When a teenager and her sister are the sole survivors of the gruesome murder of four members of one family in a quiet suburban neighborhood, Grissom and his entire team investigate the crime. What initially looks like a bizarre cult murder becomes more disturbing when they discover the motive behind the massacre.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT] [EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT] WHITE FLASH TO: [SCENE_BREAK] [EXT. COLLINS' HOUSE - NIGHT] (Camera opens on the front of the Collins' mail box. The sprinkler system is on.) (Camera pushes in slowly to the bunny lawn decorations near the mail box.) (The sprinkler system shuts off.) (After a moment, the front door opens and a woman screams.) Tina Collins: (screaming) Help me! (TINA COLLINS runs out of the house.) Tina Collins: (screaming) Oh, god, help me! Somebody, please! Please ... oh, god! Somebody help me! (TINA COLLINS runs across the front lawn and out into the street, still screaming at the top of her lungs.) Tina Collins: Please! Help me! Help me! (She runs to the next door neighbor's, the lights in the house having turned on at the screams.) Tina Collins: Help me! Help me! Please! (She reaches the front door and starts pounding on it.) Cue Sound: (PRELAP) AMBULANCE SIREN WAILING [SCENE_BREAK] [EXT. NEIGHBORHOOLD - NIGHT -- CONTINUOUS] (Emergency vehicles and Officer cars surround the house. GRISSOM drives up to the scene, the dispatch radio on in his car.) (GRISSOM parks the car and exits the vehicle. He meets up with DET. O'RILEY. They head for the house.) Grissom: Hey. Det. O'Riley: Heads up. The press is going to be all over this one. Grissom: Did the count change since you called me? Det. O'Riley: Four dead: Mother, father, two teenage boys. The sisters were luckier. (He points to a girl talking with an officer off to the side. She has a blanket wrapped around her.) Det. O'Riley: Teen girl heard a noise, hid in the closet. Alerted the neighbors after all the shouting was done. (He points to a little girl sitting in the front seat of the police car.) Det. O'Riley: Younger sister's over there. They couldn't have killed their father tag team -- soaking wet. (GRISSOM looks at the house and sees an OFFICER run out of the house, a handkerchief pressed tightly to his mouth. He rushes toward the bushes at the side of the house to throw up.) Grissom: What's the matter with your guys? Det. O'Riley: They've been inside. (DET. O'RILEY puts his notebook into his coat pocket and walks away.) (Grimly, GRISSOM stares at the house. He sighs.) HARD CUT TO: END OF TEASER ROLL TITLE CREDITS [SCENE_BREAK] [EXT. COLLINS HOUSE - NEAR FRONT DOOR -- NIGHT] (GRISSOM and SHIBLEY walk toward the open front door.) Grissom: Put your equipment down, son. (SHIBLEY puts his kit down. GRISSOM signs in and hands the board back to the officer at the door. He hands a pair of latex gloves to SHIBLEY. GRISSOM'S thoughts are at what lies beyond. GRISSOM puts his own gloves up.) Grissom: Put these on. I'm going to do a preliminary walk-through. You're going to take my notes. [SCENE_BREAK] [INT. COLLINS' HOUSE - FRONT DOOR - NIGHT - CONTINUOUS] (GRISSOM and SHIBELY walk inside.) (GRISSOM looks around. He sees the framed family photograph on the wall.) (SHIBLEY also looks around and sees the light switch. He moves to turn it on. GRISSOM stops him.) Grissom: Don't touch that! I want everything exactly the way it was. (SHIBLEY withdraws. GRISSOM looks around and sees the stairs leading up to the second floor. On the way up, they pass more framed family photographs hanging on the wall.) Grissom: The air smells like copper. Lots of blood. Breathe through your mouth. Shibley: Yes, sir. (On the stairway, they pass a statue of a rabbit in front of a photograph of rabbits.) (They reach the second floor.) [SCENE_BREAK] [INT. COLLINS HOUSE - SECOND FLOOR - HALLWAY - NIGHT -- CONTINUOUS] (The first thing they see down the hallway is a pair of feet of the first dead body. There is blood spatter on the hallway walls. GRISSOM turns the corner and looks down at the body.) Grissom: Male caucasian approximately 40 years old lying in a pool of blood. (GRISSOM walks cautiously around the body. SHIBLEY appears and takes a look at the body as he writes. GRISSOM kneels down next to the body.) Grissom: No drag marks. Body does not appear to have been moved. Multiple stab wounds to the back and neck. Looks like a single-edged blade. Force to such a degree that the left and right internal jugular veins have been transected. Head faces west. Feet pointing east. Approximately two feet from the north wall, one foot from the south. Shibley: (swallows as he's getting sick) Could ... could you take your own notes? I think that I'm going to be sick. (Behind him, SARA appears. She looks at SHIBLEY and grabs the clipboard from him.) Sara: I got it. Go get some fresh air. (SHIBLEY leaves, coughing as he goes. GRISSOM stares at SARA.) Sara: I heard on the scanner. Quadruple. Figured you might need a hand. Grissom: You don't sleep, do you? Sara: (shakes her head, unoffended) No. (GRISSOM turns back to look around. SARA also looks around and latches on the bullseye symbol on the wall.) Sara: Blood swirl on the wall. Are you thinking cult? Manson? Grissom: (shakes his head, he doesn't know) Somebody left a message. I need to see the rest of it. (GRISSOM looks around.) [SCENE_BREAK] [INT. COLLINS HOUSE - SECOND FLOOR - MASTER BEDROOM - NIGHT -- CONTINUOUS] (GRISSOM and SARA walk into the Master Bedroom. They walk toward the bed. On the bed, Mrs. Collins is dead.) (GRISSOM recites; SARA writes.) Grissom: Female Caucasian. Appears to be one stab wound to the throat. Transection of left and right carotid arteries with exsanguinating hemorrhage. No defense marks. Cursory opinion: She was killed in her sleep. (SARA looks around. Listening. GRISSOM also stops and looks around. In the silence, they can hear it. Something's dripping.) (They both lean in toward the body.) (Her blood hasn't clotted and is dripping down her fingertips to the floor.) Grissom: (sighs) Do you feel this? Sara: (nods) (quietly) Her soul's still in the room. Grissom: But there's something else. [SCENE_BREAK] [EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS] (SARA takes a picture of the dead woman. GRISSOM walks out of the room and down the hall. He follows the blood spatter on the floor back to the body of MR. COLLINS.) (GRISSOM stops in front of the door that MR. COLLINS is in front of. It's BRENDA'S room. GRISSOM pushes the door open and walks into the room. He looks around. It appears to be a normal little girl's room.) (Cut to: GRISSOM pushes the door open and walks into the sons' room. One of the boys is dead on the bed. GRISSOM lifts the sheet and looks underneath.) (He checks the windows.) (He looks at the other empty bed in the room. On the mirror is another bull's eye symbol. GRISSOM walks toward it and looks at it.) (In the mirror's reflection, he finds the second son's body on the floor between the bed and the wall. He turns around to look at the body. The little boy was stabbed in the back. GRISSOM looks up and sees two bloodied hand prints on the wall. He closes his eyes at the sight.) SHORT TIME CUT TO: [SCENE_BREAK] [EXT. COLLINS' RESIDENCE - NIGHT -- CONTINUOUS] (GRISSOM walks out of the house. He walks up to DET. O'RILEY.) Det. O'Riley: You want a barf bag? Grissom: (firmly) I want the paramedics that were in this house back here immediately -- police escort. Get them on this front lawn now. (GRISSOM walks up to the next OFFICER.) DET. O'RIELY: You'd think I work for you instead of the other way around. Grissom: (to the OFFICER) Call dispatch. You tell my entire graveyard shift that I want them here ASAP -- all of them-- no exceptions. (The OFFICER leaves. GRISSOM turns to look at SARA.) Grissom: Sara, those photos -- blown up times ten. Tell the lab that we need every forensics tool available to us here right away. This is the only crime scene in Las Vegas tonight. Sara: Yes, sir. (GRISSOM turns and walks away.) [SCENE_BREAK] [EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS] (A reporter standing outside the house gives her news report.) Reporter 1 (woman): The fear in this neighborhood just South of Las Vegas Boulevard is almost palpable. Scott Collins, his wife and two sons were brutally murdered in their beds. (Camera moves past the woman reporter to another woman reporter behind her ... ) Reporter 2 (woman): ... the murder of four innocent ... (Camera moves past the camera view screen for the first reporter ... ) Reporter 1 (woman): Authorities thus far have offered no comment fueling the fears of the neighbors that a killer is on the loose. Reporter 3 (man): (o.s.) ... A multiple murder. And we will have more on this ... (Camera lingers on the neighbors standing outside and watching.) [SCENE_BREAK] [EXT. COLLINS HOUSE - FRONT LAWN - NIGHT -- CONTINUOUS] (GRISSOM walks up to DET. O'RILEY who is talking with TINA COLLINS.) Det. O'Riley: It's okay. We'll give you clothes. The lab guys just want to see yours. Grissom: Sergeant, may I? (DET. O'RILEY steps aside. GRISSOM looks at TINA.) Grissom: Tina ... I'm very sorry about what happened to you tonight. But everything we take from your house can help us find out what happened to your family. Tina Collins: (crying) When can I be with my sister? She's so scared. (TINA looks over at BRENDA who is sitting quietly in the front of the police car.) Grissom: Soon. Detective? (A woman detective steps up to stand next to TINA COLLINS. GRISSOM turns and heads for the police car.) [SCENE_BREAK] [EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS] (GRISSOM walks up to the police car.) Grissom: (to the OFFICER) Thanks. (The OFFICER steps aside and GRISSOM kneels down in front of BRENDA COLLINS. BRENDA doesn't look at GRISSOM.) Grissom: Hi. Is your name Brenda? (BRENDA blinks, then looks at GRISSOM.) Grissom: I'm trying to find out who hurt your family. Do you think you could help me? Did anyone come into your room tonight? Through the door? Through the window maybe? (BRENDA doesn't say anything.) Grissom: (nods) Okay. (GRISSOM stands up and turns to leave. BRENDA stops him.) Brenda Collins: (softly) The buffalo. (GRISSOM turns around to look at BRENDA. He kneels back down in front of her.) Grissom: The buffalo? Who's the buffalo? (BRENDA doesn't respond. And she doesn't look at GRISSOM.) Grissom: Brenda? (Sensing he's not going to get any more from her, he stands up and leaves. BRENDA watches him go.) BLUR OUT TO: [SCENE_BREAK] [EXT. COLLINS RESIDENCE - NIGHT - SHORT TIME LATER] (GRISSOM walks up to NICK, CATHERINE and WARRICK.) Grissom: First rule for this crime scene: Do not do any interviews. Second rule: Don't talk to the Sheriff either. Warrick: Media have it right? Four dead? Grissom: The killer was here not two hours ago. He left part of himself behind. Catherine, I need you inside, mapping and blood samples. Catherine: You got it. Grissom: Nick, Warrick-- the perimeter. I want to know how he got here how he got in, how he got out, and how he left. Nick: I'll take the back. Warrick, you get the front? Warrick: You got it. (Cut to: A blurry image of the American flag.) (Cut to: Various shots of the spectators standing around watching.) (Cut to: The media crowd out in the front lawn.) (GRISSOM heads back into the house.) (Cut to: DET. O'RILEY stands next to REPORTER 1 (WOMAN). He looks up when someone calls his name.) Officer: (o.s.) Hey, O'Riley, Grissom wants to see you. (He ducks under the crime scene tape and heads back toward the house.) [SCENE_BREAK] [INT. COLLINS HOUSE - KITCHEN -- NIGHT] (GRISSOM walks cautiously in the kitchen. DET. O'RILEY walks into the kitchen.) Det. O'Riley: They said you were looking for me. Grissom: Hey, stop! Evidence! (DET. O'RILEY stops and changes his course, staying off of the main floor and on the sides of the room.) Det. O'Riley: We got to hug the wall? This is the only room with no blood in it. There's nothing to disturb. Grissom: You guys will never get it, will you? (GRISSOM continues to look around and notices the open knife