COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – DAY]
(The temperature sign on the hotel shows that it’s 109 degrees.)
[XCU: BEE]
(A bee is in flight. It flies up to a woman on the sidewalk.)
FLASHES OF VARIOUS PEOPLE ON THE SIDEWALK.
REV. ALISTAIR RHODES: (v.o.) You may believe that you have to die before the
judgment comes.
(A one-legged man drops the bottle of liquor he’s drinking from. The glass
shatters on the sidewalk.)
(Another man is sitting on the sidewalk, his back up against the wall. He’s
stoned.)
REV. ALISTAIR RHODES: (v.o.) But I say the fire is not around the corner.
(A man with the left side of his face beaten makes his way past the church.)
(The church bells chime.)
[INT. CHURCH – DAY]
REV. ALISTAIR RHODES: (v.o.) The fire is not a-waitin’.
(The congregation sits in the pews, listening to the reverend.)
REV. ALISTAIR RHODES: (v.o.) The fire is not a-wantin’. The fire has already
come.
[EXT. BUILDING – DAY]
(A woman stands on her fire escape as she fans herself in the heat.)
(Down below, the man with the left side of his face beaten makes his way past
her building. He’s holding a plastic bag.)
REV. ALISTAIR RHODES: (v.o.) As we mortals drink, gamble and fornicate our way
through this world, --
[INT. CHURCH – DAY]
REV. ALISTAIR RHODES: -- death to Hell’s bells thundering toll. The clock of
damnations already struck midnight.
[CU: BEE]
(The bee bumps into the window, falls to the ground and dies.)
REV. ALISTAIR RHODES: We gonna die. Stick a fork in the ass of the human race
and turn us over on Satan’s spit because we all are not going to Hell,
FLASH TO:
[EXT. SIDEWALK – DAY]
(The man with the left side of his face beaten staggers along the sidewalk and
stops.)
REV. ALISTAIR RHODES: Surely as we stand in Las Vegas, Nevada.
(He falls to his kneels near the rubbish along the wall. He falls backwards
onto some garbage bags and passes out.)
REV. ALISTAIR RHODES: I say we are in Hell. Now.
FLASH TO:
[EXT. STREET – NIGHT]
(Someone steps on the dead bee. Officer cars are lined at the end of the alley,
their lights flashing. Catherine and Warrick carry their kits.)
CATHERINE: Why are we parking in an alley two blocks from the crime scene?
WARRICK: You know sanitation’s flushing out a sewer line. We don’t want to
block their trucks.
(Warrick sees the body on the garbage bags, a newspaper covering the man’s
face.)
WARRICK: Whoa, what we got here? Hey, guy! Hey!
(Warrick moves the newspaper and sees the man’s eyes clouded white.)
WARRICK: We’ve got a male DB.
CATHERINE: Call it in. You got it, Mitch?
OFFICER MITCHELL: I’ll tape the scene.
(Catherine and Warrick leave Officer Mitchell with the dead body and they
continue their way to their crime scene.)
[EXT. RANCHO CENTER MOTEL -- NIGHT]
(They enter the motel parking lot. Officers are on the grounds. Catherine and
Warrick make their way to the room. They pass by a man and woman on the steps.
In one of the rooms, a man and a woman are on the bed. They continue toward the
scene.)
(The officer removes the tape across the door and they walk inside.)
[INT. RANCHO CENTER MOTEL ROOM – CONTINUING]
(Grissom is in the room waiting for them. There’s a dead body on the floor at
the foot of the bed. On the bed is a second dead body of the woman, her arms
and legs tied spread-eagled to the bedposts.)
GRISSOM: The man was shot execution style--22 to the back of the head.
(Warrick kneels and looks at the blood-soaked carpet under the man’s head.)
(They look at the woman on the bed.)
GRISSOM: Woman was shot as well, bound and gagged. The guests next door
complained about the noise, manager finally called the point. Unis found this.
(Catherine looks around.)
CATHERINE: I don’t see any luggage. Wedding rings still on the fingers.
Probably rules out robbery, but not infidelity. One gets to watch the other one
die?
(Quick flashback to: The man and the woman are both alive. The man is at the
base of the bed, kneeling on the floor while the woman is tied to the bed.
Someone shoots the man in the back of the head while the woman watches. End
flashback.)
(There’s a bullet casing on the floor near evidence marker 1. Warrick picks up
the casing and looks at it.)
WARRICK: Maybe someone was trying to teach them a lesson.
GRISSOM: Did you guys happen to see the Fitzgerald’s thermometer on your way
over?
WARRICK: Oh yeah, 109. Hot as hell.
CATHERINE: Anything under 110 is manageable. Above that, crime rate goes way
up.
(A police siren wails nearby.)
GRISSOM: Sounds like it’s getting hotter.
SMASH TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN:
[EXT. RANCHO CENTER MOTEL (STOCK) -- NIGHT]
(A police car turns into the alley behind the motel. Officers are looking in
the pool. Warrick is at the trash bin. He jumps inside to sift through the
garbage bags. He lifts up a bag and finds a bloodied shirt.)
(He checks the shirt and notes the sleeves are clean and that there are no
buttons at the cuffs. He checks the label and sees its ANTIQUE SHIRTINGS SEWN
FOR 17 1/2-36.)
CUT TO:
[INT. RANCHO CENTER MOTEL ROOM – NIGHT]
(Grissom cuts the rope off the woman’s wrist. He helps David Phillips turn the
body)
DAVID PHILLIPS: Well, there's no wallet or ID on this one either.
(Grissom notices the bedspread.)
GRISSOM: This looks like a wet spot.
(Grissom looks at it under the ALS.8
GRISSOM: Semen.
DAVID PHILLIPS: There's no indication she was re-dressed. It doesn't look like
sexual assault.
(David takes his clipboard and goes to the second body. Catherine walks up to
the bed.)
