From the opening scene I knew I'd seen this episode before, but I couldn't remember much at all about it, though some bits jogged my memory some as the episode went along.
(Camera close up on NICK. He's staring intently at the victim poised over the toilet bowl. For some unknown reason, this scene disturbs him. He's so intent on the scene in front of him that he doesn't notice GRISSOM enter the bathroom through the door behind him. He doesn't hear GRISSOM approach.)
(NICK jumps as GRISSOM appears right behind him.)
GRISSOM: Sorry, Nick. You've been staring at this girl for ten minutes. Do you know her?
NICK: (quietly) No.
CATHERINE: Tweeze me.
That line feels like Buffy-speak to me.
(WARRICK walks into the lab. GREG is sitting at the table reading a "Teen" magazine with Pink on the cover. He doesn't move when WARRICK enters.)Love.
WARRICK: What are you reading?
(GREG turns the cover over and shows it to WARRICK.)
GREG: This is Pink. Pink, this is Warrick.
NICK: Stop invading my privacy, man, I don't like it.
I'd forgotten about the face in the bag until I actually saw it again. Still so creepy.
WARRICK: Well, it's not a hair. It's a synthetic fiber. Glass-- what do you think, fiberglass?
WARRICK: This could be a lot of things.
GRISSOM: You'll figure it out.
(GRISSOM leaves. Camera holds on WARRICK.)
WARRICK: You think she's a suspect?
NICK: No. She lives in Bosnia, man. Maine or something. She's got three kids. What's she going to do, fly in for murder?
WARRICK: Stranger things have happened.
SARA: Make no mistake. Jane Galloway was being stalked. Emotional terrorism at its finest.
WARRICK: Warrick.Second line, okay. I was wondering about this whole "called from inside her own house" 'cause you can't do that. I mean, everyone knows if you call your own line you get a busy signal. The baby-sitter urban legend doesn't work. (I'm not sure how Cath would have recognized the phone number, though.)
GRISSOM: Warrick, Grissom. You know that blond fiber we were looking at?
WARRICK: Fiberglass insulation -- comes in pink and yellow. But you already knew that. Is that why you're calling?
GRISSOM: Not really. I was checking a phone line. But good work.
The psychic looks looks up right to where the hole in the ceiling is it seems.
Aww, Warrick is so worried about Nick. (I started watching CSI before I was really introduced to slash, but when I saw episodes after that introduction I totally thought, "Warrick/Nick; that makes total sense.")
When Grissom goes up into Nigel Crane's attic, I'd be afraid that he'd be up there waiting.
GRISSOM: He lives up there. Not down here. Works, sleeps changes his clothes ... everything in the attic. He looks down on the world separating himself from others. Fascinating, really.Oh, Grissom. Bugs and people.
Grissom! I can't believe you just dropped down behind Catherine without announcing yourself after what happened to Nick.
CATHERINE: Well. Just think, this is only tape one.
CATHERINE: Yup. Now what?
(GRISSOM holds up a digital tape.)
GRISSOM: Dinner and a movie?
We don't call Nick and send cops immediately after we realize the cable guy's after Nick?
Nick! Why do you go looking for the psychic? Sit tight! Brass and two uniforms are on their way.
Also: I can't believe you dropped your gun.
Sidenote: "MORRIS PEARSON: Green tea! Green tea! Does that mean anything to you? Green tea?"
(NIGEL CRANE looks down at MORRIS PEARSON.)
NIGEL CRANE: You, um ... you want to open him up?
(NIGEL CRANE crouches low over the body.)
NIGEL CRANE: Hmm?
NICK: No, no, it's, uh ... it's not my job. You should know that. It's the coroner's gig.
(NICK crouches over the body.)
NIGEL CRANE: Are you humoring me, Nick?
NICK: Hey, now, Nigel, now we got a D.B. here, huh? You're going to help me with the crime scene, right?
NIGEL CRANE: Blow it right apart, right? Brains like strawberry swirled. Whipped cream, everywhere. And you.
NIGEL CRANE: You'd have to scoop that stuff up, right? Yeah, little pieces of skull and bone and brains. All in individual baggies with the victim's name on the label.Of course, it's not about Nick, it's about him.
NICK: You know I don't want to disappoint you, Nigel, but this isn't the first time I've had a gun in my face.tv.com reminds me this line [and the swirly bits one] are allusions to Pulp Fiction.
Sucks to be Nick. I mean, in three and a half seasons he's stuck in a box.
NIGEL CRANE: (murmuring) I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I?
[INT. OBSERVATION ROOM]
(Also in the Observation room, CATHERINE, GRISSOM, WARRICK and SARA watch with NICK.)
NICK: Why me?
GRISSOM: I don't think it was about you, Nick. Or Jane Galloway, for that matter. I think it was more about Maslow's Hierarchy of Needs. His premise is that social beings strive to belong. In Nigel's mind, Jane Galloway was someone he could control which was okay for a while but you ... you were someone he could actually become. See, Maslow's Fifth Tier of the Hierarchy is Self-Actualization.
NIGEL CRANE: (v.o.) I am one, and who am I?
GRISSOM: The problem for Nigel is that you would have to die in order for that to happen. Or else he would.
(In the room next door, NIGEL STANDS up and slowly walks toward the two-way mirror.)
NIGEL CRANE: (background) I am one, and who am I?
Sidenote: We never do find out what happened to the dog. I mean, I assume the cable guy killed it, but is it rotting in a dumpster somewhere or what?