Sara continues to work the room. Using an ALS, she notices semen on the bed sheets. A quick check under the mattress reveals a stash of department-store ads in which little boys are modeling clothing. And this is how we conclude that Robbie's a homosexual pedophile.
And now it's time for us to meet Adam Trent, multiple suicide attempter. He's busy smirking at Gil. After Gil asks what's so amusing, Adam says, "So let's say you find out who did it. Maybe it's me. What are you going to do? Are you going to convict me of murder and put me in a bad place?" By the way, multiple-rapist Adam is also prone to delusions. Gil refuses to play the what-if game, and just asks, "Is it you?" Adam quips, "Check the files, sir. I'm a rapist, not a murderer."
Brass is now interviewing a scary-looking old guy who's fastened to the chair with padded leather cuffs. He's all, "Robert Garson?" This rings no bells for the taciturn Roman Golenski.
The pederast Charles Pellew is next up on Gil's docket. He responds to the question, "Do you know what happened to Robert Garson?" thusly: "Female pig relation hanged. It sped even. Well, too." Gil's all, "Come again?" Charles replies, "No…I ground it, blindly. Wet and dirty. Cut the blood oven. It spoke justly, repeatedly, calmly. Some thin rod dared your wash. They foretold this into some ready child, which fell crossly. They hag-rode me…again." Gil's wearing an expression like, "Well it's no wonder Chomsky ditched generative grammar for the transformational stuff. 'Colorless green ideas sleep furiously' has nothing on this."
And now, Brass gets to interview a racist. It's almost like watching Oz all over again. Naturally, Jake's been tagged as anti-social. The ritual murder rap probably didn't do much to convince the jury he was really a people person with an unfortunate, albeit talentless, bent toward performance art.
Sara, meanwhile, continues wandering alone throughout this hospital filled with free-roaming inmates whose eggshell psyches can't handle a bulletproof vest. You don't suppose we're supposed to feel concern about this, do you? Sara rolls on up to Dr. Dino's office. Dino's taking advantage of the inmates' diversion elsewhere to catch up on paperwork. Sara asks, "Question about the victim. I have heard that in some cases of deviant sexual disposition, you slow the sex drive --" "If you're talking about chemical castration, the answer is yes, Robbie was," Dr. Dino interrupts. Sara asks, "So he didn't masturbate?" Dr. Dino clarifies, "Masturbate, yes. Ejaculate, no." Sara says slowly, "So the semen I found in his bed is someone else's?" "Likely," Dr. Dino says. I would say I like her, but I can't figure out if I find this character so appealing because of the way she's been drawn for us (no-nonsense, blunt, amiable) or because I dig the actress's work on Deadwood. Sara scampers off to tell Brass and Gil, "I found semen in the victim's room, and it's probably not his, because he's chemically castrated." "So you're thinking the donor could be the killer?" Brass asks. Gil still looks like he's struggling to reconcile Charles's speech with the theories of cognitive linguistics. He recovers enough to say, "Sex is the foreplay. Violence is the climax." Unfortunately, Sara's face is hidden by her hair, so we can't see if she's got a look like, Whew, I dodged a bullet on the dating scene there.