FLASH IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
(It's raining. Thunder rumbles, lightning flashes.)
[EXT. DESERT STATE MENTAL HOSPITAL - OUTER FENCE -- NIGHT]
(Camera slowly pans downward and we note the prison-like barbed-wire fence surrounding the hospital. The echoes of thunder rumble through the night.)
[EXT. DESERT STATE MENTAL HOSPITAL -- NIGHT]
(Nurse Nanette Faber holds her umbrella as she hurries up the front walk toward the hospital. We see the shadow of a person standing near the second floor middle window just above the front door.)
[INT. DESERT STATE MENTAL HOSPITAL -- NIGHT]
(Through the closed front door glass we see Nurse Nanette Faber closer her umbrella as she walks up the front steps. Thunder rumbles in the background.)
(The front doors open and she walks inside.)
(She stops at the security desk and smiles at the Len, the security guard.)
NANETTE FABER: Hey, Len.
(He puts her ID badge and a LC-110 A-H safety alert alarm on the counter. She takes them and smiles at Len.)
NANETTE FABER: Thanks.
(She rounds the corner and stops at the metal checkpoint where two more security guards wait behind a table. She puts her bag and things in the plastic tray.)
SECURITY GUARD: Hi.
NANETTE FABER: (mumbles something)
(She signs in on the clipboard, then walks through the metal detector. The machine beeps.)
(On the other side, she gets her ID and alarm from the security guard.)
NANETTE FABER: Thanks.
[CU: CARD SWIPE]
(Nanette Faber swipes her card into the wall security lock and punches in her access code, 5-2. The light switches from red to green and the door buzzes.)
(She opens the door and walks inside.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(She walks up to the panel and presses the button on top, releasing her keys. She removes the keys and walks over to the grated metal door nearby.)
(She uses the key, unlocks the door and slips inside.)
(The door shuts behind her.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(Nanette Faber reaches the nurse's station. She uses the key, unlocks the door and slips inside. She takes off her jacket. The door closes behind her. Thunder rumbles in the distance.)
(Nurse Joanne McKay is already there. She doesn't look up as she writes in her clipboard.)
JOANNE MCKAY: Some night, huh?
(Nanette Faber reaches for the clipboard.)
NANETTE FABER: It's ugly out there.
(She heads out to do her nightly shift bed checks.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(Nanette Faber walks over to the door to Unit 2C. She opens the door and enters the unit.)
(She walks up to the first door and uses the flashlight to peer into the door window to check that Earl Simmonds is in the room. He is there sitting on a chair near the door. In the darkness, Earl Simmonds stares back at her. She turns the flashlight off and he looks away. Thunder rumbles in the background.)
(She jots down notes on the clipboard as she heads to the next room.)
(Again, she uses the flashlight and peers into the room. Charles Pellew is sleeping on the bed. She heads to the next room.)
(She looks inside and sees Adam Trent sleeping. She turns, writes on her clipboard as she heads for the next room.)
(She peers in through the door window and finds the bed empty. She looks on the floor and sees Robbie Garson on the floor, his head bloody.)
(Nanette Faber opens the door and rushes inside to check. She sees the blood spatter on the floor near Robbie Garson's head.)
(She hears a sound behind her, turns and finds another inmate, Kenny Valdez, crouching on the floor near the wall, his hands and mouth bloody.)
(She takes a step back and pulls the security alarm. Immediately, it starts beeping. The lights in the unit flash as Nanette Faber keeps her flashlight on the inmate in front of her.)
FLASH TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - HALLWAY -- NIGHT]
(The hospital administrator leads Brass, Grissom and Sara out toward the grated door to the unit.)
HOSPITAL ADMINISTRATOR: We have two types of patients here: The criminally insane and sexually violent predators, all with multiple convictions.
(He inserts the key into the door.)
HOSPITAL ADMINISTRATOR: We get all the inmates the prisons can't handle.
(He turns around and looks at Brass, Grissom and Sara.)
HOSPITAL ADMINISTRATOR: Keep your kits closed and locked when not in use. Um, Ms. Sidle, best if you remove the vest. New uniforms upset them.
(He opens the grated door as Sara puts her kit down on the ground to remove her vest.)
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(He opens the door to the unit and they walk in. The guard outside closes the door.)
(They head toward the nurse's station.)
HOSPITAL ADMINISTRATOR: We're mostly concerned with maintaining psychiatric remission. We want to stabilize symptoms and reduce an individual's risk of violence to himself and to others.
(He stops. In front of him is a line of inmates being led through the hallway. They're headed in their direction. The hospital administrator immediately instructs his visitors.)
HOSPITAL ADMINISTRATOR: Oh, uh, could you actually stop here and put your backs against the wall, please. (to Brass) It's, uh, standard safety procedure.
(Brass, Grissom and Sara have their backs to the wall as the inmates walk by.)
(One of the inmates, Jake, looks directly at Sara, smiles wildly at her, opens his mouth and sticks his tongue out, wiggling it obscenely at her.)
LEON MADERA: Put your tongue in your mouth, Jake.
(As he follows the others, Jake turns and keeps his eyes on Sara, a wild grin on his face. He disappears into the room.)
HOSPITAL ADMINISTRATOR: We're moving them all to the day room.
(Off screen, we hear a door buzz and unlatch open.)
(The hospital administrator leads Brass, Grissom and Sara down the hallway.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(Through the closed door window, we see the hospital administrator leading the others to the hallway outside the crime scene.)
NANETTE FABER: (o.s.) This is not good. The hospital doesn't need this.
(The door opens and they walk inside.)
(Nurse Nanette Faber, Nurse Joanne McKay and Lieutenant Reed Owens wait out in the hallway for them.)
HOSPITAL ADMINISTRATOR: This is Captain Brass. Dr. Grissom and Ms. Sidle are from the Crime Lab.
REED OWENS: Lt. Reed Owens, Desert State Hospital Police.
HOSPITAL ADMINISTRATOR: We have our own internal police team and Lieutenant
Owens was the first officer on the scene after the call came in.
REED OWENS: The victim was found by Nurse Faber at approximately 12:10 A.M.
NANETTE FABER: Joanne was coming off shift, I was coming on. Doing bed checks,
I found Robbie on the floor. Kenny was in the corner covered in blood.
(Grissom breaks away from the group and heads for the room.)
BRASS: Are the patients locked in their rooms at night?
HOSPITAL ADMINISTRATOR: No. The doors are left unlocked.
(Grissom shines his flashlight into the room.)
BRASS: So they're free to roam around?
HOSPITAL ADMINISTRATOR: Locked rooms usually lead to patients trying to harm
themselves.
(He notes the blood on the walls.)
BRASS: Where's Kenny now?
NANETTE FABER: He's been taken to seclusion.
CUT TO:
[SECLUSION]
(Kenny Valdez is strapped to the bed as he screams. Leon tightens the strap around his chest.)
(The door opens and Nurse Faber enters the room. She checks his chart. Behind her, Grissom, Sara and Brass also step into the room.)
LEON MADERA: Shh-shh-shh.
NANETTE FABER: Leon, let's get a couple more milligrams of lorazepam into him.
(Sara notes the gashes in Kenny's left arm.)
SARA: How did he get those wounds?
LEON MADERA: Oh, Kenny's a self-mutilator. He suffers from Renfield's syndrome; gets off on blood.
(Nurse Faber holds Kenny's head still.)
NANETTE FABER: Shh ...
LEON MADERA: Couple of weeks ago I caught him gouging himself with a carpet
staple.
(As he talks, Leon injects Kenny.)
GRISSOM: He was wearing these clothes when you found him?
NANETTE FABER: Yes.
(As if knowing what he's thinking, Sara turns to look at Grissom. He motions
with his head for them to step outside. He and Sara leave the room.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - HALLWAY -- NIGHT]
(Grissom and Sara talk out in the hallway.)
GRISSOM: There was blood spatter all over the victim's room.
SARA: Blood but no spatter on Kenny's clothes.
GRISSOM: I'm not sure this is our guy.
SARA: (looks around) Locked unit. Finite number of suspects.
GRISSOM: Crazy or not ... here we come.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(One of the inmates stands at the window watching the rain outside. Thunder rumbles in the distance.)
