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Les Experts
#724 : Poupée de chair et de sang (1/2)

Les Experts poursuivent leur traque du tueur psychotique qui fabrique des miniatures de ses scènes de crime. Ils recherchent un des protégés d'Ernie Dell, un certain Trevor Dell. Mais Trevor est retrouvé mort dans son appartement. En analysant le trafic Internet de l'ordinateur de Trevor, Warrick en déduit qu'il est mort depuis douze jours. Nick, lui, découvre la cause du décès : un coup violent porté à la tête. En recoupant tous les indices, les Experts parviennent à déterminer l'identité de l'assassin. C'est alors que Sara disparaît, vraisemblablement enlevée par le tueur aux miniatures. En constatant l'inquiétude de Grissom, les Experts comprennent qu'il est l'amant de Sara. 

Titre VO
Living doll - Part 1

Titre VF
Poupée de chair et de sang (1/2)

Première diffusion
17.05.2007

Extrait (VO)
Extrait (VO)

  

Plus de détails

Écrit par : Naren Shankar & Sarah Goldfinger 
Réalisé par : Kenneth Fink 

Avec : Archie Kao (Archie Johnson), Victoria Prescott (Judy Tremont), David Berman (David Phillips), Wallace Langham (David Hodges), Liz Vassey (Wendy Simms)

Guests :

  • Dayton Callie ..... Ernie Edward Dell 
  • Brendan Fletcher ..... Lionel Dell 
  • Jessica Collins ..... Natalie 
  • Tahmus Rounds ..... Manager 
  • Meagan Fay ..... Rochelle Dorley 
  • Sean Bridgers ..... Art Schuster 
  • Dustin Cyril Robles ..... World Send Guy 
  • Tessa Germaine ..... Little Girl 
  • Gina Hecht ..... Donna Wetzel 
  • Jay Johnson ..... The Great Rainone 
COLD OPEN:  

[CU:  IZZY DELANCY MINIATURE]

(Miniature photos in frames, a  bottle of water and mail litter the miniature 
counter.)

(We pull back.  A miniature doll made up to be IZZY DELANCY is slumped over the 
kitchen table in a pool of blood, a plate of breakfast untouched.)  

GRISSOM:  (v.o.)  The detail is ...

SOFIA:  (v.o.)  Terrifying.  

SARA:  (v.o.)  I think Malibu Barbie did it.

DISSOLVE TO:  



[CU:  PENNY GARDEN MINIATURE]

(We continue through a sunroom with the Penny Garden doll slumped over the 
broken window sill.)  

GRISSOM:  (v.o.)  Well, then there's a lot more to Barbie than just a pretty 
face.  'Cause this is a perfect half-inch-scale model of the room.

DISSOLVE TO:  



[CU: RAYMUNDO SUAREZ]

(The Raymundo Suarez doll is face-down on the miniature table in the miniature 
MANNLEIGH chicken factory.)

GRISSOM:  (v.o.)  Three different views of the same dead doll.

SARA:  (v.o.)  Assuming that they're all Dell foster kids, there's thirteen of 
them.

DISSOLVE TO:  



[CU:  MINIATURE LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]

(The miniature Las Vegas City Lights flicker and blink.)  

HODGES:  (v.o.)  I found a common element in all four miniatures: bleach.

CUT TO:  



[INT. CONVENIENCE STORE – NIGHT]

(The television has a BREAKING NEWS report of HAPPY MORALES, his boxing pose up 
on the monitor.)  

PAULA FRANCIS (NEWSWOMAN):  ...stunned by the death of former top-ranked junior 
middleweight Lorenzo "Happy" Morales, whose body was found floating in a pool 
late last night ... 

(The convenience store woman watches the news report on the small television 
set.  The door opens.  She looks up to see who it is.)  

(A tough looking, shaggy-haired man walks in.)  

PAULA FRANCIS (NEWSWOMAN):  ... at the Sugarcane Ranch Brothel in Bryant County.  
Morales, best known for his ability to take a punch, was reportedly attempting a 
comeback to boxing.  

(He walks through the aisles and stops.  He bends over to grab something and his 
jacket rides up his back, exposing a dangerous-looking knife tucked in his jeans 
band.)  

PAULA FRANCIS (NEWSWOMAN):  LVPD is investigating the incident, which they are 
treating as a homicide.

(He absently pulls his jacket down to cover the knife.  He continues through the 
aisles.) 

FADE OUT.

(Two girls heat up a hotdog at the counter microwave oven.  They stick the 
foiled hotdog in the microwave oven and turn it on.  The oven shorts and sparks.  
The girls giggle.)  

FADE OUT.

(The janitor mops the floor,an open container of bleach on the floor nearby.  He 
moves the mop and knocks over the bleach.  The liquid spills out onto the 
floor.)  

(CU:  The liquid moves slowly along the floor ... under the aisle shelves ... 
and into the next aisle ...  )

(A woman wearing red tennis shoes takes a step back at the liquid moving along 
the floor under the shelving.  She gasps and turns around in a panic.  Natalie 
runs.)  



[EXT. THE STRIP – SIDEWALK – NIGHT -- CONTINUOUS]

(Natalie runs out into the sidewalk.  She takes deep panicked breaths.  She 
walks along the sidewalk.)  

(The overhead light show has started and the walkway is crowded with people.)  

(Natalie makes her way through the crowd, their faces distorted.  She’s in a 
panic as she makes her way through the people.  Everything is distorted.)  

(We PULL BACK on the light show – PULL BACK till we are coming out of NATALIE’S 
eye.)

(Natalie stares in front of her, her right eye occasionally blinking open and 
closed like a broken doll’s eye.)  

CUT TO:  



[INT. CSI – GRISSOM’S OFFICE – NIGHT]

(We PAN ACROSS Grissom’s bulletin board filled with various photo captures of 
the kids in ERNIE DELL’S home video collection.)

(He takes off a particular photo of two boys and a dark-haired little girl.  He 
carries the photo back to his desk.)  

(Hodges knocks on the door before he walks in.)  

HODGES:  Hey, boss, heard you got a lead on another one of the Dell fosters.

(Hodges sits down.  Grissom writes DECEASED over the photo of the little boy in 
the center of the picture.)  

GRISSOM:  Just got an e-mail.  Raymond Dell. Died two years ago in some bizarre 
back hoe incident in Rapid City.

HODGES:  Okay.  That's good.  One less suspect.

(Grissom’s phone rings.  He answers it.)

GRISSOM:  (to phone) Grissom.

BRASS:  (from phone)  Court order for another Dell kid in Old Henderson -- the 
1621 Water Street. It just came through.  Are you up for a house call?

GRISSOM:  (to phone)  I'll meet you there.

(Grissom stands up and heads out.  Hodges raises his hand and opens his mouth to 
say something, but Grissom’s gone.)  

CUT TO:  



[INT. DELL APARTMENT BUILDING – HALLWAY -- NIGHT]  

(Brass and Grissom follow the manager to Trevor Dell’s apartment.)  

BRASS:  So, we've been trying to contact Mr. Dell for a couple of weeks.  Have 
you heard from him?

MANAGER:  No, but that's probably 'cause the rent's due.  See, around here, we 
mostly have the kind of tenants who don't like to pay their bills much.  (clears 
throat)  This is the one.

BRASS:  I wonder why.

(Brass knocks on the door.)  

BRASS:  Trevor Dell, open up.  Las Vegas Police.

(The manager unlocks the door.)  

MANAGER:  You got my authority to use deadly force.

BRASS:  Hey, shut up and stand back.

(Brass opens the door and enters.  Grissom follows him inside.)  



[INT. TREVOR DELL’S APARTMENT – CONTINUOUS]

(Brass and Grissom look around.)  

BRASS:  Anybody home?  This is the police.

GRISSOM:  Somebody likes it cold.

BRASS:  Vegas in May, plus global warming.

