COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[EXT. LAS VEGAS DESERT (STOCK) - EVENING]
CUT TO:
SCENE #01:
[EXT. - NIGHT]
(The camera moves low to the ground. The leaves on the floor are rustling in the night wind. The camera catches up to a pair of legs walking; a flashlight casting a beam on the ground.)
CUT TO:
(Man with flashlight looking for something.)
CUT TO:
(Fog on the surface of the lake. Flashlight beams on a body partially in the water, partially on the shore. The light beams on the dead body's face. GRISSOM kneels in for a closer look. His flashlight catches some bugs on the dead body's arm. Without a backward glance, he moves on.)
CUT TO:
(GRISSOM moves toward an old white pick-up truck. He looks into the carriage and sees a dead body behind the driver's wheel, a rodent on the cadaver's left shoulder.)
CUT TO:
(GRISSOM walks along and sees something. He kneels down for a closer look. Behind him, a figure of another man makes his way toward GRISSOM. GRISSOM examines the dead body on the ground. The figure behind GRISSOM approaches. The flashlight clutched in his right hand turned off and swinging ominously.)
(GRISSOM doesn't move and continues to examine the body on the ground, his back to the approaching figure. The figure behind reaches GRISSOM and kneels down. He looks at the dead body over GRISSOM'S shoulder.)
EDWARD CORMIER: That one's not ours.
GRISSOM: You sure ?
EDWARD CORMIER: I authorize all cadavers and associated research. He's not
ours.
WHITE FLASH CUT TO:
SCENE #02:
[EXT. BODY FARM - NIGHT]
(Sign on the fence reads: "University of Western Nevada / Anthropology Department / Private Property / KEEP OUT / All persons in violation will be prosecuted under section 4204-325.5470 of the Nevada State Penal Code.")
(BRASS and CATHERINE walk toward the body. GRISSOM is already there with DAVID PHILLIPS.)
BRASS: People donate their body to science end up submerged in a pond? Crammed in a car?
CATHERINE: Body Farm; creepy.
GRISSOM: A Body Farm is not creepy. It's a controlled study of situational decomposition. All in all, a very healthy place.
CATHERINE: Tell that to Slim hanging from the tree.
(CATHERINE looks over at the skeleton hanging from the tree not too far away from the one they were called in to examine.)
BRASS: Whoever placed our victim here knew that the body farm existed. What they didn't know is each body is tracked by a bunch of scientists.
CATHERINE: Can't just slip a card into the deck.
(CATHERINE starts taking pictures.)
DAVID PHILLIPS: Well, he's not in rigor. TSD is under six hours. I'll move him as soon as you're finished.
BRASS: Any I.D.?
DAVID PHILLIPS: None.
(DAVID stands and steps away from the body.)
BRASS: Okay, I'm going to move him.
(BRASS rolls the body over so that he's facing upward. CATHERINE takes more pictures.
BRASS: Gunshot wound to the chest.
(Camera close up of a beetle walking out of the dead body's shirt.)
CATHERINE: Well, look. One of your friends.
(GRISSOM leans in an grabs the beetle.)
GRISSOM: It's a carpet beetle. It shouldn't be here.
CATHERINE: Vic seem more like a hardwood floors kind of guy to you?
GRISSOM: Carpet beetles are the last to arrive at a corpse -- when it's almost a skeleton. I mean, this guy's still fresh.
(GRISSOM looks around and sees the skeleton hanging from the tree. Camera close up on the carpet beetles on the skeleton's skull.)
GRISSOM: David! Get this body out of here now! We got cross contamination!
HARD CUT TO BLACK.
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
SCENE #03:
[INT. CSI -- HALLWAY]
(SARA and CATHERINE are walking from the hallway to the breakroom.)
SARA: Wow, you got to go to the body farm?
CATHERINE: Yeah.
SARA: I've always wanted to go there. What was it like?
CATHERINE: Quiet.
[INT. CSI - BREAK ROOM - CONTINUOUS]
WARRICK: I hear Grissom goes there all the time. Like even on his nights off.
(WARRICK doesn't lift his head from the newspaper he's reading. NICK walks into camera view and heads for the refrigerator.)
NICK: Why does that not surprise me?
(He opens the refrigerator and sighs.)
NICK: Man, something stinks in here again.
(NICK grabs his paper package.)
SARA: What, bad milk? Cottage-cheese bad?
NICK: Worse. It's all over my sandwich. Smell that.
(He lifts his paper package and SARA reacts to the smell. She kneels and opens the refrigerator, glances in and notices the container on the top shelf.)
SARA: Yeah. He's got one of his experiments in there.
NICK: You're kidding me?
CATHERINE: Bugs or blood?
SARA: Not bugs.
WARRICK: (still reading paper) Oh, that's so not cool. That's a community fridge.
NICK: Man, someone has got to talk to Grissom about this.
(GRISSOM walks in.)
GRISSOM: Talk to me about what?
NICK: You leaving your experiments in our refrigerator.
GRISSOM: Well, the lab fridge was full. I put in last night.
NICK: Well ...
GRISSOM: I'm going to test for horizontal motion on bloodstains. Vis-a-vis
surface textures.
(NICK looks annoyed. CATHERINE takes a sip of her coffee and discretely tries
to ignore the smell. GRISSOM is clueless as he takes out the container of blood
from the fridge and opens it.)
GRISSOM: Hey, any of you guys got any linoleum at home?
(CATHERINE catches a whiff of the open container and this time, she discretely
pinches her nose trying to avoid the smell. SARA is quiet.)
NICK: (sits down still annoyed at being ignored) That blood is rank, man.
GRISSOM: I know. That's why the Red Cross gives it to us 'cause it's past its
expiration date.
(GRISSOM merrily closes the cap on the container, opens the fridge and puts it
back on the top shelf. He shuts the door and stands up.)
GRISSOM: (to CATHERINE) Anything new on the body farm victim?
(CATHERINE takes another sip from her coffee mug.)
CATHERINE: I gave the prints to identification. They're running through the
bases now.
GRISSOM: Okay.
(GRISSOM turns to leave the room. Someone's pager goes off. It's GRISSOM'S.)
GRISSOM: I'll be in autopsy. Let me know.
(GRISSOM leaves.)
WARRICK: (doesn't look up from his paper) Way to go, Nick. You really told
him.
NICK: I told him, he just ... doesn't hear it.