(Inside at the table, Jake and an inmate play cards with Charles Pellew. It appears that they're using cigarettes as chips. Jake drops a cigarette into the pot.)
(The inmate has all red cards -- a King of Diamonds, Queen of Hearts and Jack of Diamonds. Jake glances over at Earl as they play.)
(Across the table from them is Charles Pellew. The television set behind him shows a polar bear and her cub.)
CUT TO:
(Earl Simmonds threads an imaginary string through an imaginary needle. He licks the imaginary string and tries to get it through the imaginary needle.)
(Outside in door, Brass and Grissom watch.)
BRASS: Who's this guy knitting an imaginary sweater?
How's he know when it's finished?
GRISSOM: His brain tells him that what he's doing is real. He has no reason to
doubt it.
BRASS: Or any desire to.
(Other inmates in the room include Robert Salter, who sits on the couch staring
out in front of him, and Adam Trent, sitting on another couch reading a book
while biting his nails.)
GRISSOM: They asked John Nash how he could believe that extraterrestrials were
sending him messages. He said that the messages came to him in the same way
that his mathematical ideas did. So he had to take them seriously.
(Behind them, Valerie Dino walks up to them.)
VALERIE DINO: Hey. Valerie Dino. I'm the on-call doctor.
GRISSOM: Did you pronounce?
VALERIE DINO: Yeah. The administration asked me to set up some rooms for your
interviews, but, uh, personally, I don't see what you hope to accomplish. These
patients are criminals with severe mental disorders. They're not going to give
you a straight answer.
BRASS: (smiles) No one ever does.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - HALLWAY -- NIGHT]
(The door opens and the gurney with Robbie Garson's body on it is wheeled out of
the hallway.)
(Sara lingers out in the doorway looking into Robbie Garson's room. She's
holding a camera in her hand and looking at the room assignments.)
DESERT STATE MENTAL HOSPITAL
UNIT 2C ROOM B
NAME: ROBBIE GARSON
PSYCHIATRIST: DR. VALERIE DINO (MD)
NURSE: JOANNE MCKAY (RN)
NOC. NURSE: NANETTE FABER (RN)
PSYCH. TECH: LEON MADERA
MEDICATIONS: GEODON, OLANZAPINE, DEPAKOTE
LITHIUM, LORAZEPAM
(She raises her camera and takes a photo of the sign.)
[INT. UNIT 2C -- NIGHT]
(Sara steps into the room. Thunder rumbles outside, lightning flashes.)
(She looks down at the blood on the floor with the finger marks in the middle of
it.)
(She snaps a photo of the blood on the edge of the bed sheets and photos of the
blood on the floor.)
(She crouches down and snaps more photos of the blood near the dresser.)
(She stands up and opens the dresser drawer.)
(She snaps a couple of photos of its contents. Thunder rumbles outside. Sara
looks up and around the room, something on the walls near the bed catches her
eyes.)
(On the wall are a couple of photos. The topmost is of two men sitting in
chairs and is held up by blue tape. The bottom one is of a faded man. Next to
the top photo is a space, but there's remnants of some blue tape still on the
wall.)
(Sara walks over to the wall and snaps a couple of photos of it.)
(At first, she tries to scrape off the blue substance on the wall, but realizes
that it's tape and peels it off with her fingertip. She places it in a bindle.)
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 1 -- NIGHT]
(Grissom interviews Ronald Salter. Ronald picks at the hair near his right ear.
He doesn't look at Grissom.)
RONALD SALTER: I definitely heard something. He said, "I'll get in!" No, no,
it was, "I'm coming in." I heard him say it. And it's not like he isn't
serious.
INTERCUT WITH QUICK FLASHES OF THE INMATE'S RECORD
(FIRST) RONALD
NAME: (LAST): SALTER
MULTIPLE RAPE / MURDER
(Grissom looks at Ronald Salter.)
GRISSOM: Who isn't serious?
(He looks at Grissom.)
RONALD SALTER: The, uh, perpetrator.
[QUICK FLASH: RECORD]
HALLUCINATIONS, DELUSION
(Grissom looks at Ronald Salter.)
GRISSOM: Can you tell me anything else about him?
RONALD SALTER: Oh, no, I couldn't.
GRISSOM: Why not?
RONALD SALTER: (whispers) He's here.
(Grissom's eyes shift around the room. Finding nothing, he looks at Ronald.)
GRISSOM: In this room?
(Ronald taps the side of his right temple.)
GRISSOM: Is his name Ronald?
RONALD SALTER: No. My name is Ronald.
GRISSOM: What's his name?
RONALD SALTER: He doesn't have a name. He's a cricket.
(Again, Ronald taps the side of his right temple.)
RONALD SALTER: Here.
GRISSOM: A cricket?
RONALD SALTER: Yes. Trying to burrow a hole in my head.
[QUICK FLASH: RECORD]
SIMMONDS EARL
(3) COUNTS OF RAPE, ONE
DIAGNOSIS: MAJOR DEPRESSIVE
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 2 -- NIGHT]
(Brass has his pen poised on the paper in front of him as he interviews Earl
Simmonds.)
EARL SIMMONDS: I don't sleep.
(Brass looks at him.)
BRASS: Never?
(Earl shakes his head.)
(Earl's hands move as if he were knitting.)
BRASS: So what do you do at night?
EARL SIMMONDS: Day, night, it don't make no difference. I think.
BRASS: About what?
EARL SIMMONDS: Bitches.
CUT TO:
[SARA]
(Sara is using the ALS on the bed sheets looking for any kind of body fluid.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - ROOM B -- NIGHT]
(She moves the sheets aside and finds something.)
(She checks the pillows and the rest of the bed.)
(She lifts up the mattress and finds some magazine photos on the wire frame.
She sits down and removes her goggles. The magazine pages are from a clothes
catalog - photos of teenaged boys.)
CUT TO:
[QUICK FLASH: RECORD]
TRENT ADAM
MULTIPLE SUICIDE ATTEMPT
EXTREME
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 1 -- NIGHT]
(Grissom interviews Adam Trent who smirks at Grissom.)
GRISSOM: What's so amusing?
ADAM TRENT: So let's say you find out who did it, and maybe it's me.
[QUICK FLASH: RECORD]
MULTIPLE ATTEMTPS, THREE RAPES
--NGS COUPLED WITH DELUSION
[ADAM TRENT]
ADAM TRENT: What are you going to do? Are you going to convict me of murder
and put me in a bad place?
(Adam smirks and starts biting his nails.)
GRISSOM: Is it you?
ADAM TRENT: Check the files, sir. I'm a rapist, not a murderer.
[INMATE]
(Brass looks across the table at an elderly inmate.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - ROOM B -- NIGHT]
BRASS: Robert Garson?
(The inmate stares back at him without saying anything.)
BRASS: Hmm?
(Brass looks at the inmate trying to find a response. There is none.)
WHITE FLASH TO:
[QUICK FLASH: RECORD]
PELLEW CHARLES
OCD / PANIC DISORDER
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 1 -- NIGHT]
(Grissom interviews Charles Pellew.)
GRISSOM: Do you know what happened to Robert Garson?
(Charles Pellew nods. He sits in the chair holding both his arms tucked in
close to his body.)
CHARLES PELLEW: Female pig relation, hanged, it sped even, well, too.
GRISSOM: What?
[QUICK FLASH: RECORD]
YOUNG BOYS, INCOMPETEN--
(Charles Pellew shakes his head.)
CHARLES PELLEW: No. I ground it ... blindly. Wet and dirty. Cut the blood
oven. It spoke justly, repeatedly, calmly. Some thin rod dared your wash.
They foretold this into some ready child, which fell crossly. They hag-rode
me... again.
(Grissom stares at him.)
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - ROOM B -- NIGHT]
(Brass interviews Jake, whose hands are strapped to the chair's armrests.)
JAKE: Why are you looking at me? You got Leon, he's a spic. Earl, the
brother. And the crazy frickin' Jew boy with the bug in his head.
[QUICK FLASH: RECORD]
JAKE
[QUICK FLASH: RECORD]
JAKE
MULTIPLE RITUAL MURDERER
-S: ANTI-SOCIAL O-
TIME ADMITTED: 08:43
(Brass stares at Jake.)
