Heather mitchell csi spec
We skim over what's left of the old-school casinos downtown
-- the FOUR QUEENS, the GOLDEN NUGGET -- before swooping in
on the SILVER SANDS RETIREMENT COMMUNITY.
INT. SILVER SANDS - ACTIVITIES ROOM - CONTINUOUS
A low-end old-folks home, Vegas-style. Wizened showgirls in
full makeup sit with geriatric card sharks at a couple of
folding tables, drinking and playing blackjack.
Frank and Dino hold sway on the beat-up hi-fi as two
twentysomething AIDES in borrowed smoking jackets deal.
CASSIE RAE SPARKS (77), a vision in chartreuse eyeshadow and
the kind of skin that only comes with seven decades of sun-
worship, counts out a stack of chips while clamping down
Next to her sits JOLENE DAVIES (75), sickly, but still
working what little she's got left. Her WALKER rests against
Cassie Rae SNORTS. A wisp of smoke escapes her nose.
She pushes the chips into the center of the makeshift
The aide puts two cards down on the table and flips the first
one over -- it's an ACE OF CLUBS. Cassie nods approvingly.
He flips the next card -- a QUEEN OF HEARTS.
Cassie Rae CACKLES and pulls in her heap of chips.
Cassie Rae shuffles down the dingy rest home hallway.
She reaches a door at the far end of the hall and KNOCKS.
Cassie Rae KNOCKS again as she turns the knob. It CLICKS
INT. SILVER SANDS - GINO'S ROOM - CONTINUOUS
A basic municipal box, but with some homey touches -- a
polished brass reading lamp, some framed photos on the
A dapper old man, GINO DEZZUTTI (80), lies in an adjustable
His neck and sheets are wet with bright red blood, his eyes
His mouth hangs open, dentures halfway between in and out.
A Tahoe pulls up. As GRISSOM and CATHERINE get out, BRASS
emerges from the pack of cops and EMTs.
Brass hands off the file as they head around the side of the
Vic's name is Gino Dezzutti, "Dice"
They've reached the side door of the activities room. Brass
INT. SILVER SANDS - ACTIVITIES ROOM - CONTINUOUS
He scans the room. Clumps of geezers gossiping, eyeing the
cops with suspicion -- these folks are no strangers to the
Off Catherine as she heads out into the trenches.
WARRICK snaps pics of the DB as Grissom and Brass enter.
The fluorescent light overhead begins to BUZZ and flicker.
Warrick reaches up and knocks it with his fist.
Grissom takes it all in -- silk brocade bedspread, the
CAMERA PLUNGES THROUGH Gino's neck, PUNCHES THROUGH his
CRICOID CARTILAGE and RIPS INTO his CAROTID ARTERY before
BURSTING OUT the back of his neck, SLICING THROUGH the
mattress and SLAMMING INTO the linoleum floor.
A wisp of TISSUE SPLATTERS in its wake.
Grissom looks down at the man and his deathbed.
Grissom's still staring at Gino. The juxtaposition between
the gaping wound and his sweet-little-old-man face is
He makes his hand into a gun and pulls the trigger at the
Warrick reaches out to the vic's face and gently brushes his
Grissom locks on Gino's nightstand. It's a rich, burled
He snaps on his gloves and picks something up.
It's a lacquered WOODEN BOX, with a blue silk ribbon to lace
it shut. Grissom hones in on the small brass plaque on its
He looks back at the nightstand. There's a small KEY under
where the box was sitting. He holds it up.
Warrick bends down to check under the bed.
He rises, holding out the GUN -- a gorgeous old Colt with a
pair of mother-of-pearl dice inlaid into each grip with thin
On one side, the dice are ONES. Warrick flips the gun over in
his hand -- the dice on the other side are SIXES. It's a work
Grissom pours a vial of TRACE METAL REAGENT into his spray-
bottle, shakes it lightly, and mists Gino's right hand.
Warrick obliges. Grissom takes out his ALS and wands it over
the hand. In the darkness of the room the pair of ones GLOW
Standard-issue suburban strip mall -- 7-Eleven, dry
FIRST CLASS NAIL, in the center of the plaza, is cordoned off
with police tape. Three cop cars flash outside as a crowd of
SARA drives with NICK riding shotgun as the Tahoe turns into
the parking lot. He's grinning. She notices.
He takes in the nail parlor. The smile gets bigger.
. and gets the look of death for his trouble.