WARRICK: (o.s.) Yeah.
CUT TO:
SCENE #04:
[INT. CSI - FORENSIC AUTOPSY]
(Top view close up of dead body from the Body Farm. ROBBINS has his finger in
the bullet hole.)
ROBBINS: Well ... the entry wound tells me the body sustained a projectile.
GRISSOM: A bullet.
ROBBINS: Uh, but there's no bullet fragments in the tissue and no exit wound.
GRISSOM: So, how do you explain that?
ROBBINS: Bullet wounds usually leave bullet evidence.
(Flash to white. Quick CGI POV of hand holding gun and squeezing trigger.
Sound of gun firing. Camera close up of hammer cocking back and extreme close
up of hammer hitting the 38 SPL bullet. Quick FX to bullet firing through the
barrel of the gun and penetrating through the skin with bits of flesh
splattering out. Bullet continues its path through the body. Cut to inside
view of the body where bits and pieces of bone and bullet break up inside the
body where some pieces embed themselves to the nearest organ. Flash to white.
End of CGI POV. Resume to present.)
ROBBINS: There's no evidence of a bullet in this wound tract.
GRISSOM: So, let's excise it. Do a more localized search.
ROBBINS: That was my next suggestion.
GRISSOM: What's your best tool for excising the tissue of our Mr. Doe?
(CATHERINE walks in.)
CATHERINE: Oh, it's not a John Doe anymore. Database says that our victim is
Mike Kimble age 38. He has a townhouse in Summerlin. Brass is going to meet us
there along with the rest of the unit. My bet says that it's the primary crime
scene.
GRISSOM: Good.
(GRISSOM takes off his glasses. CATHERINE turns to leave and stops as she
notices that GRISSOM'S not moving from his spot next to the autopsy table.)
CATHERINE: Aren't you coming?
GRISSOM: We're excising a wound tract.
CATHERINE: Sounds fascinating.
GRISSOM: It is.
(ROBBINS turns on the hand saw. The blade whirs.)
(Off a camera close up of the hand saw, we hear a fire engine siren blaring.)
CUT TO:
SCENE #05:
[EXT. MIKE KIMBLE'S RESIDENCE -- NIGHT]
(Sirens blare. CATHERINE runs past firetruck #27 and finds WARRICK standing on
the sidewalk with his CSI kit in his left hand staring at the house on fire in
front of him.)
CATHERINE: Is that Mike Kimble's house?
WARRICK: That's it.
(A large explosion emits from the second story window.)
CATHERINE: Seems like somebody beat us here.
WARRICK: You think? Neighbor called it in. She smelled the smoke. Thought he
was barbecuing in his living room.
CATHERINE: Where's his neighbor now?
WARRICK: Over there talking to Brass.
[EXT. -- CONTINUOUS]
FEMALE NEIGHBOR: Um, no, I didn't hear any noise coming from Mike's place last
night. But, um ... I was wearing my headphones, doing my workout.
BRASS: Did Mr. Kimble have many visitors to his house?
FEMALE NEIGHBOR: Other than his clients, just, um ... just his fiancée, Jane.
Uh, but they usually stayed at her place.
BRASS: Do you have the full name and address of the victim's fiancée, Jane?
FEMALE NEIGHBOR: Yes, actually I do. It's in my kitchen. Uhm ... As soon as
they let me back in I can get for you.
CUT TO:
SCENE #06:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS pulls out something gooey from the body.)
ROBBINS: Something. A metal fragment. It's not like any bullet I've ever
seen.
(Camera close up of the piece of metal ROBBINS holds.)
ROBBINS: Titanium ... maybe a pin.
GRISSOM: From the ribs?
ROBBINS: Oh, here's the manufacturer's number. I should've bought stock when I
first started finding all these medical implants.
(GRISSOM doesn't say anything. He pulls out a maggot.)
GRISSOM: Bovine.
ROBBINS: Excuse me?
GRISSOM: Genus hypaderma. These are normally found in the intestinal tract of
cows. These maggots aren't found in humans.
ROBBINS: Foreign tissue. Cow. Makes absolutely no sense.
GRISSOM: The body farm also studies animals, not just humans.
ROBBINS: This more of your cross contamination?
GRISSOM: Only one way to find out.
(GRISSOM smiles at the thought of yet another experiment.)
CUT TO:
SCENE #07:
[EXT. MIKE KIMBLE'S HOUSE - NIGHT]
(Firemen on a ladder and in the second floor of the burnt home. Water pours
from the room onto the ground below.)
CUT TO:
[INT. MIKE KIMBLE'S HOUSE - NIGHT - CONTINUOUS]
(NICK walks through the hallway, his flashlight lighting his way. He turns the
corner and sees WARRICK. He puts his CSI kit down.)
WARRICK: What up, doc? Oh, there you are.
NICK: Sorry I'm late. D.A. Wanted an update on my robbery case.
WARRICK: Oh, it's all good. I'm just starting my walk-through.
NICK: The desk is crispy.
WARRICK: There's a burn pattern for you. Fire burns upward. This is moving
downward.
NICK: Defies the laws of physics. Fire's drawn to fire. Well, you know what
we gotta do.
WARRICK: Check out the upstairs?
CUT TO:
[INT. -- UPSTAIRS - CONTINUOUS]
NICK: The guy who started the fire wanted to make sure the bedroom got it
worse.
WARRICK: How do you know it's a guy? Why are you jumping the gun?
NICK: Well, according to Sara, 94% of all arsonists are male.
WARRICK: Yeah, that sounds like Sara.
NICK: The fire burned longest here.
WARRICK: It's the point of origin.
NICK: Yeah, right here.
(WARRICK leans in and sniffs.)
WARRICK: I don't smell any accelerant.
NICK: Could have burned off. Fabric would have fueled it.
WARRICK: I don't know. It doesn't make any sense. A fire burning downward?
(Flash to white. CGI POV of fire burning near vent. Camera moves toward the
vent and through the vent. Camera cut to inside the vent where the fire quickly
moves up the vent and to the second floor where it starts up again by burning
the desk. Flash to white. More fire flames getting larger and larger.)
NICK: (v.o.) Yeah, unless it was chasing after an accelerant.
WARRICK: (v.o.) Furniture polish.
(Flash to white. End of flashback. Resume on NICK.)
NICK: Warrick ... is that blood?
