[EXT. LAS VEGAS CITY OUTSKIRTS (STOCK) - DAY]
(Overhead view of dry land outside the city.)
[SCENE_BREAK]
[EXT. LAS VEGAS FIELD - LATE DAY]
(Camera cuts to a view of open plains and dry fields. Just over the hill is an empty construction site with large machinery, white pipes and other materials.)
(In the background, we hear a horse neighing and off in the distance, we can see a single horse and rider approaching the site.)
(Cut to a closer view as the horse and rider approach the site.)
(The horse starts to struggle against the rider.)
Rider: What is wrong with you?
(She gets off of the horse, puzzled at what could have gotten the horse spooked. As she checks out the large pipe directly in front of the horse, she finds a dead body hidden inside.)
[SCENE_BREAK]
[EXT. CONSTRUCTION SITE - NIGHT]
(BRASS and GRISSOM check the dump site out. All around them, the field is covered with officers.)
Grissom: A girl in a culvert pipe ... at a highway construction site in the middle of an alfalfa field.
(BRASS waits for GRISSOM to finish. GRISSOM looks at BRASS.)
Grissom: You got anything to add?
Brass: Nothing as poetic.
(BRASS reaches into his coat pocket for his notebook and starts to read from it.)
Brass: Just, uh, road crew took off at 3:00. Body was discovered 5:15.
Grissom: Who found the body?
(BRASS turns to indicate the girl standing next to her horse just beyond the police tape.)
Brass: Our friend, Flicka.
Grissom: Well, there goes that theory.
Brass: What's that?
Grissom: Whoever finds the body is the first suspect.
Sara: (o.s.) Uh, Grissom ...
(GRISSOM turns to see SARA standing next to another culvert pipe. He and BRASS walk over to her.)
Grissom: What do you got?
Sara: The one thing you don't want to find at a murder scene.
(On the ground next to the culvert pipe, he sees it.)
Grissom: A second body ...
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY]
(GRISSOM and ROBBINS stand between the two bodies on their respective tables. The wall clock reads 6:00.)
Robbins: Who'd you like to start with?
Grissom: Which one died first?
Robbins: Identical body temps and vitreous humor. Both women died approximately 12 hours ago.
Grissom: My Uncle Phil used to say you can't kill two birds with one stone.
Robbins: All I can tell you is cause of death. Injury to the cervical spine. Looks to be hands-on.
(Quick POV of the dark-haired deceased's neck. View changes to an X-Ray POV where we can see her spine and neck. Her spine breaks. End of POV. Resume to present.)
Grissom: Somebody snapped her neck.
Robbins: She died instantly. Now, the blond.
(They turn to the other body.)
Robbins: Contusion to the forehead, not fatal. Whatever cut her face cut her arm. I found glass in all the incised wounds. Except for these abrasions on her neck.
(Camera close up of the scratches on her neck.)
Grissom: Fingernails maybe. Possible sign of struggle.
Robbins: I swabbed the abrasions for foreign DNA sent it to the lab.
Grissom: Cause of death?
(ROBBINS shows him the cut on her upper right arm. Camera close up of the cut moves to a CGI POV of the artery and a piece of sharp glass cutting the artery. The artery bleeds. End of CGI POV. Resume to present.)
Robbins: Severed brachial artery. She bled out.
Grissom: Something doesn't seem right.
(GRISSOM turns to the dark-haired body.)
Grissom: Brunette ...
[CLOSE-CAPTIONED-GRISSOM: Look at her neck.]
Grissom: Elaborate tattoos ... perfectly dyed hair.
(He shows ROBBINS her left ear with multiple piercings. He lifts up the sheet and shows him her pierced navel and scorpion tattoo.)
Grissom: Multiple body piercing. Tells me she craved attention.
Robbins: Sure.
Grissom: Blonde ... seems almost prosaic. She doesn't even have pierced ears.
(GRISSOM looks under the sheet.)
Grissom: She didn't shave her legs.
Robbins: A wildflower and a wallflower.
Grissom: So, besides time of death, what do our dead flowers have in common?
[SCENE_BREAK]
[EXT. LAS VEGAS (STOCK) - NIGHT]
[SCENE_BREAK]
[EXT. PARK WOODS - NIGHT]
(The PARK RANGER leads CATHERINE, NICK and DAVID PHILLIPS out to the dead body leaning against the tree. DAVID puts his kit down and checks out the body.)
Park Ranger: Found his SUV in the turnout after closing so I scoped out the area. He should've been wearing his orange vest.
Nick: Well, it looks like a through and through.
Catherine: He bled out.
(NICK picks up the rifle.)
Nick: Hunting rifle. Winchester 70.
(DAVID takes out a thermometer and moves the deceased's arm aside. The PARK RANGER leans in curious.)
Park Ranger: Wait, what are you doing there?
David Phillips: Checking liver temperature. Estimating time of death.
(DAVID sticks the thermometer into the bullet hole.)
Park Ranger: Should be a total of five bullets.
Nick: Four in the magazine, one in the chamber. All accounted for. This rifle was never fired.
(CATHERINE snaps some pictures. DAVID removes the thermometer and checks it.)
David Phillips: 88.6 -- ten degrees below normal.
Catherine: So he died approximately ten hours ago.
Park Ranger: That would make it about 2:00 P.M.
David: Nick, Catherine, he's all yours.
Catherine: Thanks, David. Okay, let's see who you are ...
(DAVID moves aside. CATHERINE reaches for the deceased's wallet and checks his identification.)
Catherine: Nevada license.
[The Nevada Driver's License reads:
JASPER, JAMES
2974 WESTFALL AVE. LAS VEGAS, NV 89156
CLASS A ENDORSE ]
Catherine: James Jasper.
Nick: When's hunting season?
Park Ranger: Deer season opened last week. Record number of permits.
Catherine: Well, you were right -- he should've been wearing his orange safety vest. (Quick flashback to a hunter with a rifle looking through its scope.
Catherine: (V.O.) Hunter lays in wait, spots a deer. Hunter fires ...
(The hunter looks down the scope and fires.)
Catherine: (V.O.) ... deer takes off ... but the bullet keeps going until it stops.
(The camera follows the bullet. The dear takes off, but the bullet pierces whatever is in its path. The bullet, in this case, pierces some brown-colored material. End of flashback. Resume to present.)
Nick: No bullet in the body.
(NICK kneels down and checks the tree.)
Nick: No bullet in the tree.
