CSI: CRIME SCENE INVESTIGATION
7X05:  DOUBLE-CROSS
ORIGINAL AIR DATE ON CBS:  10/19/2006
TRANSCRIBED FROM CBS

Written by:  MARLANE MEYER
Directed by:  MICHAEL SLOVIS

Transcript by Intrepid
Courtesy of http://www.kilohoku.com/

Do not archive this transcript without permission from the Transcriptionist.

RATING:  TV-14-LV
HDTV 5.1 SURROUND
==========================
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==========================
SUMMARY:  Grissom and the team investigates a woman found crucified in a parish 
church.  
==========================
CSI:  CRIME SCENE INVESTIGATION
7X05:  DOUBLE-CROSS
==========================



FADE IN:  

[EXT. VARIOUS LAS VEGAS CITY – EARLY MORNING]



[INT. CHURCH – EARLY MORNING]  

(Two nuns, Sister Elizabeth and Sister Bridget, walk into the church.  Both are 
carrying large vases of flowers.  The vases are so large, they can barely see in 
front of them.  Sister Elizabeth sniffs the air.)  

SISTER ELIZABETH:  Urine.

(Sister Bridget sniffs the air.  They make their way to the front of the 
church.)  

SISTER BRIDGET:  I don't smell it.

SISTER ELIZABETH:  Ever since Father started leaving the church open at night -- 

SISTER BRIDGET:  -- the church has gotten a lot more use.

SISTER ELIZABETH:  Yeah, as an orgy house and a toilet.

SISTER BRIDGET:  No.  People come in at all hours of the night to pray.

SISTER ELIZABETH:  "Dear Jesus, please keep me from blowing all my laundry money 
on the nickel slots at the Gas 'n' Go."

(Sister Bridget puts her vase down on the floor next to a pew.  Sister Elizabeth 
continues to the front.  She sees a stream of liquid leading to the base of the 
statue of Jesus.)  

SISTER ELIZABETH:  Oh, somebody's done their business right here next to Jesus.

(She puts her vase down on the floor near the statue of Jesus.  She steps back, 
her eyes wide and fixed on the statue in front of her.  Sister Bridget heads 
over.)  

SISTER BRIDGET:  Oh, no, not again.

(She turns and sees the older nun’s reaction.  She looks at the statue of Jesus 
and sees the blood on the palms of the statue’s open hands.)  

(The two nuns look at each other.  Sister Bridget gasps.  Sister Elizabeth 
crosses herself.)  

SISTER ELIZABETH:  Right here on the eve of the apocalypse, a miracle.

CU:  BLOODY STATUE HAND

(SLOW MOTION.  A single drop of blood falls and spatters on the statue’s hand.)

(The two nuns look up.)  

(There hanging from the rafters is a woman dressed in a white gown, her arms 
spread out wide and away from her body.)

CUT TO:  



[INT. CHURCH -- DAY]  

(Sirens wail in the distance.)  

(Crime scene tape is attached to the pews to block aisle entry.  Grissom and 
Brass stand at the base of the statue, looking up at the dead body hanging from 
the rafters.)  

BRASS:  Somebody went to a lot of trouble to get her up there.

GRISSOM:  Why? I wonder.  Somebody had a grudge against the church or somebody 
in the church.

BRASS:  Or maybe they were just mad at God.

(They look at each other, then turn and look up at the body above them.) 

GRISSOM:  Well, Jesus died for our sins.  What sin did she die for?

FADE TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN:  

[INT. CHURCH -- DAY]  

(Warrick stands on the ground taking photos of the dead body.  Nick is on the 
rising platform nearby.)  

NICK:  You know if you think about it, this is one of the oldest ways to kill 
somebody.

(The platform stops near the pulley system holding the body up in mid-air.)  

WARRICK:  Considering where we are, highly symbolic.  All right, what do you 
got?  How we gonna do this?

NICK:  Well, the two-by-four is tied to the scaffold with a single loop.  There 
is an empty pulley up here.  We could lower her down with that.

WARRICK:  (looking up)  That's probably how the killer got her up there in the 
first place.  Then he ditched the rope.  (looks around)  I wouldn't be surprised 
to find it around here someplace.

NICK:  First things first. We'll use our rope; I'll run it through this pulley, 
and then let you take the weight.  I'll mark the rope, cut the knot; down she 
goes.

(Warrick picks up their rope from the ground.)

CUT TO:  

(Nick tightens the rope around the two-by-four.  He has the rope through the 
pulley.)  

NICK:  Ready?

WARRICK:  Yeah.

NICK:  You take the weight.  I'll cut it on three.

(Down below, Warrick braces himself as he holds the end of the rope.)  

NICK:  One, two, three.

(Nick cuts the rope.)  

NICK:  Got it?

WARRICK:  Yeah, ready.  (groans)  Oh.  Whoever tied her up there had to be 
strong enough to deadlift her weight.

(Nick brings the platform down with the body.)  

NICK:  Yeah, either that or highly motivated.  You know how it is once 
somebody's adrenaline gets pumping.  Feel like they can do anything.

(The platform and the body reach the ground.)  

NICK:  All right, that's it.

(Warrick and Nick put the cross and body flat on the plastic over the ground.)  

CUT TO:  



[EXT. CHURCH – FRONT (STOCK) -- DAY]  

(Sirens wail in the background.  An officer ducks under the crime scene tape and 
walks away.)  



[INT. CHURCH – HALLWAY -- DAY]  

(Greg finishes fingerprinting the two sisters, Sister Elizabeth and Sister 
Bridget.  Brass stands nearby as they talk.  The sisters wipe the ink of their 
fingers.)  

BRASS:  Look, shouldn't Father Frank be here by now?

SISTER ELIZABETH:  Father Frank lives in mañana land.

SISTER BRIDGET:  Well, I'm sure he's on his way.  Father Frank is a wonderful 
priest.  And since he's been here, church attendance has tripled.

SISTER ELIZABETH:  (gruffly)  Among our female congregants.

(Sister Bridget sighs.  She turns back to Brass and smiles.)  

SISTER BRIDGET:  And we have sponsors for our building fund.

SISTER ELIZABETH:  One sponsor.

GREG:  The Big Hombre?

SISTER ELIZABETH:  The car dealership.

CUT TO:  



[INT. CHURCH -- DAY]  

(Robbins wipes his liver thermometer.  Grissom stands nearby with his 
clipboard.)  

ROBBINS:  Time of death was sometime between 2:00 and 4:00.  Nasty head wound.  
She was actively bleeding, so she had to have been alive when she was tied to 
the cross.  Good chance she died of suffocation.

GRISSOM:  Like Jesus.

ROBBINS:  Well, Jesus had a footrest.  He was able to lift himself up and take 
short breaths.  But this young lady was hanging.  Her pectoral muscles probably 
became paralyzed and the intercostal muscles were unable to function. She was 
able to breathe out, but not breathe in.

INSERT:  CGI ENHANCEMENT

ROBBINS:  (v.o.)   In time, carbon dioxide built up in her lungs and 
bloodstream.  Edema built up in the chest cavity.  Heart went into fibrillation.

BACK TO SCENE.

GRISSOM:  Gruesome torture in any century.

(Catherine walks up the aisle.)  

CATHERINE:  In eighteen years, this is my first crucifixion.  In a Catholic 
church with no crucifixes.

