CSI: CRIME SCENE INVESTIGATION
"Indigo"
TEASER
FADE IN:
INT. 1423 FLAMINGO - NIGHT
NICK Stokes is listening to the phone ring as he stares at a doorframe. Assistant Coroner David Phillips and another assistant coroner are trying to pull knives that have pinned a body to a doorframe. Nick turns away when the assistant accidentally squirts blood all over himself.
NICK
(to phone)
Come on, Grissom. You can't ignore
me all
night.
EXT. FRITZ HOME - NIGHT
SUBURB street. There's a sense that something dark has happened, but no tale-tell signs. A nosey neighbor watches the house at the end of the street, 313 Roper, from his living room. Outside are parked a patrol car and CSI vehicle, but the house is dark.
INT. FRITZ HOME - NIGHT
The home is middle class small HOA residence. Nice, but lived in. Somewhere there is a cell phone ringing. The illusion of a peaceful family home breaks as headlights of a car flash across the wall. In running red, EMILY has been painted across the wall.
INT. FRITZ HOME - UPSTAIRS HALL - NIGHT
Blood is everywhere. It's congealed on the walls and ceiling. Drag marks have stained the plush blonde carpet. EMILY is written everywhere.
At the end of the hall is a linen closet. It's too dark to see the doors have been secured with a cut electrical cord.
In a room there's noises, a female struggling, two men laughing.
The phone stops ringing.
On the floor the carpet looks black where blood has soaked down to the wood underneath.
INT. FRITZ HOME - HALL CLOSET - NIGHT
In the closet are bleeding, twisted dead bodies. A boy. A man. A teenage girl. A mom.
Sandwiched between the two bottom bodies is a man's wrist and wristwatch. The face of the wristwatch is cracked, but the timepiece keeps ticking, keeping beat with blood dripping on it.
INT. FRITZ HOME - MAIN BATHROOM - NIGHT
A damaged smartphone lying against the baseboard begins ringing again. On the bleeding LCD screen, a dim picture of a smiling CATHERINE Willows appears on the screen.
EXT. I-515 - NIGHT
Catherine walks away from an accident, heading back to her Denali. Down her shirt and pants is a coffee stain. She's listening to her phone ring and then it picks up.
GRISSOM (ON PHONE)
(cheerily)
You've called Grissom's cell
phone.
Leave a message.
The message frustrates Catherine; it shows in her long sigh, rolling eyes, tightening lips.
CATHERINE
(to phone)
Gil, where the hell are you? I've
been
calling you for two hours!
Look, this accident was just an
accident. I'm heading over to help
Nick get a door. Then I'm
coming to
find out what has had you ignoring
everyone for two
hours. Call. Me.
She hangs up as she climbs in and starts the Denali. Her phone rings. The screen reads -- Conrad ECKLIE. She answers it.
CATHERINE
What's up, Ecklie?
ECKLIE (ON PHONE)
I'm still looking for Grissom.
Where is he?
CATHERINE
Contrary to what you and everyone
else thinks, I
don't baby-sit him.
INT. FRITZ HOME - HALL CLOSET - NIGHT
The hand of the watch and wrist flinches.
ECKLIE (V.O.)
Because he usually calls you when
he's avoiding
everyone else,
including me. So where is he?
On the other end of the wrist, on the other side the bodies, is Gil Grissom. He is unconscious, bleeding, mortally wounded.
CATHERINE (V.O.)
Ecklie I don't know where he's at,
but tell
ya what; I'll let him know
you called me instead of him. Will
that work?
ECKLIE (V.O.)
(bitter)
Thanks, Catherine.
The phone starts ringing again. A gun goes off, silencing the phone.
SMASH CUT:
OPENING CREDITS.
FADE OUT.
END OF TEASER