CATHERINE: So ... middle-class couple ...
(She notes the BURGER GIANT cup and packaging in the trash bin.)
CATHERINE: ... takes a walk on the wild side, checks into this dump for ...
some fine dining and romance. Somebody breaks in, kills the man, and tortures
the woman. For what?
DAVID PHILLIPS: Maybe it's a drug thing.
CATHERINE: Well, wouldn't be the first time some nice folks from Henderson came
east of Fremont to score.
GRISSOM: Did you find any drug residue or paraphernalia?
CATHERINE: Not yet. Maybe Tox'll find it in them.
(Grissom looks down and sees a white Bible under the bed partially hidden by the
covers. He picks it up and looks at it. He checks the bedside table drawer and
finds the standard Bible in it.)
(He shows Catherine both Bibles.)
GRISSOM: We have one too many Bibles.
CATHERINE: I don't think they helped.
CUT TO:
[EXT. RANCHO CENTER MOTEL – PARKING LOT – NIGHT]
(Brass interviews the motel night manager.)
BRASS: So you didn't hear or see anything suspicious?
NIGHT MANAGER: This job -- you kidding me? That's all I see and all I hear.
BRASS: Is that the register? Give it to me, give it to me.
(The night manager gives the clipboard to Brass.)
NIGHT MANAGER: Oh. Room 106. Paid for the week, cash in advance, signed 'em
in myself.
BRASS: We got a problem.
NIGHT MANAGER: What's the problem?
BRASS: Your handwriting sucks. What the hell does this say?
NIGHT MANAGER: Oh ... uh ... oh, that. That's the name here and that's, that's
a, well, that's an "A." Uh ... and the license plate ... uh ... that's an "N"
and -- oh-- that's a "V." That's "Nevada."
(He shows the form to Brass.)
BRASS: (duh) You think?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAWN]
[INT. ALLEYWAY -- DAY]
(CSI Ronnie Lake takes photos of the dead man found in the alley among the
garbage bags while Sara looks at the bugs on it. Officer Mitchell stands nearby
watching them.)
SARA: Green bloat stage. He's been here at least 18 hours.
RONNIE LAKE: Do you ever wonder why ants don't crawl up the nose, eat the
brains? I would. Protein.
SARA: Ants are scavengers; they tend to stay on the surface.
RONNIE LAKE: You think dead skin tastes better than brains?
SARA: Well, they will go for brains late in decomp, after all the skin is gone.
RONNIE LAKE: Do ants have taste buds?
SARA: Ronnie ... I'm going to have to limit you to twenty questions per case.
RONNIE LAKE: Really?
SARA: (amused) Nineteen.
BRASS: (o.s.) Hey, Sara.
(Sara gets up as Brass walks toward them.)
SARA: Hey ... Jim.
BRASS: So ... enjoying the sunshine?
SARA: Not really. (She turns to the body.) DB is a derelict. I'm kind of
surprised to see you investigating this.
BRASS: Oh, I'm not working this. I'm working the double homicide over at the
Rancho Center Motel. We're just doing a neighborhood sweep for suspects. (He
sees Ronnie.) You're new. I'm Jim Brass.
RONNIE LAKE: Yeah. Ronnie Lake.
(They shake hands.)
BRASS: Right. Ronnie Lake. Like Veronica. You know, the actress?
“Sullivan's Travels”?
RONNIE LAKE: I think that's my dad's favorite movie.
(Sara smiles.)
BRASS: Right.
DISPATCHER (over radio): Two-zero-three-Charlie, Control. We have a few
hookers who used the motel. They're willing to talk.
BRASS: Yeah, 203-Charlie, I'm on my way. Got to run. Okay.
RONNIE LAKE: Bye.
(Brass waves and leaves.)
CUT TO:
[INT. CSI – HALLWAY -- DAY]
(Mandy reports her findings to Catherine as they move through the hallway.)
MANDY: So I got a hit off of the print on the motel room's "Do Not Disturb"
sign.
(Catherine looks at the results.)
CATHERINE: Drug dealer with priors for assault-- nice.
MANDY: Yes, well, don't get too excited because I got another hit off of the
telephone-- pedophile-- and I got one off of the dresser—a rapist-- and another
one off of the bed frame-- a prostitute, a pimp, and another prostitute.
CATHERINE: Is that it?
MANDY: For felonies, yes. You want misdemeanors, too?
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(Wendy goes over her findings on the shirt with Warrick. The shirt and photos
of the shirt are spread out on the table.)
WENDY: So the blood on the shirt belongs to your victims. The high velocity
spatter on the front is a mixture of both and the blood drops on the left sleeve
appear to solely belong to the woman.
WARRICK: Probably cast-off from the beating.
WENDY: Now, the pattern on the sleeve has a straight line on the outside, and
then a matching band of spatter on the inside. So the killer rolled up his
sleeves?
WARRICK: He had a lot of work to do.
WENDY: Speaking of which -- the wet spot. (She looks at the results.) The sex
stain was a male-female combo, both unknown, but the female shared alleles at
all loci with both of the victims. It's their daughter.
WARRICK: The parents weren't that old. The girl would be a teenager at most.
So the killer caps Mom and Dad, rapes the girl, and takes her with him.
(Catherine walks into the room with print information.)
CATHERINE: If you've got a missing kid, I've got a pedophile.
(Warrick looks at the information.)
WARRICK: Alistair Rhodes. Busted in August '94 for child molestation.
WENDY: That's pre-CODIS, so there's no DNA on file to match.
WARRICK: Alistair Rhodes. I remember this guy. He was a lounge singer, called
himself "Three Miles of Bad." It was all over the news.
CATHERINE: Well, according to the sheet, he served five years and made parole.
A registered sex offender. We know where he lives.