drawer. He reaches over and pulls it open. Grissom: Knife drawer. One missing. Det. O'Riley: It's the only drawer open. The killer knew where they were going. Grissom: I think the suspect's been in this house before. And this is the first place they stopped tonight. (GRISSOM looks down at the floor.) Grissom: Good. Linoleum. The best surface. Det. O'Riley: Best surface for what? WHITE FLASH TO: (GRISSOM is on his hands and knees mere inches from the floor holding a special light. He finds some shoe prints.) (Short time cut to: GRISSOM has the print lifter on the floor.) Det. O'Riley: (o.s.) You guys got some toys ... Grissom: It's not a toy, O'Riley. It's an electrostatic dust print lifter. Det. O'Riley: Okay ... Grissom: Like a supercharged lint remover only it lifts footprints. Possibly our killer's. (GRISSOM flips the sheet over and on the other side is a clear image of the shoe print.) [SCENE_BREAK] [EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS] (GRISSOM questions the paramedics.) EMS #1: We did everything by the book, sir. Grissom: Relax. I just want to know where you walked in the house and who you touched in there. EMS #1: Well, we did use the main entry, and up the stairs. But once we saw the husband, we grabbed the walls. I felt the pulses in each room. Once I found they were dead, we booked. Grissom: Show me the bottom of your shoe. (GRISSOM takes the shoe print and checks it against the EMS's.) (The first one is not a match.) Grissom: Now yours. (The second EMS's shoes match the prints found in the kitchen. He stands up.) Grissom: You fellows were both in the kitchen. EMS #1: We didn't see any bodies in there so I didn't think twice about walking on the surface. Grissom: All right. Yours are the only clean prints I found. Thanks. You can go back to work. (The paramedics leave. DET. O'RILEY walks up to GRISSOM.) Det. O'Riley: News bim's waiting for you. Thinks you have an "interesting look." (GRISSOM looks over at the media hanging just outside the crime scene tape.) Reporter 1 (woman): Any truth to the rumor that a cult may have committed these crimes? Grissom: I don't know that. Reporter 1 (woman): But you wouldn't rule it out? Grissom: I don't rule anything out. (That small tidbid seemed to satisfy the news media. From behind him, someone calls him.) Sheriff Brian Mobley: Grissom. Grissom: Sheriff? Sheriff Brian Mobley: The mayor has already called. So what have you got? Grissom: Nothing. Sheriff Brian Mobley: I'm not asking you to lay out your whole case. Just give me something I can run with. I have got to feed the press and defuse the panic. Grissom: As soon as I have something, you'll have something. Sheriff Brian Mobley: Here's a thought. Why don't you try being more like Ecklie? Grissom: I could speak volumes about Conrad Ecklie, but I have a crime scene to process so ... you'll have to excuse me. Reporter 1 (woman): Sheriff, can you tell me what went on inside? (SHERIFF walks over to the media and talks with them.) Sheriff Brian Mobley: Let me assure everyone that the situation is well under control. We don't have any suspects at this time, but our forensic crew ... (Still sitting in the front of the police car and temporarily forgotten is BRENDA COLLINS. GRISSOM walks over to SARA.) Sara: You want me inside? Grissom: I need you to transport the little girl to the police department. Brass is waiting for you. Sara: You're kidding me, right? I'm a taxi service on the biggest case of the year? Grissom: Sara ... I need one of us with that little girl. (GRISSOM turns and walks back into the house leaving SARA with her mouth gaping.) [SCENE_BREAK] [EXT. COLLINS HOUSE - YARD -- DAY] (WARRICK finds some tire prints in the dirt. He checks the dirt.) (Cut to: A bunny yard decoration.) (NICK stands in the entryway taking pictures of something he's found just outside the door.) [SCENE_BREAK] [INT. COLLINS HOUSE - MASTER BEDROOM - DAY] (Camera opens on small framed photographs on the bedside table. Camera moves over to show the bloodstained bedsheets, the body has already been removed.) (CATHERINE takes a sample of the blood found on the bed.) (Cut to: [EXT. ENTRYWAY] NICK steps just outside the entryway and sees a bidi in the bushes. He takes a photograph of it.) (Cut to: [EXT. YARD] WARRICK takes photographs of the tire prints in the dirt.) (Cut to: [INT. SECOND FLOOR HALLWAY] CATHERINE takes another blood sample from the hallway floor.) (Cut to: [EXT. ENTRYWAY] NICK picks up the bidi from the bushes and looks at it. He puts it in a bindle. He looks down and finds a used match. He picks that up also.) (Cut to: [INT. SECOND FLOOR BOYS' BEDROOM] CATHERINE takes a blood sample from the hand prints on the wall. She turns around and watches the CORONERS' remove one of the boys' bodies.) [SCENE_BREAK] [INT. COLLINS HOUSE - FIRST FLOOR - DAY -- CONTINUOUS] (GRISSOM watches as the body is brought down the stairs by the CORONERS. GRISSOM walks up to DAVID PHILLIPS.) Grissom: I want to see all of their personal property -- clothes, jewelry, whatever they have on. David Phillips: If there's something under all this blood you'll be the first to know. (DAVID turns to leave with the bodies. NICK stands in the doorway and lifts up the sheet to one of the little boy's bodies. He looks under it and puts it down. He looks at GRISSOM and sighs.) Nick: (upset) This kid should be out playing Pop Warner. (NICK heads back outside and hits the door with his fist in frustration. GRISSOM doesn't say anything, but watches NICK.) [SCENE_BREAK] [EXT. VARIOUS FRONT LAWN SCENES - DAY -- CONTINUOUS] [SCENE_BREAK] [INT. COLLINS HOUSE - MASTER BEDROOM - DAY -- CONTINUOUS] (CATHERINE reports to GRISSOM.) Catherine: I got the blood samples on the way to the lab. Grissom: Good. You buy this cult thing? Catherine: You mean the blood swirls next to the father's body in the boys' room? (CATHERINE shakes her head.) Catherine: I studied pictures of the Manson Murders. This isn't butter. It's imitation. (GRISSOM nods in agreement.) Catherine: What's your take? Grissom: Whoever did it killed the