The camera zooms in on one of the artist's renderings -- a blonde woman, infantilized to look like a lewd, terrified Shirley Temple and clearly being regarded from her assailer's perspective -- and then transitions onto the pictures of the victims. Warrick and Catherine try to look for connections between the many victims: "Janet and Marsha both lived in Dakin Hall. Charlene and Debby took Econ 101. Marsha and Debbie took English lit. Janet, Debby and Kaitlin all ate at McGraw dining hall. Janet dated Cody Lewis, Kaitlin took his art class…" What is this, "88 Lines About 44 Victims"? Catherine concludes that none of the women had anything in common, other than their killer.

Gil heads out to the van and slides in the driver's seat, the better to understand the killer's perspective. He imagines the muffled pleas of the victims, and their subsequent brutalization. The camera snaps out of flashback and onto Gil's face. Either's he's all resolute now, or he's come to some sort of insightful conclusion, or he's fallen asleep with his eyes open.

Sara's downstairs filling out paperwork. I can't quite make out what the heading is on the form, but it's divvied into five categories: paraphelic, demographiv, situational, relational, [something of] perception. Her partial answers: "rape with foreign object," "young, caucasian, long hair," "small, temporary, mobile space," "fear-based, depersonalized," "dominant, disassociative." We see more of the comic art, none of which repudiates any of Sara's assessment. I can't help but suspect that there's some reason that TPTB gave Sara, the one CSI with a track record of not shrugging off violent crimes against women, the solo task of logging this misogynist tripe.