Catherine: It's got to be somewhere.
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM walks into his office reading a file and carrying his case. He's smiling. He closes the file. SARA walks in.)
Sara: I processed the crime scene. Lots of treads and tracks, but nothing salient.
Grissom: What about the culverts?
Sara: I came up empty. I worked from the victims out till I hit the highway. Nothing. Nothing to process, no follow-up, zip.
(GRISSOM turns around and gives SARA the "look" which she recognizes immediately.)
Sara: You have something.
Grissom: Print lab ID'd one of the vics.
Sara: Blond or brunette?
Grissom: Brunette. Joan Marks. At 18, she was booked for felony shoplifting. Lived at home, we got the address. Warrick grabbed a uniform. He's on his way there with a warrant.
[SCENE_BREAK]
[EXT. PARK WOODS -- NIGHT]
(Through a night scope POV, NICK scans the woods hoping to find something. He takes a couple of steps, turns and tries again. This time, he finds a bullet lodged in a tree. He smiles.)
(NICK walks up to the bullet in the tree. He calls over his shoulder.)
Nick: Catherine!
Catherine: You find the bullet?
(CATHERINE walks over.)
Nick: Yeah. But how am I going to get it out of there without damaging it.
(NICK sighs.)
Catherine: You know what the textbook says -- if you're not a hundred percent sure how to collect it, bring the whole thing in.
(NICK looks up at the extremely tall tree.)
Nick: Yeah, I'll figure it out.
(CATHERINE smiles, pats him on the shoulder, then leaves.)
[SCENE_BREAK]
[EXT. LAS VEGAS RURAL COMMUNITY (STOCK) - DAY]
[EXT. MARKS' RESIDENCE - HOUSE - DAY]
[SCENE_BREAK]
[EXT. /INT. DONNA MARKS' RESIDENCE -- GARAGE - DAY]
(GRISSOM and SARA check in with the officer outside. They walk into the garage carrying their kits.)
(Cut to: SARA opens the car door and sits in the car behind the wheel. GRISSOM opens the passenger door and kneels down to look inside.)
Sara: Twelve hundred miles and it's an older model. Driver doesn't get out much.
(GRISSOM opens the passenger door and looks in the glove compartment. He pulls out the car registration paper.)
Grissom: Registered to a Donna Marks.
Sara: Could be our blond. Related to Joan Marks. I'll check with DMV.
(WARRICK walks up to the car. GRISSOM and SARA stand up.)
Warrick: I already did. 28 years old, blonde, blue eyes, 125 pounds, five-six ... sound familiar?
Sara: That's her.
Warrick: Uniform's talking to a neighbor. Donna is Joan's older sister.
Grissom: (chuckling): Well ... we know what they have in common now, don't we?
Warrick: Genetics. House belonged to their mother. Donna's lived here alone since their mother died. Joan lived in Henderson. The real action's around back.
[SCENE_BREAK]
[EXT. DONNA MARKS' RESIDENCE - BACKYARD - DAY - CONTINUOUS]
(On the outside patio floor, there is broken glass everywhere. Markers are on the ground where evidence needs to be examined. WARRICK shows GRISSOM and SARA the broken glass door.)
Warrick: If the highway was the dump site, this is the primary.
Grissom: Makes sense. The blonde's lacerations were filled with glass.
Sara: She went through that door.
Grissom: From inside out.
(GRISSOM and SARA walk into the kitchen and look at the broken door. WARRICK crosses under the police tape.)
Sara: To take out one of these doors you need some serious momentum.
Warrick: No doubt. I'm going to collect the glass. And then I'll start with the doorframe.
Grissom: How are you at solving puzzles?
Warrick: You're the puzzle guy.
Grissom: I have a hint for you. When they cool sheet glass, they lay it out on tin.
Warrick: So the side that kissed up to the tin will fluoresce under UV.
Sara: Still going to be a long couple of days at the lab.
Warrick: I got some imprints on these blood spots here.
(GRISSOM and SARA both kneel to look at what WARRICK'S looking at. In front of marker #2, there's a partial shoe print in blood.)
Warrick: Looks like the killer may have stepped in Donna's blood.
Sara: Or maybe her sister stepped in it. There was some blood on Joan Marks' right shoe.
(Quick flashback to SARA looking down at the body's right shoe. End of flashback. Resume to present.)
Warrick: Hmm. That would place Joan at the house.
Grissom: And establish a timeline.
Sara: If Joan did step in Donna's blood that would mean that Donna was injured and bleeding while Joan was still walking around.
[INT. DONNA MARKS RESIDENCE - KITCHEN - DAY - CONTINUOUS]
(GRISSOM stands and walks into the kitchen. He stops to look at the refrigerator and notices the take out order sheets pined to the door. The first is for "Pizza Land #2" (Italian Kitchen), the second for "Capt Krauser Cookin"
(Free Delivery) and the third for "Free Delivery [(702)-555-2438]. SARA also stands to see what GRISSOM'S looking at.)
(GRISSOM puts on his gloves and opens the refrigerator door. Inside are containers of take-out food. He reaches in and opens the top container. He smells it and holds it out for SARA to smell.)
Sara: Sweet and sour pork.
Grissom: It smells fresh.
(He puts it back on the shelf. He grabs another opened container in the back of the refrigerator, smaller than the first. He smells it.)
Grissom: More sweet and sour.
(He holds it out for SARA to smell. She immediately reacts to the age of the food.)
Grissom: Mostly sour.
Sara: Single servings in the back, spoiled. Family sized boxes in front, one or two days old.
(GRISSOM picks up another container and opens it. Inside there are four spring rolls.)
Grissom: What do you think? Increase in appetite, or ... perhaps a guest?
[SCENE_BREAK]
[INT. DONNA MARKS OFFICE - DAY - CONTINUOUS]
(SARA pushes the door to the study open. She and GRISSOM both walk inside. Against the far wall behind the door are a stack of fedex boxes. The computer on the desk is still on.)
Grissom: Universal remote. She could do everything she wanted from this chair but cook a roast.
(GRISSOM sits down behind the desk.)
Sara: Well, we already know she cooks like I do -- takeout on speed dial.
(SARA riffles through the stack of catalogs on the desk.)
Sara: Pottery barn, Lillian Vernon magnolia, Yafa Pen ... She's a catalogue junkie -- we're on the same mailing lists.