CUT TO:
[EXT. CHURCH – FRONT STEPS -- DAY]
(Rev. Alistair Rhodes talks with two kids sitting on the front steps. He offers
them a bag of burgers. The kids take the food.)
REV. ALISTAIR RHODES: You think those are your fingers itching to pick up the
spike? Your hands injecting your veins? "Satan finds mischief still in idle
hands."
BRASS: (o.s.) Alistair Rhodes.
(Brass and an officer walk up to him.)
ALISTAIR RHODES: Most people around here just call me "Reverend."
BRASS: (to the kids) Hey, why don't you guys go super-size those?
(He offers the kids a bill. They take it and leave.)
BRASS: So, Reverend, I hear that confession is good for the soul. You have
anything to tell me?
ALISTAIR RHODES: The man you're looking for no longer exists. If you'll excuse
me, I have some chores to do.
(Alistair Rhodes turns and enters the small church. Brass follows him inside)
[INT. CHURCH -- CONTINUING]
BRASS: You ever been to the Rancho Center Motel?
ALISTAIR RHODES: Plenty of times--with hookers, addicts, drug dealers, pimps,
wife beaters, runaways. I save people.
BRASS: You ever save these two?
(Brass shows him the crime scene photo of the two bodies in the motel room.
Alistair Rhodes is quiet.)
BRASS: You know them, don't you?
ALISTAIR RHODES: There's nothing I can tell you.
BRASS: These people have a daughter, and she's missing. And due to the fact
that you're a convicted sex offender, that means that you better come up with a
lot more than these corny priestly homilies and you better come up with them
fast.
ALISTAIR RHODES: I don't answer to you. I want to talk to my lawyer.
BRASS: That's a good idea because you're under arrest.
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Warrick enters the A/V Lab where he finds Archie struggling with some
equipment.)
WARRICK: Yo, Rambar, I have some documents to ...
ARCHIE: Sh ... piece of junk.
(Archie puts the equipment down.)
WARRICK: Where's Rambar?
ARCHIE: Where all state employees go when they fail repeatedly.
WARRICK: FBI Lab?
ARCHIE: Sucking down taxpayer dollars in Quantico as we speak. Me, I like to
think I'm broadening my horizons.
WARRICK: Yeah, along with your pay grade.
ARCHIE: Oh, happy coincidence indeed, sir. What you got here?
(Warrick gives Archie the motel registration form.)
ARCHIE: Wow. Somebody needs to switch to decaf.
WARRICK: In there somewhere is a Nevada plate number and a name. Can you dig
it out?
ARCHIE: I could try.
(Archie puts the motel registration form on the scanner.)
WARRICK: The plate number is "something, something, something, D, seven,
something, something."
(Archie runs the plate number, * * * D 7 * *.)
ARCHIE: Okay, well, it's a fairly new model. The four letter, three number
configuration has only been standard a couple years.
(The computer beeps with 54,756 results.)
WARRICK: Ooh.
ARCHIE: Well, uh ... it's a start.
WARRICK: Well, can yoy cross-reference these records against the characters in
the vic’s last name. It's "M, A, blank, blank, blank, I, blank, blank."
(Archie runs another search with, “M A * * * I * *.”)
(The computer beeps.)
WARRICK: Now that's a good start.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
(The lights go out in a section of the city.)
[EXT. MACALINO RESIDENCE -- NIGHT]
(Warrick and Nick head up the front walk. An officer is behind them.)
WARRICK: Alvin and Girlie Macalino. Let's do it. This makes what, the third
power outage since summer?
NICK: Fourth, actually. If I didn't know any better, I'd say the city was
trying to get rid of us. That's a hundred dollar fine right there.
(He notes the sprinklers on in the yard.)
(They approach the open front door. Nick and Warrick exchange looks.)
NICK: That's not good.
[INT. MACALINO RESIDENCE – NIGHT -- CONTINUING]
(Warrick opens the door.)
WARRICK: Las Vegas PD. Is anybody home?
(He takes his gun out. Nick enters behind him. The officer follows them
inside. They note the framed religious pictures on the wall and the cross on
another wall.)
(They enter in further and note the wooden cross displayed on the dining room
table.)
(Nick stops.)
NICK: It smells metallic.
(Nick takes his gun out. He turns to check the kitchen.)
(Warrick continues through the living room. There are clothes on the chair and
a white Bible on the side table.
(Nick sees a pot is on the lit gas stove. He turns the stove off.)
(Nick also finds something fleshy and red on the counter.)
NICK: Oh, man. What the hell is that?
WARRICK: That looks like balut. It's this Filipino delicacy. My grandmother's
best friend is from Manila.
NICK: Bet it tastes like chicken.
WARRICK: The Macalinos must've been in quite a hurry to leave their dinner out
like that.
(Warrick and Nick start down the hallway. Nick checks the little girl’s room.
He finds the little girl in bed, a trickle of blood coming from her head.
Warrick steps in after Nick.)
WARRICK: Oh ... so much for the daughter.
FADE OUT.
(COMMERCIAL SET)
FADE IN;
[INT. MACALINO RESIDENCE – ELIZABETH’S BEDROOM -- NIGHT]
(Warrick snaps photos of Elizabeth Macalino. When he finishes, David Phillips
pulls the plastic sheet over her head. Some self-powering lights have been set
up in the room.)
DAVID PHILLIPS: No visible signs of sexual trauma ... if it's any consolation.
WARRICK: It's not.
[INT. MACALINO RESIDENCE –MASTER BEDROOM -- NIGHT]
(Grissom finds BURGER GIANT cup on the floor.)
GRISSOM: Burger Giant to go. They were eating it at the motel and someone had
it here.
GREG: Possible connection?
(Greg notes the padlock on the top drawer is open and dangling.)
GREG: Hey, maybe we can add robbery to the list.