(Grissom sees the collectible fantasy figurines on the shelves.)  

(Brass walks into the bathroom and finds the dead body on the floor.)  

BRASS:  Hey, Gil, we got a body.

(Grissom doesn’t move.  He finds a small miniature male figure in white on one 
of the shelves.  This can’t be good.  In the background, we hear Brass call it 
in.)

BRASS:  (to phone)  Yeah, Control, this is Jim Brass.  I got a 419 at 1621 Water 
Street, Apartment 2B.

(Brass comes out of the bathroom to check on Grissom.)  

BRASS:  What, you lose your interest in dead bodies?

GRISSOM:  No.  But I'm afraid the Miniature Killer was here first.

(Brass sees the miniature TREVOR DELL and the dead TREVOR DELL in the bathroom.)  

SMASH TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)  



FADE IN:  

[INT. TREVOR DELL’S APARTMENT – BATHROOM -- NIGHT]

(Grissom crouches in the doorway as he watches David Phillips go over the body.)  

DAVID PHILLIPS:  Two distinct lacerations -- one on the forehead, one on the 
back of the skull.    Lividity is fixed.  Decomp is pretty well developed.

GRISSOM:  Air-conditioning would have slowed that and accelerated mummification.  
Body's been sealed in the apartment.  There's no insect activity.  So much for 
TOD.

DAVID PHILLIPS:  Could be a couple of days to a few weeks.

(Sara appears in the doorway.)  

SARA:  Miniature Killer?

(Grissom stands up and sighs.)

GRISSOM:  It's hard to say.  Haven't found a miniature of the scene yet.  Just 
this.

(He shows her an evidence bag with the miniature TREVOR DELL inside.)  

GRISSOM:  Clothes match.  The ... uh ... vic's a PT nurse, but there's no blood 
on the doll, and it's not posed like the body.

SARA:  Bleach at the scene, just like the others.

(Sara notes the bottle of BATHROOM CLEANER with BLEACH on the floor behind the 
toilet.)  

SARA: Maybe this one wasn't planned. Maybe the killer has to make the miniature 
after the fact, which is why it's so cold in here, to preserve the body.

(Grissom nods at the possibility.)  

GRISSOM:  I don't think we can rule anything out. It's all yours, my dear.

(Grissom leaves the bathroom.)  

CUT TO:  



[CU:  MINIATURE LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]

(The miniature Las Vegas City Lights flicker and blink.)  



[INT. NATALIE’S LAIR -- NIGHT]  

(Porcelain dolls are on the hallway shelves in the dark apartment accented by 
the sparse light.  In the center of the living room, Natalie sits at her 
workstation rigged with additional lighting, tables and shelves so that 
everything she needs is within arm’s length.  The rest of the living room is 
bare and dark – there’s no furniture and sparse lighting.)  

(We move in closer as Natalie works.  She bends over to pick something up off 
the floor and we see that the screen in front of her has an enlarged view of the 
porcelain green-eyed doll’s head with one eye slightly closed.)  

(CU:  Natalie holds up a miniature rubber female body.  It’s bare.  She picks up 
the scissors and gets to work.  The first thing she does is clip the rubber head 
off the body.  She picks up another head already prepared -- with features and 
with hair – and she places it in front of the body.)

(On the table top next to her, she has an array of bodies already made up and in 
various positions – a dark-haired man in a white shirt and jeans; a blonde-
haired man in a brown shirt, jacket and dark slacks; a dark-haired man in 
overalls with his arms stretched out over his head; a dark-haired man in a blue 
shirt, jacket and jeans.)  

CUT TO:  



[CU:  TREVOR DELL MINIATURE DOLL]

(Grissom holds the TREVOR DELL miniature doll dressed in white.  He turns it 
over and cuts the shirt off the doll’s back.

[INT. CSI – LAYOUT ROOM]  

(Grissom is working in the layout room.  The various photos and other items are 
up on the walls and the miniature crime scenes are on the table.  Catherine 
walks into the room as Grissom works.)  

(Catherine watches him work.)

CATHERINE:  Comparing construction materials of the new doll to see if it's the 
same work as the others?

GRISSOM:  Yeah.

CATHERINE:  Is there any doubt?

GRISSOM:  I live by the Uncertainty Principle.  The mere act of observing a 
phenomenon changes its nature.

CATHERINE:  So in trying to catch the killer, we've changed his behavior.

GRISSOM:  I'm certain we have.

(Grissom spreads the cut pieces of cloth apart.  He puts his goggles on and uses 
the ALS on the doll’s back.)  

CATHERINE:  What?

GRISSOM:  A fingerprint.

CATHERINE:  Well, there was no physical trace on any of the other dolls or the 
miniatures.

GRISSOM:  Maybe he's finally gotten careless.

CUT TO:  



[INT. PLATINUM MAID SERVICE – WAITING ROOM – DAY]

(Natalie sits among other applicants in the waiting room.  She has her 
sketchbook with her and flips through the pages.  One of the pages has a pencil 
sketch outline of the RAYMUNDO SUAREZ miniature with a body on the table.)  

(She flips through the pages showing a woman’s mutilated face.)  

(She flips through earlier sketches of Izzy Delancy dead.)

(She glances around, then continues a sketch she’s working on.)  

(Rochelle Dorley calls out the next name.)  

ROCHELLE DORLEY:  Uh, Natalie?  Davis? Natalie Davis?

(Natalie timidly raises her hand.)  

ROCHELLE DORLEY:  You're next, hon.

CUT TO:  [OFFICE]

(Rochelle Dorley sits behind her desk and interviews Natalie.)  

ROCHELLE DORLEY:  Ooh-ee.  Izzy Delancy.  Hoity-toity, hmm?  It's a real shame 
what happened to him, huh?  Were you there for all that nonsense?

(Natalie shakes her head.)  

ROCHELLE DORLEY:  Too bad, huh?

(She giggles.)

ROCHELLE DORLEY:  You're a little lawbreaker.  Says here, you  ... uh ... prefer 
to be paid in cash.  You like working off the books, huh?  Good ol' Uncle Sam 
probably not too happy about that, huh?

NATALIE:  (stutters)  That's ... because ... I-I ...

ROCHELLE DORLEY:  (taunts) Uh, uh, uh, ooh, uh, uh.

(She laughs.)

ROCHELLE DORLEY:  You speak English, you got all your papers. No, fine.  It's 
fine.  But in a seriousness, you wouldn't mind having your fingerprints done?  
See, we were lucky enough to get a contract for the municipal buildings 
downtown.  You know, mayor's office, police department.

NATALIE DAVIS:  Yeah.

(Natalie looks at her fingertips.)  

ROCHELLE DORLEY:  But, you know, they require a background check for anyone 
going to work in that building, even temps.

NATALIE DAVIS:  Sure.  That'd be okay.

ROCHELLE DORLEY:  Yeah ...  Listen, hon, you seem like a real nice girl, real 
nice, but we're called Platinum Maids for a reason.  I-I just don't see the 
sparkle.

NATALIE DAVIS:  No.  No, I'm very good.  And I have exceptional attention to 
detail.

ROCHELLE DORLEY:  You clean in between the blinds?

NATALIE DAVIS:  No.  More like memory.  I can see a room one time and remember 
where everything is.

ROCHELLE DORLEY:  After just one time?

NATALIE DAVIS:  Uh-huh.

ROCHELLE DORLEY:  Okay.  Describe the reception area.

NATALIE DAVIS:  There's a lavender orchid on the reception desk.  It's top bloom 
is about to open.  A glass coffee cup with a chip on the edge, a half inch of 
coffee still in the cup.  Cut glass bowl full of chocolate kisses -- two gold, 
one purple. A glass vase with a rose etched in the glass, three leaves etched on 
its stalk.

ROCHELLE DORLEY:  You sit tight.  I got some choices for you.

(Rochelle gets up and steps away from her desk for a moment.)  