Grissom: Catalogues, the internet, mail order, takeout ... 1,200 miles on her car. Agoraphobic maybe? Or she just doesn't like people?
Sara: (smiling) Ah, that's you talking.
(GRISSOM looks at SARA.)
Sara: I'll haul in her PC, check her e-mail look in on her social life.
(SARA turns around and looks at the bathroom.)
Sara: Hey ... the toilet seat's up.
(GRISSOM turns around and looks at the bathroom. He sees it, too.)
Sara: There was a man here.
FADE TO BACK.
[SCENE_BREAK]
[INT. CSI -- HALLWAY - DAY]
(CATHERINE turns the hallway corner.)
Catherine: Nick.
(CATHERINE walks up to NICK.)
Catherine: Tell me what you got?
Nick: Coroner said it's cut and dry. Bullet severed an abdominal artery.
Catherine: Trajectory?
Nick: Front to back. Straight across. Round entered one inch to the right of the umbilicus. Bullet's with ballistics. Vega's got the widow. They're ready for us.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - WAITING ROOM - DAY]
(CATHERINE, NICK and DET. VEGA interview MRS. JASPER. She speaks slowly, still stunned by the news.)
Mrs. Jasper: Jimmy left early, before I got up. When he didn't come home for dinner I just figured that he got himself a deer.
Nick: Did he go by himself?
Det. Vega: He took a day off of work in the middle of the week?
Mrs. Jasper: Well, um, we had both been laid off recently. He was in insurance. He was an auditor.
Catherine: And how was your husband handling that?
Mrs. Jasper: Well, you know, he was okay. I mean, uh ... we had to borrow money from his folks to pay the rent. That was hard on him.
(She turns to CATHERINE.)
Mrs. Jasper: I have to call them. I haven't called them, I ...
(She moves to stand up. CATHERINE stops her.)
Catherine: Mrs. Jasper, was your husband an experienced hunter?
Mrs. Jasper: Yes. Since he was a kid. (sighs) He always looked forward to deer season. But, with the baby and all, he missed the last few.
(She starts to cry.)
Mrs. Jasper: It's me. Isn't it? I encouraged him to go. I thought that it would help him take his mind off things. Oh ... what am I going to do?
(DET. VEGA and NICK look at each other.)
Nick: Can you think of any reason James wasn't wearing a safety vest?
Mrs. Jasper: (sighs) No. I mean, he was always so careful. That doesn't sound right.
[SCENE_BREAK]
[INT. CSI -- DNA LAB]
(GRISSOM turns the corner and enters the lab. He stops and stands in front of GREG. GREG looks up from his scope.)
Greg: If you're here about the blood on Joan Marks' shoe, I already told Sara. I'm backed up.
Grissom: I'm here about foreign DNA on Donna Marks' neck.
Greg: Oh. Well, on that, I got an ID.
Grissom: You found a match in CODIS?
Greg: Nope, but I ran a DNA profile on both victims. What do all sisters have in common? DNA.
(GREG hands GRISSOM the test results.)
Grissom: You're saying that Donna's sister scratched her?
(Quick flashback to: Close up of DONNA MARKS' neck. A woman yells out. Another female hand scratches the neck leaving behind bloodied marks. End of flashback. Resume to present.)
(GREG makes a cat hissing sound complete with hand motions.)
Greg: So, did I solve the case?
Grissom: No, Greg, you didn't. But you've helped.
(GRISSOM leaves. Camera holds on GREG.)
[SCENE_BREAK]
[INT. CSI - HALLWAY]
(BRASS turns the corner and walks rapidly down the hallway. SARA turns the corner behind BRASS and shouts to get his attention. She rushes to catch up with him and together they continue down the hallway.)
Sara: Hey, Brass. Heard the database kicked out a Temporary Restraining Order. Joan Marks against her old boyfriend.
Brass: I'll do you one better. The old boyfriend, Gavin Pallard had one against her.
Sara: Tit for tat.
Brass: They both filed last month.
(BRASS stops in front of a room. He turns to look at SARA.)
Brass: Want to find out why?
(SARA smiles at the invitation.)
Sara: Don't mind if I do.
(BRASS opens the door and they both enter the room..)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY - CONTINUOUS]
Gavin Pallard: See this? (GAVIN PALLARD points to a small scar to the right of his chin.) Didn't get this french kissing. Joanie had a temper. Punctuated her sentences by throwing furniture. Made it hot, you know. We'd break up to make up.
(BRASS and SARA interview GAVIN PALLARD, JOANIE MARKS' (ex)-boyfriend.)
Brass: What about the last time?
Gavin Pallard: Look, the whole T.R.O. business ... she'd been in and out of my house three times. Couldn't stay away.
Sara: According to you. When did you see her last?
Gavin Pallard: Yesterday. I dodged a coffee pot. She hit the road.
Sara: What was she driving?
Gavin Pallard: My Thunderbird. I'd lent it to her, and used my bike. But, um, you know ... I'd like it back now.
Brass: When we find it.
Sara: Did she tell you she was going to her sister's?
Gavin Pallard: No. Why would she go there? It's oil and water. And Joanie liked action. Real partier. Last party Donna went to was her third birthday.
Sara: What about you? You been to Donna's house recently?
Gavin Pallard: No. Boring. Was always glued to her computer. Plus Joan thought Donna owed her rent and ... the house was in both their names, so ...
Sara: May I ... see the bottom of your shoes?
Gavin Pallard: Why?
Sara: Why not?
(Thinking nothing of it, GAVIN PALLARD swings his legs up and rests his feet on the table, soles of his shoes facing SARA. SARA uses her flashlight and examines the bottom of his shoes. She finds blood stains.)
Sara: (smiles) I like the shoes. I like them enough to get a warrant.
(Camera holds on GAVIN PALLARD.)
[SCENE_BREAK]
[INT. CSI -- BALLISTICS LAB]
(NICK and CATHERINE walk to the Ballistics Lab. BOBBY DAWSON sees them coming.)
Bobby Dawson: I was just calling you.
Catherine: You were?
(NICK and CATHERINE walk into the lab.)
Bobby Dawson: Yeah, carved your bullet out of that hunk of tree. Ah ... you know, a bullet's only this big.
(BOBBY holds his index finger and thumb an inch apart to show the length of a bullet.)
Bobby Dawson: Y'all gave me a pound of redwood.
Catherine: That's cottonwood.
Bobby Dawson: You should know. (beat) Heard you wanted Nick to chop down the whole tree.