(NICK casts the light of his flashlight at WARRICK'S feet. WARRICK looks down,
steps off of the carpet and lifts it up to reveal a large blood stain.)
WARRICK: Oh, man. Something bad happened here.
NICK: This fire is just a cover up.
CUT TO:
SCENE #08:
[EXT./INT. JANE BRADLEY'S RESIDENCE - NIGHT]
(CATHERINE and BRASS ring the doorbell. JODY BRADLEY opens the door. She's on
the phone.)
JODY (giggling): (to phone) Are you serious? Hold on a second. (to BRASS)
Hi.
BRASS: I'm Detective Jim Brass. Is Jane Bradley in?
JODY BRADLEY: She's in the kitchen. (to the phone) Really? No way.
(She holds the door open. CATHERINE and BRASS enter the house.)
SHORT TIME CUT TO:
SCENE #09:
[INT. JANE BRADLEY'S RESIDENCE - KITCHEN - NIGHT]
(Camera close up on several pictures of MIKE KIMBLE with the BRADLEY family.)
JANE BRADLEY: (o.s.) This can't be happening. Mike is dead? I don't know how
I'm going to tell my kids. They love Mike.
CATHERINE: You and Mike were engaged?
JANE BRADLEY: The wedding was supposed to be in a week at the Tangiers.
(JAKE BRADLEY enters the kitchen. He has earphones on and walks straight for
the refrigerator. He opens the door.)
JANE BRADLEY: No sweets after ten. What's the rule?
JAKE BRADLEY: Oh, come on, mom, I'm starving.
(JANE BRADLEY takes the sweets out of her son's hand and replaces it with an
apple.)
JANE BRADLEY: Have an apple.
(He groans and walks out of the kitchen.)
JANE BRADLEY: He's growing like a weed.
BRASS: What was your fiancé's business?
JANE BRADLEY: He was a photographer. He did weddings, events. We argued over
who'd do our wedding because he didn't trust anyone else's work.
(In the background a door opens and closes. RUSS BRADLEY enters.)
RUSS BRADLEY: Hi.
JANE BRADLEY: How many times have I said you have to knock? You can't just
barge in this house.
RUSS BRADLEY: Maybe as many times as I've asked you to have the kids ready and
out front on my nights?
BRASS: You must be the ex-husband.
RUSS BRADLEY: What's going on? Are the kids all right? Is Jake in some kind
of trouble?
JANE BRADLEY: No.
BRASS: Mike Kimble was killed tonight.
RUSS BRADLEY: Are you serious?
CATHERINE: Would you mind showing us your hands?
RUSS BRADLEY: My hands? Why?
CATHERINE: To see if there's any gun powder or evidence of a burn on them.
RUSS BRADLEY: Sure. (holds out his hands for CATHERINE) Look, uh, I don't
want to be rude, but ... I stop paying alimony the day Mike and Jane get
married. I mean, I'm the last person who would have killed him.
BRASS: If we wanted to get in touch with you, how would we reach you?
RUSS BRADLEY: You can reach me at any of my four grocery stores. Any time.
(RUSS BRADLEY pulls out a business card from his wallet and gives it to BRASS.)
BRASS: We'll be in touch.
RUSS BRADLEY: I'm going to get the kids, if that's all right.
JANE BRADLEY: They're in the den.
CUT TO:
SCENE #10:
[INT. MIKE KIMBALL'S HOUSE - NIGHT]
(Water drips from the ceiling. NICK is crouched low with a machine in his
hands. The machine beeps steadily. GRISSOM enters the room from the hallway
just as the machine starts to beep rapidly.)
GRISSOM: Accelerant.
(NICK looks up.)
NICK: Hey. Yeah, Warrick said the fire was orange so low-temperature fuel.
Something accessible ... gasoline, kerosene ... I thought you were at the post.
GRISSOM: I was.
NICK: So, anyway, this is where the fire started. Victim's bedroom.
(GRISSOM starts looking around. NICK stands and starts looking around as well.
GRISSOM moves off into another room. NICK glances at a burnt photograph in a
frame.)
(GRISSOM finds a room that was not burned by the fire. He examines the items
that wasn't burned. NICK catches up with GRISSOM and follows.)
(GRISSOM pans the room with photographer equipment in it. Something catches his
eye. A photograph in a frame of MIKE KIMBLE and the BRADLEYS holding a sign:
"Mike: Welcome to the Family". The same sign in propped up on the file behind
the picture frame.)
(GRISSOM moves in for a closer examination of the picture. He frowns. NICK
enters the room.)
NICK: Grissom ... Gris ...
GRISSOM: Sometimes, it's about where the fire isn't.
(GRISSOM removes the photo out of its frame. Behind the photo is a picture of
JODY BRADLEY. Two photographs of her in suggestive poses, and a third with her
naked back to the camera and looking over her shoulder. GRISSOM holds the photo
comparatively to the family photograph where we can see that it's definitely
JODY BRADLEY, the daughter, and not JANE BRADLEY, the fiancée.)
(Both GRISSOM and NICK are grim at the find and its implications.)
NICK: (quietly) Sometimes, I hate this job.
CUT TO BLACK.
(COMMERCIAL SET)
SCENE #11:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE BRASS' OFFICE]
(JODY BRADLEY is sitting on the waiting bench outside the interrogation room,
her knees hugged close to her chest. An officer stands nearby. JANE BRADLEY
watches her through the glass wall from inside the interrogation room.)
CAMERA PANS TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - CONTINUOUS]
CATHERINE: (o.s.) We have evidence that Mike may have had an inappropriate
relationship with your daughter.
JANE BRADLEY: What kind of evidence?
(JANE BRADLEY turns around and walks back to face BRASS and CATHERINE.)
BRASS: (o.s.) Photographic and definitive.
JANE BRADLEY: That the man I was going to marry somehow sexually ... no, I
don't believe that.
CATHERINE: Things like this happen sometimes right under our noses. We're
going to have to talk with your daughter.
CUT TO:
SCENE #12:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
CATHERINE: Jody, we found pictures in Mike's house of you posing.
JANE BRADLEY: Tell her Mike would never do anything to hurt you.
CATHERINE: In some of the pictures ...
JANE BRADLEY: (interrupting) He truly was like a father to both kids.
JODY BRADLEY: (to her mom) I wish you would just listen once.
