(Sara and Warrick are watching television. As the report ends, Sara switches off the television and Grissom walks into the room carrying two lunch containers. He places one on the table in front of Sara)

GRISSOM: I got you a veggie burger.
SARA: Thanks.
WARRICK: What about me?
GRISSOM: I didn't know you were here. Soy sorry.
WARRICK: (mumbling) Where's the love?


GRISSOM: Do we have any idea why he killed himself?
SARA: Depression, maybe. You know, according to my supervisor, we're not
really in the business of why, but...
(Sara's cell phone rings and she checks it.)
SARA: I've got to go.
GRISSOM: Bye.

SARA: That is a level of obsession that gives even you a run for your money.

CONRAD ECKLIE: Sara, this is your case, too. What do you think?
SARA: I, uh ... I agree with Grissom.
CONRAD ECKLIE: (nodding) Of course you do.
(Ecklie rolls his eyes and leaves.)


SARA: What do you want us to do?
GRISSOM: I don't know.
(He puts his glasses on. Sara watches him.)
GRISSOM: I'll deal with it.

SARA: You know what this reminds me of? The first time we met. San Francisco. Your lecture. Double murder in a garage. I'd heard you were a little ... dull as a speaker, but you can't rely on your first blush.
(beat)
SARA: That was the, uh, subject of your talk.


Chainsaw Fun!

(Grissom walks into the room and watches her. Sara is doing an experiment; kicking a dummy hard repeatedly.)
GRISSOM: Whoa! Pick on somebody your own size.
(Sara turns around and looks at Grissom.)
SARA: Are you volunteering?
GRISSOM: No.

SARA: Was there bougainvillea at the crime scene?
(Grissom stops working and thinks.)
GRISSOM: Two shrubs at the entrance of the church. A row of four on the wall of the community center. Three bushes behind the rectory adjacent to the statue of St. Jude.
SARA: (Smiling at him) Did you anticipate that question in order to impress me with your powers of observation?
GRISSOM: Memory's a gift.

SARA: Something I said?
GRISSOM: No, dear.

PSVs over the evidence table.

(Loud music is playing in the laboratory as Greg and Sara work. Grissom enters and, scowling, turns off the music. Greg turns to look at him.)
GRISSOM: Didn't we talk about this once before, Greg?
SARA: I'm the one who turned the music on.
(Grissom doesn't say anything.)

SARA: Feeling transcendental?
GRISSOM: Hmm?
SARA: Thoreau... I, uh, haven't read him since college.
GRISSOM: Me neither, it holds up. (quoting) "I would rather sit on a pumpkin and have it all to myself, than be crowded on a velvet cushion."

(Sara notices his crossword lying on the table nearby.)
SARA: Oh, look. You missed one, 63 down: 'Misanthrope.'
(They look at each other… Sara gives him a half-smile.)
SARA: I won't wait up.

(Sara and Gil are discussing the miniatures left at the crime scenes. Sara is looking at a record with the employment details of the victim when she notices something.)
SARA: Mannleigh Chickens?
GRISSOM: What about it?
SARA: I’ll let you know.
(Sara begins to leave. As she gets to the doorway she turns back to him.)

SARA: See how it feels?

(Sara is at her locker. Grissom appears in the doorway.)
GRISSOM: Hey. My cab's here.
SARA: So, you're going?
GRISSOM: Yeah.
SARA: I'll see you when you get back.
(Sara does not look happy. She turns away to put her jacket in the locker. Gil checks the hallway to see if anyone is around and slowly edges into the room. After a pause, Sara turns back to face him.)
GRISSOM: I'll miss you.

Sara walks into the locker room at night. She contemplates putting her gift (a box from Grissom) in the locker. Instead, she sits down and cuts the tape on the box, opening it. Inside is a cocoon on a stick. She smiles.

She lifts the rest of the paper out but there is nothing else inside the box. Raising an eyebrow slightly, she looks at the cocoon and sighs.