CUT TO:  



[INT. CSI – FORENSIC AUTOPSY]

(David Phillips washes the body as Nick snaps photos.)  



[INT. TREVOR DELL’S APARTMENT – BATHROOM]

(Sara is in the bathroom snapping photos of the sink and broken glass, the 
bottle of bleach on the floor, the blood on the tile.)  

(Sara runs the ALS along the bathroom floor tile and up on the sink.)  



[INT. TREVOR DELL’S APARTMENT – LIVING ROOM -- CONTINUOUS]

(Out in the living room, Warrick flips through the unopened mail.  He puts the 
mail down and checks Ernie’s laptop computer.  He finds many INSTANT MESSAGES 
from LADYLUCK172, MIXER57, UMENOW, PINUPVIXEN, LOCOWEEDER, and many others.) 

(PRE-LAP)  WARRICK:  (v.o.)  Victim's cell phone and IM logs -- 

CUT TO:  



[INT. CSI – BREAKROOM – NIGHT]

(Grissom, Sara, Warrick and Nick meet to share their findings.)  

WARRICK:  -- show no activity for the past twelve days.  So far, that's the best 
I can do for a time of death.

NICK:  According to the doc, COD was cerebral hemorrhage due to multiple blunt 
force trauma.

(Grissom looks at the report.)  

SARA:  The head injuries are consistent with the bloodstains on the sink and the 
wall behind it.  It does suggest a struggle.

(Quick flash to:  [BATHROOM]  Trevor Dell fights with the killer, who bashes his 
head into the mirror.  Trevor falls to the floor.  End of flash.)   

SARA:  It's ... kind of up close and personal for this killer.

GRISSOM:  Hodges ran fabric, paint, glue, and plastic samples of the Trevor 
doll.  The materials were consistent with the previous minis.

NICK:  No luck with that print?

GRISSOM:  It was only a partial, not enough to put through AFIS.  But there were 
epithelials in the print.  Wendy's running DNA.

(Grissom looks a the photo of the partial print on the back of the TREVOR DELL 
miniature doll.)  

CUT TO:  



[INT. NOTURLITTLEBISQUEDOLL (HOBBY SHOP) – DAY]   

(Miniature rooms are set up in the display case.  Natalie leans down and looks 
at them.  On the other side of the display case, ART SCHUSTER also leans down to 
look at Natalie.)  

ART SCHUSTER:  Hello there.  Can I help you?

NATALIE DAVIS:  I need to order a special part.

ART SCHUSTER:  Well, why don't you just check out our spaceship isle.  Yeah.  I 
just need to help this little fellow here.

(Art goes to help the kid.  Natalie stops and stares at the locomotive in the 
display case.)  

ART SCHUSTER:  Look, you really need to buy these polyhedral dice.  Just in 
case.  You're always losing them, man.

(Quick flash to:  VARIOUS CUTS OF ERNIE DELL’S TRAIN VILLAGE in all its gory 
detail – dead, bloodied people viciously beaten on the sidewalks, the graveyard, 
etc.)  

FLASH TO:  

[INT. NATALIE’S APARTMENT – BEDROOM – NIGHT (FLASHBACK)]  

(Natalie sits on the bed and talks with Ernie, who is off screen.  We see 
Ernie’s reflection in the mirror behind her.  He walks into the room, agitated.)  

ERNIE DELL:  I just come from the police.  They showed me your miniatures and 
they showed me some pictures of some dead people.  The cops know I helped you 
put some of that stuff together.  They know I-I-I delivered that package to the 
old lady's house, like you asked me to.  They think I killed, I killed all those 
people.  

NATALIE DAVIS:  You didn't.  

ERNIE DELL:  Natalie, did you kill them?  (insistent)  Did you kill those 
people?

NATALIE DAVIS:  Yes.

ERNIE DELL:  Why?  

(Natalie’s eyes widen.  She looks like a child being caught doing something 
wrong and doesn’t understand what it was.)  

ERNIE DELL:  They're going to put you in jail, honey 

(Ernie puts a hand to his head and sighs heavily.  He looks around, trying to 
think of something.  He looks at her.)

ERNIE DELL:  Unless there's something else? If you had a good reason... they'll 
listen to that.  Raymundo ... did he put his hands on you?

(Ernie kneels in front of Natalie.)  

NATALIE DAVIS:  (slowly)  Yes ... that smell ...

ERNIE DELL:  And the old lady?  And that pervert rock star?  If they done 
something to you, just tell me what it was.

(Natalie shakes her head.)  

ERNIE DELL:  Honey... I know there's some people out there that deserve killin' 
... and you ... you had good reason, right? ... to kill 'em, right?

NATALIE DAVIS:  Yes.

ERNIE DELL:  All right. 

(She looks at him, waiting for him to tell her what to do.  Ernie is quiet.)  

ERNIE DELL:  I want you to listen to me.  What you've done is done.  I can't fix 
that.  But I can still take care of you.  I ain't going to let the police get 
you.  But you got to promise me you won't kill nobody else.  Promise me you'll 
be a good girl.

(She smiles hopefully at him.)  

NATALIE DAVIS:  (child-like)  Your special girl?

ERNIE DELL:  That's right.  My special girl.

NATALIE DAVIS:  I promise.

(He looks at her.  Ernie gets up and heads for the door.)  

ERNIE DELL:  You were the one thing I thought I'd done right.

(Ernie leaves.)  

END OF FLASHBACK



[INT. NATALIE’S LAIR -- NIGHT]  

(ZOOM QUICKLY through the hallway up to Natalie’s work area in the center of the 
living room.  She has an X-acto knife in her hand and a figurine in the other.  
She’s working on the detail of a dark-haired figure in black.)  

FLASH TO:  

[EXT. CRIME SCENE – DAY]

(Quick flash of an OBSERVER’S POV from behind the crime scene tape.  Sara and 
Grissom are working at the scene of a smashed red Mustang.  The man is on the 
ground near the smashed and overturned car.)  

(Sara is writing on a clipboard, the camera slung over her shoulder as Grissom 
looks to see what she’s writing.)  

(As NATALIE watches from the crowd, Grissom lifts the camera strap off Sara’s 
shoulder to take it from her.  He slowly runs his hand down her arm – a casual 
and intimate caress.)  

(NATALIE sees it all.)  

END OF FLASHBACK

(Natalie turns the doll she’s working on over and we see that it’s SARA.)  

SMASH OUT.



FADE IN: 

[INT. CSI – GRISSOM’S OFFICE -- NIGHT]  

(Using a magnifying glass, Nick is looking at the miniature items on Grissom’s 
shelves in Grissom’s miniature.)  

GRISSOM:  I found a thriving miniature hobbyist community on line.  Sites where 
people meet, chat, exchange building tips, list stores they shop in.

(Grissom is looking at the MODELMARKET.COM site, for all things Small and Small.  
He’s on the MESSAGE BOARDS.)

NICK:  So that's why you built this thing?  I mean ... other than to creep us 
all out?

(Grissom holds up the evidence bag with the TREVOR DELL doll inside.  Nick takes 
it and looks at the bracelet.)  

GRISSOM:  Items like Trevor Dell's metal bracelet are difficult to make, even 
for skilled craftsmen.  I'm trying to find people who specialize in miniature 
metal work.

(Grissom sends out a message on the computer.)  

(Simms knocks on the door.)  

SIMMS:  Hey, I got DNA off the Trevor doll.  There were two contributors:  the 
vic and an unknown.  There was nothing in CODIS, but ... the unknown was XX.

NICK:  The Miniature Killer's a woman?

(Wendy nods.)  

GRISSOM:  Female serial killers are rare enough.  Delusional psychosis in women 
... rarer still.

NICK:  Well, "female" cuts the list down a little bit.

WENDY SIMMS:  We could also narrow it down even further by cross-referencing the 
dates that Trevor lived with Ernie.  I mean, that's got to be enough to get the 
foster records released, right?