JAKE: You know, most of the doctors here are Jewish. They're the ones with the
access.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY -- NIGHT]
(Sara makes her way through the hallway and stops in front of Valerie Dino's
office door. The sign next to the door reads:
DR. VALERIE DINO
PSYCHIATRIST
C-113
(Sara knocks.)
[INT. DESERT STATE MENTAL HOSPITAL - DR. DINO'S OFFICE - NIGHT -- CONTINUOUS]
(Inside the office, Dr. Valerie Dino is working at her desk.)
VALERIE DINO: Yeah?
(The door opens. Sara walks in.)
SARA: Dr. Dino.
(Valerie Dino looks up.)
VALERIE DINO: Hi.
SARA: Paperwork.
VALERIE DINO: This is a state-run facility. What can I help you with?
SARA: Question about the victim. I have heard that in some cases of deviant
sexual predisposition, you slow the sex drive ...
VALERIE DINO: (nods, interrupts) If you're talking about chemical castration,
the answer is, yes, Robbie was.
SARA: So he didn't masturbate.
VALERIE DINO: Masturbate, yes. Ejaculate, no.
SARA: So the semen that I found on his bed is someone else's?
VALERIE DINO: Likely.
SARA: Thanks.
VALERIE DINO: Sure.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY -- NIGHT]
(Sara joins Grissom and Brass in the hallway.)
SARA: Hey, guys, I found semen in the victim's room and it's probably not his.
He was chemically castrated.
BRASS: So you're thinking the donor could be the killer?
GRISSOM: Sex is the foreplay. Violence is the climax.
BRASS: Well ... (Brass motions to the inmates in the room.) Happy swabbing.
(Grissom and Sara step into the room.)
[INT. DESERT STATE MENTAL HOSPITAL - DAY ROOM - NIGHT - CONTINUOUS]
(Lieutenant Reed Owens motions them inside the room.)
REED OWENS: They've been prepped. You're all set.
(Sara and Grissom put their kits down and put their gloves on.)
GRISSOM: Thank you, Lieutenant.
(Nearby, Leon hands a medication cup to Ronald Salter.)
LEON MADERA: Here you go, padre. Wash your worries away.
(Ronald swallows the pills and gives Leon the empty cup back.)
LEON MADERA: Thank you.
(Leon moves on to the next inmate, Charles Pellew.)
(Grissom looks around at the inmates in the room.)
GRISSOM: (to Sara) Well, you take that side. I'll take Jimminy Cricket.
SARA: Excellent.
(Each carrying a handful of swabs, Grissom goes to the left while Sara makes her
way to the inmates on the right.)
[GRISSOM]
(Grissom kneels in front of Ronald Salter.)
GRISSOM: Say ah.
(Ronald opens his mouth and Grissom takes a swab sample.)
RONALD SALTER: Ah.
[SARA]
(Sara stands in front of Earl Simmonds.)
SARA: Open for me, please.
(Earl opens his mouth and Sara takes a swab sample.)
SARA: Thank you.
(Cut to: Sara writes on the box. She moves over to the next inmate, Adam
Trent.)
(Adam Trent watches Sara with bright eyes. He opens his mouth and Sara takes a
swab sample.)
[GRISSOM]
GRISSOM: Say ah.
(Charles Pellew opens his mouth and Grissom quickly takes a swab sample.)
CHARLES PELLEW: Aah-ah-ah.
(Grissom puts the swab in the box as Leon returns with his tray of medication.)
GRISSOM: You, too, Leon.
LEON MADERA: I work here.
GRISSOM: Exactly.
(Grissom takes out a swab and takes a sample from Leon.)
[SARA]
(Sara holds the swab out in front of the elderly inmate.)
SARA: Open your mouth, please.
(There's no response. The inmate doesn't move.)
SARA: Would you open your mouth, sir?
(Suddenly, he moves, opening his mouth trying to take a bite out of Sara.)
(Sara quickly pulls back.)
(The officer standing nearby puts his hands on the elderly inmate's shoulders,
holding him back.)
OFFICER: (quietly) Settle down.
ELDERLY INMATE: (mutters to himself rapidly in Spanish)
SARA: Grissom ...
(Across the room, Grissom looks at Sara. Sara turns and looks at Grissom.)
SARA: You take this one.
(Sara turns and walks away.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(It continues to rain heavily. Sirens blare in the distance.)
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins goes over the body with Grissom.)
ROBBINS: Let's start with the stomach contents. They're fascinating. It
reminded me of that scene in "Jaws" where Dreyfuss cuts open the shark's belly
and all kinds of weird things come out.
GRISSOM: You find a license plate?
ROBBINS: Well, not quite.
(Robbins turns and shows the metal bowl filled with the various non-digestible
contents swimming in stomach liquid.)
ROBBINS: Highlights include band-aids, wood chips, hair and half a snapshot.
GRISSOM: Pica?
ROBBINS: Boo?
GRISSOM: Pica is a compulsion to eat non-nutritive food items. It's from the
Latin word for magpie, a bird with a large and indiscriminate appetite.
ROBBINS: Trichotillomania would explain the pulling out and eating of hair.
GRISSOM: Another OCD disorder.
ROBBINS: Uh, I sent hair and blood samples to tox.
(Robbins points to the head wound.)
ROBBINS: Stellate lacerations. Linear skull fracture extending into the
calvarium. And contre-coup contusions to the frontal and temporal lobes.
GRISSOM: So C.O.D. Was blunt force trauma?
ROBBINS: No. Asphyxiation.
GRISSOM: During the struggle?
ROBBINS: No. Coagulation of the blood tells me that the head trauma was post-
mortem, at least two hours after he was suffocated.
GRISSOM: So evidently dead wasn't dead enough.
ROBBINS: I also found ligature marks on the wrists and ankles.
(Robbins lifts up the victim' wrists to show Grissom the bruising. He points to
the marks on the victim's ankles.)
ROBBINS: They showed up during the Y, peri-mortem. So, what, tortured? Tied
up?
GRISSOM: Restrained.
(Quick flashback to: [SECLUSION] Robbie Garson is on the bed screaming as two
people restrain him down, securing the leather straps around his wrists and
ankles.)
(End of flashback. Resume to present.)
GRISSOM: Nobody mentioned restraints.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - TRACE LAB]
(Sara adjusts the scope as she looks through it.)
HODGES: Would you ever bleach your hair?
(Sara glances up at Hodges nearby.)
HODGES: I wouldn't. It's so Greg Sanders.
(Sara goes back to the scope.)
[SCOPE VIEW]
(Dark colored hair with yellow tips.)
HODGES: Most of the hair is the vic's, but I also found that bleached sample as
well. In my continuing quest to further my standing, I took it upon myself to
get you the tox report.
SARA: Thanks.
HODGES: You're welcome. Blood came back with pretty hefty levels of
olanzapine.
SARA: That's a potent anti-psychotic.
HODGES: Good for drooling. And also there's the, uh, not so potent smattering
of ibuprofen.
SARA: That's it?
HODGES: That's it.
(Sara looks at the report. It reads:
TO: A. ROBBINS, M.D.
CHIEF MEDICAL EXAMINER
FROM: Forensic Toxicology Laboratory
Forensic Science Laboratories
SUBJECT: Coroner's Case Number LVP -
In accordance with your request, tox -
Performed and are now completed on the -
SAMPLE TEST RESULTS
------ ---- -------
BLOOD NARCOTICS OLANZAPINE
BLOOD NARCOTICS IBUPROFEN
BLOOD ALCOHOL NONE
BLOOD CHEMICAL NONE
(Hodges pontificates.)
HODGES: If I were institutionalized, I think I would hope for something better.
Clonazepam, maybe.
(Sara gives Hodges a look.)
HODGES: What, you, uh, think I'm crazy?
SARA: Crazy is as crazy does.
(Hodges doesn't know what to make of that one.)
SARA: His chart indicated at least four other anti-psychotics. Why wasn't he
getting those meds?
HODGES: (shrugs) Do I look clairvoyant?
CUT TO:
[INT. CSI - HALLWAY]
(Brass shares his findings with Grissom.)