(BOBBY grins.)
Catherine: (smiling) I did.
Nick: Tell us about the bullet now. Striations, lands, grooves?
Bobby Dawson: I found some discoloration on the bullet's tail. Check it out.
(CATHERINE looks at the bullet BOBBY DAWSON'S holding under the magnifying glass.)
Catherine: Ah, oxidation.
Bobby Dawson: Yeah, copper jacketed. The tail was exposed.
Nick: Oxidation takes a lot more than 24 hours.
Bobby Dawson: Yeah, no way to backdate it, but it's definitely older than y'all's crime scene.
(DET. VEGA knocks lightly on the door and enters the lab. He has a clipboard with him.)
Det. Vega: How's it going?
Catherine: Well, we've got the wrong bullet but the case still seems like a write-off.
Nick: Yeah, nothing we have says that it wasn't a hunting accident.
Det. Vega: Insurance policy, two months old. A million bucks goes to the widow.
(DET. VEGA hands the clipboard to CATHERINE.)
Nick: She was crying poverty when she was in the money?
Det. Vega: There's more. It wasn't purchased by Mr. Jasper.
Catherine: She bought it?
Det. Vega: Monthly installments taken on Mrs. Jasper's credit card.
Catherine: He's in the insurance business and she buys a policy behind his back.
(NICK looks at CATHERINE.)
Nick: We've got to find that bullet.
(She nods.)
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM]
(WARRICK starts to flip over the pieces of glass taken from the patio floor.)
(Using the hint given to him by GRISSOM earlier, he turns the light off and uses a hand-held ALS. He flips the pieces over to make them face the right way.)
(Dissolve to WARRICK making sure that all the pieces are flipped the right way.)
(Dissolve to top view of WARRICK, under regular light, putting the glass pieces together like a big puzzle.)
(Dissolve to WARRICK standing and working on the left side of the table. More of the glass is in order.)
(Dissolve to WARRICK standing and working on the back side of the table. Most of the glass is in order.)
[SCENE_BREAK]
[INT. CSI - LAB]
(Camera close up of the front page to Internet Online. SARA clicks on "Mail Shop" and it takes her to DONNA MARKS' e-mail.)
Sara: (o.s.) Donna Marks was a telecommunicator. Liked to shop. Mail order, over the phone. I retrieved lots of email confirmations.
(SARA is speaking to GRISSOM who looks at the monitor over her shoulder.)
Grissom: If she shopped online why'd she place orders over the phone?
Sara: Need for human contact.
Grissom: Without physical contact?
Sara: She spent time in chat rooms. Book clubs, home crafts collected fountain pens.
Grissom: Personal e-mails?
Sara: Only one buddy on her buddy list. Screen name's "Apollo."
Grissom: Pull up his most recent.
Sara: That would be three days ago. (reading) "I know it sounds weird, but ... my life began when I first heard your voice ..."
(Quick flashback to DONNA MARKS sitting in front of her computer reading the e-mail out loud.)
Donna Marks: "... when you said my name, it felt so right. Did you feel it, too?"
(End of flashback. Resume to present.)
(SARA and GRISSOM look at each other.)
Sara: It's easy to wear your heart on your sleeve when you're not looking in his eyes. He said her name so their relationship must've extended beyond the computer.
Grissom: So, what do we know about this "Apollo"?
(SARA pulls up another screen.)
Sara: You know that garbage those numbers at the bottom of every email?
Grissom: Yeah.
Sara: It's actually a unique number that registers the location of the sender's terminal.
Grissom: An address?
(The screen runs a program to search the location for the IP Address: 417.216.55.69. After a moment, the computer beeps that the IP Address has been "located".)
(The computer spits out seven IP Addresses. It blinks on screen as it locates the street address and location.)
Sara: Internet Protocol Address. CSI has access. Seven different IP addresses means he used seven different computers.
Grissom: That's strange.
Sara: Could be a network.
(The computer beeps.)
Sara: "23000 Ganza Avenue, Ely, Nevada. Western Nevada Correctional Facility."
Grissom: Her greek god is in the slam.
(SARA turns to look at GRISSOM.)
[SCENE_BREAK]
[EXT. WESTERN NEVADA CORRECTIONAL FACILITY (STOCK) - DAY]
[SCENE_BREAK]
[INT. WESTERN NEVADA CORRECTIONAL FACILITY - DAY]
(The WARDEN escorts GRISSOM into the facility from the outside. They walk through the hallway)
Warden: Like it or not, prison is a business. This facility is privately owned. Contract with the state. Our aim is simple: Customer Satisfaction.
Grissom: The key to any successful business, huh? Word of mouth.
Warden: A body in every cot. Criminals are cutting deals to get sent here.
Grissom: I imagine. It's like a theme park.
Warden: More guys through the turnstile, more money we make.
(They come to a door and a guard buzzes them in.)
Grissom: So, as long as I'm in business, you're in business.
Warden: K'ching.
[NT. - COMPUTER ROOM - DAY - CONTINUOUS]
(They enter a room where the inmates are telephone operators and work on computers. There are guards posted inside the room.)
Grissom: Are your inmates allowed to use e-mail anywhere else but here?
Warden: No, personal computers are prohibited. But they're allowed to surf the web, send and receive e-mail? Only at these terminals. And all internet activity is strictly monitored.
(GRISSOM looks around the room. We can hear some of the inmates taking down telephone orders.)
Inmate #1 (operator): The blouse comes in Laguna Blue, Amazon Green and Tahitian Red, which is our most popular color.
Inmate #2 (operator): How would you like that shipped? UPS? Second day air? Overnight?
(GRISSOM turns around and faces the WARDEN.)
Grissom: Something tells me state funds aren't your only source of revenue.
Warden: We have contracts with several retailers. Perfectly legal.
Grissom: So, let me get this straight. I receive a catalog in the mail. I call a toll-free number to place an order and I'm giving my personal credit card information to a "Hello, I'm doing 'time-life'" operator?
Warden: Once the order's routed to the fulfillment center only the retailer has access.
Grissom: All right, let's cut to the chase. I'm investigating the deaths of two young women one of whom was having a "relationship" with an inmate at this facility. I need to speak to that inmate. His e-mail alias is "Apollo."
Warden: I'll check the log.
(The WARDEN walks off to one of three clipboards hanging on the wall. He takes the clipboard and returns to GRISSOM.)
Warden: I'm sorry, I can't help you.
