CSI:  CRIME SCENE INVESTIGATION
2X12:  YOU'VE GOT MALE
ORIGINAL AIR DATE ON CBS:  12/20/2001
TRANSCRIBED AIR DATE ON CBS

Written by MAC DUBE & COREY MILLER
Directed by CHARLIE CORRELL

Transcript by Intrepid
Courtesy of http://www.grissomandsara.com/

Please do not archive without permission.

(Zenith brings you HDTV)
(CBS Interactive Program)

RATING:  TV-PG-V
==========================
DISCLAIMER:
==========================
"CSI: CRIME SCENE INVESTIGATION" and other related entities are owned, TM and 
(c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS Worldwide Inc., 
Alliance Atlantis Corporation, and CBS Productions, All Rights Reserved.  This 
transcript was made without their permission, approval, authorization or 
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Leave the headers/disclaimers in tact because it lists all those who have made 
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For corrections / inaccuracies, please contact the Transcriptionist at 
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==========================
SUMMARY:  When two dead bodies are discovered in a culvert, investigation into 
their deaths causes Sara to re-examine her own life.  Meanwhile, Catherine and 
Nick investigate a man who died while hunting.
==========================
CSI:  CRIME SCENE INVESTIGATION
2X12:  YOU'VE GOT MALE
==========================



COLD OPEN:

[EXT. LAS VEGAS CITY OUTSKIRTS (STOCK) - DAY]

[EXT. LAS VEGAS CITY OUTSKIRTS (STOCK) - DAY]

(Overhead view of dry land outside the city.)

CUT TO:



SCENE #01:

[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.)

CUT TO:



SCENE #02:

[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.

(COMMERCIAL BREAK)



FADE IN.

SCENE #03:

[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?

CUT TO:



[EXT. LAS VEGAS (STOCK) - NIGHT]



SCENE #04:

[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:  

180063222900
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.

CUT TO:



SCENE #05:

[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.

CUT TO:



SCENE #06:

[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.)

CUT TO:



[EXT. LAS VEGAS RURAL COMMUNITY (STOCK) - DAY]

[EXT. MARKS' RESIDENCE - HOUSE - DAY]



SCENE #07:

[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.

CUT TO:



SCENE #08:

[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?

CUT TO:



SCENE #09:

[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.

(COMMERCIAL SET)



FADE IN.

SCENE #10:

[INT. CSI --  HALLWAY - DAY]

(CATHERINE turns the hallway corner.)

CATHERINE:  Nick.

(CATHERINE walks up to NICK.)

CATHEIRNE:  Tell me what you got?

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

CATHERINE:  Trajectory?

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

CUT TO:



SCENE #11:

[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.

CUT TO:



SCENE #12:

[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.)

CUT TO:



SCENE #13:

[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..)

CUT TO:



SCENE #14:

[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.)

CUT TO:



SCENE #15:

[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.)

CUT TO:



SCENE #16:

[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.)

CUT TO:



SCENE #17:

[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.)

CUT TO:



[EXT. WESTERN NEVADA CORRECTIONAL FACILITY (STOCK) - DAY]



SCENE #18:

[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.)

FADE TO BLACK.

(COMMERCIAL BREAK)



SCENE #19:

[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.)

CUT TO:



SCENE #20:

[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.

CUT TO:



SCENE #21:

[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 ... )

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

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

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

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

(NICK laughs.)

CUT TO:

(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 
#6.)

(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.)

DISSOLVE TO:

(CATHERINE stops sweeping and pulls off her earphones.)

CATHEIRNE:  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.)

DISSOLVE TO:

(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.

CUT TO:



SCENE #22:

[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.

CUT TO:



SCENE #23:

[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.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #24:

[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.

CUT TO:



SCENE #25:

[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.)

CUT TO:



SCENE #26:

[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.

CUT TO:



SCENE #27:

[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.)

CUT TO:



SCENE #28:

[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.)

CUT TO:



SCENE #29:

[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 #30:

[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.

CUT TO:



SCENE #31:

[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.)

CUT TO:



SCENE #32:

[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.

CUT TO:

(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.)

CUT TO:



SCENE #33:

[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.)

CUT TO:



[EXT. LAS VEGAS CITY - NIGHT]



SCENE #34:

[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?

FADE TO BLACK.

==========================
THE END
==========================

[Captioning sponsored by CBS, CBS Productions and Volkswagen.   Captioned by 
Media Access Group at wgbh access.Wgbh.Org]

For corrections / inaccuracies, please contact the Transcriptionist at 
(intrepidly002@yahoo.com)

Courtesy of http://www.grissomandsara.com/

Please do not archive without permission.