CATHERINE: In some of the pictures you're wearing a bathing suit. Do you
remember Mike taking them?
(JODY BRADLEY looks at CATHERINE.)
(Quick flashback of camera flashes of JODY wearing a shirt and turning around;
JODY taking the shirt off her shoulders; and three camera flashes of JODY close
up. Flash to white. End of flashback. Resume to present.)
(JODY BRADLEY shakes her head, no.)
CATHERINE: Jody ... anything that he did to you was not your fault. You can
tell me if Mike took those pictures.
JANE BRADLEY: Jody? Honey?
JODY BRADLEY: I loved Mike and he loved me.
(CATHERINE leaves the room. BRASS is waiting just outside where he was watching
through the glass. CATHERINE closes the door.)
CATHERINE: The daughter clammed up. Seems to be in the protect-the-abuser
trap. I'm going to take her over to the hospital for a SART exam.
BRASS: What are the chances mom knew what her boyfriend was up to?
CATHERINE: I've seen it happen. As a mother, I hope not.
BRASS: Yeah, right. I'm going to look into it.
CUT TO:
SCENE #13:
[INT. CSI - AUDIO/VISUAL LAB]
(Camera close up of the computer screen with the JODY BRADLEY photo. WARRICK is
working on it. NICK enters the room carrying a bagged camera.)
NICK: Well, our photo guys tell me those pictures were taken with Mike Kimble's
type of camera.
(NICK puts the bagged camera down on the table.)
WARRICK: Yeah?
NICK: Yeah. What are you doing here?
WARRICK: A thousand points of light and I only need one to clear up this
picture. The blur equals the length of the light.
(NICK moves closer to the screen to get a better look.)
(The computer screen shows the numbers for "CALCULATING REFRACTION - POINTS"
change rapidly ... )
(Close up of a fuzzy JODY BRADLEY with the following on screen:
[LUMENS/BLUR RATIO: 20.5558%
REDUCING BLUR ] )
(which changes to ... )
[LUMENS/BLUR RATIO: 34.783%
REDUCING BLUR ]
(Extreme close up of an unfocused JODY BRADLEY being focused.)
WARRICK: If I can compress this light back into a point then the rest of the
picture gets clear. That's how they got Hinkley's image when he was shooting
the prez.
NICK: What is that? There at the bottom right corner? Is that a finger?
WARRICK: Yeah, I think so.
NICK: Well, that's unusual, isn't it? A professional photographer gets a
finger in the shot?
WARRICK: Maybe his good hand was otherwise engaged. I'm going to work on that
for a while and see if I can get some ridge detail. Maybe even a fat print.
NICK: I'll ... I'll see you later.
(NICK leaves the room.)
CUT TO:
SCENE #14:
[INT. CSI - LAB]
(Camera focused on a chunk of raw meat covered with flies under a net. GRISSOM
is peering at the experiment though a magnifying glass. SARA walks in.)
SARA: So, this is your experiment, huh? So, because you found beef in the
wound tracts of the victim, you think the meat might be from one of the body
farm cows?
GRISSOM: Did the fly find the beef in the wound and lay its eggs or did it
bring the beef with him?
SARA: I did an experiment similar to this in San Francisco except the cross-
contamination was blood. Wasn't a murder case, but it was instructional.
(GRISSOM straightens and puts the magnifying glass down.)
GRISSOM: None of these beef particles are as big as the tissue found in Mike
Kimble's wound tract. And I found out the ex-husband is the proud owner of a
registered handgun.
SARA: Hmm, what does that mean?
GRISSOM: It means I need to see that gun.
(GRISSOM heads toward the door to leave. SARA stops him.)
SARA: Uh, Grissom ... aren't you going to tell me anything?
GRISSOM: About?
SARA: The case, the meat, what you found ...?
GRISSOM: I'm working it.
SARA: I thought I was working it with you.
GRISSOM: Yes. You're right, you are. So, take some photos of the experiment
for the D.A. And then ... uh ... get rid of that stuff.
(GRISSOM turns to leave. SARA stops him again.)
SARA: That meat... the raw meat... me?
GRISSOM: Yeah.
SARA: How many meals have we shared together?
GRISSOM: I don't know.
SARA: Take a guess -- over a year working together.
GRISSOM: Thirty.
SARA: I'm a vegetarian. Everyone here knows I'm a vegetarian. I haven't eaten
meat since we stayed up that night with that dead pig. It pains me to see
ground beef; forget about cleaning it up.
GRISSOM: Okay. Have Nick do it.
(GRISSOM leaves. SARA seems ... extremely disappointed with the exchange.)
CUT TO:
SCENE #15:
[INT. POLICE DEPARTMENT - HALLWAY]
RUSS BRADLEY: You're telling me this bastard took pictures of my daughter?
BRASS: Yes, we found them at his house.
RUSS BRADLEY: I never liked the way he looked at Jody. I've never liked it.
BRASS: How did he look at her?
RUSS BRADLEY: Touchy-feely.
(Quick flashback to MIKE KIMBLE standing with JODY BRADLEY, his hand caressing
her cheek. Flash to white. RUSS BRADLEY noticing the caress. End of
flashback.)
RUSS BRADLEY: It wasn't normal. I told Jane when she started seeing him he's
not a good guy. He's not good for our family. But you can't control who your
ex-wife dates.
(GRISSOM turns the corner and approaches the men at the counter.)
BRASS: Russ Bradley, Gil Grissom, CSI lab.
GRISSOM: Thanks for coming in. (They shake hands.) Is this your gun?
RUSS BRADLEY: Yes.
GRISSOM: May I take a look at it?
RUSS BRADLEY: Please.
(GRISSOM puts on his glasses and picks up the gun to examine it.)
GRISSOM: It's been cleaned.
RUSS BRADLEY: Of course. You never, never store a dirty firearm.
GRISSOM: May I ask what kind of ammunition you use?
RUSS BRADLEY: A .38 special. It takes .38s.
(GRISSOM exchanges a look with BRASS.)
RUSS BRADLEY: (amends) Whatever's on sale.
CUT TO:
SCENE #16:
[INT. CSI - LAB]
(SARA'S writing something and doesn't stop when WARRICK walks in.)
WARRICK: There you are. I got something for you from trace.
(SARA doesn't look up from what she's doing. Neither does she respond.)
WARRICK: Sara?
SARA: Almost finished.