Grissom: I can get a warrant.
Warden: Won't do you much good.
Grissom: Why?
Warden: Mickey Rutledge, aka "Apollo," was released three days ago.
(Camera holds on GRISSOM.)
[SCENE_BREAK]
[INT. CSI -- LAB]
(WARRICK picks off a dark-colored fiber off of a piece of clothing. He cuts the tip off of the fiber and looks at it again under the magnifying glass.)
(SARA enters the lab.)
Sara: Hey.
Warrick: Hey.
Sara: How's the glass puzzle going?
Warrick: Still putting it together. I'm just doing a trace on Donna Marks' clothing and I came across this fiber. Look at this cross section.
(SARA leans in and looks at what WARRICK is holding. Camera zooms in to the fiber for a close up.)
Sara: Triangular. That means it can't be clothing fiber.
Warrick: Yeah, short and coarse. Car upholstery?
(SARA takes a couple of steps back.)
Sara: Yeah ... but that still doesn't get us anything. We found both vics near the freeway. We've been thinking vehicle transport from the start.
Warrick: Well, it's from black upholstery. What color was the boyfriend's missing thunderbird?
Sara: I'll ask him ... and his lawyer. The blood from his shoe was consistent with Donna Marks' DNA-- he lied. He was at the house.
Warrick: Really? What about the blood from Joan Marks' shoe?
Sara: Also a match. Joan and Gavin ... both stepped in Donna's blood.
(WARRICK nods as he thinks about it.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(SARA and BRASS question GAVIN PALLARD with his lawyer sitting next to him.)
Gavin Pallard: Fine, I went there.
Sara: We already know that.
Brass: We're looking for, "Fine I went there ... and..."
Lawyer: My client went there after the fact. He was looking for his girlfriend -- didn't find her.
Brass: Right ... he found a crime scene.
Sara: Broken glass a pool of blood.
Brass: But you didn't call 9-1-1.
Gavin Pallard: I was scared. I took off. Besides, there was a restraining order against me.
Sara: Gavin, what color's your car? Your missing Thunderbird?
Gavin Pallard: Blue, why?
Sara: Interior?
Gavin Pallard: Black ... did you find it?
Brass: Not yet.
Sara: But we will.
[SCENE_BREAK]
[EXT. WOODS - DAY]
(CATHERINE and NICK prepared to look for the missing bullet. They both wear their orange safety vests.)
Catherine: (o.s.) Okay, the tree is a point of reference.
Nick: Yeah, and since the bullet didn't hit the tree, and the blood's to the west, then the through-and-through defines our search area. The furthest drop of blood is here ... (NICK indicates where he's standing.) ... The spatter seems to be confined to a 45 degree angle.
(CATHERINE stretches a rope in one direction ... )
Catherine: So the bullet should be somewhere between your rope and mine.
Nick: Yeah, we've reduced a 360 degree crime scene to a 45 degree angle.
( ... NICK takes his rope and stretches it in another direction.)
Catherine: Congratulations to us. Still a needle in a haystack.
(NICK laughs.)
[SCENE_BREAK]
(CATHERINE and NICK both look for the bullet on the ground using metal detectors. For each time the metal detector beeps, they drop a marker.)
(CATHERINE walks by marker #2. The next marker she holds in her hand is marker
(Cut to: NICK sweeps the ground and hears a beep. With his foot, he straightens marker #13.)
(Cut to: CATHERINE hears a beep and places marker #6 on the ground. Cut to CATHERINE straightening marker #8 on the ground. She stands.)
(Cut to overhead view of the two sweeping the 45 degree roped off area.)
[SCENE_BREAK]
(CATHERINE stops sweeping and pulls off her earphones.)
Catherine: Nick.
Nick: Yeah?
Catherine: Let's just pack it up. The bullet couldn't have gone this far.
(NICK turns off his equipment and heads back. CATHERINE also heads back.)
[SCENE_BREAK]
(CATHERINE and NICK bump into the PARK RANGER.)
Park Ranger: Hey... saw your, uh, Tahoe. I didn't expect to see you guys back here.
Catherine: Yeah, just tying up a few loose ends.
Park Ranger: Well, maybe this will help. Your dead hunter, James Jasper, didn't purchase a hunting license.
Nick: Well, he was out of work. Maybe he was trying to save money.
Park Ranger: A license is 24 bucks. Hunting without one is a $1,000 fine and up to six months in jail.
Nick: Whoa. Well, that's not worth the risk. Maybe he wasn't up here to hunt?
Catherine: We haven't heard a single shot all day. Where are these hunters that you talked about?
Park Ranger: You only hunt deer at dusk and at dawn.
Nick: Right, right ... feeding time, it's ... when they're out in the open. What about other game?
Park Ranger: This time of year, only deer's in season. You can take off those vests if you want.
Catherine: No one hunts during the day but the coroner placed Jasper's time of death at 2:00 P.M.
Nick: Yeah, that's an odd time for a hunting accident.
[SCENE_BREAK]
[INT. CSI - HALLWAY - DAY]
(SARA walks down the hallway. She turns a corner and bumps into GRISSOM.)
Grissom: Hey.
Sara: Hey. Brass is holding the boyfriend on a TRO violation. I'm going back to the lab to process the prints we lifted from the toilet seat. Guy claims he was in and out. I'm thinking no time to make a pit stop.
Grissom: I processed the prints.
Sara: (surprised) You did?
Grissom: They're not a match to Joan's boyfriend.
Sara: What?
Grissom: But ... we do have a match.
Sara: Donna's cyber boyfriend? I thought he was in jail.
Grissom: Released last week. His parole officer brought him in.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(GRISSOM and SARA interview MICKEY RUTLEDGE, aka "Apollo". His lawyer sits next to him.)
Mickey Rutledge: You're fishing, I just got out of the joint. I was never at Donna's house.
Grissom: We found your fingerprints on the toilet seat in her bathroom.
(The lawyer turns to look at MICKEY RUTLEDGE.)
Mickey Rutledge: What, are you going to do? Arrest me for flushing a toilet?
Grissom: Well, unfortunately I can't arrest you for lying.
Mickey Rutledge: (to his lawyer) Help me out here, will you?
Lawyer: Mickey, you have the right to an attorney. But if you're not hiding anything I suggest you answer their questions.
(He turns back to GRISSOM and sighs.)
Mickey Rutledge: Look, we met over the internet. We had a lot in common -- Donna understood my situation. When I told her I was getting out ... well, she invited me over.
