05x06 - What's Eating Gilbert Grissom?

[bunniefuu]

COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]

[EXT. UNIVERSITY CAMPUS - NIGHT]

(A college man runs across campus. He's blind-folded and dressed in a pair of women's bra and panties, his wrists bound and elbows taped to his body.)

(Three other college boys chase after him.

Frat Boy: Say it loud and say it proud!

PLEDGE: Omega zeta pi!

(Two of the frat boys carry paddles in their hands as they chase the inductee around the campus grounds.)

Frat Boy: Say it loud and say it proud!

PLEDGE: Omega zeta pi!

(The Inductee runs and trips over something. He lands in a pile of worms. The three frat boys chasing him stop and stare at him. Because the Inductee is blindfolded, he spits the worms out of his mouth)

PLEDGE: Dude ... (he spits) What's crawling on my face?

CUT TO:
(Camera zooms in for a close-up of the maggots.)

[EXT. UNIVERSITY CAMPUS - GROUNDS -- NIGHT]

(Eva and Grissom stand in front of the pile of maggots.)

Eva: It's fraternity hell week. A pledge slipped and fell in this pile of maggots. School of agriculture is in charge of campus landscaping, so security called me. (deadpans) You were the first person I thought of.

Grissom: Well, thank you, Eva. I'm honored.

(She smiles at him.)

Grissom: You make your own mulch?

Eva: The university is self-sustaining. A city within a city. State institutions are encouraged to practice xeriscaping.

Grissom: "Xeri" meaning dry?

Eva: Landscaping using drought-tolerant plant life. Conserves water. There's no reason for these maggots to be here.

(Campus Security Officer #1, Brian, walks up to them carrying a cup.)

Campus Security Officer Brian: Dr. Grissom, your tea. Hold the tea bag?

Grissom: Thank you, Brian.

(Grissom takes the cup and kneels down in front of the maggots. Eva kneels down with him.)

Grissom: (to Eva) Do, uh ... do you use scraps from the dining halls for your compost?

(Grissom takes some maggots as samples and puts it in the cup of hot water.)

Eva: No. Why?

Grissom: Well, if the devil requires a pound of flesh, this many maggots would require over a hundred.

Eva: Pounds of flesh?

(Grissom looks down at the maggots and sees something. Among the maggots, he finds a tooth. He picks it up and looks at it.)

Grissom: Were you aware that the average college student weighs 135 pounds?

(Eva and Grissom look at each other.)

FADE TO END OF TEASER ROLL TITLE CREDITS

(COMMERCIAL BREAK)

---

FADE IN.

[EXT. UNIVERSITY CAMPUS - GROUNDS -- DAY]

(Nick scoops some maggots out from the pile and puts them in a bucket. Both he and Grissom are gathering the maggots. Eva and Dean Wilson stand on the side and watch.)

Dean Wilson: How long is this going to take?

Eva: If something happened to one of our students, don't you want to know?

Dean Wilson: Sure.

(He looks around the campus where the crime scene has drawn a small crowd of students.)

Dean Wilson: But on a campus this size, there's a thin line between satisfying curiosity and creating panic.

(Grissom, who is listening in on the conversation, answers.)

Grissom: This stopped being about my curiosity the minute we found a human tooth. We're now investigating a possible homicide.

(Nick stops shoveling and takes out a single maggot. He leans over to Grissom and whispers something on his mind.)

Nick: Hey, Grissom, why is it hot?

Grissom: Maggot digestion can generate heat up to 125 degrees. Heat increases the rate of putrefaction, which speeds up the digestive process.

(Nick nods.)

Nick: I don't see any tissue. How long would it take for them to pick a body clean?

Grissom: Assuming it's just one body? A few days.

Nick: Yeah, and that's another thing. I have a hard time believing that if a corpse was here, no one saw it. And these bones? (Nick picks up one.) They're uniform. Same shape and size.

Grissom: Yeah. (Grissom picks up something.) Same size as these wood chips.

(They both come to the same conclusion.)

CUT TO:
[EXT. RESIDENCE -- BACKYARD -- DAY]

(A mulching machine spews out mulch.)

(Grissom walks around the pile of wood chips and up to the machine operator, Walter Beerly. The machine operator turns the machine off.)

Grissom: This thing always this loud?

Walter Beerly: Yeah, but we're, we're kind of off the beaten path.

Grissom: You use it every day?

Walter Beerly: Pretty much.

(Grissom walks around and takes a look at the feeder part of the machine. He points to the small area between the gears.)

Grissom: You think a human body could fit through there?

Walter Beerly: You planning something?

Grissom: Gil Grissom, Las Vegas Crime Lab.

Walter Beerly: Walter Beerly, master of the universe. Six cylinders. 200 horse power. Thing's got an engine that would give most SUVs a run for their money. And it's got one job. Chopping crap up.

Grissom: So the answer's yes.

(Quick CGI POV: The mulching machine is on. A pair of hands move toward the gears. There's mulching sounds as the machine consumes the body, a large spurt of blood and flesh is spewed out of the other end of the machine -- all in neat, uniform size and shape little pieces.)

(End of CGI POV. Resume to present.)

Walter Beerly: Would take about fifteen seconds.

Grissom: May I?

Walter Beerly: You want to stick your head in there, be my guest.

(Grissom leans in and sprays the inside of the feeder.)

Walter Beerly: What are you looking for?

Grissom: Blood.

Walter Beerly: Oh, you're pretty much out of luck, 'cause I've been chipping all morning, and if there was any in there, it's probably gone. See, wood absorbs moisture. One of the reasons they use it for mulch.

(Grissom stops and nods.)

Grissom: Yeah.

(Grissom leans in and takes a swab of the gears. He rubs it on the tester.)

Walter Beerly: Pregnant?

(Grissom shows him the results.)

Grissom: It's human.

(Walter Beerly looks at Grissom.)

CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]

[INT. CSI - DNA LAB -- DAY]

(Greg is in the middle of the lab. All around him, he's got containers of maggots. He's separating the maggots from the dirt and going through the dirt at the same time.)

