared. I took off.  Besides, there was a restraining
order against me.

SARA:  Gavin, what color's your car?  Your missing Thunderbird?

GAVIN PALLARD:  Blue, why?

SARA:  Interior?

GAVIN PALLARD:  Black ... did you find it?

BRASS:  Not yet.

SARA:  But we will.


SCENE #21:


(CATHERINE and NICK prepared to look for the missing bullet.  They both wear
their orange safety vests.)

CATHERINE:  (o.s.)  Okay, the tree is a point of reference.

NICK:  Yeah, and since the bullet didn't hit the tree, and the blood's to the
west, then the through-and-through defines our search area.  The furthest drop
of blood is here ... (NICK indicates where he's standing.) ... The spatter seems
to be confined to a 45 degree angle.

(CATHERINE stretches a rope in one direction ... )

CATHEIRNE:  So the bullet should be somewhere between your rope and mine.

NICK:  Yeah, we've reduced a 360 degree crime scene to a 45 degree angle.

( ... NICK takes his rope and stretches it in another direction.)

CATHERINE:  Congratulations to us.  Still a needle in a haystack.

(NICK laughs.)


(CATHERINE and NICK both look for the bullet on the ground using metal
detectors.  For each time the metal detector beeps, they drop a marker.)

(CATHERINE walks by marker #2.  The next marker she holds in her hand is marker

(Cut to:  NICK sweeps the ground and hears a beep.  With his foot, he
straightens marker #13.)

(Cut to:  CATHERINE hears a beep and places marker #6 on the ground.  Cut to
CATHERINE straightening marker #8 on the ground.  She stands.)

(Cut to overhead view of the two sweeping the 45 degree roped off area.)


(CATHERINE stops sweeping and pulls off her earphones.)


NICK:  Yeah?

CATHERINE:  Let's just pack it up.  The bullet couldn't have gone this far.

(NICK turns off his equipment and heads back.  CATHERINE also heads back.)


(CATHERINE and NICK bump into the PARK RANGER.)

PARK RANGER:  Hey... saw your, uh, Tahoe.  I didn't expect to see you guys back

CATHERINE:  Yeah, just tying up a few loose ends.

PARK RANGER:  Well, maybe this will help.  Your dead hunter, James Jasper,
didn't purchase a hunting license.

NICK:  Well, he was out of work.  Maybe he was trying to save money.

PARK RANGER:  A license is 24 bucks.  Hunting without one is a $1,000 fine and
up to six months in jail.

NICK:  Whoa.  Well, that's not worth the risk.  Maybe he wasn't up here to hunt?

CATHERINE:  We haven't heard a single shot all day.  Where are these hunters
that you talked about?

PARK RANGER:  You only hunt deer at dusk and at dawn.

NICK:  Right, right ... feeding time, it's ... when they're out in the open. 
What about other game?

PARK RANGER:  This time of year, only deer's in season.  You can take off those
vests if you want.

CATHERINE:  No one hunts during the day but the coroner placed Jasper's time of
death at 2:00 P.M.

NICK:  Yeah, that's an odd time for a hunting accident.


SCENE #22:


(SARA walks down the hallway.  She turns a corner and bumps into GRISSOM.)


SARA:  Hey.  Brass is holding the boyfriend on a TRO violation.  I'm going back
to the lab to process the prints we lifted from the toilet seat.  Guy claims he
was in and out.  I'm thinking no time to make a pit stop.

GRISSOM:  I processed the prints.

SARA:  (surprised)  You did?

GRISSOM:  They're not a match to Joan's boyfriend.

SARA:  What?

GRISSOM:  But ... we do have a match.

SARA:  Donna's cyber boyfriend?  I thought he was in jail.

GRISSOM:  Released last week.  His parole officer brought him in.


SCENE #23:


(GRISSOM and SARA interview MICKEY RUTLEDGE, aka "Apollo".  His lawyer sits next
to him.)

MICKEY RUTLEDGE:  You're fishing, I just got out of the joint.  I was never at
Donna's house.

GRISSOM:  We found your fingerprints on the toilet seat in her bathroom.

(The lawyer turns to look at MICKEY RUTLEDGE.)

MICKEY RUTLEDGE:  What, are you going to do?  Arrest me for flushing a toilet?