BRASS: News flash from the loony bin. Two reported deaths in the last three
years from "complications due to restraint procedures."
GRISSOM: And how many have gone unreported?
BRASS: The hospital just got off probation. One more death by restraint brings
the feds in.
GRISSOM: Good incentive to keep it quiet.
BRASS: Or make it look like someone else did it.
GRISSOM: Yeah. Somebody who's crazy.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
(It continues to rain.)
HOSPITAL ADMINISTRATOR: (v.o.) We're legally required to tape all our
sessions.
[SECURITY TAPE]
(The monitor shows Nurse Joanne McKay and Leon struggling to put Robbie Garson
into the bed.)
HOSPITAL ADMINISTRATOR: This is Robbie in the seclusion room the day he died.
[INT. DESERT STATE MENTAL HOSPITAL - SECURITY --- DAWN]
(Brass, Grissom and Sara review the security tape.)
(Back on the monitor, they watch as the two orderlies struggle to hold Robbie
Garson down on the bed while Nurse Joanna McKay stands in the corner near the
cart preparing a needle.)
(Dunbar reaches out and fast-forwards the tape a little.)
(Back on the monitor, we're shown the on-call doctor and Nurse Joanne McKay
checking on Robbie Garson.)
HOSPITAL ADMINISTRATOR: As you can see, the on-call doctor and Nurse McKay
checked in on him.
(He reaches out and fast-forwards the tape a little more.)
(On the monitor, the two orderlies escort Robbie Garson out of Seclusion.)
HOSPITAL ADMINISTRATOR: Two hours later, he was escorted out, so I resent the
accusation. We've made a lot of changes. Policy, staff, surveillance have all
been overhauled. Look, Robbie left the seclusion room alive.
SARA: Okay, fine. Who administers medication?
HOSPITAL ADMINISTRATOR: Uh, the nurses, psych techs. Why is this important?
SARA: Well, according to his tox results, Robbie's system was short four anti-
psychotics.
HOSPITAL ADMINISTRATOR: Maybe he was cheeking them.
(Quick flashback to: Robbie takes the medicine cup.)
LEON MADERA: Here you go, Robbie. Here's your feel-good.
(He swallows them, tilting his head to the side. He takes a sip of water.)
(Camera zooms in for a CGI close-up of the inside of a mouth. The water washes
down the throat, but we see the pills tucked into the space between the teeth
and gums.)
(End of CGI close-up.)
(Robbie smiles and turns to leave.)
(End of flash. Resume to present.)
BRASS: Why would he do that?
HOSPITAL ADMINISTRATOR: They think they don't need 'em. They sell 'em, trade
'em or ... store them up, get high later.
BRASS: We're gonna need to talk to his pharmacist.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - PHARMACY -- NIGHT]
(Leon looks across the hall at the line of inmates against the wall.)
LEON MADERA: Who's next?
(He looks up and sees Earl.)
LEON MADERA: Oh, come on, Earl. (He hands Earl the pill container.) There you
go.
(Earl takes the pills and swallows some water.)
LEON MADERA: Hey, you know I'm gonna bust your ass on the court, right?
(Earl turns and walks away. Leon hangs out from the counter watching Earl go.)
LEON MADERA: You better bring your 'A' game next time.
(The orderly escorts Earl away. Down the hallway, we see Brass and Sara headed
toward the pharmacy.)
LEON MADERA: Come on, Chuck, I got something for you.
(Leon turns his back to the window.)
(Charles Pellew takes a step toward the pharmacy, but the security guard holds
him back as Sara and Brass are at the next window.)
(Sara leans over the window counter and picks up a pill container to examine its
contents.)
(Leon turns around and sees Sara and Brass there. Sara notes Leon's bleach-
tipped hair.)
SARA: Love your hair, Leon.
LEON MADERA: (nods) Thanks.
SARA: What do you got here?
(Sara looks at the pill container.)
SARA: Ibuprofen, laxative, aspirin. What are you treating exactly,
schizophrenia or constipation?
BRASS: Where are the real drugs, Leon?
(Leon suddenly looks very nervous.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass and Sara interview Leon.)
BRASS: Man ... xanax, lanzopine, zoloft, suprazadone, clozapine, lorazapan,
lithium, valium, wellbutrin, haldol, respiredone.
(Sara slides a photo across the table of a drawer full of pills.)
SARA: You took everything with street value.
LEON MADERA: (to Brass) Look, dude ... I get 22-K a year. That's nothing.
Diddly-squat. I should get hazard pay. These people, I get ... I get spit on,
puked on, peed on, bitten. I get my hair yanked out, I get my ass pinched, I
get ... I get death threats. All for 22-K. So I supplement my income. It
don't hurt nobody.
SARA: Are you a doctor?
LEON MADERA: (scoffs) Look, these places, they overmedicate all the time. It
controls the population. And I don't endanger the patients, okay? I-I'm all
about the patients.
BRASS: Maybe Robbie caught you skimping on his meds, threatened to blow the
whistle. There goes that supplemental income.
(Quick flash of: [PHARMACY] Leon puts some pills into a bag. Robbie is at the
window and sees him.)
ROBBIE GARSON: I see what you're doing. I'm reporting you. You're stealing.
LEON MADERA: Robbie, hold on a second, hold on a second, will you?
CUT TO:
[SECLUSION]
(Robbie Garson screams and fights against the two orderlies trying to get him
restrained on the bed.)
(During the fight, Robbie grabs some of Leon's hair and stuffs it in his mouth.)
VOICE: All right, here you go, here you go, here you go.
(Robbie continues to scream and struggle as they try to restrain him on the
bed.)
CUT TO:
[ROBBIE'S ROOM - NIGHT]
(Robbie is asleep when Leon enters the room and chokes Robbie. We hear Robbie's
muffled cries.)
(End of flashback. Resume to present.)
LEON MADERA: No. All right, no way, man. That's a story. 'Kay? That's not why
he went to seclusion.
SARA: Why did he go to seclusion?
LEON MADERA: He freaked out in group. I wasn't even there. Ask somebody who
was.
(He looks at them.)
LEON MADERA: Am I gonna lose my job? 'Cause these people ... need me.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Sara looks at the video logs. It reads:
[ACTIVITY //
WAKE UP // 0007:30:1687 // (OUT) 07:50
BREAKFAST // 0007:50:8721 // (IN) 07:50 (OUT) 09:00
THERAPY // 0009:03:4789 // (IN) 9:00 (OUT) 12:10
LUNCH // 0012:10:5004 // (IN) 12:10 (OUT) 01:10
THERAPY // 0013:10:2354 // (IN) 1:10 (OUT) 05:00
SECLUSION // 0017:03:7421 // (IN) 05:03 (OUT) 07:06
TAKEN TO ROOM // 0019:06:76-- // (IN) 07:06 (OUT) 07:10
BED CHECK AWAKE IN BED // -- ]
SARA: According to the video logs, the victim was brought into seclusion at
5:03 P.M. and taken out of the room at 7:06 P.M. Nurse McKay noted that he was
awake and in bed at the 9:30 P.M. bed checks.
(Grissom refers back to the file in front of him.)
GRISSOM: Body was found at 12:10. So sometime between 9:30 and midnight he
was suffocated.
SARA: Probably closer to 9:30. The blood would've needed time to coagulate
before his head was smashed in.
GRISSOM: And not necessarily by the same person.
(Greg walks in carrying the bagged pillow from Robbie Garson's room.)
GREG: Hey, how about some pillow talk? Robbie's pillow had saliva on it. Lots
of it; all his.
GRISSOM: (shrugs) Could be from drooling. Or it could be from dying.
GREG: Well, look at this -- I found slits at both ends. (Greg grasps the
pillow aligning the slits with his nails.) Left hand ... and right hand.
(Grasping the pillow in his hands he turns toward Sara and motions as if
smothering Sara. Sara smiles.)
SARA: Looks like we have a murder weapon.
CUT TO:
[EXT. DESERT STATE MENTAL HOSPITAL - PHARMACY -- NIGHT]
VOICE (WOMAN): (over P.A.) All past-level-three patients, please return to
your unit for a head count. All past-level-three patients, please return to
your unit ...
