[INT. ALVARADO’S APARTMENT -- DAY]
(The inside is burned and the firefighters leave. Warrick and Grissom are
looking around.)
GRISSOM: You feeling okay?
WARRICK: Yeah. My ears are still ringing, though. This place reeks of sulfur.
(Warrick finds something and snaps a photo.)
WARRICK: I found about ten of these butane cans so far. Any evidence that's
here is gone.
(He takes more photos. Grissom looks at the walls.)
GRISSOM: Yeah, well, there's burn patterns all over these walls. They must
have splashed butane all over everything.
(Quick flash to: Someone sprays the walls. End flash.)
GRISSOM: And butane dissipates quick.
WARRICK: The other guy was probably watching us the whole time.
GRISSOM: There's nails all over the place.
WARRICK: Grissom, I think I found the point of origin.
GRISSOM: Green plastic. Sugar, butane, and nails. Add some egg whites in a
soda bottle. You got a MacGyver bomb. Crude, but it works.
WARRICK: I think they were looking to do more than just destroy evidence.
CUT TO:
[EXT. NEIGHBORHOOD WALL – DAY]
(Officer Mitchell and other officers have gang members lined up with their hands
against the walls. The items in their pockets are on the ground behind them.
Grissom and Warrick walk over to them.)
WARRICK: You running for warrants, Mitch?
OFFICER MITCHELL: Yeah.
WARRICK: Impound their cars.
OFFICER MITCHELL: You got it.
(Warrick and Grissom look at the gang members. Grissom smells the back of one
of the men. He goes to the next gang member, looks at the contents on the
ground and smells him.)
(He moves to the next gang member, looks at the contents on the ground, which
includes a lighter and some cigarettes. He smells him.)
GRISSOM: Mitch, I want to see this guy's hands.
DONNY GOMEZ: You ain't a cop, fool.
WARRICK: He's bigger than a cop. Show him your hands, princess.
DONNY GOMEZ: They're clean. Want to lick 'em and find out?
(Warrick grabs Gomez by his arm, twists it back and looks at his hand.)
WARRICK: You think this is a game? Huh? This one's clean.
(He looks at his other hand.)
WARRICK: What about this one? Clean.
GRISSOM: Turn his pockets.
(Officer Mitchell looks at Gomez’s pockets. Sugar falls out.)
OFFICER MITCHELL: Sugar.
WARRICK: What's this? You been baking cookies?
CUT TO:
[INT. PD – OBSERVATION ROOM – DAY]
(Madeline Klein watches as Brass interviews Donny Gomez.)
BRASS: So, who gave you the order to torch that apartment?
DONNY GOMEZ: I don't know what you're talkin' about.
[INT. PD – INTERVIEW ROOM]
BRASS: And why that apartment? Who do you know lives there?
DONNY GOMEZ: Nobody. I got a mental illness. I'm a firebug. I'm loco.
(Maddy walks out of the room.)
BRASS: You're loco?
DONNY GOMEZ: Who knows?
(The door opens and Maddy walks in.)
DONNY GOMEZ: Maybe I'll set the lawyer lady's house on fire.
MADELINE KLEIN: Hey, little man with the big mouth. It doesn't matter what you
say, 'cause all your boys are going to hear is that you rolled on Alvarado.
(Gomez surges to his feet. His hands are cuffed behind his back. The officer
grabs his shoulders. Brass stands up as well.)
BRASS: Sit down.
MADELINE KLEIN: Just bought yourself another ten years. I'm going to hand-pick
your cell mate.
(Maddy leaves.)
[EXT. PD – HALLWAY – CONTINUOUS]
(Brass and Maddy exit the room and start down the hallway.)
BRASS: Well, that didn't help.
MADELINE KLEIN: That kid wouldn't roll if I gave him a night with Jessica Alba.
BRASS: You're really good at making enemies, Maddy.
MADELINE KLEIN: That's why I'm unlisted, divorced and carry a gun.
BRASS: Did you take Cook back to Little Gordo's house? You know, maybe to
verify his story?
MADELINE KLEIN: Yeah, I always take my secret witnesses on a bus tour of the
"hood."
BRASS: You know, when Don Cook first refused to testify that he saw Alvarado
come out of Little Gordo's house, you know what I did? I took him to an out-of-
town diner and bought him a cup of coffee. What'd you do?