(Greg turns around and finds Nick standing on the other side of the table. Nick looks at his watch.)

Nick: Remember, you're on the clock, man. About, uh, twenty-four hours ... all of these maggots turn into flies.

Greg: I know.

(Nick turns and leaves the lab. Greg continues to work.

CUT TO:
[INT. CSI - LAB -- DAY]

(Grissom is operating on a maggot when Mia Dickerson walks in. She puts her lab coat on. Grissom doesn't raise his head. She walks over to him to see what he's doing.)

Mia Dickerson: What are you doing?

Grissom: Day shift told me you didn't get any results off the tooth.

(Grissom cuts the maggot open.)

Mia Dickerson: Yeah, it was a porcelain crown. Root canal. No viable pulp.

Grissom: I still need a DNA profile on our victim.

Mia Dickerson: And since bone marrow extraction can be difficult ...

Grissom: I figured I'd go straight to the source.

(Grissom pulls out the maggot guts.)

Mia Dickerson: Well, maggots are eating machines. They'll have DNA from the flesh. It's genius.

(Grissom hands her the dish with the maggot guts inside.)

Grissom: Thank you.

Mia Dickerson: One maggot colada, coming up.

(Mia leaves the lab.)

CUT TO:
[INT. CSI - LAB -- DAY]

(Greg continues to work on separating the maggots from the dirt. Catherine walks in from the hallway. He's working and counting in Spanish.)

Catherine: What's with the tape?

(Greg pulls down his mask.)

Greg: The evidence wasn't cooperating, so I stuck it to them.

Catherine: (under her breath) Cute.

(Greg hears her anyway and smiles.)

Catherine: Anything of interest?

Greg: Well, I haven't had much time for analysis. So far the only inorganics are these black plastic shreds, from a garbage bag, I think, and ... this.

(Greg hands Catherine a vial with something inside coated a bit with blue. Catherine opens it and looks at it.)

Greg: Well, blue trace is tacky to the touch.

Catherine: It's a fingernail.

CUT TO:
[INT. CSI - LAB -- DAY]

(Sara is in the lab working on the computer. Catherine walks in.)

Catherine: Uh, sorry, Sara. I need the microscope. Priority.

Sara: I got three more samples to run. When I'm finished, it'll be your turn.

Catherine: This can't wait.

Sara: It can't? Or you can't?

(Sara looks at Catherine.)

Catherine: Both. Go have a cup of coffee on me.

(Sara stands up.)

Sara: The coffee's free.

Catherine: Thank you.

(Catherine sits down as Sara leaves the lab.)

(Catherine takes out the fingernail sample and puts it in the scope.)

[ANALYSIS]

(It reads:
Case Number:
19879_c8
Sample:
Fingernail with
Unknown Blue
Substance
Component 1:
Motor Oil
Component 2:
Blue Color Paint

[INT. CSI - GRISSOM'S OFFICE - DAY]

(Catherine walks into the office.)

Catherine: Oil-based blue paint mixed with motor oil ...

(Catherine hands the analysis results to Grissom. He takes it and looks at it.)

Grissom: He's back.

HARD CUT TO:
[INT. POLICE DEPARTMENT - CONFERENCE ROOM -- DAY]

(Brass briefs the teams. He narrates as photos appear on the overhead wall of the victims. Catherine stands in the front.)

Brass: Starting in 1987, a series of murders occurred on the WLVU campus. Three women: Janet Kent ... Marcia Reese ... and Charlene Roth. Now, Charlene Roth's m*rder provided us with enough evidence to investigate a suspect ... John Mathers, WLVU security guard. He was arrested, tried and convicted. Two years ago, this week, he was ex*cuted. The night of his execution, Debby Reston was m*rder*d.

Officer: Copycat, right?

Catherine: No. We believe that Mathers was the copycat, responsible only for Charlene Roth's death.

Brass: Which means the serial k*ller is still at large.

Catherine: And we have reason to believe that he has k*lled again. Our suspect's M.O. is to apply blue paint to a campus railing ...

INTERCUT WITH:

[EXT. CRIME SCENE - DAY]

(Cut to: Nick leans in close to look at a metal railing. He reaches out and touches the paint on the railing.)

Catherine: (V.O.) ... that he has infused with motor oil to ret*rd the drying process.

CUT BACK TO:

(On the overhead, there's a photo of the metal railing.)

Catherine: He then lays in wait for a female victim to touch the railing.

(Cut to: [WATER FOUNTAIN] Sarah examines the water fountain.)

Catherine: (V.O.) It's always near a water fountain. He then grabs them from behind as they're washing the paint from their hands.

(Catherine continues to brief the officers.)

Catherine: Our suspect's prior victims were all sexually assaulted. No semen was found. Cause of death: Strangulation.

Brass: He stuffed them in black plastic trash bags

Quick flashback to:

[Scene from 3X06: The Execution of Catherine Willows]

[EXT. UNIVERSITY - LIBRARY -- NIGHT]

(Catherine examines the body in the garbage bag dumped.)

Brass: (V.O.) ... and dumps the bodies in plain sight.

(End of flashback. Resume to present.)

Catherine: Given that he has been k*lling for around twenty years, we approximate his age to be ...

(Quick flash of: [UNIVERSITY CAMPUS] Slow motion. Camera lingers on men of Various types fitting that description walking on campus.)

Catherine: (V.O.) ... at least thirty-five. He may wear glasses. He may drive a Chevy with black interior.

(End of flashback. Resume to present.)

Officer 2: The latest victim was put in a wood chipper. Why the change in M.O.?

Catherine: Serials have been known to change their signatures because they have to. Fear of being caught ... interruption ... or it could just be an act of escalation.

[PHOTOS ON BOARD]

(Camera slowly moves over the Past victim crime scene photos hanging on the boards.)

Brass: (V.O.) So we're looking for a sadistic, ritualistic, organized sociopath.