NICK and SARA enter. It's seedy, with a few Lucky Cat statues
scattered among the stations. A cheap velvet sofa and a
coffee table with a couple of year-old Cosmos round out the
They make their way to the back of the shop, where .
JIN-AH KIM lies face-down on the floor. A wet, nasty GASH in
the back of her head. Blood puddles on the cheap wall-to-wall
He strides off as they squat to inspect the vic.
She moves a matted clump of hair to get a better look.
He picks up one of Jin-Ah's hands and checks out her
The nails are cut so short the flesh of her fingertips
Sara stands. Surveys the scene. Takes a couple steps towards
the back door before turning back to the body.
She takes two paces in the direction of the vic and swings
INT. NAIL PARLOR - NIGHT (SARA'S VERSION)
An unseen attacker bursts through the door and catches Jin-Ah
washing out a footbath at one of the manicure stations.
She starts to turn around, but with a swift, sharp blow to
the skull, she collapses and falls to the floor.
Sara leans in to take a close-up of the wound.
In the FLASH, we see a glint of RED.
With a fine-toothed comb and a pair of tweezers, he starts
picking through Jin-Ah's hair. Nothing at first, but then .
Nick plucks something from the strands and holds it up to the
light -- a tiny red RHINESTONE with a chip of pinkish-purple
nail polish clinging to it. He drops it into a plastic
evidence vial, which he holds up for Sara's inspection.
Gently, they roll the body over. No trauma on this side. Sara
takes a picture. Not much left to do here.
Then a tiny, orange-tinted SPIT-BUBBLE oozes out between her
He bends to swab the vic's mouth as we .
INT. CORONER'S OFFICE - AUTOPSY ROOM - NIGHT
DR. ROBBINS looks up from Jin-Ah Kim's body as Nick and Sara
Dr. Robbins motions them towards the body.
Dr. Robbins has cut down the length of Jin-Ah's TRACHEA and
exposed a portion of one LUNG. The exposed organs are totally
saturated with a neon-bright, highly unnatural shade of CORAL
CAMERA DIVES INTO the victim's mouth as orange paint SPRAYS
down the trachea and into the lungs, FILLING THE ENTIRE
INT. SILVER SANDS - ACTIVITIES ROOM - NIGHT
Sniffling and shaking her head on the couch, Cassie Rae
lights a fresh cigarette with the butt of the one she's just
Catherine and Cassie Rae share a long, warm hug.
She looks Catherine up and down. Takes note of the
"Forensics" sign on her jacket.
Something catches Cassie Rae's eye across the room -- Jolene
and her walker are slowly making their way to the door.
Cassie motions across the room to the aide we saw dealing
Cassie Rae takes a deep breath. Exhales. She doesn't want to
cry, but she's not too tough to hurt.
INT. CORONER'S OFFICE - AUTOPSY ROOM - NIGHT
Gino's laid out on the slab. Grissom looks on as DR. PHILLIPS
On the desk, Grissom's phone RINGS. He checks the caller ID.
Grissom deposits the phone back in its cradle.
Catherine raises an incredulous eyebrow -- that's gonna go
Catherine SIGHS. It's been a long time.
He looks at them -- are they ready for this?
Warrick and Catherine look to Grissom, expectant. He takes it
in stride -- a faint smile playing on his lips, eyebrow
INT. POLICE DEPARTMENT - INTERROGATION ROOM - NIGHT
Johnny Spanish, still wearing his smoking jacket, sits in the
hot seat, with Brass and Grissom opposite.
He looks like it's been one hell of a long night.
Grissom and Brass exchange a look as Johnny babbles on.
Grissom and Brass exchange another look. This one Johnny
Silence. Johnny shifts in his chair.
Grissom takes a spray bottle of GUNPOWDER REAGENT from his
kit and pulls the trigger. A fine mist puffs out.
He mists Johnny's chest and arms with the liquid.
Johnny looks nervously at Brass, who nods. Grissom picks up
his ALS and wands it over where he's just sprayed.
What little color was in Johnny's face just drained out.
He doesn't move -- he's in absolute shock.
Nick and Sara meet up on their way to Trace.
"ruby" -- classy, but not exactly
GREG SANDERS swipes a page fresh from his printer.
The inside of an AIRBRUSH GUN. The paint chamber opens and
pressurized air SPRAYS paint out of the nozzle.
Greg slips off his lab coat. Gives them a big smile.
His face falls. She backs down. A little.
They stand there staring at each other -- a science-nerd
Warrick takes the box from Gino Dezzutti's nightstand out of
its evidence bag and sets it on the examination table.