CUE: DOORBELL (PRELAP)
(Quick flashback to: DONNA MARKS opens her front door. MICKEY RUTLEDGE is standing in the front porch holding a bouquet of flowers.)
Donna Marks: (shyly) Hi. No one's ever brought me flowers.
(MICKEY RUTLEDGE smiles, pleased with her response.)
(End of flashback. Resume to present.)
Mickey Rutledge: She served take-out ...
(He smiles as he remembers. He even chuckles a little.)
Mickey Rutledge: ... But what do I care? It wasn't chipped beef.
(Quick flashback to: MICKEY RUTLEDGE and DONNA MARKS eating dinner. He has an appetite. She's pleased.)
Donna Marks: (smiling) How is it?
Mickey Rutledge: Sweet and sour pork ... my favorite.
(End of flashback. Resume to present.)
Sara: So she invites you for lunch everything's great. And somewhere between the fortune cookies and sunset ... Donna and her sister are both murdered. Thoughts?
(MICKEY RUTLEDGE stares at SARA for a moment. He gives a nervous chuckle.)
Mickey Rutledge: I think the sister's a piece of work. Soon as we finish eating, she shows up ... with an attitude.
(Quick flashback to: JOAN MARKS standing in the kitchen and yelling at her sister.)
Joan Marks: This is my house, too!
(DONNA MARKS finishes putting the food containers in the refrigerator and turns around to look at her sister.)
Donna Marks: I'm paying the taxes.
(DONNA MARKS looks past JOAN. JOAN turns around and sees MICKEY RUTLEDGE standing there. She turns back to her sister.)
Joan Marks: Who the hell is this?
(End of flashback. Resume to present.)
Mickey Rutledge: First thing I learned in the joint -- when inmates are fighting, you make yourself invisible. So I got out of there.
Grissom: Six months ago, Donna Marks ordered a sweater and two scarves from Magnolia Apparel. You took the order.
Mickey Rutledge: I took fifty calls a day.
Grissom: How many of your callers invited you home and served you Chinese food?
(MICKEY swallows. He glances over at SARA.)
Grissom: When Donna placed her order for the clothes she gave you her email address, didn't she?
Mickey Rutledge: (nods) Yeah ... she was lonely. She struck up a conversation with me. Reached out. (to SARA) Hey -- you know, I don't usually meet girls like Donna. She was nice.
Sara: She was vulnerable. No social life, no friends, not even a cat. All she had was her work. She ordered from catalogs to give herself something to look forward to.
Grissom: You know, Mickey. I don't think your intention was to kill. All of your priors are for non-violent activities, right?
Mickey Rutledge: Look, I've been in the system, I know the law. I admit, I was there. So what?
(He looks over at SARA and at GRISSOM. He stands up and heads out the door.)
Mickey Rutledge: You know where to find me.
(He opens the door and leaves.)
LAWYER (to GRISSOM) I'll keep my eye on him.
(The LAWYER closes his notebook and heads out the door.)
(SARA turns to GRISSOM.)
Sara: Joan's boyfriend, Gavin Pallard -- blood on his shoe and a TRO. Donna's boyfriend, Mickey Rutledge -- opportunity and a rap sheet. Both hid the truth ... until confronted with the evidence.
(GRISSOM looks away and considers it for a moment.)
Grissom: Well, we know we have two liars. Do we have a killer?
(GRISSOM looks at SARA.)
[SCENE_BREAK]
[INT. CSI - LAYOUT LAB]
(WARRICK continues to work on putting the glass pieces together. GRISSOM walks in. WARRICK looks up and sees GRISSOM.)
Warrick: Hey. Point of impact. It's, uh ... (WARRICK takes out a tape measures and measures the point of impact.) ... sixty-... five inches from the base.
Grissom: So what does that tell us?
Warrick: Well, Donna was five-six. If she was thrown through that glass, the point of impact would've been lower closer to the ground.
(Quick flashback to someone throwing DONNA MARKS through the glass door. It is noted that she falls through the glass low to the ground, lower than what it actually is. End of flashback. Resume to present.)
Grissom: She had multiple incised wounds. But the only contusion was on her forehead suggesting that that's where contact was made. So she was standing upright when she went through the door.
(Quick flashback to: DONNA MARKS on the inside of the kitchen. She's standing upright, turns, and walks into the glass door. Once outside, she falls to the ground. End of flashback. Resume to present.)
Grissom: She walked through it.
Warrick: Are you saying it was an accident?
Grissom: It's your science.
(SARA walks into the lab. She looks at the completed glass on the table.)
Sara: Nice work.
Warrick: Thanks.
Sara: P.D. Found GAVIN PALLARD'S Thunderbird hidden off the I-69 five miles from the dump site.
Grissom: Hook up with auto detail, tow it in.
[SCENE_BREAK]
[INT. CSI - GARAGE -- DAY]
(Something yellow drips down on SARA'S goggles. She wipes it away with her finger.)
(She rolls out from under the car. GRISSOM is kneeling next to the front tires waiting for her. SARA sits up and removes her goggles.)
Sara: Radiator's cracked.
Grissom: Well, that might explain why Joan bought coolant twice in the last week from a convenience store. We ran her credit cards.
Sara: Well ... whoever drove this puppy last filled up the radiator fluid but, instead of coolant, they used water.
Grissom: Either someone unfamiliar with the car, or ... someone in a desperate situation maybe.
Sara: Radiator cap. I'll print it.
Grissom: Good. (GRISSOM reaches up and grabs a container, which he hands to SARA.) Grab me a sample of fluid, too, will you?
(GRISSOM stands and leaves.)
[SCENE_BREAK]
[INT. CSI - LAB]
(NICK sprays something on JAMES JASPERS' clothing.)
Nick: Gunshot residue.
Catherine: Expect the unexpected. GSR on the clothing means the victim was shot at close range.
(Quick flashback to: A gun being fired and hitting clothing. End of flashback. Resume to present.)
Nick: So now what? We're thinking murder?
Catherine: Or suicide.
Nick: He never fired his rifle. What'd he shoot himself with?
Catherine: Okay. But if he was murdered, we should've found some evidence of the killer at the crime scene.
Nick: Yeah, not to mention whoever shot him would've been eyeball-to-eyeball. Who could've gotten that close without Mr. Jasper putting up a struggle?
(CATHERINE looks at NICK, waiting for him to reach the same conclusion she's reached.)