(Keppler is in Grissom's office, looking at the miniature crime scenes.)
SARA: (confronting him) Hi. What are you doing?
KEPPLER: Just looking.
SARA: What do you think?
(He looks at the various dioramas in the plastic cases.)
KEPPLER: Meticulous. Obsessive. Clearly knows his way around a modeling kit.
SARA: Grissom didn't make those.
KEPPLER: No? Hmm. Fits the profile. Bugs in bottles, the Darwin desk set.
SARA: (Slightly defensively) He's a bit of a collector of certain things.

KEPPLER: Yeah, I knew a guy in Philly like that. Kept a case of thumbs in his closet.
SARA: Friend of yours?
KEPPLER: No. Serial killer.

[Later - Keppler has left the office]
(Sara holds for a moment before walking over to the tank. In it, she places the stick and coccoon that Grissom sent her.)

(Grissom is sitting at a desk, still on sabbatical, writing Sara a letter.)
The letter reads:

Sara,

Our parting was awkward. I don’t know why I find it so difficult to express my
feelings for you ... even though we’re far apart, I can see you as vividly as if
you were here with me ... I said I’ll miss you, and I do.

(indecipherable)... can express it
better than i.

Sonnet #47

Betwixt my eye and heart --


(Finished with the letter, he folds and places it in an envelope. He begins to address it to Sara. Presumably the address is not her house address. He stops half-way and takes off his glasses.)
Special thanks to Jannae on livejournal for this translation. The sonnet is Shakespeare's Sonnet #47 btw, which you can read HERE.

(Sara is walking down the hallway at the lab. She's wearing a blue jumpsuit and has dirt on her face. Grissom rushes out of his office when he notices her.)
GRISSOM: Sara.
(Sara turns around.)
SARA: Hey, You're back.
GRISSOM: Yeah.
(Grissom takes a step toward her. Sara steps back. She lifts an evidence bag up between them as a barrier.)

SARA: Uh, I've been out at a, um. I've been at a...
GRISSOM: A garbage dump?
(Grissom advances while Sara backs away simultaneously. Grissom has a vaguely predatorial look on his face.)

SARA: Yeah. (smiling) It's so obvious, isn't it? Nice, um... You look good.
(She continues backwards down the hall while he continues forward, following her)

GRISSOM: Did you, uh, put the cocoon in my office?
SARA: Cool, dry, not a lot of light; Seemed like the right place for it.
GRISSOM: (Still smiling excitedly) I think you're going to be surprised when it hatches.

SARA: I have no doubt. (Grissom stops.) I'm gonna... go clean up now.
(Sara turns and walks away.)
GRISSOM: I'll see you later.
(She stops and turns back to him.)
SARA: Yeah, you will.

(Sara holds up a razor and, while looking in the mirror opposite Grissom, asks:)
SARA: You trust me?
(She turns to face Grissom)

GRISSOM: Intimately.

(Grissom is processing a room. Sara enters and shines her torch into the room.)
SARA: My date got cancelled.
(Gil shines the torch back on her in reply and looks at her.)
GRISSOM: I'm sure he had a good excuse.

(Grissom and Sara watch a report on the 6 murdered girls on a television in the break room.)
SARA: I held his hand. (Pause - She is crying, she looks back at Gil for a moment)
SARA: Just like I held hers. I lost perspective.

Grissom wipes a tear from her face. They look at each other and she nods.


Grissom, with his arm around Sara, guides her out of the breakroom and down the hallway.

WENDY: Hey, Sara? Is it true that the "miniature" cases have been keeping Grissom up at night?
SARA: (taken aback) How would I know?

(Gil and Sara are processing an outdoor scene. Sara walks over to the pool and dips her hand in.)
SARA: Feels like bathwater. It's gotta be 90 degrees. There's no way we're going to get an accurate T.O.D.
GRISSOM: Places like this always keep their pools warm. It encourages the girls to swim topless. It's good for business.
[Pause - Sara gives him a look.]
GRISSOM: So they tell me.

SARA: So you've, uh, been to a place like this before?
GRISSOM: I worked a murder/suicide at the Naughty Kitty once.
SARA: No, no. Come on, you know what I mean.
GRISSOM: As a customer? No.
SARA: You've never paid for sex?
GRISSOM: I have not. I find the whole idea very... bleak.
SARA: Really? How come?
GRISSOM: Sex should provide the oppurtunity for human connection, but paid sex does the oppposite of that. To me, sex without love is... pointless. It makes you sad.

