ACT ONE
FADE IN:
EXT. FRITZ HOME - NIGHT
To establish.
INT. FRITZ HOME - HALL CLOSET - NIGHT
GRISSOM opens his eyes. There's a thin sliver of light coming through the door, cutting across his bruised, swollen, fractured face. Blood from a body above him is dripping across his cheek and off the side of his nose.
Grissom looks up at the clothes hanging overhead and moves his eyes slowly to an umbrella sitting in a corner. He starts to pull his arm back and lets out a soft cry as a fracture gives way to a break.
He lies still for a few minutes, then grits his teeth and yanks his arm out. He cries out, holding his arm to his chest.
He reaches out with his other hand and tries to push a body off him. The bone snaps in two places, one piercing through the skin. He cries out in pain, dropping his broken arms to his chest. He hears footsteps.
GRISSOM
Help.
A gun cocks and bullets riddle the door. Grissom turns his head away, closing his eyes tight. Most of the bullets disappear into the back wall, but a few hit metal and ricochet.
One whizzes past Grissom's cheek, searing the skin. The shooting stops and he hears footsteps retreat. Grissom opens his eyes. He tries to wrestle his way out from under the bodies, but every move brings new pain.
The shooting starts again. Grissom's arm slips across the bloody abdomen of the teenager and is trapped between her and her mom's chest. He tries to pull back but it hurts too much.
A bullet passes through the bodies and into his abdomen. Grissom passes out.
I/E. CSI VEHICLE - NIGHT
Catherine drives down the road toward the dark Fritz house. Nick sits next to her, keeping his eyes on the house as she swings the vehicle around to park in front and behind the other vehicles.
Nick rolls his window down before Catherine kills the engine.
The nosey neighbor has gone to bed. For a couple seconds the two listen the night sounds: crickets, a coyote yapping in the distance, some night birds calling. A half moon has risen high enough it offers a little light.
NICK
This isn't right, Catherine. Where
the hell is Grissom?
Why aren't
there any lights on?
She grabs her police radio from the dash. Keys it.
CATHERINE
Willows to dispatch.
DISPATCHER (ON RADIO)
Dispatch.
CATHERINE
We're at 313 Roper. The uni and CSI
reporting to
this scene can't be
located. Did they report in?
DISPATCHER (0n radio)
Not since either reported they'd
arrived
on scene.
CATHERINE
The officer reported multiple
bodies on the initial
call. Was a
coroner ever requested?
DISPATCHER (ON RADIO)
Negative. Officer reported after
requesting
CSI that a coroner
wasn't needed.
CATHERINE
We need units here, dispatch.
Report ETA.
DISPATCHER (ON RADIO)
Dispatching now. ETA five minutes.
NICK
Might want to ask for medics.
CATHERINE
(to dispatch)
Dispatch medics for a routine call.
DISPATCHER (ON RADIO)
Dispatching medics. ETA will be
twenty
minutes.
CATHERINE
Willows out.
(sets radio on dash)
Feel like
waiting for backup?
Nick climbs out, drawing his sidearm. Catherine is right behind him. The two cautiously approach the house and enter.
INT. FRITZ HOME - NIGHT
The two stop inside the door. In the dim moonlight they can see enough to be concerned. Blood covers the floors. EMILY is painted in giant red letters everywhere.
CATHERINE
Gil?
No answer. Both jump when a board creaks somewhere in the house.
NICK
Grissom? Is that you?
Gunfire explodes from the dark and the two bolt into the nearby living room. They press against the wall as bullets fly past them through the door. The shooting stops suddenly.
NICK
Police are on their way! Put down
your weapon and--
The shooting begins again. The bullets go through the wall, forcing the CSI to the floor. They press against the baseboard to avoid being shot. The shooting stops and they wait until they hear the back door slam shut.
They spring to their feet and run out of the room to follow, just as the front door bursts open. The CSI and five LVPD officers aim at each other before the two groups realize they're on the same side. OFFICER MCKENZIE lowers his gun.
OFFICER MCKENZIE
We heard gunfire when we got here.
Are you
two okay?
CATHERINE
Yeah. I think the shooter went out
the back.
Two officers run toward the back.
CATHERINE
Doctor Grissom and an officer were
supposed to be
here, their vehicles
are still out front. We need to
look for
them.
OFFICER AIRIK, a petite but tough woman, looks around them.
OFFICER AIRIK
But this is still a crime scene?