He's about to open it when Grissom pokes his head in.
Warrick opens the box. We see the impression in the blue
brocade cushioning inside -- it's made to hold a handgun.
Warrick feels around the edge of the padding. It's loose. He
lifts it up -- there's a compartment beneath.
He scoops out the contents -- a stack of old PHOTOGRAPHS.
CLOSE ON the photograph: It's Gino in a raffish 1950s smoking
jacket, with a beautiful, exquisitely attired woman on each
Grissom picks up another PHOTOGRAPH: Gino, looking like
something out of a Humphrey Bogart movie, drinking a martini
Warrick passes him another PHOTOGRAPH: Gino, laughing in a
backstage dressing room, with a fully-costumed showgirl in
his lap and a fresh drink in his free hand.
The three pictures are spread out on the table, and for a
moment, the investigation is forgotten -- the magic of Old
Warrick and Grissom gaze down at the photos with reverence.
INT. CSI BUILDING - GRISSOM'S OFFICE - DAY
Grissom's still looking at the pictures when Sara bursts in --
There's a long pause -- he doesn't do sheepish. Or at least
Grissom shrugs. As most of her is out the door,
Nick, Sara and Greg prowl the back of the nail parlor. Nick's
flashlight skates over an ORANGE SPRAY-STAIN on the carpet.
Sara peels open a large square of EVIDENCE FILM and spreads
She pulls the film off the wall. A faint trace of orange
Meanwhile, Greg's checking out the cabinets over the sink.
Nick and Sara share an aggrieved glance.
Grissom KNOCKS on one of the resident's doors.
Grissom's just raising his fist to try again when we hear a
INT. SILVER SANDS - IRA GOULD'S ROOM - CONTINUOUS
Grissom enters. IRA GOULD (85), not as well-groomed as his
erstwhile neighbor but still pretty sharp for an
octogenarian, sits in front of the TV. A large plastic
HEARING AID hooks around his left ear.
A BAYWATCH-TYPE SHOW plays on the small, cheap television.
Grissom leans down for a handshake. The old man waves him
Grissom smiles politely. He'll humor the old guy. To a point.
Now he's really
got Grissom's attention. He takes a minute to
Ira emits a ratty CHUCKLE -- he knows what this guy's up to.
But with an old-timer, pride always wins in the end.
Ira keeps his eyes on the beach babes BOUNCING and GIGGLING
Grissom's on his cell before he even gets in the car.
Sara and Greg, both in latex gloves, sit at the lab table.
Two AIRBRUSH GUNS are laid out before them, next to Sara's
Greg looks so goddamned happy just to be there.
And swishes it in the saucer of hot-pink powder.
She dusts her gun. After a couple seconds of observation, he
He doesn't see the smile that slowly twists up into her lips
INT. CORONER'S OFFICE - AUTOPSY ROOM - DAY
Catherine and Dr. Phillips are waiting for Grissom when he
He turns to Phillips -- how could he have missed that?
A flash of sadness crosses Catherine's face. Grissom doesn't
INT. SILVER SANDS - DIRECTOR'S OFFICE - DAY
Catherine sits in the office of KELLY HINES (45). Stern yet
compassionate, she's got the air of a career caregiver.
Catherine's caught off guard. For a second.
Warily, Catherine obliges. They peer out onto the street,
where two OLD MEN wait patiently by the curb.
Eventually a white TOYOTA CAMRY pulls up and one of the men
Catherine sees Kelly's point. Grudgingly.
Catherine shakes her head right back -- she's had enough.
Nick's coming down the hall as Sara walks out of the lab
He gives her the up-and-down. Sweet.
He exchanges a knowing look with Nick, who cracks a smile.
INT. SILVER SANDS - ACTIVITIES ROOM - DAY
1. Silver Sands residents FILE, HOBBLE and ROLL into the
2. County Health employees take blood samples as Catherine
3. Catherine and Kelly Hines exchange dirty looks as blood is
4. Catherine and Warrick catalog the labelled vials and place
them gently into carrying containers.
5. Carrying the vials of blood, Catherine and Warrick leave.
The Tahoe pulls up outside a dusty, ranch-looking building.
A large PURPLE CIRCLE swings from its gate.
They get out of the car and knock on the door.
After a moment or two, it opens to reveal LADY GINGER VITIS,
a regal, willowy drag queen in her late thirties.