GRISSOM:  Well, unfortunately I can't arrest you for lying.

MICKEY RUTLEDGE:  (to his lawyer)  Help me out here, will you?

LAWYER:  Mickey, you have the right to an attorney.  But if you're not hiding
anything I suggest you answer their questions.

(He turns back to GRISSOM and sighs.)

MICKEY RUTLEDGE:  Look, we met over the internet.  We had a lot in common --
Donna understood my situation.  When I told her I was getting out ... well, she
invited me over.


(Quick flashback to:  DONNA MARKS opens her front door.  MICKEY RUTLEDGE is
standing in the front porch holding a bouquet of flowers.)

DONNA MARKS:  (shyly)  Hi.  No one's ever brought me flowers.

(MICKEY RUTLEDGE smiles, pleased with her response.)

(End of flashback.  Resume to present.)

MICKEY RUTLEDGE:  She served take-out ...

(He smiles as he remembers.  He even chuckles a little.)

MICKEY RUTLEDGE:  ... But what do I care?  It wasn't chipped beef.

(Quick flashback to:  MICKEY RUTLEDGE and DONNA MARKS eating dinner.  He has an
appetite.  She's pleased.)

DONNA MARKS:  (smiling)  How is it?

MICKEY RUTLEDGE:  Sweet and sour pork ... my favorite.

(End of flashback.  Resume to present.)

SARA:  So she invites you for lunch everything's great.  And somewhere between
the fortune cookies and sunset ... Donna and her sister are both murdered. 

(MICKEY RUTLEDGE stares at SARA for a moment.  He gives a nervous chuckle.)

MICKEY RUTLEDGE:  I think the sister's a piece of work.  Soon as we finish
eating, she shows up ... with an attitude.

(Quick flashback to:  JOAN MARKS standing in the kitchen and yelling at her

JOAN MARKS:  This is my house, too!

(DONNA MARKS finishes putting the food containers in the refrigerator and turns
around to look at her sister.)

DONNA MARKS:  I'm paying the taxes.

(DONNA MARKS looks past JOAN.  JOAN turns around and sees MICKEY RUTLEDGE
standing there.  She turns back to her sister.)

JOAN MARKS:  Who the hell is this?

(End of flashback.  Resume to present.)

MICKEY RUTLEDGE:  First thing I learned in the joint -- when inmates are
fighting, you make yourself invisible.  So I got out of there.

GRISSOM:  Six months ago, Donna Marks ordered a sweater and two scarves from
Magnolia Apparel.  You took the order.

MICKEY RUTLEDGE:  I took fifty calls a day.

GRISSOM:  How many of your callers invited you home and served you Chinese food?

(MICKEY swallows.  He glances over at SARA.)

GRISSOM:  When Donna placed her order for the clothes she gave you her email
address, didn't she?

MICKEY RUTLEDGE:  (nods)  Yeah ... she was lonely.  She struck up  a
conversation with me.  Reached out.  (to SARA)  Hey -- you know, I don't usually
meet girls like Donna.  She was nice.

SARA:  She was vulnerable.  No social life, no friends, not even a cat.  All she
had was her work.  She ordered from catalogs to give herself something to look
forward to.

GRISSOM:  You know, Mickey.  I don't think your intention was to kill.  All of
your priors are for non-violent activities, right?

MICKEY RUTLEDGE:  Look, I've been in the system, I know the law.  I admit, I was
there.  So what?

(He looks over at SARA and at GRISSOM.  He stands up and heads out the door.)

MICKEY RUTLEDGE:  You know where to find me.

(He opens the door and leaves.)

LAWYER  (to GRISSOM)  I'll keep my eye on him.

(The LAWYER closes his notebook and heads out the door.)

(SARA turns to GRISSOM.)

SARA:  Joan's boyfriend, Gavin Pallard -- blood on his shoe and a TRO.  Donna's
boyfriend, Mickey Rutledge -- opportunity and a rap sheet.  Both hid the truth
... until confronted with the evidence.

(GRISSOM looks away and considers it for a moment.)

GRISSOM:  Well, we know we have two liars.  Do we have a killer?

(GRISSOM looks at SARA.)