MADELINE KLEIN: I went to Little Gordo's.
(Brass nods. Maddy gets it.)
MADELINE KLEIN: Damn it. Good job, Maddy. They saw me. I can't even blame it
on the booze. All they had to do was trail me back to the courthouse and watch
me go into the security entrance with 18 escorted jurors. That's how they knew
grand jury. Damn it!
(She sighs. Brass is quiet.)
MADELINE KLEIN: This is where you're supposed to say, "It's okay. It could
happen to anyone. It's not your fault Don Cook is dead."
(He looks at her.)
MADELINE KLEIN: Like hell it isn't.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Nick turns the corner and coughs.)
HODGES: (shouts) Hey, Nick!
(Hodges is in the lab. He heads out and is holding a report.)
HODGES: You've got an artful tagger.
NICK: What?
(Hodges exits to the hallway to join Nick.)
HODGES: Don Cook's car bumper. Gangbanger blended his green with another
color. Not visible to the human eye. Of course, I caught it.
NICK: You mean the GCMS caught it?
HODGES: Well, if that's a hair you want to split. Suspect used green paint
with a hint of cerulean blue. Probably for impact.
(Nick coughs. Hodges turns his head away. Nick clears his throat as he
leaves.)
HODGES: You know, in China people wear masks when they're sick. It's
considered impolite to infect your coworkers.
NICK: (over his shoulder) Maybe you should go work in China.
HODGES: Maybe you should wear a mask.
(Hodges heads back to the lab.)
CUT TO:
[INT. JAIL – DAY]
(Warrick is at the entrance desk collecting a box of Alvarado’s things from the
guard.)
WARRICK: Now, this is everything Alvarado had and was wearing when they
arrested him?
(The guard hands him the box over the counter.)
WARRICK: Thank you.
(The door buzzes. The guard lets Warrick through.)
VARIOUS SHOTS
(Warrick is in a room. He pulls out a COLLARED SHIRT from the package. It’s
still new, creased and has the sticker size on the front. He removes a pair of
shoes and puts it on the table.)
(He turns on his portable ALS and sweeps it across the clothing. He checks the
soles of the shoes, which appear to be incredibly clean. He smells it.)
CUT TO:
[INT. JAIL – ISOLATION HALLWAY – DAY]
(Warrick and SPECIAL GUARD RON PEN walk down the hallway toward Emilio
Alvarado’s cell.)
GUARD RON PEN: He's been in isolation for two weeks. I could tell you
everything he's got in his cell. They assigned me special.
WARRICK: Does he get any yard time?
GUARD RON PEN: Nope. I take him for hall walks. Not allowed any contact with
anybody but me. Why do you need to see him?
WARRICK: Just want to rattle his cage a bit. That cool with you?
GUARD RON PEN: Good luck.
(They arrive at the cell where Emilio Alvarado is sitting on his bed and reading
a book.)
GUARD RON PEN: Hey, Alvarado, get up. (shouts) Cell check!
(Alvarado’s cell door opens. Alvarado looks at Warrick. He gets up and steps
out of his cell.)
VOICE: (over pa) Cell block 3 is now in lockdown. Cell block 3, now in
lockdown.
(Warrick pulls the sheets off the bed and snaps a photo. He continues to look
through Alvarado’s things. He snaps more photos.)
(Warrick picks up the book Alvarado was reading and he flips through it. He
puts it down.)
WARRICK: So, you always clean your boots with bleach, El Matocho?
(Alvarado laughs.)
WARRICK: Something funny?
EMILIO ALVARADO: Matocho. Nonsense word. You know where this name comes from?
There's a legend in Central America. This man, he woke up in a bad mood.
Killed eight members of his family with a machete and then went and had
breakfast. Matar. To kill. Ocho. Eight. "To kill eight." El Matocho.
(Alvarado laughs at his own cleverness. Warrick doesn’t find it funny at all.)
WARRICK: That's great. The way I see it, you're going to have lots of time to
tell all kinds of great stories.
(Warrick turns and leaves.
EMILIO ALVARADO: Tick-tock. Tick-tock. Tick-tock. Tick-tock.
(The guard lets Alvarado back into his cell.)
(The cell door closes.)
GREG: (PRE-LAP) (v.o.) Alvarado is a suspect in three cases.