GRISSOM:  Family court judge was explicit:  "No fishing expeditions."  We need 
to go in with a name.

(Grissom’s computer chimes.  YOU HAVE RECEIVED 1 NEW REPLY.)

(Grissom’s message was:  

     Can I find someone or someplace that specializes in 1/2 inch 
     metal work?  Specifically metal bracelets?  

(The reply is:  

     Best chance is to go through Art Schuster.  
     – link to his hobby store.  www.schustershobbies.com

(Grissom clicks on the link and he gets a video ad at the site.)  

ART SCHUSTER:  (from video)  Come on down to Schuster's Hobby Shop.  A whole 
world awaits you.

(The words appear:
     Visit us at:  
     1423 Gelson Rd.
     Las Vegas, NV  89151

(Grissom takes down the address as Nick looks at photos of the video screen 
captures on the wall.)  

GRISSOM:  I'll be back. I have to go see the Shadowcaster of the Forgotten 
Realms.

(Grissom leaves the office.  Nick goes back to looking at the photos on the 
wall.)  

CUT TO:  



[INT. CSI – FORENSIC AUTOPSY]  

(Robbins pulls out TREVOR DELL’S body from the cabinet for Nick.)  

NICK:  Unless the female killer was an Amazon, I kind of doubt a guy like this 
was just ... beat around his own bathroom.

ROBBINS:  You have another theory?

(Nick looks at the body.)  

NICK:  In the Penny Garden case, the victim was ...poisoned, then died falling 
out a window after going into convulsions.

ROBBINS:  Right.

NICK:  In the Barbara Tallman case, the method of murder was gassing but was 
disguised by potential poisoning and suffocation.

ROBBINS:  You think I overlooked something?  You know, I asked for an expanded 
tox panel.  It came back clean as a whistle.

(Nick finds a black spot on the body’s foot.)  

NICK:  Well ... take a look at this.  That little round spot ... is that 
discoloration consistent with decomp?

ROBBINS:  Maybe not.

NICK:  Any idea what it is?

ROBBINS:  No.  But I can find out.

CUT TO:  



[INT. SCHUSTER'S HOBBY SHOP -- DAY]  

(Grissom talks with Art Schuster.)  

GRISSOM:  Hello, Art.

ART SCHUSTER:  Well, hey, Dr. Grissom.  How's the ... uh ... miniature going?

GRISSOM:  Coming along, thank you.  We found another one.

ART SCHUSTER:  Oh, man.  He struck again?

GRISSOM: I think so.  By any chance, did you make this bracelet?

(Art looks at the bracelet.)  

ART SCHUSTER:  Oh, yeah, I made that.  For a chick, man.

(He looks through his receipt book.) 

ART SCHUSTER:  Uh ... let's see ...  Natalie.

GRISSOM:  She have a last name?

ART SCHUSTER:  Uh…I-I didn't think to write it down.  "Paid cash.  Call cell 
phone when ready."

GRISSOM:  It's the same cell number we already have.  Do you remember what she 
looked like?

ART SCHUSTER:  Late 20s, early 30s ...  She's about yay high.  Uh ... brown 
hair.  Uh ... she's kind of a skinny chick.  Weird.

GRISSOM:  Weird how?

ART SCHUSTER:  I got guys who come in here trying to recreate Civil War battles 
hoping for a different outcome.  I get the desperate housewives who are trying 
to build the perfect Thanksgiving dinner.  Control freaks with social problems 
that's  my bread and butter, but ... uh ... this chick, she had ... crazy eyes, 
you know.

GRISSOM:  Was that the last time you saw her?

ART SCHUSTER:  You know what?  She came in a few days ago.

(He goes in the back and grabs something.)  

ART SCHUSTER:  She ... yeah!  She bought one of these.

(He shows Grissom a motor.)  

GRISSOM:  Battery powered micro-motor?

ART SCHUSTER:  You just attach that to anything you want to animate.  Just like, 
uh ... like this, see.

(He picks up a scene of a tug of war at a park.  The two sides of three people 
tugging the rope back and forth is run by the motor.)  

ART SCHUSTER:  No one ever wins.

CUT TO:  



[INT. NATALIE’S LAIR -- DAY]  

(Natalie has the battery-powered micro-motor mounted on a board that she 
carefully places in the base of the scene she’s creating.  She secures the motor 
in place and smiles.)  

(She closes the top of the foundation and picks up the miniature SARA SIDLE 
doll.  She examines it.)  

(Cut to:  NATALIE delicately adds glue to the top of the foundation.)

(We pan around her as she works and note the creepy green-eyed doll is looking 
in through the window in front of her.)  

(Natalie adds an even layer of sand to the scene.) 



[INT. CSI – FORENSIC AUTOPSY -- DAY]  

(Robbins removes the black spot from the victim’s foot.)  

(He processes the skin and slips it under a scope.)  

SCOPE VIEW:  CELLS

ROBBINS:  (v.o.)  The nuclear streaming indicates that Trevor Dell was subjected 
to a significant electrical current.  

(The cells are stretched.)  

(TREVOR DELL is shocked.  He grunts, convulses and falls forward into the 
mirror, smashing it with his forehead.)  

ROBBINS:  (v.o.)  The shock must have sent him into convulsions, resulting in 
several impact injuries.

(He hits his back, then falls to the floor.)  

END OF FLASH.

(Nick is looking through the scope.)  

NICK:  He was electrocuted?!  From what?

ROBBINS:  If I could tell you that, you'd be out of a job.

CUT TO:  



[INT. TREVOR DELL’S APARTMENT -- BATHROOM]

(Nick is testing the outlet in the bathroom.)

NICK:  All the outlets in the bathroom are dead.

(Catherine is at the breaker box.)  

CATHERINE:  Must be on a separate circuit than the lights.  I just reset the 
breaker.  That do the trick?

(Nick tests the bathroom outlet again and it beeps.)

NICK:  We're hot.

(Nick looks at the blood smear on the floor near the sink.  He kneels down for a 
closer look as Catherine enters the bathroom.)  

CATHERINE:  What you got?

NICK:  Possible burn mark on the tile.  If this is where Trevor's foot grounded 
out, he must've been at the sink when he got zapped.

CATHERINE:  The outlet doesn't look scorched.

(Catherine examines the sink.)

CATHERINE:  Looks like some burned skin.  The sink is still damp.  Hey, hit that 
crack.

(Nick tests the crack in the sink and the instrument beeps.) 

CATHERINE:  I think we may have found the Mini Killer's booby trap.

(Quick flashback to:  TREVOR DELL steps into the bathroom and puts his hands on 
the sink.  Once his hands connects the two cracks on both sides of the sink, the 
current runs through him and grounds at his feet.  He groans and convulses.)  

(Quick ZOOM IN to Trevor’s hands.  The current runs from his hands through the 
crack in the sink.  Inside the wall, there are wires on each side of the sink. 
attached to a plug in the hole in the wall in the neighbor’s apartment.)  

(End of FLASH.)  

(Nick and Catherine are looking at the circuitry through a hole in the wall in 
TREVOR DELL’S bathroom.)  

NICK:  Hot wire's touching one of the metal brackets that's holding up the sink.

CATHERINE:  Sink is cracked, water pours in, touches the bracket ... Trevor 
touches the water ... zap.

NICK:  You can see where it’s been rigged.  Whoever tapped into this power line 
must've gained access from the apartment on the other side of this wall.

CATHERINE:  You saying the killer's the next-door neighbor?



[INT. NATALIE’S LAIR]  

(Natalie is at her workstation putting details on a particular piece.)  

INTERCUT WITH:  



[INT. DELL APARTMENT BUILDING – HALLWAY -- NIGHT]  

(Sofia, Nick and a couple of officers head for TREVOR DELL’S next-door 
neighbor’s apartment.)

(Sofia knocks on the door.)  



[INT. NATALIE’S LAIR]  

(There’s a knock at her door.  Natalie turns around.)