(Lt. Reed Owens holds the umbrella over Sara as they walk out of the facility
and into the courtyard. It continues to rain as they walk down the pathway over
to the patio nearby where Nurse Joanne McKay is taking a smoke break.)
SARA: Thanks, officer.
(The officer turns and leaves. Sara talks with Joanne McKay.)
SARA: Nurse McKay, hi. Dr. Dino said that you supervised group therapy
yesterday.
JOANNE MCKAY: Uh, yeah.
SARA: I heard there was an incident involving Robbie.
JOANNE MCKAY: He had a personal item.
(She puts the cigarette to her lips to smoke.)
SARA: A personal item?
(Nurse McKay nods and puts the cigarette out in the tray next to her.)
JOANNE MCKAY: You can't bring anything in group except a beverage. It
distracts the other patients.
SARA: What did he bring?
JOANNE MCKAY: A photograph.
SARA: Of what?
JOANNE MCKAY: A little boy.
SARA: What did you do?
JOANNE MCKAY: I followed protocol.
(Quick flashback to: [GROUP THERAPY] Joanne McKay leads the group therapy
session.)
JOANNE MCKAY: Anybody else have anything they want to talk about?
JAKE: I wanna know why everybody's always staring at me -- especially him. (He
points to the elderly man sitting across from him.) He's staring at me.
ELDERLY MAN: I'm not staring at ...
(The two start pointing fingers at each other.)
CUT TO:
(Robbie sits in therapy holding the photo in his hand. He lifts it close to his
face and kisses the photo.)
JOANNE MCKAY: Hey, hey, hey. Hang on, hang on. Robbie? Wh-What have you got
there?
ROBBIE GARSON: Nothing.
(Robbie fingers the photo of a little boy.)
JAKE: (taunts) Fag candy.
JOANNE MCKAY: Well, what's the rule?
ROBBIE GARSON: Um.
(Joanne McKay stands up and walks over to Robbie.)
JOANNE MCKAY: There's no personal items in here ...
(Robbie gets to his feet.)
ROBBIE GARSON: (shouts) No!
JOANNE MCKAY: Give me the...
(Adam Trent sits with the others, a smile on his face.)
ROBBIE GARSON: No!
JOANNE MCKAY: Give me --
(Two security guards approach them and grab Robbie from behind. Robbie shoves
the photo into his mouth.)
ROBBIE GARSON: No! Don't touch me!
(They take him away.)
(Joanne starts to follow, but turns back to the other inmates.)
JOANNE MCKAY: Watch it!
(The security guards drag Robbie Garson out of the room.)
(End of flashback. Resume to present.)
JOANNE MCKAY: Boom, boom and boom: Medication, seclusion, restraint.
SARA: Tough love.
JOANNE MCKAY: Call it what you want -- these aren't my children.
(Nurse McKay picks up her things and stands up.)
SARA: Why didn't you mention this information last night?
JOANNE MCKAY: Because crap like that happens every day here. (shrugs) I
should get back to the unit.
SARA: Sure.
(Nurse McKay leaves. Sara's phone rings. She answers it.)
SARA: (to phone) Sidle.
GRISSOM: (from phone) We got the DNA results back on the semen on Robbie's
sheets. Patient Adam Trent -- the nail biter.
SARA: (to phone) Okay.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - ADAM TRENT'S ROOM -- NIGHT]
(Camera flashes of the artwork on Adam Trent's wall. First, of an oboe.
Second, of a tree with sharp blades and spikes on the end of its branches.)
[ROOM SIGN]
(The room sign reads:
UNIT 2C
ROOM 2C-E
ADAM TRENT
(Sara and Grissom are in Adam Trent's room. Grissom is photographing the
pictures on the wall.)
(He snaps a photo of a drawing of a cat with its back to the viewer and looking
over its shoulder, the end of its tail morphs into spikes.)
(Sara stares at the photos.)
(Grissom puts his camera down.)
GRISSOM: This stuff is dark.
SARA: Yeah. 'Course, I wouldn't expect Winnie the Pooh.
(Grissom notes a drawing of Medusa.)
GRISSOM: Adam's subconscious was working overtime.
(He again looks at the drawing of the cat with the thorns on its tail.)
SARA: I bet you aced your Rorschachs. (Sara smiles at Grissom. Grissom raises
his camera and takes more photos.) When I was in fifth grade, I drew a picture
of a harpooned whale. Everyone thought I was gonzo'd. But I had just read Moby
Dick. (shrugs) Sometimes a dying whale is just a dying whale.
(They share a look and a smile.)
(Sara reaches out to remove a smaller drawing and loses her grip on it. The
drawing falls behind the small drawers.)
(She and Grissom move the drawers away from the wall.)
(Sara picks up the photo near the air vent. She looks at it and sets it aside.)
(She removes the air vent grating and finds something hidden inside. She turns
her flashlight on and finds various items. She takes out a stack of letters and
sets them aside.)
(Grissom picks up the letters and looks at them. He notes that they're
addressed to ADAM TRENT at the DESERT STATE MENTAL HOSPITAL on CANYON AVE. and
the first letter is postmarked JUN 13 '02.)
(The second letter is also postmarked JUN 13 '02.)
GRISSOM: These are all postdated over a year ago.
(Sara removes a hair brush from the vent and looks at it carefully as she sets
it on the drawers.)
GRISSOM: It's not just his subconscious. This guy's got stuff buried
everywhere.
(Sara glances up from the brush.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. DESERT STATE MENTAL HOSPITAL - DR. DINO'S OFFICE -- NIGHT]
(Grissom and Sara sit in Valerie Dino's office. She reads from the letters
they've found.)
VALERIE DINO: "Dearest Angel, I think of you wherever I go. You are my prince.
I miss you. Write to me. Your only love, Mother." (She sets it aside and
picks up another letter.) Another one. Uh ... "It rained today. I thought of
that time when you and I got caught in the storm at the lake. The fire ... I
came home and made your favorite dinner. I even set a place for you ... " so
on and so forth.
SARA: That does not sound maternal to me.
VALERIE DINO: (shakes her head) It's not.
GRISSOM: Incest?
VALERIE DINO: Fully consummated. Mother-son incest is rare and deeply
pathological.
SARA: Oedipal complex taken too far?
VALERIE DINO: Oedipus ... implies son to mother. In this case, the mother was
seeking the love and creating the codependence. We call this a Jocasta Complex.
GRISSOM: Oedipus' mother.
VALERIE DINO: When Adam was nine his father died. His mother replaced her dead
husband with her son.
SARA: That's got to mess you up.
VALERIE DINO: Yeah. Adam is schizo-affective, suicidal, and a pathological
narcissist. When he was a teenager he was unable to retaliate against his
mother and incapable of actual intimacy, so ... he started raping women.
GRISSOM: Always women?
VALERIE DINO: Yes. Which is why I don't think he killed Robbie.
SARA: We found Adam's semen in Robbie's bed.
VALERIE DINO: You see, that surprises me. Like any good psychopath, he rarely
veers from his pattern. Adam is a single-celled organism who exists wholly for
himself. He must've been getting something tangible in return.
SARA: What? Drugs? Cigarettes?
VALERIE DINO: Drugs aren't his issue. And as far as I know he doesn't smoke.
Um ...
GRISSOM: So, uh, what can we learn from his artwork?
(She looks at the drawings.)
VALERIE DINO: Uh ... he starts with an innocuous object: a tree, a cat, an oboe
-- all of which he morphs into something deadly. You can see ... all of them.
GRISSOM: So, what should be safe turns into something unsafe.
VALERIE DINO: Mother becomes lover.
SARA: What about the mother? Do you have any idea where she is?
VALERIE DINO: She lives near Reno.
(She shakes her head.)
SARA: Based on the postmarks, it seems like she stopped writing him.
VALERIE DINO: Every time a letter came, a manic episode followed, then a severe
depression, including one suicide attempt. So I started sending the letters
back. Eventually, she stopped writing.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - INTERVIEW ROOM -- DAY]
(Adam Trent bites his nails as he's questioned by Sara. Grissom sits on the
side, watching. Valerie Dino is also in the room. Thunder rumbles softly in
the background.)