SCENE #24:


(WARRICK continues to work on putting the glass pieces together.  GRISSOM walks
in.  WARRICK looks up and sees GRISSOM.)

WARRICK:  Hey.  Point of impact.  It's, uh ... (WARRICK takes out a tape
measures and measures the point of impact.) ... sixty-... five inches from the

GRISSOM:  So what does that tell us?

WARRICK:  Well, Donna was five-six.  If she was thrown through that glass, the
point of impact would've been lower closer to the ground.

(Quick flashback to someone throwing DONNA MARKS through the glass door.  It is
noted that she falls through the glass low to the ground, lower than what it
actually is.  End of flashback.  Resume to present.)

GRISSOM:  She had multiple incised wounds.  But the only contusion was on her
forehead suggesting that that's where contact was made.  So she was standing
upright when she went through the door. 

(Quick flashback to:  DONNA MARKS on the inside of the kitchen.  She's standing
upright, turns, and walks into the glass door.  Once outside, she falls to the
ground.  End of flashback.  Resume to present.)

GRISSOM:  She walked through it.

WARRICK:  Are you saying it was an accident?

GRISSOM:  It's your science.

(SARA walks into the lab.  She looks at the completed glass on the table.)

SARA:  Nice work.

WARRICK:  Thanks.

SARA:  P.D. Found GAVIN PALLARD'S Thunderbird hidden off the I-69 five miles
from the dump site.

GRISSOM:  Hook up with auto detail, tow it in.


SCENE #25:


(Something yellow drips down on SARA'S goggles.  She wipes it away with her

(She rolls out from under the car.  GRISSOM is kneeling next to the front tires
waiting for her.  SARA sits up and removes her goggles.)

SARA:  Radiator's cracked.

GRISSOM:  Well, that might explain why Joan bought coolant twice in the last
week from a convenience store.  We ran her credit cards.

SARA:  Well ... whoever drove this puppy last filled up the radiator fluid but,
instead of coolant, they used water.

GRISSOM:  Either someone unfamiliar with the car, or ... someone in a desperate
situation maybe.

SARA:  Radiator cap.  I'll print it.

GRISSOM:  Good.  (GRISSOM reaches up and grabs a container, which he hands to
SARA.)  Grab me a sample of fluid, too, will you?

(GRISSOM stands and leaves.)


SCENE #26:


(NICK sprays something on JAMES JASPERS' clothing.)

NICK:  Gunshot residue.

CATHERINE:  Expect the unexpected.  GSR on the clothing means the victim was
shot at close range.

(Quick flashback to:  A gun being fired and hitting clothing.  End of flashback. 
Resume to present.)

NICK:  So now what?  We're thinking murder?

CATHERINE:  Or suicide.

NICK:  He never fired his rifle.  What'd he shoot himself with?

CATHERINE:  Okay.  But if he was murdered, we should've found some evidence of
the killer at the crime scene.

NICK:  Yeah, not to mention whoever shot him would've been eyeball-to-eyeball. 
Who could've gotten that close without Mr. Jasper putting up a struggle?

(CATHERINE looks at NICK, waiting for him to reach the same conclusion she's

NICK:  Somebody he knew.  I'm going to call O'Riley see if he's checked out Mrs.
Jasper's alibi.  I'll meet you at the car.

(NICK leaves the lab.)

CATHERINE:  All right.


SCENE #27:


(SARA walks down the hallway.  She passes by NICK as he leaves the lab.)

SARA:  Hey, Nick.

NICK:  Hey, Sara.  (He turns around.)  Hey, how's your case going?

(SARA stops and turns around.)

SARA:  You ever try to print a radiator cap?  Smudge city.

NICK:  Yeah.  Yeah, I know, it's impossible.  But it's just a radiator cap so
give yourself a break.

SARA:  Thank you.

(SARA starts to leave.)

NICK:  Hey, Sara ... (she stops and turns around again.) ... you gotta get out

(SARA stares at him.  NICK slowly backs away from SARA till he leaves the
hallway.  SARA turns back and continues down the hallway.)


SCENE #28:


(GREG holds up the sample of radiator water as he looks at it.  GRISSOM leans
against the table.)

GREG:  So you got this water from a radiator?


GREG:  Well, it ain't no Rocky Mountain Spring.