(Camera pulls back and we find Grissom standing in front of the photo board staring at the crime scenes.)

Brass: (V.O.) We'll be on 12 and 12s. No holidays, no vacations until this is solved.

(Camera holds on Grissom.)

FADE OUT

(COMMERCIAL BREAK)

---

FADE IN.

[EXT. POLICE DEPARTMENT - FRONT SIDEWALK -- DAY]

(Catherine is surrounded by reporters.)

Reporter: Ms. Willows, can you confirm that the blue paint k*ller has claimed another victim?

Catherine: I haven't been cleared for comment.

Reporter: Ms. Willows, was John Mathers wrongfully convicted?

(Quick flashback to:

[Scene from 3X06: The Execution of Catherine Willows]

[INT. LAS VEGAS PRISON - NIGHT]

(John Mathers is strapped to the table. He turns his head and looks at Catherine sitting in the witness booth.)

Reporter: (V.O.) Did the state execute an innocent man?

(End of flashback. Resume to present.)

Catherine: John Mathers k*lled Charlene Roth and was punished for it.

(The reporters to shout out their questions.)

Reporter: (shouts) You sure this isn't a copycat?! REPORTER: Well, how can you be so sure of that?

(Catherine turns and walks away. The reporters continue to shout out their questions.)

Reporter: Ms. Willows? REPORTER: Ms. Willows!

CUT TO:
[INT. CSI - LAB -- DAY]

(Mia Dickerson reports her findings to Grissom.)

Mia Dickerson: I double-checked the results. The DNA from the maggots is male.

Grissom: Any possible cross-contamination?

Mia Dickerson: No, the samples were pure.

(Grissom sighs and turns as he leaves the lab.)

CUT TO:
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]

(Warrick walks through the hallway and catches Grissom coming out of the lab.)

Warrick: Griss, this place is crawling with press. They want a statement.

Grissom: Not now.

Warrick: Well, if you don't say anything, they're just going to fill in the blanks ...

Grissom: Screw the press, 'cause for all I know, the dead body is an auto mechanic who just painted his house blue.

(Grissom walks down the hallway. Warrick watches him go, shakes his head and heads down the hallway in the other direction.)

CUT TO:
[INT. CSI - LAB -- DAY]

(Greg is going through the dirt. He finds two halves of a gold-colored key.)

CUT TO:
[INT. OMEGA ZETA PI FRATERNITY HOUSE -- DAY]

(Catherine holds up the little bag with the key inside showing it to the Frat Boy.)

Catherine: What's this key used for?

Frat Boy (#56): Um, pledging. Plebes are asked to swallow it on the first night of hell week.

Nick: Then "retrieve" it and return it by the end of the week, right?

Frat Boy (#56): You got it.

Catherine: You know that hazing is illegal. You could lose your charter.

Frat Boy (#56): Well, it's not hazing. It's a voluntary loyalty ritual.

Catherine: Political science major?

Frat Boy (#56): Pre-law.

Catherine: Good. Maybe you can explain why the pledge who swallowed this key ended up dead.

Frat Boy (#56): Wha-what're you talking about?

Nick: Has anyone from omega zeta pi dropped out or gone missing?

(He thinks about it. He stands up and goes to the whiteboard with the photos of the plebes on it.)

Frat Boy (#56): Uh ... yeah, Jo-Jonathan Avery Haywood III.

(He takes the photo down and hands it to Nick.)

Frat Boy (#56): Johnny. Oh, kid was a shoe-in. Dad was a member. Granddad was a member. But we haven't seen Johnny since pledge week.

Catherine: So, he's been missing for days, yet you didn't bother to call anyone?

Frat Boy (#56): For all I knew he was getting laid. Look, I'm the fraternity president, not his mother.

Nick: We're gonna need his toothbrush and his hairbrush.

(Just then, two fraternity pledges are joking around as they pass by the door.)

Plebes: Get off of me!

Frat Boy (#56): (to the pledges) Button!

(Immediately, the two pledges stop joking around, they raise their hands high up into the air and start chanting.)

Plebes: I'm a loser.

Plebes: I'm a loser. I'm a loser.

(On one of the frat boy's hands, there's a blue paint stain. Camera zooms in for a close-up.)

CUT TO:
[EXT. CAMPUS PATH -- NIGHT]

(Grissom touches the paint on the walkway railing. He looks at the wet paint on the tip of his finger.)

Grissom: Why didn't Nick find this before?

Catherine: 'Cause he was working from a schematic the campus security gave him. The railing's not on it.

(Catherine looks at the base of the railing. She kneels down and checks the cement on the ground.)

Catherine: This cement is fresh.

Grissom: So, now he's not just painting railings; he's installing them. We're going to need to dig this up, cement and all.

(Catherine takes a photo of the railing cement. She stands up and looks around the area with Grissom. Near the railing is the water fountain off to the side.)

(Near the water fountain is a bench. Under the bench is a garbage bag with something inside with blonde-hair.)

(Grissom glances at Catherine.)

(Grissom walks over to the bench.)

Catherine: (o.s.) Call Brass.

(Catherine follows Grissom. They kneel down next to the garbage bag. Catherine snaps a photo. He notes the blonde-hair near the garbage bag opening. Grissom slowly opens the bag.)

(Inside is a blonde-haired dummy.)

(Grissom looks at Catherine. He takes a deep breath.)

Grissom: So, he knew we would find this. And now he's taunting us.

CUT TO:
[INT. CSI - LAB -- NIGHT]

(Grissom and Catherine are in the lab, both working on the garbage bagged dummy. Grissom cuts the bag off. They remove the blonde-haired sex dummy inside the bag. The dummy's hands are bound together.)

(Catherine takes photos of the dummy.)

INTERCUT WITH:

[INT. CSI - GARAGE -- NIGHT]

(Nick walks into the garage and looks at the railing from the university campus.)

(He kneels down and takes photos of the railing.)

(Cut to: Grissom cuts the plastic used to bind the dummy's hands together. We note that the dummy's hands are smudged with blue paint.)