ADAM TRENT: Did I kill him? Yes.
SARA: Why?
ADAM TRENT: He was queer.
SARA: But you had sex with him.
(Adam Trent stops biting his nails and looks at Sara.)
[QUICK FLASH: ADAM'S POV]
(Sara.)
[RESUME VIEW]
ADAM TRENT: No. He had sex with me. He was the punk.
SARA: Was it consensual?
ADAM TRENT: I don't know.
SARA: So why did you do it?
ADAM TRENT: I don't know.
SARA: Okay. So then what happened?
ADAM TRENT: I took his head and I smashed it into the floor.
(Quick flashback to: [ROBBIE'S ROOM] Adam Trent smashes Robbie's head against
the hard floor. Blood spurts on the ground.)
(End of flashback. Resume to present.)
SARA: And that's how you killed him?
(He looks at her for a long moment. Suddenly, Sara turns and glances at
Grissom.)
ADAM TRENT: (deep breath) What? You don't believe me?
(Sara looks at Adam.)
SARA: I'm just wondering if that's how you killed him.
ADAM TRENT: Yes. I'm saying this and this is true. And if you don't believe
me, just look in the bucket in the latrine.
(Again, Sara turns and looks at Grissom.)
ADAM TRENT: Okay ... (Sara turns and looks at Adam.) Do you really want to
know why I killed him?
SARA: Yes.
(Adam looks at Sara.)
[QUICK FLASH: ADAM'S POV]
(He looks at Sara's face, then down to her breasts.)
(He looks at her right hand on the table between them. We note that her index
fingernail is painted gold.)
(Cut back to: Sara's face.)
[RESUME VIEW]
(Adam goes back to biting his nails. We notice that his nails are bleeding.)
(He puts his hand aside and stares at Sara.)
ADAM TRENT: It's because I'm crazy.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - LATRINE -- NIGHT]
(The security guard opens the door to the latrine. Sara and Grissom enter.
Grissom's carrying his kit. They walk inside looking around.)
SARA: Not a word about suffocation.
GRISSOM: Well, his nails weren't long enough to leave those tears in the
pillow. And there would have been traces of blood from his cuticles.
SARA: Something is off.
(At the end of the bathroom near the showers are the janitor's bucket and mop.
Sara walks into the small walkway and takes out her flashlight. She switches it
on and puts on a glove.)
(She kneels down next to the bucket and removes a bundle of clothes. She puts
the bundle on the floor and unrolls it. They immediately see the blood on the
front of the shirt.)
GRISSOM: Well, there's our blood splatter.
(Sara opens up the pants and the boxer shorts. They immediately notice the red
stain in the front of the shorts.)
GRISSOM: What is that on the crotch?
SARA: Lipstick.
QUICK FLASHES OF:
[DR. VALERIE DINO]
[NURSE NANETTE FABER]
[NURSE JOANNE MCKAY as she takes a puff from her cigarette and puts the
cigarette down into the nearby tray.]
CUT TO:
[EXT. DESERT STATE MENTAL HOSPITAL - PATIO -- DAY]
(One of the inmates stands near the window looking down outside.)
(In the smoke break area, Sara picks up a single cigarette butt with lipstick on
the end of it. She puts it in a bindle.)
(Sara turns to Lieutenant Reed Owens standing near her.)
SARA: Where is Nurse McKay? I need to talk to her.
REED OWENS: She's on lunch duty.
SARA: All right. I can either take this and the underwear back to the lab and
confirm the match, which will only extend our presence here. Or ... you can
give me access to the nurse's station right now.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY / NURSE'S STATION -- DAY]
[HALLWAY POV]
(Camera slowly creeps around the hallway to reveal that Grissom and Sara are in
the nurse's station. The door is wide open.)
[RESUME VIEW]
(Grissom looks at the various file folders. Sara is looking at a photo.)
SARA: This must be the photo that Nurse McKay confiscated from Robbie in group.
The missing half? I found blue tape in Robbie's room.
(We see it's a photo of a young boy in yellow shorts standing between two other
boys, his arms resting on their shoulders. Both faces of the two other boys are
cut or torn out.)
SARA: Kind of looks like Adam.
GRISSOM: Where would Robbie get a picture of Adam?
SARA: Well, they were having sex.
(Grissom tries a drawer and finds it locked. Sara turns over a small heart-
shaped paperweight on the desk and finds "J + A" painted in black under it.)
(Grissom tries more drawers and finds them locked.)
GRISSOM: I'm going to find someone who can open these drawers.
SARA: Okay.
(Grissom starts removing his gloves as he heads for the door. Sara is still
looking at the various items on the counter, her back to the open door.)
[HALLWAY POV]
(Grissom walks out of the nurse's station. The door is wide open as he makes
his way down the hallway.)
[RESUME VIEW]
(Sara is in the nurse's station, her back to the open door.)
[GRISSOM]
(Grissom walks down the hallway toward Lieutenant Reed Owens, who is at his post
near the main door. Grissom stops in front of him and talks with him.)
[SARA]
(Sara is in the nurse's station studying the different photo of Adam that she's
found.)
(Behind her, we see Adam Trent appear in the doorway. He turns and walks
quietly into the nurse's station.)
(Sara hasn't noticed him.)
(With his eyes on Sara, Adam starts to close the door.)
ADAM TRENT: Hey.
(Sara stops and turns around. She puts the photo down on the counter behind
her.)
[GRISSOM]
(Outside in the hallway, Reed Owens is talking with Grissom. He points to the
doorway on the right. Grissom turns and exits the hallway, disappearing through
the door.)
[SARA]
(Back in the nurse's station, Sara stares at Adam Trent. Adam closes the door.)
ADAM TRENT: Are you a spiritual person?
SARA: Sometimes.
ADAM TRENT: Do you believe that everything happens for a reason? That bad
things are there to teach us a karmic lesson?
(We hear Adam move slowly toward Sara. Sara backs away casually, reaching
behind her, grabbing a syringe from the counter top.)
ADAM TRENT: You know, maybe all our problems can be cured by tuning in to a
higher frequency.
(Adam continues to talk with Sara.)
ADAM TRENT: There's this one guy I read, he believes that illness, anxiety and
fear all occur when people are vibrating at ten thousand cycles a second.
(Sara nods. Adam moves closer toward Sara. Sara moves. She uncaps the syringe
and tries to jab it at Adam. Adam grabs Sara, turns her around and holds her in
front of him.)
(The syringe falls harmlessly to the floor.)
[HALLWAY POV]
(Through the glass, we see Sara struggle against Adam. They both fall out of
view as they sink down to the floor.)
[RESUME VIEW]
(Sara struggles against Adam. She tries to elbow him in the chest, but Adam has
a firm hold on her. Adam takes out a pointed piece of hardened clay that he
holds against Sara's throat.)
ADAM TRENT: If they could just get up to a hundred thousand cycles per second
they'd be in the realm of sound, light and spirit, and everything would be just
fine. Right?
SARA: (nods) Yeah.
[HALLWAY]
(Grissom returns with an orderly. They both head back to the nurse's station.)
ADAM TRENT: (o.s.) You know what I think?
[NURSE'S STATION]
(Adam has a firm hold on Sara.)
ADAM TRENT: I think I'm just vibrating at the wrong frequency.
(Sara struggles against Adam's hold on her.)
[HALLWAY]
ADAM TRENT: (o.s.) Don't --
SARA: (o.s.) It's okay.
(Grissom and the orderly return to the nurse's station and find the door locked
shut. The orderly jiggles the lock. It doesn't open.)
ADAM TRENT: (crying) (o.s.) Do you think I'm smart?
[OFF ADAM AND SARA]
(Alarmed, Grissom steps to the side to look in through the window.)
SARA: (o.s.) Yeah.
ADAM TRENT: (o.s.) Yeah?
(Sara sees Grissom outside.)
SARA: (nods) Uh-huh.
GRISSOM: (o.s.) Oh, dear God.
ADAM TRENT: (crying) Do you think I'm right?
GRISSOM: (o.s.) Open the door.
(Adam presses the ceramic tip against Sara's throat.)
SARA: (o.s.) I do.