Nick: Somebody he knew. I'm going to call O'Riley see if he's checked out Mrs. Jasper's alibi. I'll meet you at the car.
(NICK leaves the lab.)
Catherine: All right.
[SCENE_BREAK]
[INT. CSI - HALLWAY OUTSIDE LAB -- CONTINUOUS
(SARA walks down the hallway. She passes by NICK as he leaves the lab.)
Sara: Hey, Nick.
Nick: Hey, Sara. (He turns around.) Hey, how's your case going?
(SARA stops and turns around.)
Sara: You ever try to print a radiator cap? Smudge city.
Nick: Yeah. Yeah, I know, it's impossible. But it's just a radiator cap so give yourself a break.
Sara: Thank you.
(SARA starts to leave.)
Nick: Hey, Sara ... (she stops and turns around again.) ... you gotta get out more.
(SARA stares at him. NICK slowly backs away from SARA till he leaves the hallway. SARA turns back and continues down the hallway.)
[SCENE_BREAK]
[INT. CSI -- DNA LAB]
(GREG holds up the sample of radiator water as he looks at it. GRISSOM leans against the table.)
Greg: So you got this water from a radiator?
Grissom: Yes.
Greg: Well, it ain't no Rocky Mountain Spring.
Grissom: What is it, Greg?
Greg: Nasty sodium count. Potassium, phosphorus.
(GREG hands the test results to GRISSOM to look at. GRISSOM looks up, thinking.)
Greg: (smiling) You've got that look. What did I say right?
(GRISSOM doesn't say anything. He puts the test results back on the table and leaves the lab.)
[SCENE_BREAK]
[EXT. WOODS - DAY]
(CATHERINE and NICK walk through the woods. NICK finishes up his phone call and hangs up.)
Nick: (on phone) Okay. Thanks for the info. We'll keep you posted. (hangs up) Well, Mrs. Jasper's alibi checks out. She was at work from 2:00 A.M. To 6:00 P.M. Ate lunch at her desk.
(They reach the scene and put their kits down.)
Catherine: She didn't kill her husband.
Nick: Murder for hire?
Catherine: A pro would've shot him in the heart.
Nick: This guy was shot in the gut. Bullet didn't even come close to his spinal cord.
(Quick CGI POV of the bullet piercing through the cloth, through flesh and exiting out the back and through into the woods. End of CGI POV.)
Nick: Wait a minute now. Abdominal injuries take time to bleed out. But it would've taken at least ten minutes for hemorrhagic shock to set in and he would've been mobile.
Catherine: Right. But he never moved. He was standing in front of this tree when he was shot. He didn't try to get to his car, get help, he just ... sat down and waited to die.
Nick: Yeah. Yeah, I see where you're going here. His injuries and his behavior aren't consistent with murder. But they're not consistent with suicide either.
Catherine: Ninety-nine out of 100 suicides by gun ... muzzle to the mouth, bullet to the brain. But there's always just that one.
Nick: Look, suicidals want it quick and painless. Bleeding to death is slow and painful. Not to mention, he never fired his rifle.
Catherine: No, the weapon we found was never fired.
Nick: (laughs) That-that's a big stretch. He brought his rifle plus a spare?
Catherine: He shoots himself in the gut leaving himself time to hide the weapon.
Nick: Yeah, but there's no blood trail. What'd he do with the spare, throw it up a tree?
(NICK looks up at the trees above. CATHERINE takes a walk out toward the lake.)
Catherine: How about the lake?
(NICK turns around. He's starting to see the possibilities.)
Nick: Yeah. Yeah, okay-- heads up.
(NICK motions for CATHERINE to move aside. He picks up a rock and tosses it into the lake from where the body was found. The rock lands in the lake with a splash.)
Nick: I just marked our search area.
SHORT TIME CUT TO:
[SCENE_BREAK]
[EXT. WOODS/ LAKE - DAY]
(Under the water, a metal rod prods along the bottom of the lake. They're looking for the gun.)
(Cut to above water: NICK and CATHERINE are in their rubber swim gear, each carrying a metal rod and prod it along the bottom of the lake.)
Nick: You know, even if your theory's right, we still haven't explained the insurance policy purchased by the wife.
Catherine: Hey.
(CATHERINE hits something. She looks up at NICK. NICK makes his way to CATHERINE.)
Catherine: Metal on metal.
Nick: Hold up, let me give you a hand.
(NICK reaches into the lake and picks up the gun.)
Catherine: Okay. Right there.
Nick: Yeah. I got it. I got it.
Nick: Whoa ... water pistol.
Catherine: Well, we never found the bullet, but we found the gun.
(Still standing in the lake, NICK and CATHERINE look over at the tree where the body was found. As if they were watching it replay on the big screen, they see the events unfold.)
(Quick flashback to JAMES JASPER holding the pistol aimed at his abdomen. He fires. He doubles over in pain, but before he collapses, he tosses the gun into the lake. He then falls to his knees. End of flashback. Resume to present.)
(Cut back to NICK and CATHERINE imagining it happening in front of them.)
Catherine: Mr. Jasper committed suicide.
Nick: And the wife's out a million bucks.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - WAITING ROOM - NIGHT]
(DET. VEGA brings MRS. JASPER a cup of coffee. She's sitting in the waiting room. CATHERINE sits in the seat across and facing her. VEGA remains standing.)
Mrs. Jasper: Thank you.
Catherine: Mrs. Jasper, you purchased a life insurance policy on your husband in which you are the sole beneficiary.
(She shakes her head.)
Mrs. Jasper: I don't know what you're talking about.
Catherine: We have the actual application for the policy with your signature.
Det. Vega: Ma'am, you are aware that insurance policies exclude suicide?
Catherine: Your husband staged his death to look like a homicide. As a beneficiary, if you knew of his intentions to take his own life, that would constitute fraud.
Mrs. Jasper: If I knew, I would've stopped him. Jimmy was everything to me. (CATHERINE glances over and sees NICK signaling to her through the window.) I didn't buy the policy. I didn't know about his plans.
(NICK walks into the waiting room area holding a file folder.)
Catherine: Hi.
(NICK hands CATHERINE the file. She opens it and reads it. She looks up at NICK.)
Catherine: (to NICK) You want to explain this?
(CATHERINE holds the folder out for NICK to take.)
Nick: Sure. Mrs. Jasper, when you claimed your husband's personal possessions, you signed a release form, yeah?