(Catherine notes the blood on the palm of the statue of Jesus.)  

GRISSOM:  I imagine the priest is a resurrection theologian, as opposed to a 
crucifixion theologian.  They believe in forgiveness rather than penance.

CATHERINE:  We could all use a little forgiveness.

GRISSOM:  She was bleeding from her head wounds, and the beating didn't take 
place up there.

(Catherine notes the blood at the base of the statue of Jesus.)  

CATHERINE:  Well, the blood pool is gravitational.  And the blood trail ...

(She looks around at the trail on the floor.)  

CATHERINE:  ... the tips are pointing towards the statue.  She was bleeding on 
the way in.  I'll backtrack, see if I can find the point of origin.

(Catherine follows the blood to the door.)  

CUT TO:  



[EXT. CHURCH – FRONT -- DAY]  

(A crowd of reporters and on-lookers have gathered around the front of the 
church.  Father Frank Berlin pushes his way through the crowd to the church.  
Marty, a crackhead, follows him and gets too nervous with the police there.)  

MARTY:  Uh, ... I-I got to go, Father.  I'll see you.

FRANK BERLIN:  Okay.

(Marty leaves.  Frank Berlin stops at the tape barrier and talks with Officer 
Mitchell.)  

FRANK BERLIN:  I'm the pastor of the church.

OFFICER MITCHELL:  (over his shoulder)  Hey, Captain.  He'll take care of you.

(Officer Mitchell holds up the tape and Father Frank Berlin ducks under it.)  

FRANK BERLIN:  Thank you.

(Brass walks over to him.)  

FRANK BERLIN:  Father Frank Berlin.

BRASS:  I'm Jim Brass, Las Vegas Police.  You were supposed to be here 45 
minutes ago. Where you been?

FRANK BERLIN:  Been serving breakfast at the shelter.  I understand there's been 
a death in the church.  How soon before you're out of here?

BRASS:  Father, this is a murder investigation.

FRANK BERLIN:  It's just we hold mass at ten o’clock.

BRASS:  Yeah, I understand.  Sorry, Father, but, uh, this is a crime scene.  
You're not gonna get your church back for a while.

FRANK BERLIN:  Is it all right if we set mass in the community center?

BRASS:  Yeah, sure, I have no problem with that.

CUT TO:  



[INT. CHURCH – FOYER / SANCTUARY – DAY]

(Sisters Elizabeth and Bridget are wiping their hands.  They stand up when 
Father Frank Berlin walks in.)  

FRANK BERLIN:  Sister, would you tell the choir we'll be singing "In Paradisum."

SISTER BRIDGET:  I'll take care of it, Father.

(Sisters Bridget and Elizabeth leave.  Greg gets up and follows Frank Berlin and 
Brass, who walk to the church sanctuary.)  

FRANK BERLIN:  We sing the hymn for the dead every time we have a death.

(They turn and enter the church sanctuary and walk down the aisle toward the 
body.)  

BRASS:  Sisters couldn't identify the victim, so we'll need you to take a look.

FRANK BERLIN:  Sorry. I didn't mean to sound cavalier.  It's just we've had over 
half a dozen deaths this year.  We've never had to close the church.

BRASS:  That's because in this neighborhood those derelicts and drug addicts 
died of heatstroke, overdose and old age.  None of them were strung up in the 
rafters.

(They reach the front.  Grissom turns around.)  

BRASS:  Father Frank Berlin, this is Gil Grissom from the Crime Lab.

(Robbins turns the victim’s head toward Frank Berlin so he can see her.)  

BRASS:  Do you recognize her?

(Frank Berlin is quiet and distressed.  Obviously he does recognize her.  He 
shakes his head, no.)  

BRASS:  I'll take that as a no.

(Grissom watches Frank Berlin.)  

GREG:  Excuse me, Father.  Is that blood on your jacket?

(Frank looks at the blood on the back of his upper arm.)

FRANK BERLIN:  Yeah.  We had a fight in the shelter.  I had to break it up.

GRISSOM:  We're gonna need to take your clothes.

FRANK BERLIN:  No, you can't have my clothes.

BRASS:  Then you have to come downtown to the police station.

GREG:  If you're gonna say mass later, you have to change anyway, right?

(Frank Berlin turns and leaves.  Grissom motions to Greg.)  

GRISSOM:  Greg, go with him, collect his clothing.

(Greg shrugs and leaves to follow Frank Berlin.)  

BRASS:  Is it a bigger sin to lie if you're a priest?

GRISSOM:  I hope so.

CUT TO:  



[INT. CHURCH – HALLWAY -- DAY]  

(Catherine follows the blood trail.  She looks up and sees the candles on the 
stand near the window.  She walks over.)  

(She looks around.  She takes a bill out, puts it in the donation slot.  She 
takes a match from the matchbox and lights it.)  

CATHERINE:  This one's for you, Sam.

(She lights the candle and blows the match out.  She crosses herself.)  

CUT TO:  



[INT. CHURCH – STAIRS -- DAY]  

(Greg follows Frank Berlin down the stairs.  Greg carries the bag of clothes 
with him.)  

FRANK BERLIN:  When will I get those back?  I only have three sets of clothes.

GREG:  Respectfully, Father, a woman's been murdered in your church and your 
clothes have blood on them.  You're lucky you're not under arrest.

(Greg continues walking.  Frank Berlin stops and sits down on the steps, upset.)  

(Greg stops walking.  He turns around and watches Frank Berlin for a moment.  
Greg turns and continues walking.)  

CUT TO:  



[INT. CSI – FORENSIC AUTOPSY -- DAY]  

(Sara gathers trace from the victim’s body.  She finishes marking the envelope 
and puts it on the tray.  She picks up another envelope and gathers scrapings 
from under the victim’s fingernails.)  

(She finishes and sets it aside.  She picks up the magnifying glass and looks at 
the victim’s feet.  She finds a thorn in the victim’s feet and snaps a photo of 
it.)  

(She removes the thorn and looks at it. She continues working.)  

(The door opens and Grissom walks in.  Without looking up, Sara knows it’s him.  
Grissom puts his gloves on.  Sara pulls out another thorn from the victim’s 
feet.)  

SARA:  Was there bougainvillea at the crime scene?

(Grissom stops and thinks about it.)  

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.

(She turns and smiles at him.)  

SARA:  Did you anticipate that question in order to impress me with your powers 
of observation?

GRISSOM:  Memory's a gift.

(Sara goes back to examining the victim’s feet.  Grissom looks at the victim.)  

SARA:  Mmm.  From whom?

GRISSOM:  Who do you think?

SARA: Well, I wouldn't necessarily call myself an atheist, but I am not sold on 
the notion of a higher power.  However, I used to love the stories of the 
saints.

(Grissom notices a bruise pattern around the victim’s neck.  He puts his glasses 
on.)  

GRISSOM:  This job certainly challenges your faith.

SARA: Yes, it does, but I have science.

GRISSOM:  I believe we need a little of both.

(Grissom thinks about it a moment.  He takes his glasses off.)  

SARA:  Sometimes I think we made up God just to have someone to blame for our 
mistakes. 

(Grissom’s quiet and doesn’t answer her.  He gets an idea and quickly leaves the 
room.)  

SARA:  (calls out)  It's just a theory.

