BRASS: People donate their body to science end up submerged in a pond? Crammed in a car?
CATHERINE: Body Farm; creepy.
GRISSOM: A Body Farm is not creepy. It's a controlled study of situational decomposition. All in all, a very healthy place.
GRISSOM: It's a carpet beetle. It shouldn't be here.
CATHERINE: Vic seem more like a hardwood floors kind of guy to you?
GRISSOM: Carpet beetles are the last to arrive at a corpse -- when it's almost a skeleton. I mean, this guy's still fresh.
(GRISSOM looks around and sees the skeleton hanging from the tree. Camera close up on the carpet beetles on the skeleton's skull.)
GRISSOM: David! Get this body out of here now! We got cross contamination!
I cracked up at the "Vic seem more like a hardwood floors kind of guy to you?"
SARA: Wow, you got to go to the body farm?
SARA: I've always wanted to go there. What was it like?
WARRICK: I hear Grissom goes there all the time. Like even on his nights off.
NICK: Why does that not surprise me?
♥ Sara! (And great line from Catherine.)
GRISSOM: Hey, any of you guys got any linoleum at home?
NICK: That blood is rank, man.
GRISSOM: I know. That's why the Red Cross gives it to us 'cause it's past its expiration date.
ROBBINS: Foreign tissue. Cow.
The two of them geeking out over the wound excision? They so feel OTP there -- not sexual at all, but just wholly on the same wavelength.
GRISSOM: What are you doing here? Isn't this your day off?
ROBBINS: On the day you plan to expend a meat bullet? Ahh ... a frozen meat bullet?
WARRICK: How do you know it's a guy? Why are you jumping the gun?
NICK: Well, according to Sara, 94% of all arsonists are male.
WARRICK: Yeah, that sounds like Sara.
RUSS BRADLEY: Look, uh, I don't want to be rude, but ... I stop paying alimony the day Mike and Jane get married. I mean, I'm the last person who would have killed him.
The nude pictures of the daughter? Jarring even though having seen the promo (twice, during the previous episode) I knew it was coming.
JANE BRADLEY: Tell her Mike would never do anything to hurt you.
Interview sans mom, anybody?
JODY BRADLEY: (to her mom) I wish you would just listen once.
NICK: Well, that's unusual, isn't it? A professional photographer gets a finger in the shot?
WARRICK: Maybe his good hand was otherwise engaged.
SARA: I did an experiment similar to this in San Francisco except the cross-contamination was blood. Wasn't a murder case, but it was instructional.
Yeah, Sara's so the only one who gets Grissom. Which makes it even worse that he's all wrapped up in his work and doesn't tell her anything -- and so has to be Asperger's or something 'cause he doesn't even realize he's doing anything wrong.
The doctor doing Jody's exam behind the curtain? Well played. And oh ouch the contortions on her face.
GREG: Kind of feels like blackjack, you know? You guys all fanned around the table, holding your breath waiting to see which card I'll reveal next.
WARRICK: Greg, this is an abuse case involving a minor.
GREG: Right. Sorry.
BRASS: The county automatically provides your son with an advocate. We can't proceed until he arrives.
I didn't know that about providing an advocate. Neat.
CHILD ADVOCATE: He didn't take the pictures. He didn't plant them. He has no idea how his DNA got in his sister's nightgown.
BRASS: Well, maybe a little hobbit put it there.
Hobbit? wtf, Brass?
GRISSOM: He can confess to the homicide but we're still examining evidence on the arson.
BRASS: The guy wants to take the heat for his daughter on the arson well, where's the harm in that?
GRISSOM: The harm would be to the justice system unless I misunderstand our place in it.
BRASS: Don't you think that little girl's been through enough?
GRISSOM: What I think and what the evidence proves are possibly two different things.
My dad pointed out Robbins' brace, and though I've been watching for it in the reruns I'm not sure I would have noticed it in this ep so subtle was it.
CATHERINE: I owe you an apology. I have an eight-year-old daughter.
[Just sort of a personal timeline note.]
CATHERINE: Wow, you got burned bad, huh? Welcome to the club. I got third-degree burns from my marriage. Happens to everybody. Everybody just moves on.
GRISSOM: Good. Let's move on.
CATHERINE: But you have to deal with it. You have to deal with it first. You got to deal with it before it goes away.
The transcript doesn't show it, but she's definitely flailing for words, like "before it . . . goes away." Like she realizes how absurd she sounds.
GRISSOM: (awkwardly on phone) Yeah, hi. I-I-I'd like to get some flowers for a girl. No, no. Not flowers. A plant. A living plant. She likes vegetation. Yeah, that'd be fine. To a Sara Sidle. Deliver it at the CSI division, Las Vegas Police Department the one out on North Trop Boulevard. Yeah, you can bill me at the same place. Gil Grissom. (pause) The sentiment? Oh-oh, on the card. Yeah. Um, uh ... have it say ... have it say, uh ... "From Grissom."
Once he started the flowers order I knew what was coming 'cause Cat had told me about this scene, but it was still cute.
And yeah, this sort of thing makes me wanna mainline from the beginning, to really get the sense of how the relationships develop. It's especially interesting knowing how things happen down the road -- yes I'm totally thinking of "Grave Danger," where Grissom is so concerned about his team (yes this is an S5 theme, but I only watched sporadically before this season, remember?) which is in such contrast to for example this episode where he's very engaged with the science but not so much with the people. I was noticing in this ep how hostile Nick is to Grissom (he doesn't really get Grissom's experiment thing and is pissed when it messes with his own stuff, like the rank blood) and in "Grave Danger" Grissom cares so deeply for him.
Edit 'cause I forgot to mention this about The Conversation er, in the ep, not this movie when first writing up this ep:
GRISSOM: We have the best lab in the country.
That, I felt like was, was so "You know exactly how to get Sara." But then he says "The Lab needs you here," as if he's had an epiphany about what the right thing to say to her is, and it's all wrong.
However, the following kinda bugs me
GRISSOM: Is this about that hamburger thing?
SARA: No, Grissom ... this is not about that "Hamburger" thing. I-I-I don't believe you. How can you reduce everything that I've said to some kind of single quirk? Do you think the problem here is just about me?
I mean, he's making an effort, and her "Do you think the problem here is just about me?" I felt like she's so quick to in fact make it all about her.
I do give her mad props, though, for actually saying "One with, um, communication."