(Grissom walks over. Greg opens the drawer and finds a Wi-Fi card inside. He
picks it up.)
GREG: Wi-Fi card but no laptop.
(Grissom notes the family photo on the dresser.)
GRISSOM: Mom, dad ... and two girls.
GREG: They have another daughter?
(Grissom listens and in the silence he hears muffled buzzing. He looks up.
Greg also noted the sounds.)
GREG: Okay, so it's not just the ringing in my ears.
(They walk over to the ceiling hatch to the attic. Grissom motions with his
head that Greg should open it.)
(Greg pulls the ceiling hatch open and a ladder slides out. Grissom and Greg
exchange looks. They both look up at the attic door.)
[INT. MACALINO RESIDENCE – ATTIC -- CONTINUING]
(Grissom climbs in. He looks around and sees that it’s another bedroom. The
muffled buzzing sounds are louder. Greg enters the attic. They both look
around.)
(There’s a plate of half-eaten food on the floor and some food and a discarded
potato chip package on the bedside table.)
GREG: One girl gets My Little Pony, the other one ends up here.
GRISSOM: That doesn't seem fair, does it?
(Grissom looks over at the overflowing dresser drawer. A bee buzzes across his
face. He looks over at the source of the buzzing sounds and sees a bag and box
covering the opening.)
(He nudges a bee walking on the cooler bag. The bee flies away. Greg is
snapping photos. Grissom moves the cooler bag away and looks at the hole in the
wall.)
GRISSOM: Greg? Do you have any allergies?
GREG: No. Why?
GRISSOM: Give me a hand.
(He moves the box away to expose the hole, then removes the insulation blocking
the hole. More bees fly out.)
(Grissom lies on his back and looks up into the hole. His eyes widen.)
(PULL BACK on a colony inside the attic walls.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – NIGHT]
(Brass questions Alistair Rhodes while his lawyer sits next to him.)
BRASS: The Macalinos had two daughters-- Amy and Elizabeth. Elizabeth is dead,
and Amy is missing.
LAWYER: That is tragic, but it has nothing to do with my client.
BRASS: Your fingerprints were found at the motel where the Macalinos were
murdered.
LAWYER: My client has already explained that.
BRASS: You know, back before you were saving souls, when you were just
molesting children, you had a partner ...
LAWYER: Who died in prison eight years ago.
BRASS: We found male DNA on the bedsheets at the Rancho Center Motel. You got
yourself a new partner, just like old times.
(Quick flashback to: [MOTEL] Alistair Rhodes holds Amy down on the bed while
his partner unbuckles and unzips his pants. End of flashback.)
BRASS: Only, this time, the parents busted in on you. That was bad for you,
but worse for them. And now that mom and dad are never going to come home, you
get yourself a whole new playpen to party in and a new buddy to party with.
LAWYER: The DNA at the motel -- was it my client's?
BRASS: No.
LAWYER: Then why is he still in custody?
(Brass sits down.)
BRASS: Because he's still lying. You're not an ordained minister. You're not
a part of any recognized church. You got nothing to hide behind. So avoid the
death penalty -- give us your partner, we get the girl, and you get ...
redemption.
LAYWER: Six years ago, I was an alcoholic and a crackhead. This man pulled me
out of the gutter and saved my life. My firm is doing this pro bono. I
guarantee he will not do another day in jail.
ALISTAIR RHODES: My partner ... is the Lord.
BRASS: Well, I'm sure it's not His DNA on those sheets.
CUT TO:
[INT. CSI – HALLWAY OUTSIDE FORENSIC AUTOPSY -- NIGHT]
(Bodies on gurneys line both walls. The doors open. Sara and Ronnie walk in.)
RONNIE LAKE: So anyway, when I graduated I got offers from both the labs in New
York and Miami. Know why I picked Vegas?
SARA: I know you have nine questions left.
RONNIE LAKE: Crime rate's growing faster here.
(Ronnie follows Sara into the autopsy room.)
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Sara snaps photos as Ronnie removes the shoe off the old man’s foot. We see
the size 7 sticker still stuck to the underside of the sock.)
RONNIE LAKE: All of his ... um ... valuables in a rubber-band wad. No ID.
SARA: Check the shirt pocket.
RONNIE LAKE: I was getting there.
(She finds the ID in the shirt pocket.)
RONNIE LAKE: Hah. Driver's license. Expired. Edward Kaye, born 1-28-51.
SARA: New socks. Happy face sandwich wrapper. It's got to be handouts from a
shelter. Make some calls. You get to ask some questions, Ronnie.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. RHODES RESIDENCE -- DAY]
(Nick and Warrick search Alistair Rhodes’ place. They go through the
bookshelves and the sheets on the bed.)
WARRICK: You know, if I had to gauge it by his apartment, I'd say that Alistair
Rhodes is a regular guy.
NICK: Yeah, I'm sure that's what he wants everybody to think, too.
(Nick checks under the mattress. Warrick checks the closet. Nick opens the
flip-down ironing board. Warrick checks the shirts in the closet.)
WARRICK: Hey, Nick. For a guy with his own flip-down ironing board, these
shirts look pretty wrinkled.
(Nick checks the flip-down ironing board space, banging on the wooden walls. He
checks the board and finds there’s a hole under the cover. He cuts the cover
open and finds digital videotapes inside. The tapes are numbered.)
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Warrick and Nick hurry to the A/V Lab.)
NICK: Hey, Archie.
ARCHIE: Yo.
(Nick tosses the evidence bag to Archie.)
NICK: Whatever you're doing, that's more important.
(Archie looks at the tapes in the bag.)
ARCHIE: Roman numerals one through six. (He holds the bag to his forehead and
jokes.) All right, let me guess. Star Wars bootlegs.
WARRICK: Child pornography.
(Archie quits joking.)
WARRICK: Start with the latest first.
ARCHIE: Yeah.