CUT TO:
[INT. CSI – LAYOUT ROOM – DAY]
(Grissom, Nick and Greg go over the case. Greg indicates a photo with “L-A-T”
carved in the victim’s cheek.)
GREG: First, he allegedly kills Little Gordo.
(Greg puts a photo of Don Cool down on the table.)
GREG: Then, the only witness who could identify him is killed. And last, but
certainly not least, he allegedly orders Raphael Gomez to blow up his apartment.
NICK: La Tijera is responsible for all three crimes. Tags at both scenes, and
Gomez is an admitted member of the gang. According to Hodges, the tagger didn't
use spray paint. He used an oil-based specialty paint.
GREG: Well, that doesn't make any sense.
GRISSOM: You got photos?
(Nick turns to get the photos. Grissom barely has time to take out his tissue
when he coughs. Nick waits for Grissom to finish coughing.)
NICK: Here you go.
(Nick hands the photo to Grissom. Grissom examines the letters under a
magnifying glass. It looks perfect. Too perfect.)
GRISSOM: This "L" looks like it was stenciled.
(Grissom uses a ruler and a magnifying glass to look at the photo.)
GRISSOM: Then, it looks like the tagger painted over it a second time, to make
it look freehand.
NICK: What?
(Nick takes the magnifying glass and looks at the photo.)
NICK: Yeah, those ... uh ... those do look like brush strokes.
GREG: Well, gangs don't use paintbrushes.
NICK: I assumed the tags were authentic. We've been looking in the wrong
direction.
CUT TO:
[EXT. O’MALLEY RESIDENCE – DAY]
(Brass and Nick are back at the O’Malley residence.)
RICHARD O’MALLEY: (shouts) Cody, come on out here. (to Brass) So, you think
this gang messed with Don's car while we were having dinner?
BRASS: That's what we're here to find out.
(Cody exits the house and joins them.)
RICHARD O’MALLEY: Cody, Mr. Brass wants to talk to you.
BRASS: Hi, Cody.
NICK: Where was your son-in-law's car parked that night?
RICHARD O’MALLEY: (nods) Right over there.
(Nick heads over while Brass continues talking with Cody.)
BRAS: Okay, tell me again about the day that Don died.)
(Nick finds a line of newly painted birdhouses lined up on the low concrete
wall.)
NICK: Those are nice. Did you make those?
RICHARD O’MALLEY: Yeah, a hobby of mine after I lost my job. Forced
retirement. You know how it goes. Want to buy one?
(Nick chuckles. He looks at the open garage.)
NICK: You keep the garage door closed when you're not working?
RICHARD O’MALLEY: Well, it's not like we have any neighbors.
NICK: Anything ever gone missing?
(Nick looks around inside the garage. He notices a crate of things.)
RICHARD O’MALLEY: Sure, Cody's taking stuff all the time. She'd rather spend
her money on clothes. Kids.
NICK: Mind if I take this crate?
RICHARD O’MALLEY: What for?
NICK: Fingerprints.
(Nick picks up the crate and takes it out of the garage.)
RICHARD O’MALLEY: Well, you're going to find mine all over.
NICK: That's why I'm going to get yours, too, sir. So I can exclude you.
Follow me.
(Nick leads Richard O’Malley to the car. They walk past Brass, who is still
talking with Cody Cook.)
BRASS: Now hold on. Help me out here.
CODY COOK: I already told you why I wasn't in that car. My husband and I were
arguing. He was yelling at me.
(Quick flashback to: [NIGHT] Cody and Don are arguing outside the house. Her
parents are there watching.)
CODY COOK: Okay, I'm having a hard time keeping it straight. You do like my
dress? You don't like my dress?
DON COOK: Can we please just not talk about this now?
CODY COOK: When should we talk about it?
DON COOK: Cody, get in the car.
CODY COOK: No, I'm not going to get in the car.
DON COOK: Listen. I loved the dress till I found out it cost 300 bucks.
CODY COOK: Oh, three hun--
DON COOK: You have a closet full of dresses ... get in the car.
CODY COOK: No. Not until you apologize. Apologize to my parents!
DON COOK: I'm not apologizing.
(Don gets into the car and drives away, leaving Cody behind.)
CODY: (v.o.) I told him not to call me until the court thing was over. I
needed to cool off.
(Cody heads back into the house.)
(End flashback.)
CODY COOK: My dad says I was lucky.
NICK: Ma'am, I'm going to need to get your fingerprints, too.