(WARRICK starts to get curious at what SARA'S doing and turns his head to look
at what she's writing. SARA notices and quickly stops writing. WARRICK looks
up at SARA.)
WARRICK: They isolated the accelerant used in the fire. It's alcohol based.
SARA: Acetone, methyl methacrylate? Nail polish remover.
WARRICK: Guess that's the six percent no one talks about. Female fire
starters.
(WARRICK leaves.)
CUT TO:
SCENE #17:
[INT. HOSPITAL - EXAMINATION ROOM]
(The doctor is starting her exam on JODY BRADLEY. CATHERINE stands nearby.)
DOCTOR: What's this... a burn?
JODY BRADLEY: Yeah.
DOCTOR: How'd that happen?
JODY BRADLEY: On a curling iron.
(Quick flashback to JODY BRADLEY standing in front of a mirror using a curling
iron on her hair. Cut to her accidentally burning herself with the iron. Flash
to white. Resume on JODY BRADLEY.)
(Camera cut to CATHERINE.)
(Quick Scenario POV of liquid being poured over a bed. JODY BRADLEY holding
what looks like a nail polish remover bottle. Cut to JODY BRADLEY with a
lighter. Flash to white. End of scenario POV. Resume on JODY BRADLEY.)
DOCTOR: I'll give you a prescription for antibiotics. Let's do the last
portion of your exam now, okay?
DOCTOR (cont): (to CATHERINE) Excuse me.
(The DOCTOR closes the curtain. CATHERINE takes a few steps to the right so
that she can see JODY BRADLEY'S face. Through the curtain, we see them
preparing for the pelvic examination.)
DOCTOR: Okay, lay back. Scoot back a little more. Just a little more. Very
good. Take a deep breath. This won't hurt at all.
(Camera holds on JODY BRADLEY.)
CUT TO:
SCENE #18:
[INT. CSI - GRISSOM'S OFFICE]
(Camera close up of the bullet casing. GRISSOM separates the casing and puts it
down. He reaches for his drink. He takes a sip and makes a face. It tastes
funny. He puts his glass down and looks back at the bullet he's holding. He
glances down at his glass and notices the ice. He makes a connection.)
GRISSOM: It's melting.
(Flash to white.)
(Quick CGI POV of hand holding gun and squeezing trigger. Sound of gun firing.
Camera close up of hammer cocking back and extreme close up of hammer hitting
the 38 SPL bullet. Quick FX to bullet firing through the barrel of the gun and
penetrating through the skin with bits of flesh splattering out. Bullet
continues its path through the body. Cut to inside view of the body where bits
and pieces of bone, bullet and ice break up inside the body where some pieces
embed themselves to the nearest organ and melt. Flash to white.
(End of CGI POV. Resume to present. Camera on GRISSOM.)
(GRISSOM continues to stare at the ice swirling around in his glass. He's
putting it all together and comes up with something highly improbable, but not
impossible. GRISSOM looks at the bullet. Camera refocuses on the bullet.)
CUT TO:
SCENE #19:
[INT. CSI - BREAK ROOM]
(Close up of ground beef wrapped in white butchers' paper.)
(Cut to GRISSOM unrolling the ground beef.)
(Cut to piece of beef being cut and forced into a mold. GRISSOM is making molds
of bullets using ground beef. He's doing this in the break room.)
(He opens the refrigerator door intending to put the experiment in there.
CATHERINE walks in.)
CATHERINE: Sara's not going to be too happy with that experiment in the fridge.
GRISSOM: I'm putting it in the freezer.
(CATHERINE grimaces as GRISSOM doesn't catch the hint. She sighs.)
CATHERINE: The doctor finished the exam on Jody Bradley. Physical findings:
Scarring, chronic sexual abuse.
(GRISSOM Sighs.)
GRISSOM: Well, have Brass get a warrant for the mother's house. Check the
evidence we recovered from the dead boyfriend's house. They stayed in both
places.
CATHERINE: Listen, there's a good chance the daughter's our arsonist. She had
second-degree burns on her wrist.
GRISSOM: One thing at a time.
CATHERINE: Right. You coming with?
GRISSOM: I can't. Take Nick.
CATHERINE: Right. Experiment.
CUT TO:
SCENE #20:
[INT. JANE BRADLEY'S HOUSE -- NIGHT]
(Camera close up of JANE BRADLEY holding a Bench Warrant. NICK and CATHERINE
enter her home. She watches as they walk by her. She doesn't say anything.)
CUT TO:
(Using an ALS, CATHERINE looks for body fluids in JODY BRADLEY'S bedroom,
specifically on the bed as she moves the bed covers away from the sheets. She
checks under the pillows.)
CUT TO:
(NICK is in the utility room going through the laundry in the laundry baskets by
the washing machine. He, too, is looking for body fluids with an ALS.)
CUT TO:
(CATHERINE in JODY BRADLEY'S closet, going through the clothes on the hangers
... still looking for body fluids.)
CUT TO
(NICK walking into the bathroom. He scans the counter top and puts his CSI kit
on the counter. NICK opens the laundry basket intending to go through the
laundry. On the top of the laundry basket, he immediately sees something on
JODY'S nightgown.)
(CATHERINE walks in.)
CATHERINE: That's the girl's nightgown.
(CATHERINE sighs.)
CUT TO:
[INT. JANE BRADLEY'S HOUSE - DOWNSTAIRS]
(CATHERINE and NICK are on their way out. NICK is on the phone. CATHERINE
opens the door and NICK walks outside.)
NICK: (on phone) We've got some samples coming in. They're priority one.
JANE BRADLEY: What is that ... what did you find?
CATHERINE: Child Services will be remanding Jody to a foster home.
JANE BRADLEY: Was my fiancé involved in any way?
(BRASS appears in the doorway.)
BRASS: He's not your fiancé. Not anymore, anyway.
CATHERINE: Jim?
BRASS: I just got back from the events office at the Tangiers where you and
Mike were supposed to be married. You canceled your wedding five days ago. I
even have your credit card receipt for the ten percent cancellation charge. You
didn't like the way he looked at your daughter any more than your ex did.
JANE BRADLEY: No. I just got cold feet.
CATHERINE: Convenient timing.
JANE BRADLEY: Look, when Russ and I got married 20 years ago you couldn't find
two happier people and now we can barely stand to be civil. I didn't want to
make another mistake.