(Archie opens the bag and sits down. He pop tape IV in the machine and hits
play and rewind. The tape plays as it rewinds. The view is UPSIDE DOWN as if
someone dropped the camera on the floor. The camera turns UPRIGHT and they see
two men fighting as a woman is tied to the bed.)
WARRICK: That's enough. Let it play.
(They play the tape.)
(The young woman tied to the bed screams as Reverend Alistair Rhodes shouts to
her.)
ALISTAIR RHODES: (from tape) ... bang you with chains of iron! Come from her
now!
(The young woman on the tape screams as Alistair Rhodes hits her with the white
Bible.)
ALISTAIR RHODES: (from tape) Back, pandemonium! Back, confusion! Leave ...
this ...
ALVIN MACALINO: (from tape) Stop it! That's enough!
ALISTAIR RHODES: (from tape) ... girl!
ALVIN MACALINO: (from tape) Hey, stop, stop!
ALISTAIR RHODES: (from tape) Now, spirit!
(Alvin grabs Rhodes and pulls him away from the bed. Rhodes knocks the camera
over. Mrs. Macalino runs over to her husband.)
MRS. MACALINO: (from tape) Why did you stop him?!
ALVIN MACALINO: (from tape) He was hurting her!
MRS. MACALINO: (from tape) No!
(Warrick, Nick and Archie watch the video.)
WARRICK: This isn't kiddie porn.
NICK: It's an exorcism.
ALISTAIR RHODES: (from tape) This is your fault. You didn't believe. You
didn't believe.
(Alistair Rhodes gets up off the floor, his mouth bleeding. His picture clear
on the video.)
FADE OUT.
(COMMERCIAL SET)
FADE IN;
INSERT: IMAGES OF THE EXORCISM
(Amy Macalino is tied to the bed. She hisses and screams while Alistair Rhodes
shouts and hits her with the Bible. Mrs. Macalino stands nearby, watching.)
ALISTAIR RHODES: Come from her now!
(Amy Macalino screams.)
ALISTAIR RHODES: Back, pandemonium! Back, confusion! Leave ... this ... girl
... now!
ALVIN MACALINO: Stop it! That's enough!
MRS. MACALINO: Why did you stop him?!
ALVIN MACALINO: He was hurting her!
MRS. MACALINO: No!
ALISTAIR RHODES: Amy's not here.
ALVIN MACALINO: No, let go!
ALISTAIR RHODES: It's your fault. You didn't believe. You didn't believe.
FLASH OUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass is back interviewing Alistair Rhodes with his lawyer present.)
ALISTAIR RHODES: I've helped other people cast out the Devil before.
BRASS: Videos one through five.
LAWYER: I advised the reverend to document his rituals for situations just like
this. He performed a religious service with the full consent of the parents and
then he left the motel room.
BRASS: Look, if you think we're going to fall for that, you have a lot more
faith than I thought.
(Grissom is in the room watching the interview.)
LAWYER: He has no knowledge of the deaths or of Amy Macalino's current
whereabouts.
BRASS: Counselor, is this your idea of cooperation?
ALISTAIR RHODES: L-listen to me. Listen to me. The mother came to me ... at
her wit's end, heart in her hand, begging me, begging me to free her child. She
said she'd tried doctors and pills, but nothing worked, so I went to the house,
I saw it with my own eyes.
INSERT: FLASHBACK
(Alistair Rhodes climbs up the ladder to the attic. Amy is on the bed. She
looks at him.)
AMY MACALINO: (rasps) It hurts.
(She growls and screams at him.)
AMY MACALINO: Let ... me ... out of here!
(She screams and rages.)
END FLASHBACK.
ALISTAIR RHODES: (whispers) The thing in that house ... it wasn't Amy. It
wasn't human. I had to cast it out.
GRISSOM: Did it work?
(Grissom walks over and sits at the table across from Rhodes.)
GRISSOM: The exorcism-- did it work?
ALISTAIR RHODES: No. Amy's father broke the rules: never speak to it, never
interrupt, and believe me completely, do only as I say.
GRISSOM: And he didn't believe.
ALISTAIR RHODES: Mr. Grissom, do you believe in a separate, living evil?
GRISSOM: You're primitive man on the savannah. You see something move out of
the corner of your eye. You assume it's a hyena. You run, you live. If you
assume it's the wind and you're wrong, you die. We have the genes of the ones
who ran. We're genetically hardwired to believe living forces that we cannot
see.
ALISTAIR RHODES: The Devil's slyest trick is making us believe he isn't real.
But call his name loud and long enough ... (He knocks on the table.) ... guess
who comes knocking on your door?
BRASS: Usually guys like you. Look, enough with the Sunday school bull. This
meeting is over, the deal is off.
LAWYER: We've answered your questions.
ALISTAIR RHODES: I told you the truth. You have to let me leave.
LAWYER: He's right about that. If you're not charging him with anything ...
BRASS: We're charging you with assault.
LAWYER: Fine. We'll make bail. You'll be out of here in six hours.
CUT TO:
[INT. CSI – LAYOUT ROOM]
(Robbins goes over his findings with Sara over the photos on the table.)
ROBBINS: Multiple contusions on the face, subdural hematomas. This guy was
definitely roughed up.
SARA: COD?
ROBBINS: Being homeless in Las Vegas. Cardiac arrest due to dehydration.
SARA: Thanks, Doc.
ROBBINS: Anytime.
(Robbins turns to leave. He passes Ronnie on her way in.)
ROBBINS: Hi, Ronnie.
RONNIE LAKE: Hi. (to Sara) I faxed the DB's photo to various indigent
organizations. Shelter on Rancho and Main ID'd him as a regular. Their special
this week was socks and sandwiches. Rancho and Main is less than a mile from
where we found him. Bum got into a fight -- business as usual -- and died of
exposure, right? Oops, that was a question. I know, I'm down to four, but, I
mean, that's it -- case closed, right?