mother first. In her sleep, quick. Catherine: Explains why the blood is confined to the bed and the floor under it. Grissom: Husband woke up. Ran to protect his kids. (They start walking out of the bedroom as GRISSOM narrates.) Grissom: The killer nicked him here. And then finished him off down the hall. Catherine: Gave his life for the little girl. There should be more blood. Grissom: Yeah. It's a hole. We need to fill it. If we start from the inside and fan out whoever's left at the scene ... Catherine: The first suspect. Grissom: The teen daughter? Catherine: Well, she'd need help. Maybe a boyfriend? Grissom: (thoughtful) I wonder if they call him "buffalo." [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (Camera close up of BRENDA COLLINS drawing. She's using the black crayon and vigorously coloring.) Sara: (o.s.) Look, brass, I don't see why I got to take her. I'm a scientist. Catherine's the mom. Ask her. Brass: O'Riley was primary on this till it passed over to me. Big deal. Sara: What about Family Services? Can't they take her? Brass: They sent their caseworker over to the hospital so meet her there with the kid. Sara: I am not good with kids. Brass: Look, I'm not asking you to adopt her. Just take her over to sunrise for a Psych Eval, will you? (BRASS turns and walks away.) (SARA looks at BRENDA and walks over to her. She glances back at BRASS, then kneels and looks at what BRENDA'S coloring.) Sara: That's very pretty. (BRENDA grabs the pink crayon and starts scratching out the picture.) Sara: Or not. (BRENDA puts the crayon down.) Sara: Want to go for another ride? (Without saying anything, BRENDA pushes the paper and all the crayons off the table and onto the floor. She puts her hands flat against her ears.) Sara: I'll take that as a "yes." [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (BRASS and GRISSOM interview TINA COLLINS.) Brass: Tina, do you know what time you heard those noises? Tina Collins: No, but they sounded like footsteps coming from the kitchen. Brass: And that's when you hid in the closet? Tina Collins: Yes. Brass: Does your family normally keep the doors locked at night? Tina Collins: I don't know. My dad checks the house at night. It's always been a safe neighborhood. Grissom: Tina ... do you ... go out with anyone special? Tina Collins: I hook up with different guys. No one special. Grissom: Are any of them ... called "Buffalo"? (TINA doesn't look at them. BRASS notices this immediately.) Tina Collins: "Buffalo"? No. (GRISSOM notices it also.) Brass: How about this, Tina? You live in a house with six people, right? You must be used to hearing footsteps in the kitchen late at night. Why so scared last night? Tina Collins: I know my brothers' footsteps. And my Dad's. These were different. [SCENE_BREAK] [EXT. COLLINS HOUSE -- DAY] (NICK and WARRICK kneel down looking at the tire print in the dirt.) Nick: How do you know it's fresh? Warrick: I checked the sprinkler system. It goes off every night at zero-two hundred (0200). Nick: (nods) And paramedics pronounced at oh-two-forty (0240). (WARRICK starts mixing the plaster cast.) Warrick: So somebody came out of the house and got on what looks to be a step down from a motorcycle and drove it across the lawn. Nick: And I bet he dropped the bidi I found in the back on the way out. Grissom: Bidi? Nick: Yeah. Those hand-rolled cigarettes? Probably a teenager. They're always taking shortcuts. Warrick: How's that hand? Nick: Hmm? Warrick: I saw you beating up the door a little while ago. You all right? Nick: Yeah. It's cool. I'll see you back at the lab. (NICK stands up and leaves. WARRICK takes the mixture and starts pouring it into the tire print.) [SCENE_BREAK] [INT. HOSPITAL - HALLWAY -- DAY] (BRENDA COLLINS walks out into the hallway holding onto DR. LEEVER'S hand, a pink stuffed toy in her other arm.) Sara: Hey, Brenda. (DR. LEEVER and BRENDA meet up with SARA and the FAMILY SERVICES REP, CONNIE BELLVUE. They both stand up.) Dr. Leever: Which one of you is with Family Services? Connie Bellvue: I am. Connie Bellvue. Dr. Leever: (to CONNIE BELLVUE) Brenda's fine but I'd like her to have a consult. I've paged the psychiatric resident. Should be here within the hour. (DR. LEEVER completely ignores SARA. He turns and leaves. CONNIE BELLVUE steps up next to BRENDA and puts her hand on the little girl in a possessive manner.) Connie Bellvue: (dismissing to SARA) Thanks. I'll take it from here. Sara: What ... what's the head exam for? (BRENDA starts playing with her hair. CONNIE BELLVUE doesn't answer SARA'S question.) Connie Bellvue: I said ... we'll take it from here. Sara: (insistent) Look, if there's any forensic evidence found during this exam, I need to be there. Connie Bellvue: (quietly dismissing) It's already going to be tense. (BRENDA quietly steps away from CONNIE BELLVUE and around to SARA'S other side, the side with her gun. She grabs the back of SARA'S jacket, which is tied around her waist, and starts tugging it to get SARA'S attention.) Connie Bellvue: (continuous) Go back to your crime lab. I'll keep you posted. (SARA looks down at BRENDA, who is now looking up directly at SARA. Her choice unmistakable. SARA puts her arm around the little girl and nods.) Sara: (soothing) It's okay, Brenda. (Though still talking to BRENDA, SARA looks at CONNIE BELLVUE.) Sara: (firmly) I'm not leaving you. (Camera holds on BRENDA as she looks at CONNIE BELLVUE.) [SCENE_BREAK] [INT. COLLINS HOUSE - MASTER BEDROOM -- DAY] (Camera opens on the photographs tucked into the frame of the vanity mirror. Through its reflection, we see CATHERINE back inside the master bedroom with a clipboard in her hand.) (Camera moves back to focus on a picture of BRENDA sitting at a soda pop counter and smiling for the camera.) (Cut to: [HALLWAY -- DAY] CATHERINE starts mapping the blood spatter in the hallway. She puts down evidence marker #1 and takes a photograph of it.) (Cut to: [DAY] She puts down evidence markers #3 and #2. She takes a photograph of evidence marker #2. She takes photos of evidence marker #3. She