[INT. DELL APARTMENT BUILDING – HALLWAY -- NIGHT]  

SOFIA:  LVPD!  Open the door!



[INT. NATALIE’S LAIR]  

(Natalie tucks her hair behind her ears.  She gets up to answer the door.)  

(She takes her gloves off as she walks through the hallway.)  



[INT. DELL APARTMENT BUILDING – HALLWAY -- NIGHT]  

(The officers cock their weapons as they prepare to go in.)  



[INT. NATALIE’S LAIR]  

(Natalie walks up to the door.)  



[INT. DELL APARTMENT BUILDING – HALLWAY -- NIGHT]  

(Nick takes his gun out as the officers ram the door in.)  



[INT. NATALIE’S LAIR]  

(Natalie opens the door.  A deliveryman is there.  He hands her a box.)  

WORLD SEND DELIVERYMAN:  Hey, here's another one for you.  You sure ... uh ... 
get a lot of packages ...

(Natalie closes the door on him.)  



[INT. DELL APARTMENT BUILDING – NEIGHBOR’S APARTMENT -- NIGHT]  

(Sofia and the officers enter the apartment.  Nick and Catherine follow.)  

(Nick and Catherine see the set up on the wall.)

(Nick sees a keyboard on the side also plugged in.)  

(Nick opens the partially opened bathroom door.  It squeaks.  Candles are lit 
and placed on the side of the tub.)  

(Nick and Catherine look into the bathroom, startling the man wearing headphones 
and taking a bath.)  

NEIGHBOR:  Oh!  Oh, God!

(The neighbor raises his hands.)  

(Nick glances back at Catherine.)  

FADE OUT.

(COMMERCIAL SET)  



FADE IN: 

[INT. POLICE DEPARTMENT -- HALLWAY]  

(Brass talks with Catherine.)  

BRASS:  Big guy’s a wannabe composer.  Quit his day job to write the next 
“Dreamgirls.”  Anyway, he didn't pay his bills and the power company shut off 
his lights.

CATHERINE:  So the genius steals power from his neighbor and ends up 
electrifying Trevor's sink.

BRASS:  Yeah, another weird tragedy for the Dell family.

CATHERINE:  Doesn't explain what that doll was doing there, though.

BRASS:  Well, the guy liked action figures.  Maybe his sister, the Miniature 
Killer, gave it to him as a gift.

(They walk past the office where SOFIA is.  We stay with SOFIA who is looking at 
a STATE OF NEVADA-CLARK COUNTY COURT ORDER to DEMAND FOR RELEASE OF CONFIDENTIAL 
RECORDS.  The COURT ORDER is signed.)  

(Sofia picks up the phone.)  

GRISSOM:  (from phone)  Grissom.

SOFIA:  (to phone)  Hey, Grissom, it's Sofia.  "Female Dell foster child, first 
name Natalie" was finally specific enough.  

(CU OF WORDS:  “NATALIE DAVIS”)  

SOFIA:  (to phone)  Family Court just ordered CPS to release her records.

CUT TO:  



[EXT. LAS VEGAS COMMUNITY (STOCK) – DAY]  



[EXT. WETZEL RESIDENCE – FRONT YARD -- DAY]  

(Sofia and Grissom walk up to Donna Wetzel.  She picks up the plastic container 
and heads into the house.  They follow her.)  

DONNA WETZEL:  Sorry, did I totally flake on an appointment?

(A couple of boys run across the lawn.)  

SOFIA:  We're not with Social Services.  We're here to ask you about a foster 
child you had a number of years ago.

(They enter the house.)  

DONNA WETZEL:  Oh, geez.  You can try.  We've had about sixty.  (A little girl 
runs up to her.)  Yeah, honey?

LITTLE GIRL:  You said we could watch Dora. 

DONNA WETZEL:  Mm-hmm.  

LITTLE GIRL:  But Simon's watching soccer.

(Donna puts down the red container.)  

DONNA WETZEL:  Well, Simon has TV privileges until 4:00, so tell him (chuckles) 
that now it's your turn.

(She picks up a full laundry basket.  The little girl goes running off.)  

LITTLE GIRL:  Ha-ha!

DONNA WETZEL:  (shouts)  Nicely please, thank you.

(Donna takes the laundry basket and heads through the dining room.)  

GRISSOM:  Her birth name was Natalie Davis.

DONNA WETZEL:  Mm-hmm.

GRISSOM:  She would've been about seven when she came to you in 1982.

DONNA WETZEL:  Oh, '82.  My God ... Let's see.

(She puts the basket down and picks up a photo album.  She looks through the 
album.)  

DONNA WETZEL:  Let's take a look.

(A little girl shows her a paper.)  

DONNA WETZEL:  What did you get?  Oh!  Good for you.

(She gives the girl a hug and kisses the top of her head.)  

DONNA WETZEL:  Congratulations.

(The little girl goes off.)  

GRISSOM:  Do you take a photo of every child?

DONNA WETZEL:  Every single one, their first night here.  I just feel like it 
gives them a sense of belonging right away.  Most of them come to us so damaged 
they don't know what it's like to belong to anything.

(She flips the page and finds NATALIE dated OCT ’82.)  

DONNA WETZEL:  Here we are.  (remembers)  Oh, Natalie.  Yeah, shy as anything 
until I tried to do her laundry and then she screamed her little head off.

GRISSOM: Do you use bleach, Mrs. Wetzel?

DONNA WETZEL:  Have you ever even seen a load of kids' laundry?  Of course I use 
bleach.    Excuse me a second.

(She takes a tray of stuff into the kitchen as she clears up.)  

GRISSOM:  According to Child Services, she only stayed with you a week.  Do you 
remember why?

DONNA WETZEL:  Yeah, a couple of nights into her stay, she climbed up to the top 
bunk and pushed another little girl out.  Of course we talked to her about it, 
but she did it again the very next night; almost broke her collarbone.

SOFIA:  So you just sent her back?

DONNA WETZEL:  (sighs)  After a few dozen kids, you get real good at knowing the 
difference between damaged and broken.  And Natalie was broken.

CUT TO:  



[INT. NATALIE’S LAIR]  

(Natalie is using a hammering tool to smash the side of a model red Mustang.  
She hits the side of the model car again.  It’s not working.  She turns on a 
hand-held torch and uses it to head the top of the red model car to soften the 
metal.)  

(She uses a larger hammer and smashes in the top of the red car.) 

(She examines the smashed car to a sketch of an overturned car from a crime 
scene.)  

(She picks up the car and examines it.)  

CUT TO:  



[CU:  MINIATURE LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]

(The miniature Las Vegas City Lights flicker and blink.)  

FOCUS INTO:  

[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]



[INT. HOTEL/CASINO -- NIGHT]  

(Catherine looks at the program.  She and Grissom make their way across the 
casino floor toward the showroom.)  

CATHERINE:  "Great Rainone and His Little Bisque Doll."  Oh, that looks like the 
doll images from the miniatures.  What's a bisque?

GRISSOM:  Fired unglazed pottery.  Her biological father was Christopher Davis, 
a ventriloquist.

CATHERINE:  A grown man who sticks his hand up the back of a doll and speaks 
like a girl.  Sounds healthy.

GRISSOM:  I Googled him.

(He hands her his glasses and shows her the copy of the LAS VEGAS GLOBE article 
with the headline, “Tragedy Strikes Local Performer.”)

CATHERINE:  Who's Chloe?

GRISSOM:  Natalie's younger sister.  1981, she fell out of a tree house and 
died.  But her father's still alive---and still performing.

CUT TO:  



[INT. CASINO SHOW ROOM -- NIGHT]

(The Great Rainone is on stage with Chloe.)  

THE GREAT RAINONE:  So how do you feel today, Chloe?

CHLOE (DOLL):  I'm not doing so good, Daddy.

THE GREAT RAINONE:  Well there, what's the matter, doll face?