CATHERINE: It wasn't that you 'sensed' what was going on?
JANE BRADLEY: Mike would not do what he's being accused of. Believe me.
CATHERINE: I'll believe the DNA.
FADE TO BLACK.
(COMMERCIAL SET)
SCENE #21:
[INT. CSI -- LAB]
GREG: Kind of feels like blackjack, you know? You guys all fanned around the
table, holding your breath waiting to see which card I'll reveal next.
WARRICK: Greg, this is an abuse case involving a minor.
GREG: Right. Sorry. So, I have DNA samples from every male that lives with
Jody Bradley full-time or weekends. First, I have Mike Kimble, the fiancé.
Dead fiancé.
(He holds up the results for everyone to read.)
BRASS: "Match not found." You got to be kidding me.
GREG: Sorry, Captain.
BRASS: The guy has naked pictures of her in his townhouse. The mother called
off their wedding.
GREG: DNA takes a pair.
CATHERINE: So, whose is it, the father?
(Again, GREG holds up the results.)
GRISSOM: "Match not found."
GREG: Third and last.
(He holds up the test results. NICK sighs and grabs the sheet.)
NICK: Give me that.
(He glances down at the sheet. So do BRASS and GRISSOM.)
NICK: How'd we miss that?
CUT TO:
SCENE #22:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
JAKE BRADLEY: No. No, I never did anything like that to my sister, no.
(JANE and RUSS BRADLEY watch.)
BRASS: How do you explain your semen on her nightgown?
JAKE BRADLEY: I can't ... I can't.
BRASS: The county automatically provides your son with an advocate. We can't
proceed until he arrives.
CUT TO:
SCENE #23:
[INT. CSI - AUDIO/VISUAL LAB]
(WARRICK continues working on isolating the thumbprint on the photo. GRISSOM
walks in.)
GRISSOM: You getting anywhere with the print?
WARRICK: I'm still trying to enhance it. It's kind of frustrating, that, uh
this picture puts us at the very moment of the crime but we can't see what she's
seeing.
GRISSOM: They say the eyes are the window to the soul.
WARRICK: Yeah, my grandma used to say that all the time.
GRISSOM: In a way, it's true. The aqueous fluid and the vitreous in the human
eye allows for an image to be reflected in it.
WARRICK: Well, maybe ... if I enhanced the reflection in her eye with the right
combination of algorithms ...
GRISSOM: I think my popsicles are ready.
(GRISSOM leaves.)
CUT TO:
SCENE #24:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
BRASS: Jake, did you take pictures of your sister and plant them in Mike
Kimble's house?
JAKE BRADLEY: No.
BRASS: You do have keys to his house, though. Right? I mean, your mother told
us that both you kids do.
JAKE BRADLEY: Yes, but I didn't plant anything.
CHILD ADVOCATE: He didn't take the pictures. He didn't plant them. He has no
idea how his DNA got in his sister's nightgown.
BRASS: Well, maybe a little hobbit put it there.
(JAKE BRADLEY stares back at BRASS ... scared.)
CHILD ADVOCATE: That's it, we're done.
NICK: All right, hold on. You mind if I talk to Jake alone?
CHILD ADVOCATE: To what end?
NICK: I have a hunch.
CUT TO:
SCENE #25:
[INT. POLICE DEPARTMENT - HALLWAY -- BENCH JUST OUTSIDE INTERROGATION ROOM]
NICK: Everyone does it, Jake. You just ... feel like you're the only one.
Then when you don't do it, it happens in your sleep anyway, right? Yeah. And
then you go to take a leak, dust off the equipment and just grab the first thing
that's handy, huh?
JAKE BRADLEY: (embarrassed) It was just... on the hamper.
NICK: Your sister's nightgown?
(They both laugh softly.)
JAKE BRADLEY: The next thing I know, I'm getting, like ... questioned by the
police and my parents are looking at me like I'm some sort of ... pervert.
NICK: Yeah, that's rough. Rough. Well, listen, in the future, dude ... even
if the situation's embarrassing, the truth's probably the best policy there.
JAKE BRADLEY: Yeah.
NICK: Hey, listen, you ever notice your mom's boyfriend acting weird around
your sister? Like a little, uh ... too friendly, too forward?
JAKE BRADLEY: (thinks about it) Mmm, no. No, I mean, my sister is the one
that's kind of weird.
NICK: Really?
JAKE BRADLEY: Yeah.
NICK: How?
JAKE BRADLEY: She's just always just, you know, "Mike's coming over. I can't
wait till Mike gets here."
NICK: Mm. Mm-hmm. You like the guy?
JAKE BRADLEY: When, uh, my parents were getting divorced my mom, she cried,
like, every day and, uh, Mike showed up and she stopped crying so ... yeah. I
guess.
CUT TO:
SCENE #26:
[INT. CSI - BALLISTICS LAB]
(GRISSOM puts the frozen meat cap in the bullet casing. ROBBINS enters the room
and leans in close to see what GRISSOM'S doing.)
GRISSOM: What are you doing here? Isn't this your day off?
ROBBINS: On the day you plan to expend a meat bullet? Ahh ... a frozen meat
bullet?
GRISSOM: Yeah, I had to freeze it with a touch of liquid nitrogen.
ROBBINS: Well, I'm ready to watch history.
(GRISSOM loads the frozen meat bullet into the hand gun. They both put on their
ear gear and GRISSOM fires the gun. ROBBINS steps up to examine the results.)
ROBBINS: Bullet-like entry wound.
(Flash to white. Same Quick CGI POV of hand holding gun and squeezing trigger.
Sound of gun firing. Camera close up of hammer cocking back and extreme close
up of hammer hitting the 38 SPL bullet. Quick FX to bullet firing through the
barrel of the gun and penetrating through the skin with bits of flesh
splattering out. Bullet continues its path through the body. Cut to inside
view of the body where bits and pieces of bone, bullet and meat break up inside
the body where pieces themselves to the nearest organ. Flash to white. End of
CGI POV. Resume to present.)
ROBBINS: (v.o.) The meat disintegrates. Lost in the soft tissue. Hmm.
CUT TO:
SCENE #27:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
BRASS: You're quite a marksman, Russ ... and inventive. You managed to build a
bullet made of meat.
GRISSOM: The meat from the projectile was visually indistinguishable from the
victim's stomach tissue. We know that your gun was clean but it turns out that
your re-loader wasn't.