(Catherine takes a swab sample of the blue paint on the dummy's hands.)

(Grissom takes a swab of the blow-up dummy's airhole.)

(Cut to: Nick examines the paint on the railing. He finds a print.)

(Cut to: Catherine finds a folded piece of paper stuffed in the dummy's mouth.)

(On the paper is a strand of hair. The message reads:
I HAVE HER

(Grissom takes the hair.)

Catherine: Two years ago, DNA confirmed a hair found on Debby Reston belonged to the serial's first victim, Janet Kent.

Quick flashback to:

[Scene from 3X06: The Execution of Catherine Willows]

[EXT. UNIVERSITY CAMPUS - LIBRARY - NIGHT]

(Catherine takes some hair off of the dead girl's body.)

(End of flashback. Resume to present.)

(Grissom looks at the hair.)

Grissom: Planted hairs. It's part of his signature.

CUT TO:
[INT. CSI - LAB -- NIGHT]

(Grissom works on the note. He scans the note into the computer. He sprinkles black powder on the paper and a second image appears.)

(It's a sketch of a woman bound, gagged and terrified.)

CUT TO:
[INT. CSI - A/V LAB -- NIGHT]

(Catherine, Grissom, Nick and Warrick are in the lab.)

Catherine: Well, DNA confirmed that the hair found in the doll's mouth belonged to Debby Reston.

(On the monitors is the drawn image of the woman.)

Grissom: I tested the note with ESDA, because I saw some indentations in the paper.

Warrick: He must've written "I have her" on the underlying page.

Catherine: Prior evidence indicated that the suspect was an artist or had some connection to the university's art department.

Nick: Serials typically photograph their crime scenes. If we're dealing with an artist here ... maybe he drew his victims instead.

Warrick: Looks like she's in a small room.

Grissom: What is that in the foreground?

Warrick: Chair? Sofa?

Catherine: What about behind her?

Nick: Windows, maybe. Can we blow that up?

(Catherine enhances the image.)

Catherine: Some kind of signage?

Grissom: And the lettering's backwards.

(Warrick turns away.)

Nick: Cramped space. Chairs in the foreground, but no other furniture. No shutters or curtains on the windows. Maybe it's not a room. Maybe it's a ... vehicle.

Catherine: He was in the front seat, and he was looking at her through the rearview mirror.

(Quick flashback of: [INT. CAR - NIGHT] The woman is tied up in the back seat as the kidnapper draws her.)

(End of flashback. Resume to present.)

Grissom: So, he can att*ck her, abduct her, r*pe her and strangle her, but he can't look directly at her?

(Warrick sits at the workstation in the back as he shares his theory.)

Warrick: Guys, those black trilobal fibers that we found on Debby Reston's body were from a Chevy.

(He brings up a photo of the Chevy van on the monitors for the others to look at.)

Warrick: And the size and shape of those windows are consistent with a Chevy van.

(Nick looks at the lettering.)

Nick: I recognize the signage. The Erotica Boutique on Tropicana. (They look at him.) It's distinctive ... the font ...

CUT TO:
[EXT. PARKING -- NIGHT]

(Sirens wail as officer cars converge on the Erotica Boutique's parking lot.)

(They find the white van parked in the lot.)

(Officers with their g*ns out approach the car. Brass leads the team to check the van out.)

Brass: Okay, break it open.

(Catherine steps out of the car as they pop the lock off the back van door.)

(Inside, they find a dead body. By the smell, the body's been there a while.)

(Catherine, Grissom and Nick look inside the van.)

Grissom: So, this is where he brought them.

Catherine: The pump was probably for the doll. Beer bottles ... tell Mia to check them for saliva, as well as other bodily fluids.

Nick: You're thinking she was r*ped with a foreign object ... may be why we never found semen.

Brass: The police presence on the campus probably interrupted his plans for her disposal.

Catherine: I'll take the girl.

Nick: (nods) I'll take the van.

CUT TO:
[INT. EROTICA BOUTIQUE - NIGHT -- CONTINUOUS]

(Grissom walks into the store. He looks around. He finds the sex doll display. He picks up one and looks at it. The seemingly bored clerk behind the counter comments.)

Clerk: Huh. I would've picked you for a leather guy.

Grissom: Has anyone, uh, bought one of these coed cheerleader dolls in the last few days?

Clerk: Most popular models are the latex love-'em-or-leave-'em cheapies for bachelor parties. But in the midrange, Chrissy's not a bad choice.

Grissom: Well, I'm more interested in the clientele than the merchandise.

(Grissom walks over to the clerk. The Clerk puts his newspaper down.)

Clerk: Oh.

Grissom: I'd like to take a look at your credit card receipts.

(The clerk scoffs and looks down at the sign: CASH ONLY PERVERT!!!)

Grissom: Surveillance?

Clerk: Bad for business.

(Next to the counter is a magazine rack. Grissom looks turns the rack display and finds the comic book HOT BLOODED with a drawn picture of a woman bound and terrified.)

(He picks up the magazine and shows it to the clerk.)

Grissom: You know this artist?

(The Clerk looks at the magazine.)

Clerk: Yeah, that is "Zippy Tee."

Grissom: You have an address for him?

Clerk: Dude, I don't know where he lives.

Grissom: How do you pay him?

Clerk: (scoffs) It's not the Louvre. It's the love boutique. Local guys get store credit.

Grissom: Has he ever traded for ... a doll?

Clerk: (nods) Yeah.

Grissom: Can you describe him for me?

Clerk: White guy. Brown hair. Little shorter than you. 40, maybe 45 ...

Clerk: (both) Average looking. GRISSOM: (both) Average looking.

CUT TO:
[INT. CSI - FORESNIC AUTOPSY -- NIGHT]

(Robbins goes over the report with Catherine.)

Robbins: This all looks eerily familiar. Blue paint on the hand. Physical signs of sexual as*ault. Ligature marks around the neck.

Catherine: Prints turn up anything?