CUT TO:  



[EXT. CHURCH – BACK -- DAY]  

(Catherine puts evidence marker #18 down next to a drop of blood on the stone 
walkway.  She continues walking and puts evidence marker #19 down near some 
blood near a statue.)  

(She snaps a photo of it and looks around.  Near the bushes, she finds a high-
heeled sandal on the ground.  She snaps photos of it and looks around the area.  
She finds the second matching sandal on the bougainvillea bush.  She picks up 
the sandal and puts it on the ground next to the other sandal.)  

(She looks around and sees a set of keys on the ground nearby.  Catherine walks 
over and picks it up.  She looks at it.)  

CUT TO:  

(Catherine steps out onto the sidewalk and holds out the car keys.  She points 
it down the long row of cars and presses the alarm.)

(The car alarm blares behind her.  She turns around and looks at the car parked 
right in front of the church.)  

CUT TO:  



[INT. CHURCH -- DAY]  

VARIOUS DISSOLVES OF:  

(Warrick checks the scaffolding for prints.  He climbs up the ladder and swabs 
the scaffolding.  He tests the swab.)  

(Warrick looks around.  He climbs up and finds a piece of hair on the 
scaffolding.  He picks it up and puts it in a bindle.)  

(He swabs some blood on the metal scaffolding.  He tests it.  It tests 
positive.)

(He climbs up further and finds a blood smear on the scaffolding.)



[INT. CHURCH – WALKWAY/BACK ROOM -- DAY]  

(Nick is walking through the side hallways.  He finds things lying against the 
wall.  He opens a backroom door and finds the mother lode.)  

NICK:  (chuckles)  Hey.

(He steps inside and finds rope and other supplies.)  

NICK:  (shouts)  Hey!  Hey, I found it.  Rope, nails, hammers, everything.

(Nick lifts up the rope and finds more hammers under it.  He picks up the 
topmost hammer and examines it.)  

NICK:  (softly)  Oh, yeah.

CUT TO:  



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

(Grissom walks in his office.  He heads for his desk.  He opens his top right-
hand drawer and picks up a small wooden box.)  

(He takes the box and walks out of his office.)  



[INT. CSI – FORENSIC AUTOPSY – DAY -- CONTINUOUS]  

(Grissom walks back into the room.  Sara is examining the body.  She doesn’t 
look up.)  

SARA:  Something I said?

GRISSOM:  No, dear.

SARA:  I didn't offend you, did I?  Did I say something offensive to you as a 
Catholic?

GRISSOM:  I'm not really a Catholic anymore, you know.  I suppose I practice a 
kind of secular Catholicism that involves ritualizing certain aspects of 
everyday life and imbuing them with a spiritual intensity they might not 
otherwise possess, but I don't want to put too fine a point on it.

(Grissom opens the box and takes out rosary beads.)  

SARA:  And the rosary beads are a part of that.

GRISSOM:  This belonged to my mother.

(He holds the beads up against the bruising around Jane Doe’s neck.  It 
matches.)  

GRISSOM:  Take a look at this pattern.

(Sara leans in to look.  She picks up the camera and snaps photos of the beads 
and bruising.)  

GRISSOM:  Five series of ten beads, each representing the "five mysteries" 
separated by five "our father" beads.

SARA:  Who would strangle someone with a rosary?

GRISSOM:  Probably the same person who would crucify someone in a church.

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[EXT. CHURCH -- DAY]  

(Grissom walks out of the church and heads over to Father Frank Berlin, who is 
talking with a man.  When he’s finished, the man leaves.  Father Berlin picks up 
the scrub brush and starts working on removing the black ink from St. Jude’s 
back.)  

GRISSOM:  St. Jude.  (Frank Berlin turns around.)  Patron saint of lost causes.

FRANK BERLIN:  And that's why it's so difficult to keep the local kids from 
defacing this statue.  Did you run those tests on my clothes?

GRISSOM:  We did. The blood on your clothes is not a match to the blood on the 
victim.

FRANK BERLIN:  So do I get my clothes back?

GRISSOM:  Not just yet.  

(Frank Berlin turns to leave.  Grissom stops him.)  

GRISSOM:  I have a favor to ask.

FRANK BERLIN:  You steal my clothes and then you want to ask for another favor?

GRISSOM:  We'd like permission to search your rectory and the nuns’ apartments.

FRANK BERLIN:  Just because someone dies in our church doesn't mean we have 
anything to do with it.

GRISSOM:  Well, we want to eliminate you as suspects.

FRANK BERLIN:  That's what you said when you fingerprinted us, and the truth is 
you don't have enough for a warrant.

GRISSOM:  You're right.  But you have nothing to hide.

FRANK BERLIN:  You really think if I killed a woman, I'd leave her body in my 
own church?

GRISSOM:  It's so obvious that it obviates suspicion.

(In the background Sister Bridget walks over toward them.  The church bells 
start to ring.)  

FRANK BERLIN:  Mmm, I'm not that smart.

GRISSOM:  Well, that's hardly the argument to make.

FRANK BERLIN:  What is it you're looking for?

GRISSOM:  Rosaries.

SISTER BRIDGET:  Mr. Grissom, I didn't realize you were here.

(Frank Berlin takes the glass of water from her.)  

FRANK BERLIN:  That's all right, Sister.  We don't have to hide anything from 
Mr. Grissom.  Uh, he's here to confiscate our rosaries.  I don't know where mine 
are.  Do you?

SISTER BRIDGET:  It's probably in the sacristy.

GRISSOM:  We'll need all the rosaries.

SISTER BRIDGET:  Uh, even Sister Elizabeth's?  She's not going to like that.

FRANK BERLIN:  Happy day for Sister Elizabeth, for she delights in what she 
dislikes.

(Grissom notes Sister Bridget smiling at Father Frank Berlin.)  

CUT TO:  



[INT. CSI – LAB -- DAY]  

(Nick and Warrick have the hammers on the table in front of them.  The other 
supplies from the church are also in the lab.)  

(Nick sprays the hammers.  Warrick finds the matching rope ends.)  

NICK:  The killer used materials from the church:  the rope, the 2x4s, and one 
of these hammers.  I just haven't found it yet.  But all this was in the same 
utility closet.

WARRICK:  He didn't bring anything with him?

NICK:  Hmm-mm.

WARRICK:  What does this feel like to you?

NICK:  Inside job.

WARRICK:  I mean maybe one of the construction workers wasn't a fan of the 
victim.  I'm going to call Brass.

(Warrick heads out of the lab.)  



[INT. CSI – HALLWAY / TRACE LAB – DAY -- CONTINUOUS]  

(Warrick walks out across the hallway.  Hodges sees him and knocks on the glass 
window to get his attention.  Warrick looks up and Hodges motions for him to 
come to his lab.)  

(Warrick walks in.)  

WARRICK:  What?

HODGES:  I've solved your case.

WARRICK:  Bull.

HODGES:  No, cow.  Those hairs you found on the scaffold ... not human.  

(Warrick looks at the scope.)  

SCOPE VIEW:  BOVINE HAIR SHAFT.

HODGES:  Bovine.

WARRICK:  They have red cows?

HODGES:  You betcha, partner.  Guernseys.  Maybe the scaffold was used somewhere 
else.  Like on a farm.

WARRICK:  Or maybe it was secondary transfer.

HODGES:  Well, you can take care of that.  I've done all the heavy lifting.  As 
usual.

(Warrick rolls his eyes and leaves the lab.)  



