Issue link: https://digital.copcomm.com/i/1544119
NOTE: BEADBOARD CEILINGS IN DARK ROOM AND BATHROOM BATHROOM DARKROOM BATHROOM CUT-IN VENT DETAIL TO FOLLOW EXPANSION JOINTS AS PER KAREN AS CONCRETE DOOR DETAIL TO FOLLOW DOOR DETAIL TO FOLLOW CUT-IN VENT DETAIL TO FOLLOW WINDOW DETAIL TO FOLLOW TILEBOARD SIZE DEPENDENT ON SET DEC TUB SIZE 2" BEADBOARD CUT-IN VENT STAIR DETAIL TO FOLLOW STORAGE CABINET AS PER SET DEC CUT-IN VENT CUT-IN VENT PANEL DETAIL TO FOLLOW CABINET DETAIL TO FOLLOW, SINK AS PER SET DEC 2" BEADBOARD BUILT-IN SHELVING DETAIL TO FOLLOW CABINETRY DETAIL TO FOLLOW WINDOW DETAIL TO FOLLOW EP: CRIMINAL MINDS SET #: SHEET: SCALE: DATE: DESIGNER: SET NAME: FILE LOC: STAGE/ SHEET TITLE: SET: 001 BANCROFT MORTUARY BANCROFT MORTUARY PLAN + ELEVATIONS 502 Aug 05 2025 1908 STAGE 7 1 4 " = 1'-0" 08/05/25 CHEYENNE BELL CM_S19_502_REV_BancroftMortuary_Sht001_PlanElevations_CB_V01_250805.pdf CM_S19_502_REV_BancroftMortuary_CB_V01_250805.3dm Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" B E F C D ELEVATION B - EMBALMING ROOM ELEVATION E - EMBALMING ROOM THRU DARK ROOM ELEVATION C - DARK ROOM + BATHROOM ELEVATION D - DARK ROOM + BATHROOM ELEVATION F - EMBALMING ROOM THRU BATHROOM EMBALMING ROOM 10'-0" 3'-6" 3'-0" 6'-8" 11'-9" 10'-0" 10'-0" 5'-6" 3'-0" EMBALMING ROOM 08.05.25 1 BATHROOM BATHROOM DARK ROOM 7'-5" 7'-5" 5'-6" 4'-2" 1'-1" 4'-9" 3'-0" 4'-6" 2'-6" INTERVIEW EXISTING INTERVIEW ROOM 1 A B D G H N C D A B G H C M 3.0 007 J K L 28'-6" 54'-8" 3'-0" FSD - ENTRY DOOR F E F E 05.21.25 51'-6" 8'-0" 8'-0" 12'-0" 3'-6" 5'-0" 3'-6" 10'-9" 43'-3" 1'-0" 6'-0" 1'-0" 6'-0" 10'-6" 12'-6 3 4 " 3'-8" 3'-6 1 4 " 13'-5" O.C. 3'-6 1 4 " 3'-8" 5'-9 3 4 " 8'-0" 1'-6" 5'-0" 1'-6" 30'-2" 1'-6" 3'-11" 5'-0" 3'-11" 1'-6" 3'-11" 5'-0" 3'-11" 1'-6" 16'-0" 3'-6" 5'-0" 3'-6" 3'-0" 1'-0" 14'-0" 4'-6" 5'-0" 4'-6" 10'-4" 8'-0" PLUG FOR INTERROGATION (1903) (1904) often come from collaboration rather than hierarchy. Years ago, when I was an Art Director on a different show, a director asked why we weren't building the rest of a set. My answer was simple: We're too poor. I jokingly suggested he ask the showrunner for more money, as he had more pull than an Art Department that was already penny- pinching at every corner. I was later told by my Production Designer that you should never tell a director they can't afford something or else they'll get very grumpy and may even need a snack. It's a rule I've essentially never followed—for better or worse. On Criminal Minds, those types of practical conversations are not only allowed, they're encouraged. Budget, schedule and sustainability aren't taboo subjects; they're part of the creative process. Since everyone at the table understands the realities of production, we can talk honestly about constraints and work together toward solutions that serve the story without pretending H F C D E G