Robbins: She's still a Jane Doe.

Catherine: Height and weight?

Robbins: Five-eight. 131 pounds.

Catherine: Can you take down her hair?

Robbins: Sure.

(Robbins untucks the body's hair and drapes it around her shoulders.)

Robbins: Pretty.

(Catherine looks at the body, then walks over to the computer where she pulls up information about the missing plebe.)

Catherine: Pretty boy.

Robbins: Definite similarity.

Catherine: None of the other victims looked alike.

Robbins: So, why these two?

Catherine: Maybe he was a mistake.

Robbins: Mistaken for a girl?

(Quick flashes of: The girl with long, blonde-hair walks down the path near the railing.)

(Flash to: Johnny, the boy with long, blonde-hair, walks down the path near the railing. He touches the railing and gets paint on his hand.)

Catherine: (V.O.) But not just any girl. (b*at) This girl.

(Flash to: The girl touches the failing and gets paint on her hand.)

(Flash to: The girl goes to the water fountain.)

(Flash to: The boy reaches for the water fountain.)

(As the girl washes her hand, someone moves in the bushes near her, watching her.)

(Someone hits the boy over the back of the head as he washes his hands.)

(End of flashes. Resume to present.)

Catherine: We thought he selected his victims at random. He didn't. He chose her. He hunted her ... and trapped her.

FADE OUT

(COMMERCIAL BREAK)

---

FADE IN.

[INT. CSI - INTERVIEW ROOM -- DAY]

(Catherine interviews Mandy Cooper.)

Mandy Cooper: The TV said you were looking for information on Kaitlin Rackish.

(On the table is a photo of Mandy and Kaitlin in bikinis.)

Catherine: When was the last time you saw Kaitlin?

Mandy Cooper: Monday, but I've been pledging, so I haven't slept in the dorm the last couple nights. I just thought I kept missing her.

Catherine: Can you tell me what the two of you did on Monday? All the details.

Mandy Cooper: We went to the gym. Showered. Went to the dining hall. Monday's mac-n-cheese day. It's Katy's favorite. We picked up our orders at the campus copy union -- term papers. We bought sodas at the bookstore. We went to the library to study. A couple guys from Zeta Beta Theta were at the same table, so we didn't get that much done. Then she left for her 7:00 class.

Catherine: What class is that?

Mandy Cooper: Monday's, um ... "Introduction to the Female Form" with Professor Lewis.

Catherine: Cody Lewis?

Mandy Cooper: He got me interested in art.

CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(Brass interviews Cody Lewis who is studying the magazine cover procured from The Erotica Boutique.)

Brass: "Introduction to the female form"? Well, that's deep. That's really deep. I bet that brings in all the 17-year-old pre-feminists.

Cody Lewis: This isn't mine. Technique isn't bad, but it's raw. This person hasn't had any formal training at all.

Brass: Well, maybe it's your alter ego. You know, your bad-boy side; the Mr. Hyde thing.

Cody Lewis: You know, I came in voluntarily. You see, I want to help you. But this is borderlining on harassment.

Brass: Look, I'm trying to tie together some loose ends, so help me out, all right? I appreciate your help. I do. You got rid of your Chevy van. You got yourself a wife. Does she know you dated the first victim? Your return to the campus coincided with the m*rder of the fourth victim? And Kaitlin Rackish was in your evening classes? You see what I got?

Cody Lewis: No, I don't.

Brass: Your Buddy Mathers didn't talk much, either, and look what happened to him. He's at the wrong end of a cold needle.

Cody Lewis: You know what it's like to be told you lead the life and fit the profile of a serial k*ller?

Brass: No. I wouldn't have a clue.

Cody Lewis: You see, you make all these assumptions, and you're not asking questions here. You're attacking me to see how I react to what you say. Nothing I say is going to make a difference with you. So what's the point?

Brass: Why don't you just confess?

Cody Lewis: That's my point. I didn't do it.

CUT TO:
[INT. CSI - GARAGE -- DAY]

(Nick and Greg examine the white Chevy van. Greg snaps a photo of the contents in the armrest storage. He takes out a parking pass.
WESTERN LAS VEGAS UNIVERSITY
PARKING PERMIT
FALL 1986
NO. 07865

Greg: WLVU parking pass. Connection to the campus. 1986. This guy's been doing this a long time.

(Nick picks up a broken pair of glasses.)

Nick: Two years ago, Debby Reston broke her k*ller's glasses.

(Quick flashback to: [From 3X06] [NIGHT] As Debby Reston fights her attacker, she grabs his glasses and smashes them against the tree. They break.)

(End of flashback. Resume to present.)

Nick: They were 20/80.

Greg: I'll run 'em. See if they're the same.

(Nick checks the van's VIN number.)

Nick: VIN's been obliterated. You better go ahead and run that parking pass.

(Nick checks the NEVADA license plates: 519 RZD (The Silver State). Registration sticker is for 11/2003.)

Nick: Plate's expired. Registration sticker's a phoney.

Greg: How do you know?

Nick: Check out the serial number

(Greg looks at the registration sticker.)

Greg: (to himself) "0-0-0-0..." (louder) Yeah, got it. Homemade.

(Greg climbs into the back of the van to look around while Nick removes the license plate. Under the carpet, Greg finds some black powder.)

Greg: Hey, did you spill print powder in the back the van?

Nick: No. No, I superglued. Why?

Greg: May have found something.

CUT TO:
[INT. CSI - PRINT LAB -- NIGHT]

(Sara walks into the lab while Jacqui's working.)

Sara: Anything from the prints off the van?

Jacqui Franco: Prints from the dash and the rearview mirror were a match to the partial that we got off the trash bag Debby Reston was found in two years ago. Same guy, but still no hits from AFIS.

(Jacqui finds a print off the plastic binding from the comic book.)

Sara: Are the x-rated comic books ready?

Jacqui Franco: Nothing comical about them. Look at this. Double-D cups, tiny waists, bondage. Dehumanization.