[INT. CSI – HALLWAY -- DAY]  

(Catherine is walking through the hallway when she meets up with Greg.)  

CATHERINE:  Oh, hi.

GREG:  Hi.

CATHERINE:  I saw you at the crime scene. I thought you were on desk duty until 
the coroner's inquest.

GREG:  Yeah, I was starting to get a serious case of trucker butt so I told 
Grissom that I wanted to, uh, get back out with the team.

CATHERINE:  Yeah, there's no therapy like work.

(Catherine turns and looks at Greg.)  

CATHERINE:  You doing okay?

(He motions absently to the bruises still evident on his face.  It looks 
somewhat painful.)  

GREG:  Yeah.

(He smiles.)  

CATHERINE:  Well, hang in there.

GREG:  All right.

(Catherine walks away.  Greg sighs and heads off in another direction.)  

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



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

(Sofia walks in and talks with Hugo Bombay.)  

SOFIA:  Mr. Bombay.  We found your keys at the scene of our murder.  We also 
found your car close by.

HUGO BOMBAY:  I don't know anything about a murder.

SOFIA:  (looking in file folder)  Well, we also found a wad of bloody tissues in 
the front seat of your vehicle.

HUGO BOMBAY:  What ... what's going on?

SOFIA:  You tell me.

HUGO BOMBAY:  I loaned my car to a woman I work with last night.  She sings at 
my club.  Charlotte Danville.  Is she all right?

(Sofia puts a photo on the table.  He looks at it.  It’s the victim’s morgue 
photo.  He takes a moment.)  

SOFIA:  Was this your friend?

HUGO BOMBAY:  Yeah, that's her.  (He pushes the photo back to Sofia, visibly 
upset by the image.)  Who did ... who did this to her?

SOFIA:  Why did she borrow your car?

HUGO BOMBAY:  (stares at photo)  She had to ... she had to do another set and 
needed to change her clothes.

SOFIA:  Doesn't she have her own car?

HUGO BOMBAY:  She had a Toyota Solara.  Totally tricked out.

SOFIA:  So why did she borrow yours?

(He flips the photo over.)  

HUGO BOMBAY:  I don't know.  I didn't get the whole story.  She seemed upset.  
She was talking to this guy.

(Quick flash to:  [INT. CLUB – NIGHT]  Charlotte  Danville sits at a table and 
talks with someone.  A waitress walks over and whispers to her.)  

HUGO BOMBAY:  (v.o.)  I had to send a waitress over to remind her that she was 
getting paid to sing.

(End of flashback.)  

SOFIA:  You ever see the guy move forward?

(Quick flash of:  Cody White talks with Charlotte.)

HUGO BOMBAY:  (v.o.)  Yeah, it's that guy that sells cars on television.

(End of flashback.)  

HUGO BOMBAY:  Uh ... Cody White.  I mean, but a lot of guys came in to see 
Charlotte.  I mean, it's not like she slept around or anything.  I tried.  Can I 
go now?

SOFIA:  Not without an alibi.  Where did you spend the night?

HUGO BOMBAY:  I allowed myself to succumb to the pleasures of Donna.  And she 
kept me up to the wee hours of the morning gratifying her abnormal lust.

(Marty turns around and waves to a buxom brunette sitting out in the waiting 
room.  Donna waves back.)  

(Marty looks at Sofia.)  

HUGO BOMBAY:  (whispers)  She sleeps with her eyes open.

(He grimaces.  Sofia stifles a smile.)

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]

(FAR VIEW of HOMBRE MOTORS.)  



[INT. HOMBRE MOTORS -- DAY]  

(Brass walks over to a car with Cody White.)  

BRASS:  Yeah, this is it.

CODY WHITE:  Well, this car's already been cleaned and detailed.  It's ready to 
be sold.

BRASS:  Well, I guess it's a change of plans.

CODY WHITE:  No.  No, there's not a change of plans.  This baby's staying right 
where she sits.  I'm not in the give-away-the-car-to-cops business.  I'm in the 
sell-the-car-to-willing-victims business.

BRASS:  Mr. White, we have a court order to examine this car for evidence 
related to the murder of Charlotte Danville.

CODY WHITE:  Whoa, whoa, whoa, Charlotte?  She and I are friends.  I ... I knew 
her.

BRASS:  Yeah, I know.  We have a witness who places you arguing with her last 
night.  You may be one of the last people to see her alive.

CODY WHITE:  Yeah.  I was with her.  I went to see Charlotte to give her the 
car.  Helped Charlotte through a rough patch, but lately she’s been ducking me.

(Quick flash of:  [INT. CLUB – NIGHT]  Cody White talks with Charlotte 
Danville.)  

CHARLOTTE DANVILLE:  What am I supposed to do now?  Walk home?

CODY WHITE:  I'll give you money for a cab.  Tomorrow, we'll see about getting 
you a good used car.

CHARLOTTE DANVILLE:  Some junker.  Thanks a lot.  Some friend you are.  Take 
your damn car.

(She picks up the keys off the table and tosses them to him.  She knocks over a 
glass and stands up.)  

(End of flashback.  Resume to present.)  

CODY WHITE:  Guess that's what you get for helping a friend, you know. Look, I 
feel awful about Charlotte. I really do.  But I'll tell you this:  Whatever 
happened, happened after I got this car.

BRASS:  Well, I feel awful too, but the car is coming with me.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]

CATHERINE:  (v.o.)  No sign of forced entry.



[INT. DANVILLE APARTMENT -- DAY]  

(Catherine and Sofia walk into the apartment.)  

SOFIA:  Pricey address.

CATHERINE:  Does this look like the condo of a woman who sings weekends at the 
Gorilla Room?

(They look around the living room.  Catherine finds blood.)  

CATHERINE:  Fight must’ve started here.  Got some blood, some here on the 
pillow. But no blood trail.  The real beating took place in the bushes at the 
church.

SOFIA:  This was just the opening act.

CATHERINE:  Explains the bloody tissue found in the back seat of Hugo's car.  I 
guess she got a bloody nose or a fat lip here, ran out and used Hugo's car to go 
to the church.

(Catherine looks at a scrapbook with newspaper clippings.) 

SOFIA:  The killer must have followed her and caught up with her there.

(Catherine smiles as she reads the newspaper clipping headline:  CHARLOTTE 
DANVILLE FLOORS ‘EM AT THE LAVISH CAFÉ.)

CATHERINE:  She had quite the career.

(She turns the page and finds a large colored photo of a happy Charlotte and 
Frank Berlin.) 

CATHERINE:  Sofia.

(Sofia walks over.)  

CATHERINE:  You recognize that guy?  That’s Father Frank Berlin.  I mean, a lot 
younger, obviously.  

(Catherine points to another man in another photo.)  

CATHERINE:  You know him?

SOFIA:  No.

CATHERINE:  That's ’the Big Hombre.’ He sells cars on TV.  She's known these 
guys forever.

(Sofia turns and looks around the room.  Catherine continues looking through the 
scrapbook.  Sofia finds some rosary beads on a pair of black high-heeled shoes.  
Sofia walks over and kneels down.)  

SOFIA:  Here's a rosary.

(Catherine turns around.)  

SOFIA:  Looks like it's broken.

(Catherine picks the beads up.)  

CATHERINE:  Hmm.  Could be the one she was strangled with.