GRISSOM:  What is it, Greg?

GREG:  Nasty sodium count.  Potassium, phosphorus.

(GREG hands the test results to GRISSOM to look at.  GRISSOM looks up,

GREG:  (smiling)  You've got that look.  What did I say right?

(GRISSOM doesn't say anything.  He puts the test results back on the table and
leaves the lab.)


SCENE #29:


(CATHERINE and NICK walk through the woods.  NICK finishes up his phone call and
hangs up.)

NICK:  (on phone)  Okay.  Thanks for the info.  We'll keep you posted.  (hangs
up)  Well, Mrs. Jasper's alibi checks out.  She was at work from 2:00 A.M.  To
6:00 P.M.  Ate lunch at her desk.

(They reach the scene and put their kits down.)

CATHERINE:  She didn't kill her husband.

NICK:  Murder for hire?

CATHERINE:  A pro would've shot him in the heart.

NICK:  This guy was shot in the gut.  Bullet didn't even come close to his
spinal cord. 

(Quick CGI POV of the bullet piercing through the cloth, through flesh and
exiting out the back and through into the woods.  End of CGI POV.)

NICK:  Wait a minute now.  Abdominal injuries take time to bleed out.  But it
would've taken at least ten minutes for hemorrhagic shock to set in and he
would've been mobile.

CATHERINE:  Right.  But he never moved.  He was standing in front of this tree
when he was shot.  He didn't try to get to his car, get help, he just ... sat
down and waited to die.

NICK:  Yeah.  Yeah, I see where you're going here.  His injuries and his
behavior aren't consistent with murder.  But they're not consistent with suicide

CATHERINE:  Ninety-nine out of 100 suicides by gun ... muzzle to the mouth,
bullet to the brain.  But there's always just that one.

NICK:  Look, suicidals want it quick and painless.  Bleeding to death is slow
and painful.  Not to mention, he never fired his rifle.

CATHERINE:  No, the weapon we found was never fired.

NICK:  (laughs)  That-that's a big stretch.  He brought his rifle plus a spare?

CATHERINE:  He shoots himself in the gut leaving himself time to hide the

NICK:  Yeah, but there's no blood trail.  What'd he do with the spare, throw it
up a tree?

(NICK looks up at the trees above.  CATHERINE takes a walk out toward the lake.)

CATHERINE:  How about the lake?

(NICK turns around.  He's starting to see the possibilities.)

NICK:  Yeah.  Yeah, okay-- heads up.

(NICK motions for CATHERINE to move aside.  He picks up a rock and tosses it
into the lake from where the body was found.  The rock lands in the lake with a

NICK:  I just marked our search area.


SCENE #30:


(Under the water, a metal rod prods along the bottom of the lake. They're
looking for the gun.)

(Cut to above water:  NICK and CATHERINE are in their rubber swim gear, each
carrying a metal rod and prod it along the bottom of the lake.)

NICK:  You know, even if your theory's right, we still haven't explained the
insurance policy purchased by the wife.


(CATHERINE hits something.  She looks up at NICK.  NICK makes his way to

CATHERINE:  Metal on metal.

NICK:  Hold up, let me give you a hand.

(NICK reaches into the lake and picks up the gun.)

CATHERINE:  Okay.  Right there.

NICK:  Yeah.  I got it.  I got it.

NICK:  Whoa ... water pistol.

CATHERINE:  Well, we never found the bullet, but we found the gun.

(Still standing in the lake, NICK and CATHERINE look over at the tree where the
body was found.  As if they were watching it replay on the big screen, they see
the events unfold.)

(Quick flashback to JAMES JASPER holding the pistol aimed at his abdomen.  He
fires.  He doubles over in pain, but before he collapses, he tosses the gun into
the lake.  He then falls to his knees.  End of flashback.  Resume to present.)

(Cut back to NICK and CATHERINE imagining it happening in front of them.)

CATHERINE:  Mr. Jasper committed suicide.

NICK:  And the wife's out a million bucks.


SCENE #31:


(DET. VEGA brings MRS. JASPER a cup of coffee.  She's sitting in the waiting
room.  CATHERINE sits in the seat across and facing her.  VEGA remains

MRS. JASPER:  Thank you.