(The frame reads: DON'T WORRY ... IT WILL BE A "GOOD" HURT ... )

Jacqui Franco: I'm all for visual stimulation, but these images are about domination, not sex.

(Sara looks at the frame of the woman crying.)

Sara: This artist gets off on dominating women. This is his sex.

CUT TO:
[INT. CSI - LAB ]

(Warrick and Catherine go over finding the commonality between the victims. They have all the photos spread out in front of them.)

Warrick: Janet and Marcia both lived in Dakin Hall. Charlene and Debby took Econ 101. Marcia and Charlene took English Lit. Janet, Debby and Kaitlin all ate at MacGraw dining hall.

Catherine: Janet dated Cody Lewis. Kaitlin took his art class. All right, so, uh, there's not one single thing that all five women have in common.

Warrick: Right.

CUT TO:
[INT. CSI - GARAGE]

(Grissom puts his gloves on as he walks up to the van. He opens the driver's door and climbs inside and sits behind the driver's wheel.)

(Grissom looks around. He reaches out and adjusts the rear view mirror.)

CUE SOUNDS: WOMAN'S MUFFLED GROANS

(Grissom adjusts the mirror and visualizes seeing a victim tied up in the back seat through the mirror's reflection.)

(Quick flashes of: [INT. VAN] The woman tied up struggles, her cries muffled. Various flashes of various victims.)

(End of flashes. Resume to present.)

(Grissom continues to stare at the mirror.)

CUT TO:
[INT. CSI - LAB]

(Sara studies the comic book pages frame by frame. On her notes, she writes:
YOUNG CAUCASIAN

Her notes on the Components for a Serial Sexual Aggressor read:

Case Number: 04-11-0*
Date: 11-4-04

PARAPHELIC
r*pe WITH FOREIGN OBJECT DEMOGRAPHIC
YOUNG, CAUCASIAN, LONG HAIRED SITUATIONAL
SMALL, TEMPORARY, MOBILE SPILLS RELATIONAL
REAR BASED, DEPERSONALIZED SELF PERCEPTION
DOMINANT, DISASSOCIATIVE

(Sara studies the comic pages.)

(The man in the drawing is threatening the woman.)

(CU: FEAR BASED)

(The woman in the drawing cries, her face shut from fear.)

(CU: DOMINANT,)

(The woman in the drawing is walking along the street, half-naked and beaten.)

(CU: DISASSOCIATIVE,)

(Sara continues to work.)

CUT TO:
[INT. CSI -- HALLWAY]

(Nick reports his findings to Grissom.)

Nick: Dead plates. Tampered VIN. Registration stickers are counterfeit. The k*ller did a good job, though. He used the right color, changed them every year, but no serial numbers.

Grissom: So, we still don't know who owns the van.

Nick: Well, Greg did find this in the glove box. (He hands the parking permit to Grissom.) It's from 1986. So I called school administration. It's parking spot 324. Not a student, but an employee ex*cuted two years ago.

(Nick takes the parking permit back from Grissom.)

Grissom: John Mathers?

Nick: Yep. Ran Mathers through the DMV. The partial VIN Number on our van's a match.

(They stop walking.)

Grissom: So, our k*ller was driving around in Mathers' old van.

Nick: I don't think these two guys are an original and a copycat.

(Grissom stares at Nick.)

Nick: They were partners.

(Grissom looks stunned.)

FADE OUT

(COMMERCIAL BREAK)

---

FADE IN.

[VIDEO RECORDING]

(John Mathers is being interviewed.)

John Mathers: (from video) I don't deserve to die. You think k*lling me will solve anything?

[INT. CSI - LAB]

(Nick is going over the video when Catherine walks in.)

John Mathers: (from video) I've prepared myself, but I'm not ready.

Catherine: This the John Mathers interview?

Nick: Week before he was ex*cuted.

Journalist: (from video) Charlene Roth's mother testified at the allocution that your death would mean her closure.

John Mathers: (from video) Not if you k*ll the wrong man.

Journalist: (from video) Forensic evidence testified to at your trial says that you're guilty.

John Mathers: (from video) Forensic evidence changes all the time. One day I'm innocent, the next day I'm not.

Catherine: Is there anything in his prison file?

Nick: All those years on death row he only had one visitor, his lawyer. Although he did receive a far amount of letters from random women ... if he was in communication with his partner, nothing in the file shows it.

Journalist: (from video) You've been in prison for fifteen years. During that time the murders stopped.

John Mathers: (from video) What does that prove? The real k*ller's smart.

(Grissom walks into the room. Sara follows.)

John Mathers: (from video) Watches the news, he reads the papers just like you. I'm ... man, I'm the perfect patsy.

Journalist: (from video) So you maintain your innocence?

John Mathers: (from video) Absolutely. I worked campus security. I'm not the smartest or the richest guy, but do I look like I had problems with women? I'm not the k*ller. Remember that when I'm gone.

Sara: Well, the prints on the comb bindings from the comic books are a match to the prints recovered from the van and the garbage bag that Debby Reston was in.

(Sara hands the bagged comic to Catherine.)

Grissom: Did you analyze the comics?

(Sara sits down.)

Sara: Yeah, and the drawings indicate a dominant, disassociative sexual sadist.

Nick: Prison shrink diagnosed Mathers as a psychopath with a dependent personality disorder.

Sara: Which means he was pre-disposed to violent crimes but he might have needed some encouragement.

Grissom: Well, to invite someone to join you for t*rture and m*rder would require a great deal of trust. You would only do it if you knew you could completely control your partner.

Catherine: Mathers was the submissive. His partner is the alpha male.

Grissom: Sexual sadism can go hand in hand with sexual dysfunction. Mathers said that he wasn't the k*ller, but we confirmed that he had sex with Charlene Roth, based on the fact that we found his pubic hairs on her body.

Catherine: Mia was looking for saliva on the beer bottles from the van and found a vaginal contribution on the neck of one of them.

Nick: Maybe Mathers was this guy's surrogate penis.