SARA: What does that look like to you?
RONNIE LAKE: Perimortem abrasions ... parallel, double rails. It's handcuffs.
Cops must have picked him up before he died.
SARA: Maybe that's not all they did.
RONNIE LAKE: Well, that's a guess.
SARA: What is the first thing that the police do when they question a suspect?
RONNIE LAKE: Check for ID. Standard procedure.
SARA: Eddie Kaye's only identification was an expired driver's license found
separated from all of his worldly possessions.
(Sara picks up the bagged license and sighs as she looks at it.)
SARA: Print it.
RONNIE LAKE: Well, you're not seriously going to go after the cops over
something like this?
SARA: You know what? That question I will answer. We're not here to protect
anyone, Ronnie, not even the cops. We're here to figure out what happened. If
you can't do that, you should get a different job.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. POLICE DEPARTMENT – PARKING LOT -- DAY]
(Officer Casella)
SARA: Officer Casella?
OFFICER CASELLA: That's me.
SARA: I'm Sara Sidle, I'm with the Crime Lab. This is my partner, Ronnie Lake.
RONNIE LAKE: Hi.
SARA: Can you tell me why your fingerprints were found on this?
(She shows him an enlarged copy of Eddie Kaye’s driver’s license.)
OFFICER CASELLA: Well, sure, I touched it.
SARA: What else did you touch?
OFFICER CASELLA: Uh ... I'm sorry, what do you mean?
SARA: Did you strike this man?
OFFICER CASELLA: Okay, are you trying to jam me up?
RONNIE LAKE: We're not trying to do anything.
SARA: Where'd you get the bruise, Casella?
OFFICER CASELLA: I got it doing my job.
INSERT: FLASHBACK TO:
(Edward Kaye and another man fight over a sandwich.)
OFFICER CASELLA: (v.o.) A couple of train wrecks were slugging it out over
this crap sandwich. I try to save them from themselves, but no good deed goes
unpunished, so ... uh ... one of 'em takes a poke at me.
(Eddie slugs Officer Casella. He then handcuffs him.)
OFFICER CASELLA: (v.o.) So I cuff him up, I check his ID. I'm ready to run
him in, but my partner says to drop it.
(He checks his ID.)
END FLASHBACK.
OFFICER CASELLA: He says this is an old bum trick, right, like take a swing at
a cop, you go to jail where they have AC, they have food, they have water. I
can't believe I almost fell for that.
SARA: I kind of wish you had. The man died.
CUT TO:
[EXT. MACALINO RESIDENCE -- DAY]
(Greg is outside checking the grounds. He finds a small puddle of water and
something in it. He snaps a photo and takes a gun out of the water.)
(The VIN number is intact. He releases the chamber. Sara turns the corner and
sees Greg with the gun.)
SARA: Wow. What do you got there, Greg?
GREG: .22 handgun. Looks like it could be the murder weapon. You off the
clock?
(Greg takes a bag out.)
SARA: Yeah. Good job.
GREG: Thanks. How you doing?
SARA: Well, I've had better days. You missing me yet?
GREG: A little more every day. Grissom's in the attic. Still.
(Sara smiles and heads inside.)
[INT. MACALINO RESIDENCE -- DAY]
(Grissom is carrying a box with the bees. Sara walks in and finds him.)
SARA: Hey.
GRISSOM: Hey. Bee frame. Inside, I've got the queen, the workers, the whole
colony.
SARA: You're looting the crime scene of its bees?
GRISSOM: I cleared it with Animal Control. This colony is healthy. I need it
to study Colony Collapse Disorder. Bees are dying in record numbers everywhere.
SARA: You know, I did read that if every bee on earth died, the human race
would follow four years later.
GRISSOM: There's no hard evidence to support that, though.
SARA: Oh.
GRISSOM: But the world will end ... someday.
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – NIGHT]
[EXT. STREET -- NIGHT]
(A police car cruises around the streets.)
[INT. OFFICER CAR (CRUISING) – NIGHT]
(The officers run the license plates of several cars they see on the road.)
OFFICER 1: You don't think that's cheating? Anybody can get their hands on
that stuff. My kid can get "the Clear," the cream. (to radio) Dispatch, we
have plate number David-Paul William-Robert-one-eight-four, multiple warrants,
parking violations.
OFFICER 2: Maybe we should juice up all the players. Level the field, be more
entertaining for me.
OFFICER 1: You are one sick twist, my friend, you know that?
(They continue running plates.)
COMPUTER: Stolen vehicle.
OFFICER 1: Hold up. Dispatch, we have plate number Paul-Robert-Zebra-David-
seven-five-zero. Stolen vehicle, outstanding homicide. At Koval, off Las Vegas
Boulevard.
DISPATCHER: (from radio) Wanted for murder. Code six.
OFFICER 1: (to officer 2) Back up.
(They back up the car to put the parked stolen car into view. Officer 2 shines
a floodlight on the car and it’s obvious that someone is ducked down in the
passenger seat.)
(The male driver sits up and starts the car. He takes off. The police car
siren wails as it chases after them BACKWARD.)
(The police car keeps up. The station wagon turns to exit the parking lot and
smashes into the police car. Both cars come to a stop. The two officers run
out of the car with their guns drawn.)
OFFICER: Hands, let me see your hands!
OFFICER: Out of the car now!
OFFICER: Get your hands up!
(The man driving the car gets out, his hands up.)
OFFICER2: Let me see your hands! Get out of the car.
(Officer 2 opens the door for the woman to get out.)
OFFICER2: Hands!
(The woman has her hands up.)
OFFICER 1: You know who we're looking for, scumbag -- Amy Macalino. Where is
she?