[HALLWAY]
ADAM TRENT: (o.s.) You do?
(The orderly fumbles as he tries different keys.)
ORDERLY: I can't. I don't have the right key.
GRISSOM: (quietly) Just open it.
(Off screen, we hear keys jingling as the orderly struggles to find the right
key.)
[NURSE'S STATION]
(Adam turns and finally notices that Grissom is there looking at Sara. Sara has
stopped struggling as she looks back at Grissom.)
GRISSOM: Please open the door.
ADAM TRENT: (to Sara and Grissom) Don't you move a muscle. I will grind you,
you bitch. You hear me?
(Sara nods, her eyes averted and gazes down at the floor. We hear the alarms
beep and lights flash.)
ADAM TRENT: Do not look at them!
SARA: Okay.
ADAM TRENT: Keep your eyes on the floor!
(Suddenly, Nurse Joanne McKay runs up to the nurse's station, her hands pressed
to the window glass.)
JOANNE MCKAY: Wait!
(Adam turns and sees Joanne McKay through the window.)
JOANNE MCKAY: Adam --
(Suddenly, he goes wild, his attention averted from Sara to Joanne. He points
the ceramic piece to her, standing up, releasing his hold on Sara.)
ADAM TRENT: You! You, go away!
(Sara turns and sees Nurse McKay. She quickly elbows Adam in the chest, pushing
him away and getting to her feet. Adam falls back against the desk.)
ADAM TRENT: (wildly) You! You, go away!
JOANNE MCKAY: (o.s.) No!
(Adam takes the clay piece and uses it to cut his own neck. Blood spurts out
from the wound.)
JOANNE MCKAY: (o.s.) Adam! Stop!
(Sara opens the door and runs outside, ignoring everyone as she hurries past
them. She walks quickly to the end of the hallway, getting as far away as she
can.)
JOANNE MCKAY: (o.s.) (shouts) Get a medic in here!
(Grissom watches Sara, then turns back to look inside the nurse's station. The
guard and an orderly hold Adam Trent, who struggles against them as he cries.)
GUARD: Hold still. Apply some pressure.
(Joanne McKay rushes into the nurse's station and kneels down to help them,
pressing her hands against Adam's wound.)
(Grissom stares at them, then turns to look back at Sara.)
(Sara has reached the end of the hallway where the metal grate covering the
window is. It's raining outside.)
JOANNE MCKAY: (o.s.) Where is it? Where is it?
(Off screen, we hear Adam crying.)
(Sara reaches the window and slams both her hands, palm forward on the metal
grate.)
(She rests her forehead against the metal grate.)
JOANNE MCKAY: (o.s.) We need help in here!
(Camera holds on Sara as the alarms around her continue to beep, red lights
continue to flash.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. DESERT STATE MENTAL HOSPITAL (STOCK) - NIGHT]
(It continues to rain outside. We see the shadow of a person standing near the
second floor middle window just above the front door.)
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY -- DAY]
(It's raining outside. Thunder rumbles. Sara looks out the window. Grissom
stands quietly nearby listening.)
SARA: When my father died, my mother came to a place like this for a while for
evaluation. It looked the same, it smelled the same. It smelled like lies.
GRISSOM: You sure you're okay?
SARA: Crazy people do make me feel crazy.
GRISSOM: If you want, I can have somebody take your place.
SARA: I appreciate that. I do, I really do, but ...
(Down the hallway near the nurse's station, we see Adam Trent on a gurney with
the security guard, orderly and a doctor standing over him. He's in restraints.
Nurse Joanne McKay heads for Grissom and Sara.)
JOANNE MCKAY: I'll be right back.
MAN: Okay.
(Sara continues.)
SARA: I kind of made a decision to move beyond that and ... I really want to
finish this case.
JOANNE MCKAY: (interrupts) We have rules for a reason.
(Grissom turns and looks at Nurse McKay.)
JOANNE MCKAY: You people come in here disrupting things. You're unsafe. This
is your fault.
GRISSOM: Really?
SARA: You seem to take your job rather personally.
JOANNE MCKAY: What are you suggesting?
SARA: That you had an intimate relationship with Adam Trent.
JOANNE MCKAY: (scoffs) That's ridiculous.
SARA: Your lipstick is on his underwear.
JOANNE MCKAY: I gave Robbie my lipstick sometimes. Maybe he was wearing it
when the whole thing ...
GRISSOM: (interrupts) We didn't find any on his lips.
JOANNE MCKAY: Well, that's your problem.
(She scoffs, turns and heads back to the men standing around the gurney.)
JOANNE MCKAY: What are you waiting for? Get him to the medical unit, stat.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - MORNING]
(The skies have cleared some. Sirens blare in the distance.)
[INT. DESERT STATE MENTAL HOSPITAL - ART ROOM -- DAY]
(Grissom walks into the day room carrying the clay piece. He looks around and
notes the inmates painting.)
(He walks up to the table nearest him in the center of the room with various un-
fired and un-painted pottery pieces on it.)
(He notices a particular piece on the second table. It's a one-handled damaged
vase.)
(He takes the piece in his hand and matches it to the vase as one of the missing
handles.)
(Grissom turns and talks to the therapist sitting at his desk in the corner.)
GRISSOM: Excuse me. (The therapist looks up.) Adam Trent was working on this
piece?
THERAPIST: Yes. He made it on Monday. (The therapist stands up and heads over
to Grissom.) But he never got a chance to fire it. Nurse McKay came in; they
had a conversation. Actually, it was more of an argument, very heated, very
loud.
(Quick flashback to: [ART ROOM - DAY] Adam Trent is on the pottery wheel
making his vase.)
(Nurse McKay walks up to him and kneels down next to him. She starts talking to
him as Adam works on the piece.)
(End of flashback. Resume to present.)
THERAPIST: And then she yanked him out of class.
GRISSOM: Was this on the wheel while they were arguing?
THERAPIST: (nods) Yeah.
(Grissom kneels down to look at the piece at eye level.)
THERAPIST: Adam's work is very provocative.
(He sees the groves in the side.)
GRISSOM: Yeah. It speaks to me.
CUT TO:
[INT. CSI - HALLWAY TO A/V LAB -- DAY]
(Grissom and Sara walk through the hallway.)
SARA: Acoustic archeology?
GRISSOM: In the '60s, experiments were done on clay pots and painted canvas.
Scientists were able to ferret out sounds that were captured during the creative
process in the clay and the paint.
(They step into the A/V Lab. Sofia Curtis is there with the pottery piece on a
turntable.)
SARA: Trippy.
SOFIA CURTIS: It's actually not that out there. (As she talks, she flips the
turntable on.) In the old days, the first gramophone recordings were made by
taking the vibrations of sound and cutting them into wax cylinders while they
were turning.
(Quick flash to: A woman plays the cello sitting next to an old fashioned
gramophone.)
SOFIA CURTIS: (v.o.) Based on the frequency and intensity of the sound, the
stylus cut into the wax, creating distinct variances of depth and width.
(Camera zooms in through the gramophone down to the stylus as it cuts through
the wax on the cylinder.)
(End of flashback. Resume to pottery.)
SOFIA CURTIS: For playback, a mechanical transducer vibrated along a groove,
generating a current which, when amplified, turned into sound.
GRISSOM: When the art therapist told me that there'd been an argument while
Adam was on the wheel, I thought, well, maybe we can pull some sound off his
pot.
(Sofia flips a switch and a red light appears on the side of the turning
pottery.)
SARA: Doppler laser. Optical transducer.
SOFIA CURTIS: We've come a long way.
GRISSOM: Baby.
(Grissom turns and looks at Sara.)
(Sofia works on the pottery piece. She puts the sound on the computer and plays
it. We hear a high-pitched whine.)
SOFIA CURTIS: Well, there's something there. And it sounds like ...
(She plays it back.)
SOFIA CURTIS: -- this.
(The sound is muffled with interference, but we can definitely hear a voice
pattern there.)
SARA: It's lousy signal-to-noise. It's going to need a lot of processing.
(Sofia clicks on FILTERS and selects BASS & TREBLE.)
(She plays it again.)
(She clicks on FILTERS and selects HIGH/LOW PASS.)