CODY COOK: I don't like where this is going.
BRASS: It's going downtown.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
CU: CODY COOK’S FINGERPRINT CARD
[INT. CSI – LAB]
(Nick scans the fingerprint card into the system.)
(He scans RICHARD O’MALLEY’S fingerprint card into the system.)
(CUT TO: Nick grabs the stencils out of the crate and looks through them. He
finds a stencil for an “L”. There’s green paint on the stencil.)
(He finds a paint brush with a similar color washed out of the tip.)
CUT TO:
[INT. PD – INTERVIEW ROOM A]
(Brass interviews Cody Cook.)
BRASS: So you killed him. And made it look like a gang did it. And then you
could buy all the expensive dresses you want.
CODY COOK: I loved my husband. I didn't kill him, okay? You don't know me.
You don't know my life.
[INT. CSI – LAB]
(Nick snips a sample off the paint brush.)
(He dusts the paint brush handle.)
(He tape lifts a print off the paint brush handle and looks at it.)
[INT. PD – INTERVIEW ROOM]
(Richard O’Malley is in handcuffs. Brass and Nick are in the room with him.)
NICK: I found your fingerprints on a stencil. It was the one with green paint
all over it. And the paint from one of your paintbrushes is a match to the car.
(Richard O’Malley is quiet.)
NICK: Your daughter said you disappeared into the garage right after dinner.
That's when you stuck the rag in the engine between the catalytic converter and
the heat shield.
(Richard O’Malley still doesn’t respond.)
NICK: I think we all know what that did. Hmm?
BRASS: Hey, you don't want to say anything, fine. Write him up. Process him.
(The guard escorts Richard O’Malley to the door. Through the glass, Cody Cook
stands out in the hallway watching. They leave.)
(Nick and Brass head out the other door.)
NICK: You think the daughter had anything to do with it?
BRASS: No.
CODY COOK: (shouts, o.s.) How could you?!
RICHARD O’MALLEY: (o.s.) How could I what?
(Brass and Nick step out into the hallway.)
BRASS: (to Nick) Cook was her meal ticket.
CODY COOK: (shouts, o.s.) You son of a bitch! You were gonna kill your own
daughter?!
RICHARD O’MALLEY: (o.s.) No, I did this for you!
(Brass rolls his eyes and heads down the hallway and turns the corner.)
CODY COOK: (shouts, o.s.) Over money so you could get our business?!
(Brass and Nick turn the corner to find two officers holding Cody and Richard
apart.)
RICHARD O'MALLEY: I would never let you get in that car!
CODY COOK: Well, you didn't try to stop me! You just stood there!
RICHARD O'MALLEY: How many Sundays did you come over and bitch to your mother
about that selfish, ungrateful bastard?!
CODY COOK: Don wanted to give you the money; I said no! And all those nights
Mom and I stayed up talking -- it was about you!
RICHARD O'MALLEY: You owed me!
CODY COOK: I hate you!
RICHARD O'MALLEY: I did you a favor!
CODY COOK: Go to hell!
(The guard leads Richard away.)
CUT TO:
[INT. CSI – GRISSOM’S OFFICE]
(Grissom is working behind his desk. Catherine knocks on the door. Grissom
looks up and she enters.)
CATHERINE: Never thought I'd be disappointed that we solved a case.
GRISSOM: Hmm.
(She looks at the files he’s working on.)
CATHERINE: Court personnel files?
GRISSOM: Reading upside down is a talent.
CATHERINE: What are you looking for?
GRISSOM: The leak. Ninety minutes after the warrant was issued, Alvarado's
apartment went up.
CATHERINE: So you're looking at the judge, his staff, the clerk that issued the
warrant, court reporter, any cops who knew ...
GRISSOM: Yeah, but according to this, everybody cleared. The only ones left
are the grand jurors ... and Maddy Klein.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. CSI -- HALLWAY]
(Catherine and Archie head through the hallway toward the A/V lab.)
CATHERINE: Thanks for coming in, Archie, I appreciate it.
ARCHIE: Ah. No worries. Wasn't sleeping anyway.
(They enter --
[INT. CSI – A/V LAB]
(Archie grabs his lab coat and puts it on.)
ARCHIE: Big surf movie marathon on cable right now. Yeah, Big Wednesday,
Endless Summer, Local Boys.
CATHERINE: Dude.