CHLOE (DOLL):  Well, I feel like a hobo.

THE GREAT RAINONE:  A hobo?  Well, now you know what that stands for don't ya?  
That stands for "homeward bound."

CHLOE (DOLL):  But, I ain't got no home, Daddy.

THE GREAT RAINONE:  Well now, that's silly.  Chloe, everybody's got a home.  
Where do you live?

CHLOE (DOLL):  I live in a box.

THE GREAT RAINONE:  In a box?

CHLOE (DOLL):  A box that's giving me a pain in my sawdust.

(The background piano gives an introduction.)

THE GREAT RAINONE:  A pain in your sawdust?

CHLOE (DOLL):  (sings)  
 I got a pain in my sawdust 

(Grissom turns and looks at Catherine.  Catherine just looks shocked.)  

CHLOE (DOLL):  (sings)  
 That's what's the matter with me 
 Something is wrong with my little inside 
 I'm just as sick as can be 
 Don't let me faint, someone get me a fan 
 Someone else run for the medicine man 
 Everyone hurry as fast as you can 
 I got a pain in my ... sawdust. 

(There is scattered applause from the audience.  The Great Rainone bows.  He 
leaves the stage.)  

CATHERINE:  Okay, we're in a David Lynch movie.  Where's the dwarf?

SHORT TIME CUT TO:  

(The next act, the Rat Pack impersonators, is up on the stage singing.)  

LYRICS: 
 As sure as the stars 
 Shine above 
 You are nobody 
 Till somebody loves you 
 So find yourself somebody 
 Get yourself somebody 
 You are nobody, nobody, nobody... 

(Grissom and Catherine talk with the Great Rainone.  He’s still holding Chloe 
the Doll.)  

THE GREAT RAINONE:  Yeah, that was my other daughter.

CATHERINE:  So, being a performer and a parent had to have been hard at times.

THE GREAT RAINONE:  Well, my folks were in vaudeville.  It wasn't hard until my 
wife passed away.  Natalie was six and Chloe was four.  It was, um, pepper and 
salt.  Darkness and light. Within the year, my whole family was just ... poof.  
Gone.

GRISSOM:  What happened?

(Instead of answering him, the Chloe Doll lifts its head up off his shoulder.)  

CHLOE (DOLL):  Can I tell the story, Daddy?

THE GREAT RAINONE:  Sure, sweetheart.

CHLOE (DOLL):  
     It was a sunny day in June.  
     And my sister who couldn't hold a tune 
     was playing with me in our house in the tree...

(Quick flashback to:  [EXT. SIDEWALK/TREE HOUSE – DAY]  Christopher is walking 
away.  The two girls are up in the tree house.)  

CHLOE:  Hi, Daddy.

(He turns and sees Chloe waving to him.)  

THE GREAT RAINONE:  Hey, Chloe.  Love you, baby.

(Natalie grimly watches Chloe.  She looks and sees that her dad is busy giving a 
little girl a hug.  She pushes Chloe out of the tree house.)  

(Chloe screams.)  

CHLOE DOLL:  (v.o.)  
     I fell to the ground with an awful sound.  

(Christopher runs back to them.)  

BACK TO SCENE.

CHLOE DOLL:  (v.o.)  
     A puddle of blood as big as the sea 
     was all that was left of dear old me.

(Quick flash of:  Natalie is still up in the tree house and looks down at Chloe 
on the sidewalk, her head in a pool of blood.)

(Christopher and the other people run back to check on her.)  

THE GREAT RAINONE:  Chloe.  Oh, my God!  Chloe!  

(Chloe is dead.)  

BACK TO SCENE.

(The Great Rainone gently straightens the Chloe Doll’s hair.)  

CATHERINE:  Had the girls been fighting?

(He puts the Chloe Doll back against his shoulder, carrying her as if she were 
real.)  

THE GREAT RAINONE:  Chloe would never fight.

GRISSOM:  How did Natalie deal with it?

THE GREAT RAINONE:  I don't know.  It was hard on both of us.  

(Quick flash of:  The Great Rainone pours bleach on the bloodstain on the 
sidewalk.  He cries as he scrubs the blood with a brush.  Natalie stands nearby 
watching him.)  

BACK TO SCENE.

THE GREAT RAINONE:  I tried for a while, but I just couldn't handle it.  I had 
to give her up.

CUT TO:  



[INT. NATALIE’S LAIR]  

(Natalie looks at her reflection in the mirror as she straightens her hair.  
Satisfied, she walks over to the table with the box on it.)  

(She picks up the box and heads out.)  



[INT. CSI – HALLWAY – NIGHT]

(Natalie pushes her cleaning cart through the hallway.  She passes Reception.  
Judy Tremont smiles and waves to her.  She turns the corner, glances over her 
shoulder, then heads straight to Grissom’s office.)  

(She enters the office and closes the door.)  



[INT. CSI – GRISSOM’S OFFICE – CONTINUOUS]

(She looks around the office and notices Grissom’s miniature on the side.  She 
looks at it with a critical eye, moving in closer and closer to the scene.   She 
then takes a step back and looks around Grissom’s office.)  

(She heads to her janitor’s cart and picks up the box.  She puts it on Grissom’s 
desk and opens it.  She reaches inside the box – 

CUT TO:  



[INT. HOTEL/CASINO – FLOOR – NIGHT]

(Grissom and Catherine cross the floor on their way out.)  

CATHERINE:  The Great Rainone is in great denial.  Of course, losing a child at 
the hands of another could do that to you.  You do agree that Natalie killed 
Chloe, right?

GRISSOM:  Yeah, I was just wondering what it must've looked like to her.

FLASH TO:  

(Natalie watches from up in the tree house.  She sees her father run back to 
Chloe.)  

CHRISTOPHER DAVIS:  Hey!  Chloe!

(He reaches Chloe and kneels beside her.  He looks desperately around at the 
people gathering around them.  He checks on Chloe.)  

FREEZE FRAME:  The scene below freezes.  Natalie can see the detail of 
everything.

END OF FLASHBACK.



[INT. ELEVATOR -- NIGHT]  

(Natalie is in the moving elevator going up.  The elevator stops and the doors 
open.)  



[INT. GARAGE – LEVEL 10 -- NIGHT]  

(Natalie steps out of the elevator.  She walks over to a particular car and 
stops.)  



[INT. CSI – GRISSOM’S OFFICE – NIGHT]

(Grissom opens his office door and walks inside.  He sees it immediately and 
walks over to his desk.)

(There is the latest miniature crime scene – an overturned red Mustang over a 
body, the victim’s hand is outstretched onto the sand.)  

(Grissom leans forward to study it carefully.)  

(The victim’s hand is moving.)  

CUT TO:  



[INT. GARAGE – LEVEL 10 -- NIGHT]  

(The car alarm chirps off as SARA opens her door.  She puts her kit inside.)

(NATALIE is right there watching her.)  

NATALIE DAVIS:  Sara?



[INT. CSI – GRISSOM’S OFFICE – NIGHT]

(Grissom takes a tissue and lifts the car off.)

(Underneath is the miniature SARA SIDLE complete with moving hand.)  

(We hold on Grissom.)  

FADE OUT.

(COMMERCIAL SET)  



FADE IN: 

[INT. GARAGE – LEVEL 10 -- NIGHT]  

(Police car lights flash red and blue.  Brass makes his way to SARA’S parked 
car.  Officers on the scene are already scouring the grounds for evidence.)  

BRASS:  (to radio)  Control, this is Jim Brass.  

CONTROL:  (from radio)  Go ahead, Captain.

BRASS:  (to radio)  Yeah, we found Sara Sidle's car, but she's missing.  There's 
no sign of her.  

(He notes the open trunk and keys on the ground.  Her kit is in the back.)  

CONTROL:  (from radio)  Copy that, Captain.  Is there sufficient activation to 
post an APB?

BRASS:  (to radio)  Looks like an abduction.