==========================
TITLE/OPENING CREDITS
==========================
CSI:  CRIME SCENE INVESTIGATION
2X12:  YOU'VE GOT MALE
ORIGINAL AIR DATE ON CBS:  12/20/2001
TRANSCRIBED FROM CBS

Starring:
WILLIAM PETERSEN as Gil Grissom
MARG HELGENBERGER as Catherine Willows
GARY DOURDAN as Warrick Brown
GEORGE EADS as Nick Stokes
JORJA FOX as Sara Sidle

and
PAUL GUILFOYLE as Jim Brass

Created by ANTHONY E. ZUIKER

Starring
ERIC SZMANDA as Greg Sanders

ROBERT DAVID HALL as Dr. Al Robbins

AMANDA WYSS as Donna Marks
HOLLY FULGER as Mrs. Jasper
CLAYTON ROHNER as Park Ranger

RODNEY ROWLAND as Gavin Pallard
GEOFFREY RIVAS as Det. Sam Vega
KIRK B.R. WOLLER as Prison Warden

ROBIA LA MORTE as Joan Marks
THOMAS KOPACHE as James Jasper

and 
NICK CHINLUND as Mickey Rutledge

Music Composed by:  JOHN M. KEANE

Edited by:  JOHN GANEM
Production Designer:  RICHARD BERG
Director of Photography:  MICHAEL BARRETT

Co-Producer:  BRUCE GOLIN
Co-Producer:  JOSH BERMAN
Co-Producer:  ANDREW LIPSITZ

Consultant:  JERRY STAHL
Producer:  DANNY CANNON
Producer:  CYNTHIA CHVATAL
Producer:  WILLIAM PETERSEN

Co-Executive Producer:  JONATHAN LITTMAN
Co-Executive Producer:  SAM STRANGIS

Executive Producer:  ANTHONY E. ZUIKER
Executive Producer:  ANN DONAHUE

Written by:  MARC DUBE & COREY MILLER
Directed by:  CHARLIE CORRELL

==========================
END CREDITS 
==========================
Executive Producer:  JERRY BRUCKHEIMER
Executive Producer:  CAROL MENDELSOHN

JERRY BRUCKHEIMER Television
Alliance Atlantis
CSB Productions

Co-Starring
DAVID BERMAN as David Phillips
SIMON BROOKE as Inmate #1
PALMER DAVIS as Margaret Finn
GERALD McCULLOCH as Bobby Dawson

AMANDA RIGHETTI as Young Teen
TODD SANDLER as Probation Officer
EDMUND WYSON as Inmate #2

Line Producer:  FRANK BALLOU
Associate Producer:  PHILIP CONSERVA
Associate Producer:  KIM M. CYBULSKI
Associate Producer:  BRAD TANENBAUM

Casting by:  ROBERT J. ULRICH, C.S.A
Casting by:  ERIC DAWSON, C.S.A
Casting by:  CAROL KRITZER, C.S.A
Original Casting by:  APRIL WEBSTER, C.S.A

Story Editor:  ELI TALBERT
Story Editor:  ELIZABETH DEVINE
Unit Production Manager:  RICK TUNELL
First Assistant Director:  LOUIS SHAW MILITO
Second Assistant Director:  STACY MURPHY

Art Director:  TIM ECKEL
Set Decorator:  LESLIE KALE
Location Manager:  PAUL WILSON
Construction Coordinator:  ALLAN JOHNSON
Production Sound Mixer:  MICK FOWLER

Camera Operator:  JEFFREY HUNT, S.O.C
Gaffer:  KURT JOHNSON
Key Grip:  DALE ALEXANDER
Property Master:  TOM CAHILL
Script Supervisor:  PAULA BARRETT-BARBIER

Technical Consultant:  ELIZABETH DEVINE
Key Make-Up Artist:  NICK PAGLIARO
Key Hair Stylist:  DANNY GOLDSTEIN
Special Effects Make-Up:  JOHN GOODWIN
Transportation Coordinator:  TOM THOMAS
2nd 2nd Assistant Director:  NATALIE VAN DOREN

Costume Designer:  EILEEN COX BAKER
Costume Supervisor:  ANNIE MARIE THOMAS-CASADOS
Special Effects Supervisor:  MARK BYERS

Stunt Coordinator:  JON EPSTEIN
Casting Associate:  ANDY HENRY
Assistant Editor:  AUGIE ROBLES
Supervising Sound Editor:  MACE MATIOSIAN
Sound Effects Editor:  DAVID VAN SLYKE

Music Supervisor:  JASON ALEXANDER
Music Editor:  SHERI OZEKI
Colorist:  GARETH COOK
Visual Effects Supervisor:  LARRY DETWILER

Digital Effects by STARGATE DIGITAL
High Definition Post Production by ENCORE
Film Laboratories by CREST NATIONAL

Post production Sound Provided by TODD STUDIOS BURBANK
Promotional consideration furnished by KODAK

"Who Are You" by Pete Townshend, Performed by THE WHO

The persons and events portrayed in this film are fictitious.  Any similarity to 
actual persons, living or dead, or any events is unintentional.

(c) 2001 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights 
Reserved

CSB Productions Inc. and Alliance Atlantis Productions Inc., are the authors of 
this program for the purposes of copyright and other laws.

Dated:12/15/2002~lky
http://www.grissomandsara.com/