(Sofia looks around and finds a bag and cell phone on the living room table.) 

SOFIA:  And here's her purse and cell phone.  You don't leave home without those 
unless you're in a hurry.

CATHERINE:  Or you're being chased.

(Catherine notices the television set.)  

CATHERINE:  DVD's on pause.

(She hits ‘play’ and a home video of Charlotte Danville, Cody White and Frank 
Berlin singing karaoke appears on screen.)  

CATHERINE:  Well, there they are again.

SOFIA:  Someone was taking a trip down memory lane.

CUT TO: 



[INT. DANVILLE APARTMENT – BEDROOM – DAY -- CONTINUOUS]  

(Catherine is in the bedroom using the ALS on the bedsheets.)  

CATHERINE:  There was a man in her life.

(She pulls back the bedcovers and finds semen on the bedsheets.)  

(She looks through more sheets and finds more semen.) 

CATHERINE:  Mr. Frisky.



[INT. DANVILLE APARTMENT – KITCHEN – DAY -- CONTINUOUS]  

(Catherine steps out of the bedroom and finds Sofia looking at the trash.)  

SOFIA:  Drain smells like whiskey, empty bottles in the trash, more liquor than 
you could use in a wild weekend.  She might have been going on the wagon.

(Catherine steps into the kitchen and picks up a bottle of vitamins.)  

CATHERINE:  Folic acid.

(Sofia opens the refrigerator door and finds it completely stocked.  Catherine 
continues to look through the vitamin bottles.) 

SOFIA:  Fresh fruit, vegetables, plenty of milk.

(They stop and get the same idea at the same time.  They turn and look at each 
other.)  

SOFIA:  You think she was pregnant?

CATHERINE:  We'll have Robbins run a pregnancy test.

CUT TO:  



[INT. CSI – A/V LAB -- DAY]  

(Grissom takes the memory chip out of the camera and loads it into the computer.  
He goes through the photos.  He finds a particular photo of the bruising around 
the victim’s throat and prints it out.)  

(Grissom puts his glasses on.  On the table is the bagged silver rosary beads 
belonging to Father Frank Berlin.  Grissom takes the beads out of the bag and 
places them over the bruises in the photo.)  

(Sara walks in carrying an evidence bag.)  

SARA:  Hey.  Got another rosary for your collection.

(Sara hands the evidence bag to Grissom.)  

GRISSOM:  Where'd you get this?

SARA:  Catherine found it in Charlotte's condo.  There is some evidence that the 
fight started there.

(Grissom takes the beads out of the bag.  He compares them to Father Frank 
Berlin’s rosary beads.  They look exactly alike.)  

SARA:  Charlotte's bag and cell phone were there, as if she left in a hurry.  
Are those Father Frank's?

GRISSOM:  Yeah.

CUT TO:  



[INT. CHURCH – HALLWAY -- DAY]  

(Brass meets up with Sister Elizabeth and Sister Bridget.)  

BRASS:  Where's Father Frank?

SISTER BRIDGET:  Father Frank is hearing confessions tonight.

(Brass turns and heads for the main sanctuary.  He walks out of frame.  The two 
sisters linger behind.  Sister Elizabeth leans toward Sister Bridget and 
whispers to her.)  

SISTER ELIZABETH:  It's St. Bart's all over again.  Only that time, he went in 
handcuffs.

SISTER BRIDGET:  That never happened.  It was just a rumor.

CUT TO:  



[INT. CHURCH – SANCTUARY – DAY -- CONTINUOUS]  

(Father Frank Berlin runs out of the confessional booth.  He opens the other 
confessional door and hauls Cody White out.  The two men start fighting.)  

VOICE:  Get away.

(Brass rushes in.)  

BRASS:  Hey!

(The two men stop fighting.)  

BRASS:  Didn't your mother tell you you're not supposed to fight in church?  
Cody White.  What's up, Hombre?

CODY WHITE:  Father Frank and I are actually old friends.  Just having a 
conversation about church finances.

BRASS:  But aren't you the one who's funding the renovation of the church?

CODY WHITE:  Not anymore.  Well, there you go.  We done here?

BRASS:  Yeah.

(Cody White leaves through the side door.)  

BRASS:  So what sins did he commit to earn the punch-out penance?  Let's talk 
about it downtown.

(Brass and Frank Berlin walk out the front -- past the sisters and curious on-
lookers.)

(We hold on Sister Bridget.)  

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[EXT. LAS VEGAS CITY (STOCK) – DAY]



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

(Grissom puts photos of the rosaries out on the table in front of Father Frank 
Berlin as he and Brass question him.)  

GRISSOM:  These are unique rosaries, Father. Handmade in Italy. And they're 
sequentially numbered on the back. So we know that they were purchased together.  
One of them is yours; one we found at the victim's condo.  Did you give it to 
her?

FRANK BERLIN:  Yes.

BRASS:  You know, Father, when we asked you if you knew her, you said you 
didn't.

FRANK BERLIN:  After I saw Charlotte's body, I don't recall being asked any 
questions.  Um, uh, maybe I said "no" to what I was seeing.  I don't really 
remember much about yesterday.

BRASS:  What about the night before?

FRANK BERLIN:  I was at the shelter.

BRASS:  You know, we can't find anyone who remembers seeing you there after 
midnight.

FRANK BERLIN:  Because I wasn't there past midnight.

BRASS:  Where were you?

FRANK BERLIN:  One of our regulars, Marty, came in high on crack.  He got into 
an argument, a fight with one of the other men, and I ...

BRASS:  What time was that?

FRANK BERLIN:  Uh, it was late.  I don't wear a watch.  We had to call the 
paramedics; you can check with them.

BRASS:  Charlotte died around 2:00 A.M.  Where were you then?

FRANK BERLIN:  I was out with Marty trying to walk off his high to keep him out 
of trouble.

BRASS:  Does crackhead Marty have a last name?

FRANK BERLIN:  I-I don't know.

BRASS:  You know, Father, listen, I'm telling you, these answers -- none of them 
work for me.

FRANK BERLIN:  Well, then put me in jail.  I'll still be doing exactly the same 
work I'm doing out here with exactly the same results.

BRASS:  I don't want to do that.

(There’s a knock on the door.  Brass gets up to answer it.)  

BRASS:  Sister Bridget?

(Grissom quickly gets up and follows Brass out of the room.)  



[INT. POLICE DEPARTMENT – HALLWAY – DAY – CONTINUOUS]

(Officer Mitchell is holding a bloodied hammer wrapped in a towel.  Brass and 
Grissom step out of the room.)  

OFFICER MITCHELL:  I think you should see this, cap.

SISTER BRIDGET:  I'm sorry I didn't come forward sooner, Father.

OFFICER MITCHELL:  We caught her trying to bring this into the building.

SISTER BRIDGET:  This is the hammer I used to build the cross.

FRANK BERLIN:  No, no, she didn't.  She must've got that out of my office at the 
shelter.  I took it off Marty.

BRASS:  Father, sit down, please.

(Frank Berlin goes back into the interview room and sits down.)  

GRISSOM: Sister, excuse me, but ... could you tell us how you managed to haul 
the victim's body to the top of the scaffolding?

SISTER BRIDGET:  I used the rope and the pulley, the one the workmen use.

BRASS:  But why did you kill her?

SISTER BRIDGET:  Because she had to be stopped.  She was coming for Father, and 
I couldn't let that happen.  Now ... do your job.  Arrest me.