CATHERINE
Yes.
OFFICER AIRIK
Okay. We'll take the perimeter and
first floor.
One of you want to
take the basement and second floor?
NICK
I've got the basement.
CATHERINE
I'm upstairs.
The CSI and officers separate to search for their people.
INT. FRITZ HOME - BASEMENT STAIRS - NIGHT
With his flashlight held over his pistol, Nick creeps down the steps into the basement. His flashlight keeps revealing EMILY written on the walls.
INT. FRITZ HOME - BASEMENT - NIGHT
He's expecting something or someone to jump out at any minute. He comes around the stairs and sees a puddle of blood. Slowly he walks up to it and then around it.
There is a defined void in the center -- not enough blood to kill an adult, but enough to weaken them. Bloody hand, knee, and shoe prints show where the person got up and headed upstairs. There are clear and defined brush strokes in the blood.
Nick turns, continuing his search for Grissom and the missing officer. His flashlight shows him a cupboard large enough to hide a couple of bodies. A broom has been pushed through the handles to lock it and the doors have been shot.
He slowly walks toward it and pulls the broom out. He falls back, waiting to see if anything happens. When nothing does, he reaches for the handle.
INT. FRITZ HOME - KITCHEN - NIGHT
Officer Airik slowly enters the kitchen, her flashlight finding EMILY painted on everything. She pauses the light on a phrase written across the refrigerator.
INSERT - DONALD'S MESSAGE
when Emily comes once more, you
will be no more.
BACK TO SCENE
She moves the light to the pantry door. The angle makes the bullet holes stand out. She aims down at the blood congealing in front of it. Brush strokes cut through the puddle.
Airik moves over to the pantry and tries the door. It doesn't budge. She notices the slide lock has been slid into place. She reaches up to unlock it.
INT. FRITZ HOME - UPSTAIRS HALL - NIGHT
Catherine comes off the steps. She holds her gun in one hand and the flashlight in the other. Her light keeps flashing across EMILY, but she's ignoring the evidence for now.
She turns into the first room she comes to.
INT. FRITZ HOME - PRETEEN'S ROOM - NIGHT
A child caught between a childhood and a teenager lived here. EMILY has been painted in here too. There is a bloodstain on the floor near the bed and the closet door is open. Between the closet and stain is a swatch of blonde hair.
Catherine moves on.
INT. FRITZ HOME - SON'S ROOM - NIGHT
There is blood in the bed. This is the only room EMILY isn't written. The room is decorated with trains and cars. A night-light is all that illuminates the room. There is no closet, no place to hide bodies. Catherine continues her search.
INT. FRITZ HOME - TEEN'S ROOM - NIGHT
She stops inside the door, shining her light around. Everything in the room tells the story of a vibrant, athletic teenager who loves being both a tomboy and a young woman. Jewelry and make-up on a vanity. Dirty soccer uniform hanging from the hamper.
EMILY has been painted across the back wall, curtains, and window. The door of the closet is cracked open. Catherine walks to the door and pushes it open.
The floor is bloodstained and bloody pieces of rope lie in the blood. There are two voids in the blood. But no Grissom or officer.
INT. FRITZ HOME - PARENT'S ROOM - NIGHT
The scene isn't much different here. A lot of blood in the bed. A patch of blood next to the bed with voids in it. EMILY painted across the walls and furniture.
The closet has been torn apart -- someone looking for something or a struggle?
INT. FRITZ HOME - MAIN BATHROOM - NIGHT
Catherine stops in the door. There is a large puddle of congealing blood in the center of the room. Brush strokes cut through the fluid. This room has the largest amount of cast off -- something violent happened here.
Her flashlight pauses on the mirror, as she reads the message on it.
INSERT - DONALD'S MESSAGE
when you first see Emily, you will fear her
BACK TO SCENE
She starts to turn but stops, shining her light on the smartphone lying against the baseboard. She skirts the blood and holsters her gun as she crouches. A bullet has punctured the keypad, but she pushes a couple buttons in hope.
The phone is dead. Catherine stands and wanders out to the hall again. She shines her light on the double doors of the hall closet. They have been secured with a cut electrical cord.
Bullets have punctured the doors from top to bottom. Catherine walks over to it and begins unwinding the electrical cord...