CATHERINE:  Mrs. Jasper, you purchased a life insurance policy on your husband
in which you are the sole beneficiary.

(She shakes her head.)

MRS. JASPER:  I don't know what you're talking about.

CATHERINE:  We have the actual application for the policy with your signature.

DET. VEGA:  Ma'am, you are aware that insurance policies exclude suicide?

CATHERINE:  Your husband staged his death to look like a homicide.  As a
beneficiary, if you knew of his intentions to take his own life, that would
constitute fraud.

MRS. JASPER:  If I knew, I would've stopped him.  Jimmy was everything to me. 
(CATHERINE glances over and sees NICK signaling to her through the window.)  I
didn't buy the policy.  I didn't know about his plans.

(NICK walks into the waiting room area holding a file folder.)


(NICK hands CATHERINE the file.  She opens it and reads it.  She looks up at

CATHERINE:  (to NICK)  You want to explain this?

(CATHERINE holds the folder out for NICK to take.)

NICK:  Sure.  Mrs. Jasper, when you claimed your husband's personal possessions,
you signed a release form, yeah?

(She nods her head slightly.)

NICK:  I ran that same form through our questionable documents lab and I cross-
checked your signature with the signature on the insurance application here. 
It's not yours.  Your husband must've forged it.  I also checked with the
insurance company.  Your husband opened the account.

MRS. JASPER:  (stunned)  Why ... ?  Why?  I don't understand that.  Why did he
do that?

CATHERINE:  Because he knew that if he had bought the insurance himself it
would've sent up a red flag.

MRS. JASPER:  (voice breaking)  So what you're saying is ... that my husband
killed himself for me?

NICK:  Yes, ma'am.

(MRS. JASPER puts a hand to her forehead and cries.)


SCENE #32:



WILLOUGHBY:  Well, it may sound funny but I'm proud of it.  Took almost a year
to put in my new fertigation system.  In automatically mixes the fertilizer with
the irrigation system.

GRISSOM:  How about that?  Economical and practical.

WILLOUGHBY:  What you're looking for is over here. 

(WILLOUGHBY points to something off to the side.  They stop walking near a water

WILLOUGHBY:  Cars are always overheating on this stretch and everyone thinks
water's free.

GRISSOM:  What do you use in your fertilizer?  Nitrogen, phosphorous and

WILLOUGHBY:  Standard 6-10-10 mixture. 

GRISSOM:  Mr. Willoughby, would you mind if I fingerprint your spigot?

WILLOUGHBY:  No one's ever asked me that before.


(GRISSOM dusts the spigot.)

(Dissolve to GRISSOM lightly removing the print off of the spigot.)

(Dissolve to GRISSOM taking a sample of the water from the pipe.)


SCENE #33:


(GRISSOM pushes a pitcher full of fertilizer water across the table toward
MICKEY RUTLEDGE.  The water in the pitcher looks unclean.)

GRISSOM:  Thirsty?

MICKEY RUTLEDGE:  I'm good, thanks.

GRISSOM:  Yeah, I wouldn't drink it either.  I wouldn't even put it in my
radiator.  I don't have all the pieces yet, Mickey, but, uh ... I'll tell you
what we do have.

(Quick flashback to:  JOAN MARKS yelling at MICKEY RUTLEDGE in DONNA MARKS'

JOAN MARKS:  You're an ex-con -- get the hell out of here!

(DONNA MARKS steps between her sister and her guest.)

DONNA MARKS:  Don't listen to her, Mickey.  This is my house.  This is my life!

JOAN MARKS:  You're so desperate you've got to get a date through the computer
and then you end up with him-- pathetic!

(MICKEY RUTLEDGE turns and walks away.  End of flashback.  Resume to present.)

GRISSOM:  We know that Joan scratched Donna.  We also know that Donna died

MICKEY RUTLEDGE:  I didn't kill her.

GRISSOM:  That's right, you didn't.

(Quick flashback to DONNA and JOAN struggling in the kitchen.  MICKEY RUTLEDGE
stands outside the glass door watching.)

JOAN MARKS:  You are so selfish!

DONNA MARKS:  Stop it! Get your hands off me!


(End of flashback.  Resume to present.)