(He hangs up.)  

CONTROL:  (from radio)  Copy.

(Sara’s phone is in the back next to her kit.  It starts ringing.)  

(Brass notes the caller ID:  GRISSOM.)  

INTERCUT WITH:  

[INT. CSI – HALLWAY – NIGHT]

(Grissom is on the phone.)  

GRISSOM:  (mutters)  Come on, Sara, pick up.  Please pick up.

(There’s no answer.  He hangs up.  Grissom reaches Reception.)  

GRISSOM:  Who was in my office while I was gone?

JUDY TREMONT:  No one. Just some girl from Janitorial.  She went in, vacuumed, 
emptied out the trash.  That's all.

(Grissom stops and heads back.)  

CUT TO:  



[INT. CSI – LAYOUT ROOM -- NIGHT]  

(Greg, Nick, Warrick and Catherine are in the room examining the latest 
miniature.)  

GREG:  The doll's still alive.  That means Sara's still alive.

NICK:  Generic stretch of desert.  She could be anywhere in a four-state radius.

CATHERINE:  Let's just focus on the details.  There's always something to go on.

WARRICK:  She has to make these in advance, right?  But how do you plan a car 
wreck?  There's no way to know how the car's going to land.

(Nick examines the car.)  

WARRICK:  Unless you wreck the car first, and then put her under it.

NICK:  I think I got a VIN number.

GREG:  Give me the first six.

NICK:  King-Sam-Victor-four-five-three.

(Greg puts the number into the computer and runs a search.)  

(Grissom walks in with a file.)  

GRISSOM:  Her name is Natalie Davis, and she works for our janitorial service.

WARRICK:  What?

CATHERINE:  Here in the lab?

(Catherine looks at a copy of her ID badge and info.)  

GRISSOM:  For over a month.  She's never been arrested, so there's nothing to 
flag on a security check.  She used Ernie Dell's address on her work form.  She 
has no home phone and no driver's license.

(The computer beeps.)  

GREG:  Okay, I got it.  

(A screen appears on the monitor:  
     ?282-040607 INCIDENT DATE
     2007 RED MUSTANG ACCIDENT
     CAR FLIPPED OVER
     LOCATION:  ALLEY BEHIND THE TRIP WIRE BAR
     FRINE ST. & DORISA AVE.
     FATALITY, DRIVER IDENTIFIED AS NOLAND

(The second screen reads:  
     CASE FILE NO.  LVPD 070406-3022 ??
     LEAD CSI:  SARA SIDLE     STATUS:  CLOSED
     VICTIM:  WELLER, NOLAND    DATE:  04-04-07     TIME:  05:19 AM
     LOCATION:  FRINE ST. & DORISA AVE.
          ALLEY BEHIND THE TRIP WIRE BAR
     CRIME SCENE DESCRIPTION:  
          RED MUSTANG 2007 TURNED OVER
          DRIVER NOLAND WELLER EJECTED FROM DRIVER’S SEAT
          VICTIM TOXICOLOGY FOUND ALCOHOL IN SYSTEM  )

GREG:  A 2007 red Mustang totaled outside The Trip Wire Bar six weeks ago.  
Driver fatality. DWI.  Car went to scrap.  Lead CSI on the case -- Sara Sidle.

(Everyone is quiet as they absorb this information.)  

GRISSOM:  Pull up the case photos.

(Greg pulls up the photos.  He clicks on the first one of SARA and GRISSOM at 
the scene with some of the bystanders behind them.  NATALIE is in the photo.)  

(He compares the photo with the file photo.)  

GRISSOM: Oh, my God.  She was at the crime scene.

NICK: So, she salvages the car, and somehow gets it out to the desert, and then 
grabs Sara, and puts her under it?

(Grissom rubs his mouth nervously as it all hits home with him.)  

WARRICK:  I don't get it.  What does Sara have to do with bleach?

CATHERINE:  I don't know.  This just feels different.

GRISSOM:  (dazed)  It is different.  

(Quick flash of:  [CRIME SCENE]  Natalie stands just behind SARA and GRISSOM 
beyond the crime scene tape.  Grissom takes the camera from Sara.  He slowly 
runs his hand down her bare arm.)  

(Natalie sees the caress and sees SARA.)  

(End of flashback.)  

GRISSOM:  This girl holds me responsible for the death of Ernie Dell.  I took 
away the only person she ever loved, so she's going to do the same thing to me.

(Everyone is very, very quiet.)  

GRISSOM:  It's not about a psychotic reaction to bleach, or some dead sister or 
the doll.  

(He looks at Catherine.)  

GRISSOM:  (absently)  "NotUrLittleBisqueDoll..."

(Grissom rushes out of the room.  Everyone is left there looking at each other.)  



[INT. CSI – HALLWAY / GRISSOM’S OFFICE – CONTINUOUS]

(Grissom heads back to his office.  He sits at his desk and puts his glasses on.  
He’s online at his computer and is scrolling down through items for sale.)  

(He clicks on the MINIATURE FURNITURE TABLE SET from NOTURLITTLEBISQUEDOLL.)  

(NOTURLITTLEBISQUEDOLL is located in Las Vegas, NV, with 7 Bids, 100% positive, 
since Jun-14-97 in United States (Las Vegas).)

(Grissom picks up the phone and dials.)  

GRISSOM:  (to phone)  This is Gil Grissom at CSI.  I need to get an Attorney 
General's Waiver.

SMASH CUT TO:  



[INT. NATALIE’S LAIR -- NIGHT]  

(The door bursts open.  Sofia, followed by several officers, head through the 
small apartment.  They go through the rooms.)  

VOICE:  (o.s.)  She went out the window!

SOFIA:  (to radio)  She's headed for the alley 

(Sofia turns around and sees Natalie’s workstation set-up in the middle of her 
living room.)  

VOICE:  (o.s.)  Freeze!

CUT TO:  



[EXT. STRIP – NIGHT – CONTINUOUS]

(Natalie scrambles down the fire escape.  The light show has started.)

(She hurries down the steps, reaches the ground and stumbles as she enters the 
crowd of people there to see the light show.)  

(An officer jumps down to the ground right behind her.)  



[EXT. THE STRIP – SIDEWALK – NIGHT -- CONTINUOUS]

(Natalie runs out into the sidewalk.  She takes deep panicked breaths.  It’s too 
much for her.  She can barely walk straight – the people, the lights, the 
music.)  

(Natalie tilts and turns.  Her vision is blurred and she doesn’t know where 
she’s going.  She continues to make her way through the crowd of visitors.)  

(Nick and Warrick walk through the crowd, looking for Natalie.)  

(Natalie has stopped walking, her eyes focused on the light show above her.)

(Nick sees her and makes his way over to her.)  

(Natalie tilts and turns.)  

(Warrick makes his way to her.)  

(Natalie collapses to her hands and knees.)  

(Nick and Warrick reach her.  They help her to her feet.  Natalie screams and 
struggles to get out of their hold.)  

CUT TO:  



[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]

(The sky lights up as lightning flashes and thunder rumbles.)  



[INT. POLICE DEPARTMENT – OUTSIDE INTERVIEW ROOM -- NIGHT]  

(Natalie sits inside the interview room, her arms on the table.  Through the 
window, Brass and Grissom watch her.)  

BRASS: I don't want to waste time screwing around with this nutcase.  I'm going 
to get some bleach and drip it on her until she gives up the location.  And they 
can't accuse us of police brutality for that.

GRISSOM: I want to talk to her, Jim.  Alone.



[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- CONTINUOUS]  

(The door opens and Grissom walks in.  He walks up to the chair.  Natalie puts 
her head down and doesn’t look at him.)  

GRISSOM:  Hi, Natalie. My name's Gil.  It's so nice to finally meet you.  I ... 
uh ... probably shouldn't say this, but ... I'm a huge fan.  

(She looks at him.)  