INT. FRITZ HOME - BASEMENT - NIGHT
Nick throws open the doors of the cupboard and the corpse of a dog flies out at him. He scrambles back, falls, and turns, staring. Inside are cleaning supplies and a dead cat. Both animals have been shot.
INT. FRITZ HOME - KITCHEN - NIGHT
Officer Airik slips the latch and swings the door open, aiming her gun in anticipation of an attacker. But there is none.
Lying on the floor is an unidentified man who looks twenty-five, and the missing LVPD officer, both shot and lying in blood. The blood pool has been disturbed by brush strokes.
She moves around the blood and checks for a pulse on each. Officer Airik stands, grabs the mic on her shoulder, and keys it.
OFFICER AIRIK
Dispatch. We need a coroner.
INT. FRITZ HOME - HALL CLOSET - NIGHT
The doors swing open. Surprised by the scene, Catherine draws back.
CATHERINE
Oh God...
Dead eyes stare out at her. Dad and son were shot in the head. Someone took their time with the girls and mom, killing them slowly and painfully. Catherine looks down as she starts to turn.
She freezes, looking back over her shoulder. Her flashlight moves across the floor, the bodies, and stops on the cracked face of the wristwatch. In the light she sees the silvery reflection of Looney Tune's character Taz. The light glints across the brushed WB pewter logo attached to the leather band.
INT. GRISSOM'S OFFICE - DAY (RE-ENACTMENT)
Grissom stands next to his filing cabinet reading a file. He doesn't look up when Catherine joins him. She has her hands behind her back, hiding something.
CATHERINE
Grissom, do you know what time it is?
GRISSOM
No.
CATHERINE
You haven't bought a watch yet,
have you?
GRISSOM
I haven't had time.
She presents him with a boxed watch. He smiles at her and she returns it.
GRISSOM
Catherine, there's a cartoon in the watch.
CATHERINE
Lindsay picked it out for you after
you flew into
see the last half of
her recital and left right after.
She
said it reminded her of you. And
the supervisor's meeting started
ten minutes ago.
Grissom trades her the box for the folder and hurries out. She chuckles.
BACK TO SCENE
INT. FRITZ HOME - HALL CLOSET - NIGHT
The hall light has been turned on. Catherine kneels in the blood, pushing-pulling bodies off of Grissom. She doesn't give a damned about evidence, only getting to Grissom. As soon as she can see him shock forces her to pause.
There isn't a part on him that isn't torn, broken, fractured, bruised, or swollen. The worst of the injuries are to his head and face.
CATHERINE
No. Please... No...
She leans in, reaching for a wrist. She pulls back. She reaches for the other. She pushes bloody hands into her hair, streaking her hair. She doesn't know where to touch him. Finally she reaches down and pushes two fingers into his neck. Catherine turns.
CATHERINE
I NEED A MEDIC UP HERE!
Catherine turns back to Grissom. She hears feet pound across the floor downstairs and up the steps. Nick clears the top, running toward her. He comes to a sliding stop on his knees next to her.
NICK
Grissom?
Grissom's eyes open to slits. He doesn't see either at first. He sees a little girl with curly blonde pigtails wearing a pink dress with sequins that read 'Princess' across the front. She moves away as Catherine comes into focus.
CATHERINE
Grissom. Look at me.
Grissom tries to. He has no coordination.
Officer Airik and Officer McKenzie run up.
NICK
(to Airik)
Where's the medics?
Airik informs dispatch that the situation just turned critical. Catherine takes Grissom's hand when his eyes close.
CATHERINE
Grissom look at me.
FADE TO:
INT. AMBULANCE - NIGHT
The sirens are muffled. Grissom rocks to the sway of the vehicle. A PARAMEDIC reaches across him, checking an EKG pad on Grissom's chest. Grissom flinches when the paramedic pushes on an injury.
PARAMEDIC
Gil? Gil Grissom? Can you hear me,
Gil? Answer me if
you can hear me.
CATHERINE
Casey, I need another compress.
Blood's coming
through this one.
Plastic rattles.
PARAMEDIC
The tape's by his leg.
Grissom opens his eyes to slits. He sees the child in the pink dress again.
GRISSOM
(whisper)
Who are you?
The girl moves away as Catherine moves into view. Catherine smiles, carefully sliding her hand in his. The paramedic works around her, splinting limbs and applies fresh bandages on top of blood soaked ones.
CATHERINE
Hey there.
Grissom stares at her.
CATHERINE
You were attacked, but you're going
to be okay.