Catherine: Question. The partner kills on the eve of Mathers' execution, and again this week, on the second anniversary. (Shakes her head.) Why the no-show last year?

Grissom: Maybe life got in the way.

(Hodges walks into the room with the test results.)

David Hodges: Nick, that black powder from the back of the van is ink. A toner made exclusively for commercial copy machines. OCE 3600.

Nick: Okay. Thanks, Hodges.

(Hodges leaves. Catherine looks at the test results.)

Catherine: The most recent victim went to the campus copy union with her roommate on the day she disappeared. Janet Kent's ...

(Catherine digs through the photos looking for something specific. She finds it.)

Catherine: ... pocket contents -- a receipt from WLVU Copy Union. On Debby Reston's backseat ... (She finds another photo of a couple of STUDENT HANDBOOKS.) ... catalogs with comb bindings.

CUT TO:
[EXT. UNIVERSITY - FRONT STEPS - NIGHT]

(Sirens blip as police cars stop in front of the university stairs. Brass exits the car and runs to meet up with a couple of Campus Security Guards.)

Brass: Who'd you find?

Campus Security Officer 2: Kevin Greer. Works at the copy union. Only employee who's been there over ten years; since 1983.

Brass: Fits our profile.

CUT TO:
[INT. COPY UNION - NIGHT]

(Brass walks out of the Copy Union with the Worker following him.)

Brass: Where's Kevin Greer?

Copy Center Worker: He just left. He works till eight.

Brass: Time for evening classes to let out.

Copy Center Worker: What's going on?

Brass: Look, we'd like to talk to Kevin Greer. You have any idea where he is?

Copy Center Worker: No. We don't hang out.

Brass: How many people work here?

Copy Center Worker: Just me.

Brass: Okay, we need to look around.

Copy Center Worker: Okay.

(Brass steps away as Catherine finishes putting her gloves on. She looks into the trash and finds some black toner powder.)

Catherine: Black plastic trash bags with toner powder. (She looks over at the Copy Center Worker.)

Catherine: Excuse me. Does Kevin Greer use this machine for any of his personal projects?

Copy Center Worker: Yeah. He binds his comic books.

(Catherine looks at Brass. They both leave.)

CUT TO:
[EXT. GREER RESIDENCE -- NIGHT]

(LVPD surround the small residence. Brass runs up to the front door with a couple of other officers. He crouches down.)

Brass: Kevin Greer, Las Vegas police! (to the officer) Hit it.

(The Officer batter-rams the door.)

Officer: Let's go!

(The officers and Brass enter the residence.)

Voice: (o.s.) Clear!

(Brass slowly makes his way down the hallway. The officers rush through the rooms clearing it.)

Voice: (o.s.) All clear.

(Brass continues to walk cautiously through the hallway.)

Voice: (o.s.) Check that noise! VOICE: (o.s.) Clear. VOICE: (o.s.) Clear. VOICE: (o.s.) Got it. Clear.

(At the far end of the hallway, there's a loud rattling machine mixing something. He looks at it. Grissom and Catherine step into the room.)

(Catherine walks up to the machine. Brass turns it off. The room is extremely silent.)

Catherine: A paint mixer.

Grissom: WLVU blue.

Catherine: So he mixed his own paint so we couldn't trace the origin of his purchase.

(The phone rings. The answering machine clicks on.)

Kevin Greer: (from machine) Las Vegas's finest. Nice job. Impressive turnout. Have a look around. I'll be here at the station waiting for you.

CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]

(Kevin Greer sits at the interview table with a stack of papers in his hands. He turns around and smiles as Brass and Grissom walk into the room.)

Kevin Greer: Gil, Jim.

(He smiles at them as they sit down across from him.)

Kevin Greer: Yeah, my rule was: If you made it to my house, you deserved to meet me. I mean, how much time did you guys spend picturing the size of my hands? Huh. (He shows them.) Not very big. You don't need big hands, though, not the way I do it. Just ... just a little at a time.

(He looks at Grissom.)

Grissom: Take life, give it back. God-like.

Kevin Greer: God-like? No. But there must be something angelic in the way I look, because even on their last breath, they didn't think I'd actually do it.
(He continues to draw as he talks.) Am I disappointing you guys? I mean, are you looking at me, wishing I was ... scarier?

Grissom: No.

(Grissom takes his glasses off.)

Grissom: I was, uh, wondering what happened to your glasses.

Kevin Greer: Stupid lasik. It's what got me caught.

Grissom: Is it?

Kevin Greer: When that Debby bitch busted my glasses ...

(Quick flashback to: [EXT. - NIGHT] Debby Reston grabs his glasses and breaks them as she struggles. End of flashback. Resume to present.)

Kevin Greer: I decided they were a liability. But the procedure didn't take.

Grissom: Is that why you missed last year's anniversary?

(He looks at Grissom.)

Kevin Greer: (chuckles) And my night vision still sucks.

Grissom: Johnny?

Kevin Greer: I don't want to talk about him.

Grissom: Well, you, uh, kept him for several days before you chopped him up.

Brass: Were you having a good time?

(Kevin looks at Brass and Grissom.)

Kevin Greer: I'm not into boys.

INTERCUT WITH:

[INT. GREER RESIDENCE - NIGHT]

(Catherine opens the large freezer up.)

Kevin Greer: (o.s.) Kid was in my freezer.

(They look inside. Sara snaps a couple of photos. She gasps.)

(Taped against the side of the freezer are locks of hair in a plastic bag along with a comic caricature of the frightened woman.)

KAITLIN RACKISH
DEBBY RESTON
MARCIA REESE

(Catherine snaps photos of the baggies. Sara looks at the locks of hair.)

BRIT MOSSCOE

(Catherine puts her camera down.)

Catherine: Wait a minute.

(She counts them.)

Catherine: (softly) One, two, three, four, five, six. (louder) There are six here.

(She looks back at Sara.)

Catherine: We only know of five.