(She plays it again.)
SOFIA CURTIS: Speech elements skew to consonants. I'll try and dig them out.
(She plays it again. This time it sounds like someone speaking.)
COMPUTER VOICE: (muffled with interference)
(Quick flashback of: [ART ROOM - DAY] Adam Trent is at the pottery wheel while
Joanne McKay is next to him.)
JOANNE MCKAY: (muffled with interference)
(Quick flash close-up of the brush on the side of the pottery piece etching the
sound into the side.)
JOANNE MCKAY: (muffled) rrr-bee ...
(CU: CLAY POTTERY. The red laser light reads the sound off the grooves in the
side of the turning pottery piece.)
JOANNE MCKAY: (muffled) rrr-bee...
(End of flashback. Resume to present.)
GRISSOM: Robbie?
SARA: (nods) Maybe. (to Sofia) Could you run that back a little bit?
SOFIA CURTIS: Sure.
(She replays a portion of it.)
JOANNE MCKAY: (muffled with interference)
SARA: What is that?
JOANNE MCKAY: (muffled with interference)
JOANNE MCKAY: (muffled with interference) Tht's my Nnn-gl.
SARA: Right there.
JOANNE MCKAY: (muffled with interference) Nnn-gl...
SARA: You hear it?
JOANNE MCKAY: (muffled with interference) That's my Angel.
SOFIA CURTIS: angle?
SARA: Angel.
(Quick flashback to: [ART ROOM - DAY] Joanne McKay.)
JOANNE MCKAY: (clearly) That's my angel.
(Camera zooms in to the grooves in the side of the spinning pottery piece.)
JOANNE MCKAY: (clearly) That's my angel.
(End of flashback. Resume to present.)
(Sofia looks at Grissom. He explains.)
GRISSOM: In her letters, Adam's mother called him "angel."
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Sara and Brass interview Joanne McKay. Sara looks at the DNA results.)
SARA: The hair from the brush in Adam's room was fresh enough to get a DNA
profile. It came back female. We tested it against your cigarette butt. It
matched.
JOANNE MCKAY: Adam liked it when I brushed his hair.
BRASS: I bet he did.
SARA: You were lying about giving Robbie lipstick. You have seven out of 13
alleles in common with your patient, Adam Trent.
(Brass holds up the bagged letters.)
BRASS: Your Dearest Angel.
(Joanne McKay doesn't say anything.)
BRASS: Okay. Joanne McKay, registered nurse, licensed by the Nevada board of
Nursing 1978. Married Howard Trent 1980. The board requires you to get a new
certificate when you get married. I guess you never complied.
JOANNE MCKAY: I've always gone by my maiden name.
BRASS: I guess that makes it less embarrassing to check into the motel with
your son. (She glares at him.) Oh, I'm sorry. You checked into a psycho ward
instead.
JOANNE MCKAY: My son needed me.
SARA: For what? To destroy his ego? To fill him with guilt? To make him hate
himself so much he would take his own life just to be free of you?
JOANNE MCKAY: You have no idea what goes on between us.
BRASS: Let's cut the umbilical cord, okay? Six months ago your letters started
to come back. No more communication with Little Lord Fauntleroy. So you apply
to Desert State. They were desperate for nursing staff, so you got a job.
(Quick flashback to: [DAY ROOM - DAY] Valerie Dino introduces Joanne McKay to
the inmates.)
VALERIE DINO: Gentlemen, this is our new nurse, Nurse McKay.
JOANNE MCKAY: Hello.
(Joanne turns and looks directly at Adam Trent. Adam looks away and starts
biting his nails.)
(End of flashback. Resume to present.)
BRASS: Bet it's tough to turn a folie a deux into a menage a trois. N'est-ce
pas?
(Quick flashback to: [ADAM'S ROOM - NIGHT] Adam brushes Joanne McKay's hair.
He kisses her.)
(End of flashback. Resume to present.)
SARA: Even tougher that your son was cheating on you ... with a man no less.
(Quick flashback to: [COURTYARD - DAY] Joanne watches as Adam meets with
Robbie.)
CUT TO:
[ART ROOM - DAY]
(Joanne talks with Adam.)
JOANNE MCKAY: You need to stop this.
ADAM TRENT: Stop what?
JOANNE MCKAY: End it with Robbie.
ADAM TRENT: Don't tell me what to do.
JOANNE MCKAY: End it or I will.
(End of flashback. Resume to present.)
SARA: But he didn't end it, did he? Robbie was lover's leverage. He was that thing that Adam kept in his back pocket and pulled out whenever he needed to distance himself from you.
BRASS: So you had no choice but to get rid of Robbie. And being a good nurse, you knew his trigger.
(Quick flashback to: [ROBBIE'S ROOM - DAY] Joanne takes the photo of Adam off Robbie's wall and gives it to Robbie.)
JOANNE MCKAY: I want you to talk about this in group today.
ROBBIE GARSON: B-but I thought that we ...
JOANNE MCKAY: It's okay. You can bring it.
(Joanne walks out.)
CUT TO:
[GROUP SESSION]
(Robbie looks at the photo in group.)
JOANNE MCKAY: Hey! Robbie. What do you got there?
JOANNE MCKAY: There's no personal items in group.
ROBBIE GARSON: (stutters) B-but y-you ... you told me ... th-th-that I could bring this.
JOANNE MCKAY: I didn't say anything. (Joanne stands up.) Give me that. What
is that, a picture?
(She tries to take the photo from him. Robbie hides the photo from her.)
ROBBIE GARSON: You remember?
JOANNE MCKAY: Give me the picture.
ROBBIE GARSON: No, do you remember? You remember? (shouts) No!
JOANNE MCKAY: Give me the picture.
(Robbie stands up and starts to struggle with Joanne McKay for the photo.)
ROBBIE GARSON: No, you don't tell me! You told me...!
CUT TO:
[SECLUSION]
(Robbie is being restrained on the bed.)
JOANNE MCKAY: Hang on!
(They struggle to restrain Robbie as he screams.)
CUT TO:
[ROBBIE'S ROOM - NIGHT]
(Joanne McKay is in Robbie's room. She takes his pillow and smothers Robbie
Garson. He struggles against her, but she keeps the pillow firmly on his head.)
(End of flashback. Resume to present.)
BRASS: You manipulated the situation and took advantage of his weakness.
SARA: Exactly what you have been doing to Adam for the past twenty years. And
being such a good mother, you made him cover it up. (beat) Again.
(Quick flashback to: [ROBBIE'S ROOM - NIGHT] Adam removes Robbie's body from
the bed and places it on the floor. He smashes Robbie's head against the floor
until a pool of blood gathers under his head.)
(Blood spatters on Adam's clothes.)
LATER:
(The door opens and Kenny walks in. He glances around, sees the blood on the floor and can't help himself. He rubs his hands in the pool of blood, smashing it against his mouth trying to drink it all in.)
(End of flashback. Resume to present.)
JOANNE MCKAY: Why would my son do that?
SARA: Because he loves you as much as he hates you.
JOANNE MCKAY: You can't prove any of this.
BRASS: Just the incest, which is a Class B felony. It carries a penalty of up to ten years.
SARA: That's ten years away from Adam.
JOANNE MCKAY: Good luck getting him to testify.
BRASS: (sighs) Well. Okay.
(Sara gathers her things and heads out of the room.)
(The officer in the room steps forward.)
[OBSERVATION ROOM -- CONTINUOUS]
(Through the reflection in the glass, we see Grissom is in the observation room watching. Sara leaves the room.)
(The officer reaches for Joanne McKay.)
BRASS: (o.s.) Joanne McKay, you're under arrest for the crime of incest ...
(Grissom turns and looks at Sara, who is standing next to him.)
BRASS: (o.s.) ... your rights. You have the right to ...
GRISSOM: Well, jail or no jail, ... (The officer has Joanne McKay handcuffed and standing as she listens to her rights.) -- I don't think she'll last six months. She'll die without her son.
SARA: That would be better for both of them.
(Grissom turns and looks at Sara.)
(He nods, then quietly leaves the room. He closes the door behind him.)
(Camera lingers on Sara.)
FADE TO BLACK
THE END.
Fait par Wella