ARCHIE: Yeah.
CATHERINE: So we need to review some phone records, and fast.
(She shows him the warrant with the list of names:
TIMOTHY O’SHEA 702-555-0124
MARIE PEAHY 702-555-0107
CARTER HAYSON 702-555-0189
MAX LINUS 702-555-0197
DRAKE POMAN 702-555-0155
GEORGE VATCHKO 702-555-0188
ARLEN TAMMERLANE 702-555-0175
DARBY VANCE 702-555-0137
COLE ZAMPAS 702-555-0145
LOIS MANSTERS 702-555-0169
GLORIA STEEPS 702-555-0126
MARIA COLT 702-555-0171
BEVERLY SWANTON 702-555-0121
JESSICA VARGE 702-555-0119
CAREY WILKERSON 702-555-0116
TATIANA HOSS 702-555-0122
MONICA CARR 702-555-0103
702-555-0130 )
ARCHIE: Okay. It's going to be tough to go fast with that many names.
CATHERINE: Oh, no. I can narrow it down. It's a 90-minute window, yesterday,
at 12:00 noon to 1:30. Just cell phone calls.
ARCHIE: Okay. Give me a name and a number.
CATHERINE: Timothy O'Shea. 702-555-0124
(Archie runs the search through the PHONE RECORDS DATABASE.)
(The computer beeps and the results appear.)
ARCHIE: He called two numbers.
CATHERINE: Do a reverse lookup.
ARCHIE: Looks like he called his wife and his home line. Next.
CATHERINE: Cole Zampas ... 702-555-0145
VARIOUS COMPUTER SCREEN OVERLAYS with CATHERINE’S VOICEOVERS
(“JESSICA VARGE” is typed into the search.)
CATHERINE: (v.o.) Jessica Varge ...
(“DARBY VANCE” is typed into the search.)
CATHERINE: (v.o.) Darby Vance, 555-0137.
(“MARIE LEAHY” is entered into the search.)
CATHERINE: (v.o.) Marie Leahy.
(The computer beeps.)
ARCHIE: Okay. Huh. “No user information”. It usually means disposable cell
phone.
CATHERINE: Has she called the number before, within the last two weeks?
ARCHIE: Monday through Friday, both weeks, she called a different disposable
cell phone. That's weird.
CATHERINE: Okay. Try the text messages.
ARCHIE: Yeah.
(The computer beeps. Archie pulls up the text messages.)
ARCHIE: See the pattern?
CATHERINE: Every night around 11:00 p.m., someone texts her a number, which she
then calls the next day.
CUT TO:
[INT. GRAND JURY ROOM -- NIGHT]
(Grissom and Maddy Klein talk with Marie Leahy.)
GRISSOM: How did they contact you, Miss Leahy?
MARIE LEAHY: Uh ... a few weeks ago, at a gas station near my house, this ...
uh ... this woman comes up to me and ... uh ... she knows everything about
Peter. That's my ... uh ... little brother in Chicago. He's only 19. Got ten
years for something he didn't do. And she said they'd get him out. And they
did. Guy just confessed and my brother's set to go free. (crying) Did that
witness die because of me?
GRISSOM: Can you give us a description of the woman?
(Marie shakes her head.)
MARIE LEAHY: She was white ... uh ... short brown hair ... I'm sorry. I only
seen her once.
CUT TO:
[INT. CSI – LAYOUT ROOM – MORNING]
(Warrick joins Nick in the layout room. Photos and other file material are
spread out on the table.)
WARRICK: Alvarado gets out in the morning.
NICK: It is the morning.
WARRICK: Exactly.
(Nick sighs.)
NICK: You know, none of these people make a move without a direct order from
Alvarado, especially not torching his own place.
WARRICK: What are you saying?
NICK: Well, think about it. When Marie leaked the warrant information, it had
to have gone in and out through him somehow. He's the boss.
WARRICK: I don't see how; the guy's in complete isolation. They even assigned
him a special hand-picked guard. Look.
(Warrick puts photos of Alvarado’s cell in front of Nick.)
WARRICK: There's no privileges in isolation.
NICK: Things still move in and out of his cell: laundry, food.
WARRICK: The only thing I saw from the outside was a book. They say he's a big
reader. But I looked it over; there's nothing.
NICK: What about all the other books he's been reading?