Everything's going to
be okay.
PARAMEDIC
Do you know what day it is, Gil?
Grissom swallows before answering.
GRISSOM
(whisper)
No.
PARAMEDIC
Can you tell me where it hurts the most?
GRISSOM
(whisper)
No.
The answer makes Catherine's smile waver. Grissom's eyes slowly close.
GRISSOM
(whisper)
Tell Sara... Move... On.
That makes Catherine start to cry.
CATHERINE
What?
Grissom doesn't answer.
INT. FRITZ HOME - PRETEEN'S ROOM - NIGHT
Nick is wearing bloodstained clothes. He dusts the foot of the bed with fingerprint powder. He picks up a fingerprint card and stands, tries to peel the adhesive from the board.
His hands have been shaking, making it difficult. He stops, takes a breath. It doesn't steady his hands. He doesn't hear a group of people stop in the door behind him.
He pulls back the adhesive and positions it over a fingerprint. With hands still trembling he lowers the adhesive to the print. At the last minute, his hand jerks, and smears the print.
In a rage Nick kicks his kit across the room. He spins around, coming face to face with Ecklie. The two stare at each other. Nick glances at Greg and the five more CSI standing in the door.
ECKLIE
Where do you want us?
NICK
What?
Nick looks down at the field kit in Ecklie's hand. He understands what's being asked now.
NICK
I... I don't know.
ECKLIE
I can handle assignments. Is that
okay, Nick?
Nick nods.
ECKLIE
Alison and Jose, head to the
basement. Richard and
Kipp, take
the first floor. Dana and I will
cover the
perimeter. That will
leave you and Greg up here. Will
that
work, Nick?
NICK
Yeah.
ECKLIE
(to the others)
Lets get started.
Greg stays in the door until the others leave. He sets his kit down and walks over to pick up Nick's kit. Nick joins him.
GREG
Emily is written everywhere. Any
idea who she is?
NICK
No.
Greg notices Nick's hands are still shaking.
GREG
Catherine called me on the way
over. I have clean clothes
in the
Denali if you want to go change.
Nick shakes his head. They finish picking up Nick's kit.
GREG
I'll lift if you want to dust.
NICK
Okay.
The two start processing together.
INT. SUNRISE HOSPITAL - WAITING AREA - NIGHT
Rows of chairs -- the kind that are not comfortable and are all angles -- fill the area. There are other people in the room waiting for word about their loved ones.
Catherine stands at the window, staring at flowers outside. The flowers seem to glow against the darkness. She looks up, seeing the reflection of a doctor behind her, and turns.
Doctor IAN has worked for years alongside the graveyard CSI and considers most of them friends -- especially Grissom. He's just come out of surgery on Grissom and has no good news.
CATHERINE
It's bad, isn't it?
He nods. Catherine sits down, bracing herself for this. Doctor Ian sits across from her, leaning his elbows on his knees.
IAN
I was able to stop the internal
bleeding, but that's the
least of
my worries. The head trauma has
caused an epidural
hematoma and
swelling. I wouldn't be surprised
if he goes
into a coma.
CATHERINE
What about the rest of his injuries?
IAN
It would be easier to tell you what
bones weren't
fractured or broken.
Luckily most of his spine was
spared,
and his left jaw, some
smaller bones in his feet and
hands.
His attacker worked him over good.
Gil didn't go down fast or
easy. He
fought, Catherine.
Hearing Grissom fought back has little consolation.
Ian's pager goes off and he glances at it.
IAN
He's being moved to ICU 4, and I'll
stay on as his
attending. Catherine,
Grissom has a DNR. It is limiting
what
I can do for him.
She stares at him.
CATHERINE
He never... Mentioned that. Who's
his advocate?
IAN
I can't say, but he said he just
signed it yesterday. The
advocate
and Grissom's attorney are trying
to find a
loophole.
Ian reaches out, taking her hand.
IAN
I'm trying to find one too. Grissom
caught the man that
murdered my
Agatha. I owe him this.
She smiles.
CATHERINE
Thank you.
He nods as he stands. She watches him leave and then turns to stare at the flowers again. Her phone rings and she looks at it. On the display a picture of Sara appears. She draws a deep breath and then answers it.
CATHERINE
Hi, Sara. I, uhm... It's Grissom,
Sara. He's hurt.
How soon can you
get to Las Vegas?
FADE OUT.
END OF ACT ONE