takes photos of evidence marker #4. She takes the photo and looks out at the hallway.) (Cut to: [LATE DAY] CATHERINE is still in the hallway, crouching between evidence markers #2 and #3. Down the hallway near the bullseye are evidence markers #4 and #5. CATHERINE picks up her clipboard and works on the photos. She writes on the photo with evidence marker #5, "Spatter found opp ... ". CATHERINE looks out down the hallway.) (Cut to: [EVENING] CATHERINE finishes mapping out the blood on a plastic architectural layout of the second floor.) (Dissolve to: [NIGHT] CATHEIRNE sits on the floor in the door way to one of the bedrooms, looking out at the blood spatter in the hallway; the evidence markers are removed. She continues to work. The clock chimes. She looks around at the sound and checks her watch. She finally realizes how late it is.) Catherine: (grimaces) Linds. (CATHERINE puts her things aside and scrambles to her feet.) [SCENE_BREAK] [INT. CSI - LAB -- NIGHT] (GRISSOM is in the lab examining TINA'S clothes. He turns on the ALS and cuts the top lights off.) (Off to the side, there's a thud ... and a curse.) Warrick: Damn! Grissom: (without looking up) That you, Warrick? (WARRICK walks up to GRISSOM.) Warrick: You need to tell somebody when you're cutting the lights. Grissom: What, are you working for OSHA now? Warrick: Grissom, you remember those tire treads ... I found on the front lawn? Grissom: mm-hmm. Warrick: Well, I ran them through the FBI register and they belong to a '93 Honda scooter. Grissom: That's good. Warrick: I DMV'd it. A kid four blocks away from the scene owns the same make. Grissom: That's very good. Warrick: I might have just blown open the case and all you give me is a "that's very good"? (GRISSOM looks up at WARRICK, changing the subject completely.) Grissom: If your whole family was murdered, wouldn't you run to them to check to see if they were still alive? Warrick: Yeah. (GRISSOM goes back to examining the clothes. He doesn't find it and gives up.) Grissom: This is a Lady Macbeth. Warrick: Lady Macbeth? (GRISSOM turns the lights back on.) Grissom: "Out, out, damn spot." There's not a trace of blood on the teen daughter's clothing. Not a spot. [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - NIGHT] [SCENE_BREAK] [INT. WILLOWS' HOUSE - LIVING ROOM -- NIGHT] (CATHERINE walks into the house.) Catherine: Linds? Lindsey? (CATHERINE walks into the house looking for her daughter.) Catherine: Lindsey ... Lindsey. (CATHERINE walks into the family room and finds LINDSEY on the floor next to EDDIE, both listening to vinyl record albums.) Catherine: Hi, honey! Lindsey Willows: Mommy, hi! (LINDSEY stands up and gives CATHERINE a hug.) Catherine: Oh, am I glad to see you. (EDDIE gets up and turns off the stereo.) Lindsey: Daddy came to ballet tonight. Catherine: I know. I was just there. Your teacher told me daddy came to pick you up. Oh, you feel so good. (CATHERINE puts LINDSEY down and turns to look at EDDIE.) Catherine: Ed ... I'm working this quadruple. Time got away from me. I apologize. Eddie Willows: I figured that's probably what it was. Catherine: Right. Eddie Willows: When they couldn't reach you, they called me. Catherine: Yeah. Thank you. I really, really ... Eddie Willows: Cath, Cath, Cath ... she's my kid too, okay? All right? Catherine: Yeah. (EDDIE moves around CATHERINE and starts massaging her shoulders.) Catherine: (sighs) Oh, god. Eddie Willows: So, the case is bad? I saw it on the news. Catherine: Yeah. Eddie Willows: Hey. (He stops, turns her around and looks at her.) Catherine: What? Eddie Willows: Are you hungry? I made pancakes. Catherine: You made pancakes? Eddie Willows: Mm-hmm. Catherine: (chuckles) For dinner? Eddie Willows: Yeah. (CATHERINE'S pager beeps. She checks it.) Catherine: That would be Grissom. Eddie Willows: How is your boyfriend? Catherine: (sighs, unamused) Ed. INTERCUT WITH: [INT. CSI - GRISSOM'S OFFICE - NIGHT] (The phone rings. GRISSOM answers it.) Grissom: (to phone) Yeah. I need you back here right away. The Collins Case is busting out. Catherine: Okay, I'll be right there. Just let me put on some clean clothes. Grissom: Please do. (GRISSOM hangs up.) (CATHERINE turns to look at EDDIE, who leans against the door frame.) Catherine: Eddie ... Eddie Willows: She's going to ask where you are. Catherine: (sighs) She always does. (CATHERINE walks away.) [SCENE_BREAK] [INT. CSI - HALLWAY -- NIGHT] (GRISSOM walks through the hallway and promptly runs into CONRAD ECKLIE.) Grissom: Mr. Ecklie. Conrad Ecklie: I just got off the phone with the Sheriff. He wants results, Gil. Grissom: He should go to a sports book. I hear the Stardust is good. Conrad Ecklie: No. What he should do is go to his first team-- my team. Grissom: Teams, Conrad? I didn't know this was a competition. Conrad Ecklie: Well, it is, and my crew usually wins. Grissom: Really? Didn't graveyard beat day shift in softball last summer? Conrad Ecklie: You know, you can joke all you want. It's your ass on the line. (GRISSOM heads down the hallway and turns around to glance back at ECKLIE.) Grissom: (rubbing it in) I think it was 14-3. Conrad Ecklie: Like I said, it's all about results. And, if you don't get them I will. [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT] (WARRICK and BRASS interview OLIVER.) Warrick: The tire treads from the scooter place you at the scene of the murders. Oliver: Look, I was in Hoover visiting my father. I don't know anything about Tina's parents getting killed. Warrick: Tina's parents? So you know Tina Collins? Oliver: Yeah, I know her. A lot of guys know her. She's a freak. Warrick: You mean sexually? Oliver: Yeah. Warrick: Where's your scooter now? Oliver: I told him I don't know. Brass: So it just disappeared? Oliver: Look, it costs money, right? And my dad's been slacking on support so I bought it with three other guys. We share it. Brass: Here's a pen. Start writing. (BRASS puts the pen down on the table in front of OLIVER. OLIVER grabs the pen and pulls the paper toward him. He starts writing.) [SCENE_BREAK] [INT. CSI - BREAK ROOM -- NIGHT] (The door opens and SARA walks in to join the meeting.) Sara: Hey, heard you have a suspect. Warrick: We got about four just on the tire prints alone. Homicide's grabbing them up. Grissom: Let's talk about what else we have. Tina Collins' pajama top from the murder scene without a drop of blood on it. (SARA grabs a plate of food and takes a seat.) Sara: Hello. How does she explain that? Catherine: We're about to go ask her. Nick, what did you find out about that stuff that you collected at the back of the house? Nick: The bidi? DNA's still processing but Tina said nobody in the family smoked. Sara: So a non-family member was out there. Grissom: Bidi? Bidi? I thought you found a cigarette and a match behind the house. Nick: Well, it's just like a cigarette. Sara: Kids smoke them. They think there's less carbon monoxide. Grissom: What did you find out about the psych exam on the little girl? Sara: The shrink says the kid is in a catatonic state from a trauma. I could've told you that. But she did respond to the name "Buffalo." Grissom: Respond how? Sara: She freaked out. (CATHERINE stares at SARA and takes a deep breath.) Grissom: And ... what are you doing about it now? (SARA nods as she looks at GRISSOM.) Sara: Going back to the girl. (beat) Sara: I left her in the car. (GRISSOM looks at her. CATHERINE can't believe what she's hearing.) Sara: (deadpans) The windows are cracked. (GRISSOM stares at SARA, absolutely no expression on his face. SARA breaks out into a smile and stands up.) Sara: Give me a little credit. She's at the hospital. (WARRICK snickers at the fast one SARA just pulled on GRISSOM and CATHERINE. NICK also smiles appreciatively.) (GRISSOM turns to look at CATHERINE. CATHERINE stares, then pops a piece of something in her mouth to eat.) [SCENE_BREAK] [INT. CSI - GRISSOM'S OFFICE -- DAY] (CATHERINE and GRISSOM re-question TINA COLLINS.) Tina Collins: I don't know why I didn't get blood on my pajamas. I just didn't. Catherine: But your statement says that you bent down and hugged your mother who was bleeding profusely. Then you ran out, tripping over your father's body in the upstairs hallway. Grissom: But there was no blood on you. Tina Collins: I saw my family dead. I was scared. I ran to the neighbors. That is the truth. Grissom: The evidence is telling a different story. [SCENE_BREAK] [EXT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (NICK and BRASS question the scooter owners.) Suburban Teen Guy #1: I did the nasty with her, yeah, but I didn't kill her family. Besides my dad grounded me last week. [SCENE_BREAK] Suburban Teen Guy #2: I share the scooter with Oliver but I was camping last night. Ask my mom. She made me go. Church group. [SCENE_BREAK] Jesse Overton: We had s*x. So what? I want a lawyer. Brass: You want a lawyer? Okay, we'll get you a lawyer. Investigator Stokes will stay with you just in case you remember where you left that scooter. (BRASS glances at NICK, then leaves the room. JESSE OVERTON nervously sits there for a moment, then reaches into his shirt pocket for a bidi.) Nick: There's no smoking in here. Jesse Overton: Sharon Stone -- "Basic Instinct", dude. Nick: And I'm not your dude. This ain't a movie and Sharon Stone's fine. Let's go. (JESSE OVERTON tosses the pack at NICK. NICK takes it and looks at the box.) Nick: Matches? (He tosses the matches to NICK.) (NICK opens the unmarked match pack and looks inside where there's noticeably two matches ripped out from the pack.) [SCENE_BREAK] [INT. CSI - GRISSOM'S OFFICE -- DAY] (BRASS walks over to GRISSOM'S office where GRISSOM still has TINA COLLINS sitting inside.) Brass: The kid's name is Jesse Overton. He time-shares the scooter. He admits to having s*x with your girl, and he's asking for a lawyer. (TINA COLLINS starts to react to what she's hearing. GRISSOM and CATHERINE both notice her reactions.) Brass: I want to get a warrant and search his house. I'll keep you posted. (BRASS leaves the room.) (TINA looks at GRISSOM.) Tina Collins: I want to see my sister. Grissom: It's not going to happen, Tina. Catherine: It's a little too late to start coaching her now. Tina Collins: You don't understand. I need to speak with her. Grissom: She won't speak. Catherine: The doctor says it's from trauma. What happened, Tina? Did you catch your boyfriend killing your family? (TINA sits back, not responding to the accusation. She glances up at GRISSOM but remains quiet.) [SCENE_BREAK] [INT. CSI - LAB -- DAY] [SCOPE VIEW: Matches] (NICK attaches the match found at the scene to the match pack.) Nick: (o.s.) Ha-ha-ha! Houston, we have liftoff. Warrick: Let me take a look. (NICK steps aside. WARRICK looks at the scope.) Nick: You see how each half of the match lines up? Warrick: I see. Nick: Ah ... who broke the case? Warrick: Well, if you believe what you hear in the halls - Ecklie. Nick: Ecklie? Both (Nick/Warrick): (laughs) Day shift. [SCENE_BREAK] [INT. JESSE OVERTON'S RESIDENCE - GARAGE -- DAY] Brass: Sophisticated criminal, huh? (BRASS lifts up and opens the trash can. Inside are the scooter parts.) Grissom: Hmm? Brass: This is the getaway vehicle. Tossing it in his own trash? What else is new? (GRISSOM picks up the tire. BRASS looks inside the trash can and finds something else.) Brass: Whoa. Is this a pair of jeans under all that blood? Grissom: (sighs) "Yet who would have thought the old man to have so much blood in him?" [Note: Quote said by Lady Macbeth, from "Macbeth", Act 5, Scene 1, 1.36-8, William Shakespeare.] Brass: What was that? Grissom: That's Shakespeare. (BRASS nods and hands the bloodied jeans to GRISSOM.) [SCENE_BREAK] [INT. POLICE DEPARTMENT - OBSERVATION ROOM -- DAY] (GRISSOM and BRASS watch as the LIE DETECTOR OPERATOR hooks up JESSE OVERTON to the machine.) Grissom: The lawyer's pleading him guilty. Brass: Had to, once I put the murder weapon in his mug. [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY -- CONTINUOUS] (JESSE OVERTON answers questions while hooked up to the machine.) Lie Detector Operator: Remember -- yes or