CUT TO:
[INT. JAIL – LIBRARY – MORNING]
(Grissom puts on his gloves as he looks at the library bookshelves. Alvarado’s
guard, Ron Pen, stands nearby and watches.)
GRISSOM: How does Alvarado get his books?
RON PEN: It's like a regular library. When a book's checked out, a trustee
writes down the inmate's name, booking number and date. Gets checked back in
the same way.
GRISSOM: I need to see every book that Alvarado checked out.
(Ron Pen opens the log and reads the book titles.)
RON PEN: What Is the What?, The Infinite Plan, and Herzog. Oh ... and The
Inferno.
GRISSOM: (looking at shelf) Alphabetical by author?
RON PEN: Mm-hmm.
(Grissom goes to the shelves on the side of the room.)
GRISSOM: David Eggers.
(He finds the book What is the What and flips through it.)
GRISSOM: There's pages missing.
(Grissom looks around for the next book.)
GRISSOM: Allende.
(He finds The Infinite Plan. He flips through it and finds pages ripped out.)
GRISSOM: How many books has he read in the last 48 hours?
RON PEN: Two. (reaches for a book on the shelf) He said he didn't like this
one; returned it yesterday afternoon.
(He hands Herzog to Grissom. Grissom flips through it and finds pages ripped
out. He thinks about it.)
GRISSOM: Where's The Inferno?
CUT TO:
[INT. JAIL – ALVARADO’S CELL]
(Alvarado’s cell door opens and he steps out of the cell. Grissom and Ron Pen
arrive just as the Discharge Guard is escorting Alvarado out.)
RON PEN: Hold up a minute.
DISCHARGE GUARD: Orders to process him out.
GRISSOM: Just hold him.
(The Discharge Guard turns Alvarado toward the cell door.)
(Grissom walks up to the open cell door, reaches inside and picks up a copy of
The Divine Comedy.)
GRISSOM: This is a good book, Mr. Alvarado. Which Circle of Hell would you be
in?
EMILIO ALVARADO: The Seventh, the outer one.
GRISSOM: Those who commit violence against others.
(Alvarado smiles at Grissom.)
EMILIO ALVARADO: Souls plunge into a river of boiling blood.
(The guard turns Alvarado back toward the wall. Grissom flips through the book
and stops on a crinkled page. He smells it.)
GRISSOM: (to Rob Pen) Officer, do you have a lighter? No pen, no paper ... so
you used what you had, huh?
(Quick flashback to: Alvarado is in his cell and puts a cup on his bunker. He
opens the book to a random page and writes with a swab.)
GRISSOM: (v.o.) A book for paper, and for ink, urine.
(End flashback.)
(Grissom uses the lighter and heats up the back of the page.)
GRISSOM: Once the urine dries, the writing becomes invisible ... until it's
heated, making the acid in the urine turn brown.
(Writing appears on the page.)
GRISSOM: Then you..uh..put the book back in the library, another prisoner
checks it out, tears out the page, gives it to a visitor, and you get your
message out. Yes?
ROB PEN: Put him back in his house.
(The Discharge Guard turns Alvarado back toward the cell. Alvarado looks at
Grissom.)
EMILIO ALVARADO: Mira, usted se va a morir.
(The cell door closes on Alvarado, back in his cell.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. GRAND JURY ROOM]
(The book is now in an evidence bag and is open to the message:
CARVE MK FOR ME
SEND A PHOTO )
(Madeline Klein sits back, looks at Grissom and sighs.)
MADELINE KLEIN: Well, I was right about Alvarado: he was leaving Vegas.
Otherwise, he would have killed me himself.
GRISSOM: You okay?
MADELINE KLEIN: Yeah. Guess now, I owe you one, huh?
GRISSOM: I don't keep score, Madeleine.
MADELINE KLEIN: You know what, Gilbert? You're the only man I know who's never
let me down. Which means that you're either a classic enabler or my soul mate.
CUT TO:
[INT. GRISSOM’S PLACE – DAY]
(The front door opens and Grissom returns with Hank on a leash. He closes the
door and puts his keys down on the table nearby. He unleashes Hank and goes to
sit on the couch.)
(It’s quiet. Grissom sighs and puts his head down in his hand.)
(His phone rings. Grissom drops the leash on the table and picks up his cell.
He looks at the number.)
(He lies back on the couch and answers the phone.)
GRISSOM: Hi.