GRISSOM:  Donna's death was an accident.

(Quick flashback to:  DONNA MARKS turns around to get out of her sister's grip
and she accidentally walks into the glass door, breaking it and killing herself. 
End of flashback.  Resume to present.)

SARA:  But Joan went off on you.  And up to that point, you hadn't done anything

BRASS:  So what went wrong? 

MICKEY RUTLEDGE:  It wasn't my fault. 

(Quick flashback to MICKEY RUTLEDGE over DONNA MARKS' body.  He looks up at JOAN


JOAN MARKS:  You're going right back where you came from.

(She turns to leave the kitchen.  End of flashback.  Resume to present.)

(MICKEY RUTLEDGE rests his chin on his clasps his hands, elbows on the table. 
He sighs heavily.)

MICKEY RUTLEDGE:  Rehabilitation was working for me.  But you put a guy in that
position ...

GRISSOM:  ... He's got to go all the way.

(Quick flashback to:  MICKEY grabs JOAN from behind and breaks her neck.  She
falls to the floor, dead.  End of flashback.  Resume to present.)

SARA:  You figured if you hid the bodies, you'd be in the clear.

BRASS:  But you didn't have a car.  Joan did.

(Quick flashback. to:  The car's radiator overheats.  Smoking, the car stops. 
MICKEY gets out of the car.)

(Cut to:  He takes the bodies out of the trunk and puts them in the pipes.)

(Cut to:  Thinking that it's water, he fills a bucket with fertilizer to use on
the car.)

(Cut to:  He pours the liquid into the radiator.  End of flashback.  Resume to

SARA:  (shakes her head)  You could've just backed off, let Joan make the call.

(MICKEY gives off a skeptical chuckle.  He looks up at SARA.)

MICKEY RUTLEDGE:  I would've landed myself right back in the joint.

SARA:  you don't know that.

MICKEY RUTLEDGE:  Come on.  Who's going to believe a guy like me?

GRISSOM:  A guy like me.

(MICKEY looks at GRISSOM and SARA.)



SCENE #34:


(SARA walks in and closes the door.  She puts the keys on the counter, puts her
bag down and takes off her jacket.  Without hesitating, she takes the nearest
trashcan, opens the refrigerator and throws away all the take-out boxes on the
shelves.  That done, she takes down all the menus from the refrigerator and
throws those away, also.  She picks up the stack of catalogues on her counter
and tosses them away as well.)

(She looks at her answering machine and notices that there are no messages for

(She picks up the phone and dials.)

SARA:  (on phone)  Hey, it's Sara.  I was, uh, thinking ... You want to go out
... somewhere?


Fait par Loveangel

Kikavu ?

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Mr. Mayor | Diffusion US de l'épisode 2.10 avec Ted Danson (Serie Finale)

Mr. Mayor | Diffusion US de l'épisode 2.10 avec Ted Danson (Serie Finale)
Ce soir, NBC propose le tout dernier épisode de la série de "Mr. Mayor" avec l'épisode 2.10 : The...

Mr. Mayor | Diffusion US de l'épisode 2.09 avec Ted Danson

Mr. Mayor | Diffusion US de l'épisode 2.09 avec Ted Danson
Ce soir, NBC continue la diffusion de la Saison 2 de "Mr. Mayor" avec l'épisode 2.09 : The...


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mamynicky, Avant-hier à 17:00

'Jour les 'tits loups ! Monk vous attend avec un nouveau sondage. Venez nous parler de vos phobies sur le forum.

sossodu42, Hier à 11:48

Bonjour, Morgane sur le quartier HPI a besoin de votre aide pour retrouver le gâteau d'anniversaire des 1 an du quartier

Locksley, Hier à 14:27

Nouveau design, nouveau sondage... le quartier Marvel s'adapte à l'actu ! Bonne visite si vous passez par là et bonne journée !

ShanInXYZ, Hier à 17:50

Voyage au Centre du Tardis : Les ennemis du Docteur, lequel avez-vous adoré, vous a marqué ou foutu la trouille, on attend vos photos

mamynicky, Aujourd'hui à 12:02

'Jour les 'tits loups ! Monk vous attend avec un nouveau sondage. Venez nous parler de vos phobies sur le forum.

Viens chatter !