no. Jesse Overton: Got it. Lie Detector Operator: Did Tina Collins approach you at school and ask you to kill her family? Jesse Overton: Yes. Lie Detector Operator: (o.s.) Would you lie about that to escape the death penalty? Jesse Overton: No. Lie Detector Operator: Did you kill her family? Jesse Overton: Yes. Lie Detector Operator: Did Tina let you in the front door the night of the killings? Jesse Overton: Two o'clock. I waited till it was straight up. (Quick flashback to: At the back door, JESSE OVERTON lights up a bidi with a match.) Lie Detector Operator: (V.O.) Yes or no? (End of flashback. Resume to present.) Jesse Overton: Sorry. (beat) Yes. (Quick flashback to: JESSE OVERTON selects a knife and takes the biggest one in the drawer.) Lie Detector Operator: (V.O.) Did she already have a knife for you? Jesse Overton: (V.O.) No. She let me choose. (He gets a grip on the knife and heads up the stairs.) Lie Detector Operator: (V.O.) Did you use that knife to kill Barbara Collins? (End of flashback. Resume to present.) Jesse Overton: (takes a deep breath) Yes. (Quick flashback to: JESSE OVERTON puts a gloved hand over BARBARA COLLINS' mouth. She wakes up, eyes wide. The bed spot next to her is empty.) (He stabs her. She dies. He lets go of her.) (End of flashback. Resume to present.) Lie Detector Operator: And Mr. Collins? Jesse Overton: (harder) Yes. (Quick flashback to: JESSE OVERTON attacks MR. COLLINS from behind in the hallway. He stabs him. End of flashback. Resume to present.) Lie Detector Operator: And both sons? Jesse Overton: Yes. Lie Detector Operator: Was Tina mad at her parents for not letting you see each other? Jesse Overton: Yes. Lie Detector Operator: Did Tina Collins tell you she wanted them dead so you could see each other? (JESSE pauses and looks away.) Jesse Overton: Yes. (Camera cuts to the print out that shows the lines all over the place.) [SCENE_BREAK] [INT. POLICE DEPARTMENT - HALLWAY -- DAY] (BRASS walks out into the hallway carrying the print out.) Brass: Well, the sick b*st*rd is on the up and up. (to CATHERINE) Except your last question. Your "Why"? Catherine: That they killed the family so they could be together? Brass: Operator says his respiratory reactions were inconsistent. He's lying. Nick: We got them both. I don't much care why they did it. Warrick: I'm with you there. Grissom: I care. I don't like holes. What are they hiding? FADE TO BLACK [SCENE_BREAK] [EXT. LAS VEGAS CITY (STOCK) - DAY] [SCENE_BREAK] [INT. CORONER'S OFFICE - FORENSIC AUTOPSY -- DAY] (GRISSOM walks into the autopsy room.) Grissom: Did you collect the property from the Collins family? Dr. Albert Robbins: Right after the autopsies. Sealed them myself. Why? Grissom: I told one of your assistants to make sure that I got them. Dr. Albert Robbins: Well, I gave them to Ecklie. He said he'd deliver them to you. (GRISSOM turns and leaves the room without another word. DR. ROBBINS finishes putting the body back in storage.) Dr. Albert Robbins: He was down here on another case. (He closes the door.) [SCENE_BREAK] [INT. CSI - BREAK ROOM -- DAY] (GRISSOM walks angrily through the hallway looking for ... ) Grissom: (mad as heck) Ecklie! (GRISSOM pushes the doors to the break room open.) Grissom: I want everything right now. Conrad Ecklie: (flippantly) I've been going over it. Grissom: The Collins case is my shift. You are completely off base. Conrad Ecklie: What, you're afraid I'll find something that might show you up? Grissom: Oh, I'm sure, if you could, you would have by now. Where is it? (ECKLIE motions with his hand. GRISSOM heads out the door. ECKLIE stops him.) Conrad Ecklie: I don't care that you got some pimply-faced kid to confess. You kept the Sheriff out of the loop. That's a career-killer, Gil. Grissom: That's what so sad, Conrad. You think of this as a career. (GRISSOM leaves the room.) [SCENE_BREAK] [INT. CSI - LAB - DAY] (Piece by piece, GRISSOM goes through the evidence taken off the bodies. He compares them with the crime scene photos.) (He reaches for the next envelope and empties it on the table. Inside the baggie is a bloodied amulet on a chain. He cleans it up and finds ... ) Grissom: (whispers) The buffalo. (Cut to: GRISSOM is on his cell phone.) Grissom: (to phone) Sara? Sara: (from phone) Yeah? Grissom: (to phone) Sara. When they examined the little Collins girl did they check for sexual abuse? Sara: (from phone) There were no overt signs. Why? [SCENE_BREAK] [INT. HOSPITAL - EXAM ROOM - DAY] Grissom: (V.O.) Have some ultraviolet photographs taken. (SARA lifts up BRENDA COLLINS onto the table. She shows BRENDA the camera.) Sara: This... is a very special camera. It can see deep into your skin. It can see things nobody can see. How about I take a picture of me first, okay? (BRENDA nods her head. SARA lifts the camera and takes a picture of her own arm. The camera clicks. SARA looks at BRENDA and smiles.) Sara: See? It's okay. (BRENDA nods her head. SARA unties BRENDA'S gown and slips it just below her shoulders. BRENDA doesn't say a word.) Sara: (quietly) Okay. (SARA attaches a ruler to the top of the gown just below her shoulders. SARA picks up the camera and checks with BRENDA again.) Sara: All ready? (BRENDA nods.) Sara: Okay. (SARA lifts the camera and takes the pictures.) [SCENE_BREAK] [INT. CSI - GARAGE -- DAY] (In the garage, CATHERINE speaks into a tape recorder as she takes her notes. She looks at a schematic of the crime scene, #XR-0048-096822-003.) (As she speaks, the camera follows on the map. It starts with the figure of the father in the hallway in front of BRENDA'S bedroom door ... ) Catherine: Notes on mapping: Collins family murder. Case #00-398. Intruder killed mother. (... then moves to the photo of the mother in the bedroom, Case #00-398, Photo Catherine: Father went to protect the little girl. Got nicked by knife. (Camera moves from the boy's room on the map to the photo, Case #00-398, Photo Catherine: Killer subdued him as dad was entering the little girl's room to ... Catherine: ... save her. (Something doesn't click. It doesn't match