GRISSOM:  Sister, how much do you weigh?

SISTER BRIDGET:  123 pounds.

GRISSOM:  It's a question of physics.  Charlotte weighed 140 pounds, plus the 
weight of the cross.  You don't weigh enough or have enough strength to have 
hoisted the body 17 feet into the air.

SISTER BRIDGET:  It was a miracle.

(Grissom nods and doesn’t say anything.  He turns to Brass.)  

BRASS:  The only miracle is I'm not charging you with obstruction.

CUT TO:  



[INT. CSI – LAB -- DAY]  

(Nick preps a swab and swabs the hammer’s handle.  He caps the swab.)  

(He sprays the handle and finds a print.  He takes a photo of the print.  He 
puts the camera card into the computer and compares the print with Father Frank 
Berlin.  He has a POSITIVE MATCH.)  

NICK:  Father Frank.

CUT TO:  



[INT. CSI – LOUNGE -- DAY]  

(Nick talks with Sara and Grissom about his print findings.)  

NICK:  The blood on the hammer is a match to the blood found on the father's 
clothes, but none of it is from Charlotte.

GRISSOM:  Well, you know, he told me that he broke up a fight at the shelter.

NICK:  I think Sister Bridget found the bloody hammer and confessed to the 
murder because she thought Father Frank was guilty.

SARA:  If she thinks he did it, maybe he did it.  But why does she think that he 
did it?

GRISSOM:  You know, his move from St. Bart's to St. Jude's involved a female 
parishioner who committed suicide.  No charges were filed, but the parish board 
asked that he be removed.

SARA:  I can do you one better.  Catherine found two sets of semen stains on 
Charlotte's bedding.  Unknown contributor on the bed skirt.  Probably doesn't 
get washed as often.  But the one on the sheet is a match to Father Frank.  It's 
probably more recent.  And here is the big thing:  Uh, Doc Robbins says that 
Charlotte was about ten weeks pregnant.

NICK:  Maybe he's the unwilling father of her unborn child.

GRISSOM:  Well, DNA will give us a profile.

SARA:  One more thing that he did not tell us.

GRISSOM:  We didn't ask.

CUT TO:  



[INT. HOMBRE MOTORS -- DAY]  

(Brass talks with Cody White.)  

BRASS:  I don't know, I mean, most people give their friends, uh, subscriptions 
to a fruit-of-the-month club.  But you gave your friend Charlotte a condo and a 
car.

CODY WHITE:  It's like I told you before, I was helping her out.  I was letting 
her live there and use the car till she got on her feet. She came back to Vegas 
broke and strung out, and I was helping her.

BRASS:  So it was supposed to be a short-term thing?

CODY WHITE:  It was supposed to be short-term, but it was endless.  Sort of like 
renovating St. Jude's.

BRASS:  So is that what the fight in the church was about?

CODY WHITE:  No, that's not what the fight was about.  I went to talk to him 
about Charlotte.  I thought maybe taking the car back had something to do with 
her death.  I don't know. Then he said something; I said ... I don't even 
remember, to tell you the truth.  But I'll tell you this:  he lost it.  I've 
never seen Frank like that.

BRASS:  So do you always have personal conversations in the confessional?

CODY WHITE:  Can't talk to him in his office with that Sister Bridget hovering 
around.  Besides, I'd never want his relationship with Charlotte to be open to 
misinterpretation.

BRASS:  Now, why would their relationship be open to misinterpretation?

CODY WHITE:  They were more than friends.

CUT TO:  



[INT. CSI – GRISSOM’S OFFICE]  

(Grissom looks through Charlotte’s scrapbook.  Sara and Nick are still in his 
office.)  

GRISSOM:  Going by her scrapbook, this seems to have been a golden time in 
Charlotte's life -- high school.  There's a lot of pictures of the three of them 
together, but the only two-shots are of Frank and Charlotte except for this one.

(Nick leans forward to look at the picture Grissom’s talking about.)  

GRISSOM:  Evidently, she went to her prom with Cody.

NICK:  She looks thrilled.

(not.)  

GRISSOM:  The next picture of Frank, he's in a seminary.  Maybe, uh, giving up 
Charlotte was the sacrifice he made to join the church.

CUT TO:  



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

(Frank Berlin sits at the interview room table.  Brass walks in.)  

BRASS:  I need to ask you a few more questions.

FRANK BERLIN:  Go ahead and ask the question you really want to know.

BRASS:  Who killed Charlotte Danville?

FRANK:  I did.

(He looks away.  Brass sighs.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[INT. POLICE DEPARTMENT – PARKING GARAGE -- DAY]  

(The elevator bell dings and the doors open.  Grissom and Brass step out into 
the garage.)  

BRASS:  Single malt express is leaving the station as soon as I get home.

GRISSOM:  Look, I know it sounds nuts, but this is not the way a resurrection 
theologian would kill his pregnant mistress.

BRASS:  He confessed.

GRISSOM:  He's a Catholic.  They're full of guilt.

(Brass walks over to his car.)  

BRASS: He's a priest, for God's sakes.   That's the whole point of the 
priesthood.  No sleeping around.  More energy for good works and noble deeds.  
Now you find me some evidence to exonerate the good father, and we'll talk.

CUT TO:  



[INT. CSI – GARAGE -- DAY]  

(Sara is in the car, wearing a mask, and spraying luminol on the car seats.)  

CATHERINE:  Hi.  I heard Grissom wants us to keep digging.  This Charlotte's 
car?

SARA:  Yeah.  I found blood smears, but they've been washed.  Cody said he 
repo'd the car at the club and drove it back to the lot.  There shouldn't be any 
blood in this car.

CATHERINE:  Well, unless Father Frank drove it that night, and we've got no 
reason to believe that he did.

SARA:  Which brings us back to Cody.

CATHERINE:  Do you have a big enough sample for DNA?

SARA:  No.  But I do know one spot the detailers never hit.

(Sara sprays the pedal.  It lights up.)  

SARA:  Bloody shoe impression on the brake pedal.

CATHERINE:  Well, I'll compare it to Father Frank's shoes.  If it's not a match, 
I'll get a warrant for Cody's shoes.

SARA:  I'll get a sample of the blood to DNA.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[EXT. HOMBRE MOTORS -- DAY]  

(Sara and Sofia wait for Cody White to read the warrant.  Cody is wearing a 
cowboy outfit complete with yellow hat.)  

CODY WHITE:  I'm trying to shoot a commercial here, so I don't see why this 
can't wait.

(He looks at the warrant.)  

CODY WHITE:  I can't even read this, so why don't you tell me what it is that 
you want?

SARA:  Your boots and a DNA sample.

CODY WHITE:  Well, there's my wife.  (shouts)  Candy!  Get my damn lawyer on the 
phone now.

CANDICE WHITE:  What's wrong?

CODY WHITE:  Would ... would you just do it, please?

SARA:  We found rust-colored fur on the scaffold at the crime scene.

SOFIA:  Well, I'll call a judge and get him to amend the warrant to include the 
vest.

CODY WHITE:  J-j-j-j-j-J... hold on for a minute, all right?  J-Just hang on?

(Greg appears behind them carrying a plastic bag with cowboy boots in it.)  

GREG:  Hey, I found these in his office.  Positive for blood on the right sole.