BRASS: Yeah. We got this from your garage on a warrant. We figured a gun
enthusiast like yourself would have one of these. Packs gunpowder into used
shell casings. Cheaper than buying new rounds, right?
GRISSOM: The material that was on your re-loader is consistent with the
material we found in the victim's wound tract. Ground beef.
RUSS BRADLEY: A father knows. I mean, he was giving her gifts, you know,
cameras.
(Quick Flashback to MIKE KIMBLE putting the camera around JODY BRADLEY'S neck.
Flash to white. JODY BRADLEY jumping up and down in delight. Flash to white.
MIKE and JODY standing close to each other while MIKE shows the camera to JODY.
Flash to white. End of Flashback.)
GRISSOM: He gave her a camera?
RUSS BRADLEY: And the wedding was, like, a week off and he was going to be
living under the same roof as my children full-time. When I went over there you
know, I was just going to set him straight, right? You know what he says?
(Flashback.)
MIKE KIMBLE: Now, I can't help it if she likes me. I guess it's like mother,
like daughter.
RUSS BRADLEY: You touch my little girl and I will kill you.
MIKE KIMBLE: Too late.
(RUSS BRADLEY fires gun. End of Flashback.)
RUSS BRADLEY: That's when I lost it.
BRASS: Then you dumped him at the body farm. Your grocery chain makes regular
meat deliveries there for experimental purposes. Then what? You arsoned his
place to cover up the murder?
(Flashback to RUSS BRADLEY at MIKE KIMBLE'S house dousing the bed with nail
polish remover. Flash to white. Close up of nail polish remover pouring on
floor. Flash to white. End of flashback.)
BRASS: (v.o.) Grabbed the nail polish remover from the bedside table poured it
all over the place?
RUSS BRADLEY: I'll tell you the truth. I ... I feel relieved. I'd like to
make a formal confession.
CUT TO:
SCENE #28:
[INT. POLICE DEPARTMENT - HALLWAY]
GRISSOM: He can confess to the homicide but we're still examining evidence on
the arson.
BRASS: The guy wants to take the heat for his daughter on the arson well,
where's the harm in that?
GRISSOM: The harm would be to the justice system unless I misunderstand our
place in it.
BRASS: Don't you think that little girl's been through enough?
GRISSOM: What I think and what the evidence proves are possibly two different
things.
CUT TO:
SCENE #29:
[INT. CSI - GRISSOM'S OFFICE]
(CLOSE UP OF "Las Vegas Police Department - Request for Leave of Absence" Form
for Sara Sidle. GRISSOM is holding the form.)
(SARA enters GRISSOM'S office.)
GRISSOM: What is this?
SARA: It's, uh, just what it says: It's a request for a leave of absence --
six months ... year, maybe.
GRISSOM: Why?
SARA: I was thinking of checking out the federal government system - FBI ...
(GRISSOM snorts.)
GRISSOM: We have the best lab in the country.
SARA: I need a different work environment.
GRISSOM: What does that mean?
SARA: One with, um, communication ... respect.
GRISSOM: Everybody here respects you.
SARA: You don't.
GRISSOM: Is this about that hamburger thing?
SARA: No, Grissom ... this is not about that "Hamburger" thing. I-I-I don't
believe you. How can you reduce everything that I've said to some kind of
single quirk? Do you think the problem here is just about me?
(GRISSOM seems surprised.)
SARA: If you don't sign my leave, I'm going to have to quit.
(SARA turns to leave. GRISSOM stops her.)
GRISSOM: Hey, Sara?
(She turns around.)
GRISSOM: The Lab needs you here.
SARA: Great.
(SARA walks out. Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL SET)
SCENE #30:
[INT. CSI - LAB]
(GRISSOM enters the room. CATHERINE is holding a fake hand. She's preparing to
conduct a test.)
GRISSOM: Did you hear the dad copped a plea on the murder and the D.A.
expedited it?
CATHERINE: Voluntary man, first offense. Out on bail. Free in four. No jury
was going to convict a father for killing his daughter's abuser. What do you
have?
GRISSOM: Accelerant. Identical to the type found at the arson. Police got it
out of Jody's gym locker.
(CATHERINE holds the hot curling iron to the wrist of the fake hand. She puts
the curling iron down and compares the burn with a photograph of JODY BRADLEY'S
burnt wrist.)
CATHERINE: Looks as if Jody was probably telling the truth. She did burn
herself on a curling iron.
GRISSOM: So who started the fire?
CUT TO:
SCENE #31:
[INT. CSI - AUDIO/VISUAL LAB]
(WARRICK continues working on the photograph. Instead of the thumbprint, he's
concentrating on the eye. NICK enters the room.)
NICK: Hey.
WARRICK: Hey.
NICK: You get anywhere with those fingerprints?
WARRICK: Back burner. I've been working on this reflection in her eye. You
see what I'm seeing?
NICK: No.
WARRICK: Come on, man. I've been working on this enhancement all night. Look
closer.
NICK: What is it? A clock, a mirror? It's got a latch, a lock. A porthole?
... It's a porthole?
WARRICK: Yeah. These pictures were taken on a boat.
CUT TO:
SCENE #32:
[INT POLICE DEPARTMENT - HALLWAY]
WARRICK: Miss Bradley.
JANE BRADLEY: Yes.
WARRICK: Warrick Brown. Your fiancé, Mike, did he own a boat?
JANE BRADLEY: A boat? No.
WARRICK: No? Did he borrow one or rent one?
JANE BRADLEY: He wanted to borrow my ex-husband's boat but he was too proud to
ask.
WARRICK: Your ex-husband owned a boat?
JANE BRADLEY: He bought one after our divorce. I've never been on it.
WARRICK: (grimly) Okay. Thank you.
CUT TO:
SCENE #33:
[INT. RUSS BRADLEY'S BOAT -- NIGHT]
(WARRICK peers into the cabin. He's holding his flashlight and carrying his CSI
kit. He puts the kit down and descends into the cabin without it.)
(He looks around. He sees the porthole. He snaps a couple of pictures of it.)
CUT TO:
SCENE #34:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(CATHERINE is carrying two glasses of refreshment. She puts it down on the
table.)
CATHERINE: Jody? We know that Mike gave you his camera. We suspect that your
father used it to take pictures of you on his boat.
