Sara, whose luck with men I won't ponder at this moment, is back at the park. A train whistles in the distance; at least the powers that be are consistent about the train activity in this town, what with them having been featured prominently in two previous episodes. Sara's walking the same path that Todd must have taken, and as she tramps through the grass, she notices a pattern in the leaves. Sara returns to the edge of the basketball court and begins snapping pictures of the pattern. I don't know what I'm more impressed with: her workaholism, or the fact that the patterns in the leaves are still there a few days and several dozen law enforcement personnel tramping through the area later.
Some time later, she's back at the lab, looking at a map of the park spread over the light table. Gil sidles over and asks, "Where have you been?" Carving "Sara (hearts) Gil 4-ever" into a spare lab bench, maybe? Sara tells him she went back to the park, because she "kept thinking there must be some physical evidence connecting the stabbing to the shooting." She's got it. Gil's amazed: "Drag marks?" Sara explains, "Leading from the basketball court to Stewart Bradley's body. We know Todd was bleeding, but there were no blood drops around the drag marks." "So you're thinking someone else was there?" Gil asks. He then brainstorms, "Well, the revolver was registered to the boy's biological father. But they haven't seen each other in ten years." Sara asks, "Assuming Todd fired the gun, how did he get hold of it?" Gil theorizes that John gave Todd the gun behind Ms. Branson's back; Sara counters that Todd might not be the shooter. Gil concurs, noting that GSR only places Todd around the gunfire; it doesn't definitively make him the shooter. The two of them like John as the shooter.
And heeeeeeere's Johnny. He's an eye-rolling bald guy with a bad attitude. Brass tells him, "You don't scare me. According to your ex-wife, you're some kind of monster, threatening her life, setting her car on fire in Boston and breaking and entering in Chicago, showing up at your kid's school in Portland. I don't know. I thought maybe you'd be like the guy in Sleeping with the Enemy." For those of you who are now wondering, "Speaking of that guy in Sleeping with the Enemy, what's he been up to?" the answer is, "A whole lot of stuff you're not likely to catch unless you're living outside the States." Behold the terrible power of a bad Julia Roberts movie: it exiles people from America and makes them take the lead in an Italian miniseries about Count Dracula. Anyway, Brass moves in a different direction, commenting on how John resembles Gumby, provided you like your Gumbys hairless and glowering. John replies, "If this is about my ex, cop pulled me over outside Moapa. Jane lives in Vegas. I didn't violate any damn court order, all right?" Brass notes that John's pretty familiar with where Jane lives. John shoots back, "Is that a crime?" Brass replies, "Yesterday, your son Todd was murdered, and that is a crime." John stops looking at Brass, focusing on some inner point and reacting to that instead. He does this for a bit, and Brass smacks the table, saying, "HEY! John, baby. I'm not talking about the weather, man. I'm talking about your son." John replies, "I haven't seen that kid since he was in his diapers. I didn't kill him, if that's what you're going to." Brass moves on to Stewart Bradley, noting, "He was shot with your gun." John asks, "Which one?" Brass is all, "Revolver. Smith & Wesson." John insists that he doesn't have a Smith & Wesson, and Brass tells him the gun is registered to him. John says it got stolen, and Brass hassles him over not filing a police report. He then spins a scenario in which John gulls Todd into bringing Stewart to the park, but John whips out a receipt proving that he was in Taos, New Mexico the night of the murder. Gil wanders in to see John's hands, which are clean of burns, and after they agree to hold John on some outstanding speeding tickets until a better suspect comes along, John is escorted out of the episode.
Some time later, Gil's power-walking through the Labitrail until he gets to the library/lounge area where Sara and Warrick are hanging. Gil leans over Warrick and asks without preamble, "What do you weigh?" It's a testament to how familiar Gil's odd questions are that Warrick doesn't even react when he deadpans, "That's between me and my trainer." Gil testily asks, "Do I have to get a scale?" Warrick caves: "A buck ninety-five, give or take a doughnut." Gil turns to Sara, who says, without looking up from whatever she's reading, "Don't even ask." Gil then turns back to Warrick and asks, "Warrick, would you lie down on the floor?" Warrick doesn't look up from whatever he's writing to reply, "I don't get paid enough to play dead." "Please?" Gil persists. Heh. I have the feeling the staff does this to him for kicks. Warrick puts down his pen and sighs. Sara smirks slightly, and then Gil pulls her into the act. "Sara, grab Warrick's right arm. See if you can drag him across the room." Sara asks, "This has something to do with the case, right?" Oh, who cares if it does? If you get the opportunity to drag Warrick anywhere, woman, take it! Gil manipulates Sara into doing his bidding by asking, "You don't trust me?" Sara drags Warrick. Gil stands there as, off-camera, Warrick groans, "You're such a drag," and Sara laughs.