CODY WHITE:  Where's my wife?  (shouts)  Candy?!

GREG:  Well, Big Hombre, it looks like you're going to the hoosegow.

CUT TO:  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM A -- DAY]  

(Brass and Grissom talk with Frank Berlin.)  

BRASS:  So, you don't like crucifixes, but maybe you made an exception when you 
found out Charlotte was pregnant, hmm?

GRISSOM:  Father ... I want you to take a look at this.

(Grissom puts the crime scene photo of Charlotte hanging from the rafters.  
Frank Berlin looks at the photo and grimaces sadly.)  

FRANK BERLIN:  I'm responsible for her murder.  I could never do that.

BRASS:  In my world, Father, you're either guilty or innocent.

FRANK BERLIN:  Well, in my world, you can be both.

CUT TO:  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM B -- DAY]  

(Sofia interviews Cody White.)  

SOFIA:  The blood on your boot is Charlotte's.  Your footprint was found on the 
brake pedal of her car in blood. The lab also matched hair from your fur vest to 
hair found dried in the blood of the victim in the church.

(Cody White shrugs and laughs.)

CODY WHITE:  No matter how much evidence you have, I'm the Big Hombre.  I get 
whatever I want, including store-bought justice.

SOFIA:  And yet, the one thing you couldn't get was Charlotte's love.

CODY WHITE:  Yeah, like I said, I only saw her that last time to get the car.

(Quick flashback to:  [INT. CLUB – NIGHT]  Charlotte sings and plays piano as 
Cody White listens.)  

(She finishes and the audience applauds.)  

CUT TO:  

(Charlotte sits at Cody White’s table.)  

CHARLOTTE DANVILLE:  Thanks for coming.

CODY WHITE:  Come on. I'd come every night if you wanted me to.  You know that.

(Charlotte takes the keys out of her bag and puts them on the table.)  

CHARLOTTE DANVILLE:  Here's the car back.  You're a good friend.

(End of flashback.)  

SOFIA:  No, you gave her the car.  You gave her everything.  And how did she pay 
you back?  She dumped you for your best friend.

(Quick flashback to:  [INT. CLUB – NIGHT]  Charlotte puts the keys on the 
table.)  

CHARLOTTE DANVILLE:  Here's the car back.  And I'm moving.

CODY WHITE:  Why would you do that?

CHARLOTTE DANVILLE:  I can't do this anymore.  It's not right.  I'm in love with 
another man.  I'm sorry, Cody.

CODY WHITE:  That's what you got for me?  You got, you're sorry?  I'm sorry, 
too.

(He angrily knocks the glass over, spilling the drink all over her dress.  She 
gasps and stands up.)  

(End of flashback.  Resume to present.)  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM A -- DAY]  

(Grissom and Brass talk with Frank Berlin.)  

GRISSOM:  We, uh, found a letter you wrote to the bishop and pulled it off your 
computer.  "The spirit has left my vocation.  I've crossed a line in my 
discipline and committed an act unfit for the priesthood."  What act is that?

FRANK BERLIN:  Putting my love for Charlotte above my love for God.

GRISSOM:  So, you were leaving the priesthood?

FRANK BERLIN:  I was leaving because I loved her, and I wanted to be with her in 
all ways.  Her dying doesn't change that.  I still love her.

(Quick flashback to:  [INT. CHURCH]  Frank Berlin talks with Charlotte.)  

FRANK BERLIN:  I talked to the monsignor.  It's a complicated process, but I 
told him I'm leaving.

CHARLOTTE DANVILLE:  Are you sure?

FRANK BERLIN:  I prayed about it.  What came to me was that God is love.  
Wherever there is true love, God is, as well.  I have to follow my heart.

(End of flashback.)  

FRANK BERLIN:  And we only made love once, but in the wake of that, I found the 
husband in me, the father in me.  I wanted to be those men for her.  And I 
always loved her.

GRISSOM:  And what if the baby wasn't yours?

FRANK BERLIN:  A child is always welcome.



[INT. POLICE DEPARTMENT – INTERVIEW ROOM B -- DAY]  

(Cody talks with Sofia.) 

CODY WHITE:  Yeah, I decorated her condo, you know that?  I bought her that car.  
Special-ordered the paint to match the color of her eyes.  She didn't care as 
long as she had a place to stay.  That's all she cared about.

SOFIA:  She cared about Father Frank, didn't she?  Did you suspect that she was 
leaving you for him?

CODY WHITE:  Should have, but I didn't.

(Quick flashback to:  [INT. CHARLOTTE’S APARTMENT – NIGHT]  Charlotte changed 
and steps out into the living room.  She finds Cody sitting there.)  

CHARLOTTE DANVILLE:  What are you doing here?

CODY WHITE:  Look, I'm sorry about the dress, all right?

CHARLOTTE DANVILLE:  I have to get back to the club.

(Charlotte grabs her things off the table.  Cody gets up and grabs Charlotte’s 
arm.  She gasps.)  

CODY WHITE:  Wait, wait, wait.  I want to know who you're leaving me for.

CHARLOTTE DANVILLE:  No.

(He slaps her.  She falls backward over the chair.)  

CODY WHITE: What is that?

(He sees the rosary on the floor.  He picks it up.) 

CODY WHITE:  It's Frank, isn't it?  (shouts)  Isn't it?

(He uses the rosary and chokes her.  She gasps.)  

CODY WHITE:  It's always been Frank.

(Charlotte kicks Cody off her.  She scrambles to her feet.)  

(End of flashback.)  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM A -- DAY]  

(Brass and Grissom talk with Frank Berlin.)  

BRASS:  You know, he doesn't think you did it.  But I think that you know who 
killed Charlotte.  He came to the church that day to confess, didn't he?

(Quick flashback to:  [INT. CONFESSIONAL]  Cody confesses to Frank.)  

CODY WHITE:  Bless for I have sinned.  My last confession was two weeks ago.  I 
lied to my wife seven times.  I cheated an old lady out of a classic car.  And I 
killed my best friend for cheating on me with you.

(Frank turns and looks at Cody when he realizes what he just said.)  

(End of flashback.)  

FRANK BERLIN:  You know I can't discuss that.

(Brass sighs.)  

FRANK BERLIN:  You know, in Vegas, it's routine to hear the most heinous sins, 
and as a priest, you listen, and in Christ's name, you forgive.



[INT. POLICE DEPARTMENT – INTERVIEW ROOM B -- DAY]  

CODY WHITE:  I knew she'd go running to him.  She'd always run back to Frank, 
and I knew he wouldn't be there.  He was never there.

(Sofia sits down.)  

SOFIA:  Is that when you thought of crucifying her in Frank's church?

CODY WHITE:  I don't know how I came up with that.  You know, Frank always used 
to talk about the problem of human evil.  How ... you better watch out 'cause 
it'd come into you in times of despair. Something terrible came into me that 
night.  

(Quick flashback to:  [EXT. CHURCH]  Charlotte is walking outside the church 
when Cody jumps out and hits her.  She falls to the ground.  He jumps over her 
and chokes her.)

CUT TO:  

[INT. CHURCH – NIGHT]

(Cody hammers the plyboards together.  He uses the string and ties Charlotte to 
the make-shift cross.)  

(As Charlotte comes to, Cody uses the pulleys to lift Charlotte and the cross up 
to the rafters.)  

(End of flashback.)  

CODY WHITE:  I loved Charlotte more than anything.