AMY MACALINO: I'm Amy.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. HOSPITAL – AMY’S ROOM -- NIGHT]
(Amy stares out in front of her as the nurse writes in the chart.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – NIGHT]
(Andrew Wolflynn sits inside the interview room.)
PULL BACK to the –
[INT. POLICE DEPARTMENT – OBSERVATION ROOM – CONTINUOUS]
(Brass is in the observation room with a hooker, Divine.)
BRASS: So you're sure you never saw this guy before?
DIVINE: That guy? Uh-uh, no. Okay, but this guy, uh-huh. (She picks up the
photo of Rhodes.) Uh-huh, he was definitely at the Rancho Center Motel. He was
there ... um ... three nights ago. Had his little camera with him and
everything.
BRASS: Camera?
DIVINE: Yeah, like video camera and all that stuff.
BRASS: That helps, thanks. Thanks for your cooperation.
DIVINE: Um ... don't I get a reward?
BRASS: Yeah, you get to leave.
CUT TO:
[INT. HOSPITAL – AMY’S ROOM -- NIGHT]
(Catherine walks in with her kit.)
CATHERINE: Hi, Amy. I'm Catherine Willows, I'm with the crime lab.
AMY MACALINO: You here to probe me?
CATHERINE: Swab.
(Catherine puts her kit down. Amy pushes the sheets down off her lap.
Catherine stops her.)
CATHERINE: No, no, Amy, this, this is ... um ... this is in the mouth. Staff
tells me that you've already gone through the SAE kit.
AMY MACALINO: They tell you I'm all banged up inside?
CATHERINE: Not in those words. Amy ... the man that took you ... he cannot
hurt you again. We've got him.
AMY MACALINO: Then can I go? W-w-where's my clothes?
CATHERINE: Well, they're evidence for now, but you'll get them back. The
clothes that you wore -- were they yours or ... did he make you wear them?
(Amy looks at Catherine.)
AMY MACALINO: He made me do a lot of things.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – NIGHT]
(Brass interviews Andrew Wolflynn.)
BRASS: Andrew Wolflynn. Bet your friends call you Wolf, huh? So I'm going to
call you Wolf. You can call me Jim.
(Warrick is in the observation room watching the interview.)
BRASS: You know, it's really exciting to meet such a hyphenate. You know what
I mean? I mean, you're a triple threat. You know, kidnapper-rapist-auteur. Do
you like making movies?
ANDREW WOLFLYNN: What are you talking about?
BRASS: Kiddie porn.
ANDREW WOLFLYNN: No. No, n-no, no way, no-not me, man.
BRASS: No, not just you -- you and a partner.
(Quick flashback to: [MOTEL] Alistair Rhodes sets up the camera while Andrew
Wolflynn is at the bed with Amy.)
BRASS: (v.o.) He shoots, you score.
(End flashback.)
BRASS: It must be a really good business. Low budget, high profits ... unless
you get caught.
[INT. HOSPITAL – AMY’S ROOM -- NIGHT]
(Catherine swabs Amy’s mouth.)
CATHERINE: I've contacted Child Services. You'll have to stay there for at
least tonight. Do you have any relatives?
AMY MACALINO: Not anymore.
CATHERINE: I've got a daughter. She's almost your age.
AMY MACALINO: Maybe we should hang out.
CATHERINE: There'll be some counselors there that you can talk to and ... take
as much time as you need and ... whenever you're ready, to go back to school.
Where do you go?
AMY MACALINO: Jefferson.
CATHERINE: Jefferson High? I don't know that one.
AMY MACALINO: Jefferson Middle.
CATHERINE: Amy, what grade are you in?
AMY MACALINO: Sixth. I'm 12.
(Catherine looks confused.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – NIGHT]
(Brass continues to talk with Andrew Wolflynn.)
BRASS: We got your fingerprints, your semen. I mean, we got you in the dead
couple's car working to bang their kidnapped daughter. We got ... did I leave
anything out? Oh, yeah, we got your gun.
ANDREW WOLFLYNN: I don't own a gun.
BRASS: No, you know, we checked the serial number. It belongs to your
grandmother. But you know ... and you know, it must be really hard to get that
gun off ol' granny.
(Brass walks around Andrew to check his collar.)
ANDREW WOLFLYNN: What the hell are you doing?
BRASS: I'm just checking your shirt size. I might want to give you a Christmas
present. 17 1/2, 36. You know what? I was leaving something out, Wolf. We
got your shirt soaked not in one but both of the victims' blood. You see, this
is what we call slam dunk. You're going to jail. You're going to do time. But
why do it alone? Don't be a patsy. Just tell us the name of your partner.
Come on, share with a friend. And you know what? You don't even have to tell
me his name. All you have to do ... is point.
(Brass shows him Rhodes’ photo. Andrew shakes his head.)
BRASS: Hmm?
ANDREW WOLFLYNN: I've never seen that guy before in my life.
BRASS: Come on, you can do better than that.
(In the observation room, Warrick notices that Andrew’s cuffs are opened and
flipped back over his wrist.)
ANDREW WOLFLYNN: I want a lawyer.
CUT TO:
[INT. CSI – LAYOUT ROOM -- NIGHT]
(Warrick is back in the layout room with the bloodied shirt. He measures the
void on the sleeves. He marks it on a separate shirt.)
(He tries the shirt on, then tries to roll the sleeves up to the line on the
shirt. He can’t do it. Catherine walks in.)
CATHERINE: What are you doing?
WARRICK: Hey. I'm trying to make some sense out of the spatter. Now, we've
already determined that the ... the killer rolled up his sleeves when he
murdered the motel victims, but when I found the shirt, the cuffs were buttoned,
and I'm not much bigger than this guy. And look. This is as far as the sleeves
go up.
(He shows her that he can only roll them up to a little past his wrist.)
CATHERINE: Would you give me the shirt off your back?
WARRICK: Sure. Here you go.