(She nods her head slightly.)
Nick: I ran that same form through our questionable documents lab and I cross-checked your signature with the signature on the insurance application here. It's not yours. Your husband must've forged it. I also checked with the insurance company. Your husband opened the account.
Mrs. Jasper: (stunned) Why ... ? Why? I don't understand that. Why did he do that?
Catherine: Because he knew that if he had bought the insurance himself it would've sent up a red flag.
Mrs. Jasper: (voice breaking) So what you're saying is ... that my husband killed himself for me?
Nick: Yes, ma'am.
(MRS. JASPER puts a hand to her forehead and cries.)
[SCENE_BREAK]
[EXT. CONSTRUCTION SITE - DAY]
(GRISSOM walks with WILLOUGHBY.)
Willoughby: Well, it may sound funny but I'm proud of it. Took almost a year to put in my new fertigation system. In automatically mixes the fertilizer with the irrigation system.
Grissom: How about that? Economical and practical.
Willoughby: What you're looking for is over here.
(WILLOUGHBY points to something off to the side. They stop walking near a water pipe.)
Willoughby: Cars are always overheating on this stretch and everyone thinks water's free.
Grissom: What do you use in your fertilizer? Nitrogen, phosphorous and potassium?
Willoughby: Standard 6-10-10 mixture.
Grissom: Mr. Willoughby, would you mind if I fingerprint your spigot?
Willoughby: No one's ever asked me that before.
[SCENE_BREAK]
(GRISSOM dusts the spigot.)
(Dissolve to GRISSOM lightly removing the print off of the spigot.)
(Dissolve to GRISSOM taking a sample of the water from the pipe.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(GRISSOM pushes a pitcher full of fertilizer water across the table toward MICKEY RUTLEDGE. The water in the pitcher looks unclean.)
Grissom: Thirsty?
Mickey Rutledge: I'm good, thanks.
Grissom: Yeah, I wouldn't drink it either. I wouldn't even put it in my radiator. I don't have all the pieces yet, Mickey, but, uh ... I'll tell you what we do have.
(Quick flashback to: JOAN MARKS yelling at MICKEY RUTLEDGE in DONNA MARKS' kitchen.)
Joan Marks: You're an ex-con -- get the hell out of here!
(DONNA MARKS steps between her sister and her guest.)
Donna Marks: Don't listen to her, Mickey. This is my house. This is my life!
Joan Marks: You're so desperate you've got to get a date through the computer and then you end up with him-- pathetic!
(MICKEY RUTLEDGE turns and walks away. End of flashback. Resume to present.)
Grissom: We know that Joan scratched Donna. We also know that Donna died first.
Mickey Rutledge: I didn't kill her.
Grissom: That's right, you didn't.
(Quick flashback to DONNA and JOAN struggling in the kitchen. MICKEY RUTLEDGE stands outside the glass door watching.)
Joan Marks: You are so selfish!
Donna Marks: Stop it! Get your hands off me!
Joan Marks: No!
(End of flashback. Resume to present.)
Grissom: Donna's death was an accident.
(Quick flashback to: DONNA MARKS turns around to get out of her sister's grip and she accidentally walks into the glass door, breaking it and killing herself. End of flashback. Resume to present.)
Sara: But Joan went off on you. And up to that point, you hadn't done anything wrong.
Brass: So what went wrong?
Mickey Rutledge: It wasn't my fault.
(Quick flashback to MICKEY RUTLEDGE over DONNA MARKS' body. He looks up at JOAN MARKS.)
Mickey Rutledge: She's dead.
Joan Marks: You're going right back where you came from.
(She turns to leave the kitchen. End of flashback. Resume to present.)
(MICKEY RUTLEDGE rests his chin on his clasps his hands, elbows on the table. He sighs heavily.)
Mickey Rutledge: Rehabilitation was working for me. But you put a guy in that position ...
Grissom: ... He's got to go all the way.
(Quick flashback to: MICKEY grabs JOAN from behind and breaks her neck. She falls to the floor, dead. End of flashback. Resume to present.)
Sara: You figured if you hid the bodies, you'd be in the clear.
Brass: But you didn't have a car. Joan did.
(Quick flashback. to: The car's radiator overheats. Smoking, the car stops. MICKEY gets out of the car.)
(Cut to: He takes the bodies out of the trunk and puts them in the pipes.)
(Cut to: Thinking that it's water, he fills a bucket with fertilizer to use on the car.)
(Cut to: He pours the liquid into the radiator. End of flashback. Resume to present.)
Sara: (shakes her head) You could've just backed off, let Joan make the call.
(MICKEY gives off a skeptical chuckle. He looks up at SARA.)
Mickey Rutledge: I would've landed myself right back in the joint.
Sara: you don't know that.
Mickey Rutledge: Come on. Who's going to believe a guy like me?
Grissom: A guy like me.
(MICKEY looks at GRISSOM and SARA.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY - NIGHT]
[SCENE_BREAK]
[INT. SARA'S HOME - NIGHT]
(SARA walks in and closes the door. She puts the keys on the counter, puts her bag down and takes off her jacket. Without hesitating, she takes the nearest trashcan, opens the refrigerator and throws away all the take-out boxes on the shelves. That done, she takes down all the menus from the refrigerator and throws those away, also. She picks up the stack of catalogues on her counter and tosses them away as well.)
(She looks at her answering machine and notices that there are no messages for her.)
(She picks up the phone and dials.)
Sara: (on phone) Hey, it's Sara. I was, uh, thinking ... You want to go out ... somewhere?
Plan: A: Sara; Q: Who is called to the crime scene with Grissom? A: two; Q: How many murder victims were found at the construction site? A: pipes; Q: What were the victims hidden in? A: an ostensible hunting accident; Q: What do Catherine and Nick investigate? A: a former prison inmate; Q: What is the relationship of one of the sisters to a person of interest? A: his presence; Q: What is traced to the scene of the crime? A: the woods; Q: Where was the body found? Summary: Grissom and Sara are called to the crime scene when two murder victims are found hidden in pipes at a construction site in the middle of an alfalfa field, while Catherine and Nick investigate an ostensible hunting accident. The investigation of the construction site murder reveals that the victims were sisters and the relationship of one of the sisters to a former prison inmate is a cause for suspicion -- especially when his presence is traced to the scene of the crime. Meanwhile, Catherine and Nick begin to doubt seriously that the body found in the woods was the victim of a hunting accident.