GRISSOM:  I've been a crime scene investigator for 22 years.  I've worked over 
two-thousand homicides, and you are by far ... the best I've ever seen. I mean 
... 

(He turns the chair and sits down to face her.)  

GRISSOM:  ... you're such a great artist.  And to be so young and so talented 
and ... so pretty.  I've thought about you every night for the last nine months.  
I even tried to do what you do.  I built my own miniature.  

(She nods.)  

GRISSOM:  You saw it?  

(She nods.)  

GRISSOM:  How'd I do?

(She shrugs.  Not too good.)  

GRISSOM:  Do you play chess?  

(She shakes her head.)  

GRISSOM:  I play as a hobby.  It quiets my mind, you know?  Soothes me.  At one 
point, I became so consumed by it that whenever I closed my eyes, I could see 
the chess pieces moving all around the board.  I was obsessed with correcting 
all my bad moves.  I wondered if a game could ever be played without a mistake.  
I'd love to play you sometime.  

(Natalie smiles.)  

GRISSOM:  I'm so impressed by the way you embrace your passion.  You'd make a 
great CSI.  This last one was brilliant.  You studied our crime scene so well.  
Tracking the car to the junkyard and then towing it all the way out to the 
desert where you knew we wouldn't find it.  And then ... the way you killed 
Sara.

(She gasps and shakes her head slowly.)  

NATALIE DAVIS:  I didn't kill her.

GRISSOM:  You didn't?

(She shakes her head.)  

(She watches Grissom, then her eyes become sharper, colder.)  

NATALIE DAVIS:  This is about her.  Her, her, her!  It's always about her.

GRISSOM: No, it isn't, Natalie.  It's about you.  

NATALIE DAVIS:  It's always about her.

(She has something in her mouth and takes out a RAZOR BLADE.  She holds it up 
and shows it to Grissom.)

(Grissom’s eyes widen.  TOO LATE!  She reaches out and swings the razor in an 
arc, slashing Grissom’s neck.  He gasps and grabs his neck, blood pouring out 
between his fingers.)  

(Natalie watches the blood on his hands with fascination.)  

NATALIE DAVIS:  (sing-song)  
     "Oh, sad was the day for the little bisque doll, 
     for they cut all her stitches away, 

(Grissom gasps as he bleeds.)  

NATALIE DAVIS:  (sing-song)  
     and found the seat of the terrible ache; 
     T'was a delicate task..."

ABRUPT CUT TO:  

(It’s only a DELUSION.  Grissom’s unhurt in front of her, his voice rising 
insistently at her.  The song Natalie started continues.)  

GRISSOM:  (insistent)  Natalie, listen to me -- tell me where she is.

(Natalie stares off in front of her – lost in whatever world her mind created 
for her, reciting the eerie lines to the song in the same child-like, distant 
voice.)  

NATALIE DAVIS:  (sing-song)  
     "For none of the doctors had ever before 
     performed on a dolly's inside."

GRISSOM:  Natalie.  Please tell me where Sara is.

NATALIE DAVIS:  (sing-song)  
     "They tried to re-stuff her but didn't know how, 
     and this was her wail as she died..."

(Grissom grabs Natalie’s shoulders and shakes her.)  

GRISSOM:  (shouts)  STOP IT!  Just stop this!  Tell me where Sara is!

NATALIE DAVIS:  (sing-song)  
     "I've got a pain in my sawdust.” 

(Grissom lets her go and rubs his mouth with his hand.  There’s no way he’s 
going to get any rational information out of her.  Natalie’s withdrawn into her 
own fantasy.)  

NATALIE DAVIS:  (sing-song)  
     “That's what's the matter with me.”

CUT TO:  



[EXT. SOMEWHERE OUT IN THE DESERT – NIGHT]

TOP VIEW DOWN:  It’s dark and raining.  The overturned red Mustang is smashed 
and damaged.  We move down closer to the car.

NATALIE DAVIS:  (v.o.)  
     “Something is wrong with my little inside.  
     I'm just as sick as can be.”  

(Just like her miniature, SARA’S arm is sticking out from under the car she’s 
pinned under.)  

(Her hand moves.)  

NATALIE DAVIS:  (v.o.)  
     “Don't let me faint.  Someone get me a fan. 
     Someone please run for the medicine man.”  

(Just like the miniature, SARA’S fingers reach out slowly and sink into the wet 
mud.)

NATALIE DAVIS:  (v.o.)  
     “Everyone hurry as fast as you can, 

(Just like the miniature, the movement is repeated over and over again.  Sara’s 
head can be seen under the overturned car.)  

NATALIE DAVIS:  (v.o.)  
     'cause I've got a pain in my sawdust."

VIEW DOWN:  We pull back on the overturned car, the rain merciless as it 
pelts down on the scene below.  

FADE TO BLACK.

TO BE CONTINUED

THE END.

Kikavu ?

Au total, 13 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

miss1110 
11.11.2016 vers 23h

ptitebones 
31.10.2016 vers 18h

RonanBart 
05.10.2016 vers 14h

sia31 
27.09.2016 vers 01h

tibo18 
10.09.2016 vers 14h

Maddy 
Date inconnue

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HypnoChat

Sonmi451 (14:25)

t'es en week end je suppose.

stanary (14:25)

Non je crois que c'est surtout moi qui n'oublie jamais. Et oui je suis en week-end, mon seul moment de repos

Sonmi451 (14:27)

Profites bien.

Sonmi451 (14:27)

Tu bosses dans quoi?

Sonmi451 (14:27)

(oui je fais ma curieuse^^)

stanary (14:28)

Ah mais je suis encore trop jeune pour bosser. J'aime bien les curieuses vu que j'en suis une donc tu vois....

Sonmi451 (14:30)

Oh mais tu fais bien des études?

stanary (14:31)

Oui par contre je fais bien des études t'inquiète pas

Sonmi451 (14:31)

Alors c'est tu bosses mais c'est pas rémunéré.

Sonmi451 (14:32)

et donc des études de quoi? ^^

stanary (14:32)

Oui j'avais pas vu ça comme ça mais t'as raison.... c'est nul !

Sonmi451 (14:33)

j'ai toujours raison même quand j'ai tord

stanary (14:37)

Oui c'est bien d'espérer...

stanary (14:37)

Sonmi451 (14:38)

Merci. lol

Sonmi451 (14:38)

L'espoir fait vivre comme on dit. ^^

stanary (14:39)

Oui c'est ce qu'on dit ! Alors et toi dis moi tu travailles dans quoi ?

Sonmi451 (14:41)

Moi je suis assistante maternelle mais en ce moment en congé parental.

stanary (14:43)

Ah bah alors ça va veut dire que t'aimes beaucoup les enfants hein ! Mais j'aime bien ça ...

Sonmi451 (14:44)

Tout à fait.

stanary (14:45)

Alors dis moi, tu fais quoi de beau ?

Sonmi451 (14:47)

Là en ce moment, je m'occupe de la migration des épisodes de Friends pendant que mes oreilles sont en train d'écouter si bébé dort toujours. Et puis mes yeux regardent de temps en temps, vers la fenetre pour voir si le grand arrive avec son papa. ^^

Sonmi451 (14:47)

Et toi?

stanary (14:49)

La migration ?
Bon pour moi faut pas chercher hein. Je n'ai pas de vie donc je suis chez moi entrain de ne rien faire si ce n'est lire

Sonmi451 (14:49)

Et en parlant du loup, il sort du bois. Mon grand vient d'arriver.

stanary (14:51)

Eh bah il est autonome ce grand !

Sonmi451 (14:51)

La migration c'est le passage d'un guide épisode à un autre guide, soit de l'ancien au nouveau.

Sonmi451 (14:52)

Je vais devoir te laisser. Il est autonome oui d'une certaine façon, mais il a encore "que" 5 ans.

Sonmi451 (14:52)

A bientôt peut être.

stanary (14:56)

A bientôt

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