SARA: (smiling) Well, I'm pretty sure I don't make you sad.
GRISSOM: (smiling back) No. You make me happy.

(Grissom and Sara are sitting on their bed together, watching an old Godzilla movie.)
SARA: (eating a yogurt) I always feel sorry for the monster.
GRISSOM: (grinning) Then you better turn it off before they use the oxygen destroyer on him.

(He looks back at her then moves off the bed, walking to the next room. Grissom whistles and the dog (Bruno!) jumps off and follows him off-screen. Sara reaches over to get the remote and notices a letter tucked between the pages of a book. She picks it up - it is addressed to her. She opens it. It is the letter from episode 7x13 Redrum which Grissom apparently never sent her.)

GRISSOM (V.O.): I don't know why I find it so difficult to express my feelings to you. Even though we're far apart, I can see you as vividly as if you were here with me. I said I'll miss you, and I do.
As Shakespeare more ably wrote my sentiment in Sonnet 47, "Thyself away art present still with me; For thou not farther than my thoughts canst move, and I am still with them ...

(Grissom is working on his own miniature crime scene in the next room.)
GRISSOM (V.O.): Or, if they sleep, thy picture in my sight, Awakes my heart to heart's and eye's delight."
(Sara finishes the letter. She looks up and turns her head in Grissom's direction.)

(Sara and Catherine are processing the scene of a crime involving Lady Heather [as the victim.])
SARA: ...What is Lady Heather like?
CATHERINE: Beautiful. Smart. Intense... Charming. The only woman I've ever seen rattle Grissom.
CATHERINE: I mean, he kind of liked that forensic anthropologist, Terri Miller, remember her?
SARA: Yeah.
CATHERINE: But, she wasn't enough of a challenge for him. Heather, on the other hand... Uninhibited AND can beat him at mental chess? They had chemistry. And he is a scientist.

Sara is not pleased with the content of this conversation.
CATHERINE: (still unaware) I have no proof, and I know he'd never tell me, but i'm certain they spent the night together. Wonder which one wore the chaps.
SARA: (trying to change the subject) Lots of [clears throat] coins and toothpicks. They don't sweep under here.
CATHERINE: (obliviously continuing) I mean more power to him really, to find somebody outside of work 'cause.. You start fishing from the company pier and you're asking for trouble.
SARA: I got a.. shot glass. Looks like there's some lipstick around the rim.
CATHERINE: My fantasy does not involve costumes. Or pain. And certainly not sawdust. (She brushes some sawdust from her pants) ...You?


As Sara is processing Lady Heather in the hospital, Grissom turns up. Sara is surprised, to say the least. She excuses herself, even though she has only just begun to take photographs.


(Sara is in the lab working on the case. Grissom enters the room.)
SARA: I think we may have a new suspect.
(She turns back to her work quickly; Grissom knows there is something wrong.)
GRISSOM: ...I'm the only one Heather trusts.
SARA: (annoyed) I get it.
GRISSOM: Sara.
SARA: Yeah?
(Grissom searches for the words. He doesn't find them on time.)
SARA: It's fine. (visibly upset) Do what you need to do.

Sara leaves the room.

GRISSOM: It's all yours, my dear.

Flashback: Sara and Grissom are at a crime scene involving a wrecked car. As Sara smiles at him, Grissom takes the camera from her shoulder. He softly runs a hand down her left arm.


CATHERINE: [worried] I don't know. This just feels different.
GRISSOM: It is different.
(Flashback to the arm touching scene)

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. It's not about a psychotic reaction to bleach, some dead sister, or the doll. (Realising something) "Not your little bisque doll."

NATALIE/MSCK: [becoming aggravated] This is about her. Her, her, her! It's always about her.
(Natalie hallucinates cutting Grissom's throat with a hidden blade. She begins to sing a song about a bisque doll. The hallucination ends, but she is still singing.)
GRISSOM: Natalie, listen to me. Tell me where she is. Natalie... Please tell me where Sara is.
(Finally losing it, he grabs her and shakes her, shouting:)
GRISSOM: STOP IT! Just stop this! Tell me where Sara is!

Grissom realises he is getting nowhere trying to get her to give up Sara's location.