(She reaches inside and takes out the sixth baggie: BRIT MOSSCOE.)

CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT -- CONTINUOUS]

Grissom: Tell us about Charlene Roth.

Kevin Greer: You had to bring her up. You know, I tried to talk him out of it, but, uh, J.M wouldn't ...

Brass: John Mathers.

Kevin Greer: Yeah. He had something to prove. See, he didn't understand that we were better together than we would ever be apart. (He goes back to the drawing.) He needed me.

Brass: Soul mates.

Kevin Greer: Contrary to popular belief, even people like us have souls. I spent fifteen years looking for a solid replacement, but you only get that lucky once in a lifetime.

Grissom: You miss him.

Kevin Greer: I created him.

Brass: But you let him take the fall.

Kevin Greer: He got caught. That's the price you pay for incompetence.

Brass: Death.

Kevin Greer: That's what you deserve when you make a mistake.

(He looks at Grissom.)

(There's a knock at the door.)

(Kevin Green glances behind him.)

[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM - NIGHT - CONTINUOUS]

(Grissom stands up and steps outside.)

(Catherine hands him a slip of paper.)

Catherine: There's a sixth victim. A Brit or Brittany Mosscoe. Her name was on a ziploc bag in Greer's freezer. It contained a lock of hair. Sara's looking into Missing Persons. And Mia's running it through DNA.

Grissom: Thanks.

(Grissom heads back into the interview room.)

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]

(Grissom sits down.)

Grissom: Where is, uh ... Brit Mosscoe?

(Kevin Greer looks at Grissom and Brass. He smiles.)

Kevin Greer: There's a lot of fight in her.

Grissom: Is she old or new?

(Kevin Greer continues to draw. He finishes and stops. He looks at them.)

Kevin Greer: I'll take you to her. (to Brass) Oh, we'll need a full t*nk of gas.

CUT TO:
[INT. GREER RESIDENCE - NIGHT]

(Sara is back at the residence. On the freezer cover, she has all the baggies and locks of hair spread out with their corresponding drawings placed under them.)

(Camera moves over the drawings and bags of hair.)

JANET KENT
KAITLIN RACKISH
BRIT MOSSCOE

(Sara's phone rings. She answers it.)

Sara: (to phone) Hello. Yeah, I'm trying to confirm that you have no record of a Brit Mosscoe attending WLVU in the last eighteen years. (pause) What about a night student? (pause) Okay, thanks.

(Sara hangs up.)

(She picks up the drawing of Brit Mosscoe and looks at it.)

(Sara looks around the room and she notices a calendar pinned up on the wall. The picture of the woman in the calendar looks like the woman in the drawing.)

(Sara removes the calendar from the wall and compares it to the drawing.)

(It's the same woman.)

CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM - NIGHT - CONTINUOUS]

(Brass, Grissom and a couple of officers escort Kevin Greer through the hallway.)

Kevin Greer: Hey, uh, can I go to the bathroom before we go?

(They stop. Brass turns around and looks at Kevin Greer.)

Brass: Yeah, okay.

(The two officers escort Kevin to the restroom.)

Brass: Bobbie, pat him down.

(The officers pat Kevin Greer down looking for weapons. He takes his pencil away from him.)

(They step into the bathroom.)

CUT TO:
[INT. POLICE DEPARTMENT - BATHROOM - NIGHT - CONTINUOUS]

(The officer checks the bathroom stalls.)

(Finding them clear, the officers allow Kevin into the stall. They close the door behind him.)

CUT TO:
[INT. GREER RESIDENCE - NIGHT]

(Back at the house, Sara realizes that BRIT MOSSCOE is an anagram for MISS OCTOBER.)

(She calls Catherine.)

CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT - CONTINUOUS]

(Catherine steps out of the room and into the hallway where Brass and Grissom are waiting for Kevin Greer to return from the bathroom.)

Catherine: (to phone) Slow down. Okay ... okay. I got it.

(She hangs up.)

Catherine: The sixth victim is a ruse. He drew her off a calendar. Brit Mosscoe is an anagram for Miss October.

Grissom: So where's he taking us?

CUT TO:
[INT. POLICE DEPARTMENT - BATHROOM - NIGHT - CONTINUOUS]

(Brass opens the bathroom door and steps inside.)

Brass: Mr. Greer, let's go. Come on.

(He turns inside and finds the two officers just outside the stalls. Grissom follows him.)

Brass: Mr. Greer? Where is he, in there?

(An officer points to the stall.

Brass: Come on, Mr. Greer, let's go!

(Brass opens the stall door. Grissom sees the garbage bag over Kevin Greer's face.)

Brass: Damn it!

(Brass and Grissom step inside and rip the garbage bag off of Kevin Greer's face.)

(Grissom pulls Kevin Greer out of the stall and onto the bathroom floor.)

Brass: Get a paramedic!

(Grissom starts to do heart compressions on Kevin Greer. Catherine steps into the restroom.)

Brass: Get an EMT in here!

(There's no response. Grissom continues to do compressions. Still, there's no response. Grissom stops.)

(Brass shakes his head.)

DISSOLVE TO:

[INT. POLICE DEPARTMENT - HALLWAY - NIGHT - CONTINUOUS]

(The view is fuzzy as Grissom steps out of the bathroom and into the hallway. He stops in front of the interview room.)

(He looks inside and sees something.)

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT - CONTINUOUS]

(On the interview table is the sketch pad Kevin Greer was drawing on when they questioned him. Grissom takes his glasses out and looks at the drawing.)

(It's of Grissom with various images of himself - tortured, scared and terrified - as seen through the reflection of Grissom's glasses.)

(Smaller images of the victims, tied up and terrified is in the sketch.)

(As Grissom looks at the pictures, we hear the sounds of the victims' cries in the background.)

(Grissom tri-foldover's the sketch into a larger picture of Grissom.)

(In the image reflected off the glasses is a man with final words coming out of his mouth: GOOD BYE)

(Camera holds on Grissom.)

FADE TO BLACK

End