the photos she's looking at. She looks at the photo of the blood drops found on floor, Case #00-398, Photo #36.) (From this photo, she looks at another photo, #30. And another photo, #18.) (CATHERINE doesn't like what she's seeing. She reaches for the magnifying glass to look again at Photo #18.) (Quick flashback to: Cast in red light, MR. COLLINS steps out of the bedroom and is attacked from behind. MR. COLLINS falls to the floor in front of BRENDA'S bedroom door. JESSE OVERTON stabs MR. COLLINS repeatedly.) (White flash to: JESSE carries the dripping knife down the hallway.) (End of flashback. Resume to PHOTO #18.) Catherine: Grissom. (CATHERINE drops the magnifying glass and reaches for her cell phone.) (There's a light knock on the door. CATHERINE looks up. A man carrying a file package walks in.) Ted Goggle: Catherine Willows? Catherine: Who's asking? Ted Goggle: Ted Goggle. I'm with Family Services. Were you working the Collins' case? Catherine: (sighs) You know, your department can't seem to get things straight. If you're looking for the little girl, she's already got a caseworker. Ted Goggle: Actually, I'm inquiring about your little girl. Catherine: My Lindsey? Why? What are you talking about? Ted Goggle: Your husband, Eddie, filed a report. Says you neglected to pick her up after dance class last night. That you routinely neglect her for your job. Catherine: (sighs) Is this Eddie's idea of a joke? What, are you in one of his bands? Ted Goggle: I already made a field visit to your house. Here's the form. (He hands her the form. She looks at it.) Ted Goggle: Lindsey seems okay but there is going to be an investigation as to whether there was parental neglect. You're on notice. (He leaves the garage.) [SCENE_BREAK] [INT. HOSPITAL - OUTSIDE X-RAY ROOM -- DAY] (Standing outside the X-Ray room, GRISSOM'S phone rings. He answers it.) Grissom: Grissom. INTERCUT WITH: Catherine: It's me. Something's off on the map. Grissom: (from phone) Off? How? Catherine: Uh ... I'm looking at dad's blood in the hall. I found an interesting drop. The droplet tells me that he wasn't running to the little girl's room. Grissom: He was coming out of it? Catherine: Yeah. (Quick flashback to: MR. COLLINS coming out of BRENDA'S bedroom when he's being attacked.) Catherine: (V.O.) I filled one of your holes, Grissom. (JESSE gets up from over MR. COLLINS.) Catherine: (V.O.) The father was killed first -- then the mother. (JESSE carries the dripping knife down the hallway.) Catherine: (V.O.) And the blood that we found in the hallway was from the knife. (End of flashback. Resume to GRISSOM.) (CATHERINE shuts her phone off and throws it on the table in front of her. She picks up the Family Services form and looks at it.) [SCENE_BREAK] [INT. CSI - BLACK ROOM -- DAY] (SARA develops the photos. She flips it over and hangs it up. She and GRISSOM both look at the pictures.) Sara: Damn it. Look at all those bruises. Grissom: Somebody was all over this kid. [SCENE_BREAK] [INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] (GRISSOM and BRASS re-interviews TINA COLLINS.) (Camera opens on the photos on the table in front of TINA.) Grissom: We have forensic evidence that your father sexually abused your sister. (TINA reaches out a hand and touches the photos in front of her.) Grissom: We also know ... that he was in her room the night of the murders. Tina Collins: How can you tell? Grissom: Blood drops. They fall a certain way depending on the motion of the victim. (TINA takes a deep breath, her eyes glued to the photos on the table.) Grissom: Something horrible happened in that house, didn't it, Tina? Long before the night of the murders. Tina Collins: That was the last night he was going to touch her. Grissom: But why your mother? And why your brothers? Tina Collins: (crying) Because they should have protected me. Grissom: You? Tina Collins: My father ... (Quick flashback to: A YOUNG TINA COLLINS sitting on her bed. She looks up at her mother standing in the doorway to "TINA'S" room. She leaves and shuts the door.) (In the mirror, we see her father in the room alone with TINA.) (White flash to: The buffalo medallion on a chain around his neck.) (End of flashback. Resume to present.) Tina Collins: I was young. I learned to deal. But when he went for my daughter ... Grissom: (realizing) Brenda is ... ? And who is ... ? Tina Collins: The father? I was thirteen ... and nobody noticed that my clothes were getting bigger. Nice, huh? Brenda may hate me for what I did ... but I protected her. I did that much. [SCENE_BREAK] (SARA and BRENDA sit in the chairs in the hospital hallway. BRENDA clutches her pink stuffed bear to her.) (After a moment, SARA reaches over, picks up BRENDA'S hand and holds it. BRENDA looks up at SARA. She gives her a small smile, then turns and looks back blankly out in front of her.) (SARA continues to watch BRENDA.) [SCENE_BREAK] [INT. CSI - LOCKER ROOM -- NIGHT] (CATHERINE closes her locker and leaves.)) Catherine: Night, guys. Nick: (o.s.) See you, Cath. Grissom: Good work. (GRISSOM grabs his book and heads out. He passes NICK, who is sitting on the locker bench with an ice pack on his knuckles.) Grissom: It'll be back to normal in 24 hours. Nick: Normal would be nice. [SCENE_BREAK] [INT. CSI - HALLWAY - CONTINUOUS] (GRISSOM walks through the hallway and glances inside the break room. He sees something, opens the door and walks in.) [BREAK ROOM] (GRISSOM picks up a red apple from the basket on the desk. He takes a bite and glances down at the table. He stops.) (He leans forward, picks up the pencil on top of the folded newspaper and fills out an answer in the crossword puzzle. He puts the pencil down to leave the room.) (He takes a bite of the apple and turns back around to glance at the newspaper. He gives up, takes out his glasses and puts them on. He sits down to finish the crossword puzzle.) (In the hallway, WARRICK walks by and glances up. He smile when he sees GRISSOM working on the crossword puzzle.) (Camera holds on GRISSOM working on the crossword puzzle.)
Blood Drops