(He helps Catherine put the shirt on.)
CATHERINE: Okay.
(Catherine rolls the sleeves up to the line.)
CATHERINE: Easy.
WARRICK: So Wolflynn wasn't wearing the shirt, was he?
CATHERINE: I guess Amy was. A trophy after sex.
(Grissom walks in.)
GRISSOM: Hey. I have something I'd like you to see.
CUT TO:
[INT. CSI – A/V LAB – NIGHT]
(Grissom clicks on the icon to open the computer information.)
GRISSOM: The Macalino family computer was recovered from the stolen car.
Archie ... found the chat logs.
(Grissom opens the log. It reads:
Wolfman: You look so hot in that photo.
Wolfman: We need to meet soon!
Amy17: If you could take me out where would –
Wolfman: Any where you want?
Amy17: Anywhere is better than here.
Amy17: I’m lonely.
Wolfman: so lets meat somewhere.
Amy17: I can’t.
Wolfman: Y? Whatcha doing?
Amy17: about to shower.
Wolfman: You hot and sticky?
WARRICK: A lot of traffic between Amy and the "Wolfman."
GRISSOM: Keep reading.
CLOSE-UP OF MONITOR:
Amy17: How bad do U want me?
CLOSE-UP OF MONITOR:
Wolfman: I can taste it.
CLOSE-UP OF MONITOR:
Amy17: Talks is cheap.
Amy17: Prove it.
WARRICK: It looks like Amy's luring the Wolfman.
(The remainder of the screen reads:
Wolfman: I’ll do anything!
Amy17: R U bad enough?
Amy17: R U my badboy?
Wolfman: Damn straight.
GRISSOM: What would you do if you found this on Lindsey's computer?
CATHERINE: Ground her for life. Take the laptop.
GRISSOM: Lock her in the attic, maybe?
CATHERINE: Well, you push kids, they push back. Things can get out of hand
pretty quick.
CLOSE-UP OF MONITOR:
Amy17: I need a bad MAN.
GRISSOM: The Macalinos were pushed all the way to an exorcism. Now, Alistair
Rhodes says that he left the motel when his ritual failed. The video shows the
father tried to stop it. He probably untied her. Right?
CATHERINE: So Amy escapes, she goes and gets her knight in shining armor.
WARRICK: Yeah, Wolf and his .22 caliber.
CLOSE-UP OF MONITOR:
Amy17: Can U handle it?
CATHERINE: They return to the motel.
CLOSE-UP OF MONITOR:
Wolfman: Yeah.
CLOSE-UP OF MONITOR:
Amy17: Handle me?
CATHERINE: The parents are gone, but the room's still paid for.
CLOSE-UP OF MONITOR:
Wolfman: Hell, yeah.
CATHERINE: They have sex and burgers.
WARRICK: And Amy calls her mom and dad, who come back because they still love
her.
CLOSE-UP OF MONITOR:
Amy17: Let’s do it.
CATHERINE: Dad gets killed first ... quick, but Mom, the true believer, the one
who wanted to drive out the demons, she has to suffer.
(Quick flashback of: [MOTEL ROOM] Amy gleefully hits her mom on the bed. End
flashback.)
GRISSOM: And Amy goes home to get her computer ... and kills her little sister.
CATHERINE: I'll call Brass. We'll go pick Amy up.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. CPS -- NIGHT]
(Amy Macalino sits alone in the room. She smiles. There’s a knock at the
door.)
CPS ATTENDANT: Amy, there's somebody here to see you. Could you come with me,
please?
(Amy swings her legs over to the side of the bed.)
[INT. CPS – STAIRWAY – CONTINUING]
(Amy and the CPS attendant head up the stairs.)
[INT. CPS – VISITING ROOM – CONTINUING]
(The CPS attendant leads Amy up to the visiting room.)
CPS ATTENDANT: Just wait in here.
(Amy steps into the room to wait. The CPS attendant leaves.)
(Amy looks up as Alistair Rhodes steps into the room. He closes the door behind
him.)
[INT. CPS – LOBBY – CONTINUING]
(The front door opens. Catherine, Brass and an officer step in.)
CATHERINE: We need to see Amy Macalino.
CPS ATTENDANT: Popular girl tonight. She's upstairs with her minister.
(Brass turns and heads for the stairs.)
BRASS: (to the officer) Let’s go!
(Brass and the officer head up the stairs.)
CATHERINE: Her what? (to radio) Control, this is Willows. I'm at CPS. I
need backup. Code Three now.
(Brass and the officer head up the stairs.)
(Amy screams.)
(Catherine looks up at the topmost floor.)
ALISTAIR RHODES: I cast you out!
(Rhodes pushes Amy off the railing. Amy screams as she falls and lands at
Catherine’s feet.)
(Catherine gasps.)
(Brass and the officer reach Rhodes, their guns out.)
BRASS: Alistair, turn around. Turn around. Now!
(Rhodes turns around with his hands up.)
BRASS: Get down on your knees.
(Rhodes slowly gets down to his knees.)
ALISTAIR RHODES: I saved her. I saved her.
(The officer handcuffs Rhodes.)
(Brass shakes his head. Rhodes gets to his feet and the officer leads him
away.)
(TOP VIEW DOWN: Amy is dead on the lobby floor in a pool of blood. Catherine
looks at her.)
(After a moment, Catherine starts taking photos of Amy. The officer takes the
CPS attendant’s statement in the back of the lobby.)
(Grissom walks in with his kit.)
(Catherine looks at Grissom. Grissom shakes his head, then looks up at the
floor above them. He puts his kit down and looks around. He stops when he sees
something.)
(There on the floor is a dead bee. Grissom picks it up and looks at it. He
looks back at Amy’s body.)
(HOLD on GRISSOM.)
FADE TO BLACK.
==========================
END OF EPISODE
==========================