(JODY looks at CATHERINE. She looks away.)
CATHERINE: We believe that he then placed the camera back at Mike's to
implicate him along with the pictures.
JODY BRADLEY: He said I was like my mom when she was young and they were happy.
He said having me was like having his family back.
(CATHERINE closes her eyes for a moment.)
CATHERINE: Did you ever tell your mom?
JODY BRADLEY: I tried.
JODY BRADLEY: I don't want to go to dad's.
JANE BRADLEY: You know what the judge said: Two weeks with dad, two with me.
CATHERINE: Jody, we have strong forensic evidence against your father. But
cases like this are very difficult to prove. A victim testifying makes all the
difference.
JODY BRADLEY: He told me if I ever talked, he'd kill me.
CATHERINE: Jody, if you don't talk ...
JODY BRADLEY: I told Mike and he was going to fix things.
(Quick Flashback to MIKE KIMBLE comforting an upset JODY BRADLEY. Cut to the
exchange being witnessed by RUSS BRADLEY. Flash to white.)
JODY BRADLEY: And my dad killed him ... okay?
(JODY BRADLEY looks away. CATHERINE closes her eyes.)
(The door opens and WARRICK enters the room. He's carrying a large paper
package. CATHERINE stands and meets him at the door.)
WARRICK: Catherine.
CATHERINE: What is this?
(WARRICK opens the package. CATHERINE looks inside.)
WARRICK: Found it on the boat. DNA just ran it. She's under 14, right?
CATHERINE: Yeah, 12.
(WARRICK looks at CATHERINE. The gravity of the crime hitting them hard.
WARRICK closes the package, nods his head, and exits the room.)
CUT TO:
SCENE #35:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
BRAD GOTTLEIB (LAWYER): He didn't take pictures of his daughter. He never touched her. He's a loving, devoted father who works hard at his chain of grocery stores to keep her in good schools.
GRISSOM: Except when she's on his boat, right?
(GRISSOM is holding a file folder close to his chest. He pulls out a photograph from the folder and puts it on the table. It's a piece of plaid cloth with a large, white stain on it.)
GRISSOM: This is your sleeping bag we took off your boat. Our lab turned it inside-out. The discoloration you see is a mixture of vaginal and seminal fluid ... your daughter's and yours.
RUSS BRADLEY: Okay.
BRAD GOTTLEIB: Don't say a word, Russ.
BRASS: He doesn't have to. The sleeping bag's talking loud and clear.
RUSS BRADLEY: Brad, make me a deal.
BRAD GOTTLEIB: I can't.
RUSS BRADLEY: What do you mean you can't? You got me four years for murder.
BRAD GOTTLEIB: I can't.
RUSS BRADLEY: (insisting) You can get me something.
GRISSOM: (interrupting) No, he can't. In the State of Nevada, we're all bound by a legal statute. The sexual assault of a minor age 14 and under is a mandatory life sentence with no possibility for parole.
CUT TO:
SCENE #36:
(Through the glass, we see RUSS BRADLEY in handcuffs and being taken away by an officer.)
[INT. POLICE DEPARTMENT - HALLWAY]
(CATHERINE walks down the hallway. JANE BRADLEY and JODY BRADLEY are walking toward her on their way out.)
CATHERINE: Excuse me. Could I talk to you for a moment?
JANE BRADLEY: Why don't you wait over there, sweetie.
JODY BRADLEY: Okay.
(JODY BRADLEY leaves CATHERINE and JANE BRADLEY alone.)
CATHERINE: I owe you an apology. I have an eight-year-old daughter.
JANE BRADLEY: It's okay. You were looking out for mine.
(JANE BRADLEY leaves. CATHERINE turns around to watch mother and daughter, hand-in-hand, walk out of the hallway.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #37:
[INT. GRISSOM'S RESIDENCE - NIGHT]
GRISSOM: (o.s.) Tough case, huh?
(CATHERINE pours herself a drink and sighs.)
CATHERINE: Just give me a straight-ahead murder any day.
GRISSOM: Well, you wouldn't be human if it didn't affect you.
(GRISSOM is busy cutting something on a small cutting board.)
CATHERINE: I heard about you and ... uh ... Sara.
GRISSOM: (brushes it off) Sara, you know, she gets very emotional ...
(CATHERINE shakes her head.)
CATHERINE: Are you in denial? No, that's ... no, no ... way too analytical. Wow, you got burned bad, huh? Welcome to the club. I got third-degree burns from my marriage. Happens to everybody. Everybody just moves on.
GRISSOM: Good. Let's move on.
(CATHERINE'S not one to be put off. She tries again.)
CATHERINE: But you have to deal with it. You have to deal with it first. You got to deal with it before it goes away. You are the supervisor. You have responsibilities, and people are making a family around you whether you like it not, whether you give them permission or not. We don't have to go to the Grand Tetons together, just ... every now and then you got to lift your head up out of that microscope.
(GRISSOM nods thoughtfully at CATHERINE.)
GRISSOM: Yeah.
(CATHERINE watches GRISSOM as he absently wipes his hands clean on the blue dish rag. She smiles and seems satisfied that he's finally getting it. She moves to the living room where she takes a sip of her drink and looks out of the window. Her back is turned to him ... allowing him some privacy.)
(GRISSOM glances over at CATHERINE. CATHERINE looks back at GRISSOM and smiles.)
(GRISSOM puts the dish rag down and reaches for his little black address book. He sighs. He leafs through it and picks up the phone when he finds the number he's looking for.)
(CATHERINE looks out of the window, her back to GRISSOM.)
(GRISSOM dials the phone.)
GRISSOM: (awkwardly on phone) Yeah, hi. I-I-I'd like to get some flowers for a girl. No, no. Not flowers. A plant. A living plant. She likes vegetation.
(CATHERINE sits down on the sofa. She smiles and takes a sip from her glass.)
GRISSOM: Yeah, that'd be fine. To a Sara Sidle. Deliver it at the CSI division, Las Vegas Police Department the one out on North Trop Boulevard. Yeah, you can bill me at the same place. Gil Grissom. (pause) The sentiment? Oh-oh, on the card. Yeah. Um, uh ... have it say ... have it say, uh ... "From Grissom."
(He nods his head, satisfied.)
GRISSOM: (on phone) Thank you.
FADE TO BLACK.
Fait par Loveangel