SOFIA:  The paternity test came back.  You were the father.  

(Cody turns and looks at Sofia.)  

SOFIA:  You killed your own baby.

(Cody cries.)  

CUT TO:  



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



[INT. POLICE DEPARTMENT – HALLWAY -- NIGHT]  

(Father Frank Berlin alone sits in the hallway.  Grissom walks down the hallway 
toward him.  From the opposite end of the hallway, officers escort Cody White 
out of the interview room and past Frank Berlin.  Frank gets to his feet.)  

(Cody stops in front of him.)  

CODY WHITE:  You were my friend.  You should have come to me like a man.

(The officers lead Cody away.)  

(Grissom watches them go.  He turns and looks at Frank Berlin.)  

GRISSOM:  Can you forgive him?

FRANK BERLIN:  That's Christ's mandate. You know what that means.

GRISSOM:  You have no choice.

FADE TO BLACK.

==========================
END OF EPISODE
==========================

[Captions sponsored by CBS, CSI Productions, and presented by Toyota.  Captioned 
by Media Access Group at wgbh access.wgbh.org]

Transcript by Intrepid
Beta: DianeM
Courtesy of http://www.kilohoku.com/

Contact the Transcriptionist at (intrepidly002@yahoo.com)

Do not archive this transcript without permission from the Transcriptionist.

==========================
TITLE/OPENING CREDITS 
==========================
CSI: CRIME SCENE INVESTIGATION
7X05:  DOUBLE-CROSS
ORIGINAL AIR DATE ON CBS:  10/19/2006
TRANSCRIBED FROM CBS

Starring:
WILLIAM PETERSEN as Gil Grissom
MARG HELGENBERGER as Catherine Willows

GARY DOURDAN as Warrick Brown
GEORGE EADS as Nick Stokes
JORJA FOX as Sara Sidle

ERIC SZMANDA as Greg Sanders
ROBERT DAVID HALL as Dr. Albert Robbins
LOUISE LOMBARD as Sofia Curtis

and
PAUL GUILFOYLE as Capt. Jim Brass

Created by ANTHONY E. ZUIKER

Special Guest Star
WALLACE LANGHAM as David Hodges

Starring:
SEAN PATRICK FLANERY as Cody White

TIM GUINEE as Father Frank Berlin
MEREDITH MONROE as Sister Bridget
WAYLON PAYNE as Brady Somers

LORNA RAVER as Sister Elizabeth
BLAKE LINDSLEY as Charlotte Danville

Music Composed by:  JOHN M. KEANE
Edited by: AUGIE ROBLES

Production Designer:  RICHARD BERG
Director of Photography:  DAVID STOCKTON

Co-Producer:  PHILIP A. CONSERVA
Co-Producer:  KIM M. CYBULSKI
Co-Producer:  DUSTIN LEE ABRAHAM
Co-Producer:  DAVID RAMBO

Producer:  STEVEN FELDER
Consulting producer:  MARLANE MEYER

Supervising Producer:  SARAH GOLDFINGER
Supervising Producer:  RICHARD J. LEWIS
Co-Executive Producer:  DOUGLAS PETRIE
Co-Executive Producer:  KENNETH FINK
Co-Executive Producer:  LOUIS SHAW MILITO

Executive Producer:  CYNTHIA CHVATAL
Executive Producer:  WILLIAM PETERSEN
Executive Producer:  NAREN SHANKAR
Executive Producer:  JONATHAN LITTMAN

Written by:  MARLANE MEYER
Directed by:  MICHAEL SLOVIS

==========================
END CREDITS 
==========================

Executive Producer:  JERRY BRUCKHEIMER

Executive Producer:  CAROL MENDELSOHN
Executive Producer:  ANTHONY E. ZUIKER
Executive Producer:  ANN DONAHUE

JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Paramount Television

Co Starring:  
JOHN LEE AMES as Marty
ZACH BOSTOM as Young Frank
KENDALL CLEMENT as Sgt. Crawford

Co-Starring:  
JANELLLE GIUMARRA as Candice White
TYLER KING as Young Cody

Co-Starring:  
OLIVIA LEIGH as Young Charlotte
LARRY MITCHELL as Officer Mitchell

Line Producer:  FRANK WALDECK

Co- Producer: BRAD TANENBAUM

Casting by:  ROBERT J. ULRICH, C.S.A.
Casting by:  ERIC DAWSON, C.S.A.
Casting by:  CAROL KRITZER, C.S.A.
Casting Associate:  ANDY HENRY

Original Casting by:  APRIL WEBSTER, C.S.A.

Story Editor:  RICHARD CATALANI
Story Editor:  ALLEN MacDONALD

Unit Production Manager:  STEVEN FELDER

First Assistant Director:  STACY MURPHY
Second Assistant Director:  MICHELLE PARVIN

Art Director:  DANIEL NOVOTNY
Set Decorator:  SARA INGRASSIA
Location Manager:  PAUL WILSON

Construction Coordinator:  ALLAN JOHNSON
Script Supervisor:  PAULA BURKHALTER BARBIER
Production Sound Mixer:  MICK FOWLER

"A" Camera Operator: TIM BEAVERS
Gaffer:  JON HANEY
Key Grip: ROBERT FISCHER 

Property Master:  PAUL BYERS
Transportation Coordinator:  TOM THOMAS
Associate Producer:  CORINNE MARRINAN

Department Make-up Artist:  MELANIE LEVITT
Key Make-Up Artist:  THOMAS HOERBER
Department Head Hair Stylist:  JASEN SICA

Key Hair Stylist: LUMAS HAMILTON
Special Effects Make-Up:  MATTHEW W. MUNGLE / CLINTON WAYNE

Costume Designer:  EILEEN COX BAKER
Costume Supervisor:  ANNE MARIE THOMAS CASADOS
Stunt Coordinator:  JON EPSTEIN

Production Accountant:  ERIC C. PIKE
2nd 2nd Assistant Director:  JASMINE MARIE ALHAMBRA

Senior Technical Consultant:  RICHARD CATALANI
Set Technical Consultant:  LARRY MITCHELL

Special Effects Supervisor:  MARK BYERS
Colorist:  PAUL WESTERBECK
Assistant Editor:  LOUIS BRAVO

Supervising Sound Editor:  MACE MATIOSIAN
Music Editor:  TROY HARDY
Sound Effects Editor:  DAVID VAN SLYKE

Music Supervisor:  JASON ALEXANDER
Re-recording Mixers:  YURI REESE / BILL SMITH

Digital Effects by ZOIC STUDIOS
Visual Effects Supervisor:  ANDREW ORLOFF

High Definition Post Production by THE NEW POST GROUP
Film Laboratories by FOTOKEM

Post Production Sound Services by TODD STUDIOS / SOUNDELUX
Promotional consideration furnished by KODAK

"WHO ARE YOU" By Pete Townshend
Performed by THE WHO

The persons and events portrayed in this film are fictitious.  Any similarity to 
actual persons, living or dead, or any events is unintentional.

(c) MMVI CBS Broadcasting Inc., and Alliance Atlantis Productions, Inc.  All 
Rights Reserved.

CBS Broadcasting Inc, and Alliance Atlantis Productions Inc, are the authors of 
this program for the purposes of copyright and other laws.

cbs.com

Dated:11/05/2006~lky
http://www.kilohoku.com/