He recovers, sticking out his hand. Which Lady Ginger takes,
As she ushers them inside, we see her NAILS - long, well-
kept, and painted mauve, with a tiny circle of RHINESTONES in
A lush, boudoir-like waiting room done up in lush plums and
lavenders. Velvet. Potted palms. Mae West wouldn't look out
Greg makes himself at home, easing back into a plush divan.
As Nick and Sara start prowling the room, Greg smiles at
Ginger. She meets his gaze and smiles back.
Grissom and Warrick are finishing up a late lunch.
Warrick and Catherine exchange a glance -- did Grissom just
Warrick gets up and heads for the door.
Once he's out the door, Catherine gets up.
They share a moment -- old age isn't as far off as it used to
Their reverie is broken by Warrick, who ducks back into the
"rest" out of "rest home."
INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY
Johnny Spanish is back in the hot seat.
Johnny looks nervously to Brass, then to Grissom, then back
Grissom looks to Brass, who shrugs -- who knows?
Off the pieces clicking together in Grissom's mind.
Sara's been picking through the trash -- a small heap of gum
wrappers, wadded-up Kleenex, etc. is now piled on Ginger's
Sara plucks a piece of PILL-FOIL from the pile with her
CHARLIE STICKNEY (20s), a pretty young houseboy type with
large, dark eyes, escorts a BURLY MAN (40s) down the stairs.
The burly man nods, clearly uncomfortable with the crowd in
IRMA LA DOUCHE (30s), an elegant queen in a green silk robe
and a ONE DAY AT A TIME medallion, saunters into the room.
And Nick mutters back as Irma looks on, bemused.
Greg motions to the necklace swinging from Irma's neck.
Irma tosses her head dramatically -- it's all very Scarlett-
Nick's already taking his printing equipment out of his case.
Behind him, Greg smiles. Irma SIGHS and holds out her
CLOSE IN on one of Irma's NAILS -- mauve like Ginger's, but
As Nick takes her finger to print it, Irma's nail CRUMBLES
beneath his touch. He recoils slightly.
Charlie tries to wrestle the airbrush gun out of Irma's hands
as she sprays paint down Jin-Ah's throat. Irma throws him off
Greg's so stoked he's almost dancing.
INT. SILVER SANDS - CASSIE RAE'S ROOM - DAY
Cassie Rae opens her door to reveal Catherine and Warrick.
A shadow falls across her face and hardens there -- she knows
Cassie gives Catherine a long, hard look. She tries to hold
Warrick walks over to the closet. A LIME-GREEN PANTSUIT in
dry-cleaner's plastic hangs on the door.
He takes the suit out of the plastic, switches on his ALS and
CLOSE ON the GHOSTLY SPLATTERS that appear.
Cassie Rae takes a deep, fierce drag.
INT. SILVER SANDS - HALLWAY (CASSIE RAE'S VERSION)
Gino's door opens and Johnny Spanish escorts Jolene out and
CLOSE IN on the other end of the hallway, where we can see
Cassie Rae's mouth quivers, torn between wanting and not
A furious Cassie Rae stands over Gino's bed, shaking her head
as they argue, POINTING at the gun in his hand.
She puts her hand around his, points the gun at his neck and
-- his eyes open and pleading -- pulls the trigger.
The tears are welling in Cassie Rae's eyes.
She composes herself. The bare minimum.
Cassie Rae breaks into long, raspy SOBS.
Off Catherine and Warrick, just standing there, not sure what
to do for someone so helplessly, hopelessly alone.
INT. CSI BUILDING - GRISSOM'S OFFICE - LATER
Catherine's perched on the edge of Grissom's desk.
Her eyes are wet. She uncrumples a tissue from her fist and
Grissom shrugs. But his heart's not in it.
Grissom mulls it over -- she's right.
Through the window, we see Greg, Nick, and Sara coming down
the hall -- all young and full of promise, all laughing at
some joke Catherine and Grissom didn't hear.
And Sara's so pretty when she smiles.
In the hallway, Sara flicks her eyes into his office at the
Off Grissom's small, bittersweet smile, we .
AraucariaUniversidad de SevillaISSN (Versión impresa): 1575-6823ESPAÑACINE Y REVOLUCIÓN EN LA SUIZA DE AMÉRICA - LA CINEMATECA DEL Araucaria, primer semestre, año/vol. 5, número 009 CINE Y REVOLUCIÓN EN LA SUIZA DE AMÉRICA - LA CINEMATECA Durante mucho tiempo, la historia del cine uruguayo se caracterizó por la falta de continuidad en la producción de largometrajes y por la
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